FFWMAG #38

e n g l i s h c o n te n t

Emanuela de Paula fotografada por Rogério Mesquita e arte de Ludovic Thiriez N°38 • 2014 • R$19,90

moda+arte | love affair

love affair moda+ar te

38 2014

Mario Testino ∙ Maurício Ianês ∙ Lenny Niemeyer ∙ Metronomy ∙ Hans-Ulrich Obrist ∙ Paula Raia Carolina Jabor ∙ James Quaintance ∙ Jonathas de Andrade ∙ Oskar Metsavaht ∙ Milena Canonero Séculos Apaixonados ∙ Vik Muniz ∙ Viviane Sassen ∙ Gil Inoue ∙ Marcelo Gomes ∙ Cindy Sherman #amomoda amobr asil

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30

38

Art in the Future

42

89plus

Jonathas de Andrade

54

Fashion that nurtures Art

48

Where do artists live?

summary 76

60

Tropical Girls

True Colors

68

Viviane Sassen

84

The embrace with art is contemporary fashion’s great love affair

92

National Collections

122

International Collections

140

Jimmy Jazz

148

Paula Raia

156

Carolina Jabor

162

Metronomy

158

Milena Canonero

166

La Roux

love affair 170 168

I Think Vik Muniz

174

Séculos Apaixonados

Talk Mario Testino

192

Studio Oskar Metsavaht

180

Talk Lenny Niemeyer

186

Talk Maurício Ianês

TÍTULO DA PAUTA

Alex Batista

C

O

Ann Kelly

Barbara Heckler

“I think I wouldn’t want to be any other artist”, said the photographer when asked which plastic artist he’d like to be. Alex was born and lives in São Paulo. The song stuck in his head is 10 minutes long: “You Show Great Spirit”, by Prurient. He claims to pretend when he must “be polite to intolerant people”. His favorite word is process. And his life would make for a good comedy. @bastista.alex

She is on the cover of book You and I, by American photographer Ryan McGinley and, in this FFWMAG, she posed for the international editorial. Ann is an artist. She was born and lives in New York. To the sound of “Anti-Pleasure Dissertation”, by Bikini Kill, she says she would make a sculpture in tribute to Nina Simone.

Her favorite words are crunchy and rough. If her life was a movie, it’d be a drama.

From São Paulo, she is a journalist and anthropologist: “The two professions complete me”. Her song of the moment is “Partículas de Amor”, by Lucas Santtana. If she were a plastic artist, she’d be Henri de Toulouse-Lautrec. Her favorite word: garupa (rump). She says her life is an adventure film: “I am adventurous. I like to travel alone. Without that rush, nothing would be any fun”. She is not into sculptures in tribute to people: “I wouldn’t do that to anyone”.

Felipe Morozini

Fernando Mazza

Photographer and plastic artist, he was born and lives in São Paulo. The song stuck in his head is “I Love You”, by Woodkid. He has danced: “I took ballet with my first girlfriend”. He’d like to be Salvador Dali. Favorite word: forward. He says he plays a part when with his mother: “With my mom I am always a child”. He would honor Mother Teresa of Calcutta and Leonilson with a statue. If his life were a movie, it’d be a romantic comedy. @felipemorozini

Fashion and advertising photographer, he lives between São Paulo and New York. In his travels, a song that follows him: “Love TKO”, by Teddy Pendergrass. He says he is not one to pretend: “Who likes me, likes me for who I am. Who doesn’t, my condolences”. Favorite word: identity. If he were a plastic artist, he’d be Salvador Dali. He “danced” back in preschool: “I pooped my pants in front of my friends and they still make fun of me”. @mazzacanteras rozini

B

O

T

Gil Inoue

The photographer was born in São Paulo. Today he lives in Brooklyn, and walks around to the soundtrack of the film Only Lovers Left Alive. He tells that he “danced” when he missed Massive Attack concert, in 2009. If he were an artist, he’d like to be Marcel Duchamp, and his favorite word is coeur (heart). He’d make a statue in homage to Edward Snowden and his life would be a movie directed by Michel Gondry. @gil_inoue

I

Gleeson Paulino

João Lourenço

Lucas Bori

Photographer and video maker, he is from Maringá, Paraná, and lives between São Paulo and London. The song that became the soundtrack of his past is “Heroes”,

by David Bowie. He says he is not used to pretend, but, in some situations, he is forced to, “when I don’t want to hurt someone”. If he were a plastic artist, he’d be Edwin Henry Landseer: “I have a strong connection to the 19th century England”. His favorite word is “juniptolares”: “I like making words up”. @gleesonpaulino

If his life were a movie, it would be “an exploitation directed by Tarantino”. Born in Curitiba, Paraná, he now lives in Baltimore, United States, where he listens to “Anywhere I Lay My Head”, by Scarlett Johansson.

If he were an artist, he’d be James Turrel, and would honor Joan Didion with a statue. Favorite expression: “Accept and it’ll hurt less”. In July, he “danced” in a trip: “I lost my flight to Ireland because I went to the wrong airport”. @jalourenco

The song that is glued to his memory is “Retrograde”, by James Blake. “But that changes a lot depending on the week”. Graduated in graphic design, the photographer is from São Paulo but lives in Rio. Artistically, he’d like to incarnate Lucian Freud. He says that, whenever he is sick, he adopts his persona “the apocalypse is coming”. After he became a father, he says he feels in a 1980’s comedy featuring Chevy Chase or Steve Martin. @lucasbori

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art

TÍTULO DA PAUTA

L

L

A

Lucas Landau

Ludovic Thiriez

Marcelo Gomes

He warns: “After you listen to it for the first time, it is impossible to get Jõao Brasil’s remix of song ‘Cara, Muleke!’, by Thiaguinho, out of your head. Watch out!” .The carioca photographer lives in Copacabana. He admires artist Maurits Cornelis Escher and would make a sculpture in homage to Roshomon, “the hamburguer with wasabi mayo from Comuna, in Rio”. His favorite word is sossego (quiet) and his life, were it a movie, would be a comedy. “Humor above all”. @landau

He was born in Courbevoie, France. He worked in Budapest for three years and has spent the last two in São Paulo. Plastic artist, he works with collage, painting, drawing, photography etc. The song that rocks his world at the moment is “Des Armes”, by French band Noir Désir. His favorite word is radiator and if his life were a film it would be a mixture of drama, comedy, and adventure. He would honor his mother in a sculpture.

He was born in Belém, Pará. He currently lives in New York. Artist and photographer, he has a bachelor’s in Political Sciences. He admires American painter Ad Reinhardt and would make a sculpture to honor Caetano Veloso. He says he “acts out” when he needs to wake up very early: “I embody a spoiled 9 year-old”. His favorite word is the verb to engender. And the song that is stuck in his head is “Electric Counterpoint III Fast (First Movement)”, by Steve Reich. @marceloagomes

Mariana Pontual

R

Mark Cardoso

From Belo Horizonte, the journalist lives in São Paulo and is a member of FFW.com.br. She says she has “danced” in several occasions, “but the important is to keep your swing”. Favorite word: João. And the song stuck in her head is “Pérola Negra”, by Luiz Melodia. If she were an artist, she’d be Lygia Clark, who is also from Minas Gerais. If her life were a movie, it’d be an adventure: “Who’s life is not an adventure?”. @marianapontual

A

Maurício Ianês

Journalist. He was born in Vitória, Espítio Santo, and lives in São Paulo. Music: “Nosso Sonho”, by Claudinho and Buchecha: “The 1990’s revival during my 30th birthday stuck with me”. If he were an artist, he’d be Van Gogh. Favorite word: saudade (nostalgia), “it is the word that embraces you when read it on paper”. He would honor Valesca Popozuda with a statue: “With ‘Beijinho no Ombro’, she made everyone dance to funk without elitist and nonsensical prejudice”. @heyMark

Plastic artist and stylist, he is from Santos and lives in São Paulo. He always “dances” by creating “expectations higher than Mount Everest”. He’d like to be Lawrence Weiner, “but only because his gray beard is longer than mine”. The song that is in his head is “I Luv The Valley Oh!”, by Xiu Xiu, and his favorite word is ineffable. If his life were a movie, it’d be a feature by the great Ingmar Bergman. @mauricioianes

O

N

S

Michael Vendola

Rogério Mesquita

Vivian Whiteman

His favorite word is fuck and the song currently stuck in his head is “Fired Up”, greatest hit by Funky Green Dogs, launched in 1996. American born in Colorado, the stylist lives in New York. He says that if he were a plastic artist, he’d be J ean-Michel Basquiat, and if his life were a movie, it’d be a great adventure. Michael would honor his mother with a statue. @michaelvendola

To the sound of “Insensatez”, by Tom Jobim, the photographer and artist remembers that he has “danced” when he was robbed: “Someone is still shooting with my equipment”. From Goiás, he has been living in São Paulo since 2006, working in fashion, advertising, and art. He admires Francis Bacon and would honor Stephen Hawking with a statue. He is not to “act out” because he is a “lousy actor”. His favorite word is love. @rogerio_mesquita

Journalist and behavior analyst. She was born in Campinas, São Paulo, and today lives “between the wood, the internet, and Paulista Avenue”. The song that follows her around is “Bob”, by Otto. The one that says: “In the afternoon, at the beach, what she likes is smoking and kissing her fiancé”. And she would honor “the wonderful” David Bowie with a statue. Favorite word: parallax. And her life would be “a comedy of errors that turns out ok”. @viviwhiteman

FFWMAG 38

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art

publisher

Paulo Borges

Content and Creative Director

Augusto Mariotti

augusto@luminosidade.com.br Executive Director

Mauro Braga

mauro@luminosidade.com.br Editor-in-Chief

Camila Yahn

camilayahn@ffw.com.br Editor

Marcos Guinoza Editor Assistant

Kátia Lessa

Casting Director

Luiz Henrique Costa Art Director

Gabriel Finotti designer

Frederico Floeter Assistant Designer

Julia D’Alkmin

Proofreader

Luciana Sanches Translator

Luciana Braga ffw.com.br Camila Yahn Sarah Lee Marcela Duarte Mariana Pontual

Collaborators

Alex Batista, Aline Dias, Ann Kelly, Barbara Heckler, Breno de Faria, Bruno Miranda, Eudes de Santana, Felipe Morozini, Fernando Mazza, Flavio Lacerda, G. Junior, Gil Inoue, Gleeson Paulino, João Arraes, João Lourenço, Jorge Morabito, Lau Neves, Lucas Bori, Lucas Landau, Ludovic Thiriez, Marcelo Gomes, Mark Cardoso, Maurício Ianês, Michael Vendola, Rogério Mesquita, Saulo Fonseca, Tica Bertani, Vivian Whiteman, Weslei Marinho Ac k n o w l e d g e m e n t s

Fernanda Fontes, Galeria Blau Projects, Galeria Luciana Caravello, Jan Olesen, Inez van Lamsweerde e Vinoodh Matadin, Ludmila Moreira, Malu Barretto, Mari Stockler, Marina Franco, Paola Wescher, Patricia Casé, Patricia Veneziano, Richard Luiz, Galeria Silvia Cintra, Tania Leone, Galeria Vermelho, WA imagem lumi 05 marketing e propaganda ltda.

Av. 9 de Julho 4.927 / 4.939 - Torre Jardim (A) - 9º andar 01407 200 - São Paulo - SP Tel 55 11 3077 4877 ffwmag@luminosidade.com.br

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capa

Emanuela de Paula (prime talents), fotografada por Rogério Mesquita, arte de Ludovic Thiriez, beleza Flavio Lacerda (capamgt), veste Água de Coco FFWMAG (ISSN 1809-8304) is published

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editorial

I N S P IRE A RT #a m o m o da a m o b r a s i l

Throughout the 20th century, fashion and art grew closer together until they became almost inseparable. Currently, collaborations between fashion brands and artists have become traditional and, from that synergy, works with innovative and surprising concepts often arise.

Those who follow FFWMAG know: we have always been an intersection point between both universes. For that reason – and the fact that Brazil is hosting the 31st Biennial and the greatest retrospective of Salvador Dali in Latin America – we decided to celebrate art, placing it at the center of this issue.

To start, journalist Vivian Whiteman studies the longstanding relationship between fashion and art – from Salvador Dali’s and Elsa Schiaparelli’s creative affair, back in the 1930’s, to the partnership between Hussein Chalayan and Gavin Turk, who created an expected oeuvre about silence. According to Vivian, “the embrace with art is modern fashion’s great love affair”.

Another encounter between fashion and art – exclusive for FFWMAG – gathers photographer Rogério Mesquita and French artist Ludovic Thiriez. In the midst of birds, leafs, and flowers – hand painted over the images – seven Brazilian bombshells, as tropical Indians, delicately appear in the beachwear editorial. Emanuela de Paula graces our cover with her black beauty. To FFWMAG, black is beautiful. It has always been. It will remain so. Period.

From Brazilian watercolors to the neighborhood that concentrates New York’s pulsating artistic indie scene, Brooklyn, where artist Ann Kelly – cover of the book You and I, by photographer Ryan McGinley – posed in looks from the latest international collections for photoartist Marcelo Gomes’ lenses.

It is worth mentioning that this edition brings the releases of Brazilian and international collections that have taken off from the catwalks and are landing is stores as you read this. Maurício Ianês, artist and stylist, is a collaborator and, at the same time, one of the interviewees in the segment “Talk”.

