#10 - dreams issue

EAMS ISSUE

DREAMS ISSUE

DREAMS ISSUE

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shao-yen.com

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ARTWORK BY JIN NINGNING

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Editor-in-Chief István Szűcs Managing Editor David Yang Fashion Editors Annachiara Biondi, Deak Rostochil Marketing Executive Summer Yeh Social Media Manager Yuze Le Graphic Designer Moran Chen Web Developer Dániel Petrásovits Superlab Productions www.superlab.hu Interns Tanya Mehta, Ting Su, Tongyu Wang

Contributors Alex van der Steen Andrea Villanueva Bohan Qiu Danine Zwets Edel Verzijl Eden at New York Models Edge Yang Fan Wu Fiona Lau Hadar Pitchon Haley Lowenthal Iris at Micha Models Jenna Putnam Kain Picken Katherine Hawker Kristiina Wilson Madison Personette Marc Morris Mok Marcelo Gutierrez Mark de los Reyes Mark van Westerop Mary Guthrie Mingjing Yu Morgan Hill-Murphy Nicolas Kuttler Robert Wun Sheyna Imm Tae Jung Vanessa Lee at New York Models

Any feedback, inquiries or questions,please email to: info@elsewhere-zine.com Marketing and PR related inquires, please email to: marketing@elsewhere-zine.com The use of any photo or content of the magazine is prohibited without the publisher’s permission.

The views expressed in elsewhere are those of the respectivecontributors and are not necessarily shared by the magazine or its staff. coverphotography Kristiina Wilson styling Haley Lowenthal grooming Mary Guthrie at Exclusive Artists model Vanessa Lee at New York Models Vanessa wears jacket by Kahle, dress by Asos and shoes by Dr. Martens.

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BRANDS Acne Studios www.acnestudios.com Alexander Wang www.alexanderwang.com Asos www.asos.com B.L.A. www.shopbla.com Balenciaga www.balenciaga.com Blazinbell www.blazinbell.com Diesel Black Gold www.diesel.com Dolly G’s Vintage info@dollygsvintage.com Dr. Martens www.drmartens.com Femme d’Armes www.femmedarmes.com Giulietta www.giulietta-newyork.com Kahle www.kahle-studio.com Maison the Faux www.maisonthefaux.com Marc Morris Mok @marcmok Michael Kors www.michaelkors.com Monki www.monki.com Nanushka www.nanushka.hu OV US NYC www.ovusnyc.com Replay www.replayjeans.com Rinascimento www.rinascimento.com Scapes New York www.scapesny.com SUPERTRASH www.supertrash.com Ted Baker www.tedbaker.com Timo Weiland www.timoweiland.com Topshop www.topshop.com VANS www.vans.com Waterdicht waterdicht.amsterdam Zara www.zara.com

PHOTOGRAPHERS Edel Verzijl www.edelverzijl.com / @edelverzijl Hadar Pitchon www.hadarphoto.com / @hadar_pitchon Jenna Putnam www.jennaputnam.com / @jpalove Kristiina Wilson www.kristiinawilson.com / @kristiinawilson Morgan Hill-Murphy www.morganhill-murphy.com / @morganhillmurphy Nicolas Kuttler +33 (0)6.85.65.32.43 / @nicolaskuttler

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contents text annachiara biondi

photography nicolas kuttler

robert wun: translating nature and spirituality into the future 26 - 41

sleeping with loved ones

photography morgan hill-murphy

16 - 25

photography hadar pitchon

an artist of the floating world 74 - 83

text david yang

wandering star 62 - 73

photography jenna putnam

trapped in my mind 104 - 111

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raw kids club 112 - 117

photography edel verzijl text bohan qiu

clockenflap 2015

angels will cry

54 - 61

42 - 53

text tanya mehta

text mark stevenson

young art, run free 96 - 103

ffixxed studios: artistic androgyny 84 - 95

photography kristiina wilson

come away with me 118 - 137

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editor’s letter

“Dreams and nightmares are inherently surreal.

Until, of course, they translate into reality.”

István Szűcs Editor-in-Chief

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Robert Wun: translating nature and spirituality into the future Text Annachiara Biondi Edited by David Yang Translation Ting Su Edited by Yuze Le

Interview

Robert Wun’s simple but elegant studio is in a quiet street in Haggerston, East London, just a couple of steps away from the St. Peter de Beauvoir church. It’s a clean and tidy space, a black and white universe to house Robert’s ultra-modern and futuristic collections, powerful combinations of bold cuts, artificial fabrics and sculptural shapes. Harmonising contrasts is key for the designer, who through his creations wants to capture the balance of power and fragility he sees in nature, channelling his spirituality, his roots and a bit of Hayao Miyazaki.

We caught up with him to explore his inspirations and discover what is behind his creative silhouettes.

Could you tell us a bit about your background and when you first approached design?

This is a long one then! I’m from Hong Kong originally. My mum is a quarter English and my dad is Mongolian. I was born in London but I was raised back in Hong Kong. Nine years ago I came back here to do high school, then I started Foundation in Cambridge and afterwards I went to London College of Fashion. I have always been really interested in art and my mum says that I have loved drawing since I was one and a half years old. I always drew sea-creatures, forests and stuff like that. I think when I was 14 years old I met a friend who was studying fashion design at university in Hong Kong and that’s how I came to the idea of what fashion really is, that was my first approach.

Since then I looked a lot into it and I thought: “that’s the perfect combination!” I guess 26

that is why I picked it up, because it is the perfect combination between what I really like: to form art based on the human body.

Do you ever look back to those drawings for inspiration?

A lot! My mum kept all of them in a really cheesy folder and sometimes we go through it. I look back to them because they remind me of who I really am.

And where you come from?

Exactly, where I come from and what triggers my interest. I love nature! I love animals, I love the wildlife – National Geographic is my favourite thing! It just inspires me on so many levels! When I was growing up the way wildlife photographers use their vision to capture something so mysterious, original and powerful really triggered me to develop my own way of capturing what really inspires and captivates me. That’s how I started drawing and creating clothes: inspired by nature.

And what do you look at now in terms of inspiration? Has it changed in time?

Never! I don’t think I could ever change that. I mean, now of course I have to combine what I know about the fashion industry with what I’m interested in, and the product is the balance between the two.

I love reading because I think you need to have that knowledge. I still look at National Geographic and Discovery Channel, I follow every single wildlife photographer on my Instagram, I just love it! Other things I’m really inspired by are religion, culture and human practices. I have always thought that religion is an expression of how humans interpret and respect nature, creating their own form of art, which is something I find quite similar to what I do.

It’s really interesting because when you look at fashion today, sometimes it feels like it’s lacking a bit of background. When you look at designs you should be able 27

to see that there is a thought-process behind them that makes them valuable.

Interview

And unique! I think that now we are going towards what we call ‘fast fashion’.

We design fashion for fashion, so obviously the industry itself is lacking a bit of respect from the other creative fields. There is a lack of depth and a lack of sustainability, people are designing something that is just going to sell right away, and obviously the audience follows the big trend. I feel like now it’s all about youth culture – which is fine – but then there must be a diversity, someone who wants to do something different, something timeless. It seems that, as a young designer, the only way you can survive is to be focusing on youth culture – you know sportswear, sweatshirts, t-shirts – but that’s not the ultimate picture of what the whole industry should be. It’s a very important part of the industry, but I think the diversity should be there. I mean I’m not trying to go against it, I’m not that kind of a rebel to say: “Oh no fuck this, I’m doing something different”, but it’s just who I am; my approach is not about youth culture.

What about London? Does the city itself influence you creatively?

It influences me in a big way. First of all the diversity in terms of culture and the amount of creative talent that I can meet here, I can’t find it anywhere else in the world. I think here it’s all about authentic creatives, you know? People being who they are and offering what they believe in, and that really attracts me and changed me. I started my creative studies here and it was a process of finding who I was and believing in what I was doing. So I definitely wouldn’t be doing what I’m doing right now if I wasn’t in London. I can’t see myself doing what I’m doing in any other city.

Would you ever think about going back to Hong Kong?

Hong Kong is a very difficult city for creative businesses, because of the lack of diversity. It’s a very fast city, it’s all about 28

the economy, all about selling. People just don’t think they have the time to look at something. They don’t want to spend time understanding it even, so I can’t imagine myself going back.

You have obviously been following what is going on with Raf Simons leaving Dior and Alber Elbaz leaving Lanvin, and the whole discourse about the increasing pressure on fashion designers. What’s your opinion on it?

Good things take time you know? Like Thomas Tait said in one of his interviews: “You’re not gonna fart it out overnight.” It takes a really long time in order to create something sophisticated, you have to think again, and again, and again until it’s a very mature design. It’s very noble for Raf to do that, because he’s throwing a lot away but, at the same time, he’s gaining a lot more.

That’s why he is so good, because he really knows who he is and he loves what he is doing. I think that it’s a very good influence on the industry and on designers as well. The idea is that you want to be a good designer, not a designer who is making a lot of money while people think that your clothes are not good enough anymore.

Your designs have architectural shapes.

Are you fascinated by architecture as well?

Nature itself is architecture you know?

I would say that my designs are really sculptural. There are a lot of bold cuts because I want to empower something as fragile as nature and make it powerful.

The balance between power and fragility, that’s what I see in nature. Like a bird with its feathers, it’s a very honest and powerful kind of beauty, not necessarily vulnerable.

You also design the footwear for all of your collections. Would you ever think of doing an independent collection for shoes or is it something that is always going to be organic with the designs?

