Eclectic Issue Three SS15

ISSN 2054-4472 UK £9.99

eclectic

G OA T / S K I P & D I E / C A J S A S I I K / MANISH ARORA / BUSARDI / FRED SATHAL / FELDER FELDER / JAKUB POLANKA / DIANE PERNET/ C A R Y F AGA N / K R I S K U K S I / R A N K I N /

ISSUE THREE SS15

masthead/ Editor-in-Chief/ Anna Barr Creative Director/ Charin Chong Digital Director/ Anniina Mäkelä Music Editor/ Pete Buckenham Multimedia/ Stephanie Meisl Culture Editor/ Andrei Zozulya-Davidov Art Editor/ Damilola Oshilaja Features Editor/ Jessica Cooper Copy Editor/ Brent Taalur Ramsey

Contributions/ Eclectic welcomes new submissions and contributions for our online site. For more information visit submissions under the contact page on eclectic-magazine.com Published Biannually by Docuphonic Productions Ltd Registered Company Number: 08585314 Eclectic Magazine is printed in the UK and published twice a year International Distribution/ Pineapple Media Ltd Copyright © 2015 Eclectic Magazine in association with Docuphonic Productions Ltd and Individual Contributors All Rights Reserved. No copy, reproduction, or retransmission is allowed in whole or in part without written permission.

All Enquires/ contact@eclectic-magazine.com Front Cover/ Photography Robbert Jacobs, Styling Simon Gensowski, Hairstyling Quentin Guyen, Make-up Yvane Rocher, Digital assistant Justine Romuald, Light assistant Flore Navarro, Model Cata Pirata of SKIP&DIE Top by DSQUARED2, Necklace by A.KNACKFUSS Special thanks to Stella Studio and Crammed Records Back Cover & Title Images/ Photography Lucilla Bellini

ISSN 2054-4472

007 Designer Discussion 008 Culture Schedule Music /////////////// 010 Skip&Die: Rise of the Cosmic Serpents 016 Goat: The Transatlantic Voodoo Rituals 018 Allen Alexis & Mark Baigent: Electronica vs Dark Fashion 021 Getting Higher with Cajsa Siik 026 Pristine Christeene Fashion //////////////////////////////////// 030 Editorial: Holy Techno 044 Inside the Atelier with Fred Sathal 048 Editorial: It’s a Man’s World 058 Creative Coexistence at Atelier Black Pin 064 Editorial: Masquerade 073 Fall Accessories: Shaman Chic 074 Editorial: Karma Chameleon 082 Mind Mapping with Andrea Cammarosano 086 Reaching the Air with Busardi 088 Editorial: Shadow & Substance 092 Feature: Designing Duality 096 Editorial: Asylum Culture ////////////////////////////

Senses ///////////////// 142 Unveiling Scents with Diane Pernet 144 Chromotherapy Havens with Mycoocoon 146 Travel: Lisbon in Spring 151 Stockists 152 Fashion Face: Aria Crescendo 153 Shiatzy Chen Backstage at Paris Fashion Week SS15 154 Last Look: Barbara I Gongini at Copenhagen Fashion Week

contents/

106 Kris Kuksi: The Antiquity in the Faux 110 Art: Losing your Shadow by Ruta Pu 112 Photography: A Naked Feast of Friends by Hubert Crabières 118 Depart: Surreal Meets Science 122 Art: Forgotten Dimensions by Urte Jamus 126 Art: Bionic Carnal Transitions by Anna Nazo 128 BIFA x RANKIN Or a Hypothetical Anteater Self-Portrait 130 Film: Summoning Dreams and Reality with The Voice Thief 132 Photography: Crown Plaza by Cary Fagan

contributors/ Corinne Stoll, Cédric Bonnard, Elizabeth Aaron, Franco Erre, Hanako Whiteway, Hubert Crabières, Isshogai, Lisbeth Breland Saalmink, Lucilla Bellini, Lucio Aru, Mark Baigent, Marlo Saalmink, Ophèlie Lecorcier, Quentin Caffier, Ruta Pu, Sam Ssefa, Urte Janus, William Ferchichi

Brent Taalur Ramsey is a Paris-based fashion journalist and communications consultant, and has joined Eclectic as the magazine’s copy editor. A New York City transplant, he now works directly with our editorial team combining his love of fashion with grammar obsession.

Read more of Brent’s fashion musings at theaspiringfashionista.com

Cary Fagan is a young analog photographer with a dreamy aura, hailing from Phoenix and currently based in Houston, Texas.

Fagan began photography after realizing that with photography he can create and tell stories without actually having to speak to people; recluse. We enter Fagan’s intimate world in the series Crown Plaza.

Inspired by minimalism, colors, and fashion you can discover more of his work at caryfagan.com

Keanoush Da Rosa is both an art director and fashion journalist working in London and Paris. Inspired by a more unconventional way of living and wabi sabi (seeing the beauty in imperfection), he always strives to implement this in his work which is apparent in this issue’s feature on Swedish singer Cajsa Siik.

Margaret Nowak is a London-based photographer. Having completed her MAs in Cultural Studies and Fashion Photography, she has a wide perspective in her creative practice for fashion editorials. The shoot with musician Cajsa Siik transported her to the memories of the time when she lived in Scandinavia. It was an inspiring and unforgettable meeting.

Simbarashe Cha often photographs fashion, but prefers to be known as a style recorder. Cha joins Eclectic for the second time, taking us backstage at Paris Fashion Week. His backstage imagery from New York, London, Paris, and Berlin is a regular feature on eclectic-magazine.com

Veronika Dorosheva is a Berlin-based freelance fashion editor and stylist. Curiosity and a keen eye for details pushed Veronika towards photography and filmmaking, focusing on art direction. Scouting and supporting new talents is what she is most passionate about. For this issue, she styled the editorial, It’s a Man’s World. You can indulge in Veronika’s world by visiting her personal blog vanillachina.tumblr.com

The spring equinox sees us return to the light. The cosmic seeds have been planted as our collective inner visions are loosely translated across these pages. Blurring the lines of reality, we explore the boundaries of parallel universes, the duality of our everyday lives that see hyper development collide with ancient roots. Surreal Kafkaesque terror takes on a heavenly premonition, becoming a role in reality as we highlight the unseen among our worlds while crafting our new havens. With the democratization of fashion that evolves every day, we envision what this mutation means, and enter into a new dimension of being.

from the editors/

Can couture be utilitarian? Can unisex be vulgar? Can common be classy? What is the sartorial dialectic? With fashion spreads from London, Paris, and Berlin through the lenses of Corinne Stoll, Hanako Whiteway, Lucio Aru & Franco Erre, Sam Ssefa and many others, we begin to experiment with creative coding.

Artists Kris Kuksi, Depart, and Anna Nazo act as ontologists, exploring the concepts of existence while we go on a whimsical ride with designers Felder Felder, Fred Sathal, and Manish Arora.

Commune should become the beacon word for the next centuries because we’re slowly losing our very own personas to avatars all across the world. We look to Prague where a strange and wonderful coexistence emerges, and which might just be a stepping stone to remedy the ailments of mass production and fast fashion. Let’s not forget our ancestors and envisage the near future of the human race because there’s enough space for everything, the hardest part is the quest for our inner and outer equilibrium. The easiest way to achieve this is by closing your windows, spreading your limbs across your living room, spray a scent from Diane Pernet so it unfurls antagonistic sensations within your body and let yourself flow to the sounds of SKIP&DIE, Cajsa Siik, Goat or rise up to some holy techno as we pay our respects to the ancestors that make up our genetic algorithm.

If you are suffering from gigantism, the first thing you should do is smile and touch the sun, because goddammit you’re closer to it than any other human. Summer is coming and Earth needs people like you to take care of her and our mother star.

Editors: Anna Barr Charin Chong

www.eclectic-magazine.com copyright eclectic magazine © 2015

Designers are looking towards the future, developing smart textiles, gearing up for daily armor against urban pollutants and integrating technology into e-textiles. How are the youth today going to be different leaders and innovators? Do they have the same critiques and questions of ethics?

The future is for sure connected with technology; synthetic textiles will be more and more intelligent. The revolution will be the production of textiles that won’t require the same amount of water like cotton. Millennials in every sector will introduce changes towards constant improvement. Ecofriendly designs are often thanks to new technologies in textiles. However, we need to think about the ethics of production in the industry and the damage from the production is on the millennials mind. – SOPHIE KULA, Warsaw

Today, youngsters grow up whilst being profoundly connected online, seeking information on a completely different level. My hope, but also my solid belief is that we will understand how we can use this degree of connection to our best advantage. How we can put an emphasis on our responsibility as influencers and opinion makers. I am confident we can affect and motivate one another to craft a safer, meaningful and even more sustainable world. This has to be done through curation and selection, refining our international opinions and dialogues. When conducted properly, this development also serves as food for thought, especially noting the volatile nature and impact of trends.

I think we will experience that innovation stemming from the needs of the world more than needs of the end users. Perhaps even user-driven innovation will become more of a marketing tool than product development is nowadays. Overall, contemporary ethics are as present as before. We are true children of the internet and we beat the elder generation on these premises. However, our senior generations must always remain involved in the discourse on ethics. – LEON LOUIS, Copenhagen

My label is far from urban, we don’t use tech-fabrics or incorporate innovative materials by choice as we aim to bring out the fragility and sensitivity in women with natural fibres instead of armoring them up. We focus on working ethically, trying to be as sustainable as possible, being fully aware of the supply chain, sub tractors, and remembering the mark we leave on the environment on a daily basis. It is important for us to communicate this within the studio, with our interns, our freelancers, so that we generate a non-ignorant attitude and through our steps encourage even more individuals on a larger scale. – ANNA PITCHOUGUINA, London

The ’youth of tomorrow’ is by default an enhanced version of our parents and ourselves. The issues that our parents fought for become a necessary ingredient in our lives.

Following this logic, I believe the YOT will undoubtedly adhere to all these traits we once labeled as belonging to hippies. The desire to accumulate wealth and act successful will be lower than before. However, the desire to pull together to better our situation on a whole is and will be higher. This will also lend itself to ECO solutions generally but also within the apparel business. A forge forward will be seen and innovative solutions, unknown to us now, will be the norm. Both my children are millennials, and their approach to life is always fascinating to ponder upon. The key word here is balance.

We at NORWEGIAN RAIN, recognize this need for balance. We aim to inspire through our approach to ’tame’ the elements with our design. without jeopardizing the environment by leaving few or eventually no negative footprints behind us. – T-Michael, designer of NORWEGIAN RAIN, Bergen

designer discussion/

cultural schedule/

Nástio Mosquito, Frozen War, 2010, video, 656’ courtesy of Nástio Mosquito and Ikon

France: Hyères 2015 International Fashion and Photography Festival

Italy: La Biennale di Venezia 2015 - All the World’s Futures

23rd to 27th April 2015 // Villa Noailles, Hyères

9 May to 22nd November 2015 // Giardini, Arsenale and various other venues in Venice

Spring kicks off with a showcase of promising artists in fashion and photography, mixing innovation and creation with diverse exhibitions, panel discussions and two competitions. Located in the Villa Noailles, this vibrant contemporary competition’s jury selects ten fashion designers and ten photographers to present their work to the public. Maison CHANEL is the guest of honor at the 30th International Festival of Fashion and Photography in Hyères with Karl Lagerfeld as the Artistic Director for the 30th fashion jury chaired by Virginie Viard. The jury includes Carine Roitfeld, Sébastien Tellier, designer Anthony Vaccarello, artist Joana Vasconcelos, and Olivier Zahm among others. Over a four day period, journalists, artists, and creatives descend on this scenic Southern town. Concerts and parties will see everyone mix and mingle; making it a festival for all where tomorrow’s talent exchange ideas and absorb inspiration.

England: Art15 London’s Global Art Fair 21st to 23rd May 2015 // Olympia, London Kate Bryan will lead the third edition of Art15 in London as the Fair Director, bringing together emerging and established artists in the scene from around the globe. The fair, sponsored by Citi Private Bank, is becoming one of the most exciting ways to enter the city’s art scene in recent years, from Asian galleries to Neo-Pop. Originally set up by Tim Etchells and Sandy Angus, two of the original founders of ArtHK (one of Asia’s leading modern and contemporary art fairs), they have managed to pull together some of the art world’s giants. It will be a matter of time to see how the most important collectors perceive it, but critics have been quite impressed. Kate Bryan stated, “Art15 has the capacity to be one of London’s most vibrant and significant art events at the beginning of the summer season and we aim this year to make a radical difference to London’s perception of global art.”

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Nástio Mosquito’s films and performances at the 56th Biennale di Venezia, taking place from May-August 2015, at the Oratorio di San Ludovico, S. Basilico

Fifty three countries are participating in this year’s 56th Biennale di Venezia, All the World’s Futures under the curation of Okwui Enwezor. He has explained his project as, “The ruptures that surround and abound around every corner of the global landscape today recall the evanescent debris of previous catastrophes piled at the feet of the angel of history in Angelus Novus. How can the current disquiet of our time be properly grasped, made comprehensible, examined, and articulated? Over the course of the last two centuries, the radical changes have made new and fascinating ideas subject matter for artists, writers, filmmakers, performers, composers, and musicians. It is with this recognition that the 56th International Exhibition of la Biennale di Venezia proposes All the World’s Futures, a project devoted to a fresh appraisal of the relationship of art and artists to the current state of things.” Eclectic Suggests: Personne et les autres: Vincent Meessen & Guests at the Belgian Pavilion and Sean Lynch at the Irish Pavilion Switzerland: Art Basel 2015 18th to 21st June 2015 // Messe Basel, Basel Since 1970, Art Basel has been nurturing contemporary artists with the development of visual arts. While it has now grown to show parallel exhibitions and cultural events in Hong Kong and Miami, Basel is a great start to where the art world meets with every artistic medium represented: paintings, sculpture, installations, prints, photography, and performance.

With a strong curatorial perspective, it ranks premier among shows of its kind. Walking amongst the immense and intimate galleries, one gains a global overview of the countless contemporary art scenes channeled together. Insights and inspirations come not only from viewing the galleries, but also from participating in the intellectual and cultural programming that surrounds the ensuing events.

