deluxxdigital.com issue 14

deluxxdigital.com

I S S U E 1 4 • D E C E M B E R 201 1 I Hate My Collection • Conchita Pérez • IDLM Heather Huey • David Sylvian Dark Dark Dark • Tilman Faelker • Brooke Roberts • Jane Bowler • Tomihiro Kono

www.dsdundee.com

CONTENTS Welcome to the December issue of deluxxdigital.com we have an indepth interview with musician and photographer David Sylvian, and talk to fashion designers Conchita Pérez, Brooke Roberts and Jane Bowler.

We discuss illustration with Tilman Faelker and go behind the scenes at Central Saint Martins. Plus music from Dark Dark Dark.

I HATE MY COLLECTION CONCHITA PÉREZ IDLM HEATHER HUEY DAVID SYLVIAN DARK DARK DARK TILMAN FAELKER BROOKE ROBERTS JANE BOWLER TOMIHIRO KONO MASAYUKI ICHINOSE MARINA MOSHKOVICH JANNEKE VAN DER HAGEN STEVEN JAMES EMBERTON DANNY BALDWIN REBECCA MILLER MASAMI NARUO HIRO KIMURA HIROYUKI ISHIMIZU SHUHEI SHINE SEBASTIEN COURDJI JOCHEN BRAUN

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 contributors: CHARMAINE AYDEN KAREN BANWELL CHRISTOPHER HODGE front cover: MASAYUKI ICHINOSE back cover: JANNEKE VAN DER HAGEN

Manolo Blahnik interview. photo: Hugo Yanguela

I HATE MY COLLECTION T ext: R E B A M AY B U RY The influence and contribution to the world of fashion by the alumni of the prestigious art college Central Saint Martins is undeniably overwhelming. The art school has acted as a breeding ground for some of the industry’s most original and ground breaking fashion designers, stylists, journalists, film makers, photographers and historians for the past sixty years. From the likes of Bill Gibb, Stephen Jones, Rifat Ozbek and Katherine Hamnett to the great Lee McQueen, John Galliano and Stella McCartney and more recently Christopher Kane and Johnathon Saunders all graduating from the historic campus on Charing Cross Road in Soho.

Julie Verhoeven and Judith Watt nterview. photo: Oscar May

Central Saint Martins possesses such a significant contribution to the history of 20th and 21st century fashion that to not document it would be sacrilege.

This has come at no better time in the school’s life than now, where the campus has this year totally relocated to a brand new building in Kings Cross leaving behind the cherished and run down building in Soho. There has been an ongoing anxiety surrounding this move, many people are wondering whether Saint Martins will be able to prolong its brilliance in its new environment. The film has already and hopes to expand on exploring the schools vivid and fascinating history by interviewing noted alumni. Presented by Judith Watt, a noted fashion historian and tutor at Saint Martins, interviewees already included Stephen Jones, Manolo Blahnik,

Katherine Hamnett and Julie Verhoeven as well as others.

‘I Hate My Collection’ is in the process of being created by recent graduate Oleg Mitrofanov but has unfortunately run out of funding.

With interviews already in the pipeline from some of the schools most prestigious graduates, to have this film not completed would be a disgrace. Already from the films trailer it provides a feast for anyone interested in fashion and design. Alumni speak of personal and heartfelt stories documenting their time there before they became dominant figures in fashion. Unlike many other fashion documentaries made before this film brings the viewer an unexpected perspective on the fashion world. Where fashion is so often seen as so achingly elitist this film shows the crème de la crème of the fashion world

talk of their experiences in a heart felt and honest way. The big names acquaint the viewer with themselves before their success. The sense of community presented is clearly one of the most engrossing aspects of the film. From initially watching the trailer there is an urge to discover why and how this institution has become so critical in the emergence of the best new talent and future icons. For this film to not be accomplished would be ridiculous, for it shows us a refreshing view on the fashion world as well as a very important one. Saint Martins alone can tell a fundamental history of fashion just by telling the stories of a handful of its graduates. Let alone the variety of its alumni who are interested in collaborating in this film.

To view the ‘I Hate My Collection’ teaser click here

CONCHITA PÉREZ INVISIBLE WARRIORS T ext: P A S C A L B E RT O N London based Fashion Designer Conchita PÊrez talks to deluxxdigial.com about her inspirations, creative development, and a passion and curiosity for the expression of personality that leads Conchita to encapsulate and reveal realms of desire and fantasy within her collections.

All photography Philip McCormack. All images © Conchita Perez Ltd.

What does designing mean to you?

I have always been confident in the direction of my designs and ideas, they have always led me to something better. To have worked for great designers has made me want to create my own brand; and to also make me understand the long process that is necessary to develop a style and esthetic.

Do you look back at fashion history?

I have always had a curiosity for the fashion eras of the past.

What would it be like to wear a Coco Chanel little black dress or a new look Dior or the exotic Belle Epoque designs of Paul Poiret. These designers and many more have inspired my passion for design and have influenced my work and ideas.

I love the craft, the tailoring and the detailing of the classic dress and I enjoy to recreate these into something modern.

What inspires your work?

Inspirations are a never ending story; I look at art, music, cultures, people on the street, when I sit on the tube and when I’m at a party... it’s a passion that you live 24/7. For me designing is like figuring out a puzzle; and recognising the present is what I am interested in.

Tell me about your last collection?

The ‘Invisible Warriors’ collection was inspired by the idea of that there is a hidden warrior within each of us. I’m a women’s wear designer, and create clothes with a woman in mind.

By creating sharp and structural tailoring with a feminine and sensual side, that embrace the contradictions and complexity of individuality; I wanted to expand on the notion that, like space, clothing has a direct relation to us and for

me alteration is synonymous with transformation and change.

Do you have a woman in mind when you design?

Yes, definitely. The woman, she is the pillar of my work - it’s a dialogue to understand her and to cover her needs as an individual and how she desires to be perceived. I am fascinated by characters, and how this is reflected in the choice of clothing, how people express themselves and their desire to be someone.

Fashion is a search for something.

Who wants your clothes?

Everyone that can identify with the clothes, and buys them for the right reasons; basically if it makes them feel good.

If you want to see more work of Conchita Pérez go to: www.selfesteemsalon.co.uk www.conchitaperez.com or contact: press@conchitaperez.com

I DONT LIKE MONDAYS HEATHER HUEY T ext: N I K D R A G O V I C I Dont Like Mondays is proud to present its newest IDLM Gallery project a series of conceptual, handwoven bodypieces by couture milliner Heather Huey. The newest entry in this charitable series will premiere from November 30, 2011.

Heather Huey’s innovative designs for this effort represent new territory for the established hatmaker. Her pioneering designs have appeared in editorials by Mert and Marcus, Steven Klein, Karl Templer, and Patti Wilson for publications such as Italian Vogue, W, French Numero, and Harper’s Bazaar. With the inception of her IDLM Gallery project, the public now has the opportunity to access the next step in her singular vision while contributing to a charitable cause. Each of the five limited-edition styles offers an innovative and timeless wardrobe staple with a philanthropic pedigree.

The IDLM Gallery is an evolving project focused on offering true rarities of fashion and supporting the creators behind them. Each collaboration provides an exclusive showcase for one-of-a-kind or ultra-limited edition garment art, with 50% of sales being donated to the charity organization Designers Against Aids. As I Dont Like Mondays always aims for designers who push the boundaries of fashion, these artists go one step further and blur the lines between art and apparel. www.idontlikemondays.us info@idontlikemondays.us

Implausible Beauty: Photography David Sylvian

DAVID SYLVIAN IMPLAUSIBLE BEAUTY T ext: C H R I STO PH E R H O DG E As David Sylvian prepares to embark on his “Implausible Beauty� tour of Europe in 2012 deluxxdigital.com is delighted to talk to him about his music, his art, the creative process and his approach to his work, which can be as evocative, often mysterious, subtly haunting and genuinely intriguing as the man himself.

Photography Donald Milne

As a polymath and modern day renaissance man, how would you define yourself, currently and at the start of your creative career? Being amongst other things an artist, writer, musician and photographer, how important is self-definition as an artist?

