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CONTENTS:
6-11/ Phantasmagoria analogous photography 12-15/ Digital mirage of prints the digitalized world helps us to run faster
DECLARATION OF INDEPENDENCE: 16-17/ Buttons up 18-19/ Growing crystals 20-27/ We can not control the wind, but we can direct the sail.
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MAKE ART: 28-31/ Give me attitude! 32-33/ Bullet powder 34-35/ Get the grip! 36-39/ Bloody flood 40-44/ The beginning of the end: screenprinting the story of war
EDITORIAL: 45-57/ The promised land in a relentless war an intimate look at the many tools used for an entire collection process 58-67/ Still life of war Recipes of classifications and what actually means ,still life‘
68-69/ Contact We have tried everything, so you don‘t have to
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PHANTA SMAGORIA
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The analog pictures are representing the illusion of a women role stimulating the effect of appearance and disappearance through mirrors and incident of the day-light. Another feature is the richness of the ambiente and of the clothes. The reflection of the subjects convey confusion andgive the audience a range of inspecting possibilities. The pictures were shooted with a Nikon F22, 50mm lense. The negatives were developed and printed in the dark room. Photographer and Styling: Saskia Lubnow Model: Anna Drexel, Isabel Hanell, Lena Grabher and Liis Pärnaste
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DIGITAL MIRAGE OF PRINTS
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These motifs were digitalised and created in illustrator for a digital printing. The motif is an analog picture of the article “phantasmagoria� with the women in front of the window.
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Delusion
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Reflection right: Kaleidoscope
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DECLARATION OF INDEPENDENCE: BUTTONS UP
W:5,5 B:3
W:5,5 B:2
W:3 B:1
W:4 B:1
W:3 B:3
W:2,3 B:2,3 W:2 B:2
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W:3 B:3
W:3 B:3
douple (2x) + screw (2x)
W:3,65 B:3,65
The experiment comprise of using plexiglas interconnecting to buttons. Material-list: - Transparent plexiglass height: 2mm - Screws (internal plastic topping) and bolts - Bucksaw with a metal blade - Drill Instruction: Draw on top of the folie of the plexiglas your measurements of the button (in this example 2x2cm for a square). Than saw two plates with the bucksaw and drill the holes on the edges. After just connect the pieces together, first the screw through the first plate than the bolt inbetween after the second plate and at the end a bolt to close the construction. For sewing use the middle part to fix the thread around. Done is your personal own button in a futuristic style.
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GROWING CRYSTALS
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Material-list: - Alum for white crystals or copper sulfate for blue crystals - Stove, pan and bowl or glass - Scale and measuring cup - distilled water wooden stick to stirr Mixture ratio: - Alum and distilled water 1:4 ( 2,5g for 10ml ) Copper sulfate and distilled water 1:2 ( 5g for 10ml )
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Instruction: First boil the water than put the salt in a glass cup together with the distilled water. In the pan you put the cup and stirr until the salt is dissolve in the distilled water. Afterwards leave the cup for resting, which can take a while from a week till a month. You can follow the growing process and at the last point take the distilled water away and ta-da selfmade crystals grown up. Further possibility would be hanging on a woodstick a nylon thread into the cup, so the crystals can actually grow up on the nylon.
W E C A N N OT C O N T R O L T H E W I N D, BUT WE CAN DIRECT THE SAIL.
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The exploration of the ‘new fisherman’ is realized in a clean and minimalistic style in combination of tradition with a modern twist. The light- and dark blue symbolizing the depth of the dangerous ocean. Beeing a fisher is a worldwide comman job with a big importance. The outfit was conceptual matched to the nessessary functions like a hood, diverse pockets and wind- and water resistant fabrics. And not to forget about the rainboots. These project was developed in collaboration with the Klopman Company, who was handing in the fabric for this specific workwear outfit. Model: Tommaso Photographer: Luca Iannuzzi Design and Production: Saskia Lubnow In cooperation with Klopman Company
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GIVE ME ATTITUDE!
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The backpack is made out of finest calf leather with a cotton lining inside and a loop-hanger for carrying it by hand. With the zip on top and the zip-pocket inside, it is easy to treat and the shoulder strapes are adjustable with the metal eyelets. Chic and casual at the same time. Photographer: Luca Iannuzzi Model: Francesca della Seta Design: Saskia Lubnow
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BULLET POWDER!
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The opaque off-white tights sewn with single bullets on the top. It has the effect of a shin saver as a protection against outside. Because of their stiffness, the edges of the bullets are sticking out from the shape of the leg. Transformation of the natural bodyshape as a symbole for disturbances. Photographer: Luca Iannuzzi Model: Beatrice Galeazzi Design: Saskia Lubnow
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GET THE GRIP!