With photographer Gil Inoue, Ianês signs the fashion editorial with articles from Brazilian collections. The masculine editorial features American model, skater, and tattoo artist James Quaintance, a hot newcomer in the international fashion circuit.

As soon as we knew he was in Brazil, our team began a hallucinating chase to get him. Friendly, James accepted our invitation and was amused to realize he had already met Augusto Mariotti, out creative director, when he didn’t even dream about being a model and was flipping on California’s skate boards. Who shot him was Fernando Mazza, FFWMAG’s new bet. Shooting the Englishmen from Metronomy also required an effort from photographer Eudes de Santana. The pictures were taken 15 minutes before the band went up on stage at the Reading Festival. Over the phone, Kátia Lessa spoke to the singer, Joseph Mount, who, upon learning he was being interviewed for a Brazilian magazine, said in Portuguese: “Hiiii, good morning! How do you doooo?”.

We still bring Viviane Sassen, Dutch photographer who ruptured any existent antagonisms between fashion and art and is always an inspiration to us, and an exclusive interview with Mario Testino. The top Peruvian photographer spoke to Camila Yahn and is still as kind and “solar” as when I met him, in 1998, while organizing his first exhibition in Brazil.

That is not all. There’s more about fashion and art in this issue: Carolina Jabor, Jonathas de Andrade, La Roux, Lenny Niemeyer, Milena Canonero, Oskar Metsavaht, Paula Raia, Séculos Apaixonados, and Vik Muniz.

Inspire art, expire fashion. Breath FFWMAG.

Paulo Borges Publisher FFWMAG 38

28

art

Guilherme Peters, Robespierre e as tentativa de retomar a revolução, 2010

Art in the future Five curators refer five young artists who already stand out in the cultural scene of Brazil

By Barbara Heckler

Marcone Moreira, Série Vestígios, 2006

Mayana Redin, Geografias de Encontros, 2009-2013

Ivan Grilo, Estudo para Inventรกrio, 2013

Fernando Piola, Guia de ruas de Sรฃo Paulo, 2014

art in the future

Marcone Moreira Born in Pio XII, Maranhão, 32 | Currently lives in Rio de Janeiro | Galeria Blau Projects (SP)

By Mario Gioia Courtesy Blau Projects

Expansão, 2013

“I met Marcone in an exhibition at Virgílio

keeps an outflow; he experiments a lot with

Mario Gioia is a journalist. Worked as an

Gallery, in São Paulo, in 2003. This artist,

photography, video, 3D. From all of his

editor at Ilustrada, Folha de S.Paulo, he

who spent his youth in Marabá (PA) and

work, I like a lot Equador e Tordesilhas, that

collaborates with magazines BRAVO! and

now lives in Rio, experienced moving a lot.

represents where Belém is, using a parallel

Select. As a curator, he discovered the in-

Marcone, in a certain way, unfolds the

and the historical agreement. I would also

dividual works of the artists Ivan Grilo

constructive heritage of the national avant

highlight the work Expansão, a sequence of

and Layla Motta, and others. He integra-

garde, relocates himself to a local context

straps taken form a boat that varies accor-

tes the group of critics of Paço das Artes

(in the case, the Amazone), and deal with

ding to the exposed space.

and is a critic guest at Programa de Exposições 2014, of Centro Cultural São Paulo.

the questions downtown/suburbs in a non skewed way. By wining awards as the Marcantonio Vilaça, from Sesi, and participating in residencies in many states, his work

FFWMAG 38

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art

art in the future

Fernando Piola Born in São Paulo, 32 | Currently lives in São Paulo

By Tadeu Chiarelli

Operação Tutoia, 2008

“Fernando Piola graduated in Arts at USP,

“fashion radical”. I would highlight the

Tadeu Chiarelli has been a teacher in the

where I’m a teacher. His work express itself

work Operação Tutoia, where he cultivated

arts departments at ECA-USP since 1983. He

in many ways: artistic books, installations/

plants with red leaves from the police sta-

published books about Leda Catunda’s (Co-

interventions in the public space etc. What

tion that kept the old DOI-Codi, one of the

sac Naify) and Nelson Leirner’s (Takano)

caught my attention about his work is the

worst repressive machines of the dictator-

work. He is considered one of the most im-

poetry he creates through historic and po-

ship. The work is at MAC, São Paulo.”

portant curators in the country, was curator

litical impulses. Nowadays, in Brazil, Piola,

at the Museu de Arte Moderna de São Paulo

is one of the few artists thats has not been

and director of Museu de Arte Contem-

seduced by the easy appeal of the art in-

porânea da USP.

dustry and he continues to produce a very strong political work without turning into a

FFWMAG 38

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art

art in the future

Mayana Redin Born in Campinas (SP), 30 | Currently lives in Rio de Janeiro | Galeria Silvia Cintra + Box4 (RJ)

By Raphael Fonseca © Wilton Montenegro

Cosmografia do Rio de Janeiro, 2013/2014

“I met Mayana at an art students’ gathe-

the nomenclature of the places, and ano-

Raphael Fonseca is a critic, teacher and

ring in 2004. Since then, I have followed her

ther work I admire a lot is Cosmografias

art curator. He is a curator of exhibitions

work and her growing production as an ar-

para Rio de Janeiro, where she reproduced,

in the Museu de Arte do Rio and Largo das

tist, that became more concentrated after

at Parque Lage, the typographies’ buildings

Artes, and others. He will be curator assis-

she moved to Rio de Janeiro. In 2010, she

with cosmic names of the city. What is the

tant at the 10th Biennial of Mercosur.

exhibited at the Biennial of Mercosur, with

most impressive in Mayana’s work is her le-

the theme Ensaios de Geopoética. Mayana

vel of observation of the daily life, transfor-

showed the work Geografia do Encontro, in

ming the randomness in art.”

which she makes existing cartographic representations of existing places, but juxtaposed, as places like the Amazon basin in the Sahara desert. She is very connected to

FFWMAG 38

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art

art in the future

Guilherme Peters Born in São Paulo, 27 | Currently lives in São Paulo | Galeria Vermelho (SP)

By Paulo Miyada

Tentativa de levar uma bóia rosa até o horizonte, 2009 (video still)

“I worked with Guilherme Peters at the exhi-

always surprising.and funny and always

Paulo Miyada has a master’s from FAU-USP.

bition É Preciso confrontar as Imagens Vagas

surprising. One example is Robespierre e a

He coordinates the Research and Curator-

com Gestos Claros, in 2012, at Oficina Cultu-

Tentativa de Retomar a Revolução at the 8th

ship

ral Oswald de Andrade. I was impressed by

Bienal of Mercosur, in 2010. In this work, Pe-

Ohtake and has curated many exhibitions

his performance and I started to follow his

ters stumbles a solene figure of the French

at Itaú Cultural, Oficina Cultura Oswald de

work. Peters was interested in very dense

Revolution and a skateboard and other con-

Andrade, and Galeria Millan.

questions of politic and historic themes and

temporary actions creating a political alle-

opposed them with more humanistic ques-

gory. One of his first works, Tentativa de Le-

tions. His performance is very physically ir-

var uma Boia Rosa Até o Horizonte, was part

reverent. What is more exciting is that he

of the scenery of the last tour of the singer

outs genres that supposedly are not mixa-

Marisa Monte.”

Departments

at

Instituto Tomie

ble, and the result is shocking, funny, and

FFWMAG 38

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art

art in the future

Ivan Grilo Born in Itatiba (SP), 28 | Currently lives between Itatiba and Campinas | Galeria Luciana Caravello (RJ)

By Bernardo Mosqueira

Aviso aos navegantes, 2013

“I met Ivan Grilo at his show at Galeria do

exhibition Sentimo-nos Cegos, at Luciana

Bernardo Mosqueira is a curator, writer

Lago, at Museu da República in Rio de Ja-

Caravello Gallery. His work puzzles me by

and teacher. He studied Research and

neiro, in 2013. At that time, he exhibited

the experimentation that is characteristic

Contemporary Art at Escola de Artes Vi-

the result of an extended research throu-

of his process, through which interests in

suais at Parque Lage and curated more

gh the photographic archive of the insti-

anthropology and oral history result in an

than 50 exhibitions. Lately he develops

tution, pointing out and commenting his-

expansion of his work and fulfill and bri-

projects for Centro Cultural São Paulo,

torical narratives. Later, in the same year,

ghten the intersection between poetry,

Mendes Wood DM Gallery, Mana Contem-

we went on an expedition to Ilha dos Len-

and conceptual art and the creation of

porary (United States) and the Solyanka

çóis, in Maranhão, that resulted in the

critical narratives.”

VPA (Russia).

FFWMAG 38

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art

89plus 89plus

Hans-Ulrich Obrist and Simon Castets project intends to map and investigate the innovative minds born after 1989

I

By Kátia Lessa :: Photo Inez van Lamsweerde & Vinoodh Matadin

t’s a well-known story in the arts environment: when he was only

time are now in their twenties something. Keith Haring was 22 in his

23, one of the world’s greatest curators and art critic, the Swiss

first exhibit at the New Museum, we cannot overlook these creations

Hans-Ulrich Obrist set up a contemporary art exhibition in his

just because these people are young and just came out of University”,

kitchen at home. Kitchen Show, the exhibit, that happened in 1991,

said Simon in an interview to the Kaleidoscope Magazine.

had great names, such as exclusive works from the sculptor Christian Boltanski and the German artist Hans-Peter Feldmann.

The date is to celebrate the fall of the Berlin Wall, life after the Cold-War and the popularization of the internet. Invited to

The audacious youth had already pointed out the way Hans-

interview the photographer Juergen Teller for System Magazine,

Ulrich would go in his life, but, until then he didn’t have any help

Hans-Ulrich comments: “This is the first generation who had

from anyone, until he was nominated, in 2009, by Art Review as

internet at the age of 6 or 7 — and that makes a huge difference.

the most powerful person in the art world.

We are looking into 5 thousand of portfolios”, he says. “When our

Maybe his premature talent supports other young creators. So,

generation first started, in the end of the 1980’s and beginning

if you who are reading this text were born after 1989, read carefully:

of the 1990’s, you had to decide if you wanted to be a curator, a

the Serpentine Galleries co-director, in London, could be interested

photographer or someone who works with advertising. With the

in your work. Together with another curator, Simon Castes, 30,

internet, these barriers have been solved. The 89plus generation

Swiss Institute’s director of New York, the Swiss created 89plus, a

has one, two or three different careers, and they can easily coexist.”

platform of international research that maps and investigates the

Since an introductory panel held in January 2013 at the DLD –

generation of innovative minds born after 1989. “People born at this

Digital, Life, Design conference in Munich, 89plus has conducted

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art

89plus

The choice of the name of the project indicates the fall of the Berlin Wall, the beginning of life after the Cold War, and the popularization of the internet: “This is the first generation that had access to the internet at 6 or 7 - and that makes a huge difference�, says Hans-Ulrich Obrist FFWMAG 38

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art

Photo: Reproduction

89plus

Still of the work of artist Laís Tavares, from project About Gesture,2014

research internationally, including in Hong Kong and Miami with

Galleries for a new annual award for emerging talent, the ‘Re

Art Basel’s Salon series, as well as in New York and Rio de Janeiro

Rebaudengo Serpentine Grants’.

as part of the MoMA PS1 exhibition ‘Expo 1.

In early 2014, LUMA hosted the inaugural exhibition, ’89plus

From the research made at the Museum of Modern Art in Rio de

/ Poetry will be made by all!’, in Zurich, driven by a residency

Janeiro, the work About Gesture, from the Brazilian Laís Tavares

series and an ongoing project which is publishing 1,000 books

was featured. The only Brazilian to be selected so far, found a way

by 1000 poets. Other recent 89plus projects include the 89plus

to graphically represent gestures and movements through different

Marathon at London’s Serpentine Sackler Gallery, the 89plus

dance styles. She is 24 years old, and has just returned from Paris

Americas Marathon: Autoconstrucción at Museo Jumex, Mexico

where she spent ten weeks at Google Cultural Institute, a 89plus

City, and the 89plus Panel at Design Indaba, Cape Town, which are

partner, at an artist residency. She tells she was the last one to

interviews and chats with young people.

show her work to Hans-Ulrich and Simon at MAM, and during the

If you think the project only focus on young people you’re

selection process, she was not very hopeful. “I had only five minutes

completely wrong. Even though that’s their area of expertise,

to explain them my idea and I didn’t feel they were paying much

subscriptions are also open for writers, architects, video makers,

attention because they were talking while I was speaking. But, in

musicians, designers and technology professionals and science.

two weeks, I got a call saying that I had been selected and that I was

For now, the projects are concealed by the curators, who say are

going to live with a Mexican in the south of France”.

going to continue to colect object for research for the next ten or

To Laís, their merit is to promote meetings between artist and

twenty year. “This is not a research about youth but about artists

companies so they can make projects feasible. “Google was crucial

who are young at this exact time”, said Hans-Ulrich in an interview

in the process. We worked in their laboratory and I met people that

for The New York Times.

were very committed to my research.” Laís, who already worked as a

—

designer before the experience sees herself now as an artist. “I believe

89plus.com

that one of the biggest characteristic of my generation is to think that everything is possible and that we cannot focus on anything.”