I’ve never liked the term ‘renaissance man’. Maybe we could start by putting that notion aside. I have no expertise in any medium per se. I engage with an amateur’s enthusiasm. I love this aspect of what it is I do. Perhaps sometimes I lament the fact that my education was poor, that I more or less grew up in public, learning as I went along in a very hands on environment, but where I found myself, many decades ago now, was in a place with a platform where I could explore my passions and interests having learnt the lessons in the classroom that was my first band. This was partially the result of design and part good fortune. When starting out I had some vague, very vague,

ideas about what it was I wanted but first there was an obstacle that needed to be overcome being the environment I wished to remove myself from in order to breathe.

I needed the solitude afforded by complete independence. I needed a buttress between myself and the world at large as I perceived it, a place I found difficult to navigate due to a crippling form of social phobia. The only way out was up so, despite the seeming contradiction, I threw myself into the fray as a performer of sorts.

I created masks behind which to hide, personas which had little or nothing to do with the person that created them with the exception that all of our masks betray something of ourselves whether we wish them to or not. The passion was always music, always, but until I could breathe deeply the air of my own choosing, I felt unable to express something of my true self, openly, via the work. I was forever playing catch-up. Still, that period in time was absolutely essential for me to build that platform, identify

what it was in the work that (mis)-represented me, understand my limitations where being a public figure was concerned, and what should be my true focus from the dissolution of the band onwards. It was a necessary education. I wish there’d been another road to take to reach that point but it wasn’t forthcoming.

So, to go back, I embrace this notion of the eternal amateur wholeheartedly. Not knowing how something is achieved in a craftsman-like fashion tends to lead to invention, possibly innovation. Each time I begin writing at the outset of a new project it’s like working from a clean slate. I can’t recall how the work was last approached as it began to unfold in my care, and if I could would it be applicable to the current situation at hand? Each project, whether I personally perceive it to be an artistic success or failure, teaches me an awful lot in the process of its making. Not in the sense

of craft but in the manner in which it feeds back into life.

Self-definition; I used to use the term ‘artist’ when I was younger in a slightly provocative sense in that few people spoke of pop musicians in such terms but truthfully I’m not married to any label, I don’t identify with one in particular.

The term ‘artist’ embraces a variety of evils which is a good thing but I tend to feel it’s one of those labels you earn in life. I envy, and am slightly suspicious of, people that use terms such as ‘artist’, ‘poet’, ‘Buddhist’ with any sense of assurance. You just do whatever it is you do and if that makes you any of the above or something other, that’s fine with me.

With an astonishing variety and range of collaborations during your career, can you describe how you approach the collaborative process? How satisfying can collaboration be in reaching solutions or does the journey that they take often raise more tangents and open new routes to explore?

Can collaboration ever be truly resolved?

Collaboration has to cover some essential ground to justify itself.

It would have to cover one or more of the following criteria; Musically speaking, does it take me to a place I’ve not been before or would not think of going outside

of this particular invitation to collaborate? Do I, in general, have an interest in the work of the artist in question? If so the first collaboration becomes a means of testing the water in the hope that more will follow.

Is the collaborator a long-term friend whom I inherently trust and will therefore not question the notion of the collaboration itself only the motivation or the direction etc. And finally, the repayment of a debt of gratitude for services rendered to me on a previous occasion.

The process differs from one collaboration to another, no set rules apply. Some require more compromise than others (Sylvian/Fripp) which often means neither party walks away happy with the results although there may be other benefits to the collaboration outside of the results themselves. In other situations a constant dialogue needs to be maintained in order for the aesthetic to remain consistent (Rain Tree Crow). Without this dialogue the work would wind up lacking focus and continuity.

Occasionally one collaborator in the group is granted final say, acts as the director of the work.

This was the case with Nine Horses which was a project you might say I executive produced but we were, on the whole, in accord with one another. In other words a successful collaboration.

If I’m contributing to the work of others (Arve Henriksen, Jan Bang, Ryuichi Sakamoto, Christian Fennesz) they’re given final say in how the work is completed.

There is in general a courtesy accorded in such situations where all parties get to have their say prior to the project being wrapped up but final decisions rest with the artist in question.

If the collaboration takes place in the context of my ‘solo’ work then most of the above doesn’t necessarily apply. I’ve been given permission to use the material from sessions as I see fit to pursue my own goals.

Can collaboration be truly resolved? This very much depends on the nature of the project and the chemistry between those involved. It goes without saying, the fewer the compromises, the fresher the ground covered for all involved, the stronger the resulting material.

With regard to your up coming tour, you seem excited about working with a new group of individuals, as a curator of people and their skills and talents, can you describe the process through which a group of people gel and a tour becomes the natural output or arena?

The notion of a tour has been floating in the ether for a couple

Imitating Life: Photography David Sylvian

Cork Tiles And Chandeliers: Photography David Sylvian

of years but, when considering recent releases, I couldn’t, in my own mind and within seemingly tight restrictions, make the transition from studio to stage.

It’s the smallest of gestures or coincidences that can take something that seems completely unlikely into the realm of possibility. This is generally the coming together of one or two elements that act as catalysts for what will be. Working with Jan Bang might be considered one such catalyst. There’s an ease and a trust that’s growing between us that it’d be interesting to explore further in a live context which is where Jan appears to be very much at home. I’ve had notions in the back of my mind regarding the material, how it might be tackled. There are numerous possible permutations so it boils down to what appeals to me at any given point in time and what is a real possibility. Ditto the visual element of the performance.

It gets increasingly harder to put together the show one would like to take on the road so one tends to wait until the cards line up in one’s favour. I think that’s currently what’s happening here.

How do you relate to people’s expectation of a new David Sylvian tour, with admirers that may have very particular focuses, how do you approach the

shows and to what extent do you confound expectation to move forwards?

I try to cover material that sits together well as a body of work, in ways that are both complimentary and in contrast to one another.

Material that I can personally connect with (this changes year in year out) and that brings out the best in the musicians accompanying me. In other words, how can we give the audience the best of what we have to give within specific parameters? That’s my only concern. People come to the shows with their own expectations, which is understandable. But I’m someone that’s covered a fair bit of musical terrain in my lifetime and the object isn’t to give a comprehensive or even an eclectic overview but present a cohesive evening of audio/visual entertainment/stimulation.

How organic has the process been in relation to your latest musical venture “Died in the Wool”, how structured is the integration of visuals sounds, packaging and performance?

Or are the outputs incidental to the journey?

With this kind of project I guess you might describe my role as directorial or something akin to an executive producer. Being the only one involved that’s familiar with the different components of the work that make up the whole I tend to guide, cajole, suggest,

insist, and, at the end of the day, engineer the final mixing and sequencing of the work.

It’s therefore fair to say that I have an approximate vision of the work in its conceptual stage that evolves with each step taken by those involved. The concept is loose-limbed, adaptable to a variety of possible outcomes.

Can we interpret the construction of the overarching concept as a kind of ‘bricolage’?

Not quite, I don’t feel that term accurately applies here.

There’s a greater sense of purpose, tailored materials, of overarching concept present at the outset of the journey.

My response to your music has always been one involving your creation of spaces, which I can inhabit; often the nontangible room within the sound is as alluring as the tangible content. To what extent can we interpret the music as installation?

Good question. I think the notion of physical space becomes more pertinent in recorded works as time goes on due to the virtual space in which so much material is created today. There’s a yearning to inhabit other spaces, other lives to some degree. It’s not unreasonable to expect to be transported by a composition

Photography Freddy Larsen

or body of work, to inhabit psychologically, emotionally, psychically, some world other than one’s own, bringing one’s own baggage along for the ride.

We’ve seen this notion of real physical space incorporated into various genres and sub-genres of music, particularly those that were previously computer bound. e.g. the hybrid mix of the electroacoustic and the field recording. There are audio artists that use feedback systems that make use of the rooms into which they’re broadcasting sound.

Stockhausen was working in this manner at least as early as the early to mid 60’s. I’m thinking of a piece like ‘mikrophonie’.

Some of my recent work fulfils this need to a certain extent.

Particularly recordings such as Blemish and Manafon where the voice becomes something like a physical presence in the room into which it’s broadcast accompanied by the sounds of the environment in which the ensemble was recorded. As you suggest, an audio installation of sorts, ideas explored further with the commissioned pieces ‘when we return you won’t

recognise us’ and ‘when loud weather buffeted Naoshima’.