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The wooden inspired Geisha shoes are wrapped with a violet straw-banding around the ankle. On top of the soles are stamped white disordered numbers. Additional the wooden bricks are fixed with a L-shaped plate to the wood-sole. The raw wood was painted black. Photographer: Luca Iannuzzi Model: Beatrice Galeazzi Design: Saskia Lubnow
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BLOODY FLOOD
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Tousands of single white pearls were threaded by hand. The entire coat is only made out of pearls, no fabric. After it was coated with different red tones for the gradient from top to the bottom. Every pearls stands for a drop of blood floating down the body. Photographer: Luca Iannuzzi Design: Saskia Lubnow
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THE BEGINNING OF THE END
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Another way of printing techniques would be the old traditional technique of screenprinting. Development of the process: Photomontage The classic painting of Nicolas Poussin has been digitalized. in the form of digital pictures. The previous image has in turn been manipulated using the last version of Photoshop. We can then find in the manipulated version of the painting an exaggerated representation of the war, but perhaps just for these reason it is closest to the reality of our world. The technique used is called photomontage; it means that the original image has been mixed with other images. The original subjects of the painting have been processed in contemporary subjects placed in a war scenario. The little �putti� of the painting tradition became child soldiers equipped with gas masks and arms. Exaggerations that unfortunately remind us of the real children soldiers that are operative in different areas of the world. The bucolic scenery leaves room for an atmosphere of death
and despair. Inspiration was the relationship between traditional art and new possibilities offered from the new technologies able to create a interaction with the opera, change it and operate on its meaning. In the last years the diffidence about the digital art is disappearing and the work of new visionary artists is getting more and more attention by the public. In the same way the author uses the modern technologies, mixed with the traditional painting, to counter the superficiality with which all too often we look at the images of disgrace that the fighting causes. The manipulated images then have been converted in four images according to the quadricomy division for the printing.
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Screenprinting-process: The manipulated images have been converted in four images according to the quadricomy division for the printing. It was not realized with the common ink jet process, but instead with the old technique of screen-printing: The first step was to print the image on tracing paper in four colour channels (in black and white), these four prints were exposed through the photographic process on particular screen covered with nylon tissue and coded with a photo-emulsion. Each frame has been sprinkled with the four colours to transfer the image onto fabric used for the collection. Development of the process: Interpretation The fabric used is the same of the frame for oil painting, so as to accentuate the pictorial value of the clothes. The tissue has been sewed with other
fabrics and modern materials to show a connection between past and present in the endless history of the violence of the war. Almost as a metaphor for the equal and opposite forces that have always crossed the history of mankind, in the work of the author the composure of classical figures merges with brutality of the war, scenes of poverty are intertwined with elements that refer to the pomp and the wealth. The models wear literally the war on their skin as a testimony of impossibility to limit any conflict to a single geographical area or to a single historical period. The war is unfortunately totalizing and “as all the battles of” man, it implies a chain of events unidentifiable in a single historical period, which become part of the cultural heritage of man, in the same way every victim of human violence, although far thousands of kilometers touches us in first person and makes us passive spectators or authors. Only stimulating the sensitivity “of men is possible to fight this guilty emotional stasis and promote a renewed awareness that allows a real empathic understanding of reality“ that flows under our eyes.
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T H E P R O M I S E D L A N D I N A R E L E N T L E S S WA R
45 It is important to look at death because it is a part of life. It is a sad thing, melancholy but romantic at the same time. It is the end of a cycle – everything has to end. The cycle of life is positive because it gives room for new things. Alexander McQueen, 2010
Photographer: Luca Iannuzzi Models: Dahye Kang / Elísa Björk Óskarsdóttir / Suzi Makaj / Bohdan Stupak / Maßimo ZwichenNwerchen Design and Styling: Saskia Lubnow Hairstlying: Idetorma Hairdressing Make-up: Ofelia Tesi
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S T I L L L I F E O F WA R
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In the collective imagination the binomial photograph - war brings out the mind the figure photo reporter, who, in defiance of danger, goes down in the middle of the conflict and whose shots show the viewer the rough aspects of war chronicle. Photography, however, far from naive classifications, is a flexible instrument that lends itself to numerous analyzes and knows how to indulge in multiple reflections on the same subject. Borrowing two terms typical of the Linguistic we can say that photography fills the gaps of "significant" infusing the images of "meaning." The representation of war in its purely conceptual way is perfectly suited to the genre of still life which, by definition, fixed on film or sensor, the absence of life , death.
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1/ Energy War 2/ Peaceful War 3/ Media War 4/ Economic War 5/ Ideological War 6/ Biological War 7/ Religious War 8/ Psycological War
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DESIGN ADDICTION MEETS CAMERA FLASH!
Two young people decided to make the world unsure with their creative power and impressions. Saskia Lubnow and Luca Iannuzzi ,founded‘ in Accademia Italiana, Firenze.
Luca Iannuzzi, the photographer with the clear head and the view for essential things. In contrast to Saskia Lubnow, the Fashion Designer with her own chaos theory and unbounded ambitions of creativity. Together they are building the perfect duo for a desirable and spectacular magazine around Fashion, Photography and Experiments. This is here and now.
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