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Interview

It’s always organic with the designs and it goes back to when I was in Foundation. We were doing live drawings lessons every week and one time there was a girl – a musician – fully dressed, wearing a pair of boots. She was playing guitar while we were live drawing and listening to her music. I remember the tutor said: “What kind of shoes you’re wearing represents who you really are in terms of your personality and your dimension in your art and design.” That has been haunting me since then. The look wouldn’t be a whole without the shoes. Without them, I can’t see my clothes work and obviously without the clothes I can’t see my shoes work as well. They show so much about the women I’m designing for, who are very powerful and edgy.

They don’t want to look sexy but they want you to look at them, but not in a way that you’re going to fancy them.

very scientific, and it’s exactly what I’m inspired by. She is definitely my physical world muse. The non-existent muse is like a character from Hayao Miyazaki’s movies. She’s a feminist, she believes a woman doesn’t need help, she can be strong and believes that the only way to solve every problem is with love and not with war and violence. All the spiritual characters from Miyazaki’s films really move me. They don’t want to be masculine in order to be strong, they are still very feminine, but they are spiritually really powerful and independent.

When you’re designing a collection, do you have a specific person in mind, someone you have met, or is it more like an idea of a person?

Precisely. It’s very emotional and very human. I think Miyazaki just saw the core of what human really is.

It’s a non-existing muse, a character, but also one of my best friends – my creative art director Naomi. She’s really interested in fashion, but at the same time she is not interested in fashion.

She always wears her clothes front to the back, so that the collar goes higher and the back is open. They are all flea market garments but she makes them look so timeless. She inspires me on so many levels, showing me how people can determine their own style without following the trends, because they know very much about themselves and they know what they’re interested in. She also looks at science a lot. She can go to the hospital and scan herself to see her heart beating, and then she uses that as her artwork. How amazing is that? And she would call some scientific photographer that can take a picture of her aura energy. It’s very spiritual, it’s 30

I have always felt that Hayao Miyazaki’s films are spiritual in a very subtle way. They always have something peculiar about them. It’s not magical, it’s not religious, but it’s something in between and it’s what makes them special, I think.

Let’s talk about your new S/S 16 collection, “Cloudscape”. How did you come up with it?

My surname, ‘Wun’, means cloud in Chinese and it’s originally from Mongolia. Our ancestor is Genghis Khan and when he died the whole family fled to the southern part of China, where they changed their surname into ‘Wun’. Mongolians believe in clouds and whenever they see clouds they remind themselves of who they are and of their roots. So no matter how far they fled, with ‘Wun’ in their surname they would still remember where they came from. The colour spectrum is from that amazing [Mongolian] landscape. There are no mountains whatsoever and when the sun sets there is all this redness, blurring into the blue sky. That’s why I started the collection with red and finished it with blue. All the graphical

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interpretations in black and grey come from the way I used to draw clouds when I was young. I was also looking at wrestlers from Mongolia, and how the traditional wrestler costume is just sleeves: the older generation wears red sleeves and the younger generation wears blue sleeves. I found a picture of them wrestling against each other with the red and the blue arms joined together and that’s how I blended the colours in the collection. Basically it’s all about my roots and my interpretation of clouds, which is also the meaning of my surname.

How is the A/W 16 collection going?

Fine! I’m planning on a presentation and it’s going to be a solo this time.

I’m very excited because I can do my own set! The collection is going to be about religion – Catholicism – which is also another thing about me. I was born and raised in a Catholic family.

I wanted to ask you about it, but I thought it was a bit too personal.

Not at all! I’m a very religious person, but I believe in a very different way I guess. My family is very Catholic, but they are also very open minded at the same time. They are very to themselves, they believe in it and they think it’s beautiful, and that helps them spiritually and inspires me.

Do you feel like you have already achieved your dream?

I’m definitely living part of my dream already, which I’m very, very grateful for, but I’m not there yet. We always have new dreams, don’t we? We all have new dreams, otherwise we wouldn’t go further.

I would say, just make sure that at the end you’re going to be happy. I think that is so important, because if you try so much, and so much, and so much and finally you succeed but you’re not happy about it, then what’s the point? That’s not a dream.

Make sure the dream is something that you’re happy about, then give everything you have and go for it. Even though you don’t make it, at the end of the day the process is actually the dream already.

It’s a very difficult industry, there is a lot that you need to compromise, but if you know who you are and you know what you’re fighting for, you’ll be willing to give everything and you’ll know that you’re going to be happy about it and proud of it. But if you don’t know even who you are yet, it’s going to be very difficult.

You mentioned new dreams, do you have any that you would like to share?

My work is my dream. It’s everything that I wanted to do. My ultimate dream is to be able to sustain myself as a growing business. I dream all the time of selling, working, having the recognition and, at the same time, doing what I love without compromising. It has taken me a very long time to get where I am right now, which is not even halfway there yet. I think that if I had ever compromised on any of my collections, I wouldn’t even be where I am right now. So that reminds me of how important it is to stand for what you are; it’s your label, your name is on it, you need to love it or else why create it?

Why bother even? I’m still working really hard, there is still so much to learn about the business and about being a designer.

What would you say to someone who would like to be a fashion designer like you?

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R o b e r t W u n 自 然 与 信 仰 的 翻 译 家 Robert Wun简洁却优雅的工作室位 于伦敦东部哈格斯顿一条安静的小街 上，距离圣彼得堡de Beauvior（波伏 娃）教堂仅几步之遥。这是一个干净且 整洁地方，黑与白的世界给Robert的超 级现代化和极其新潮的作品，有张力地 混合大胆的剪裁，人造的布料和雕塑的 形状提供了一个空间。协调的对比是一 个想通过他的作品去捕捉他在大自然中 看到的力量与脆弱中平衡的设计师的关 键，通过他的精神，他的根源，还有一点 点宫崎骏。 我们追到他来探索他的灵感和发现 他有创意的剪裁的背后是什么。

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你能跟我们讲你点你的背景和当你第一次接触 设计的时候么？

那这是一个很长的故事了！我是来自香港 的。我妈妈有四分之一英国血统，我爸爸是蒙 古人。我在伦敦出生的但在到香港长大。九年 前，我回到这里上高中，接着我在剑桥开始了 Foundation，然后再去了伦敦时装学院。我一 直都会艺术特笨的感兴趣，我妈妈说我从一岁半 就开始热爱画画了。我经常画类似海底生物或森 林一类的东西。我想是在我14岁的时候遇到了一 个在香港大学学时装设计的一个朋友，从那个时 候我才有了到底什么是时尚的概念，那就是我 第一次对它的接触。从那以后，我看了很多和它 有关的东西，然后我就想： “那真的是完美的结 合！” 我想那大概就是我为什么选择了它，因 为它是我最喜欢东西的完美结合：在人体的基 础上创建艺术。 你会回去看那些画来找灵感么？

经常！我妈妈把它们保存在一个真的用很简陋 的文件里，我有时候会拿出来看一看。我回去看这 些是因为它们会提醒我我到底是谁。 你来自哪里？

准确的，我从哪里来和是什么激起了我的兴 趣。我喜欢大自然！我喜欢动物，喜欢野生生物 — 国家地理杂志是我最喜欢的东西！在什么方 面，层次，它都激发了我。在我小时候长大时，那 些动物摄影师用他们视野来捕捉那么神秘，原始 和有力量的东西的方式激起了我去发展用我自 己的方法捕捉那些真正让我入迷，给我灵感的 东西。那就是我怎么开始画画和设计衣服的：大 自然带来的灵感。 你现在是怎么看待灵感这个词的？它有随着时 间在改变么？

从来没有！我从来就不觉得我能改变它。我的 意思是，我现在当然要把我所了解的时装产业和 我所感兴趣的结合起来，最后出来的成品就是它 们之间平衡之处。我热爱阅读是因为我觉得你拓 宽视野知晓些东西。我仍然会看国家地理杂志和 发现频道，我在Instagram里关注了每一个野生 动物摄影师，我就是喜欢他们！另外，我真正受到 启发的就是宗教，文化和人类实践。我一直认为

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宗教是一种人类如何理解和尊重自然，创造 他们自己的艺术形态的表达方式，我觉得跟 我做的事情跟它们挺类似的。 当你观望现在的时尚圈，你会觉得很有 趣，因为有时候会觉得它缺少点背景。当 在看不同的设计品时，你应该要能够看到 它们背后使它们富有价值的构思过程。

Interview

还得独特才行！我觉得我们现在在朝我 们所说的“快速时尚”发展。我们为潮流而 设计时装，所以明显的，这个行业自己本身 就缺少了点别的创意行业对它的尊重。它缺 少了深度和维持力，人们在设计那些希望一 出售就可以马上被抢空的东西，很明显，买家 们都跟随了这种大潮流。我觉得现在都是关 于青年文化的 — 是可以接受 — 但是也一定 要有多样性，有些人想做点不同的东西，永 恒的东西。现在开起来像是，作为一个年轻 设计师，想生存的唯一方法就是把精力放到 青年文化上 — 你知道的运动装，运动衫，体 恤 — 但是那不是这整个产业最终的样子。这 是这个产业很重要的一部分，但是我觉得应 该有多样性。我的意思不是准备反对它，我 不是那种反叛者会说： “哦不去他妈的，我 要做些不一样的东西“，但就是我自己：我 的途径不是关于青年文化。 关于伦敦的呢？这个城市有有创造性的影 响你么？

它影响了我很大一方面。第一，在文化方 面的多样性还有我在这里能看到的大量的 有创造力的才华，是我在这世界上别的任 何一个地方都看不到的。我觉得这里全都 是实实在在的创意，你知道么？人们就当自 己然后做他们他们信仰的，然后那些真的 吸引我也改变了我。我在这里开始了我对 创造的研究，然后开始了寻找，发现我是谁 和相信我自己做的东西的过程。所以如果我 没在伦敦呆过，我一定不会做我现在正在做 的事情。我在任何别的城市都不能看到我自 己做现在正在做的东西。 你有没有想过回到香港去？