Again your calendar project ‘Implausible Beauty’ appears to investigate interiors and spaces. What is your hope in sharing your spaces, whether musical, visual or artistically with others?

It’s all about communication isn’t it? It’s an attempt to communicate something frequently intangible.

This is the aim of poetry in whatever form it takes, to speak of that which lies just the other side of intellectual comprehension, a distillation of experience that speaks to the heart, a composition which we’re able to inhabit discerning or decoding its essence.

It’s not so much about naming the unnameable as alluding to it with a specificity so that we’re able to reach that place in ourselves common to all.

Why was a calendar the chosen output this time?

Did you feel it was a neglected visual vehicle?

I have a fondness for calendars but a decent one is so hard to find even

though there’s some wonderfully inventive stuff out there as far as design goes. They have the potential to be objects of beauty as well as conveyers of information functional and otherwise. Creating our own was a design opportunity for Chris Bigg and myself.

There are often patterns of repetition and re-visiting within your output. You are no stranger to the notion of re-mix and reinterpretation.

Is anything ever completely finished or is everything potentially ripe for re-birth?

I tend to want to walk away from a work once I consider it finished.

I’ve taken the material as far as I can at that moment in time, I’ve sequenced the album, pulled together the cover art and when it’s delivered into my hands it’s history to me. I don’t revisit it unless I have to as in the case of preparing for a live show etc. Before leaving Virgin Records I was obligated to compile a retrospective of my work. I had mixed feelings about getting involved in that process.

On the upside I was able to finish previously unfinished work

Punkt Installation Photography Marit Kvaale

which I’d shortly no longer have access to as the label owned the material. The negative was getting bogged down in the past which is generally unhealthy and disrupts a natural forward momentum.

On the other hand, reviewing the material as I did compelled me to want to make a break with the past in the work to come so I feel some sense of gratitude that this set of circumstances came about. That break of course came in the form of Blemish.

physically and psychologically and I was ready to be still… quiet for a time. It was Dai Fujikura’s interest in orchestrating the ‘songs’ that got the project off of the ground.

I initially thought my involvement would be minimal but as the project evolved so participation in the work became more and more invested. Some things in life you don’t plan for, they just happen but a lot of good came out of working on the project with plenty of new material to justify its existence.

Once I’d completed that album the notion of handing the material over to possible future collaborators occurred to me.

I believed the material to be infinitely malleable and was therefore curious what others might make of the work. I felt the reinterpretations were generally of interest and sat well together as a body of work but I didn’t intend this to become my modus operandi for future projects. We didn’t remix the Nine Horses cd although Burnt did a couple of remixes for his own satisfaction.

I had no intention of reworking Manafon. It’d taken its toll on me

Blemish was finished when I walked away from it. Ditto Manafon. These reinterpretations, to my mind, take nothing away from the original, definitive versions.

Can you describe the recent event ‘Uncommon Deities’ at the Sørlandet art museum, Norway, where as artist in residence you curated and facilitated a space where new artists presented their interpretations of your performed works?

The curatorship was twofold.

Firstly, there was an installation

in the Sørlandet art museum, Kristiansand. This consisted of modified audio used previously as the body of the installation ‘when we return you won’t recognise us’ Gran Canaria 2009. The audio was played back in 5.1 surround and was accompanied by new work by the visual artist Atsushi Fukui which in part was inspired by a poem I’d written about his work entitled ‘Uncommon Deities’. A convoluted feedback loop of sorts. Two native poets, Paal-Helge Haugen and Nils Christian Moe-Repstad, also contributed poetry based upon the title and overarching concept behind the exhibition and read their works live at the opening event accompanied by the newly prepared audio but also by the live participation of John Tilbury, Evan Parker, Arve Henriksen, and Sidsel Endresen. The audio was designed in such a manner as to allow for such an interaction to take place. There was a second day of performances also.

In the local theatre I curated an evening of live performances and remixes including John and Evan as part of a quartet,

One Of Two: Photography David Sylvian

Toshi Nakamura and Tetuzi Akiyama with the ensemble Koboku Senju and newly commissioned work by Dai Fujikura etc. The evening ended with the first live performance of ‘Plight and Premonition’, two pieces I’d recorded with Holger Czukay back in the late 1980’s.

Participating musicians included the founders of the Punkt festival and recent collaborators, Jan Bang and Erik Honoré, Eivind Aarset, Arve Henriksen, Philip Jeck and John Tilbury.

Your work across all medias is very layered and sensual; you often seem to make use of the contrasts between technology and artisanal processes, exploring the dichotomy between electronic and more traditional instrumentation and sound making. How important is the blend of these worlds?

The recipe varies from one work to another. A balance is struck in correlation to what is it one’s attempting to address.

This is usually a ‘decision’ that’s arrived at intuitively whilst the work is in a period of gestation.

During that time, more often than not, it becomes clear what will or will not be called upon to help bring the material to life.

There’s an intelligence at work that appears to understand the body of work’s diverse range and/or its limitations, which will help to define it, which will form its vocabulary if you will, each element, each syllable, inseparable from the next. As a composer you learn to listen to this voice, abide by it.

How does your music and image creation speak to you in terms of gender?

Do your outputs have different voices or genders?

Can music transcend traditional distinctions?

I’ve been considering this question of late as I’ve recently spent time with friends that move between the boundaries of gender with tremendous fluidity.

Their masculine and feminine selves seemingly cohabit without conflict. If I’m conflicted that discord tends to sit primarily on the masculine side of my nature rather than the feminine, which is a part of myself I’ve more or less always felt comfortable inhabiting. In the world I was brought up in masculinity represented itself as something harsh, violent, aggressive, fearful, an un-nuanced, wilfully unconscious state of being. In the same context the feminine was the inverse of this so I gravitated towards those qualities that tend to be ascribed to it remaining fully aware of my male identity and its attributes. Irrespective of these considerations there’s no denying the source of the material is a white male, it couldn’t be otherwise. Occasionally I’ll consciously switch gender in song, sometimes playfully, other times less so. Ultimately it’s possible to transcend such distinctions though especially if the issue of gender doesn’t sit at the base of one’s own identity. We are after all, so much more than gender, race etc. We can deal with these issues directly if we feel they need to be dealt with or we can dig deeper and speak from a place where, with caveats firmly in place, we rise above such limitations of self or absorb them into our overriding sense of ourselves. If one was to hold a belief in the possibility of reincarnation how could one look at a man or a woman, or one ethnicity over another, and make any kind of judgement?

We are the ‘other’. That’s one reason why I find the concept of reincarnation a healthy one to entertain whether firmly believed in or not. I guess it comes down to the notion that I am not one but many and we are not many but one. I’m only too aware of how flippant and trite that can sound when our experiences are so immensely diverse and there’s so much injustice and inequality in the world but I believe it to be the case nonetheless. It’s a subject for a longer conversation perhaps than we have time for here.

You can engage with ‘being’ on so many levels from the self that’s identified with gender, race, occupation and so on, through to the purely sensory, emotional, intellectual etc., as far as one feels one has a right to travel without disrespect or disregard for the individual experiences of another. On the contrary, for the further one travels the slighter the boundaries between you and I, us and them become, and the greater this awareness the heavier the sense of personal responsibility as part of the larger social enterprise but, simultaneously and seemingly contradictorily, the more unattached one also becomes. In the current climate we may feel corrupted, broken and burned. As I’ve said before, we may need to embrace the spirit of revolution all over again. It would be truly something if we could rebuild upon the more stable foundations of our shared humanity. www.davidsylvian.com www.samadhisound.com

DARK DARK DARK Tex t: K A R E N B A NW E L L If I told you that Noma Marie Invie, the front woman of Dark Dark Dark, appears naked on the cover of their second album, Wild Go, you might get the wrong idea about the featured band for this issue...

Listen to the album inside the cover and you will be rewarded with something rather more cerebral although no less beautiful.