“And when in doubt, be extreme.” − Genesis P-Orridge

music/

Jacket, tank top, shorts by BARBARA BUI Necklace by HÉLÈNE ZUBELDIA

RISE OF THE COSMIC SERPENTS

By Anna Barr Photography Robbert Jacobs Styling Simon Gensowski Hair Quentin Guyen Make up Yvane Rocher Digital assistant Justine Romuald Lighting assistant Flore Navarro Special thanks to Stella studio and Crammed Records The universe of SKIP&DIE is full of cosmic psychedelia with socio-political undertones. While many artists of our generation take an almost narcissistic approach in their attempts to personal self-realization, SKIP&DIE does the opposite; they bring us together through metamorphic body shaking where everyone makes up the musical mosaic. We the audience are part of the energy that brings music together from our rich cultural backgrounds, taking influence to their eclectic range of electronic, funk, punk, ghettorap, afrofuturistic beats and Bossa nova rhythms.

Lead singer Cata Pirata, Jori Collignon on keys, Gino Bombrini on percussion/guitar and Daniel Rose on sitar/guitar/sax have teamed up once again to follow up their debut album Riots in the Jungle with Cosmic Serpents, out this spring.

There’s a real organic word-of-mouth buzz that has followed the band since their debut.

I first learned of them from photographer Robbert Jacobs who saw them play to a small room a few young students in Holland when they started almost four years ago. The buzz continued, and the next time he saw them play to a large audience of dancing Parisians.

With a spectrum of sounds from all over the planet, their audience covers pockets of Africa, the Eastern Mediterranean, and continental Europe, as well as over the Atlantic to South America. It is only a matter of time until the Anglo-speaking world discovers this mesmerizing group and their energy-filled live sets.

South African born, Amsterdam-based Cata has a strong background in the visual arts, having directed five videos for the band in addition to the artwork. We caught up with her in Paris to learn more about the new album, Cosmic Serpents and the creative directions at force.

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How did you come up with the name Cosmic Serpents?

This album is very spiritual, actually, with an extra element from the new journey we have been on, connecting with so many different people on tour. We felt that we have connected to the cosmos and to the Earth. The first time that I heard of the existence of the concept of the Cosmic Serpents was when I was eighteen and read the novel by Jeremy Narby, exploring the connection between shamanism and molecular biology. It’s all about how DNA is like a cosmic serpent connected to tribals of traditions; we have always been on this voice. Our previous album was focused on extremes: the light and the dark. This goes back to the cosmic serpents; you need two DNA strands to get the light and the dark to work together.

Have you developed a “cosmic sound” on this new album?

It’s spiritual, but I think everyone has a different definition to what it means to them. I feel that there is a new shift in consciousness, and I don’t think that we are alone in that. A lot of people suddenly feel that we are all connected in this together. A lot of my artist friends don’t call themselves DIY but DIT – because they are Doing It Together. There’s more of a spiritual and physical connection with each other. I also feel like we grew up with a focus to be individuals; we need to stand out, but at the same time there is a longing to be part of a community. So that’s part of the “doing it together” thing in life and in art; that’s an exciting thought.

That’s totally streamlined with us, when we started the magazine. Was there something spiritual that was provoked on tour or in the process?

Seeing life from different viewpoints and realities. In that sense, you become more in touch with yourself and the people around you, opening to different possibilities in lives. As I’m constantly with other people, I also needed to create an energy shield so I wouldn’t be constantly drained from giving on tour. I had to be aware to receive and not only give as a performer, on stage we are giving. Two years on tour is a long time. Creating that shield brought me closer to my spirituality.

When you are over-stimulated by giving too much you can sometimes lose creativity. You need to be in your own bubble to hear your own thoughts and creative side.

Also, you need the time to transform the stimulation into output. We have been trying to get into that space as we finish the album.

It is interesting how you are talking about this new consciousness. The media is obsessed with the millennials as they are getting older. Do you think they have a different take on ethics? Is there a shift felt between the Generation X and the millennials. We are both in-between.

Each generation has its shift; in this lifetime, we will go through several shifts and realities. I also feel life is circular.

The millennials’ level of transparency interests me.

This longing for truth can be curated. You can completely curate your life online. That’s not truth, or is it? It’s a big topic. If you think about downloading music and getting everything for free, is it really because we want to share or we feel entitled to it? As much as there is a shift of consciousness about moving towards a community, there is

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an extremely opposite one of “I deserve everything,” focusing on the individual.

I’ve witnessed a real duality in online curation of the individual.

On one hand, in social media, I would like to be extremely transparent; but when I feel exhausted or down, going through ups and downs on tour, I feel like I want to share it with the world. But on the other hand, I feel like I don’t want to put out negative energy. So you either have to accept that everyone is sharing all of their emotions or hold up the façade that “my life is amazing.” But it is also unfair to people because they just think that everything is amazing in your life; that’s not real.

When I see someone that always seems absolutely amazing, I can’t help but think that they are on something because that’s just not normal.

[Giggles.]

You are a bit of a polyglot. Do you feel that you are frontier-less, or is there a bit of a personality change? Have you managed to keep who you are, no matter where you are and the situation? Having lived in several countries and cultures earlier on, I felt I was suffering from split personalities, and it took me a while to streamline thinking in one culture and language to the next.

Who am I first of all? I think that having lived in so many different places have added to my personality that have become pieces of me. When people ask me where I’m from, I wonder if that would actually explain my character. I think people like to put you in a box and hold you to the ideas of where you are from and reference whatever they know from there. Perhaps it makes it easier for them to comprehend. Personally, I think all of the places I have lived and toured made me who I am. Like recently, coming back from Beirut, there’s a whole new pathway in my brain that is suddenly opened from experiencing new things and talking to new people. I feel like I am who I am regardless of where I am. Pieces of the puzzle that make me up come from out of those places. We are all so layered, and being in different circumstances can open new boxes inside. I feel like I’m evolving every single day.

It’s fun to travel and see the links around the world. Some places are so far geographically, yet feel so connected.

A lot of the new songs that we wrote have Brazilian influence. The first album was extremely different, for this album (the second) we toured for one and a half years so we picked up so many different ideas along the way and different states of being. When I went home to South Africa to spend the holidays with my family, I basically wrote and wrote and wrote.

I turned all of those impulses into something of my own. I then went back and we all went to the studio together, the four of us. And I sang the songs to the guys, let them hear my ideas, and then we started jamming on those ideas.

We tried all kinds of instruments. We then put in different sounds and that’s why there are many Brazilian touches and percussion. Then we started touring again and went to Egypt. We worked with an Egyptian musician, so a lot of different sounds from there are also interwoven.

One of the things that Egypt and Brazil have in common is they share such a youthful vibe, so many young people.

Jacket by AINUR TURISBEK Bra top by ASSK Pants by PASCAL MILLET Choker by TAMARA AKCAY Cuff by THE MIDDLE Sandals by FLAMINGOS

Sweater by MANISH ARORA Skirt and heels by MAXIME SIMOENS Earrings by DIANA LAW Sunglasses by ANNE ET VALENTIN

Skip&Die Cosmic Serpents World Tour 2015 Eclectic’s selected cities: 07/04/2015 - LA MAROQUINERIE, PARIS 14/04/2015 - AMPERE, MUNICH 22/04/2015 - PARADISO NOORD, AMSTERDAM 24/04/2015 - ABCLUB, BRUSSELS 30/04/2015 - VINA ROCK, VILLARROBLEDO

Swimming suit by AGENT PROVOCATEUR Skirt by DSQUARED2 Pants by DICE KAYEK Necklace by A.KNACKFUSS Heels by MAXIME SIMOENS

Top by REPLAY ONE OFF Pants by PLEATS PLEASE ISSEY MIYAKE Necklaces by EK THONGPRASERT Heels by Y-3

True, very vibrant and a lot of night life. After Egypt, we went back to the studio, but we had to make concessions with deadlines so a lot of music is not on the album. But we will try to release some as EPs outside of the official album.

Did you like Brazil?

I love Brazil. I feel like on a scale with Brazil, and Latin America in general inspired me a lot on this album.

Being American (and perhaps it is like this for you as a South African), I had a strong feeling of being at home, even though it was a different country. It was similar to the States, as we both have a disgusting past made up of colonization, but we’re now at the point in the group conscious that we have to work together in order to move forward as a culture.

I’m completely with you about the working together; we are all one culture. For me, I also felt very at home in Brazil because I speak Portuguese; having gone to a Portuguese school in Africa, it was my second language, and because it has such an African ring to it, with lots of history from Africa. It felt like lots of combinations of different cultures, but also I love in Rio how everyone is equal on the beach.

Everyone there is enjoying nature and what life has to give.

You have a pretty eclectic style. Did you have a style icon growing up?

I always forget who my style icons are, and I get this question so often!

Mine is my mom, she’s the most practical woman. She taught me it’s okay to wear socks with sandals for comfort. I just try to be practical and look nice.

“Personally, I think all of the places I have lived and toured made me who I am. I feel like I’m evolving every single day.” − Cata Pirata Mine might actually be my mom as well. One of the reasons I say that is because the hairstyle I have now, kind of curly with a fuzzy fringe, my mom in the 1980s had exactly this same hairstyle. She had a perm (but mine is real). I should probably do this as a written question, and get back to my moodboards. I do lots of moodboards, with different artists, styles, for reference. I actually hate shopping, so a lot of stuff that I buy is coincidental.

I hate shopping too. I kind of wear just what people give me.

A lot of the stuff I like, I pick up at festivals, on the road, it’s kind of an adventure. Full of stuff people made or vintage when there are stalls at festivals. I especially like the world festivals with handmade items. Many of my friends are designers, and I like to support them and they like to support me. A lot of the stuff I wear on stage is either handmade by them, mixed with stuff that I found at the festivals.

Is style important for you and the band?

It’s not about fashion for me; it’s about style because I like creating a visual that goes with the audio. //skipndie.com

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THE TRANSATLANTIC VOODOO RITUALS

By Andrei Zozulya-Davidov Korpilombolo is a remote village lost in the mesmerizing forests of Sweden. This remote location has managed to remain incognito until recently, when a few years ago the members of an experimental band called GOAT claimed it as their place of origins along with the village’s connections to ancient voodoo rituals.

While almost every publication out there assumed a sceptical position regarding the group’s claims, saying their stories of voodoo rituals were nothing more than marketing; well, you know what? Who the fuck cares how highly improbable is the affirmation that an originally Tahitian syncretic religion, many centuries ago, made its way through the continents to settle in a small Swedish village. The most important fact here is how GOAT’s music resembles what we imagine a voodoo ritual would sound like and there’s no doubt about the sincerity of their sonic trips – so close your eyes, listen to the rhythms of Petwo and follow the voices of Mambos.

So my first question would be, have any of you ever tried ayahuasca? Could you relate us your experience?

No, I don’t like sports but I used to be master of ceremonies at the Temple, providing kanelbulle and the occasional påtår. I am at peace with the universe now.

The song “Talk to God” from your latest album, Commune, is currently playing in loop as I’m writing you, and the song is pretty amazing.

Thank you.

Did you guys ever talk to God(s)?

Yes. What was his (or their) name(s)?

All names, known and unknown. All things known and unknown. All thoughts known and unknown.

All and nothing.

What did you talk about?

my childhood is the reason I’m falling into a trance every time I listen to your music?

Hard to tell, but probably not. I am a Virgo, so when I was a kid sometimes my mother used to feed me carrot juice whenever I came down with a fever or cold, which I thought was horrifying.

I still can’t take the taste of bottled carrots. She thought it was a very healthy thing to do, do you agree?

Well, maybe both of our mothers were right, since mine also tried to feed me carrots all the time! How does the food tastes in your dimension? Once, I had a trip and my friends gave me a lemon pie; it was incredible, it was like eating a piece of heaven.

It’s ok, today I had pizza with ham, pineapple, and garlic sauce. Once, when my friend was asleep, I hid a couple of hamburgers (just the meat) in the back pockets of his jeans. When we were out walking the next day, to his big surprise, he found them after I had already forgotten all about it.

Good times.

I have had some issues concerning my French car.

I asked for guidance in this matter.

My initiation to GOAT happened last summer at Paredes de Coura Festival in Portugal, and it was pure magic. Have you ever felt the same way?

Does he (or they) play any instruments?

Thank you. Yes, when I saw Slayer 1995.

Yes, the Vuvuzela.

Hyper Development or Ancient Civilizations?

I’m a Capricorn, so when I was a child my mom used to feed me goat milk, since it is believed to be a very healthy thing to drink. Do you agree?

Hyper development with ancient tools!

I don’t know. My sister is into goat soap; you should ask her.

I love you!

Do you think the fact I drank goat milk during

A last message before we disconnect?

//goatsweden.blogspot.com

“Once, when my friend was asleep, I hid a couple of hamburgers in the back pockets of his jeans. When we were out walking the next day, to his big surprise, he found them after I had already forgotten all about it. Good times.” − GOAT

Image courtesy of GOAT

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electronica vs dark fashion A conversation between Mark Baigent and Allen Alexis

By Stephanie Meisl Photography Samuel Colombo @ Optical Engineers Styling Melina Kutelas Make-up Nina Sabary Video Stephanie Meisl and Alexandra Braschel Support Daniel Ringhofer Austria. Famous for the traditional clothing of Dirndl and Lederhosen, The Sound of Music and, of course, skiing. It ranks as only a tiny landmark in the international fashion and music world. However, there are young artists emerging from within both industries who are fighting for their place. In 2012, Mark Stephen Baigent started his career as MARK & JULIA, a label he formed with Julia Rupertsberger.

Their goal was to create gender-free clothing, which became known for its minimalistic, geometric shapes. Today, Baigent owns and designs MARK BAIGENT, having opened his studio in Vienna earlier this year while preparing his new collection "SHYAAM" to be shown at Paris Fashion Week.

On the music side of the spectrum, ALLEN ALEXIS is an electro pop band founded in 2009 by DJ and producer Philip Preuss, musician Günther Bernhart and Gerald Peklar. Their first single, “Here Tonight” entered the charts straight away, reaching international airplay. Their versatility and uniqueness in the field of electronic music are underlined in their symphonic pop harmonies, tight and minimal beats, soulful vocals, and house-infused arrangements. In 2015, they release their new album entitled, Song Man Follow Mind. At the Ottakringer Brauerei in Vienna, Mark Stephen Baigent sat down to chat with Philip Preuss and Günther Bernhart of ALLEN ALEXIS. Having barely known each other, they embarked on an interesting conversation about their perspectives and gave some personal insights about being a creative in Austria.

Philip: Mark, there is a word in the room, “Dark Fashion.”

What is it?

silhouettes and be more avant-garde. And I will present the collection in Paris again in March.