89plus is a multi platform. They’ve developed a series of residencies with international partners as well, including the Park Avenue Armory, in New York, and agnès b. / Tara Oceans Polar Circle Experience. In late 2013, 89plus partnered with Fondazione Sandretto Re Rebaudengo and the Serpentine FFWMAG 38

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art

Instinctive | Anthropologic | Pulsating

Jonathas de Andrade mental atelier

By Kátia Lessa :: Photo João Arraes

W

hen he finished high school, in Maceió, Alagoas,

is food for my soul”, he says. Today, he is seen as one of the greater

Jonathas de Andrade, 31, thought he should become

talents in his generation. In 2012, he received a special award

a law student. Straight-A student, he was accepted in

from the Future Generation Art Prize’s jury, from the Foundation

Federal University of Santa Catarina and moved to Florianópolis. “I

Victor Pinchuk, in Ukraine. His work has been exhibited in the

come from a regular middle class family. My mother is an educator

Guggenheim Museum, New York; in the 29th Biennial of São

and my father an engineer. Being a good student in a home that

Paulo; in the 7th Biennial of Mercosur, in Porto Alegre (2007); and

invests in education you can’t do much to escape traditional careers

in the Musée d’art contemporain of Montréal (2013).

such as medical, law or engineering. It is a classist aspiration. But

Jonathas says it took him a while to understand his path,

deep down, I’ve always had an interest in art”, recalls he who,

because he wasn’t familiar with this universe and he didn’t see in

between smiles, still carries a polished speech, almost academic,

himself talent or a specific technic. “I remember going to museums

made for a court of law.

with my parents while travelling, but to historic museums.” At the

Halfway through his studies, he admitted he wasn’t on the trail

time, he thought visual arts were limited to paint and sculpture.

he was supposed to and opted for studying communications and

“I was never good at drawing, nothing ever came out nice”, says

arts in the Federal University of Pernambuco, Recife. “It was in

he, who supports his work in photography, video, and installation.

Recife’s chaotic and pulsating cultural scene that I saw myself as

“It’s as if I wanted to mock all areas of knowledge. I don’t fit in any

an artist. I still feel like a foreigner here, but the chaos of this city

of them, but I take advantage of them all”, he adds.

FFWMAG 38

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Arte

However, the fact that he grew up without having formal contact

friendship and personal favors come in as a part of the final trade.

with art made him create his own world when he started working.

At last, Cartazes para o Museu do Homem do Nordeste show the

“Being away from the artistic scene of a great metropolis made me

sensuality of people he has photographed on the streets in images

build my own particular universe. My path was very instinctive.

based on a series of local newspapers’ ads.

I believe that a repertoire can be instigating, but it can also stop

These pieces rehearse a series of principles for the parallel

you from developing something new”, he says. And it was exactly

collections, such as being rooted in the “encounter”, in the “risk”,

from this universe visited in his childhood in Alagoas, besides his

and in having the eroticism as part of a methodology which was

sociologic and anthropologic knowledge, that sprung one of his

already central in Gilberto Freyre’s work, for the creation of a

most memorable works.

plural and particular Brazil.

In December, he takes the Museu do Homem do Nordeste

In spite of travelling a lot, Jonathas tells us that most part of

(Museum of the Man from the Northeast, in English) to Rio’s

his creation spring from conversations and thoughts shared with

Museum of Art. The work, which has been exhibited in Galeria

friends and collaborators, whom he calls “counsel”. “Even so, I still

Vermelho, in São Paulo (2013), is a parallel collection of the

have the need to be physically in my house, which is also my place

Museu do Homem do Nordeste created in 1989 by Gilberto Freyre

of work. My creative process is exhaustive and very intellectual

composed of different projects.

before beginning any project”, he says.

A Primeira Corrida de Carroças do Centro do Recife (The First Wagon Race from Downtown Recife, in English), which he

—

organized in 2012, will be shown in video; 40 Nego Bom É um

jonathasdeandrade.com.br

Real introduces a fictitious factory that makes the delicacy made from banana called Nego Bom, in which 40 characters, step by step, show how to make this candy so popular in the Northeast.

Shortly after, in the same project, the employers’ work relations are explained through individual stories that reveal how much FFWMAG 38

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art

Where do artists live?

Faap, Red Bull Station, and Tofiq House keep artistic residence programs. FFWMAG visited all three institutions that offer time and temporary space for art research and production

By Marcos Guinoza :: Photo Alex Batista

Artistic Residences

Faap: Indonesian Farid Rakun, curator Marcos Moraes, and Frederico Zukerfeld and Loreto Garin Guzmán, from Argentine group Etcétera

L

ocated on Praça do Patriarca, where

called artistic residence, these programs do

for two months, producing original work

six major streets of São Paulo’s

not follow the principles outlined by him.

for the showing. There, among others,

center meet, the Lutetia building

“What makes a residence a residence is the

were Danica Dakic (Bosnia and Herzego-

was designed by architect Ramos de Azeve-

possibility the artist has of living in a place

vina), Anna Boghiguian (Egypt), Nilbar

do. Built in the 1920’s, the edifice was re-

which is not his. This is the condition of be-

Güres (Turkey), Farid Rakun (Indonesia),

structured and renovated and, since 2005,

ing a resident. I don’t mean it is the only

Prabhakar Pachpute (India), Ines Doujak

hosts Faap’s (Fundação Armando Alvares

one. But is my way of thinking the concept

(Austria), and the collective Etcétera (Ar-

Penteado) artistic residence program.

of residence, as a space of work and dwell-

gentina).

Listed as heritage by the city’s preser-

ing.”

Today, artistic residences are consid-

vation council, the building has eight floors

Faap’s program has the duration of

ered as one of the most significant ways of

and ten studios, with 69 and 79 square me-

two to six months, and artists are not com-

support and incentive to the development

ters. The studios are divided in two spaces:

pelled to exhibit the work developed during

of the arts. The main purpose is to offer

a living room with an integrated kitchen

the residence. About the selection criteria,

time and space for research and project

and a workspace, and the bedroom. In Bra-

Moares says that he likes to assemble het-

development. “The idea is that the art-

zil, according to Marcos Moraes, Faap’s

erogeneous groups, composed by artists of

ist moves and settles into a place where

and Instituto Sacar’s – in Itaparica Island,

different generations, backgrounds, inter-

they can live, work, and establish contact

Bahia – residence programs are one of the

ests, and expression. “The idea is to pro-

with the city, inserting themselves in an-

few in which artists actually reside in the

duce some kind of effervesce and sizzle.”

other universe, in different urban circum-

place.

This year, due to Faap’s partnership

stances”, explains Moraes. “This displace-

Moraes coordinates Faap’s residence

with São Paulo’s Biennial Foundation, the

ment”, he continues, “causes many artists

program and explains that, for the most

institution has received artists from differ-

to change their work”. Moraes gives as an

part of similar programs in Brazil, artists

ent countries, who participate of the 31st

example Japanese Shimabuku, who incor-

don’t live in the place. That is, despite been

Biennial. The residents occupied Lutetia

porated repentistas (Northeastern singers-

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art

Artistic Residences

“To many artists, residence is a milestone in life; some say that even the way they see and relate to the world is changed.

The weather, the location, the time, the space, the city, the language, create interaction opportunities to those in residence” —

marcos mor aes

Loreto Garín Guzmán and Federico Zukerfeld

poets who improvise verses accompanied

is changed. The weather, the location, the

center of São Paulo and that makes us dive

only by a guitar) to the oeuvre he exposed

time, the space, the city, the language, they

into a reality which, many times, artists

at São Paulo’s 27th Biennial, after he saw

all inspire new outtakes about the city they

can’t penetrate”.

the singers performing on the streets.

are in, and, in that way, they end up helping

Displacement has always been a funda-

people to see the city in a different way.”

To Indonesian Farid Rakun, from group ruangrupa, participating of residences is a

mental concept for artists. Back in the 17th

Chilean Loreto Garín Guzmán and

renewing experience for the artist. “Living

century, when the French Academy created

Argentine Frederico Zukerfeld, from col-

this moment in São Paulo gives me differ-

the Roma Award, Paris’ art academy stu-

lective Etcétera, were in Faap’s program.

ent photographs of what São Paulo might

dents gave their best to merit the privilege

“This is the 12th residence we have par-

be. I am able to reach great institutions,

of spending a season-long living and work-

ticipated as a group”, Loreto says. “But it’s

such as the Biennial Foundation and Faap,

ing at Villa Medici, in Rome, where they

our first time in Brazil. We were surprised,

but I also have contact with more horizon-

could be closer to the Italian masterpieces.

because there are ten artists from the Bien-

tal collectives that are a part of the city’s

In the 19th century, the idea of “taking off”

nial living in the same building. Normally,

artistic scene.”

resulted in the establishment of artists’

artists stay in hotels and sometimes meet

Contrary to the United States, for ex-

colonies away from large urban centers.

for breakfast. Here, we live together with

ample, that maintains hundreds of artistic

And, in the 1970’s, artists moved to SoHo,

other artists daily, and that is very interest-

residences, in Brazil, this concept is still

New York, occupying sheds and abandoned

ing.” To Frederico Zukerfeld, the possibil-

new. “I believe the first residence here is

buildings, and called themselves AR (Art-

ity he has, as an artist, to develop a project

from 2001 or 2002”, recalls Moraes. He

ists in Residence).

in a context which is not his is very enrich-

explains that, by strategic or financial rea-

Moraes emphasizes the importance of

ing. “It gives us a more accurate outlook of

sons, most initiatives don’t survive, and, as

residence to the modern artist. “To many

the city’s reality.” “Besides”, adds Loreto,

the issue gains more visibility, the discus-

it is a milestone in life; some say that even

“in this residence we are not located in a

sions about the need of incentive policies

the way they see and relate to the world

‘high society’ neighborhood. We are in the

for such programs rise. “We almost have

FFWMAG 38

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art

Artistic Residences

Victor Leguy and Rogério Mesquita

Daniel de Paula

no postgrad courses in Arts. A great part

offers individual studios where the artists

When they are more mature, they go on

of our young artists have to study abroad.

can work and three exhibition areas. There,

a residence that can help expand their re-

Residences have also become a support for

artists don’t live in the place and, at the end

search.”

a continued education.”

of the program they put together a show

Residence is a space of incentive, learn-

with the works made there.

To Daniel de Paula, the residence brings the artist out of his comfort zone. “Many

ing, production, and fusion, and it combines

The program’s 8th edition finished in Au-

times, discussions are circumscribed in an

great possibilities within the creative field.

gust and had artists Daniel de Paula, Dudu

environment where people have thoughts

To Moraes, even though “we are moving for-

Quintanilha, Guilherme Cunha, Mavi Veloso,

similar to yours. So, when you arrive in a

ward, there is still a lot to be done” to con-

Pedro Caetano, and Renata De Bonis.

place as a foreigner, you need to open your-

solidate artistic residence programs in Brazil.

Red Bull residences happen two times

self up to understand new lines of though,

a year and, starting next edition, it will last

and that has an unexpected influence in

longer, going from two and a half to four

your work.” During the residence, in Red

whole months. The participants are se-

Bull, Daniel says that he started drawing

lected through an edict and, according to

again, something he hadn’t done in years.

In another traditional address in the center

curator Paula Borghi, the groups gather

“Going through a residence is a very reflex-

of São Paulo, Praça da Bandeira, is located

artists that act though several languages:

ive process, of looking at a white wall and

the Red Bull Station, which also maintains

performance, sound installation, drawing,

thinking how you are going to fill it. And,

a permanent project of artistic residence.

painting etc.

then, you end up reviewing your own work.”

Art and Music

The institution occupies a building from

Paula believes that residences work as

Mavi Veloso adds that “the most inter-

1926, where Riachuelo’s ancient energy

a process in an artist’s education. “I like to

esting thing in a residence is the possibil-

substation used to be, listed as historical

make a parallel with doctors, who gradu-

ity to experiment new things and interact

heritage. Focusing on experimental pro-

ate; they become residents and see a doc-

with other artists”. To him, working in an

jects in art and music, Red Bull Station

tor’s duties up close. I think it is similar.

unknown environment is not a problem.

FFWMAG 38

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art

Artistic Residences

Red Bull Station: Mavi Veloso, curator Paula Borghi and Daniel de Paula

“The setting, after a while, becomes your

new space occupies a mansion on Groelân-

sented. The idea is to help them take the

own. My studio becomes my bedroom. It’s

dia St., in Jardim Europa, and also holds

last step before joining a gallery”.

as if you moved and began to mold the new

an artistic residence program, among other

Tofiq offers individual studios where

space into your own. You take charge of it.”

things. But, before getting into that, we

artists can work. There, besides developing

need to understand what is Tofiq.

their projects, they are prepared to partic-

The idea of the romantic artist, isolated in his studio, makes little sense nowadays.

Created by Belgian Nicolas Keut-

ipate in the production of an exhibition, to

To Paula Borghi, the modern artist search-

gen, Tofiq follows the same principles

explain to collectors their creative process,

es for exchanges, dialogues, and, “being

of another house directed by him, Brody

and, at last, to sell their art. “Not knowing

immersed, such as is the case in a resi-

House, located in Budapest, Hungary, and

these things makes artists dependent on

dence, he can share his anxieties and think

it works exactly like a club, where people

galleries and middlemen in the art world”,

of collaborative projects”.

interested in modern art become mem-

says Nicolas. “When two people are more

bers and can enjoy the space and partic-

knowledgeable, it is easier to find a positive

ipate in the events and courses that take

way they can work together.”