The central impression of this haunting set of songs is Invie’s soaring ‘Florence meets Bjork’ voice, accompanied by eclectic, old-fashioned instrumentation. The personal

songs she sings are about familiarity and strangeness, love and loss. There is a sweeping, epic quality to the songs, and indeed some of them have been picked up to soundtrack both film and TV.

the song writing team of Invie and Marshall LaCount. Their two albums to date have attracted positive reviews from all the more reputable music review sites and printed press, including:

Dark Dark Dark are currently a group of six musicians, based in Minneapolis and headed by

“Dark Dark Dark are a band of stunning emotional insight” (Drowned In Sound)

This Minneapolis mob mix Americana with European influences, like Mazzy Star if they were formed in 19th-century Prague. (The Guardian) … perhaps Dark Dark Dark’s true accomplishment here is how they mix sounds and influences so effortlessly. They comprise a tight, intuitive unit, especially when the instruments swirl together into an otherworldly eddy of sound. (Pitchfork) The band themselves describe their music as ‘chamber-folk’ and say they “revel in the wonder that is around us always”. Their disparate influences include minimalism, New Orleans jazz, Americana, Eastern European folk and pop; and this diversity is their greatest strength. They use contrast - in texture, tone,

and imagery - to build their songs. For example, on the single Daydreaming, Invie’s voice and piano are supported by spare and clean drums, a guitar with lush reverb, and cascades of dirty and distorted banjo, while an accordion wanders its way through harmonies.

Daydreaming is a response to Elephant Micah’s homesick dirge, Wild Goose Chase, which in turn was a response to Hazel Dickens’ bluegrass classic, Ramblin’ Woman. “’Wild Goose Chase’ really touched me,” Invie says.

“I wanted to reciprocate in a way that captured a moment in my own life. I’ve been travelling and touring for so long now – and it’s been great – but I have this internal conflict between having a nomadic lifestyle and needing a home.” The song is thematically

linked to the album’s opener, In Your Dreams. “Both are about finding a place where you can be free,” reveals Invie. “That’s what I’m always looking for.” Invie considers Wild Go the band’s most emotionally open statement to date and points to the wistful, piano-driven lullaby Robert as her most honest and personal moment. “It’s about a loved one growing older, and closer to death,” she reveals.

Dark Dark Dark don’t settle for the ordinary, and they ask that we come along for the ride.

Wild Go is out now and tour dates are expected in 2012.

Visit Dark Dark Dark’s website.

Click here Watch the video for Daydreaming.

Click here

TILMAN FAELKER ILLUSTRATED REALITY T ext: C H A R M A I N E AYD E N Dabbling with a satirical fusion of restrained emotion and wit, Tilman Faelker explores an atypical illustrated world shaped by geometry, collage and pixilation. deluxxdigital.com meets the man behind the retro glasses‌

What initially attracted you to the world of design?

I have always been interested in the visual construction of (my) environment, always looking for patterns and concepts that lie behind the visuals. That led me to studying the theoretical side of media - history of arts and musicology, which frustrated me after a while because I became tired of just studying the work of artists instead of doing it myself.

So I enrolled in art school, where I studied film and interactive media - it wasn’t until I finished art school that I started my career with doing illustrations.

Your mixed media illustrations appear to encompass digitally enhanced photo collage as well as ‘traditional’ illustration; can you share a bit about your

creative process?

I love collage because I tend to get stuck with drawings - although they look very very sketchy and rough I do an insane amount of identical drawings until I’m (more or less) satisfied. When working with photos I can focus much more on the concept and the layout - which is what really interests me in illustration. I like having a certain (inner) distance to the material I’m working with a distance that I can’t keep when working with my own drawings.

Then again my drawings are the only or strongest element that might make my work differ from others because of their style, so it’s an ongoing creative fight.

Your work embraces mirroring, repetition and pixilated areas, are you intrigued by mathematics and geometry?

It’s more about digital aesthetics

- the computer plays a big part in my workflow so I’m not trying to hide it or spend my time trying to use the computer to simulate “hand work”, which means that I try to use it as a tool with its own aesthetics.

Are you currently reading or watching anything that’s inspiring you?

I’m reading “Standing on Zanzibar” by John Brunner again - I like its formal structure - very collage like. “Infinite Jest” by Davis Foster Wallace is also great (yes I know I’m a few years late on this)…

You’ve previously studied communication design with an emphasis on film and new media – who are your cinematic icons and do they inspire your work?

I’d really like to be more clever and less cliché here but I love

Kubrick, Lynch and Alain Resnais and some Fassbinder stuff (“Welt am Draht” especially).

The only reason I do illustrations is because I love film but I hate the way it is produced too many people involved.

With illustrations I can do what I like most in films - composing pictures that tell a story or transport an emotion - I used to do a lot of screenshots of the films I was watching and archive them - I still take a lot of inspiration from these screenshots.

It’s great how Kubrick for example puts so much visual information in a frame. I admire this kind of “visual intelligence” which does so much more for the story than lengthy dialogues.

I’ve found some of your pieces extremely powerful, especially works such as ‘Brain Bunny’; do you ever try to communicate social opinions through your illustration?

Brain Bunny was one of the first illustrations I ever did - I did it because I liked the visual repetition, but I didn’t really think about its possible meaning

- until I looked at it days later. It’s great if something like this happens - when you realise how your opinions and views sneak into your works.

The illustrations ‘Naughty TV’ and ‘Does it hurt’ made me laugh a lot; can you tell us about the narrative behind these?

“Naughty TV” was just a little fun, “Does it hurt” is kind of a reflection on working with digital tools - for me it has a funny side and a very bitter one.

You’ve previously stated that digital tools enhance the ‘noise’ and ‘grit’ of your illustrations, how so?

Like I stated above, it’s all about showing the “unpleasant” aspects of your tools, not to hide anything.

Polished work that is done in a very virtuous way tends to have something finite, you sometimes get “visually fed up”. The computer is capable of producing such polished aesthetics out of the box, it’s built for this - so I prefer to not use it in this way, the same way I don’t do realistic paintings.

Describe your working environment for us? (do you work individually or

as part of a collective) I work alone, I do so much personal work which does not deal with a reflection of a group of people or scene (i.e. a design scene) that I don’t feel it would fit.

On the other hand that can be very lonesome (David Foldvari said in an interview that you have to come along with yourself when you are an illustrator which is very true).

I spent some time once in a small village in France to do a series of work, which was great because your subjects get a lot more human than just reflections of the latest design cliché. I think the whole concept of being a designer, living in an urban environment, doing all the stuff from which the internet makes you think a designer should do is very bland.

And I’m writing all this on my MacBook Pro, wearing retro glasses - so sad.

What’s the next project that you’re working on?

I have a collaboration coming up with a great photographer, which I am very excited about because I normally hate the whole illustration/photography thing. www.tilmanfaelker.com

BROOKE ROBERTS A&E AND A HEAD FULL OF FASHION T ext: C H A R M A I N E AYD E N Shattering illusions of white lab coats and Bunsen burners, Brooke Roberts articulately bridges the gap between science and design, citing Pierre Cardin, Marie Curie and Forbidden Planet as inspiration.

An anarchic blend of technical precision and the human anatomy, Brooke Roberts shares her Einsteinian pursuit for the fashion industry.

Photography: Philip Meech

Prior to studying fashion you worked as a radiographer, how did this change of career path occur?

It happened slowly, over quite a long period of time. I studied for my science degree in Sydney, and while I was there I was invited to a graduate fashion show at the Sydney Institute of Technology.

I remember thinking ‘oh my god this is amazing, I wish I was doing something like this’ (laughs).

I got to know a few design graduates and started to think ‘this looks really exciting’, but I’d committed to my radiography degree, so I carried that out for a year and a half. I then became slightly bored and started to feel restricted by my job, so I moved to London and arrived at the idea of fashion. I studied a few short courses at Central Saint Martins and then I applied to start my Undergraduate course at London College of Fashion.

Was the transition from Radiography to Fashion difficult?

No, not at all, it actually came quite naturally to me. I’m quite technologically minded and I really like maths, calculations and interpretations of dimensions, so once I started pattern cutting I knew that it was pretty much what I wanted to do. It wasn’t a difficult transition (laughs).

You recently tweeted - ‘on my way to do nightshift in A&E with a head full of fashion.

Will it get me through?

See y’all on the other side’.

How do you balance your contrasting lifestyles?

The contrasting day-to-day life is a really odd combination, but on an inspirational level, fashion and science work well together.

Medical images form the basis of my fabrics; so working in a hospital obviously really helps me.

I generally do a couple of days at the Hospital, as I’m a specialist in Angiography. I tweeted about A&E, because A&E is a whole other ‘thing’. It’s very chaotic, stressful and quite upsetting, so that’s a more difficult one to balance.