Mark: Well, I think “Dark Fashion,” as a word, describes the sort of fashion that goes to the darker shades, colour-wise; black as a non-colour. I think that black is a language everybody speaks and understands, and dark doesn't always mean black. The dark side is always very negative, but it can be something very beautiful. What's fascinating about the dark is that you can create really beautiful feminine and masculine suits. You can use very beautiful light fabrics and still have this dark touch to it. And to be honest, everybody looks good in black, don’t they?

Günther: Have you been to India? Have you been to the country to be influenced for the theme?

Philip: True. You have a new collection coming up soon.

What is the theme of this collection, and were there any difficulties in creating it?

Mark: Well that’s my task, to take these silhouettes and – I mean I don’t do only black – but I take these silhouettes and the influence that comes from it, and I see how it works together with the fashion I do.

Mark: I am still working on it. The theme of the next collection is influenced by India. And the word “Shyaam” means “dark” or “dark person” in Hindi. The different gods that exist in the Indian culture will influence it, and of course I will work with a lot of dark colours again. But I will do bigger

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Mark: Sadly, not yet. I have no production in India. But I have friends who bring me stuff from India all the time. Everything I get from India I kind of take it in. It’s a fascination I have with this country.

Philip: When I think of India, I think of a lot of colours but not black. So how come black?

Günther: You are creating only unisex clothes, so gender must be a big thing, right?

Mark: Yes, it is. The gender question to me is no question

G端nther (right): Coat by SIMON GRUNTHNER Shirt by HOUSE OF THE VERY ISLANDS Trousers and tanktop by MARK BAIGENT Shoes by POLYKLAMOTT Mark: Chain by FLORIAN DESIGN Complete outfit by MARK BAIGENT

Philip: Sweater and trousers by HOUSE OF THE VERY ISLANDS Gilet and coat by MARK BAIGENT

at all. I believe that there are no pieces that only men can wear or only women can wear. I myself wear skirts as well as dresses. I think there are more revealing patterns and cuts that show more body or skin because we are used to it; we are used to see tits and ass. And if a man wears that, you see his ass and his chest. But that is not the kind of thing we are used to in our heads. On the other side it can look really good. I don’t think there is something that divides the two. I would love to see more men in my dresses and more women in my shorts. Everybody should wear everything. As long as they feel comfortable and it represents what they are, then it's ok.

Mark: And what about you? You are dressed from head to toe in Austrian fashion designers. Some of the pieces

Günther: Different kind of styles, yes, but it’s still ALLEN ALEXIS. As a whole it makes sense. It’s not here and there; we still make an ALLEN ALEXIS album.

Mark: Being a musician in Austria may be difficult, I don’t know. Do you think if you were in the U.S. it would have been different; and if yes, why?

Günther: Well, I think Austria is a bit difficult because it is a very small country. It did not get that history in pop and rock music, I assume. I think the U.S. is a lot more open minded when it comes to playing in a band. Of course, the U.S. is much bigger, so you have more possibilities.

But Austria is doing a good job right now. I think there are more bands than ever, really good bands in different Complete outfit by MARK BAIGENT

are from my own collection, but what do you think about Austrian fashion or fashion in general?

genres. Rock bands are rising in Austria and especially in Vienna. I think it is growing, and it is good.

Philip: This year I got to know a few guys from fashion, and I am wearing your jacket now and I like it. I think if you put it on, it has to be fine, and it has to fit. Austrian designers are up and coming.

Philip: Definitely Austria is becoming much better, but the difference is that musicians in the States have more selfconfidence, and they are always one step away from big success; while we always worry too much about what bad things could happen. They just do it and if they fail they get back up on their feet and it’s ok. So they have a culture of failure and that’s what makes it a lot easier, I guess.

Günther: Austria has a long history in fashion. I don't want to name any big designers, but there have always been important designers coming from Austria; and we have a great University "Die Angewandte" with teachers from all over the world. So I think Austria is definitely a name in fashion. Also fashion has always been together with pop music, music in general and art – it's like a family. Fashion is very important for me as well. Even though I don't buy fashion magazines, I think it influences us every day.

Mark: Speaking about music, tell me about your new album. What is it about, and why should I buy it?

Mark: So far in your career, is there something that you did that you are very proud of?

Philip: I am very proud that we are still together as a band and that we still have so much fun writing songs.

Mark: Finally, it’s been very interesting for me to see that fashion and music have much more in common than I thought before this meeting. Thank you.

Günther: You should buy it because it is great, of course.

(Smiles) I think this time we have tried to do what we really love to do – to be open minded, without boundaries. We just write what we want to listen to. We tried to make a diverse album with lots of different aspects for every character and make it as interesting as possible.

Günther: Thank you, Mark.

Philip: It's a walk through our music history. We have techno songs, we have rock songs, we have indie songs, and we have pop songs. So if you are, a person that is into different kind of styles – then you should buy it.

The album Song Man Follow Mind by ALLEN ALEXIS will be released later this year. Eclectic Magazine readers can download an exclusive sneak preview here: //eclecticmagazine.com/allen-alexis-free-download

Mark: You are welcome. And thank you, ALLEN ALEXIS. //allenalexis.com //markbaigent.com

Top by PING HE Trousers by DIORALOP Shoes by MING PIN TIEN

Getting Higher with Cajsa Siik

By Jessica Cooper Photography Margaret Nowak Art Direction Keanoush Da Rosa Styling Jaime Jarvis Styling Assistant Morgan Charles Hair Styling Grayson Galway Make-up Weini Haile Lighting Assistant Kevin Denoual Art Director Assistant Grace Ibeke

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Blouse by KTZ Dungarees by GROUND ZERO

“I’ve learnt that things are never constant, everything always changes. Music is my attempt to try and get things to make sense.” − Cajsa Siik

A girl approaches me. She is tall and willowy, striking and hard to miss. She quietly introduces herself to me, “Hello. I’m Cajsa,” she sighs. Cajsa is just like her music: mysterious, hypnotic, and dreamlike. Born in a tiny fishing village in Sweden, Cajsa’s mesmerizing voice has been luring in those who hear it. From releasing her first album Plastic House to her new second album Contra, her music has caught the attention of those in the industry to festival audiences.

Her delicate voice is tangled with dark lyrics, creating a hauntingly beautiful and honest sound. A sound unlike anything I've heard before. Before one of her performances in London, I talked to the girl behind the fragile voice and entered into her evocative world.

Your music has been described as “darkpop.” How would you describe your own sound?

Well, my music is dark and melancholic – yes.

But there is a beauty in it too and I like to think that there is warmth in there. I think I combine cold sounds with warm tones; I try to capture the contrasts between these two oppositions.

I’m drawn to things that are torn and damaged, but beautiful too.

Your sound is very otherworldly – almost hypnotic and haunting, sending listeners into a trance. Is this a sort of attempt to escape the real world?

Absolutely. Especially when I am writing, I have the space to say whatever I want to say.

I’m so totally truthful and honest, it often gets frustrating to find the right words for my feelings. I see music in shapes and colours; it is another world, one that makes sense to me!

I think these shapes are the energy surrounding the song – sending me a sound. It’s not calculated, so it’s often hard to catch!

How did you venture from a little fishing town in Sweden to the world of music?

My relationship with music started when I played the cello at five years old. I like my own company, so I used to hang-out with that instrument – like a friend, I guess. I found new ways for the music to work for me and my emotions at any certain time. At eighteen, I started to play the guitar and write songs – typical of an angst-y teenager!

You left Stockholm for Sevilla and locked yourself away to write for two months. Why Sevilla? What was the experience like?

I needed to get away and I was drawn to Sevilla because it’s so different from Sweden – the culture and the climate especially! I was isolated, but I had my own happy little space.

It was nice to view such a different culture and learn about their passion for flamenco music. I

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was in my own little bubble, but I was still able to be inspired.

What is the process of writing your lyrics?

It’s very hard work writing lyrics. It’s very turbulent; you go through so many mixed emotions. It can get lonely and sad, and then I can suddenly be filled with happiness.

Do you have any performance rituals?

This necklace (showing a flat, circular gold disc on a chain with a round ball) reminds me of why I’m doing this. I bought it from my hometown. I always have it with me; I often wear it or hang it on the microphone. As long as I have it, I’m good. I also need time to be alone to relax and boost myself up.

Tell us about your new album Contra.

I wanted to create something that I wanted to say, something a bit angrier, and to capture the explosions in my world and the fragility in this explosiveness. I’m actually still in the process of getting in touch with this album.

It’s suggestive, dark, and hopeful. It captures the period of time when I was in the process of writing my songs – looking back to experiences and how you see things. It’s a chapter in my life, and the music is not meant to be polished or perfect, just like life itself!

I’ve learnt that things are never constant – everything always changes. Music is my attempt to try and get things to make sense, and it's kind of hard to box it up. When creating music I try to put myself in a different world, but music can also be used to pinpoint reality.

And with that, Cajsa smiles softly and floats away. Back to a dream world we can only wish to enter.

Catch Cajsa Siik on her Contra Tour 2015 at Babel in Malmö (with Christian Kjellvander) on April 11th 2015. //cajsasiik.com

Jacket by YUI ATELIER Blouse by ADA + NIK Trousers by MING PIN TIEN Shoes by PRETTY BALLERINA Necklace Stylist’s own

Pristine christeene

By Mark Baigent “Fuck gender!”

That was the first thing I heard howled through the room when I was led to the tiny backstage area at Berlin's Chesters Club. While I honestly have never heard about CHRISTEENE prior to that night, I was about to witness one of the best performances I have ever experienced.

Originally from Austin, Texas, the gender-fucking artist shamelessly adapts to all styles of music while commanding an unforgettable stage presence, made up of destructive choreography and her back-up boys. Songs such as “Fix My Dick”, “Tears From My Pussy”, and “African Mayonnaise” offer an intimate glimpse into the private (and rather heartbreaking) experiences of the talented nightmare that is CHRISTEENE, and backstage I had the chance to dig deeper with some questions of my own.

How did you enter Performance Art?

Well I had friends there...

Well, you know there is a bird that lives inside my mouth, and it would start to talk with me at night in my sleep, and in the mornings it started to whisper harder. One day, this bird took its wings and opened up my lips and started talking aloud with me. I started to sing the songs this bird was telling me about and found my boys in the woods somewhere, and we put it all together somehow.

Those aren’t your good friends. I have a friend, Eva, from Bulgaria and her parents escaped communist Bulgaria. Her dad is a pilot and went straight to Dallas. I told them, “You poor people!

You left communist Bulgaria and went to Dallas?

That’s not really any different.“

How do you see your art in context with your home state of Texas?

Well, did you ever see the Lord of the Rings?

I’m from New Zealand; so yes, it’s kind of a must.

Well, good, then you must know this place called “Mordor” and that everybody is trying to fucking kill Mordor. So in Texas, WE are Mordor! So all the faggots and the dykes and the hippies and the democrats, WE ARE MORDOR. So all the Texans want to kill us. So when you've got all these fucking crazy people trying to kill you, you have to let that bird in your mouth scream very loud. And it is a very inspiring place to be!

Nope. You have to look at it this way: The song is about three minutes long, so you have three minutes to get in there, fuck them up and get out.

And the law says that if someone demands you to leave their property, you have to go because it’s their property. We had this “bank robber getaway van” and after a few minutes in the mall we had to “get off their property.”

When we left, as we’re driving away from the mall, we see a bunch of police cars going toward the mall, and we’re all in the van laughing at them.

I have been to Texas myself and I found it quite boring.

So my next question is, do you define yourself as “drag?”

Where did you go?

Well uhm... no I don’t know what that is. I’m just CHRISTEENE. I just came from the woods; I don’t know where I really came from. People are always talking about this “drag“ thing, and the only thing I “drag“ is my purse behind my fucking feet – or my emotions, from my heart. My happiness, I drag it up high.

Dallas.

Well, that’s your problem! Why the fuck did you go to Dallas? A lot of foreigners go straight to Dallas, and I don’t know why.

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I was laughing when I saw your video for “African Mayonnaise” because I was in malls like that when I was in Texas, and I can imagine everyone going completely crazy when you guys appeared. Did you stage that?

“I tell them to FUCK GENDER! Gender does not exist. Stop wearing the uniforms that they gave you when you were born and go out there and find your own family who will protect you and inspire you.” − CHRISTEENE Image courtesy of God

What do you think about the artist, Conchita Wurst?

That’s the one with the beard, no? I don’t know, she seems to inspire people... to grow a beard.

And I’m glad she was on television; that’s cute.

Is there a message you like to send out with your music/performance art?

Well, I think I just want to wake people up. I like to have conversations with people, and I think everyone is hungry for something else. People are looking for new food. and I like to offer a cafeteria for them where people can come in and find their kind of food. I don’t want to serve them my food, I just want to be the music you hear while you find your own food and eat it all up.

Is there anything you would like to say to younger people who may be struggling with who they are?

Oh, yes! For the little people, I tell them to FUCK GENDER! Gender does not exist. Stop wearing the uniforms that they gave you when you were born, and please go out there and find your own family who will protect you and inspire you while you remove that ugly, ugly uniform.

And try to find your real pony inside your belly because everyone has a pony in their bellies. So find your pony! //christeenemusic.com

Photograph by Nicky de Silva

“Look at that picture. How does it appear to you now?

Does is seem to be Persisting?” − Cerith Wyn Evans

fashion/

Holy Techno Photography Corinne Stoll Styling Charlotte Moreau Styling Assistant Camille Bodinier Hairstyling Rimi Ura Hairstyling Assistant Yoshifumi Iwasaki Make-up Yui Koretomo Models Irina Shnitman@IMG & Carolina@OUI Management // Shot in Paris

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Sunglasses by CAST EYEWEAR Dress by Y/PROJECT

Hat by TOPMAN

Sleeveless jacket and jeans by ANNA CORFA Top by GROUND ZERO Bracelet by HÉLÈNE ZUBELDIA

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Hat by HOUSE OF FLORA Dress by ANDREA CREWS Sneakers by GROUND ZERO

Sweater by MANISH ARORA 3D Printed earring by DIANA LAW

Hat by ANDREA CREWS Jacket by ILJA

Scarf on sand by NACO PARIS Scarf around head by 1-100 Jumpsuit by REPETTO Harness by ZANA BAYNE Sandals by CAMPER

Top by AINUR TURISBEK Trousers by ÉTUDES STUDIO Sneakers by Y-3

Hat by ÉTUDES STUDIO Hood by REPETTO Sunglasses by CAST EYEWEAR Scarf by 1-100 Handkerchief by NACO PARIS

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T-shirt by ÉTUDES STUDIO

jacket by A.F. VANDEVORST Top and skirt by ANNA CORFA Boots by AINUR TURISBEK

in the atelier w ith f red sathal

By Ophélie Lecorcier Photography Andrei Zozulya-Davidov Translation Antoine Chave Following an eight-year absence from the Parisian runway, Fred Sathal has made her long awaited, rather overdue return, bringing with her a collection that “journeys through the folds of the soul.”