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香港是一个很难做创意商业的城市，因 为它缺少多元化。这是一个节奏很快的城 市，全是关于经济，关于销售。人们就不觉 得他们会有时间去看东西。他们甚至不想 花时间理解它们，所以我不能想象我自己回

去是什么样。

你肯定有关注Raf Simons离开Dior和 Alber Elbaz离开Lanvin这些事，还有大 家关于时装设计师压力不断上涨的辩论。 你对这个看法是什么？

好东西是需要时间的你知道么？就像 Thomas Tait在他其中一个采访中说过： “ 你不可能在一夜之中fart it out。”想要做 出一个精细的东西一定要花很长的时间，你 一定要想，再想，再想，翻来覆去的想直到变 成一个成熟的设计。Raf这么做很伟大，因为 他失去了很多东西，但同时，他得到了更多的 东西。这就是为什么他那么厉害，因为真的 知道他是谁而且他热爱他做的东西。我觉得 那对这个产业和设计师都带有非常正面的影 响。我的想法就是你想当一个好的设计师， 而不是一个挣了很多钱但大家都觉得你的衣 服不再那么好的这样一个设计师。 你的设计带有建筑的形状。你也对建筑着 迷么？

大自然本身也是一种建筑你知道吗？我 会说我的设计非常的雕塑化。里面有许多 大胆的剪裁因为我赋予它们像大自然一样 娇脆弱，又带有力量。在力量和娇嫩之间的 平衡，就是我在大自然中看到的东西。比如 一只有羽毛的鸟，它有一种非常诚实和有力 量的美，但不一定脆弱。 你所有的系列中你也有设计鞋。你有没有 想过单独为鞋设计一个系列还是它一直都 就是伴随设计而来的东西？

它会一直是跟着设计一起来的然后这追 溯回我在Foundation的时候。我们当时每周 都有人体素描课，然后有次有个女孩 — 一 位音乐家 — 穿的很严实，配了一双靴子。在 我们素描的时候她在弹吉他然后听着她唱 歌。我记得导师当时说： “你穿了什么样的 鞋就代表了你的性格还有你的绘画及设计 的尺寸。”从那以后我常常想起那段话。如 果没有那双鞋，整个外贸就不完整了。没有 了它们，我看不出我衣服的效果，并且显让 同样如果没有了衣服，我也看不出鞋子的 效果。它们展示了我设计服装的女人，非常 的有力量，激动。她们不想看起来很性感但 是很想让你看她们，但不是那种你要对她们 产生幻想的方式。

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当你在设计一整个系列的时候，你心中有没有 一个具体的人，一个你曾经遇过，或者更类似 于一个想象中的人？

Interview

是一位不存在的默想，一个人物，但也是我最 好的朋友之一 — 我的创意总监Naomi。她真的 对时装很有兴趣，但是同时她又对时装不感兴 趣。她总是反过来穿她的衣服，这样领子就更高 然后背后是敞开的。它们都是跳蚤市场买来的布 料但是她使它们看起来非常的永久。她在很多方 面，层次都激发了我，告诉我人们可以怎样不跟 随潮流地决定着他们自己的风格，因为他们很了 解自己然后知道他们的兴趣所在。她也很关注科 学。她可以去医院然后自己检查她的身体看她的 心跳，然后她用它当作艺术作品。那多惊奇啊？ 然后她会叫些可以帮她拍出她自己身上灵气的 能量的科学摄影师。这有关精神上的，这是有关 科学上的，然后也正是这个激发我的。她绝对是 我物质世界默想的。这个不存在的默想就想宫崎 骏电影里的人。她是一个女权主义的，她相信一 个女人可以不需要帮助，她可以变得强壮然后相 信去解决每个人问题的唯一方法就是用爱而不是 用战争和暴力。宫崎骏电影里所有虚构的人物都 触动了我。她们不想为了变强壮而带有男子气概， 她们还是非常的女性，但是她们精神上非常的有 力量而且独立。 我一直觉得宫崎骏的电影用很微妙的方法体现 了一种精神上，心灵的东西。它们常常是很奇 妙，不寻常的出现。不是魔法，不是宗教，但是 是在这两个之间的什么，然后就是那个令他的 电影很特别。

对的。它很富有感情而且很有人性。我觉得宫 崎骏就是看到了人的核心是什么样的。 我们来聊聊你心的2016春夏系列， “云景。

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我的姓“Wun”，在中文中的意思就是 “云， 而且它源自蒙古。我们的祖先是成吉思汗，然后 在他死的时候整个家庭逃到了中国的南方，把 他们的姓都改成“Wun”。蒙古人信仰云然后无 论什么时候看到云，他们都提醒他们自己他们是 谁和他们自己的根源。所以无论他们逃到多远， 有了“Wun”当他们的姓，他们都会始终记得他 们是从哪里来的。这个色谱是从那个惊人（蒙古 的）风景得来的。无论什么时候那里都没有山然 后当日落时，全部布满了红色，混入蓝天中。这 就是为什么我以红色开始我这系列然后用蓝色 收尾。所有以黑和灰的图案的理解都是源于在

我小时候画云的时候的方法。我也看了蒙古摔跤 手，还有传统的摔跤服饰就是他们的袖子：老一 代的长辈穿红色袖子然后年轻的一代穿蓝色袖 子。我看到了一张一个蓝袖子和一个红袖子在 跟对方摔交的照片，红色和蓝色的手臂交汇在 一起然后这就是我怎么在我这系列中混合颜色 的。基本上，这都是关于我的根和我对云，我的 姓的意义的理解。 2016秋冬系列进行的怎么样了？

挺好的！我正在准备一个展示，然后这次它会 是一个独立个人的展示。我很激动因为我可以自 己布置场景！这个系列将会是关于宗教 — 天主教 ，这也是另一个关于我的东西。我出生并且成长 在一个信奉天主教的家庭。 我本来想问你关于这个的，但我怕它会有点过 于私人。

完全不会！我是一个很虔诚的人，但我猜我以 一种独特的方式信仰着。我的家庭非常的天主 教，但是他们同时也是很思想很开放的人。他们 very to themselves，他们信奉它并且他们觉得它 很美，然后那在精神上帮助了他们也激发了我。 你有觉得你已经达到你的梦想了么？

我肯定我已经生活在梦想的一部分里面，我 非常非常的感激，但我还是没到达那里。我们一 直会有新的梦想，不是么？我们都有新的理想， 不然我们就不能走的更远。 你会跟一个想成为像你这样设计师的人说什 么？

我会说，只要确定在结尾你会感到开心。我 觉得那真的很重要，因为如果那么，那么，那么 的努力，然后最后你成功了但是你并不开心，那 你做这个的意义是什么？那不是一个梦想。先 确定你的梦想是会使你感到很开心，再献上你 的全部然后大胆努力争取尝试。虽然及时你没 有成功，但是在一天结束时，这整个过程其实就 已经是梦想了。这事一个很困难的产业，有很多 你需要妥协的东西，但如果你知道你是谁然后 你知道你在为什么而努力着，你会愿意放弃所 有东西然后你知道你对它会感到很开心然后引 以为豪。但是如果你甚至还没有足够了解自己， 这会是条非常苦难的路。 39

你提到了新的梦想，你有没有什么愿意分享 的？

Interview

我的工作就是我的梦想。这就是所有想做的 东西。我最终的愿望就是可以自己维持一个一直 增长的事务。我一直希望销售，工作，得到认可还 有，与此同时，毫无妥协地做我喜欢的事。从开始 到现在我已经走过了很长一段时间，而现在连一 半都没到。我想如果我曾在我任何一个系列妥协 过的话，我就不会有我现在的一切了；这是你的 品牌，你的名字在上面，你需要爱它，不然为什 么还要创造它？为什么要花时间在这上？我还在 非常努力的工作，仍然还有好关于商业和当一个 设计师的知识要学。

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Angels Will Cry

Editorial

photography | Edel Verzijl styling | Alex van der Steen at Eric Elenbaas hair | Mark van Westerop at Pro-Solo make-up | Danine Zwets at Angelique Hoorn model | Iris at Micha Models

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shirt by Michael Kors jacket by Monki 43

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shirt by B.L.A. jacket by B.L.A. (So-PR) skirt by SUPERTRASH

jacket by Maison the Faux skirt by Acne Studios 45

jacket by Diesel Black Gold dress by LIST 46

top and pants by Nanushka coat by Ted Baker boots by Asos 47

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dress by Rinascimento

jacket by Blazinbell skirt by Diesel boots by Asos

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coat by Waterdicht shirt by Michael Kors

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top and pants by Monki

sweater by Replay

coat by Waterdicht shirt by Michael Kors boots by Asos

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CLOCKENFLAP 2015 Text Bohan Qiu

Edited by David Yang Photography Fan Wu

As New Order struck the last drum beat on Blue Monday and the voice-over thanked everyone for attending the festival this year, Clockenflap 2015 had seemingly come to an end. After what felt like an abrupt finish, the crowd fought to hold back their tears as the band returned to the stage and let loose the opening chords of “Love Will Tear Us Apart”. Images of Ian Curtis flashed on the big screen, the voice of Bernard Sumner trembled “At least some of us have to move on”, the moment froze to eternity. A sombre beauty surrounded New Order’s performance. Maybe it was the music videos from the band during their early career that played on screen, an image of youthful energy, or the reminiscence over the blood and tears shed before the fall of the Berlin wall. Or perhaps it was a meditation over the band members’ past: experiences, lives and hopes shared with various generations. Older folks who spent their youth dancing to these familiar songs mumbled the lyrics quietly along with younger crowds like us, those who stumbled upon and fell in love with this past century nostalgia. It was a moment when generations met, danced, and united.