Art Incubator

place there. Nicolas explains: “Tofiq is a

The club also hosts artists from other

platform where artists, curators, and col-

countries who live and work at Tofiq. “The

The idea of an art club, widespread in Eu-

lectors gather. What we have here is an art

goal is to mix experienced foreign artists

rope, arrived in Brazil in 2013 with the

incubator. That means that we only work

with young Brazilian ones. This interac-

opening of Tofiq House, in São Paulo. The

with young artists who are still unrepre-

tion is very interesting and it helps Brazil-

FFWMAG 38

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art

Artistic Residences

Tofiq House: Rogério Mesquita (in glasses), Jaime Lauriano (in the jeans jacket) and Victor Leguy (in the back).

On the right, the Belgian Nicolas Keutgen, owner of Tofiq

ian artists develop”, Nicolas believes. The

dimension. “We are always in touch with

the rest of the city. “We want to insert

residence lasts from three to six months

people that come here, and that provokes a

ourselves in the society of which we are a

and there are periodic exhibitions with the

good contamination.”

part of through partnerships and contact

work developed there.

Tofiq hosts from five to eight artists at

with other independent initiatives. We also

Living with other artists and people

a time in its studios. During the time they

want to create a new community of collec-

that are in the house is one of the high-

are there, there are no rules preventing

tors in Brazil that is well-informed, capac-

lights according to the artists that current-

them from showing their work in galleries,

itated, and who follow the artist’s creative

ly occupy Tofiq’s studios. “You leave your

and, at the end of the “incubation” period,

process. Something that the country is still

comfort zone, your studio, and have to deal

they need to leave 10% of the work accom-

lacking.”

with new information”, says Victor Leguy.

plished there to the club’s collection.

About Tofiq lacking a permanent cura-

“I feel like I am really inside the art world

Living in Brazil for four years, Nicolas

torship, Nicolas explains: “I want this to be

and feel impelled to work”, reveals Rogério

Keutgen is an art aficionado. “Through To-

a space of total freedom. We don’t give the

Mesquita. Due to the contact with many of

fiq, I found a way to express this passion,

artists any direction. They work their expe-

the foreigners that attend the club, Rogério

giving young artists the possibility to de-

rience the way they want to.”

says that his work acquired a greater Bra-

velop. I am more interested in the creative

—

zilianness. “I began to look at Brazil with

process than in owning art, in being an art

faap.br/residenciaartistica

increased admiration.” To Jaime Lauriano,

collector.” The goal of the club, according

redbullstation.com.br

unlike other residences, Tofiq has a public

to Nicolas, is not becoming isolated from

facebook.com/pages/Tofiq-House

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art

Fashion that nurtures art

Fashion that nurtures art The true relation of three traditional brands - Cartier, Louis Vuitton and Prada – with the art market

By Camila Yahn

W

hat’s the true relation between art and fashion? What are the interests behind the brands that sponsor artists and support cultural areas? This discussion is still very much relevant and opinions differ. Some artists, don’t support

exhibitions funded by the private sector, while some see in them an opportunity to execute a project with an infrastructure that is almost never possible in galleries.

It’s clear that many brands look for a brief encounter with the art world as a marketing strategy, but the three companies reported here have a long connection with the subject, based on serious research and exhibits that meet either a niche or the great public.

Another concern is architecture. These three places, just like many museums around the world, have amazing projects and names as Jean Nouvel and Frank Gehry.

The places are non profit and reflect a personal interest, such as Prada Foundation, or an old and important value to the brand, as it is for Cartier Foundation and Louis Vuitton.

Museums founded by brands can indeed leave a legacy to the public who enjoys art, and function as an incubator of new talents and provide well-known artists with support for special projects where there is no limit. At the same time, it reveals they are companies that are up to date with innovation and creativity, values that nurture fashion and art.

Below, three examples of initiatives that succeeded, through constant work, conquered respect on both sides.

FFWMAG 38

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art

Fashion that nurtures art

Photo: Reproduction

Fondation Louis Vuitton

Building at Louis Vuitton’s cultural center, in Paris, designed by Frank Gehry, opens in October

Founded in 2006, the awaited Louis Vuitton museum, designed

foundation also establishes a strong connection between the brand

by Frank Gehry, opens only on October 27 with an exposition about

Vuitton and art, making this connection every time clearer to the

the architecture of the place, which will be opened until January 2015.

public and a legacy that will last forever, to the city, to art and, of

Louis Vuitton keeps a close relationship with art for years,

course, to the brand. “We wanted to offer Paris an extraordinary

sponsoring exhibitions, festivals and books, and the opening

place for culture and also show audacity and emotion and hand it

of their own place just reinforces their politics in relation to art

to Gehry to construct an iconic place of the twenty-first century.”

and culture. The goal is to boost creation by promoting an open Created: 2006

conversation with artists, intellectuals, and audiences.

As shocking as any exhibition is the building itself, the glass is the

President: Bernard Arnault

main element to help play a vigorous role of light and volume. There

Opening: October, 2014

are 11 galleries, dedicated to permanent and temporaries exhibitions

—

and artistic commissions, a hall for shows and events. “It’s a very

fondationlouisvuitton.fr

uncommon building, I’ve never planned anything like it before”, says Gehry, the man who created a couple of uncommon buildings.

According to Bernard Arnault, the museum is a true gift to the public, a philanthropic project, nonprofit, “a way to give back”. The FFWMAG 38

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art

Photo: Reproduction

Fondazione Prada

FFWMAG 38

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art

Fashion that nurtures art

Known for Miuccia Prada’s own passion for arts, besides architecture and philosophy. In Patrizio Bertelli, she found the perfect partner, not only to share her life and business, but to share her passion for art. Together, they are between the main collectors in Italy.

In 1995, they both founded Fondazione Prada, an institution dedicated to contemporary culture, keeping constant dialogue with its ramifications, from architecture to film. This way, instead of only sponsoring, they’re also involved in the production of the exhibitions hosted exclusively in the Foundation, with a structure that is the perfect dream of any artist. The first project was a solo exhibition of Indian artist Anish Kapoor. Since then, the foundation has already realized projects of artists such as Laurie Anderson, Sam Taylor-Wood, Mariko Mori, and Tom Sachs.

In 2011, they gave a big step launching the Ca’ Corner della Regina, an historical palace in Venice, renovated to host an intense and active schedule. And in 2015, another place will be opened, this time in Milan, a project by Rem Koolhaas, a brand’s long time collaborator. “Our passion thrives from a profound curiosity about art. Maybe from this privileged relationship we have with artists, maybe as an expression of the emotions we share between us. But the choices we make, Miuccia and I, have never been dictated by the market and also, we never wanted to mix up the foundation with what happens in the fashion shows”. Miuccia however, a radical feminist who today runs one of the most desirable fashion brands by women feels guilty “not to be doing something more important or politic.” Constantly dialoguing with art, Prada keeps on being every day a more brilliant and restless thinker.

Opened: 1995 CEO’s: Miuccia Prada and Patrizio Bertelli Director: Germano Celant Exhibitions: Cindy Sherman, Sam Taylor-Wood, Francesco Vezzoli, Tom Sachs, John Baldessari, among others.

— fondazioneprada.org

Installation of the showing Art or Sound, exhibited at Ca’ Corner Della Regina, Prada’s museum in Venice, Italy

FFWMAG 38

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art

Photo: Luc Boegly

Fondation Cartier Pour L’art Contemporain

FFWMAG 38

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art

Fashion that nurtures art

One of the main cultural centres of Paris. It is hard not to get impressed by the building made of glass and steel designed by Jean Nouvel, at Boulevard Raspail. The Institution, in it’s 30th anniversary, keeps a creative and multi disciplinary dialogue with artists of various generations and areas such as photography, sculpture, film, and painting.

One of the most traditional jewelry stores in the world, founded in 1947, Cartier is one of the biggest corporate employers in the current days and take art seriously, making it clear that curation is a work based on research and choices, and not on market trends.

The Ron Muek exhibition, that was in Rio de Janeiro, was funded by the Foundation Cartier, and, in Paris, had more than 300 thousand visitors, a historic record for the place. This year, the exhibition América Latina 1960-2013 also took place, with photographies from more than 70 artists of 11 countries. As part of the Cartiet collection there are works from Nan Goldin, David Lynch, Alex Katz, Bruce Nauman, and other important names of the contemporary scene, all participants of great solo shows in the Foundation.

Created: 1984 President: Alain-Dominique Perrin Director: Hervé Chandès Exhibitions: Ron Mueck, Matthew Barney, Sophie Calle, Beatriz Milhazes, Alex Katz, Bruce Nauman, among others.

— fondation.cartier.com

Vivid Memories, exhibition that was on earlier this year

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art

fashion

True Colors Photo Felipe Morozini

Fashion Editor Team FFWMAG image treatment Jorge Morabito photo assistant Adriane Lisboa Models Paulo Schulz (Joy), Lygia Cerski and Isabela Pinheiro (Mega)

sandals and pineapple-purse OSKLEN PRAIA

60

accessories

shoes PRADA bracelet HERCHCOVITCH;ALEXANDRE

61

fashion

boots and bracelet ELLUS clutch MIU MIU

62

accessories

shoes HERCHCOVITCH;ALEXANDRE clutch TUFI DUEK purse PRADA

63

fashion

clutch BOTTEGA VENETA shoes REINALDO LOURENÇO purse FENDI bracelets Virzi + DE LUCA

64

accessories

yellow purse COACH pink purse PRADA printed sandals GUCCI greens sandals LOLITTA

65

fashion

sandals COLCCI purse CHANEL

66

accessories

bracelet SKULL ring CARTIER purse HERCHCOVITCH;ALEXANDRE boots MIU MIU

67

By Mariana

Shape and movement constit ute

the Dutch photographer’s w ork

Looking at Viviane Sassen’s extensive portfolio in fashion, which includes campaigns for Stella McCartney, Adidas, and Miu Miu, and editorials for magazines such as i-D, Numéro, Purple, Dazed & Confused and Vogue Paris, one might be surprised to know that the Dutch photographer endures a “love-hate relationship with fashion”. “When I studied fashion, I came to the conclusion that I thought everything a bit boring and sometimes superficial”, she says in interviews. “But there were always those who were able to do incredible things with it.”

Today, Viviane is certainly a part of this select group of professionals Her work has been compared to that of photography icons, such as

collaborating with fashion labels, which are always in search of a

Guy Bourdin and Helmut Newton – names that have also inspired

new perspective in order to keep themselves fresh and relevant.

her when combining fashion with an authorial work, breaking

Her successful career in fashion was even theme of an exhibition

the boundaries between what is thought to be commercial and

and book launched in 2012, both titled Viviane Sassen: In & Out

artistic images. “To me, fashion is a large playground, a place to

of Fashion, which dives into her aesthetic and includes some of her

experiment.” And this is the restlessness, a will to move from her

most memorable works.

comfort zone, which Viviane lets transpire in her work.

Viviane is also responsible for an expressive ensemble of authorial

Before her lenses, models materialize in ambiguous and mysterious

and documentary projects. Africa, where she spent part of her

shapes; a mixture of silhouettes and clothes brought to the fore in the

childhood, is one of her favorite subjects and it is an element

midst of gusts of movement. Model Anna de Rijk, who has starred

present in no less than five of her nine published books: Flamboya,

in Chanel and Dior campaigns, has worked with Viviane from the

2008; A Day in the Life of, 2009; Sketches, 2010; Die Son Sien

age of 15 and has grown accustomed to the process: “It is a force that

Alles, and Parasomnia, both 2011. “Documentary and fashion

comes and shapes everything. You can feel it coming. And it can be

are like the two sides of my personality. Both are intuitive, but

very sensual, but never cliché. It’s a cruder, rougher sensuality”.

my personal work is more introverted and reflective”, she said to

Viviane moves between fashion and art without tying herself

newspaper The Guardian.

up to either. It is her distinctive style, her taste, and the perfect

Perhaps is this ambivalent relationship with fashion, filled with

understanding of her own methods that make her requested and

conflicting feelings (love x hate, introversion x extroversion), the

successful in both worlds. At the same time she is celebrated,

secret of her success. By never settling, giving in to trends, and

she lives in search of innovation within her own aesthetic and

following her own voice, she is capable of creating pictures that

she assures that inspiration to her creations come instinctively:

capture the eye, be it for their beauty or estrangement. In a time

“Sometimes I wake up in the morning and I have an idea in my

when image is increasingly overexposed, it is comforting to look

head. It’s just there, popping up from nowhere”, she explained in

at Viviane Sassen’s work and plunge in the new once more. A

an interview for W magazine.

brilliance that never fades and it is still pure delight.