How closely linked are science and design, and have you found it a matrimonial pairing?

Definitely, they’re a very natural pairing for me, but that’s probably because I work in the region of technical knitwear. The transferable skills from my science background really help me to understand the machinery that I use, the programming techniques and the cutting methods. I’m such an organised person, quite rational and pragmatic, so all of those things help when I’m trying to pull together a knitwear collection in a factory in Italy, which is largely chaotic, expensive and complex

(laughs). Obviously the inspiration is fantastic, from any kind of medical or science background; it’s the fabric of life really.

You already use CT scans, body mapping and X-rays as inspiration for your surface design – where do you plan to progress to next?

I’m going to be working with a lot of technical yarns. The great thing about knitting is that you can make your own fabric. Yarn development is quite exciting, and over the last couple of seasons I’ve started to incorporate bio-ceramics, which are really interesting yarns. They are constructed from a manmade base, but have ceramics bonded onto them. They have certain properties that help you control your body temperature and heart rate, so really clever stuff.

You’ve previously worked with Louise Goldin and Giles, how have these people influenced your design aesthetic?

I worked at Giles as pattern cutter, so I did a lot of tailoring, which is something that I really love. I got the opportunity to do some drafting from measurements at Giles, so I made a lot of jackets and trousers, so that helped me to refine my skills. Louise Goldin was a totally different experience; again I was a pattern cutter but I was working with knitwear, which I’d never done before, so it had totally different set of rules around it. So I guess Giles and Louise had different influences and provided me with different inspirations. What I’ve learned has been a result of experimentation and application of my scientific knowledge, and then combining everything together, it’s a bit of a mash-up (laughs).

The models in your SS12 show ‘walked’ to robotic dance choreography, where did this idea come from?

The idea started from a Lego knitting machine that I saw on a YouTube clip, it was fascinating.

The knitting machine was constructed entirely of Lego and it

had a sophisticated vertical linear movement; it was both simple and also highly complex. I then took that idea to choreographer, Riccardo Buscarini, and he loved it. Riccardo is exceptionally visual and has a precise way of working, so he managed to choreograph the piece in about a week. He worked with the models over a three-week period and linked the dance to a music piece that I composed with Elspeth Brooke.

The music that we used was recorded in one of the hospitals where I work. We recorded sounds from the X-ray machines and then ‘mashed’ it with Delia Derbyshire and other electronic music. The way the music, choreography and the collection came together was perfect. It was absolutely beautiful.

What was the reaction of the people there?

A few people were quite bowled over by the bringing together of those elements, that was the real uniqueness of the show. One of my favourite comments came from Andrew Foxall (Foxall Studio); he works on a lot of publications, including Ponystep. He’s been to so many shows, but he said that it was just so moving to watch, conceptual but communicative.

Your SS12 featured a more muted/pastel colour palette than previous collections, why was this?

I wanted to try and soften everything this season and I seemed to respond to the limes and yellows. I just thought that the colours were really pretty, and pretty isn’t something that I usually do (laughs). It was just different, and I like doing things that I haven’t done before. I used a Mother of Pearl Lurex, which just picked up the different colours in the yarns and accentuated the pastels really nicely (smiles).

You’re wood and Perspex accessories have been created in collaboration with Eye of The World Designs, how do these compliment the SS12 collection?

With the SS12 collection I designed some new silhouettes, some floor length dresses and knee-length skirts that were a little more oversized, so the accessories helped to define a more apparent silhouette.

You’ve cited sci-fi’s Forbidden Planet and 2001 A Space Odyssey as inspiration, how have they influenced you visually?

I adore the colours in 2001 A Space Odyssey; the cleanliness and stillness of the film also inspired some of the scapes of fabric. Forbidden Planet was an interesting look at a new generation of technology, especially the special effects that were coming through in the 1950s; some of the costumes were great (laughs). But it was more 2001 A Space Odyssey that inspired me; I seriously love that film (laughs).

As you’re so motivated by sci-fi, science and technology, what do you think the fashion industry will be like in 2033?

Well that’s an interesting question, although I don’t think that it will be hugely different to the present time. The reason I say that is, if I think of anybody in history who was really pushing boundaries in fashion and technology, it was the likes of Pierre Cardin and Paco Rabanne, for all of those amazing and futuristic designs that they created. The designs that they produced belonged to that time; they didn’t really create a ‘new fashion’. I think technology will expand, but I don’t think that we will see more ‘sciencey’ design. I believe fashion will just have more intricate fabrications and in the machinery, production and industry will become more complex.

You’re part of The Hospital Club’s Creative’s in Residence, can you tell us a little more about this?

It’s a program that The Hospital Club runs every year, where they choose seven creative’s across different disciplines. As residents we use the club to network, have

business meetings and hold exhibitions, I actually had my spring/summer 12 presentation there. It’s a great hub to help us grow. The Hospital Club creates a ‘creative context’ and allows us to connect with people and expand our creativity.

You’ve recorded sound from the medical imaging equipment at The London Independent Hospital; have you found that fellow medical professionals are interested in contributing/getting involved with your work?

Some of them are interested in fashion, so they find it really exciting (laughs). I think for most of them, they would never have imagined that medical imaging could inspire design. When you work in a Hospital, you see it quite well defined, in the sense that it’s your world, and you don’t really see much outside of that. I think a lot of people are surprised by it, but find it kind of interesting.

I have a few private clients who are doctors and they love the medical scan knitwear (laughs).

What have been your highs and lows of working in the fashion industry?

There’s been several. I think when you start a label you don’t realise the level of stress financially, also it’s trying to get a team together that’s right. I’ve had massive highs from working with great people and I think that’s one of the biggest benefits of being in London

and getting to work with excellent graduates. Lows have definitely involved sitting in showrooms hoping that appointments will transpire, that can be quite tough when you’re emerging, but it’s a part of growing and understanding how difficult it is for editors and buyers too. It can be a bit of a rollercoaster, but what’s been so encouraging with my product is that it’s so unique. When people see a dress, they remember it and overwhelmingly love it for its uniqueness and the story behind it.

Can you tell us who your science and fashion heroes are?

Oh wow, there’s quite a few (laughs). Design heroes are Pierre Cardin, Paco Rabanne and Thierry Mugler. I also love Balenciaga, Nicolas Ghesquière is hands down amazing; I would love to create knitwear for Balenciaga.

On the science side I’d say Albert Einstein and Marie Curie.

The thing about Albert Einstein is that he’s not just inspiring because of the science aspect, but because of his philosophical manner and approach towards creativity. To achieve great moments in history you need to have immense drive and passion, and that’s inspiring for anyone, no matter what your job is.

Did you always realise that you wanted your own label rather than working for someone else?

No, not at all, I just wanted to be a pattern cutter; I didn’t want to be a designer at all. I wanted to cut a perfect jacket, flawless sleeve and the most beautiful shoulder line. After I did two years at London College of Fashion, I was asked to stay and complete the BA Womenswear course, but I wasn’t interested, I just wanted to do more cutting.

So I went off to Central Saint Martins and started the Postgraduate Pattern Cutting Diploma. I absolutely didn’t want to have my own label at all; it hadn’t even entered my mind until I completed that long stint with Louise (Goldin). I just wanted to explore on my own terms and then it grew into this (laughs).

What’s next for Brooke Roberts?

I’m working with my knitters to develop ideas for next season, I’m also consulting on a menswear label which is showing in Paris, then I’m back to Italy to develop the rest of my collection. It’s non-stop, but I’m really trying to refine the collection and attempt to integrate some new yarns.

I’m also working with a friend of mine who’s a pattern cutter at Mary Katrantzou, he’s going to be lending me his expertise this weekend, so we’ll be ‘pushing’ some ideas together. I’ve got a great team, with an eclectic mix of skills; the Brooke Roberts label is very rich in that way. www.brookeroberts.net

JANE BOWLER THE FASHION MAGPIE T ext: C H A R M A I N E AYD E N Jane Bowler is a rare commodity, preferring to scour the debris of Hackney scrap to the fabric laden Berwick Street, she observes the unexpected beauty of ‘junk’.

Challenging fashion industry ideals and sampling a wartime mentality of ‘make do and mend’, she reveals why plastic, is just so fantastic!