Interview

This year at Clockenflap, I (and surely many others) experienced for the first time the struggle of having to choose between which stellar act to see. The energy was ripe, the crowd was hyped, and expectations were high. With beautifully quirky art installations set in fantastic open spaces, Clockenflap proved that jam-packed Hong Kong is indeed capable of housing urban creative spaces.

Elsewhere spoke with Jay Forster, the festival’s artistic director, on the future of music, art and culture in Hong Kong...

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On how much culture could integrate into the local community I think there has always been an underground community in here. Hong Kong is a society heavily focused on money. Getting rich and buying a flat seem like some of the top priorities.

I have been here for 20 years, and ever since the first time I arrived, I have met people who are into a more alternative lifestyle, who are into music and art. However there are not many opportunities for them to indulge. There never used to be any decent electronic music, live music or art shows around. Now, on the other hand, even though these elements have still yet to be elevated into the mainstream, we cannot deny their growing visibility.

On whether Clockenflap has become less “Indie” As Clockenflap expanded, we wanted to cater to different people. It is about bringing incredible music to the city, so I don’t think there is anything we wouldn’t do actually, as long as it’s credible and brings joy to people.

For me, interesting music is the stuff I don’t know, such as the weird, wonderful little bands that pop up. Personally I am not very fixated on the headliners, even though I know that people are very into them. That’s why there is such diversity in the Cloeckenflap crowd, which is great. Hong Kong is quite fragmented in that way. Everyone does their own thing in their own space.

On introducing visual elements to the festival We always had some art, but we were desperately poor at the time when we started in 2008. Many of the art works were donated to us. But as the budget increased year to year, we were able to do more and more. We spent over 2 million HKD this year on the art program alone, including visual, film and performing art.

On what that pyramid-like art installation in front of us means Its name is the Magnet Palace (designed by 55

Interview

Jay Forster himself). The theme of this piece is “Capitalism, Materialism, Object Worship, Spiritual Deficiency”, which fits perfectly in front of this epic iconic Hong Kong skyline.

When you look at this magnificent skyline, what does it really represent? This installation is not so much a parody, but more a critique of that skyline. We use “magnet” as a metaphor.

If we use phones as an example, nowadays we cannot really change the battery of the phones, and when we break it we usually don’t know how to fix it, we would need to buy a new one.

Another good example would be light bulbs.

A light bulb should normally last 2000 hours, which is more or less a year. But if the light bulb company makes it last only 1000 hours, then it means that people would need to buy 2 light bulbs per year. This “planned obsoleteness” is what defines our consumption society today.

So we take the magnet to represent something you can’t really understand, something with an invisible power. Then we invited 8 different artists (2 from overseas and 6 from Hong Kong) to come up with some cool things inside this installation.

On Artists in Hong Kong Art is an industry. That’s the first thing we have to understand. Here we have the galleries, the museums, the auction houses, the conventions etc. This is a place where art is traded more than it is created. Rent is a big killer in Hong Kong, and the government tries to clean up everything. Anywhere that is a little run-down or edgy, the government will rebuild. The same goes for this very location actually (West Kowloon), although right now, seeing as it is only half-rebuilt there is still some space for imagination to flow. Once the government tidies up the places, there will be new rules, new regulations, and you will not be able to do much. That is the problem with Hong Kong: there are too many rules.

On the possible change of location for Clockenflap Yes, we are looking at Kai Tak (the old Hong Kong airport that has been transformed into a giant park), Central (the open space that is 56

still under some construction in the heart of the island) or staying at West Kowloon. It will depend on where the government permits us to go.

On the M+ Project in West Kowloon Where we are situated now will stay as a park, and the space closer to ICC is undergoing construction to become an “art pavilion”.

In fact, we are working together with West Kowloon to discuss how this space is going to be transformed. I really hope the government understands how incredible West Kowloon is.

Every time a musician or a big performer comes on stage, they always tell us how amazing the venue is. They’ve played at festivals all over the world and nothing is quite like this space.

West Kowloon is in the middle of everything, but still feels separate from everything. I guess those in power in Hong Kong don’t really see the world that often. They only have a view for Hong Kong, a view for property, for developing land etc. If they expand their minds a bit, they would realise how incredible West Kowloon is.

We just really hope we won’t lose this.

On the business of a music festival We haven’t made any money yet, really. It costs so much money to build these stages and the art installations. We also have a very high standard of safety, as every year we change the infrastructures to make it safer. We try to improve the payment system, the food, everything. It’s just expensive.

On who Jay was most excited about to see this year Gengahr, a young up-and-coming band from the UK. Saul Williams, who is like a beat poet. Actually I don’t plan too much, I just ride around my bike and stop where I want to when I have a bit of time off.

On who was the hardest musician to invite Every one is pretty hard and complicated to invite actually. But now that we have established ourselves as a credible, world 57

class festival, it’s become much easier. Plus our venue is simply incredible, and when artists come, they are just overjoyed. They play well and they go home with great memories of Hong Kong. They talk about this place in their home country, and the tourist board is probably thinking about this. Before, the focus was on mainland shoppers, but now the amount of international tourists these cultural events can bring to Hong Kong is significant also. Therefore, I hope the government can be less short-sighted.

Interview

Thinking back to what Jay spoke about, the visuals behind New Order’s first song rushed back to my head, of images of Berlin before the wall fell. It was grey, it was dark, it was poor, but it was sexy. There was blood, there were tears, people sweating and dancing their souls away in underground clubs during the birth of techno music. I felt a strong urge to cry as a spiritual feeling lifted me up. Listening to the aged voice of Bernard Sumner, I turned to my right and looked at the harbour that separates Hong Kong island and West Kowloon.

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随着New Order新秩序乐队蓝色星期一的最后一击鼓点 缓慢消逝在天际线中，Clockenflap在短短十分钟内消散而 去。留下的只有准备在两日内拆除的7个舞台，一地的空啤 酒瓶，和缭绕在心的一阵阵迷思。今年的Clockenflap给我 们带来了数不清的乐队，说唱歌手，DJ和艺术家，一同在 这让人沉醉的迷幻城市中开了一场盛大狂欢。

对我来说，将New Order放在最后演出，给这场音乐 会留下一个沉重又精彩的余音。当乐队重新回到舞台安 可，并在30年后重新于香港这个城市演出击溃所有人泪点 的 “Love Will Tear Us Apart”,那一瞬间，主唱Bernard 用颤抖又沉静、带有浓厚岁月感的声音，说出“最终我 们的生活还不是要继续下去”，全场的气氛似乎永恒般 的凝固了。 一个半小时的新秩序，似乎很自然地弥漫着一股恬淡 的伤感气息。不知道是在乐队演唱经典歌曲时背景播放 的他们二十几岁年轻模样的脸庞，还是带着浓浓政治味 道的冷战时期柏林墙两端流血流泪在地下甩头热舞的青年 人，又或者是知道这个不平凡乐队所经历的悲痛和历史。 那是一种让人上瘾着迷的情感沉淀，也是一种对过去的缅 怀与尊敬。在场除了热血的青年人，更吸引我的是那些接 近中年的乐迷，面带微笑和感怀，在口中精准地默念每一 句歌词，宛如一部曾经熟悉的经文。他们年轻时候后经历 过的，我们很难熟知，也难以探访。是那种过去的年轻和 美丽，让这场表演如此难忘。

似乎是第一次，Clockenflap的强大演出阵容让我们时 常面临选择困难。全场高涨的能量和寄予的期望，都让人 激动不已。从玩味十足的装置艺术，到香港难得的世外城 市空间，可以看出Clockenflap在不断的为这座城市洗清 文化已死的罪名。 今年Elsewhere在音乐节现场和Clockenflap的艺术总 监Jay Forster聊了聊我们去音乐节之前就在思索的一些 问题。希望能够给去过或没能亲临现场的你们一点新鲜 的思考角度。 Clockenflap究竟在多大程度上给本土社会带来了文化 上的革新？

我认为香港的地下文化一直都存在。但这的确是一个金 钱至上的社会。赚钱买房似乎是所有人的首要追求。我在 这住了也有20年了，而从我第一次来开始，就不断会遇到 过着各种另类生活的的人，追求音乐和艺术的人。但是这 个城市并没有给予他们太多的空间和机遇。以前从来就没 有过好的电子音乐，现场音乐会和艺术展，因为这里大部 分的人并不太理解。就算是今时今日，这些文化也没有上 升到主流的平台，但也不可否认已经发生的改变。

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Clockenflap现在是否没有一开始那么“indie”了？

随着Clockenflap不断壮大，我们也想要包容各种各样 不同的人群。我们的宗旨是将好的音乐文化带到这个城 市来，而不仅仅是为了小众文化人群所举办。对我来 说，最有意思的音乐其实是我不了解的音乐。比如那些 不断冒出的天马行空奇怪小乐队。我也不是很着迷于那 些一线大咖，虽然我知道很多人对此极其狂热。这就是 为什么来 Clockenflap的人都如此不一样，也正是我自 豪的一点。 那究竟来Clockenflap的都是什么样的人呢？

香港本身就是一个分裂的社会。每个人都有属于自己 的小空间。来音乐节的有高中生，大学生，带着宝宝的 年轻家长，年轻人，甚至还有老年人。 那关于Clockenflap一直试图融合的艺术成份呢？