Her name started to come up in the 2000’s, in a magazine called Austerlitz and on the photographic zine SEC; she was a part of a

—

collective next to other artist friends. It was when she first started

vivianesassen.com

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©Viviane Sassen for 1. Acne 2. Purple 3.Numéro 4. POP

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ŠViviane Sassen for 1. POP 2. Viola 3 .La Lutte #2

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ŠViviane Sassen for 1. Delamar 2. Double 3. Purple 4. Dazed

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Tropical Girls Conception and Photo RogĂŠrio Mesquita Artist Ludovic Thiriez Fashion Editor FFWMAG Team Beauty Flavio Lacerda (capamgt) Image treatment Weslei Marinho (WM Fusion) executive production Ludmila Moreira Fine Art PRINTING WA Imagem Models Ana Claudia Michels and AnaBela santos (Way), Renata Kuerten, Paolla Rahmeier and Barbara Fialho (Mega Partners) Carol Ribeiro and Emanuela de Paula (Prime Talents) Acknowledgments TOFIQ HOUSE

Barbara Fialho wears

Salinas

Carol Ribeiro wears

OSKLEN PRAIA

wears

Paolla Rahmeier

ADRIANA DEGREAS

Ana Claudia Michels wears

TRIYA

Anabela Santos

wears

movimento

Renata Kuerten wears

LENNY NIEMEYER

wears

Emanuela de Paula

ÁGUA DE COCO POR LIANA THOMAZ

Yayoi Kusama’s installation on the window of Louis Vuitton’s flagship store in New York, with a life-size mannequin of the artist (2012)

A dress by Paul Poiret in Georges Lepape’s illustration (1913)

The embrace with art is contemporary fashion’s great love affair

By Vivian Whiteman

A

t the end of the 1800’s, fashion designer Paul Poiret,

by the surrealist aesthetic and believed that it could result in, other

le magnifique, already partnered up with famous

than money, a behavioral change. And, at last, he had a gifted ally,

illustrators of the time, such as Georges Lepape, to

sharp in business: his wife, muse, and manager, Gala.

promote his creations, also exhibited in elaborated parties,

The famous lobster-dress and shoe-hat are the best-known

shaped as exotic and complicated performances. In the 1920’s,

articles of the Schiaparelli-Dali partnership, the first of the kind,

women adept of the Bauhaus school would promote workshops

which is being ever more explored by great luxury labels (and even

where they developed beautiful fabrics, taking art to the logic of

fast-fashion brands) around the world.

industrial production.

An undiscerning critic might say that the aura lent by an artist to

Later, around 1930, Salvador Dali, surrealist artist, friends with

basic products such as purses and shoes is a mere illusion. An obtuse

Coco Chanel and an “aestheticaholic”, would provide a nicer looking

one might argue that it is not art. In both cases, the conclusions are

wrap to the collaboration between fashion and art with a series of

insufficient, because the wrong questions are being asked.

actions that ranged from works to magazine Harper’s Bazaar to

In order to understand the fascination generated by Japanese

shop windows and a collection signed by him and Elsa Schiaparelli.

artist Yayoi Kusama’s collection for Louis Vuitton, for instance, it is

Dali was criticized by many fellow artists and called a mercenary

necessary to avoid empty discussions such as those that speak of the

who was “lowering” art to the standards of fashion. However, the

frontiers between fashion and art or of the “real” value of luxury goods.

painter saw it as a positive thing. He dreamed of a world flooded

A good starting point are the selfies taken by those who visited

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fashion + art

Piece created by American artist Cindy Sherman that integrates the project Icon and the Iconoclasts in celebration of Louis Vuitton’s 160th anniversary

the exhibition Infinite Obsession, that brought Yayoi’s work to

Buren designed the perfect world for Jacobs’ “checkered”

Brasília, Rio de Janeiro, and São Paulo earlier this year. They

collection, inspired by the label’s classic Damier pattern. The

are all practically the same and seem to express a single wish:

models sprung from escalators coming from the ceiling to walk

to belong to that sea of dots, to blend in that world of small dark

on a checkerboard. If a waterfall debouching on a river were

wholes and colorful suns.

geometrized, it would probably be very similar to what the duo

The simple reproduction of patterns and colors created by the

created. Another important collaboration worth mentioning took

artist in clothes and accessories wouldn’t be enough to produce

place in 2001, when Jacobs invited artist Stephen Sprouse to

the same effect. The articles from the collections themselves only

create based on LV’s logo, bringing the graffiti aesthetic to one of

work because the hyperbolic “scenery” is implied, imagined. It is

the most traditional houses in France.

like collecting little pieces of this ensemble.

Image wizards such as Jacobs are not the only ones to realize

Thus, the core of Marc Jacobs and Yayoi collaboration is the

that the embrace with art is contemporary fashion’s great love

creation of settings. Hence, the ad campaigns and the stores’

affair. Cross-collaboration with artists is an item present in the

decoration, including the exaggerated mega shop windows,

business plan of all major labels, and is here to stay.

must be seen, not as a complement, but as a pivotal part of the

Fashion image nowadays has the violence of contemporary

product. During the moment of purchase, the environment is

advertising and needs to make an impact no matter the cost. And

overwhelming, compelling, not allowing the costumer to turn his

art, even when stripped of the initial questions and discussions,

eyes or thoughts away.

offers a visual material that fills that role well.

The same might be said about the label’s enterprise with

In some cases, integration of projects is significant or complete.

another Japanese artist: Takashi Murakami. As a matter of fact,

In others, like Hermès’ scarf series with exclusive prints (the one

he collaborated with Vuitton in 2007 and showed Jacobs the path

made from Japanese Hiroshi Sugimoto polaroid pictures stands

that would be reinforced by Yayoi and by what perhaps is the

out) and Marni’s, with illustrations from Dutch Rop con Mierlo, a

perfect example when it comes to building a fashion image: LV’s

more traditional line of work is applied, in which the artist lends

Spring/Summer 2013 collection show, co-signed by French artist

his work to a label in an ornamental way.

Daniel Buren.

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Marc Jacobs and Takashi Murakami in Los Angeles during the gala organized for the Japanese artists, who signs one of Louis Vuitton’s most iconic collaborative lines

Front of H&M, in New York, for the launch of Jeff Koons line. On the window, the phrase: “Fashion loves art”

Faรงade of Galeria Melissa, in Sรฃo Paulo, created by British artist Julie Verhoeven, in 2012

fashion + art

Backstage of Raf Simons’ Winter 2015 show in partnership with Sterling Ruby

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fashion + art

The bag with the logo in graffiti, created by Stephen Sprouse, launched in 2007; the artist was the first to collaborate with Louis Vuitton, in 2001

And it’s not just connected to high luxury. Julie Verhoeven’s

on their feet, as leather pedestals. This was not the only time Lang

Melissa or Jeff Koons’ purse for H&M (launched in July at the

ventured into art. He has also collaborated with conceptual artist

inauguration of H&M’s new flagship on 5th Avenue) reflect the

Jenny Holzer and with sculptor Louise Bourgeois.

reach of such connections.

In an even more interesting example, designer Hussein

Products resulting from fashion vs. art relationship are also of

Chalayan, known for his mechanical and futuristic incursions in

different kinds and, in some initiatives, multiple. A good example

fashion, joined British artist Gavin Turk, considered one of the

is Prada’s long liaison with Rem Koolhaas’ studio OMA/AMO. The

great new names connected to modernism and experimental and

fruits of that bond range from patterns and runway settings to

conceptual art, to create nothing less than silence.

whole buildings.

It all started when Chalayan interviewed Turk about the role of

The architectural world also stands out when the subject is

the artist. The conversation became a recording. Inspired by the

branding in the luxury market, be it through high-tech projects,

talk and by Marcel Duchamp’s work (one of Turk’s trademarks is

such as Zaha Hadid’s mobile pavilion for Chanel, or through the

using recognizable elements from other artists’ work), he created

preservation of heritage, such as the restoration of Fontana di

an image composed by a series of circles. The circles, on their turn,

Trevi, funded by Fendi. But that is another story. Or it isn’t...

were the outlet for a video where, while they share a conversation,

The partnership between Raf Simons with German painter

a needle moves crossing the path of the curved lines. They were

Sterling Ruby, who lives in Los Angeles, started as a friendship,

also printed on a vinyl record, from which 100 copies were made.

in 2005. Years later, Simons invited his friend to decorate his

The master-record, enclosed in a frame, contains the interview

boutique in Tokyo, which was handed to the artist painted in

and can be played in a regular vinyl player, however it can only be

white. From Ruby’s paint job of splashes and blots, a capsule-

played once – the recording is set to auto-destroy as the needle

collection was created. Simons also developed a series of fabrics

advances through the tracks.

inspired in the German’s work, which were used in the designer’s

From all the experiences resulting in getting into bed with

debut ahead of Dior, during Haute-Couture Week, in 2012. The

art, fashion has left essentially untouched. The procedures, the

ongoing partnership includes a website and a clothing collection

market structure, and the ever fluctuating moods remain.

designed from scratch by the two mates. About the longevity of

Art is also little altered, with the exception of few cases in

their friendship and alliance, Ruby once said that it was all a

which artists, in a way, sometimes very shyly, incorporate to their

matter of connection: “The likeness between our sensibilities

art reflections about the fashion’s production means and seductive

always comes up when we talk about things like music and art”.

levity regarding all subjects.

And there is more. The prevailing notion that a brand can and

One entity, however, comes out strengthened by the

should go beyond the commercial product is also expressed when

association: the label. It is on fashion’s mythical chest that, beyond

the designer goes the other way, taking his contribution to the art

products, technics, and supports, remains imprinted the idea that

universe and, why not, market.

something special was summoned – something ever untouchable,

It comes from 2002 a well-thought out case between artist

resisting purely rational explanations.

Vanessa Beecroft and Austrian Helmut Lang. Vanessa’s VB45

A brand, be it the kind of artistic genius or material desire,

performance consisted of naked women who stood while the

reasserts itself as one of the most resistant creations of human

audience, one by one, grew tired and took a seat. The presentation

perception. Once established, it can survive even when the

went on until the last woman would also sit down.

meaning is lost and the words are no longer.

They were naked expect for the long black erotic boots created

by Lang for the performance. After a while, it seemed that it was

—

they, the boots, in their refusal to sit down, what kept the women

See more collaborations on FFW.com.br

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Photo

GIL INOUE STYLING

MAURÍCIO IANÊS

NATIONAL

Collections beauty Lau Neves (capamgt) Fashion Production Tica Bertani Image treatment breno de faria Photo assistants Leandro Teixeira, Rodrigo Martins and Paulo Pompeia Beauty assistants patrick pontes and bel santana Models Cris Herrmann (Ford) Angélica Jung / Bruna Rosa / Indaia / Patrick Pierre (KEEMOD) — See the photos and videos from SPFW and Fashion Rio Summer 2015 on FFW.com.br/desfiles

tufi duek Gaiter Lupo Sport bracelets Gioielli Pantalena

Pedro Lourenço

Indaia bracelet AndrĂŠ Lasmar Cris bracelet Flavia Madeira

ELLUS

Patrick bracelets Amoa Konoya

osklen

Indaia stockings Fruit de la Passion bracelets Lรกzara Design necklace Amoa Konoya Cris bracelets and necklace Lรกzara Design

Lino Villaventura Indian necklace Amoa Konoya

Samuel Cirnansck

Indian bangles Amoa Konoya bracelets Camaleoa

ANIMALE

Cris stockings Fruit de la Passion metal bracelets Flavia Madeira Indaia fishnets Lupo bracelet acervo Rbiz metal bracelet Flavia Madeira

patricia viera metal bracelet Flavia Madeira

jo達o pimenta

coca-cola jeans

Bracelet Lรกzara Design

gloria coelho

2 nd Floor

Cris pulseiras coloridas LĂĄzara Design Indaia bracelete indĂ­gena Amoa Konoya pulseiras coloridas LĂĄzara Design

uma por Raquel Davidowicz

triton

Indaia: necklace SILVIA FURMANOVICH bracelet DUZA Cris: bracelet LÁZARA DESIGN earring SILVIA FURMANOVICH

têca

por helô rocha

Angélica: Necklace Flavia Madeira, bracelet André Lasmar Patrick: sneakers VANS

paula raia

Copper bracelet Lรกzara Design

lolitta

Bracelets Tiffany

forum

herchcovitch; Alexandre

Bruna: bracelet TIFFANY rings FLAVIA MADEIRA tights LUPO Indaia: bracelet SILVIA FURMANOVICH tights LUPO

amap么

Bracelets L谩zara Design

cavalera Bracelets Lรกzara Design

vitorino campos

Bracelets Lรกzara Design

giuliana Romanno

Bracelets DUZA

colcci Bracelet VIVARA

Reinaldo Lourenรงo Cris: bracelet Silvia Furmanovich Indaia: gaiter Lupo Sport

ronaldo fraga

Rings FLAVIA MADEIRA

wagner kallieno Thigh highs Lupo, wristlet Flavia Madeira

lilly sarti

Indian necklace amoa konoya

ANN KELLY in

International

Collections PHOTO

MARCELO GOMES STYLING

MICHAEL VENDOLA hair Paul Warren makeup Anna Webber Model ann Kelly — See the pictures and details of all Winter 2015 international shows on FFW.com.br/desfiles

CALVIN KLEIN collection

BURBERRY prorsum

TOD’S

EMPORIO ARMANI

CHANEL

GIORGIO ARMANI

COACH

DIOR

FENDI

PRADA

GUCCI

DOLCE & GABBANA

LOUIS VUITTON

Photo Fernando Mazza Fashion editors Augusto Mariotti & Mauro Braga

emporio armani

Grooming bruno miranda (Capa Mgt) Model James Quaintance Photo Assistant Leo Mattos Grooming Assistant Fernando Vieira Acknowledgements Patricia patricia veneziano and wborn

JOﾃグ PIMENTA

alexandre herchcovitch cap under Brazil

prada

giorgio armani

BURBERRY prorsum

ellus

JOﾃグ PIMENTA

Paula Raia SPFW

After a successful summer collection, the designer restates her love for humane processes and craftsmanship

By Camila Yahn :: Photo Gleeson Paulino

R

oots, construction, dirt. After thinking for a moment, tho-

specific technic. “It is a long process, a coming and going of boxes

se were the three words Paula Raia found to describe her

through the mail that makes me rethink my deadlines”, she says.

Summer 2015 collection, which you can see through new

lenses on the next few pages.