Having recently relocated her Marseille atelier to Paris, the feeling was intimate as we stepped into the cosmology of Sathal's inner universe. Inside, details of her artistry were translated into elaborate embroideries, with hints of her influences scattered around like an unspoken invitation to piece together the riddle of what forms her latest collection. However, no puzzle is complete without the final piece, meeting the talented Fred Sathal herself.

Your return to the runway last summer was highly anticipated, and January saw your follow-up collection. How has your journey been so far?

During those eight years, I worked as a mixed media artist on productions that were a continuity of my clothing creations. I wanted to do sculpture, installations, and photographs, but still make clothes that I would show in art centers. And that's how in January 2014, I set up the clothes I made during that eight-year period in this apartment. I invited friends from the fashion world, and they told me to do an haute couture show. So I went with it with no stress, since it all went really naturally and without any rush. I had forgotten about all the bad sides, and I arrived there happy and rejuvenated. It's been stress-free and in good spirit.

You can say we got there without a specific goal, other than to have fun, create emotion, and poetry. That's why the collection was called “Couleur Lumiere,” because it was a very happy mood; and the name imposed itself at the very end, because of the overall mood.

In what way was this break beneficial to your work?

Well, it was precisely the opportunity to get away from all the pressure inherent to the world of fashion and haute couture. I was freed from all this and back as an artist with solely her style and motivation. There's a real freedom, even with the samples. Each garment is a piece of art, of which I never suffered from any constraint or limit. And that's a really rare gift.

During this hiatus, did you see any changes in the world of fashion, and how do you perceive these changes?

It's changed. Lots of ideas are similar, and there's less ambition and audacity; or at least it's less and less accepted.

Fashion dares less. It didn't inspire me, so I just tried to propose things.

In all of your collections, it seems like freedom really is the main theme of your work (i.e. flexible silhouettes).

The body gives the style. The garment must not constrain or format it. Even if I sometimes base my work on a structure, my philosophy is a freed body.

Designer Fred Sathal

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“Each garment is a piece of art, of which I never suffered from any constraint or limit.

And that’s a really rare gift..” − Fred Sathal

You create a very dreamy world. Do you have a particular bond to spirituality?

I do, certainly. With a quest for a cosmic divinity emancipated from any kind of religion, something esoteric. All those spiritual songs attract me, inspire me, and I want to share my ideas on this particular mystic of mine through my work. It's also about the elements of nature, minerals, the celestial, etc.

Since you craft everything by hand, would that also be a part of a ritual for you?

Totally, it's a gesture that's almost obsessional; that's really almost trance and oblivion. It's like a meditation. It’s a repetition that takes you to oblivion. All the work I produced is not planned; I let myself be surprised by what my hand and my energy produce each day – a circle that drives my work without intellectualization.

So as far as the working process goes, you don't work from definite plans, you just let your inspiration wander?

Yes, I try as much as I can to let myself go. Sometimes I rely on an idea, a desire, a choice of textile for a starting idea, but for ornery, it has to come out alone, by itself.

How did you come up with the clothing as a support for art?

I wanted to show all this vocabulary, this alphabet with a sewing needle, that I had created over the years in costumes. It imposed itself, the clothing/art piece. But by 2006, it had become so difficult that I changed to being a

full-time mixed media artist, because my work didn't find its place in the context of fashion. It's a bit complicated, but you don’t decide your inspiration. You have to go where you feel you're being pushed.

You are known for your passion and support for art craftsmanship. It's a real language of borders and sequins.

And dyes and colours also.

Yes, and hasn't it become more and more difficult to remain faithful to this art craftsmanship, especially in a context where everything must be fast and lucrative?

It is a challenge, but one in which you can't waste yourself.

Sometimes it is inevitable to go there. The project is to go towards prêt-à-porter. I had to go with the collection to mark a return, but now I will design prototypes, which will be translated to a simpler form. And we'll work with industrials, in a relationship more centered towards the public.

We'll see how that works, but today I feel like having fun, find solutions to be there in a simpler way.

Do you have any future projects in mind?

Well, art and prêt-à-porter, and to meet halfway between the two. Let's see how that works out. //fredsathal.fr

Coat by MALDOROR

It's a man's World Photography Lucio Aru & Franco Erre Styling Veronika Dorosheva Hairstyling Masami Hanyuda@Intercontinental Hair Make-up Yvonne Wengler using MAC & Dermalogica Cosmetics Models Tim Grupp & Jesco Sch채fer@VIVA Models Special thanks to LNFA // Shot on location in Berlin

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Jacket by KLEKKO

Tim (left): Coat by MALDOROR Boots by TRIPPEN Jesco (right): Top by UY Trousers by MALDOROR Boots by TRIPPEN

Jackets by KLEKKO

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Top by UY

Top by UY Trousers by KLEKKO

Jackets and trousers by KLEKKO Boots by TRIPPEN

Coat, harness, trousers by MALDOROR Boots by TRIPPEN

creative coexi stence at atelier black pin

By Charin Chong Compared to its European counterparts like Paris and London, Prague is still in its teething phase when it comes to the fashion industry. Since the Mercedes Benz Prague Fashion Weekend debuted five years ago, there has been a significant growth of international recognition for its talented designers. My journey to Prague was to discover Atelier Black Pin, an intriguing new collaborative concept taking root in the center of Old Town.

Under the conception of Hana Zouvalova, three Czech designers (Jakub Polanka, Marketa Kopecka and Mirka Talavaskova) are brought together to share an atelier, showroom, and production space. Hana also founded La Gallery Novesta in 2012, a Prague-based concept store which houses collections from over 30 Czech and Slovak designers with the support of shoemakers Novesta.

The atelier is located in a large, beautiful apartment two steps away from the iconic Tyn Church and offers each individual designer their own allocated work room/atelier space. The spacious, central living room has been transformed into a production room, equipped with sewing machines and cutting tables, and where a team of three skilled seamstresses work to produce each designers’ collections in-house, allowing for full control and supervision of their creations.

There are few who are willing to discuss the daunting challenges that new designers often face, be it financially or in

terms of workspace or production. Atelier Black Pin might not be a new concept, but it is certainly one that seems to be on the verge of providing a solid solution to these problems.

The production space also welcomes other local designers to utilize their in-house production, offering many advantages such as cutting out high production costs, generating less waste, as well as lowering their carbon footprint, in tune with the movement towards a more socially and ecologically aware production.

Atelier Black Pin, Mirka Talavaskova

Atelier Black Pin, Jakub Polanka

La Gallery Novesta, Hana Frisonsova

Atelier Black Pin, Mirka Talavaskova

Designer Jakub Polanka

Atelier Black Pin I headed over to the atelier to speak with Jakub Polanka and Marketa Kopecka (two of the current resident designers). We talked about their shared ecosystem and thoughts on the current fashion scene in Prague. Describing the spirit of the atelier, Marketa reve, “It’s quite the perfect environment for us, sharing a workspace is a great solution financially for someone starting out as a designer.”

“Another advantage is that we share the good and the bad; we always have a support system,” she continues. “It’s hard being alone and getting stuck without someone to give you feedback or challenges. Here, we constantly get inspired by each other and share ideas as creatives.”

Coming from Paris, where she had worked as a designer for 10 years, Marketa understood how difficult the industry could be. “It’s important for designers to think about selfproduction, it’s a simple idea: It’s one place where we can consult each other for advice, design our collections and produce everything under one roof. We encourage each other because we are all in the same boat as we develop our brand.”

This coexistence within the atelier feels harmonious, yet some new designers might be concerned with the close proximity of their workspace and the competitiveness of the industry. I asked them about their thoughts on the issue. “No, we don’t feel any competition as everyone here has a distinct style that communicates to different people, so we do not worry about copying each other. For example, Jakub and I happened to buy the exact same fabric, but produced two completely different styled coats with it,” Marketa replies.

Jakub explains how the atelier will also serve as a place to showcase new collections and foster a direct connection with clients. “The atelier also welcomes people who are interested in a different buying experience and want to know who is designing their clothes.” He continues, “We’re located in the center of Prague, which is quite magical, and we can do fittings or alterations on the spot while also having the opportunity to introduce our individual clients and buyers to the other designer “roommates” here. The atelier has become sort of like a family home where we work together and help each other, yet we are not pressured to cooperate all the time. It’s a place to meet and collaborate, but we still have our individual space and freedom.”

“ The atelier has become sort of like a family home where we work together and help each other... a place to meet and collaborate, but we still have our individual space and freedom.” − Jakub Polanka

“We need to be brave and confident in our own creations. It’s not just about quantity and cheap trends, but quality in design, material and durabilty.” − Marketa Kopecka I asked them about their thoughts on the current fashion scene in Prague. Jakub explains, “The current fashion scene here is still young, we first started seeing concrete talent emerging 10 years ago. But there’s a growing consciousness from designers and buyers. Designers are still finding their own sense of style, instead of just copying what they see from other European cities.”

We also discuss how many young designers feel threatened by conglomerate brands offering cheap “fast fashion” with little regard to quality, production or environmental and social implications. “Fast fashion is unfortunately part of the world,” Marketa responds. “We need to be brave and confident in our own creations and educate consumers that it’s not just about quantity and cheap trends, but quality in good design, material and durability. I hope that more people will understand the notion of small production and perhaps a more personalized approach where designers meet with their clients will help to raise that consciousness in Czech Republic. I feel that once everyone’s basic needs are fulfilled, the other needs will fall in place.”

For Jakub, his approach to design is all about the savoir faire. “I want to design, create and touch fabrics instead of just being a mascot for my brand. I like the construction and freedom, and of course this brings responsibility. We have to make good choices and be honest with ourselves, to create what we want and what people will want. Mistakes have to be made and rules have to be learnt so we can break them.” He elaborates, “There’s also a freedom that comes with being a new designer, because you don’t know what you can’t do, so you try to do anything and everything. The next step is finding an equilibrium.”

They also introduce Project Kaleidoscope to me, another project that the residents of the atelier as well as other Czech designers participate in. The project unites fashion designers with long-established Czech textile companies to create unique pieces for the public, integrating tradition companies with the new landscape of fashion.

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La Gallery Novesta The following day, I visited La Gallery Novesta to speak to the owner, Hana Zouvalova along with Marcela Krizova, a Czech designer who also works at La Gallery. On how the atelier came to be, Hana explains, “A lot of young designers I work with spoke about not having an atelier, or not being able to produce collections on their own. We tried to come up with a solution to support their work process.”

“Last August, we created Atelier Black Pin as a place for individual designers who needed a workspace to be able to produce in-house with talented seamstresses,” she continues. “We wanted to support local production and use local fabrics to encourage artisans and small-scale fabrication.”

When asked about the buying habits of consumers in Prague, Marcela adds, “People are slowly focusing on quality and materials that are durable. Due to social and ecological awareness of the negative impact of mass production, people are not only thinking about the price tag.

Hopefully this will lead to the rejection of disposible fashion.” Hana adds, “Currently, the visitors to the shop are a mix of loyal clients to a specific brand, and those who like to discover new designers and new brands.”

I asked Hana what we can look forward to seeing from Atelier Black Pin in the future, and she introduces the upcoming project debuting in 2015 that will tie in the atelier to La Gallery Novesta; a capsule “Black Pin” collection featuring the designs of the three current residents.

“We aim to share our experience and knowledge of the business because as with any new project, it can be a hard and long journey.” − Hana Zouvalova “Each designer will design for the Black Pin line based on a connecting concept, which will then be produced inhouse at the atelier,” Hana elaborates. “La Gallery will also continue to help designers gain publicity through events, like presenting new collections in our shop.”

“There are many talented designers in Czech Republic and Slovakia, but sometimes they need to learn about branding, marketing, selling and pricing, as well as being able to connect to their clients,” Hana explains. “We aim to share our experience and knowledge of the business because as with any new project; it can be a hard and long journey.”

Leaving Prague, I felt inspired by the passion shared by this group of individuals. This innovative commune of sorts could have the potential to spread to other cities where like-minded, struggling designers could come together and support each other, individually and as a whole. It’s encouraging to see individuals going back to the basics of creativity and production, without all the smoke and mirrors. Personally, I hope that this unique atelier’s concept catches on, for future designers and consumers alike.