Interview

我们一直都有尝试加入各种艺术元素。从2008年一开 始缺少资金的时候，许多艺术品都是艺术家们捐赠或借给 我们添加以艺术气息。随着预算不断增长，我们也能做更 多关于艺术展览。今年光是在艺术项目上我们就花了两百 万港币。当中包括视觉，影像和表演艺术。 音乐节中那三个金字塔的装置艺术馆是什么东西？

这个The Magnet Palace（磁铁宫殿）象征着“资本主 义，唯物主义和缺少灵魂的社会”。而我们放在香港迷人 的天际线对岸形成的反差和讽刺正是我们想表达的意思。 当你看着这无敌的城市风景，你会思索到底这一切都意味 着什么。所以比起一个一个滑稽的模仿，这个宫殿更像是 一种审判。我们用“磁铁”来做比喻，象征着我们看不 透的神秘自然力量。比如我们现代用的智能手机，当它 坏了的时候，通常我们都不知道如何去修理它，而会直 接买一个新的。另一个例子则是灯泡。一般灯泡能够使 用2000个小时，也就是大概一年时间。但是如果灯泡制 造商将使用寿命缩短为1000小时，那么我们一年就得买 两个灯泡，于是他们也就有双倍利润。这种“Planned Obsolesence” （ 计划报废）正是定义我们今天所生活的消费主义社 会的理念。就如同磁铁一般，对我们有深刻的影响，却 叫人捉摸不透，无法控制。这个想法成型后，我们便邀 请了八位不同的艺术家进驻其中，和这个理念一同创作 出各种形式的装置艺术。 你是怎么看香港的艺术发展的？

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艺术永远都是一个产业。这是我们首当其冲要理解的 一点。在香港，我们有各种画廊，博物馆，拍卖行和艺 术展览等等。的确这是一个人们交易买卖艺术，而不是 一个创作艺术的地方。首先房租就是创意的一大杀手。

香港政府永远在不断地尝试清理翻新每一个地方。所以任何一个有那么 一点粗犷、原始、荒凉的地区，都会被整理称为干净无聊的街区。我们 现在所处的西九龙还没有完全建设完成，所以还留有一些想象的空间。 但是一旦政府继续开发这个地方，就会有更多的法律法规限制我们举办 各种活动。规矩太多，这就是香港的问题所在。 Clockenflap传闻有可能会更换场地是真的吗？

我们现在在考虑启德机场旧址，中环绿地，或者继续留在西九龙。这 一切都得取决于政府的批准。 你是怎么看西九龙的M+艺术规划的？

音乐节现在所处的位置仍会保留为一个公园，而靠近ICC大楼那里则正 在修建一个艺术馆。其实我们也有在参与这个项目的规划。而我也非常希 望香港政府能够理解和意识到西九龙在世界范围内是多么难得的一个好 地方。每一次音乐人来演出的时候，都一定会为这个场地的风景和地点 惊叹。他们在全世界各种各样的音乐节都表演过，而却都对这里赞不绝 口。我猜这个政府的规划人员并不常到国外去看看，而只有一个非常局限 性的视角。每个人都只看得到房地产和土地开发的机遇。如果它们能够打 开一下视野，意识到这个地方的完美就好了。我们真的很不想失去它。 你是怎么看待音乐节作为一个产业的？

我们其实一直都没有怎么赚到钱。每一次搭建这些舞台和装置艺术， 邀请音乐家来表演都要花费太多太多钱了。同时我们对安全性的标准十 分高，所以每一年都得重新提升场地的安全规划、支付系统，食物卫生 等等各种事情。真的很贵。 你今年最期待的乐队／歌手是谁？

Gengahr，一个来自英国的年轻乐队。还有鼓点诗人Saul Williams。 其实我并没有特别计划去看谁的演出。只是当我有一点时间的时候就会停 下来看看自己有兴趣的音乐。 最难邀请的音乐人／乐队是谁？

其实邀请每一个人都十分困难。但现在我们在国际上的名声越来越大 了以后，也相对容易些了。再加上我们无与伦比的场地和风景，当人们 来表演的时候，每个都欣喜若狂。他们表演的开心，回到自己国家后也 会帮我们说说好话。我相信香港旅游局一定注意到了这一点。每年我们 音乐节都会吸引非常多来自周边国家的乐迷。以前大家只看重大陆游客 来港购物，但是如果我们的文化艺术活动增加的话，也能够带动另一形 式的旅游发展。希望政府能够看得更远一些吧。 现在回想和Jay的谈话，脑中又再度闪现New Order第一首表演的歌曲 背景所放的音乐录影带。那是柏林墙坍塌之前的一些纪录片影像。一切都 似乎是阴暗的、灰色的、贫穷的、却又性感的。有血有泪，人们酣畅淋 漓的在晨曦的废弃发电厂狂欢热舞。那是地下电子音乐萌生的年代，那 是一个愤怒又迷幻的热血年代。那一刻，我有一种强烈的哭泣的冲动。 好像Bernard Sumner的嗓音变成了一种召唤。我向右分隔了港岛和九 龙的维多利亚港望去，一面面铁栅栏，分割着两个世界。

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Editorial

Wandering Star

photography | Hadar Pitchon make-up | Mark de los Reyes model | Marcelo Gutierrez

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Editorial

An Artist of the Floating World

photography / post | Morgan Hill-Murphy fashion direction | Andrea Villanueva talent | Katherine Hawker editor | David Yang all fashion by Marc Morris Mok ballet pumps, leg warmers model’s own

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FFIXXED STUDIOS: ARTISTIC ANDROGYNY Text Tanya Mehta

Edited by Annachiara Biondi

Translation Ting Su

Edited by Yuze Le

In the expanse of the mystical Wutong Mountains lies the harmonious atelier of Ffixxed Studios, the Shenzhen-based brand generated by the amalgamation of artist Kain Picken and designer Fiona Lau’s creative energy. The duo magically create a crossroads between art and fashion by working in a reciprocal and beneficial design system that gives birth to an innovative end product. Refreshing minimalism is translated through relaxed silhouettes inspired by spa culture and everyday activities. Floaty kimono jackets, culottes and unravelling shift dresses are a few of the pieces that make up this serene label. Elsewhere meets up with Kain Picken to uncover the intricacies of his contemporary aesthetic.

How did you guys meet and why did you decide to set up Ffixxed Studios?

Interview

the spelling we were playing with this idea that things and their meanings Fiona and I met through mutual do not need to necessarily be fixed. friends in Melbourne, Australia, where The whole idea of the double ‘x’ was we both are from. She had studied in relation to a series of work that fashion and I had just graduated from I was doing in my own practice, like art school at that point. Not long after symbolizing the use of ‘x’. The double ‘f’ we started dating and we both planned came in because Fiona uses a double ‘f’ to move to Berlin, for different reasons. in her email, which I always found quite She was going to do an internship with amusing. So, in a sense, we created this a designer and I wanted to go there word of our own which sounds familiar, to work with a few galleries. Berlin but has a different spelling that gives provided us with a new creative and us an unique identity. social environment, and the whole idea of working with each other was You’re an artist and Fiona is a fascinating since we found this mutual designer, how do you guys combine interest in each other’s work. In 2008, we art with the design and fashion part? were asked to be a part of an exhibition and that was the first time we put In the beginning it was just a matter some work together. Since we wanted of ideas. We both had our own ideas a different name for our collaborative about fashion and art and everything work, we used the name ‘ffixxed’. The else pertaining to the creative field. work came very much from the context Initially we just wanted to create this of art but using materials and concepts platform to channel our ideas by giving of fashion. After about almost a year we it a solid framework and transforming decided to make Ffixxed a legitimate it into a legitimate project. In terms of fashion label. art and design, we’ve done various exhibitions involving things directly related to fashion, and others more on How did you guys come up with the the artistic side, involving sculptors and name Ffixxed? artwork. For us to do different sorts of To be honest, we did not put too exhibitions is a framework that allows much thought or time into the name, it our ideas to come through. was quite impulsive. For us, the word ‘ffixxed’ can be related to having no Your website mentions that your fixed idea or location, but by changing label creates a creative working 84

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situation. What do you mean by that?

Well, the way we came into fashion and this industry was not the most conventional way of starting up. Right from the beginning, the aim was to create a working model that was our own. We wanted all the processes that went into designing clothes to be integrated, not separate functions.

So that’s when we developed the idea of a ‘living & working’ situation, which wasn’t only limited to designing or conceptualizing the work, but integrated every single process from scratch to the final product in one place. We are now based in Shenzhen where we have this building that encompasses all our work from production to final design, and we also live there. We’ve moved through a lot of cities since the beginning of our fashion label, which gives an element of cultural diversity to our work. We wanted the whole process of bringing the work together to be exploratory and not very conventional.

What is the concept behind your SS 2016 collection?

We basically wanted to take some time off through this collection, so the whole idea was to give a super relaxed vibe to the entire line of clothing.

There were a lot of reference to the spa and sauna culture and meditative activities that are really big here in Shenzhen. We worked with a lot of laidback silhouettes, and most of the patterns you see in the collection are actual images that are woven in the fabrics starting from digital prints. So in a sense the core idea is based on a lot of traditional relaxation activities.

How do you feel your brand is influenced by contemporary Chinese fashion?

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Although we’ve had our base in Shenzhen for a while now, we are not traditionally Chinese so we still have an outsider’s perspective to how we look at Chinese fashion and design. Having said that, working with traditional Asian silhouettes, fabrics and designs was an idea that always fascinated us. Naturally once we moved here, it started influencing our work a lot more.

We wanted the daily chores of life to be reflected in our work. A lot of the work that comes through is inspired by the orthodox clothes that people wear in the villages after work hours – it has a very de-stressed vibe to it. Even though we possess an outsider’s perspective to fashion here, the Chinese influence just naturally oozes itself in the work we do.