If I weren’t talking to you now, what would you be doing?

I’d most likely be at home working, probably completing a commission that I’ve just been asked to finish by November 4th.

I don’t really have much free time at the minute, but lots of exciting things are happening, which is positive. I had my first meeting for the next collection last night; my group of knitters, my print designer and also a headwear artist joined me. It’s a very busy time, but lots of exciting collaborations are taking place.

Your collections are celebrated for turning inexpensive and mundane materials into works of art, have you always had an ability to spot things that others can’t see?

Yes I think so. When I was studying I used to gather inexpensive objects like plastic

All catwalk photography: Simon Armstrong

Before studying at the Royal College of Art, what were your early influences?

I’ve always been really creative and interested in collecting lots of random bits and bobs, but if I’m honest, I haven’t always been particularly interested in fashion.

In fact, I’ve only just decided over the last few years that it’s absolutely what I want to do. I’ve always had a fixation for car boot sales, and even now I still love making things from ‘rubbish’.

When I studied my degree at Loughborough, I was keen on collecting random bits of plastic, which I could then manipulate into beautiful objects. I loved scouring around hardware stores, gathering lots of items, which I would later ‘bosh’ together, so I guess that’s where it all started. Even when I was studying for my degree I still didn’t think of my work as ‘fashion’, it wasn’t until someone approached me and asked to use my degree work in a fashion shoot that I started to reconsider its appeal. It was from that point that I thought; ‘hmm’ maybe this could be used on the body?

laundry baskets and shower curtains, I’d then chop them up and put them back together. I still love the reaction of people when they find out what my garments are made out of; they can’t usually believe it. My first collection at the Royal College of Art, was made predominantly out of shower curtains, despite this, the finished collection had an air of luxury about it (laughs). I just love the surprise in people’s faces.

You’ve previously mentioned that you scour car boot sales and charity shops to gain inspiration, what’s the most unique/ inspiring thing that you’ve found?

Oh goodness that’s a difficult question; there have been so many different things. I’ve got a lot of wonderful pieces from scrap yards. It’s not unusual to see me wandering around Hackney Scrap Yard, collecting loads of bizarre bits and bobs that people don’t want anymore, then molding them into something beautiful. A couple of the pieces from the Royal College of Art collection were made out of outdoor furniture fabric, which is a woven fabric covered in plastic. I just happened to stumble across this big roll of the stuff in the corner of the yard. It was completely dirty and grubby, so I washed it down and then dyed it; once finished I formed it into one of the showpieces of my collection. I think lots of people find it quite odd when they find out that I’m making fashion of ‘rubbish’, but I adore it.

You cite Greek Mythology, in particular the story of Icarus as inspiration for your SS12 collection, how so?

I always use the materials as my starting point and I’d collected a mixture of different odds and ends that I wanted make use of for spring/summer 12. I’d been trying to develop a signature style, so I hoped that SS12 would have a similar feel to the last collection.

A friend of mine had mentioned how amazing it would be to try and make feathers in the same

way that I make my tassels, so I thought ‘I’ll give that a try’. I made this one feather and then thought, ‘if I make masses of these feathers then I need to have some kind of theme going on.’ A friend had mentioned the Greek myth of Icarus, which just worked so well. The story of Icarus flying up to the sun and then melting was the perfect fit for my plastics.

‘Studio Swine’ designed sunglasses for the collection, how was this initiated?

Alex from Studio Swine had approached me while I was at the Royal College of Art, but we didn’t really get a chance to work together while I was there, there wasn’t really an opportunity to do it properly. More recently I saw their final degree show at the RCA, and their ‘hair glasses’ wowed me.

I just thought ‘Oh my goodness, these could be so amazing with my plastics in them’. I emailed Alex and asked if Studio Swine would be interested in collaborating, and as it happened they were looking to get their pieces on the catwalk. It just worked out so perfectly and they’re such a nice team to work with. The sunglasses looked incredible in the spring/ summer 12 show, the designs are really clean and crisp, and they just set the ‘look’ off so well.

Do you have a favourite SS12 look, why?

I think my favourite look was the plastic knitted swimsuit, which a friend of mine, Victoria Bulmer, collaborated with me on. I just love knitting with plastics, rather than with normal yarns. I teamed the knitted swimsuit with a vibrant orange plastic draped jacket and cool shades. I just thought, ‘this is a really quirky summer look’.

Each of your collections have a beautifully theatrical element, can you ever see yourself adapting them to become more wearable?

Yes, I definitely want to make more wearable collections. I think that spring/summer 12 has touched on that a little already,

especially with the knitwear and the easy-to-wear jackets. This season made sure that I had lots of accessories that anyone could buy and just throw on with a little black dress. I really want to push wearability in my next collection, despite the theatrical atmosphere.

I’ve already had interest from possible stockists, which hopefully proves that I am bending in a more wearable direction.

Your garments incorporate such attention to detail, on average how long does each piece take to make?

It can vary from one extreme to the other. The feather coat, which was by far my biggest showpiece, must have taken about three weeks. It had so many feathers on it and each one is handstitched, it’s just unbelievable the amount of work that goes into something like that. Some of the less complicated pieces don’t take as long, like the necklaces and other accessories. Everything is handmade, so generally the whole process is quite time consuming (laughs), but that just makes the garments all the more special.

Do you have any dream design collaborations?

I find collaborations a really important part of my design work.

I have a really great team working with me that includes, Royal College of Art knitters, a talented print designer and my mum, the secret the knitter (laughs). I believe that it really enriches my collections to have such a breadth of textile knowledge. I wouldn’t say that I have a dream design collaborator, but I would love work with a quirky high street store.

I want to design a wearable and affordable range, so that everyone can have a snazzy plastic raincoat.

I’m also working on a project with architects ‘Y/N studio’, as well as a couple of secret collaborations.

Oh it’s very exciting (giggles).

You use plastic predominantly, are you planning to integrate other materials into your

work in the future?

I just adore plastic (laughs) and I feel like it’s become a signature Bowler thing. I’ll definitely be using more of it in my next collection, but hopefully in new and exciting ways. I enjoy the contrast of natural yarns against the industrial feel of the plastics.

I have a few new materials up my sleeve, but you’ll just have to wait and keep your eyes peeled!

What are your signatures?

Colour is massively important to me, but I’d probably say that the fringing is my signature, and of course the ‘plastic fantasticness’ of it all. I come from a textile background, rather than a fashion background, so it’s all about the fabric, the texture and the colour, apposed to the silhouette of the garment.

Teenagers in Tokyo vocalist Samantha Lim regularly wears your clothing; how does your clothing compliment a musical environment?

I think my pieces suit a musical environment because they move

so well and are such interactive garments. They simply come to life when worn; so having a piece of clothing in a music video would just be amazing. Lady Gaga has borrowed garments twice, but is yet to wear a piece, so I’m hoping that it will be third time lucky.

She’s borrowed a few things, some of the tasseled pieces, but we just need to wait for the right time and right music video (laughs).

You’ve mentioned that you take inspiration from Japanese designer Issey Miyake, particularly how he engineers his textiles – do you have any other design heroes?

Definitely Hussein Chalayan, he just pushes beyond what people expect and refuses to be constrained by the preconceptions of. I’m still in awe of those amazing mechanical dresses (laughs). I’ve recently discovered the amazing work of Iris Van Herpen; I love what she does too!

Did you always want your own brand, rather than working for an established design house?

In the past I’ve worked for a little

fashion studio making designs for high street stores, such as Topshop. It was while working for the studio that I realised that my name had become lost, which was sad because I’d studied at the Royal College of Art to make a name for myself; I decided then, that I wanted to set up my own label. I think I’m half way there (laughs).

What’s on the horizon for Jane Bowler?

I’ve just started to work on my autumn/winter show and I will continue to be represented by Blow PR, who are just brilliant.

The spring/summer 12 collection is about to go into the showroom and has just been selected by Nick Knight for the second time, which is promising. It’s so nice to know that someone as influential Nick Knight still wants to be involved and use my work. I’m eager to push boundaries, and I’ve had quite a few people hoping to collaborate with me on the new collection. I really hope to make autumn/winter 12 more refined, that’s really important for me.