Jakub Polanka Jakub created his brand in 2003 and has since become one of the most successful designers in Czech Republic. Jakub’s collections focus on the creative process and not just the end result. He creates with his own emphasis on style instead of following trends. Graduating from the UMPRUM in Prague and the Institut Français de la Mode in Paris, he has previously collaborated with renown brands like Hermés, Philippe Starck and Peclers. He has won numerous awards including the Czech Grand Design Award, the Hubert de Givenchy Award for Creativity and the Elle Style Award for best Designer of the Year, as well as being a finalist at the Hyères Festival. He splits his time working on his elegant and conceptual collections between Paris and Prague. //jakubpolanka.com Marketa Kopecka Marketa started her journey at a very young age, drawing and transforming her father’s shirts into dresses. Having graduated from the UMPRUM, Prague as well as the École Supérieure des Arts Appliqués Duperré, she had previously designed for Katerina Geislerova in Paris before launching her own brand in 2013. She debuted by designing handbags before embarking on her first womenswear collection in September 2014. Her style is feminine and structured, with a focus on organic materials like leather, feathers, and horsehair. Her silhouettes aim to enhance a woman’s body through cutout details and volume. //marketakopecka.com Mirka Talavaskova Mirka graduated from the UMPRUM in Prague, continuing on to the École Supérieure des Arts Appliqués Duperré and Atelier du Sartel in Paris. She received the Czech Grand Design prize in 2008 and her goal as a designer is to create luxurious, classic pieces that every women can pair with any accessories, giving them freedom in the decision making of their complete look. //mirkatalavaskova.cz

Addresses: Atelier Black Pin, Celetna 8, 110 00 Praha 1 La Gallery Novesta, Elisky Krasnohorske 9, 110 00 Praha 1

Atelier Black Pin, Marketa Kopecka

Designer Marketa Kopecka

Hana Zouvalova

Jacket and top by JITROIS Bustier by WACOAL Skirt by A.F. VANDEVORST

“You trade in your reality for a role You give up your ability to feel and in exchange put on a mask” –Jim Morrison

masquerade Photography Isshogai Styling Grégory Ambroisine Photography Assistant Vincent Sadoul Styling Assistant Samantha Mandar Model Constance@IZAIO Models Special thanks to Master Masato Matsuura@deuxspirales.fr for mask // Shot on location in Paris

Suit by ELISABETTA FRANCHI Gloves by ISABEL BENENATO Sandals by FATIMA LOPES

Corset by MR. PEARL

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Jacket and trousers by ISABEL BENENATO Corset by ANTONIO ORTEGA Sandals by FATIMA LOPES

Jacket by PLEATS PLEASE ISSEY MIYAKE Top by JITROIS Trousers by KAROLINE LANG

Dress by GRETA CONSTANTINE Belt by ELISABETTA FRANCHI Trousers by GIORGIO ARMANI

Jacket and trousers by ALEXANDRE DELIMA Belt by ISABEL BENENATO Shoes by SCHUTZ

spring accessories: shaman chic

By Jessica Cooper

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1. Embroidered Feather Cape by Busardi 2. Ring by Khaninn x Harryhalim 3. Akiko Eyemask by Agent Provocateur 4. Crystal Cage Bangle - Printed Accessories Collection by Diana Law 5. Tribal Earrings by Dior 6. Petales de Neige scarf by Louve De Nordneg

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karma chameleon Photography Hanako Whiteway Styling Gabrielle Stival Hairstyling & Make-up Nina Fay Robinson Models Conor Doher ty@Elite London // Shot on location in London

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Jumper by RACHEL JAMES Headpiece by CLEA BROAD

Waistcoat by DIORALOP Jumper by NATURAL SELECTION Shorts by FYODOR GOLAN

Mask by CLEA BROAD Coat by RACHEL JAMES Dress by NICOMEDE TALAVERA

Mask by FUMBALINAS Coat by SADIE CLAYTON Dress by T.LIPOP Jumper by NATURAL SELECTION Shoes by CAT FOOTWEAR X CHRISTOPHER SHANNON

Dress by NICOMEDE TALAVERA Trousers by DIORALOP Socks by STANCE Shoes by SAUCONY Hat by G.F. HAWTHORNE Glasses by ROCKOPTIKA

Crown by VICTORIA GRANT Jumper by KEVIN GEDDES Shorts by MOHSIN Shoes by SAUCONY Socks stylist's own

Hat by VICTORIA GRANT Jacket by LNZ Top, vest and leggings by ISSEY MIYAKE MEN Shorts by NICOMEDE TALAVERA

mind mapping w ith andrea cammarosano

By Marlo Saalmink Photography by Ruggero Lupo Mengoni for Andrea Cammarosano SS15 A collage of the mind. One that is so profound, so outspoken, that it was simply striking. With Florence as the backdrop, the Arno River ever so still under faintly lit steel-blue fall skies, I sat down with designer Andrea Cammarosano. Over several hours, we remained locked in conversation, touching on the subjects of mentorship, the power of creation, as well as Italy and a healthy dose of classicism. Ours was a calm, yet spirited encounter of two wandering souls meeting over red wine with strong espressos to finish.

As each of us has a connection to our respective pasts, I firstly wanted to ask Andrea about his upbringing – to simply start at the beginning.

“My parents were both history teachers: My father taught medieval history, and my mother, contemporary social history,” he explains. “Before this, my dad had been an illustrator for an Italian paper, and he did beautiful and witty drawings for us, which he still does today.”

This meant a strong foundation for what was to come – as the connection to fashion wasn’t too far behind. “Well, I truly inherited their interest in culture, in history, humor and a profound commitment to art, beauty, society. From a certain point of view, fashion was a natural choice for me, as I felt it was more urgent, dynamic, and communicative, compared to art.”

Andrea eventually continued his path to study at the Royal Academy of Fine Arts in Antwerp, where he worked under Walter van Beirendonck and Linda Loppa, two individuals who left a profound mark on his vision of life.

“They taught me how to love and respect creativity,” reflects Andrea. “To always be honest, to gain satisfaction from your work and to help other people as you build your own business. Their earnestness, discipline, and unconditional commitment have inspired me so much.”

For me, this these experiences illustrate that Andrea works from a highly personal perspective, pushing him to look closely at the world around him. “The key to creation, for me, lies in interpretation,” he explains. “Therefore, any object that I use as a reference symbolizes a determined social or cultural issue; aesthetics lie in the essence. This is the way to connect our mind, which is intimate, to the world, which is factual.”

When looking at his work, one can imagine this connection of illusion and reality. Always maintaining a careful balance, as Andrea sums it up, “If an idea is too light, it evaporates, but if its too heavy it drowns.” I could not have summed it up better myself.

As our dialogue continues, we dig into his latest collection in the Paris showroom, which is shaped around a proud and referenced heavy menswear silhouette. As I share my experience with these highly sensory and carefully arranged garments just downstairs from Walter and his showroom, Andrea explains, “I really wanted to look for lightness; the weightlessness of the philosopher, that jumps across the surface and looks at the essence – creating new objects that are poor but exquisite, simple but sophisticated.”

Andrea Cammarosano SS15

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“I really wanted to look for lightness; the weightlessness of the philosopher, that jumps across the surface and looks at the essence – creating new objects that are poor but exquisite, simple but sophisticated.” − Andrea Cammarosano The concept is clear; however, what does the collection entail in regards to about the actual functionality and fabric selection? “In this sense, I re-established the essentials of my summer wardrobe: sweatshirts, knits, t-shirts, Bermuda shorts and a light summer coat inspired by a lab coat,” he responds. “Next to this, I wanted to approach with joy rather than heavy ponderation: classic references, such as the Belvedere torso, which we adorned with splashes of glitter brushstrokes.”

“Think of a t-shirt with a marbled print that could double as a toga,” he goes on. “Pleats in the clothing were taped down with ribbons and laminations, creating immediate, haphazard shapes.” As Andrea explains his work, a connection is directly made with the innate practicality of fashion design, which is refreshing. After all, garments are to be worn – perhaps even to enhance or underline identities.

As contemporaries at the Polimoda Fashion Institute in Florence, I wanted to talk with him more about how he connects with the new generation of talent. “What I try to stress to my students is that, as a young designer, you really can use your advantages,” he clarifies. “You might not have the money, the structure or the resources, but you have ideas, fastness, and motivation. What you need is a good heart, a good head and a good pair of hands. If you have those, you can achieve everything you want.”

After this personal statement, I am curious to finding out how Andrea feels on how graduates can connect to this industry, that is known to be so massive and irreverently cutthroat.

“Well, I prefer to focus on the great things that I still see around, which are being made from young, original peo-

ple. The community that is forming around the value of things – in art, in literature, in craftsmanship – perhaps is currently overshadowed, yet it remains strongly present.

We are just consumed by a moment of frenzy for cheap stuff; we will surely get to a tipping point, when good products are so scarce that everybody will be craving them.”

In the light of this, it is important to shape a connection with his homeland of Italy, a country with such a proud history of craftsmanship and traditional tailoring. It would be such a disappointment to see these become further undermined. We discuss on how to better link up the past with contemporary functionality. “Italy is a great and anarchic country,” he states. “We should channel this anarchy not into self-destruction and belligerence, but into creative chaos. Yes, the quality of what we make is high, but that is not enough: the ideas should be even higher. When I think of designers like Walter Albini, Gianni Versace or Franco Moschino, their strength was really their spontaneity – and that to me is a very Italian quality.”

Clutching onto my third espresso, I ask Andrea what would be next for him, how to shine and make a personal mark.

“Well, I like to tell my fellow Italians: Let us focus madly on our ideas, make them bold and beautiful and put them out there where they need to be.”

As I politely make my goodbyes and let him get on with his work, his intense gaze and strong personality remain with me. Meeting Andrea was more about the man than the garments; it came from a highly individual connection with a fellow wayfaring spirit, one that truly opened his heart. //andreacammarosano.com

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Reaching the Air with Busardi

By Harriet Bowe Photography Yannis Vlamos, ShuWei Huang and James Blite While the Bangkok-based, prêt-à-couture label Busardi (cofounded by mother and son, Busardi and Tuck Muntarbhorn) has become a regular fixture in the London Fashion Week schedule, it’s fair to say that Paris has always been the brand’s spiritual home.

Busardi’s intricate needlework and ethereal beauty have become renowned in their every collection, making them a prime candidate for the Parisian runway. At the time this article was being written, the label is about to embark on a seminal moment within its history – their Paris Couture Week debut.

“Our Spring/Summer 2015 collection took inspiration from the sweeping landscapes

and micro-environments of South America,” explained co-founder and creative director Busardi Muntarbhorn.

gently shifted through the air, enhanced by Busardi’s signature use of embroidery, lace and appliqué.

Their London Fashion Week Spring/Summer 2015 collection entitled “Air” tells the story of a strong and beautiful woman personified into an eagle shrouded in an armour of accessories, including ear cuffs, bracelets and necklaces moulded in solid silver and covered with Swarovski crystals and pearls, challenging the traditional notions of eveningwear.

Floating hemlines and floor-skimming skirts offered red-carpet grandeur while Busardi’s trademark cape was once again re-conceptualised for the spring and summer seasons.

One is carefully constructed out of overlapping layers of white ostrich feathers and laser-cut lace; while the other – a stunning silver-and-blue lace cocktail capelet – is expertly layered with hundreds of chalcedonyhued feathers.

The attachment of soft ostrich feathers on cocktail dresses, evening gowns, capes and skirting nodded to the exquisite birds in flight, while lace-formed adornments commanded a serene glacial allusion.

In an exquisite drawing room of a Georgian mansion in London’s Mayfair, billowing silhouettes glided down the catwalk; feathers

Busardi’s Spring/Summer 2015 “Air” reappeared at Couture Fashion Week on 27 January 2015 in Paris. //busardi.com

Shadow & Substance Photography William Ferchichi Styling Krishan Parmar Hairstyling Grayson Galway Make-up Phoebe Taylor Model Julie Dumont@Profile Models Photography Assistant Vivianne Picard Post-Production Andrei Zozulya-Davidov // Shot in London

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Jacket by MARTINA SPETLOVA Trousers by YIRANTIAN

“Between light and shadow, between science and superstition, and between the pit of man’s fears and the summit of his knowledge.” – The Twilight Zone

Dress by CLON8

Dress by SIMON EKRELIUS Hat by LITTLE SHILPA

desig ning dualit y

By Jessica Cooper Like a sprinkling of magic, something happened overnight.

We have entered a parallel world: one where designers have started to favour whimsical and dreamlike styles over brash and slogan-heavy designs. I went in search for the designers who stray away from the norm, those who are the creative genius behind some of the most unique designs on the runway this season.

Elliott James Frieze, designer of ISABEL GARCIA GOLD LABEL Photo by Jane Peng

Photo by Christopher Dadey

Felder Felder With a name so good you have to say it twice, German-born, London-based designers Daniela and Annette Felder are the identical twin sisters making their way through the British fashion circuit, capturing the industry’s imagination while designing with twin power.

trigued by the idea of opposites and combining contrasts into their collections. As twins, you would think they would clash, but actually they work in sync. “We love working together. It's a great balance as we complement each other, rather than doing exactly the same thing.”

In 2007, FELDER FELDER were the recipients of the prestigious NEWGEN / Topshop sponsorship and, in 2008, the sisters were nominated for the Best Emerging Designer of the Year category at the British Fashion Awards. With all these achievements under their belt, the British Fashion Council invited the twins to present their label at London Fashion Week, where they have been showing since 2010 – and they haven’t looked back since.

With that in mind, FELDER FELDER combines opposing fabrics other designers wouldn’t dare pair. “It's a process of collecting images and creating moods. From there, we develop prints, textures and fabrics, which we then translate onto shapes.” The sister’s SS2015 collection was filled with gleaming metallic skirts, paired with soft silk blouses, which gave off a bohemian and romantic vibe. “Our collections are all about finding harmony in contrasts.”

But with all this success, their background remains quaint, like something out of a fairytale. “We grew up in the German countryside, pretty much in the forest. There was not much outside stimulation so we had to create our own world in a way. We took inspiration from the covers of our father's record collection and started dressing ourselves like the musicians from those covers.

As there weren't many vintage stores, that meant customizing trousers into flares, tie-dying pieces, et cetera.”

However, this infatuation with their father’s records had already influenced them in a major way. “One of our key influences is music; and since we feel passionate about music from the 1960s, 70s and 90s, there is probably a little nod to those eras in our collections. Indeed, there is something very nostalgic for these eras, almost a longing to step back in time.”

Aside from their musical inspirations, the Felder sisters are in-

But as fast-paced lifestyles get the better of us all, FELDER FELDER has certainly caught up with the demands for high fashion while remaining unique and luxurious. I ask the sisters how the overall mood has shifted in fashion. “Girls are looking to be at ease with themselves, as well as feeling sexy. It's that perfect combination that everyone is looking for. Not only fashion but also life is fast, and styles should work for multiple occasions; so you can hop from one thing to the next without worrying about outfit changes.”

Before they leave, I ask the sisters what their philosophy is, to which they reply, “Trust your instincts.” And with the success these girls continue to receive, I would take this as very sound advice indeed. //felderfelder.com

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Photo by Jane Peng

Elliott James Frieze – Designer of Isabel Garcia Gold Label Since being founded in 2009, Italian label ISABEL GARCIA has risen up the ranks creating elegant and luxurious ready-to-wear pieces. The man behind ISABEL GARCIA’s emergence onto the international stage, Elliott James Frieze, was appointed Creative Director in 2014.

Elliot’s pieces have been described as “goddess gowns,” as the fabrics he uses are intensely sumptuous and luxurious; elevating the wearer into an otherworldly status. Given that only the best quality fabrics are sourced and come from all over the world – the silks are imported from Italy, satins from France and cashmere from Yorkshire – Frieze aims to pick the best a country has to offer, resulting in a collection that carries a unique personality. This global sourcing of fabrics makes the collection rich with international heritage and supports his ideal ISABEL GARCIA woman. “ISABEL GARCIA is a world traveller,” explains Elliot.

“A strong, modern, educated individual, she reads classics and makes them her own when lost in thought.”

What lies central to Frieze’s inspirations and romantic aesthetic stems from his own childhood. “I've always loved art and literature. We were fortunate as children to be brought up surrounded by all forms of art,” he reminisces. “We travelled a lot as a family, visiting the historical towns and cities of Europe. We learnt a lot unknowingly, and I'm always amazed at how much I remember from my past.”