She lives in a constant laboratory, always learning, and dealing with textures in construction. “It is non-stop, but it is my competi-

To those lucky enough to have seen the show live, at SPFW,

tive advantage and I love going through the process.”

nothing could best translate the clothes built from a great mixtu-

One of the highlights of this collection is the construction of

re of fabrics and technics that, through less gentle hands, could

clothes and the mix of fabrics. “In order to use a lot without getting

have become heavy and exaggerated. The few guests watched the

lost, I need a very clear line of thought. It is a crazy equation before

presentation in the intimacy of her home, designed by architect

it starts making any sense.”

Isay Weinfeld, in a space made of wood, glass, and vegetation. In

This work means going back to the roots, through rustic pro-

the music, African chants serenaded the invitees into a dreamlike

ducts, earth colors, a woman’s history as a community’s matriarch,

state, while models moved lightly in dresses that acquired shapes

as a female force, sustained by the hands of artisans. It is on the

ever more elaborated.

role of women in society, how it was born and in what it grew into,

From start to finish, Paula took more than a year to comple-

where the poetry of this collection can be found.

te her collection, an unthinkable amount of time to the majority

One of the images that establish the starting point is the picture

of fashion businesses. But, in the process, she discovered her own

of a mother with her feet on the earth next to her children, who are

timing and a way to work without jostling. And, months after the

an extension of her own body. Mother of two, Paula is finding the

conception of the show, the strength of the collection remains with

balance between being a mother and a workingwoman without the

her, who has had the confirmation that what she really likes is

conflicts that the combination imposes. “We don’t praise that be-

working with manual technics, with raw materials that have the

auty in our lives. It is diminished to make us turn in to a ‘business-

artisan’s touch, and living these courses.

man’. We need to understand that we can also establish a different

It’s is through that amount of technic and mix of materials in

timing for our lives.”

a single article, where she searches for her evolution as a fashion designer.

Her clothes convey, beyond beauty, kindness. The articles are full of emotion, faithful to the values of the creator who has found

But nothing is so simple. In order to build her summer dresses,

her own pace. “In today’s industrialized market, it gives me much

Paula used straw woofs, cotton looms, and silk origami, complex

joy working like this. I am true to what I believe and I want to add

processes of creation and production. And even with its long tradi-

strength to this story.”

tion in craftsmanship, Brazil still lacks the excellence and precision that her trade requires.

As Paula likes to say, “it is the pleasure of wearing a dress with 10 thousand elderly men behind it”.

In her studio, she has 25 seamstresses, who she trains in the

—

development of fabrics and textures, but part of the work is done

paularaia.com.br

in small villages in Italy, by artisan families that have tradition in a

See Paula Raia’s complete SS15 collection at FFW.com.br/desfiles

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Photo Gleeson Paulino Beauty Saulo Fonseca (Capamgt) Photo Assistant Thiago Vecks Beauty Assistant Betinho Rodrigues Model Cris Herrmann (Ford)

From start to finish, Paula took more than one year to complete her collection, an unthinkable amount of time to the majority of fashion businesses. But, in the process, she discovered her own timing and a way to work without jostling

Carolina Jabor’s Passions Movies, fashion, music, television, and Fernando de Noronha

By Luciana Braga photo Lucas Landau Styling Aline Dias Beauty G. Junior

I

t is impossible to speak about Carolina Jabour without talking about movies. “Film runs in my family”, she says. And it does. She is the

daughter of journalist and filmmaker Arnaldo Jabor and married to director, producer, and screenwriter Guel Arraes, with whom she has two children. As a girl, Carolina would visit her father’s film set and, at age 14, the girl of blue eyes and brown hair discovered and fell in love with the seventh art. In the Rio de Janeiro of the 1980’s, she was a regular at the theaters Estação Botafogo and Cinemateca do MAM, where she watched everything, from the nouvelle vague to the Japanese cinema, under her father’s baton. “It was he who taught me to see the beauty in art”, she reveals.

A bachelor in Visual Communications, she has had a long journey in advertisement, at first, acting as an assistant director at Conspiração, of which she is a partner. Later, she worked with Fernando Meirelles at O2, in São Paulo, when she became a director. Ever since, Carolina hasn’t stopped. She directed TV commercials, music videos, episodes of series Madrake (HBO, 2005) and Ó Paí, Ó (Globo, 2008), and even a fashion show in Fashion Rio (Nina Becker, Summer 2007), before venturing into film. “I began working with advertising because I was shook up by what had happened to my father.

He took a beating because of Collor and I saw him lose almost everything. He had to go to São Paulo, change professions, because he no longer could support us working in film”, she recalls. overalls Andrea Marques

carolina jabor

With time, Carolina overcame her fears

Carolina says that you need guts to make

in the 1970’s) were produced. “My goal is to

and went in search of a project capable of

movies in Brazil – and she has enough to

work with television and eventually make a

lighting a sparkle in her. In Frontal com

spare. Six months pregnant at the time

movie that appeal to me. I am developing

Fanta, a short story by Jorge Furtado, she

she shot the film, she edited it while still

a really good project about women who

found the tale that gave origin to her first

breastfeeding Alice, her second child. “The

love too much, and there is another called

feature film, Good Luck, which hits Brazilian

will to do it has to be greater than finding

Cordilheira, based on Daniel Galera’s

screens this November.

the perfect situation, and it goes beyond

same-name book, from the series Amores

The movie tells the story of João –

me”, says she. “I learned that film is really

Expressos, from Companhia das Letras. It is

played by João Pedro Zappa –, a teenager

something done by a group of people. I knew

slow, but it will get done!”, she assures.

invisible in his parents’ eyes and addicted

what I wanted, where I wanted to go, but how

In film, Carolina’s references are

to the anxiolytic Frontal, and Judite – lived

I was going to get there wasn’t an imposition

Goddard and Kubrick. She is an admirer of

by actress Deborah Secco –, a young woman

directing. Each person who joins the crew

Spike Jonze’s work (Being John Malkovich,

of an electrifying intensity, an adrenaline

does so in such a special way, so delicate,

Her) and would like to have directed

junkie, addicted to life, and HIV positive.

that your view is changed by that person, the

Eternal Sunshine of the Spotless Mind, by

The clinic where Judite enjoys the last days

story is shaped. And that doesn’t mean that

Michel Gondry. Beyond the seventh art,

of her life and where João is committed by

you are accepting every single idea, but that

Carolina’s passions are fashion, music,

his parents is the setting for the relationship

you are being generous with the creation of

and Fernando de Noronha. She describes

of friendship, passion, and complicity

those who are making your movie. And that

her style as “tropical minimalist”, adores

that blossoms between them. During the

is beautiful.” It was then she realized her

Andrea

exhibition at Paulínia Film Festival, Good

dedication and passion had been worthwhile.

Nascimento, has tried to make a fashion

Luck – which has Fernanda Montenegro,

At 39, with more than 20 years of

film with Maria Bonita, and “would love

impeccable, in the cast – was compared to

profession, Carolina is still involved in

to make films that are more visual and aesthetic”.

Marques,

Neon,

and

Lucas

The Fault in Our Stars, movie/book that

several projects. The most important at

narrates the love story between two young

the moment is HBO’s show Magnífica 70,

Carolina can’t do without music; to her,

cancer victims. The similarities don’t go

written by Cláudio Torres, her co-director,

the most abstract expression of art. “I’ll

any further. Good Luck is, much more than

about the behind the scenes of the cinematic

leave a party if they’re playing lousy music”,

a love story, a faithful portrait of a society

production in Boca do Lixo, the area of São

she laughs, Jabor’s style. Indeed, the apple

that tries to fill the void and numb the pain

Paulo where the pornochanchadas (a genre

doesn’t fall very far from the tree.

with pills and drugs.

of sexploitation films made in Brazil back

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Milena Canonero The three time Oscar winner for Best Costume Design can win again for Wes Anderson’s The Grand Budapest Hotel.

She doesn’t like articles about herself.

“Especially when they are based on information taken from the internet.

I don’t appreciate intrusions in my personal life, it adds to nothing.” Recluse and discreet, the costume designer is known in Hollywood as “a diamond that shines in the shadows”. But she agreed to speak with FFWMAG

By João Lourenço :: Photo Brigitte Lacombe

B

orn in Turin, North Italy, Milena Canonero, tells she spent her childhood surrounded by her mother’s fashion magazines: “I first got interested in fashion through my mother;

she was obsessed with haute couture. I remember, when I was a child I was always surrounded by magazines like Vogue, L’Officiel, L’Art et la Mode.” She studied sewing and dressmaking, but not fashion design. “I studied the history of period costume and history of art; history always interested me.”

By the end of the 1960’s, Milena moved from Turin to London.

“My mother loved the United Kingdom, she was in love with the language and the English culture. When she was young, she lived and worked there.” In London, Milena was about to study Film at the National Film and Television School when she met director Stanley Kubrick. “I met Stanley and his wife, Christiane at a dinner. A friend, Riccardo Aragno, writer and also journalist introduced me to them.” At that moment, the direct had just finished shooting 2001: A Space Odyssey (1968).

Photo: Courtesy Everett Collection/Everett/Latinstock

MILENA CANONERO

Milena began as a costume designer in Stanley Kubrick’s A Clockwork Orange (1971)

A Clockwork Orange

Chariots on Fire

After she met and was invited by Kubrick to create the costumes for

In the 1980’s, Milena worked in TV, movies and theatre. She was

the controversial The Clockwork Orange, her life plans changed.

responsible for giving the TV series Miami Vice a more modern

“It was my first movie and the one I enjoyed the most. We did

look, and revisited the 1920’s to create the costumes for Chariots

something special, the movie remained inside people’s minds.

of Fire (1981). The look based on white sneakers, oxfords, and cus-

Stanley thought me a lot and also let me express my work and do

tomized flannel shirts granted her second Academy Award win.

things, he helped me create my own voice.” After A Clockwork Or-

Besides that, she managed to build a cool edge to the conservative

ange many opportunities showed up and she started to work with

style and make it a trend all around the world. The same thing hap-

TV commercials.

pened after Out of Africa (1985). Caqui pants, soft fabrics, casual

The costume designer collaborated with the director in two

and long shapes, and Panamá hats, items thought for the charac-

other featured films: Barry Lyndon (1975) and The Shining (1980).

ters of Robert Redford and Meryl Streep, put the Safari chic style

About this partnership, responsible for putting her in the movie

on the map and on Vogue America.

business, she says her main goal was to do a good job, at Stanley’s

Asked about the fact that these items she developed for these

standards. “I owe him everything.” Her first Academy Award win

movies helped creating fashion trends, transcending the movie scre-

was for Barry London.

en to the streets, Milena is laconic. She only says she is “Surprised!”

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Photo: Album Cinema/Latinstock

MILENA CANONERO

For her costume work in Sofia Coppola ‘s Marie Antoniette (2006), Milena won her third Oscar

Marie Antoniette

Complete Look

In the he following decades, Milena started dedicating herself more

To Milena, the creative process is just like breathing: “You breath

and more to theatre; she collaborated with many operas as Tosca

in and breath out.” She says she tries not to get stuck in a routine

to the Metrpolitan, and Yvonne, Princesse de Bourgogne, to the

and that technology and the easy and quick access to information

Paris National Opera. She explains that it is not only about watch-

help her in many ways. “Internet made time seem shorter and I

ing fashion shows and trends. “I was never into fashion weeks be-

prefer time to be longer.”

cause I don’t follow the trends presented on fashion shows, but, sometimes, I take something out of it.”

About being a costume designer in movies, she explains her work begins in her head. “The costume designer is responsible

Although she is not that much into fashion, when it come to

for giving life to the character. I try to present a complete look to

creating the costumes she counts with important names in the

the director: costume, hair, and makeup, and of course, I speak to

fashion industry. Next to Manolo Blahnik, she created all the high

the actor, especially when it is a period costume. I feel comfort-

society shoes of the 18 century for Sofia Coppola’s Marie Antoi-

able with all the history and the technical aspects of the hair and

nette (2006), another Academy Award win. In total, she has been

makeup, I mean, I’ve spent many years studying and researching

nominated eight times; won three. In Wes Anderson’s The Great

all that. But it doesn’t mean that I underestimate the makeup, art-

Budapest Hotel (2014), she had help from Fendi and Prada to re-

ist’s or hairstylist’s opinion or anything. I see myself as a guide to

create the mood that anticipated the Second World War. For this

them. Together, we create a complete look. I worship the collabo-

project, her names is already one of the favorites in next year’s

rative work, you cannot work separately, it simply doesn’t work.

Oscars for Best Costume Design. “Wes Anderson was my great

We always have to think about the image, about the final result.”

th

inspiration.”

At the moment, Milena Canonero is hands on creating the look

Milena has already designed a men’s fashion line for an Ame-

for one more adaptation of the Macbeth. Directed by Aleta Chap-

rican company of tailor-made clothes. “Their clients could afford

pelle, the famous Shakespeare play will be set in a Caribbean Island.

very expensive clothes. The brand is called Standard. I’ve stayed there for a couple of years and won the Coty Award. I left Standard when the president refused to expand the line to other levels in fashion.” About the possibility of developing her own fashion line, she says she does intend to have something “that could be mine”.

FFWMAG 38

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cinema

Metronomy

By KĂĄtia Lessa :: Photo Eudes de Santana

Joseph Mount’s love letters 162

metronomy

Jospeh Mount

FFWMAG 38

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music

metronomy

Olugbenga Adelekan

Anna Prior

Oscar Cash

Michael Lovett

“We are not dressed by any major label.