Phew, there’s a lot going on. www.janebowler.co.uk

MNEMOSYNE TOMIHIRO KONO T ext: S T E P H E N J L E E Taking inspiration from Greek mythology combined with the beauty of Dante Gabriel Rossetti’s Pre-Raphaelite painting Mnemosyne comes Tomihiro Kono’s latest collection of head props.

A stunning hand made collection combining romantic flowers which captures the eternal sense of beauty which Tomihiro Kono is renound for.

Together with a beautiful and stunning film directed by Sayaka Maruyama this collection of equisite imagery encaptures the romanticism and escapism of Tomihiro’s new collection perfectly.

You can see Tomihiro Kono’s latest exhbition of head props at Sister Tokyo between 5th - 11th December 2011 click here To see the film Mnemosyne click here

photography: SAYAKA MARUYAMA hair & head props: TOMIHIRO KONO make-up: CAROL BROWN @ DW MANAGEMENT models: ANDREA & MASHA @ PREMIER NICI & ROSE @ STORM

FANTASIA PHOTOGRAPHY: MASAYUKI ICHINOSE STYLING: SHOHEI

ALI @ SELECT Jacket: DKNY Necklace: STYLIST OWN

PAGEKIKA @ SELECT Dress: AGGUGINI

CHARLIE NEWMAN @ MODELS 1 Coat: ACNE Inner: BEYOND RETRO

ANNA MICHAUX @ SELECT Polo-Neck: JEAGER LONDON Lingerie: BEYOND RETRO Pants: ACNE

LEAH WARD @ D1 MODELS Shirt: BUFFALO DAVID BITTON Pants: ROKIT Necklace: ROKIT

ELEANOR HAYES @ SELECT Dress: ROKIT Belt: MELISSA DIAMANTIDI

GENEVIEVE WELSH @ D1 MODELS Coat: AGGUGINI Polo-Neck: ROKIT

MALAIKA @ PREMIER Polo-Neck: EDEN Shirt: VINTAGE YVES SAINT LAURENT Pants: ACNE

JESS HOUGHTON @ NEXT Dress: FULL CIRCLE Jacket: DKNY Necklace: ROKIT Bracelet: ROKIT

HOLLY F @ MODELS 1 Jacket: ROKIT Polo-Neck: +J

photography: MASAYUKI ICHINOSE stylist: SHOHEI hair: ROKU ROPPONGI using BUMBLE AND BUMBLE make-up: VALENTINA CRETI (for models Ali, Kika, Charlie Newman, Eleanor, Holly) hair: TAKESHI KATOH using BUMBLE AND BUMBLE make-up: YAE SENO using MAC COSMETICS (for models Anna, Leah, Jess, Genevieve, Malaika, Charli May) stylist assistant: Tomohiro Hanada

CHARLI MAY @ SELECT Jacket: HELMUT LANG Bra: BEYOND RETRO Lingerie: BEYOND RETRO Necklace: STYLIST OWN

UNDER SURVEILLANCE PHOTOGRAPHY: MARINA MOSHKOVICH DESIGNER: DAN ROBENKO

photography: MARINA MOSHKOVICH all clothes handmade and designed by: DAN ROBENKO Bachelor of Fashion Design graduate from, “Shenkar” College of Engineering and Design in Israel make-up: MARINA ROITMAN models: OFIR SUDAI A FREELANCE MODEL & GAL BEN @ ELITE MODELS photo assistant: VICTORIA SHEVTSOV

FRUITS PHOTOGRAPHY: JANNEKE VAN DER HAGEN STYLING: LARA VERHEIJDEN

this page Long vintage scarf: KABINET opposite page Flag-Pants: MAGNUS DEKKER

this page Stockings: MAGNUS DEKKER Purse: NEW LOOK (Press Only) opposite page Vintage skirt and top: KABINET

this page Dress: STYLISTS OWN opposite page Short: BIJ ONS VINTAGE

photography: JANNEKE VAN DER HAGEN @ ERIC ELENBAAS AGENCY stylist: LARA VERHEIJDEN hair & make-up: MAAIKE BEIJER @ ANGELIQUE HOORN AGENCY model: MARLIJN @ ULLA MODELS this page Jumper: BAS KOSTERS opposite page Bodysuit: STYLISTS OWN Vintage turban: KABINET Earrings: NEW LOOK (press only)

IT MUST BE THE LIGHT PHOTOGRAPHY: STEVEN JAMES EMBERTON STYLING: RILEY LAWSON

Fur coat: VINTAGE Ruffle front dress: KERSH Black leggings: H&M Hand made feather head dress

this page Fur neck pieces: VINTAGE Black silk slip: VINTAGE Fur hat & fur pieces: VINTAGE opposite page Fur coat: VINTAGE Black shift dress: VERA MODA 1920’s hat: VINTAGE

this page Lace dress: PEARL LOWE Vintage trench coat: IRVING SAMUEL opposite page Fur hat: VINTAGE Tweed poncho: BB DAKOTA Sheer black blouse: LIPSY Black leggings: H&M

this page Vintage Fur piece skirt made by: STYLIST Black Sheer blouse: LIPSY Black leggings: H&M opposite page Sequin front sweater: ERYN BRINIE Fur coat: VINTAGE Velvet bonnet: VINTAGE

this page Grey Knit sweater: BB Dakota Sangria colored knit sweater: ERYN BRINIE Knit poncho: JOE GREY Leather cap: VINTAGE opposite page Vintage jacket: CLAUDE MONTANA Black jumper: H&M Booties: MIRELL

photography: STEVEN JAMES EMERTON stylist: RILEY LAWSON hair: CHRIS PRITCHARD model: MANDYY @ EDGE Victorian style blouse: FINDERS KEEPERS Leather pants: BB DAKOTA

BOYS WILL BE BOYS PHOTOGRAPHY: DANNY BALDWIN STYLING: ALEXANDRA SAUSHKINA

Hand cuffs: MARIA FRANCESCA PEPE Head veil: CUSTOMIZED BY STYLIST

this page Leather jacket: BREAKS Sweater: BEYOND RETRO Necklace: MARIA FRANCESCA PEPE opposite page Leather jacket & leggings: BREAKS Shirt: ROKIT

Necklace: MARIA FRANCESCA PEPE Trouser: THE ONLY SON

Leather jacket: ROKIT Vest: BEYOND RETRO Trousers: THE ONLY SON Necklace: MARIA FRANCESCA PEPE

photography: DANNY BALDWIN stylist: ALEXANDRA SAUSHKINA make-up & grooming: JENNIFER CADWALLADER model: THEIO & AXEL @ ELITE this page Sweater: BEYOND RETRO Leather jacket: HORACE Skirt: BREAKS Necklace: MARIA FRANCESCA PEPE opposite page Sweater: BEYOND RETRO Hand cuffs: MARIA FRANCESCA PEPE Skirt: BREAKS Shoes: UNDERGROUND Head veil: CUSTOMIZED BY STYLIST

HIDDEN PLACE PHOTOGRAPHY: REBECCA MILLER STYLING: ALEX REID

Lilac babydoll and socks: ATSUKO KUDO Black knickers: LASCIVIOUS Flower corsage’s worn in the hair: BASIA ZARZYCKA

Black Alejandra latex dress with matching head dress: ATSUKO KUDO Burgandy suede wedges: SOPHIE GITTINS

Black long dress: TOPSHOP Black knickers: LASCIVIOUS Silver wedges: TERRY DE HAVILLAND

photography: REBECCA MILLER www.rebeccamiller.co.uk stylist: ALEX REID hair & make-up: MARCO ANTONIO @ DWM using YLS Fall winter 2011 and Kerastase hair products model: KIERA GORMLEY @ STORM photo assistant: ANDRE LAING this page Black dress: JASPER CONRAN Scarf : BASIA ZARZYCKA opposite page Black Alejandra latex dress with matching head dress: ATSUKO KUDO Burgandy suede wedges: SOPHIE GITTINS

THE QUIET FETISHIST PHOTOGRAPHY: MASAMI NARUO STYLING: ATSUSHI NAGAO

Knit tops: DAMIR DOMA Head accessories: STEPHEN JONES Necklace: ATELIER SWAROVSKI