On his inspirations, “The initial inspiration can be trigged by the smallest of factors, when I allow my mind to wander,” he explains. “I often lose myself in paintings. For example, it can be looking at a Constable Landscape and imagining myself there. I can feel the breeze in the stroke of the brush against the reeves, and the ice-cold temperature of the brook in his compounds of colour.” He continues, “I grew up in the heart of the Brecon Beacons in South Wales. It's the familiarity with nature and the bleakness of winter that I experienced as a boy that enables me to transcend. Paintings can be so powerful, transporting you to a different time or place. It's how I escape.”

On Elliot’s designs, one often finds subtle little details nodding to a past long, long ago. From a trail of embroidered butterflies to Japanese orchids swirling around a dress, Frieze strays away from contemporary norms. “I'm a great believer in progression,” says Elliot. “But our hyper-commercial society upsets me.

It's very destructive: closing down industries, effecting areas economically and destroying the distribution of wealth. I love craftsmanship; I love to learn. Speaking to experienced courtesans about their work, life and experiences is invigorating; the work that they produce is to me priceless.”

With designs both feminine and whimsical, I asked the designer whether this is nostalgia for the past. “I love beauty,” he responds. “Of course beauty can be translated in many ways; it's personal to everyone. I love the outdoors and the freedom that it allows; the opportunity that it gives the mind, feeding to you not only what you see, but what you can interpret. I'm fascinated by the wind and the breeze; the way it can move textiles. A natural element that can feminise the most masculine of prints.”

Since Frieze divides his time between Italy and Asia, I asked him if he thinks Asia balances ancient tradition and history with modernity, or if places such as London and New York have abandoned the glamour of the past for a more hyper-commercial society. “London for me will always be a great place of inspiration,” he responds. “You can sit outside and watch the emerging streetstyles go past. You can see trends before they migrate the shores. The Victoria and Albert Museum, together with the British Library, are great sources of inspiration, but it's true to say that Asia puts a specific importance on ancient tradition.”

With these wise words, I ask for his personal philosophy. “Take time for yourself; don't get caught up in today's world. Dream, lose yourself. You can find the most unimaginable beauty if you switch off and let your mind roam. As a child we were all so inventive. I feel that the new generation has really missed out.” //isabelgarcia.it

Designer Manish Arora Photo by Julien Vallon

Manish Arora Welcome to a world filled with candyfloss pink and sparkling gold, and one where MANISH ARORA’s dominates. As one of the most celebrated and inspiring contemporary designers in the fashion world today, his experimental pieces have garnered attention worldwide, having been worn by many celebrities, including Lady Gaga and Katy Perry.

Inspired by his Indian heritage, “I like to have references from the past,” he says. “But always adding from my own everyday experiences, fantasies and personality.”

His trademark look mixes contemporary psychedelic designs with traditional Indian elements. On what makes him unique in this competitive industry, he responds: “My work – and how I keep it honest to myself.”

Launching his eponymous label in 1997 with retail sites in India, Manish’s quirky pieces quickly gained attention around the world. After exhibiting his collections at Fashion Week around the globe, it was at his Paris Fashion Week debut in 2007 where Manish truly left his mark on the fashion community. I ask him where he gets all his inspirations from, “Mostly from the places I travel to and the different people I meet.”

Like his fantastical designs, the messages Manish wants to convey through his collections are, in-itself, dreamy and romantic.

“It’s about a free-spirited traveller, in a dream state,” he explains.

“Tripping through pastel landscapes of roses and spaceships.

And my work is an extension of myself, so it comes very naturally. I love the use of intricate embroidery with positive colours and beautifully crafted prints.”

But in a world where the runway is currently dominated by neutral palettes, Manish’s brilliant colours and prints have burst into the scene – but he also likes to remain balanced. As he puts it, “I love bright colours; we have combined these with rich, dark colours as well in our collections – and will continue to.”

With his use of bright colours and luxurious fabrics, Manish always emphasizes fine craftsmanship. I ask him what his views are on hyper-commercialism, and he responds: “I love beautifully crafted pieces, but at the same time I also consider the commercial viability of the garment. I don't let the commercial aspect overrule my creativity, but I do understand its importance for any brand to grow.”

With such daring and bold, colourful designs, surely he has a specific woman in mind for his collection from a commercial aspect. “I like to see the wearer happy,” he says. “It could be anyone super confident, who enjoys colour, prints and life as it comes. I feel fashion has become more global and people have started to embrace it more, making it their own and enjoying it.”

As with the other designers, Manish finished the conversation by sharing his philosophy: “That life is beautiful – and I like it very spontaneous.” And with collections surprising audiences everywhere, we look forward to what Manish has up his sleeve for next season. //manisharora.com

Cotton printed shirt by CÉDRIC CHARLIER

Asylum Photography Sam Ssefa Styling Giulia Querenghi Hairstyling Shuko Sumida Make-up Elsa Durrens Model Matilde R@Trends by Metropolitan // Shot in Paris at Bellanopolis Studios

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T-shirt by ACNE STUDIOS Belts (around neck) by ISABEL BENENATO

Paper effect cotton dress by COURRÈGES Tights by ELSA DURRENS

Sleeveless cotton shirt by NACO PARIS Leather harness by ZANA BAYNE Cotton panties by VELVETTE Socks by FALKE Leather sandal by ESSENTIEL

Cotton shirt by 1828 by ZOEPPRITZ Cotton panties by ACNE STUDIOS Leather cuff by ZANA BAYNE

Cotton dress with zip details by A.F. VANDEVORST

Multiband bandage top by stylist Scuba shorts by HUBER EGLOFF

Cotten sleeveless dress by ACNE STUDIOS Metallic pencil skirt by JEAN PAUL GAULTIER

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“Everyone carries a shadow.” − Carl Jung

culture/

They Came Down from the Heavens

the antiquity in the faux

By Andrei Zozulya-Davidov Blurring reality with the psychedelic in a rococo-ish and ornate style, American artist Kris Kuksi brings us a sense of apocalyptic times ahead or new beginnings: Old objects, metal parts, wood, small toys and mechanical parts are reshaped by incorporating new elements of the macabre with satirical whispers that become enigmatic shouts, as we step back to view a complex artistic interpretation of the fall of the modern industrial world with his works of Fantastic Realism.

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You’ve recently had a new show in Los Angeles called The Antiquity in The Faux. What was it about? The presence of the Antiquity is very strong in your sculptures, how important it was for your latest show?

Antiquity in the sense of enjoyment making things look old, although the parts used to make these works are brand new and chiseled from the modern world of kitsch and home decor vanity. I guess the importance is that there is a real pleasure in making these works look old or timeless, and that there was a connection to how most people appreciate the “cool, old stuff” – ha!

I clearly remember such sculptures as A Tribute to the Madness of Beethoven and the Church Tank series, and what I’ve admired the most about your works at the time (and I still do today) is how you use sculpture as a bridge between the real and the surreal. Are you doing it intentionally, or is it something unconscious?

Genetic predisposition to the surrealist movement is probably a vain answer to give you. I suppose it is in my nature to be surreal; if you know me personally, my character includes expressing a dark sense of humor, and that shows up in my works although very subtlety more often than not. Bridging concepts to other ideas in my work is the composer’s trademark, and thus making a point through an odd combination is how something like the Church Tank succeeds. So much like an equation that is “this” added to “that” equals dark, humorous, slightly edgy surreal madness!

Now let's get a little bit obscure: Would you consider having a coffee with Hieronymus Bosch at a service station in Kansas? If so, what you would like to ask him?

First of all, I would tell Hiery that we need to get out of here; it’s not safe here for a person like you!

Then I’d take him to that coffee shop that populates all areas of the world, where we could relax a little more. Then I’d ask him what does he do to ensure great ideas always come. Ideas, I find, come at their own time. You can’t force them to magically appear, so I wonder how Bosch was always successful with his bizarre ideas. Then I’d ask him to thumb wrestle.

You live and work in Kansas. Was that a deliberate decision? How strong is your connection to the desert?

Well, I grew up here, and the fact that it is centrally located in the U.S. makes it very handy when delivering pieces to either the East or West Coasts.

One needs to visit to see what it really is. I’ve lived in very dry places but never felt an influence on my work. However, the sunsets here are to die for.

From the outside, Kansas may seem very strange.

From the inside, Kansas is the perfect strange for an artist. There are tons of creative people in this state; unfortunately, we have a governor that cut state funding to art programs a number of years ago. But if people know our history, people make the change. We insisted it be restored, and it was.

Kansas is surreal. A very conservative place, but all the more a great place to make art.

It might sound cliché, but I have always dreamt about walking in the desert listening to “Strange Days” by The Doors. Did you ever have a similar experience?

“Strange Days” was a huge influence for me in my high school years, so I can totally relate to The Doors and their approach to sound and mood.

Another song that triggered a lot of solitary emotion was “The End.” I truly felt moved by that work from them.

I’ve recently discovered that Guillermo del Toro collects your works. I wasn’t surprised; I mean, I kind of see you two guys as mental twins. Do you agree?

Yes, he is very kind, and we had exchanged some e-mails prior to him collecting a couple of works of mine, though I haven’t met him yet. His vision is truly genius, and I'm honored just to be in his collection.

Guillermo talks about the presence of obsession in your works, is he right? If so, could you name a song, a movie or a painting so I can picture the level of your obsession?

Wow! Yes, obsession would be accurate to describe my works, and to answer your question is a tough one. But perhaps The Rite of Spring comes to mind from Stravinsky. That is what I’d say relates the complexity and oddity of that style of composing. I suppose people will always admire obsession in any form. It’s truly human nature. //kuksi.com

“From the outside, Kansas may seem very strange.

From the inside, Kansas is the perfect kind of strange for an artist.” − Kris Kuksi

Der Ubermensch of the Post-Post World Calamity Variety

Artwork by Ruta Pu. of Terrible Twins.

Text taken from Haruki Murakami’s “Hard Boiled Wonderland and the End of the World” translated by Alfred Birnbaum and to which Ruta Pu. does not own any rights, instead used for inspiration and reference.

a naked feast of friends

By Hubert Crabières 112

depart: surreal meets science

By Stephanie Meisl Photography by Andreas Waldschütz for Depart Austrian artists Leonhard Lass and Gregor Ladenhauf, the creative minds behind the art group called Depart, sat down to talk with Stephanie Meisl to discuss their work, influences and the “dark appearance” demonstrated throughout their several art projects over the past decade.

Cloud Chamber Diaries

House of Drift, costume by Lisi Lang

Your art is kind of dark with a touch of mythology and magic, and there is always a surrealistic influence. What does integrating all of these topics into your art mean to both of you?

Leo: There's a poignant interview with Alan Moore about the relation of art and magic that excited me deeply when I read it years ago, because it seemed to touch the essence of our artistic practice. He states, “Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness.” This sums up our poetic approach pretty well. Our artistic device is the subversion and re-linking of symbolic-systems involving sounds, images, words, gestures, mathematics, etc. Our goal is an immediate experience.

Gregor: Archetypes and the concepts of “the uncanny” and “collective subconscious” are all very strong sources of inspiration. We are very Jungian in a way; we love ideas like synchronicity, serendipity, and surrealism. There is a strong predilection for stories and situations that move the mind in unknown directions. Maybe we just love surprises. Or rather we love to provide them, because we enjoy them ourselves. Not necessarily in the sense of “things happening suddenly,” more “feeling dumbfounded, but in a good way.” There is definitely a strong urge to achieve a moment of elation, a sensation of “everything is connected.”

Leo: Exactly. When we started working together we were both independently excited about the paradoxical nature and the ideas of Zen, which remains a strong influence until now.

I'd rather call the “darkness” that many people see in our work obscurity, enigma or mystery; it has no negative implication or pessimistic tendency. Our work ventures into darkness, into experiences we don’t understand; it looks

for blind spots and tries to shed some twilight on them.

However, it works the other way around as well. We take things that seem perfectly ordinary and shift them into strangeness to allow for a different reflection. It’s our jump down Alice’s rabbit hole.

How is your art linked to your private life? Is there anything you try to compensate with it? (Fear, love, hate, sadness, emptiness?)

Leo: It's fundamentally personal and my way to grasp and cope with reality in general. It's my default idle mode, and my extremely understanding girlfriend grants me sufficient time in my atelier. On a larger scale, apart from maybe teaching, art is the most relevant thing I can contribute to society with my interest and abilities.

Gregor: It’s hard to say if there is any ongoing compensation at work; I think it depends. The Freudian way would be to talk about sublimation, and I am pretty positive that at a closer look you could find lots of indications for these processes in almost every artist’s work; but then again, all the sentiments you have mentioned have one thing in common: They might inspire you to create something profound, and at the same time they can be an immense hindrance.

Personally, I think a stable private life can give you much more energy on a larger scale; whereas, dramatic situations can have a more momentary and intense impact on creative work.

The first project I saw was I am Sitting in a Room. Presented at Schmiede, in Hallein, I was forced to either leave the building or be part of the performance. Choosing the latter, I am still astonished at its complexity. How would you describe your evolution since then?

Cloud Chamber Diaries

“We take things that seem perfectly ordinary and shift them into strangeness to allow for a different reflection.

It’s our jump down Alice’s rabbit hole.” − Depart

Leo: During that time, performance was still a huge part of our work; now we have shifted more towards immersive installations. I have this feeling though that every work we create is targeting our own particular and obscure concept/idea/vision from just a slightly different angle.

Our first works might have been a shot in the dark, but with every new project the outline of this idea gets a bit clearer.

Of course, we need to explore as many different angles as possible to advance, and we can never succeed in completely discovering it. So, in a way, every work adds to our understanding of what we actually need to say.

Has technology development influence your work since then?

Leo: We have a love-hate relationship with technology. We embrace its possibilities but despise its specifics and dependencies. We try to keep it in the background, although it consumes a lot of effort. On the creation side, the computer is our natural tool or instrument; we do our best to shape it to our needs and make it behave. For the presentation side of things, it is much trickier: Tech is great for immersion but draws significantly on resources. It has the tendency to get a lot of attention, if not done right. So yes, technology definitely influences our work, but we never use tech for tech’s sake.

Gregor: Communication does get in the way a lot, because sometimes it can be really hard to explain what we need and want to a third party involved. But also, technology has helped with that a lot, of course. Like Leo said, it’s like a paradox: We want to use it as a means of providing pure and impressive experiences, but at the same time we struggle with its clumsiness.

In the past, you have reinterpreted older art projects based on art research. How do you choose the ones to reinterpret?