For this tour, we wanted to wear suits Beatles style, to convey the idea of those R&B ensembles from the 1960’s”

W

hen he hears he is giving

lieve me, despite being a football aficiona-

signs that will guide you through it”, says

an interview to a Brazilian

do, he even cheered for her country during

he, who invited filmmaker Michel Gondry

magazine,

Mount,

the World Cup), says that he wanted to do

(Eternal Sunshine of the Spotless Mind) to

31, singer of British band Metronomy,

Joseph

something more introspective and emotio-

direct the video of the track that gives the

answers the phone saying, in Portuguese:

nal, completely different from his previous

album its name. This tour’s scenography

“Hiiii, good morning! How do you doooo?

work, The English Riviera, from 2011.

was created by keyboardist Oscar Cash,

I practiced that for hours”. Anxious about

“When you travel a lot, you spend most

alongside the band’s lighting expert. “It

the concert he is performing in Brazil, in

of your time trying to communicate with

has colorful, retro lights. We really wanted

November, during Popload Gig, he tells us:

whom you love. You exchange e-mails,

to impress”, he says.

“In Brazil it’s not going to be a concert; it’s

texts, and skype a lot. Then I caught my-

When the subject is fashion, he is di-

going be a bash! I have Brazilian friends

self thinking that maybe this new gene-

rect: “We are not dressed by any major la-

and I know how passionate you are”.

ration will never understand the effect of

bel. For this tour, we wanted to wear suits

opening a love letter, with the person’s

Beatles style, to convey the idea of those

shaky handwriting on paper”, he says.

R&B ensembles from the 1960’s”. Bom-

The band, which also has members Oscar Cash (keyboard), Anna Prior (drums), and Gbenga Adelekan (bass), has already

He won’t forget the first letter of the

ber jackets and suits were designed by the

performed in Brazil back in 2011. Joseph

kind he’s ever written. It was addressed to

band along the label Beggars Run, and the

recalls the schedule was so hectic he didn’t

a girl from school, when he was 12. Joseph

shoes are by French brand Repetto.

have time to enjoy the country. This year,

says that she was going to Spain with her

Though romantic, the dance-indie al-

he warns he wants to travel, enjoy the bea-

parents and he wrote something to make

bum, with songs filled with tuned falset-

ch, Oscar Niemeyer’s architecture, and try

her remember him.

tos, flirts with R&B, glam, and psychede-

to go to a funk dance.

According to him, the band’s set list will

Beatles’ Style

mix the best of all previous records, not only

lic, and, therefore, is not the kind of record to listen to while standing still. And who makes Joseph Mount throw himself on

the newest hits. Since June, Metronomy

From the clothes they wear on stage to the

the dance floor? “Prince and Stevie Won-

has been on tour with their new album, the

presentations’ settings, the quartet is very

der. They make me dance as much as you

commended Love Letters. The name of the

mindful of their image. To Joseph, aes-

will come November”, says.

album reflects the writer’s romantic mood.

thetic plays a crucial role in transporting

—

The Englishman who lives in Paris to

audiences to their universe. “Music is the

metronomy.co.uk

be close to his French girlfriend (and, be-

main path, of course, but aesthetic are the

poploadfestival.com

FFWMAG 38

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music

La Roux Club 9:30, Washington DC, June 8, 2014. When the stage lit up, it seems that she left all excesses behind. The androgynous hair style is gone, the graphic makeup has disappeared, and the colorful and sparky clothes have stayed in the closet.

Every reference from the new romantics from the 1980’s is left behind, and any distraction, eliminated. Now, music trumps costume, and it is the focus of the performance. She doesn’t follow specific references to perform. It’s as if Elly Jackson didn’t need to hide under subterfuges to face the audience.

“Let Me Down Gently”, track from the second album, Trouble in Paradise, starts the show of La Roux’s newest tour. “Being on stage is representing a persona. But now the distance between who I really am and who I am on stage is smaller. It’s not only the looks that have changed; the music has also gotten cleaner. I freed myself from excesses”, says Elly 166

Photo: Reproduction

By João Lourenço

The synthpop English duo La Roux de-

behind the artist’s work. I feel that the

a while to accept the idea of being a cele-

buted in 2009 with the same-name record

record turned out better than I thought

brity. I don’t know what I am supposed to

that acquired rapid fame. The hit “Bullet-

it would. And that is very therapeutic. It

do with that. I am more comfortable, but

proof” sold 3 million copies in the United

was a time I used to make peace with my

still frustrated at times. Despite having

States only; they performed during Viktor

friends and also with my life and career.

made the album that I had in mind, I wish

& Rolf’s fashion show (Summer 2011, Pa-

Despite being an album truly experimen-

to have my own label and do everything

ris), and their music was soundtrack to

tal and personal, the process was more

my way. Maybe I am a control freak. What

Chanel’s haute-couture show (Summer/

organic than before.

can I do? I’ll have to wait. After all, you

Fall 2009/2010). They also collaborated with Jay-Z and Kanye West, and won a Grammy for best electronic/dance album.

I don’t respect bands that don’t care about the fans

can’t have everything at 26.

I don’t need famous friends

Five years later, Elly explains the time lapse between the two albums, something

People come to see us. Before going up

I think of myself as a successful per-

unusual after such a successful start: “I

on stage, I know I have to give my best

son, which is different than being famous.

wasn’t happy with the direction my career

because that could be the last show of my

If you stand out in your field of exper-

was taking. I needed to take a step back,

life. My band and I try to repay what the

tise, fame is like a bonus, especially in

deal with my issues and doubts before

audiences invest to be there. I don’t res-

the world of entertainment. It would be

launching a new record”.

pect bands that don’t care about the fans

silly to say that I didn’t expect to be re-

There was still the matter of Ben

standing before the stage. They paid good

cognized, but it all took proportions that

Langmaid’s – La Roux’s better half – exit.

money and created expectations, the least

are not part of my universe. I don’t want

“We split up when we began to make the

we can do is try to offer the best night of

to sound ungrateful, I am thankful for

new album. He wasn’t satisfied with the

their lives.

everything I have accomplished, but I’m

new direction I was taking, so we had to go our separate ways. No one can erase

I feel liberated

now, Elly and her band.

Below, read the main extracts of Elly Jackson’s conversation with FFWMAG.

Trouble in Paradise

Some people are happy only being a celebrity, of the kind that show up to pla-

what we experienced together. It’s all I have to say on the matter.” La Roux is,

not seduced by that aspect of my career.

The pressure that bothers me the most

ces to pose for photos, generally standing

doesn’t come from others, it comes from

next to other celebrities doing the same.

within. Now, the feeling is a little different

It all seems superficial to me. I don’t need

from when I released the first album. I

famous friends to feel better, because

still feel a certain urgency in the air, but I

I always had fun with people who have

don’t worry about following certain rules,

really been there with me. I want to pro-

I’m not frightened that I’m not the person

mote myself through music, not through

In one word, Trouble in Paradise,

they expect me to be, I feel liberated. I hope

famous friend. Music is enough.

is about emptiness. It is that feeling of

this record will help me open the doors to a

emptiness when there should be joy. I

more varied musical career, in which I am

talk about the happiness that once was,

able to explore other genres. I don’t want

but that we took for granted. I wanted

people to expect the same record.

to explore the imperfections and contradictions of human feelings. In a way, imperfection can be more attractive and

You can’t have everything at 26

assurances can one day disappear.

I tried to write less about me

I still have a lot to explore, but I don’t have genres or people in mind. By the way, I’ve never been good collaborating, especially when it’s so one-sided, like

instigating that the perfection of a quiet paradise; it is a reminder that all of our

I’ve never been good collaborating

Success came as a shock. It all happe-

what happened with Kanye West. But I

ned so fast and it made me afraid, becau-

don’t want to talk about him; no one likes

se no one builds a solid career overnight.

him anyway. Regardless of all the expe-

This type of commercial success can be a

riences I’ve had in the past, I’m still ope-

tremendous trap. There are people who

ned to discuss new ideas. The next step,

leave the work behind to enjoy the new

not even I know.

Writing an album filled with emotio-

life under the spotlight, and I wanted to

nal ballads was unintentional. Actually,

make sure I kept honest about my work.

—

I tried to write less about me. I can’t get

It’s growing harder to work in the musical

laroux.co.uk

carried away by a song or an idea if it

industry. This album took so long becau-

doesn’t contain some sort of melancholy.

se I didn’t know if I wanted to still be a

I need to feel the passion and emotion

part of this environment. It also took me

FFWMAG 38

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Music

From left to right, Felipe Vellozo: jacket Colcci, t-shirt Cotton Project, pants Calvin Klein Jeans.

Lucas de Paiva: jacket Cotton Project, t-shirt Triton, pants Adidas Originals. Gabriel Guerra: jacket Herchcovitch;Alexandre, t-shirt and pants Calvin Klein Jeans. Jo達o Pessanha: jacket over polo Adidas Originals, pants Cotton Project. Arthur Braganti: jacket Adidas Originals, t-shirt and pants Cotton Project

By Marcos Guinoza :: Photo Alex Batista

Séculos Apaixonados O

Pop, romantic, exaggerated

SéSéculos

Apaixonados

(Cen-

about what could be the greatest and most

website as “a label of soundtracks/house/

turies in Love) is being referred

pretentious title and I thought Séculos

techno/jazz shit specialized in CD-R”. He

to as “the new carioca indie su-

Apaixonados would be the most exaggerat-

was also a disco jokey under the alias DJ

ed, besides having a good sound to it.”

Guerrinha. “That is behind me and I’m no

per-band”. The epithet left Gabriel Guerra suspicious: “I was a little wary. Super-band

This poured romanticism – that many

longer DJ Guerrinha. It might come back,

may convey the idea that the band is a tem-

see as corny – is in the core of the band. No

porary project”. Gabriel, however, guaran-

irony, Gabriel promises. “I’ve used so much

About fashion, Gabriel says that he

tees: “Séculos Apaixonados is the most im-

sarcasm in my life, and it is horrible when

doesn’t follow it. About his style, he says

portant thing in my life right now”.

but not now.”

you are so sarcastic that people can’t tell the

that he likes the basics. “Tight pants,

What led music blogs and websites to

difference when you are actually saying the

shoes Dr. Martens, and formal shirts

call them “super-band” is the background

truth. We grew up with this idea of becom-

now and then. I’d love to, but I don’t dig

of its five members, all well-known in Rio’s

ing rock gods, but we like pop and romantic

deep into that stuff.” The band is also not

effervescent indie scene, having been in

music.” Laughing, he adds: “I would love to

worried about style. “Lucas always wears

groups such as Dorgas, Mahmundi, Opala,

deny it, but what I sing is what I believe in”.

flip-flops. Implementing a dress code

Gabriel’s musical references are many:

would be impossible; we have no disci-

Letuce, and Baleia.

Besides Gabriel Guerra, 21, vocals

from pop music from the 1970’s to The

pline for that.”

and guitar, Séculos Apaixonados has Ar-

Strokes; from The Meters to Gang of Four;

Séculos Apaixonados is on the road

thur Braganti, 32, keyboards and vocals;

from Cocteau Twins to electronic music.

performing concerts, but the release

Felipe Vellozo, 26, bass; João Pessanha,

He wrote his first song at 9. “I remember

date of their debut album is yet to be set.

26, drums; and Lucas de Paiva, 26, key-

the melody and that it talked about this guy

“We’ve recorded the album. It still needs

boards and sax.

who was going to hell for doing bad things,

mixing. I would like to be optimistic and

For now, the band has only two songs

but I don’t remember the lyrics.” Since then,

say it will come out in October, but every-

online: “Um Totem do Amor Impossível”

Gabriel has improved his methods. “I heard

thing can go sideways and then it will only

(“A Token of the Impossible Love) and “Só

that, as long as I listen to good music, I have

come out in February or March 2015.”

no Masoquismo” (“Only in Masochism”).

the potential to write excellent songs.” At

The album, titled Roupa Linda, Figura

Paying attention to the song titles, the lyr-

Séculos, the members come with a song’s

Fantasmagórica (something like Beati-

ics, and the melody is enough to realize the

skeleton and the group does the arrange-

ful Garmnets, Gosthly Figure), will have

obvious: there is shattered love behind it.

ments together. “The cool thing about mak-

eight tracks. “They all have a romantic

“They are songs about a broken heart”, Ga-

ing pop music is that, as long as the melody

approach”, warns Gabriel, author of sev-

briel confirms. “They were written during a

is good, you can say any nonsense and, in the

en of the eight songs. The verses “please

difficult relationship”.

end, you convince the listener of the content

call me/ I love to sleep on your couch”,

This is what happened. Gabriel was

of the lyrics.” In Séculos’ music is the influ-

from “Só no Masoquismo”; and “accept

a member from Dorgas and had a falling

ence of Carole King, Bread, The Moments,

who gave you a hand/ you are not going

out with the bass player. Reason: “Mat-

Air Supply, Spanky & Our Gang, 10cc, and

to heaven, oh, no”, from “Um Totem do

ters of the heart”. And the band broke up.

Michael McDonald. “I used to reject those

Amot Impossível”, are his.

Suffering from a heart ache, he joined Lu-

types of artists but, musically, giving in to

cas de Paiva, who was also going through

them was the best thing I could have done.”

the same, and the duo started what would

Gabriel is one of the owners of label

become Séculos Apaixonados. “I’d think

40% Foda/Maeiríssimo, described on the

FFWMAG 38

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Listen to Séculos Apaixonados and join the broken hearts club.