Interview

There are a lot of other brands that are creating luxe loungewear, how do you think you can stay relevant and unique?

We are not really trying to push through a single particular genre of clothing or fashion, it’s just about expressing what influences us through our ideas. I feel the differentiating factor between us and other contemporaries is just the unique perspective we have on things.

I noticed that there isn’t a very distinctive difference between the men’s and women’s collection, what is the idea behind that?

Initially, we started off with a unisex line until A/W 2014, which is when we decided to have two separate collections for men and women. I feel a lot of the influencing factors in fashion come from outside the traditional lines of fashion and that really helps us create something unique.

How is it to work with Fiona, who is also your romantic partner? Does that make the process of working any different?

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In some ways it is quite different compared to other working relationships.

But it is not only the two of us working, we have other colleagues working with us in the studio, so that obviously triggers a sense of professionalism within us.

I feel more than the professional side, working like this affects the personal side of things. Essentially the issue is that we are working all the time, so it becomes a tad bit difficult to keep things romantic.

We’ve also created this situation where it is almost impossible for us to separate our lives from work. Such a situation has its pros and cons - I believe we have a strong connection when we are brainstorming because we know exactly what the other person is thinking; on the other hand, it gets difficult when we have a conflict or disagreement over something, since our work and lives are pretty much infused together. I feel we’ve done a really good job working like this though, I can’t imagine working in any other way now.

Who’s wearing Ffixed Studios?

Before we had a really niche audience but that seems to be changing now because in fashion, as you know, there’s always a conversation between the mainstream and the niche. Overall, the Ffixxed customer is definitely somebody who is in tune with fashion but also approaches it as a broader landscape or dialogue. It’s not necessarily somebody who is a fashion devotee or who is dominated by fashion trends, but somebody who is well-informed none the less.

An appropriate example from the creative field would be art curators or professionals who work at art galleries.

These are the people who want to dress in a formal manner but with some sort of creative flair, not just sticking to a boring suit. The aspect of dressing for work but breaking out of the mundane and keeping it playful has always interested us.

We had a curator who enthusiastically

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bought from us and even defined our clothes as a sort of “perverted office-wear” – not in a sexual sense but as work-wear re-imagined. I found this untraditional aspect quite fascinating.

What are your dreams for Ffixxed Studios?

Interview

Our dream for Ffixxed Studios is to continue to grow, but in a very organic manner and also in an unexpected way. We also want to keep the brand fresh, even for ourselves, so a few years down the line we won’t feel burned out by it. We would definitely want to expand our studio space into a different structure and perhaps expand product lines. Ultimately, the brand has to be something that evolves with us and is a source of fulfillment.

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Ffixxed Studios: 艺术的雌雄同体 在神秘的梧桐山延伸出去的地方，坐落着与 大自然和谐共处的Ffixxed Studios工作室，一 个建立在深圳的品牌，以艺术家Kain Picken和 设计师Fiona Lau的创意能量交融而成。他们 两个奇妙地使美术和时尚产生交集，并以一种互 相获益的设计方式，赋予一个新产品生命。通过 spa和日常活动产生灵感的“悠闲剪裁”，给极简 抽象艺术带来新的活力。轻薄的和服式外套，裙 裤和松散的裙子是组成这个宁静的牌子的其中几 件。Elsewhere跟Kain Picken见了一次面，来揭 示他当代审美后的复杂故事。 你们两个是怎么认识的，你们是为什么决定组 建Ffixxed Studios？

Interview

Fiona跟我都来自澳大利亚墨尔本，我们是通 过共同好友介绍认识的。她在学习时装，然后那 时我正好从艺术学校毕业。我们在一起不久以后 就都因为各自不同的原因决定搬到柏林去。她去 给一名设计师实习，我想去和那里的几间画廊 合作。柏林给我们提供了一个崭新的创新和社 交环境，而且这整个合作的想法吸引住了我们。 因为我们在对方的作品中都发现了相同的兴趣。 在2008年的时候，我们被同时邀请参加一个展， 那是我们的作品第一次被放在一起。因为我们 希望我们合作的作品能有不一样的名字，所以就 起了’ffixxed’这样一个名字。我们做过的作品 基本都是以艺术为基础，运用了时尚的材料和概 念。过了大约一年的时间，我们决定把Ffixxed定 位成一个正规的时装品牌。 你们怎么想出Ffixxed这个名字的？

说实话，我们没有花费太多的精力或者时间 在起名字上，这个名字来的挺冲动的。对我们来 说， “ffixxed” 这个词和没有固定的想法或者地 点有关，但是通过改变它的拼写，我们觉得一个 东西与它的意义不一定同时要被改变。名字里有 两个“x”的想法跟我之前做的一系列的实践有关， 比如说’x’的象征和意义。 里面的两个“f”是 因为Fiona的邮箱名字里就有两个“f”，然后我 一直都觉得很逗。所以，从某种意义来说，我们 创造的词听起来很耳熟，但是有一个不一样的 拼写方式令我们变的与众不同。 92

你是一位艺术家，而Fiona是一位设计师，你 们是怎么把艺术跟设计和时尚结合起来的？

在刚开始的时候，把我们连到一起的就是各 种想法。我们两个对时装，美术还有其他跟创意 有关的任何东西都有自己的想法。一开始，我们 创立这个平台只想用它当一个渠道，给我们的想 法一个实体的框架然后变成一个正当的项目。在 美术和设计方面，我们办过各种各样的展览，包 括纯时尚，和其他更偏向纯粹美术方面： 如雕塑 和插图。对于我们，尝试不同类型的展览就算一 个让我们实现想法框架的过程。 你的网站提到了这个品牌创造了一种有创意的 工作方式。这是什么意思？

我们不是用最寻常的方法走入时装这个领域 的。从最开始，我们的目标是创造一个属于我们 自己的工作模式。我们希望设计衣服的整个过程 是一个整体，而不是分开成不同步骤的。所以那 时我们就建立和发展了“生活与工作”的方式，不 仅仅限制在设计或者概念性的工作，而是把所有 从草稿到最后的实物都成为一体。我们现在在 深圳拥有的这栋建筑，包揽了所有我们从生产 到最后设计所需要的所有材料，我们也住在那 里。我们从开始创立这个时装品牌以后搬过很 多个城市，给我们的作品带来了多样文化的素 材。我们希望这把所有工作都放在一起的整个 过程是有探索性的而不是非常传统的。 你们2016春夏季背后的概念是什么？

在这个季度的设计中，我们想抽点时间出来， 所以整体的想法就是给整个系列营造出超级放 松的感觉。里面有很多有关spa，和桑拿文化，以 及在深圳十分被重视的“冥想”现象。我们花了 很多心思在悠闲放松式的剪裁上，你们在这季服 装中看到的大部分图案都是从电子印花开始编制 到不了中的。某种意义上，主要的想法就是在给 人一种传统的休闲放松活动中建立的。 你觉得你们的品牌有受中国当代时装的影响 么？

虽然我们到驻入深圳已经有了一段时间了，我 们不是传统上的中国人，所以我们还是持外人的 眼光来看待中国的时装和设计的。话虽如此，我 们还是一致很憧憬运用亚洲传统的剪裁，布料还 有设计的。自然的，我们一搬到这里，就比我们 想象中更大地印象了我们的作品。我们希望平 日的琐事可以在我们的作品中展现出来。很多作

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Interview

品都是因村民们工作了数小时后穿的便装— 我们之前有一群特定买家，但是现在好 给人一种很放松的感觉，而产生灵感得来 像有点变化，因为在时尚圈，你知道的，主 的。即使我们对这里的带外人的看法来看的， 流跟一些小众之间总是有些交流。总的来 中国的影响就自然的渗入了我们的作品中。 说，Ffixxed的顾客肯定是一些和时尚同步， 但又以更广阔的视野或者交流来接近它。那 别的很多牌子也在制作奢华的家居服，你 个人不一定是要是时尚的狂热粉丝，也不一 觉得你怎么才可以站得住脚并且独特？ 定是被时尚潮流引领的人，但是他依然一定 是一个见多识广的人。 我们不是在仅仅尝试某一个特定种类的 一种合适的创意的领域中的例子会是艺术 衣服或者时装，只是把影响了我们的想法 馆长或者职业在艺术画廊里工作的这样一群 表达出来。我感觉区分我们与其他当代的 人。他们都是希望可以穿的正式，但是又带有 设计师们的因素就是我们对于事物具有的 有创意的灵气，不知是套上一套单调的西装。 独特的视角。 能穿去上班但是又从乏味中挣脱出来并带 有玩笑的嬉戏的这种方面一直很吸引我们。 我发现男性跟女性系列并没有非常显著的 区别，这后面的想法是什么？ 曾经有一个馆长特别喜欢从我们这里买 衣服，甚至还把我们的衣服定义成一种“不 一开始，我们从不分男女的路线开始，直 正经的工作服” — 不是那种关于性的方面， 到2014秋冬季，那时我们才决定开始有男 而是对工作装的新印象。我发现这种非传统 性个女性两个分开的系列。我感觉很多对我 的方面很吸引人。 们在时装中有影响的因素，都是来自传统时 装路线以外的，这才是帮助我们创造出独一 你是否有任何梦想，与我们的读者分享？ 无二的作品的真正原因。 我们对Ffixxed Studios 的期望便是希望 和你的女朋友Fiona在一起工作感觉如 工作室能继续生长，不管是长期自然生长或 何？跟她在一起工作，整个过程会有不一 是意外的增值。我希望能把品牌的新鲜度保 样么？ 持下去，即使若干年后我们仍新鲜感满满。 我们当然也想把工作室的空间结构扩大，并 从某些方面来说，跟自己的伴侣工作，是 且增加产品线上的产品。最终梦想当然就是 与别的工作关系，有很挺大区别的。但不只 希望品牌能在有我们的日子里发展壮大，我 是我们两个在工作，我们还有别的同事和 渴望这种满足感。 我们在工作室里一起工作，所以那明显的触 发了我们之间对工作的专业性。我感到了更 多专业性的那一面，像这样的工作方式会影 响到我们个人的方面的事。本质上的问题是 我们从早到晚都在工作，所以把事情变的浪 漫对我们来说有点困难了。我们也建立了这 种令我们不能把自己从工作中抽离出来的环 境。这种环境有它的好处也有坏处 — 我相 信当我们在做头脑风暴时我们之间有一种 强烈的联系，因为我们可以准确的知道对 方在想什么；另一方面，我们也会有相处困 难的时候，就是每当我们遇到冲突或者对某 件事持有不同的态度时。因为我们无论生活 还是工作，彼此都活在对方的世界里。我觉 得能像这样我们已经做得很好了，我现在还 暂时不能想象有什么别的工作方式。 是谁都在穿 Ffixxed Studio？ 94