Gregor: We started our performance series Reverb.On because there was this urge to provide and also translate radical ideas of contemporary music of the 20th century to a present-day audience. Most of them were very obvious choices, because they are just very legendary pieces, for example “4:33” or “Vexations.” There has to be something about them that we think is appropriate for refurbishing and adding layers to, without masking or even running the risk of destroying the initial concept. Yet one thing that could be the most common denominator is their potential of challenging the audience: providing new ways of shaping perception, focusing awareness and ultimately offering ways of opening consciousness while being somehow playful and entertaining at the same time.

Let's talk about your piece “Cloud Chamber Diaries.” The War-Clouds Diary by Arnold Schönberg inspired you, but can you talk about the development of this project and your work relationship with the photographer Andreas Waldschütz?

Leo: We were commissioned by Eva Fischer and the Austrian Cultural Forum in New York to create a work relating to Arnold Schönberg. So we started our research by meeting the director of the Schönberg Center in Vienna. After going through his obvious works and ideas, we encountered an obscure book in the library, The War-Cloud Diaries, and instantly knew that this would be our reference. It documents Schönberg’s attempt to relate cloud formations to war events during his time at the front.

In terms of the working process, Cloud Chamber Diaries is a very prototypical Depart project. We first developed a general universe and the central characters (the scientist/ shaman and the virtual cloud entity) by writing small poems and algorithmic sketches, which is where we decided on the mirror setting. I programmed the cloud entity as a real-time simulation with certain behavioral modes that could easily be synchronized to the scientist’s actions.

The final result is an installation with two vis-a-vis screens, one with the real character, the other one with the cloud.

The protagonist is engaged in rituals or experiments and it is not clear if he influences the cloud or vice-versa. Every element is echoing this transitional state.

We like to work with Andreas as our cameraman because he understands our way of working that is often experimental and requires time for trial and error and readjustments. It is very important to have someone else handle the filming, to be able to concentrate on the content and the mood.

Gregor: Andreas and I met nearly ten years ago for the first time on the set of a commercial shooting. He had heard about my music, and we also connected on a musical level first. Since then, I have provided music and sound designs for several of his more artsy fashion projects. Whenever Leo and I think that we want to get the actual shooting process off our shoulders, we try to involve Andreas because he is a great guy with lots of energy and he always has a great team to work with.

The pictures in your “The House of Drift” project seemed to follow a specific story. How would you describe that?

Leo: It’s not so much a story but a metaphoric space. This was our biggest project so far, in terms of teams involved, and our way of working with them was to set up a general, formal mood-book and referential universe that anyone could relate to. The closest things to a story are three parallel dramaturgic developments (represented by three videos) that share the same chronology.

We also dealt with different levels of collective structures and processes: The first would be a treadmill-like work ritual; the second is a transformation-war-dance; and the third, an almost sacred scene of an exchange. The overall timing is synchronized in all three scenes: It starts with an entrance and the building-up of energy, which leads to a transformation, followed by a decay that falls back to the initial state. We designed costumes and ritual objects that reference each other and relate particularly to one scene, while structures and formal qualities reappear as costumes, performance, exhibition architecture, artifacts on display, texts, graphics, photographs or spoken word. //depart.at

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forgotten dimensions 122

It happened a year ago. I was walking down a sunny street. The place looked like San Francisco. Hills were extreme and white little houses were watching me from both sides. Suddenly a guy came out from one of the houses. He was dressed like an estate agent or a guy from the City, black trousers, light blue shirt, smile from one ear to another. He was walking next to me, looking straight into my face and smiling. I was looking at him. Suddenly I asked him “tell me, when I’m going to die?” “2015,” he said and smiled even more.

On a floating table in front of me I saw a hybrid of spider, mouse and a scorpion. The creature bit me so fast without even letting me look at it properly. My hands turned blue; I broke its tail. There was another one under my bed. I knew it because it was talking to me with a thin human voice. I would like to make a golden statue of a scorpion.

I was thinking about my childhood. I never thought about it and now I started. I grew up in a place called Pagiriai, a small town next to Vilnius, capital of Lithuania. The translation of Pagiriai in English, is “next to the forest”, however it also sounds very similar to “hangover”. People are always making fun when I tell where I come from; they say that I live in a constant hangover. Sometimes I feel that it is not that far away from the truth. Pagiriai was built during the Soviet era as a workers town for massive green houses complex. It was a giant complex, the largest in Baltic States, probably growing tomatoes and cucumbers. There was also a big farm in the meadows next to my house, a rich, big farm. They were killing animals for meat and throwing their bones next to the forest.

Back then the town looked like paradise - fountains everywhere and half-naked, happy children playing in the water. There were flowers and parks and nice little forests all around. There were loads of fountains, almost in every yard, in every corner there was one. Everyone had a job; everyone had a flat and simple life. When my family moved in, it was already very different. Parks abandoned, no sprinkling water and laughing children, ponds dirty and full of frogs, old guys hiding in the bushes, drinking cheap wine and throwing bottles to the high weeds of forgotten flower gardens. Just the piles of bones from the farm were still there under the trees marking the edge we never crossed. Its funny, a few days ago I was watching one linguist explaining the word “medis”, which means tree in my language. In ancient times this word was used to describe the forest. The most interesting thing is that it comes from another ancient word meaning an edge. And sure it was, we never entered that forest or tried to understand what was hiding on the other side. It was too unknown and people were scared of the unknown. However all these ruins of the past became playgrounds and adventure paradise for children like me. In the dead town, death was a game to play, to shoot someone from behind with a gun made out of stick. We were hiding behind the skulls and fighting with bones. We were playing in the ruins of some powerful system and building castles of dreams about our bright future. We were getting high next to skeletons of those massive farms and fantasizing how one day we will go to Paris, London, India and to all the forgotten islands of the Pacific Ocean. In my imagination I was building myself a sailing ship, similar to the one in the picture, which my grandfather kept on his cupboard.

When I turned 18, my ship was finally finished, I set the sails and ran far, far away and I am still hiding. That place is dead or maybe just stuck in time, in a lost decade of joy and suffering. It is another sad and forgotten dimension. Everything collapsed after we got independence. A lot of people left. However I am not longing for that past which my parents had, because I have never seen it. I am not glorifying the world I was brought to either.

I came back and I took a long walk with my father. I was showing him all my playgrounds, all the little signs and marks of my childhood. The monuments of broken future were lying in the gravel. The clouds were low and it was breezy. I recalled that dream about the scorpion. I read that it is a symbol of death and rebirth. Somehow I am always trying to connect things. Dream about myself dying this year, Pagiriai, lost in a stark dryness and the golden statues of scorpions. I should really make one giant shiny statue and place it in the main square of my town. The main squares of the towns like mine are car parks in front of the big supermarkets that killed all the little local shops. That would look so grotesque. A present for the place where I grew up and where I learned how to read and write and swear the most disgusting Russian dirty words, where I was told that making mistakes is the worst thing that can happen, where gossip was the main free time activity, where I discovered how to climb a tree, cry and suffer, talk in public, kiss a boy, count until one thousand, play forbidden games, be afraid to be myself, lie, be invisible and be very visible, fight, be honest, write poetry, do aerobics, pretend, ride a bike and swim and run from school and be a good girl, smoke and drink wine and be a rebel and be a loser and dream, dream a lot about a brighter future for us all. There were also blooming trees every spring and the smell of soil. There was a rusted metal cross hidden in the bushes for someone who died several wars ago. There were goats in the meadow, attracting children and knocking them with their horns. Dirty ponds were full of tadpoles that we caught and smashed on the pavement. In the emptiness there was where we slid down on cardboard boxes and empty rubbish bags.

There were gangs of only boys and gangs of only girls secretly in love with each other. There were bad boys not belonging to any group, perfectly fine being alone, ignoring school, frightening teachers and all the decent people. I believe they are still there, still wandering alone and drinking beer... We were walking and walking with my father and not talking much. Memories were emerging from the corners of our minds and we were shooting them into the skies with no regrets, while slowly getting closer to the edge. I heard the sound of a bone breaking under my shoe. Future was hiding in the mist.

Urte Janus

bionic carnal transitions

By Nadoukka Divin Russian-born, multi-disciplinary artist Anna Nazo explores reconstruction of the human body, a topic commonly aligned with improving physical abilities and – less often – with a demonstration of a new transitional phase for human species into a yet-to-be-known living form. Nazo composes these developments into an alternative vision of reality in a way that evokes associations of aesthetic poetry.

The Central Saint Martins graduate recently became a Lumen Prize Online Gallery artist, and a finalist in the Artist of the Year 3D Printshow Global Awards. She was selected for The International Biennale of Contemporary Art in Florence in 2015, and is an awarded artist in the Untapped Emerging Artists Competition at The Artist Project Toronto in 2015. Focusing her devotion on futurism and outer space, biomorphic transformations and mutants, she produces digital sculptures intended for a sculptural reconstruction of the human body.

With a background in mathematics and physics, her habitual mediums are contemporary materials and technologies, such as 3D printing. For her, “Technology in itself is a beautiful and a self-sufficient medium. Aesthetical usage of progressive technologies in artistic practice is critical,

and physicality, incomparable to mere 2D concepts, is essential.” A diverse list of practical experiments in subjects and media of their deliverance led her to the latest series of work-in-progress sculptural garments, Hackle and Stalactites. Inspired by mutations and produced out of contemporary materials, these works provide an original aesthetic exquisiteness that places Anna Nazo on the fashion stage.

The artistic practices of Anna Nazo originated from the process of bionic transformation of typography, delivering the purpose of the human body via vocal transmittance.

Furthermore, each subsequent study submerges her work layer by layer, from vocalised typography to performance, to the modification of human skin, and eventually to reconstruction of the core of human “self” (i.e. to other side of space coin).

Stalactites, 2014 Sculptural garments, clear film

Hackle, 2014 Sculptural garments, matte film, plastic

John Rankin self-portrait

BIFAxRANKIN or a hypothetical anteater self-portrait

By Andrei Zozulya-Davidov I’ve always seen iconic John Rankin’s work as an example of modern grotesque and bizarre photography by excellence. So, I’ve adopted a questionnaire I’ve found on a drug usage application to explore his latest publication BIFA by Rankin, a celebration of the relationship between the British Independent Film Awards and Rankin whose collaboration began in 2007.

Your new book, BIFA by Rankin, celebrates the independent filmmaking of Britain. But here’s a hypothetical: Could you deal with suddenly realizing you have died and that you are actually in the afterlife, and you are forced to watch a film about your life?

That’s so strange, I think I’m already in the afterlife all of the time – dreaming about what my life may have been. It’s something that just occurs to me about once a week (and more when I’m on holiday). But I have a vivid imagination about myself; I’m very egotistical. The reality is that a film about my life wouldn’t be that interesting!

Which filmmaker would you like to see make it?

If I had to have anybody make it, it would be Ridley Scott; he’d make me far more interesting than I’ve ever been, and hopefully Russell Crowe would play me!

Do you think your photographic process in the afterlife would differ from your current methods?

Well, I can tell you from my (kind of) real death experience, it’s exactly the same. I just keep thinking I’m alive!

Not really, but I’ve been doing it for a long time now, and I’m confident in the way I ask people to express themselves. I also try to collaborate with subjects. I’m not stealing anything from them.

What is your favourite Irvine Welsh book?

Ha – I’m not sure I have a favourite Irvine Welsh book. I love British authors, and I especially love Irvine. They are all incredibly interesting to photograph, because being British makes you very eccentric – and hence interesting to me!

Could you tell me the most bizarre experience you’ve had during a shoot for BIFA? No bizarre experiences, I’m afraid. I could make one up, if you’d like? Especially about Jamie Campbell Bower!

What was your reaction?

I kissed him, and the situation calmed down very quickly!

Strangely, it was my first experience kissing a boy; I kind of liked it. Glad it was that one though.

Also in the afterlife, you could work on an extension of BIFA and include personal favourites, like sexy-ugly Oliver Reed.

Your last book Fuck You Rankin consisted of a series of portraits exploring the middle finger insult. How would you describe your state of mind during those sessions, compared to the process for BIFA?

Definitely Ollie (he’s sexy-sexy in my book), as well as Richard Harris, Margaret Rutherford, Richard Burton, Peter O’Toole, [Charlie] Chaplin, Vivien Leigh, [Alfred] Hitchcock, Richard Attenborough, Dirk Bogarde, Michael Powell and David Lean; the list would go on and on. I’m a big fan.

Making Fuck You Rankin, I felt insulted and provoked; it was strangely liberating. BIFA was more like being a fan boy, especially with all of the greats and me asking them millions of questions. So I guess that experience was more obsequious.

Many of your self-portraits have a very strong psychedelic component. Are they a reflection of your personality or of the information you absorb on a daily basis?

Would you be able to take a self-portrait of an albino anteater if the albino anteater worked in independent British filmmaking?

I guess I’m just intoxicated with the truth.

It would depend how they looked in black and white?

You photographed Dame Helen Mirren, Chiwetel Ejiofor, Jack O’Connell, James McAvoy, Paul Greengrass, Kristin Scott Thomas, Nicholas Hoult & Rosamund Pike, among many others for the book. Was it hard to get them to take off their masks?

BIFA by Rankin is out now, distributed in the UK by Boutique Mags

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summoning dreams and reality with the voice thief

By Elizabeth Aaron

The Voice Thief is a debut short film recalling the myth of Orpheus and Eurydice, with all the high-octane drama of a Spanish telenova and the opulence of Pierre et Gilles. Written, produced, and directed by actor/musician Adan Jodorowsky, the film opens in Lynchian style when bejewelled opera singer Naya (Asia Argento) performs for a black-tie audience that includes her tearful husband Noev (Cristóbal Jodorowsky).

Bare-breasted critics in bobbed blonde wigs make note as her husband, transported, has a vision of his wife giving birth to a serpent. The audience exits with silent, choreographed precision. Noev claps wildly.

The following evening, slurping soft-boiled eggs in aggressive power suits and fur, the unhappy couple descend into a violent fight provoked by cutting reviews. When Noev throttles his wife, she loses the ability to sing. Begging Naya’s forgiveness, she demands he recover it, or she shall kill herself. Thus begins a husband’s psychomagical odyssey through baroque underworlds, on a quest to retrieve his wife’s voice. Revelling in a camp-provocateur Paris filled with drunken transvestites, saints and vagrants, Noev follows the sound of Opera in order to steal it.

His murderous, homoerotic journey through the circles of Hell leads to Naya’s transformation into a series of freaks and eccentrics. Noev encounters, among others, a Botticelli Venus in gold lamé, singing to a group of masturbating marauders. She pisses from the female equivalent of a golden codpiece (cuntpiece?) and they drink. These strange vignettes are typical of a sexually deviant, beautifully shot film, richly saturated in colour. Full of Catholic and supernatural references, The Voice Thief is an exploration of excess, the macabre and the divine, that eventually culminates in religious martyrdom.