BY CHRISTOPHER KANE Pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU

this page Dress: CHIRISTIAN DADA Belt: CLASSrobertocavalli Pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU opposite page Lace tops: JASON WU Pants: CLASSrobertocavalli Necklace, ring & pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU

this page 80’s vintage jacket: NORMA KAMALI from LAILA VINTAGE COLLECTION Shirts: MOTONARIONO Skirt: CLASSrobertocavalli Pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU opposite page Dress: KTZ Bracelet & pierces: ATELIER SWAROVSKI BY MARY KATRANTZOU Shoes: SOMARTA×NORITAKA TATEHANA

this page Jacket & pants: CLASSrobertocavalli Corset: ARAISARA Necklace: ATELIER SWAROVSKI

BY RODRIGO OTAZU Pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU opposite page Lace tops: CHIRISTIAN DADA Head accessories: STEPHEN JONES Pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU

photography: MASAMI NARUO stylist: ATSUSHI NAGAO hair: EIJI SATO make-up: MAYUKO YAJIMA model: ANN-HELIIN @ AGENCE PRESSE photo assistant: KANESHITA @ IINO MEDIA PRO this page Lace tops and pants: CLASSrobertocavalli Necklace: GOTTI Fox fur bangle: TARO HORIUCHI Pierces: ATELIER SWAROVSKI

BY MARY KATRANTZOU

LOST IN THE CITY PHOTOGRAPHY: HIRO KIMURA STYLING: SHOHEI

Dress: JEAN-PIERRE BRAGANZA Shirt: J. MASKREY Necklace: ERICKSON BEAMON Shoes: CHRISTIAN LOUBOUTIN

this page Dress: K. BRAT Necklace: ERICKSON BEAMON Fur: JEAN-PIERRE BRAGANZA Gloves: ATSUKO KUDO Bangle: ERICKSON BEAMON opposite page Coat: JAEGER LONDON Turtleneck: NOUGAT LONDON Harness: MINT SIREN Sunglasses: BLACK EYEWEAR Belt: JIYEON KIM Black belt: STYLIST OWN Bangle: ERICKSON BEAMON

this page Coat: PAUL & JOE Dress: MARIA GRACHVOGEL Necklace: ERICKSON BEAMON Harness: MINT SIREN Shoes: KENZO opposite page Coat: PAUL & JOE Turtleneck: NOUGAT LONDON Pants: PAUL & JOE Harness: MINT SIREN Belt: JIYEON KIM

this page Leather Jacket: JEROME DREYFUSS Turtleneck: NOUGAT LONDON Pants: PAUL & JOE Harness: MINT SIREN Belt: JIYEON KIM Black belt: STYLIST OWN Bangle: ERICKSON BEAMMON opposite page Coat: JAEGER LONDON Inner: AMBER SAKAI Underwear: BORDELLE Harness: MINT SIREN Chocker: JIYEON KIM Bangle: ERICKSON BEAMON Shoes: CHRISTIAN LOUBOUTIN

photography: HIRO KIMURA stylist: SHOHEI make-up: MEGUMI MATSUNO hair: TAKESHI KATOH model: FARAH @ UNION MODELS LONDON photo assistant: KOKI TAKEZAWA, TAKERU stylist assistant: HANADA ‘BOB’ TOMOHIRO, SHINOBU ONO hair assistant: SAORI SUGIMOTO this page Coat: PAUL & JOE Belt: KENZO Skirt: ATSUKO KUDO Chocker: JIYEON KIM Stocking: STYLIST OWN

MERMAID PHOTOGRAPHY: HIROYUKI ISHIMIZU STYLING: ALEXANDRA SAUSHKINA

Dress: SASS & BIDE long chain headpiece: CULIETTA Bracelet: LARA BOHINC Ring: THOMAS SABO

this page Body: ELL & CEE Skirt: INBAR SPECTOR Twisted cuff & ring: MARIA FRANCESCA PEPE Necklace & earrings: EASTERN MYSTIC opposite page Trousers: JASPER GARVIDA Necklace: KRISTINA MCKORMICK Shoes: LARA BOHINC

this page Dress: SARAH BAADARANI Vest: JASPER GARVIDA Shoes: BOURNE Bracelet: THOMAS SABO opposite page Dress: THE ONLY SON Necklace, ring & bracelets: THOMAS SABO Suede collar necklace: ALICE MENTER Shoes: BOURNE

Dress: JASPER GARVIDA Goat skin scarf: RACHEL FREIRE Necklace: EASTERN MYSTIC

photography: HIROYUKI ISHIMIZU stylist: ALEXANDRA SAUSHKINA make-up: YAE SENO hair: KOTA SUIZU model: SADIE @ FM this page Vest & gillet: RACHEL FREIRE Necklace: THOMAS SABO opposite page Shorts: JASPER GARVIDA Faux fur cape: JAMES HOCK Chocker: ELSA SMITH Earring: LARA BOHINC

INVISIBLE SPACE PHOTOGRAPHY: SHUHEI SHINE STYLING: TATSUKI ITAKURA GEBANA

Metal corset: RACHEL FREIRE Skirt: JAMES HOCK Necklace & head piece: HOUSE OF FLORA

this page Jacket: RACHEL FREIRE Skirt: JAMES HOCK Head piece: HOUSE OF FLORA opposite page Head piece: CULIETTA

Long sleeve tops and denim tops: MARQUES’ALMEIDA Leggings: ATSUKO KUDO Shoes: KRISP

photography: SHUHEI SHINE stylist: TATSUKI ITAKURA GEBANA hair: HARUHIDE ISHIZAKI make-up: YUKA HIRATA using BECCA stylist assistan: MANA ARAI models: MODELS VANIA BILEVA & BRIDGET JAKES @ ELITE MODELS Bracelet: MARIA PIANA

MADNESS OF DANCE PHOTOGRAPHY: SEBASTIEN COURDJI STYLING: CHRISTOPHER FAIR

Ribbed tank dress with metal cord in seam: KEEP ZERO GRAVITY Tulle under layer: ANGEL FANCY DRESS RENTAL Ballerina shoes: ANGEL FANCY DRSS RENTAL

this page Lace buttoned sleeveless dress: PIN AND NEEDLES FOR URBAN OUTFITTERS Sheer white dress: MINK PINK Stringed waistcoat with zipper front: KEEP ZERO GRAVITY Tulle under layer: ROKIT VINTAGE opposite page Sheer light pink dress: MINK PINK Sheer light pink long under layer dress: VANDEVILLE AND BURLESQUE Black ribbed long sleeved jumper: KEEP ZERO GRAVITY Ballerina shoes: ANGEL FANCY DRESS RENTAL

this page Black one sleeved dress: KEEP ZERO GRAVITY Black cotton under layer skirt: ANGLOMANIA BY VIVIENNE WESTWOOD Tulle and sheer under layer: VANDEVILLE AND BURLESQUE Black cut out wrap belt: KEEP ZERO GRAVITY Black leather boots with wood heel: DEENA AND OZZY FOR URBAN OUTFITTERS opposite page Sheer white ruffed sleeved dress: MINK PINK Black cotton halter dress with extra long straps: KEEP ZERO GRAVITY Tulle under layer: ANGEL FANCY DRESS RENTAL Ballerina shoes: ANGEL FANCY DRESS RENTAL

photography: SEBASTIEN COURDJI stylist: CHRISTOPHER FAIR hair: TAKANORI IMAMURA using BUMBLE AND BUMBLE make-up: KAORI MITSUYASU model: GRACIELLA HUBER @ BIG WONDER STUDIOS

MONK WOODS PHOTOGRAPHY: JOCHEN BRAUN STYLING: KUMIKO YASHIRO

Dress: MARK FAST Stocking: ATSUKO KUDO Shoes: FINSK

this page Top: MARK FAST Short: ATSUKO KUDO Boots: MASCARO opposite page Dress: ATSUKO KUDO

this page Coat: CORRIE NIELSEN Gloves: MARK FAST opposite page Jump Suit: NEUROTICA Boots: MASCARO

Cape: 2ND DAY Bra: DAMARIS

opposite page Bra: FELDER FELDER Trousers: K. BRAT Shoes: RUPERT SANDERSON

photography: JOCHEN BRAUN stylist: KUMIKO YASHIRO hair: MITSUTAKA ENOKIDA using MURDOCK LONDON make-up: THERESE DOMBEK using BECCA photographers assistant: DARSHIL SHAH stylist assistant: MANA ARAI model: ULIANA @ STORM opposite page Dress: FYODOR GOLAN

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