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YOUNG ART, RUN FREE - the must-see galleries for new age Chinese art in Beijing + Shanghai Text Mark Stevenson

Edited by Annachiara Biondi

Translation Ting Su

Edited by Yuze Le

While conceptualism and technical adventurism have never been entirely absent from the Chinese photographic scene, the past two decades have seen a rapid growth in the ability of the scene to embrace the opportunities that photography offers to present narratives and experiences that words can barely uncover. This move away from tourist pastiches and towards an examination of the unprecedented changes sweeping through the Middle Kingdom has obviously been largely focused on Shanghai and Beijing, although there has also been signs of both domestic expansion and increased international visibility. A formidable vanguard of galleries are not only expanding capacity, but providing incentives for Chinese photographers to address their works to the home audience. Here, we explore three of the most dynamic art institutions.

Interview

M97 Perhaps placing emphasis more on technical refinement than conceptual experimentation, M97’s past and present slate of exhibitors represents some of the most refined photography to be found in the Shanghai gallery landscape.

Huang Xiaoliang and Michael Kenna are two of the finest results of M97’s curatorial success. Hunan-native Huang, subject of solo exhibitions at the gallery in 2012 and 2013, has worked on numerous series of black and white photographs that bear clear consistencies in the use of light and shadow to build compositions that are both dreamlike and unashamedly rooted in reality. The ‘Jungle Diary’ (2009, pigment print on fibre paper) series makes heavy use of shadow and rich monochrome contrasts to lend the scene a deep, mysterious atmosphere that speaks of heady summer evenings. That many of the compositional elements are layered into the works again forces the viewer to confront the thin line between imagination and reality in the recollection of memory. Huang’s 2012 ‘A Gentle Summer’ series (pigment paint on fibre paper) takes this visual confusion even further with scenes that are just within the realms of possibility, but use either focus (the sharply rendered horse standing on a traditional moon bridge in Awaiting The Wind) or scale (the oversized flora in Two Boys which almost tower over the protagonists) to induce a sense of ethereal doubt.

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Michael Kenna “Huangshan Study 12 gelatin print. 20x20cm - Edition of 45. @M Courtesy of M97 Ga

2” (2008) Silver Michael Kenna. allery Shanghai.

Huang Xiaoliang “Waiting for the Wind” (2012) Pigment print on fine art paper. 50x50cm - Edition of 8. @Huang Xiaoliang. Courtesy of M97 Gallery Shanghai.

mountain range in Anhui (2008, silver gelatin print) parallel the works of Huang Xiaoliang in his use of a monochrome palette and breathes vigour into a subject that could never be said to be underrepresented in traditional Chinese painting or in the garish treatments of tourism boards. Using the wealth of perspective and the effect offered by the textures of both landscape and climate, Kenna’s treatment of his subject presents a stark elegance befitting of the Huangshan’s sculptural majesty. In ‘Study 12’ of the series, the opacity of low cloud coverage surrounding the forested rolling foothills - the famous Sea of Clouds - forms a melodic backdrop, focusing attention on the jagged granite outcrops and their signature Huangshan pines. While perhaps not as experimental as Huang’s series on nature, Kenna’s work is a solid reminder that, as a subject, nature sometimes needs little embellishment to stir the soul.

Pékin Fine Arts It comes as no surprise that Pekin Fine Arts, the Beijing and Hong Kong-based contemporary gallery run by Meg Maggio (also consultant to the Gagosian and Charles Saatchi) holds an enviable repertory of photographers in its exhibition catalogue.

The works in Luo Mingjun’s solo exhibition ‘Dust’ (2012, Beijing) are actually oil on canvas, but at a distance look like photographs overlaid with a very opaque filter. Indeed, Luo uses shots captured by herself as the basis for her paintings. The title of her exhibition explains the almost extreme effect applied to these black and white ‘photographs’, and derives from the Chinese representation of the past as dust . Even without an understanding of this central cultural reference, the works are suggestive of thinly remembered details from the artist’s past: not half-remembered flashes, but memories ostensibly fully recalled with an overshadowing doubt as to their authenticity. The subjects of the series, while in themselves relatively mundane scenes recognisable to many of Luo’s generation, come across as almost a showreel of a life in someway discarded.

An even more unsettling offering from PKF is to be found in their current Beijing exhibition, ‘3DPRK: Portraits from North Korea’, a collaboration between Slovenian Matjaz Tancic and Beijing-based Koryo Studio. The exhibition is the result of an ambitious project on the part of Tancic to travel across North Korea from Pyongyang 97

to Hamhung (the DPRK’s second city). With western photographers usually barred from entering the country, this exhibition represents rare (and therefore, despite frequent critical objection, important) portraiture of North Koreans across the social and geographic spectrum. The sterility and detachment of the settings is no great surprise - taking into account the presence on all shoots of a government minder - but the communication one feels between lens and subject is bizarrely reassuring. All individuals were made clearly aware of the purpose and reach of the project, and so ‘3DPRK’ is on the part of the subjects a unique opportunity to tell their stories.

From sanguine to contemptuous, from cheerful to unsettlingly vacuous, the subjects almost seem to be forcing a conversation with the audience.

Interview

A more upbeat presence on the PFA roster (and a sign of their status in the contemporary photography world) is the indomitable Martin Parr. His 2012 solo exhibition ‘Luxury and Beaches’, featuring characteristically humorous shots of visitors to the Beijing Motor Show and beachgoers in Qingdao, Sanya, and Beidaihe, is a wry depiction of the changing tastes of Chinese society. Wholly in keeping with his previously acclaimed series, including ‘Last Resort’, ‘Think of England’, and ‘Sign of the Times: a Portrait of the Nation’s Tastes’, his Beijing exhibition again exposes his ability to combine respect for his subjects with gentle mocking. Unfortunately, one senses that much is lost in taking his work out of his English context. Much of the value of these works lies in their mimicry of two classic British pursuits, wherein luxury cars and sunny weather are at the fore of the subjects’ motivation.

The absence of these core attributes from ‘Luxury and Beach’ adds vitality to the works, but the lack of context is inescapably detrimental.

Matjaž Tančič #30. KANG KUM HYANG, 24, Waitress, Sugok Rest Stop (between Pyongyang and Kaesong). 2014. Courtesy of Pékin Fine Arts

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1. Martin Parr China.

Qinhuangdao. Beidaihe, Pigment Print, 50.8 x 76.2 cm, Edition of 10, 2010. Courtesy of Pékin Fine Arts.

2. Martin Parr China.

Qinhuangdao. Beidaihe, Pigment Print, 50.8 x 76.2 cm, Edition of 10, 2010. Courtesy of Pékin Fine Arts.

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ShanghART

Interview

ShanghART is a stand-out staple on the Shanghai and Beijing scenes not least due to the breadth and depth of its offerings.

Straddling painting, sculpture, installation, photography, and video (with everything in between plus plenty of crossover), the gallery has been particularly critical to the development of video art in China.

A departure perhaps from the focus of this piece, but a standout nevertheless that deserves to be vaunted and included here because of the gallery’s frequent marrying of moving and static image works as exemplified in their 2014 V&P show.

ShanghART has enjoyed considerable success through group exhibitions that straddle the photographic-video divide, including ‘V&P’ (2015, Beijing), ‘Check Up’ (2013, Beijing), and ‘Queen LiLi’s Garden’ (2013, Shanghai). Addressing issues from across the anthropological spectrum with a remarkable diversity of approach, a staple of these shows has been the BIRDHEAD collective. A partnership between Shanghai natives Song Tao and Ji Weiyu, BIRDHEAD has exhibited widely in both solo and group capacities in China and abroad. Their focus is the often gritty reality of urban life in China’s second cities , explored through the vibrancy of their trademark aim-and-shoot works.

Yang Fudong’s ‘New Women’, a monochrome five-channel video installation, sought to examine the role of women (or rather, of the idealised women) in the development of Chinese modernity using nude models styled after interwar Shanghai beauties. While some critics are uneasy with its linear view of beauty and series of stilted and incomplete narratives, the superficiality of Yang’s approach is its finest attribute, regardless of intentionality.

Perhaps ShanghART’s greatest claim to video art primacy comes from its multiple collaborations with Zhu Jia, a pioneer of the medium in China since the 1980s. His works have always been of the moment, allowing the audience to track the development and increasingly global perspective of Chinese society in real time. Zhu’s solo exhibitions ‘Zero’ (2012, Beijing) and ‘Critical Pervasion’ (2015, Shanghai) both take an introspective look at the self through mundanity, in a way peeling art to its core functionality.