In 2015, The Voice Thief was selected to open the Copenhagen Fashion Film Festival and will continue to play at film festivals throughout this year.

“I checked into this hotel, it’s called Crown Plaza. You should come, we can have a fun night together… I have a glass of wine for the both of us.”

crown plaza

By Cary Fagan Model Jacqueline Salinas // Shot on location in the USA

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“We things we see are.”

don’t see as they are, things as we − Anaïs Nin

senses/ 141

unveiling scents with diane pernet

By Jessica Cooper Diane Pernet. An iconic presence in the fashion industry, you see her and you instantly know who she is: a global style icon with an enigmatic look. With her international presence throughout the worldwide fashion industry, Diane has now entered into the world of perfume.

Having spent years working with master perfumers (or “noses”) before finding the ultimate combination of ingredients to immortalise her iconic sense of style in perfume. Each of the four scents from her new collection, including To Be Honest, Wanted, In The Pursuit of Magic, and Shaded, give us an intimate glimpse of what lies behind the veil.

Can you tell us about the journey of creating your perfume collection?

It is something that I had dreamed of when I was designing my own brand, back in the 1980s. I was not in a position to do it at that time, and about three years ago, I met with Cristiano Seganfreddo who said, “Now is the time for you to create your own perfumes, and I know just the person to introduce you to who can make that happen.” He introduced me to the CEO of Intertrade Group, Celso Fadelli, and that is where the adventure began.

I’ve always been recognized by my scents, even before I created my own, because they have always been a bit unusual or unexpected – or at least memorable, it seems.

As for challenges, we started out with three noses to see which one corresponded with me best.

You are such a recognisable icon in the industry. Were you nervous whether the scents would do justice to represent your personality?

I only want to make perfumes that I would want to wear myself, and that felt close to my life. I wanted to be sin-

cere and outrageous and friendly and mysterious. Two are woody; one is more oriental, and the other a bit more carnal with a note of leather. Another is citrus, tart and sensual, some say hypnotic, and the fourth one is a marine fragrance; it's something where you could picture yourself coming out of the ocean with salt on your skin. In fact, all of the fragrances were created with imagined vignettes like this as inspiration. I don't have a favourite; I love them all.

What inspired you to enter the world of perfume?

At my core, I am a creator; so, in one sense, creating these fragrances now allowed me to get back to my essence, which is a creative soul. I think that things happen for a reason though, so this must be the right timing for the perfumes, rather than back during my designer days. The whole experience has been a pleasure and a wonderful adventure, and it's only beginning here.

What does “olfactory” mean to you? What does it add to the individual?

I think that a perfume can transport you, seduce you or even be like a meditation.

I feel naked without my fragrance. For me, perfume triggers a mixture of real memories, imagined thoughts and powerful though sometimes abstract emotions.

to kill a spider he was about to crush with his foot. Moved by this single act of compassion, Buddha takes the silvery thread of a spider in Paradise and lowers it down into Hell.

Down in Hell, the myriad sinners are struggling in the Pool of Blood, in total darkness save for the light glinting off the Mountain of Spikes, and in total silence save for the sighs of the damned. Kandata, looking up by chance at the sky above the pool, sees the spider's thread descending towards him and grabs hold with all the might of a seasoned criminal. The climb from Hell to Paradise is not a short one, however, and Kandata quickly tires. Dangling from the middle of the rope, he glances downward, and sees how far he has come. Realizing that he may actually escape from Hell, he is overcome by joy and laughs giddily.

His elation is short-lived; however, as he realizes that others have started climbing the thread behind him, stretching down into the murky depths below. Fearing that the thread will break from the weight of the others, he shouts that the spider's thread is his and his alone. It is at this moment that the thread breaks, and he and all the other sinners are cast back down into the Pool of Blood.

Shakyamuni witnesses this, knowing all but still with a slightly sad air. In the end, Kandata condemned himself by being concerned only with his own salvation and not that of others. But Paradise continues on as it has, and it is nearly noontime there. Thus the Buddha continues his meanderings.

What sort of individual will wear your perfume?

To start with, they are without gender; I wanted to make a fragrance that both men and women could enjoy.

Perfume is something very primal, yet something highly sophisticated and luxurious.

The fragrance is directly on the skin, so it is closest to your body – closer than any piece of clothing. I think of perfume as a sensual part of beauty. It doesn’t need anything else but your skin to work; it’s magic. The individuals are just that: diverse, strong, sensual, mysterious... Elegant.

You’re very well known for your spider accessories. What does the spider represent to you?

I love this story about the spider and the thread. I think of a spider as a lucky charm. My friend Mario Salvucci created them for me. I guess you could say I was his muse.

The Buddha Shakyamuni is meandering around Paradise one morning, when he stops at a lotus-filled pond. Between the lilies, he can see, through the crystal-clear waters, the depths of Hell. His eyes come to rest on one sinner in particular, by the name of Kandata. Kandata was a cold-hearted criminal, but had one good deed to his name: while walking through the forest one day, he decided not

Out of the four fragrances, which one is your personal favourite?

It’s like children, you should never have a favourite, but I love them all; otherwise, I would never have created them. The first one, To Be Honest, took over a year to make. We tried three different noses at the same time until we found the one who was able to make my dreams into reality. And since then, I have had more than 100 trials along the way. I don’t know why I still keep the trials. What was great about Celso is that he did not assign a time limit on me, he just said it would take as long as it takes; but in the end you have to love it. He was right. You just know when it is perfect because you have to fall in love with the fragrance; if you don’t, then it is not finished. In the end, it took over two years but I do love all four of them.

Diane Pernet Paris's four scents: To Be Honest, Wanted, In The Pursuit of Magic, and Shaded are out this year in the UK. Portrait of Diane Pernet by Jean-Luc Dupont. //dianepernet.com

chromotherapy havens with mycoocoon

By Jessica Cooper In ancient times and in different cultures, like Egypt, India or China, colour was used for healing and spiritual strengthening.

But soon you might be finding this centuries-old belief popping up in hotels, spas and airport lounges.

Now known as “Chromotherapy,” colour therapists believe coloured lights can balance the energies our bodies are craving, transmitting energy “chakras” in hopes of awaken their individual senses and spiritual healing. Based on chromotherapy, mycoocoon is an experience that aims to create a strong sense of well-being to those who live an active lifestyle. As someone who is constantly checking her e-mails and flitting from one end of the town to the other, this sounded tempting.

In my wardrobe, you’ll find only black clothes: black shoes, black jackets, black bags. So when I was sent to “the mycoocoon colour experience,” I chuckled at the irony. I met with the mycoocoon founders (Valérie Corcias and Dominique Kelly) who told me I was about to be re-energized and rebalanced.

Before I stepped into the mysterious pod, I had to take the mycoocoon chromatest to “establish my own chromatic profile and determine my energy balance and needs.” I ended up getting some sort of red/orange hue – apparently my body was craving: ENERGY, VITALITY, STRENGTH (red) and SENSUALITY, EMOTION, ENTHUSIASM (orange). I don’t know whether this test is just telling me to cheer up

or pick up a Red Bull, but I trust Valérie and Dominique.

These two know a hell of a lot about colour; they initiated the PANTONE UNIVERSE brand, so I knew I was in good hands.

Finally, I got to see this mysterious pod. Designed by Lanzavecchia+Wai and Marine Peyre, I wouldn’t mind one of these at home. Into the mycoocoon pod I went and the non-harmful LEDs switched on, bathing me in an orange/ red light. Lying back, I put on the headphones and gave myself a chance to relax. The colours changed subtly in a cycle of complementary colours, and I have to say it was very hypnotic. Water drop sound effects and some African inspired music enhanced the experience. It was soothing and I was suddenly overcome with a sensation of tranquil bliss – it really did feel indulgent.

I have to admit, I was a bit sceptical at first; but when I put on those headphones and the shade went down, I literally could lie there all day until my phone rings and I’m brought back to the real world.

Learn more and discover pop-up dates at mycoocoon.com

mycoocoon pod

View of Lisbon, Miradouro de Sao Pedro de Alcantara

lisbon in spring

By Charin Chong Photography by Cédric Bonnard Lisbon is one of Europe’s most beautiful cities and a perfect spring destination for a quick weekend getaway. Not only will travelers enjoy the mild, sun-kissed weather, there’s also the promise of art, architecture, food, nightlife as well as spring events like Lisbon Fish & Flavours food festival (19 – 22 April), Indie Lisboa, the international indie film festival (23 April – 3 May), not forgetting ModaLisboa (13 – 15 March).

Stay at: The Memmo Alfama is the first boutique hotel in the city’s historic neighbourhood of Alfama, nestled high on the hilltop with a spectacular view from the hotel’s terrace of the Tagus River, Lisbon’s Cathedral and the São Jorge Castle. The hotel’s contemporary design incorporates traditional Portuguese elements and guests can also enjoy the surrounding cobblestone streets, Fado restaurants and take a ride on the famous yellow tram to experience the authentic heritage of Lisbon.

Eat at: There is a wide variety of eateries to choose from in Lisbon, one highlight is the reimagined gastronomic food court at the Time Out Mercado da Ribeira located by the river banks. Located inside the city’s historical marketplace, the food court unites some of the city’s top chefs offering Portuguese delicacies from Bacalhau (cod) to wines to pastel de Nata (custard tarts), all within a stylish decor that has the locals raving. For more traditional flair, check out beef burger bar, El Gordo in Barrio Alto which boasts some killer retro décor, or popular The Decandante restaurant adjacent to The Independante hotel, which specializes in gastronomic local fare in a stylish, cozy atmosphere.

Drink at: Lisbon offers a great selection of bars for all tastes and budgets. You can’t go wrong with a stroll down the iconic Rua da Bica Duarte Belo where you can find unique bars like the African-styled Matchik Tchik and trendy local haunt, Bicaense. For a unique twist, check out the cocktail bar at the Pharmacia, Lisbon’s Pharmacy Museum which overlooks the Miradoura de Santa Catarina viewpoint.

Party at: Lux Fragil is one of the hottest nightclubs in the city boasting some killer resident and guest DJs. It’s also partly owned by actor John Malkovich, so don’t be surprised if you spot any stars here. For a cool rooftop experience, Silk Club in the trendy Chiado neighbourhood serves up a breathtaking 270 degree view of Lisbon.

Shop at: You can’t leave Lisbon without checking out the quaint A Vida Portuguesa shop, which feels like stepping back through time with its genuine vintage Portuguese products, or Loja das Conservas where you can find all the best canned goods Portugal has to offer, with charming classic packaging to boot. For modern shops, check out the stunning Embaixada LX 2-storey concept store filled with

local brands and set in a 1800s palace residence, as well as the new This & That home décor and gift shop, both in the up-and-coming Principe Real district.

Hidden Treasure: The CitySpa is an upscale day spa tucked away in the Restelo neighbourhood, not too far from the Belem Monastery. Designed by Cristina Jorge de Carvalho, its warm wooden decor, signature spa rituals and stunning relaxation room are perfect to escape from the busy city center for some pure pampering.

This & That, Principe Real

Listen to: Dive into Lisbon’s music scene by checking out famous spinner DJ Marfox whose hypnotic dance sounds are infused with hints of African influences like zouk and kuduro, a big hit with the locals.

Check out his latest Lucky Punch EP for favs “Beat and Break” and “Terra Batida.” Indie singer Alek Rein is one to watch with his old school guitar-backed tunes and poetic lyrics, as seen in “Hollywood” from his Gemini EP. Lisbon-based psychedelic band Gala Drop’s second album II is simmered with nu-Balearic beats mixed in with Detroit in tracks like “Big City” and “Sun Gun.” Designers to Watch from ModaLisboa Legacy SS15: If you’re looking to source some local designers, be sure to keep an eye out for emerging talents like MIGUEL VIEIRA, JULIANA CUNHA, and ALEXANDRA MOURA, the latter who has just opened up a boutique in the chic neighbourhood of Chiado.

Eclectic Address Book: Memmo Alfama Hotel, Travessa Merceeiras 27 Time Out Mercado da Ribeira, Avenida 24 de Julho A Vida Portuguesa, Rua Anchieta 11 Bicaense Bar, Rua da Bica de Duarte Belo 42 Lux Fragil, Avenida Infante Dom Henrique CitySpa, Rua Gonçalves Zarco 19A Alexandra Moura Boutique, Rua Dom Pedro V 77

1974 Carnation Revolution grafitti, Barrio Alto

Memmo Alfama Hotel terrace at night, Alfama

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Backstage at ModaLisboa SS15 Photo by Andrei Zozulya-Davidov

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El Gordo Beef Bar, Barrio Alto

FAMILY ESCAPADE

Savour the uniqueness of The Andaman with the whole family.

Unravel the mysteries of the rainforest with its abundance of wildlife, snorkel in our Coral Nursery or enjoy time on the pristine beach.

Book now to enjoy.

Rate starts from MYR1014 nett per room per night.

A minimum stay of 2 nights is required.

Offer is valid for booking and stays through December 19, 2015.

For more information or to make a reservation, please call +6049591088 or e-mail reservations at theandaman@luxurycollection.com

LIFE IS A COLLECTION OF EXPERIENCES LET US BE YOUR GUIDE www.theandaman.com

©2015–2016 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Preferred Guest, SPG, The Luxury Collection and their logos are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates.

stockists/ 1-100

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Top by JEAN PAUL GAULTIER Shoulder piece by TANIA ZEKKOUT Sunglasses by FACTORY900

Name/ Aria Crescendo

Age/ Twelve forever!

Hometown/ Paris - Los Angeles Job/ Singer, Songwriter, Yoga Enthusiast, and Fashion Muse Fashion Week Highlight/ When I saw a Louis Vuitton blazer

over a short dress during the SS15 collections, I loved it. I will definitely be wearing it this spring.

Must Have for Spring Summer 2015/A bohemian vintage dress, possibly from Valentino.

Favourite Fashion Moment/

When I discover new brands that no one has discovered yet, like DIY BY PANIDA, DISCOUNT UNIVERSE or other brands full of colours and happiness.

Icon/ Kate Moss, Gwen Stefani Photography Quentin Caffier Styling Anna Barr Hairstyling Sam Chikly Make-up Elvire Thuot

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fashion face/

backstage pfw shiatzy chen ss15/

Photos by Simbarashe Cha

Barbara I Gongini at Copenhagen Fashion Week Photo by Lisbeth Breland Saalmink

last look/

eclectic

eclectic ISSUE THREE SS15