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1. 杨福东 YANG FUDONG 《天色•新女性II 2 》The Coloured Sky New Women II, 2 彩色喷墨打印哈内穆勒超平 滑 Colour inkjet Hahnemuhle Ultra smooth 305g 2014 120x180cm. Courtesy of ShanghART Gallery

2. ZHU JIA 朱加零 Zero 彩 色喷墨打印 Colour inkjet 2012 73x110cm. Courtesy of ShanghART Gallery

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北京＋上海 必去的中国新时代艺术画廊

观念主义和科技探索主义从来都没有离开过中国摄影，在过去的二十年里 我们不断地看到中国摄影的快速成长，在它镜头下展现着文字难以言说 的故事情节和丰富经验。人们开始远离“游客照”并走向了新的实践与探 索，这样的景象前所未有地袭卷了这个曾经被称之为“中央王国（Middle Kingdom）”的国家——尤其是在北京和上海这两个城市。 尽管有迹象表明 中国摄影既在国内扩张又具备了国际名声，但令人敬畏的画廊先锋并不只 是为了吸引人气，而更是激发了中国摄影师拍出好的作品并展现给同胞的 欲望。 在这里，我们将深入探寻中国三个最活跃的艺术机构。

M97

Interview

也许相比于实践观念更看重技术提高，M97能找到上海参展者中一些最精炼又最有内 涵的摄影作品。

Huang Xiaoliang 和 Michael Kenna 是M97经营成功的体现。 生于湖南的Huang，2012 和2013在画廊开了个人展，她的多个黑白系列作品承载了用光和影搭建的如梦幻境，又有 扎根在现实的清晰连贯性。 “丛林日记 Jungle Diary” （2009，颜料印染于纤维纸）系列运用 了繁重的阴影，浓郁的黑白对比使照片流露出了深奥神秘的感觉，尤其是夏日晕眩的傍晚。 许多创作灵感层层注入了作品中，强迫观众把记忆游离在现世和梦境的边缘。 Huang 2012 年的“A Gentle Summer”系列（颜料和纤维纸）把这种视觉混乱推向另一个高潮：利用对焦 （锐利渲染过的站在“等风”中传统的月亮桥上的马）和比例（ “两个男孩”里快要超过主人 公的超大植物群）带来一种非凡的疑惑感。 Michael Kenna在安徽拍摄的黄山风景照（2008，明胶银版法印像）和Huang Xiaoliang 的黑白色调相似，把山水的活力从传统中国绘画以及过度发展的旅游业宣传图里抽离出 来并加以发展。 运用丰富的透视法把风景与气候的结构加以点缀，Kenna展示出了黄山奇 石的威严。 在“Study 12”的系列里，朦胧的低云环绕着草木丛生的山麓地带 — 著名的“云 海”— 形成了带有主旋律性的背景，使大家把注意力都集中于从云中脱颖而出的花岗岩 以及有代表性的黄山松树上。 虽然可能没有像Huang的自然系列那么具有实验性，Kenna 的作品是一个暗示，作为一个主题，大自然有时需要一点点委婉的修饰才能令你看到的那 怦然心动的美。

Pékin Fine Arts 毫无疑问，由Meg Maggio（同时身为Gagosian与Charles Saatchi的顾问）掌管的Pékin Fine Arts在北京和香港的展览拥有着众多摄影师创作出的令人羡慕不已的作品。 罗明君的个人展“Dust” （2012，北京）中使用的是布面油画，但从远看就像是用不反光的 过滤材料处理过的照片。 罗明君用她自己捕捉的镜头当作绘画的样本，这个个人展的取名 解释了这些黑白“相片”能达到的效果，并且这个名字来源于中国把尘埃比喻成过去的这个 说法。 即使有些人不理解中文中的隐喻，看到这些作品就能令人想到艺术家对于过去淡淡 的回忆：不是那种片段式的块状记忆，而是对一片完整的回忆的真实性蒙上的一层疑问。 这 个系列的主题中相对世俗的场景，罗明君这一代人很容易就可以看出来——这个作品集像

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是在说生命在某个方面被遗弃的故事。

PKF所有的展览中，其中一个令人心绪不宁的展览要属现在正在北京开展的“3DPRK: Portraits from North Korea”了。 它是由一位苏洛维尼亚艺术家Matjaz Tancic与北京 Koryo Studio之间的合作。 这个展览的内容是Tancic在朝鲜时从北部平壤跨越到南部咸 兴（DPRK中的第二个城市）的旅途中开展的一个有野心的项目中得来的。 西方摄影师一般 都被禁止进入这个国家，所以这个展览展示出了少有的（除了频繁被批判的异议以外）朝鲜 社会风貌和地理状况的摄影作品。 考虑到朝鲜政府管理人员持有枪支，这些贫瘠与分离的 环境对大家来说并不会带来很大的惊喜，但是从作品的主题和镜头中，我们可以感受到一 种另类的安心感。 所有欣赏了这些作品的人都能体会到这种感觉，所以“3DPRK”是艺术家 讲述他们故事的一个独特的机遇。 从乐观到轻视，从愉快的到使人不安的空洞，这个系列的 主题像是在强迫观众们与它进行一场对话。

PFA摄影师是当代摄影界中地位的象征，他们中有一位名叫Martin Parr的摄影师，其 作品主题非常欢快却又不屈不挠。 他在2012年开展的个人展“Luxury and Beaches”中， 展现了那些前来参加北京汽车展以及去青岛，三亚河北戴河的游客们身上典型的幽默特 征，讽刺地描绘了在中国社会中大众品味的改变。 跟他们之前获得过称赞的系列完全一 样，包括“Last Resort” ， “Think of England” ，还有“Sign of the Times：a Portrait of the Nation’s Tastes” ，在北京的展览充分展现了他对题材的尊重与对社会现状嘲讽的能力。 不 幸的是，如果不把他当成英国人来看，他的作品表现力就会削减很多。 这些作品再现了英国 人追求品位的特质，诸如豪车和阳光就是构成整个主题最直观的原动力。 作品“Luxury and Beach”中主要属性的缺失，虽然能给整个作品增加了活力，但遗憾的是缺少了社会背景。

ShanghART ShanghART，在北京和上海的艺术圈中占有十分重要的地位，尤其是因为其展览内容 的广泛性和深度性。 包含了绘画，雕塑，艺术品，摄影和录像（跨界作品） ，这间展览尤其对 中国视频艺术充满了批判性。 从一个作品本身出发却备受瞩目确实值得骄傲，这间画廊常 常把动态和静态作品结合在一起，比如说2014年的V&P展。

ShanghART曾因为一些跨越了摄影摄像的群展而获得过相当大的成功，包括“V&P” （2015，北京） ， “Check Up” （2013，北京）以及“Queen LiLi’s Garden” （2013，上海）。 还 有用不同的方法来解决人类学中“光谱”这个问题——比如说之前上海本地人宋涛与季炜 煜之间合作的BIRDHEAD系列。BIRDHEAD曾多次在国内外开展过的独展以及群展中展 出，他们通过富有生机的且不经意的拍摄去关注中国二线城市的都市生活中坚毅的现实， 杨福东的“New Women” （新女性）是一系列黑白的摄影作品，它尝试着去用裸体模特 装扮成中国内战时期上海滩式的美人来分析中国现代化下女性的角色（往往是被理想化 的女性）。 当一些人对于摄影中展现的美的线性观点，以及生硬与不完整的叙述给出了不太 好的评价后，杨福东的最大贡献除了内容的国际性就成了这些看似粗枝大叶的摄影处理。

可能ShanghART声望最高的视频艺术要属于与朱加之间多次不同的合作。 朱加从1980年 代就成为中国媒体的先锋，他的作品往往是红极一时，可以让观众追寻中国社会中与时俱进 的发展以及愈加开阔的国际视角。 朱加的个人展“Zero” （2012，北京）和“Critical Pervasion” （2015，上海）都让人们在世俗中反省自己，在某种程度上使艺术体现了它的中心功能。

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Editorial

Trapped in My Mind

photography | Jenna Putnam styling | Sheyna Imm hair and make-up | Madison Personette model | Eden at New York Models

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shirt Zara

dress by Alexander Wang

choker and wrist wrap by OV US NYC

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shirt and trousers by Dolly G’s Vintage

ie and wrist wrap by OV US NYC

ring by AESA

socks stylist’s own

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shirt by Balenciaga

turtleneck by Piece

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jacket by Cinemachine Vintage

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shirt by Dolly G’s Vintage pants, wrist wrap and choker by OV US NYC shoes by VANS

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shirt by Cinemachine Vintage

skirt by Zara

choker by OV US NYC

001 @YUSANLU

RAW KIDS CLUB

Edited by David Yang

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ty And A Day’.

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on is pressure, force and conflict.

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My most recent work is a fashion film called

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bestie. y m h it w o I usually d t a h w is his

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I am a common person who has common habits.

I do fashion. I need to get inspiration from every single moment.

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Editorial

Come Away with Me

photography | Kristiina Wilson styling | Haley Lowenthal grooming | Mary Guthrie at Exclusive Artists model | Vanessa Lee at New York Models

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dress by Timo Weiland

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shoes by Dr. Martens

sweater by Timo Weiland

dress by Femme d’Armes

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dress by Asos

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top and skirt by Giulietta

shoes by Dr. Martens

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coat by Scapes New York top by Timo Weiland jumpsuit by Femme d’Armes

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coat by Scapes New York

top by Timo Weiland

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AMS ISSUE DREAMS ISSUE

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