— facebook.com/seculosapaixonados

MUSIC

i T H I N K

Vik Muniz

By Marcos Guinoza :: Photo Lucas Landau

Chocolate Freud; jam Mona Lisa; diamond divas; children’s portraits made of sugar. Vik Muniz’ work is internationally renowned and exhibited in the world’s main museums. Here, he tells us what he thinks about success, politics, fashion, internet, and other subjects

vik muniz

SUCESS

INTERNET

Success is being able to make a living out

People are communicating more and feeling

of the work I do in my studio. Public and

less, ignoring the fact that feelings are what

institutional recognition is, no doubt, a

cause the need to communicate. Society’s

great incentive, but the most important is

BRAZILIAN POLITICS

the feeling of accomplishment derived from

Even though electoral propaganda is one of

is a very recent experiment, in which the

an intellectual project with an architecture

the funniest things to watch on TV this time

huge capacity to mobilize others entices

able to sustain a whole life. Being a

of the year, it is sad to witness a political

radical changes, such as in the case of the

successful artist is much less important

process that, surreal as it might be, continues

Arab Spring and Ukraine, but is unable to

than creating relevant work, even if only

to mirror voters’ desires and convictions.

create real solutions. Our affections, tastes,

from time to time.

Brazilian politics seems to have been shaped

opinions, wishes are gradually migrating

by an economy of survival, in which society is

from a qualitative to a quantitative realm,

nothing but a tool to solve personal interests.

in which love, admiration, feelings are

Brazilian culture is a great source of ideas

We produce politicians that embarrass us by

measured by the number of “likes” you

and sensations, great for mining, but

being living proof of our shortage of social

achieve. As an artist, I don’t have the luxury

always mining. However large the number

values and collective interests. I feel the need

of ignoring this behavior shifts. It all finds a

of Brazilian artists who enjoy international

to cultivate and teach a new generation of

way into my work.

recognition, these talents seem to emerge

Brazilians capable of springing true leaders.

due to chance rather than from a cultural

I am tired of having to choose between the

process

clown, the football player, and the rhino.

YOUNG ARTISTS

that

makes

contemporaneous

visual production a priority. Success, in spite of the process, gives the impression

CONTEMPORARY

reorganization through new technologies

FASHION I dress as most designers at the end of a fashion show: sneakers, jeans, and t-shirt. At the same time there are artists

that, in order to be an artist, all one needs

ART

is luck and good conversation, and that

I’ve always tried to make art that my mom

and seamstresses, I admire Duchamp,

being an artist is more important than

would like and find interesting. It is not very

but who I really like is Monet; I love Alex

making art. We bring forth new artists the

hard to please my mother, and she represents

Atala, but I prefer homemade pastry; and

same way we do athletes, almost by chance.

real people with whom I truly wish to

I find incredible the work of artists such as

I don’t know if that is good, but it could be

communicate. It is also not very hard making

Hussein Chalayan, Gareth Pugh, McQueen,

much better.

art to please stuck up people, who pretend to

and Miyake; but my wife looks best in a

be intellectuals; there are many formulas out

vintage Valentino.

GARBAGE

and artisans, chefs and cooks, designers

there and what I think is funny is that even this

What makes garbage so interesting is not

type of creative coxcombry is winning popular

its material transformation – that happens

taste. Contemporary art is still trying to evade

NOVA YORK/ RIO DE JANEIRO

in the rest of the universe all the time –, it

the common-place, the ordinary, the peasant,

I currently live in Rio, but I still work in

is this semantic entropy, the loss of value

but it’s finding hard not be become a new

New York. After spending 30 years in New

and meaning of the matter. Waste, above

cliché. Actually, galleries and museums have

York, I can’t live away from it. Paris was

all, it the gaping evidence of the inefficacy

never been so crowded before. The lowliness

the capital of the 19th century; New York

of our social, cultural, and economic

of human existence isolated by hours spent

of the 20th century. The 21st century still

values. Garbage is loaded with universal

in front of monitors and smartphones have

hasn’t elected its capital. I would love it to

and personal meanings, the perfect kind of

generated a renewed interest in collective

be Rio de Janeiro because, even though it

“ink” I like to paint with.

physical experiences; people go to exhibitions

is important for an artist to be in the center

just to go, take a selfie, and show they were

of everything, if it is Beijing, I think I’ll stay

there. The exhibitions are still the same, but

in Rio.

the queues are much longer.

“People go to exhibitions just to go, take a selfie, and show they were there” FFWMAG 38

171

art

vik muniz

VIDIGAL SCHOOL Vidigal School is an educational project focused on image and technology for children who are being alphabetized. The

FUTURE

idea is to develop programs compatible

I live an exceptional life. I have a beautiful

with the technological and visual universe

family and I love what I do. In ten years, I

in which we live in to be implemented in the

hope to be doing exactly the same, with the

early stages of academic life. Children, from

same level of involvement and happiness.

the beginning, are pushed to exert an active

With the development of science, who

role in relation to images and technologies

knows, I might be skinnier, younger, and

which they are normally conditioned to

more handsome. As for the future of the

consume. In this school, children will learn

planet, even though I believe it will get

to create their own games and cartoons.

much worse with the imminent shortage

Vidigal was chosen because it has a more

of water and energy, I’m optimistic that

common and representative profile of the

the same science will develop powerful

majority of children in the planet; it is

painkillers and iridescent contact lenses

urban, with access to information, and,

to lessen our suffering.

in consequence, to insatiable material

—

desires, and they have a shortage of

vikmuniz.net

programs like this.

FFWMAG 38

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art

in conversation with Mario Testino, Lenny Niemeyer and Maurício Ianês

FFWMAG

By Camila Yahn

Mario Testino S達o Paulo, 08/27/2014

Photo Alex Batista

talk

In Brazil for the opening of his exhibition In Your Face, the photographer spoke to FFWMAG about his roots, career, success, inspiration, and “solar” personality

Kate Moss, Vogue Italia, 2006

T

his interview almost didn’t happen. It wasn’t easy finding

He likes to control everything that happens. A control freak, as

an opening in Mario Testino’s schedule precisely at the

he likes to put it. While he speaks to me, he is conscious of being

time of his exhibition, in São Paulo, when he receives

filmed and photographed and turns to the cameras to give them

countless requests to be (or not) answered within one or two days.

the angle they are looking for. He is also very careful with his looks.

We started negotiating months ago, until, finally, it was confirmed.

He looked elegant, dressed in black, and worried about a bruise

“You can’t be late not for a second and you have 40 minutes to talk,

he got after drawing blood. “Look at what they did to me. Let’s

film, and photograph.” I had 25 questions, that is, less than two

cover it up, so it won’t be in the pictures, no”. He is kind to the

minutes per answer. I entered the room ready to step on the gas,

photographers, compliments the pictures, but says that it would

and I was surprised when he came in – calm, kind, smiling – and

look best if there weren’t wrinkles here and there. “It needs to go

let the conversation flow with ease.

through Photoshop”, he asks. When I ask him to take a picture of

Testino needs no introduction, at least in a magazine such

the two of us, he says no. Someone else has to do it; Testino doesn’t

as FFWMAG. It is worth mentioning the things we are not

do self-portraits. “It’s a crazy thing today, no?”

familiar with, that the photography doesn’t show, and that is only

During our conversation, he goes back and forth with

revealed when he becomes the object of our scrutiny, face to face.

compliments to his mother, from whom he inherited his good taste,

For starters, Mario has a presence and a light that are felt inside

and reveals to be very comfortable in his own skin, embracing his

a room. It is easy to imagine why he is chosen to photograph

Latin roots more strongly than ever, and the solar photography,

hyper-celebrities, extremely exposed people who, at the same

which he claims has flaws “that make them more interesting”.

time, need to be safeguarded, such as the example of Princess

Mario speaks a lot of positivity, of looking at life through the lenses

Diana. Testino has the gift of making people feel protected and

of beauty, and the conversation takes that path. Until the publicist

safe while he, furtively, unveils the personalities of princesses,

following the interview starts to budge on her seat. A delicate

singers, and actresses without them noticing. Mario is known for

warning. I looked at my recorder and realized that 40 minutes had

pictures of starts showing a lot of skin, for his eyes only. When

gone by in a wink. My time was up and it was time to return Mario

the photo is ready, their soul is revealed.

Testino to his duties for the day that was just beginning.

FFWMAG 38

175

photo

mario testino

“I think that in the moment I arrive at work, something happens to my energy, like someone has turned on the light. Of course we are not on the same level every day, just like an athlete.”

You were born in Peru. How much of

because we are Peruvians… We have this

ativity that, if you don’t help, it’s not life

your origins is still remains in your pho-

idea that everything that comes from

that will make you enjoy things, because

tos?

abroad shines and that we are trash. So I

there are problems everywhere, every day.

I think that it remains, but something new

decided to bring my work to Peru so that

But I think the Latin-American is solar. All

always emerges. In the beginning of my

the people would see, and to create a pro-

you have to do is come to Latin America to

career, I moved to London and I tried to act

motional platform for Peruvian artists and

feel people’s generosity, love, joy.

British. My competition were the Brits, the

establish a conversation with the world. I

French, and the Italian. There weren’t many

decided to give something back to my

Have you always had such a positive

South-Americans there at the time. So I

hometown and be part of a movement

outlook since the beginning of your ca-

wasn’t 100% sure of what I thought about

that takes place in Peru today that is open-

reer?

my aesthetic, my roots. It took me a while

ing its doors thanks to communications

I think so, because I always preferred light

to look at my work from the perspective of

development.

to darkness. That is why Rio used to be my

where I came from, and I discovered how

favorite city, because it has that light,

interesting it is to look to our origins. I be-

that joy.

gan in the 1990’s travelling to Brazil and photographing in Rio de Janeiro, inspired

Is Rio still your favorite city?

by the time when I was a teenager. And

No. I adore Rio, but I need several cities.

now I realize that I began to look at other

Berlin is amazing because it works well

things from Peru and other parts of Latin

with my head. Rio brings me more of a

America that are not only in tune with sen-

physical pleasure; Lima because I take a

suality, heat, color, but also with elegance

great interest in my family, in my back-

and the history that we have, especially

ground; London because it has always

Peru, which had the Inca Empire. It all

been the city where I chose to live; Los An-

started to get into my head as an influ-

geles brings me to another professional

ence, the architecture, the fabrics, and so I

side, because I entered Hollywood’s uni-

did an exhibition called High Fashion, ded-

verse, which I never expected to be my fu-

icated to the dresses of Peru’s highest re-

ture, and I am enjoying the idea of docu-

gion, Cuzco.

menting a world different from mine; so I live in the mix of the cities.

And today you have an art center in Peru, Mate.

Untitled, Rio de Janeiro, 1998

I bought a house in Lima thinking of keep-

Have you ever taken a perfect picture?

No. There is no perfection because perfec-

ing a collection for my work, because every

Your work is very solar. Your pictures al-

tion is boring. I like to control everything

time one of my exhibitions is over, I have

ways have a luster, an impeccable fin-

and, when it’s all under control, I like to de-

80, 100 pieces that I store in a deposit in

ish; they show the beauty, the glamour,

stroy it to make it interesting. I am a bit of

London. So, I was shown this house from

the youth, the energy. Are you also like

a control freak. It’s not that I look at one

1850; in my city people don’t want these

this? Is your personality solar?

thing, I look at everything: lighting, make-

houses because they are too big and ex-

I try to be like that the whole time because I

up, decoration, hair. With my exhibitions, I

pensive to maintain. But, throughout the

think some people forget that life is the mo-

do the same; I decide every detail with the

process, people who were assisting me told

ment. They forget about the journey and

team in order to achieve the best possible

me that it was the moment to bring my

think only about the destiny; it is a problem

outcome. I have to say that even though

work to Peru. The Peruvian new my name

of today. They want to be famous, but don’t

the exhibition is beautiful, I can only see

and saw me on the news wearing black-tie

consider if they will enjoy the job. The day-

the flaws. But perhaps these flaws make

in some party and didn’t know that, in or-

to-day is the most important thing we

everything sexier and more appealing.

der to be there, I had worked very hard. I

have, I want to enjoy my life, to die knowing

decided that I would use my work to show

that I lived on the highest level I could have.

You were the first of your class and to-

that they can also have what I did. It’s not

To me, life is positive. There is so much neg-

day you are one of the most important

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talk

“I learned looking at the work of several photographers, like Irving... Horst. Not because I wanted to be like them, but because each one shows the ability to reach their own highest level.” fashion photographers in your genera-

criticism, and not all people are, because

of the photo is more immediate and fad-

tion. Besides dedication, what other

they feel it is something negative. Criticism

ing. I collect art and I can see which artists

factors helped you reach the top in

is very important because it can help you

have that liberty and no boundaries, no

such a competitive industry?

improve, but it is hard because it has to at-

problems to show garbage if garbage is

People are born with a personality. I work

tack you in order to help you.

what is interesting. Others control every-

until I reach a level that I think is good. Of

thing, and that limit becomes boring and

course there are days when you think: “Ok,

Has any critique ever hurt you?

dated. In my case, I have a responsibility. I

enough, we have it. Let’s get some dinner”,

They all do. But I think that we need to be

am hired by companies who pay a lot of

but I try to be responsible and bring my

stronger than the body’s emotions. Fear is

money for the space and I have to assure

work to the highest level. I think that I was

something terrible. People, for fear, stop

them they will sell. I know what they are

also lucky because people are born with

doing many things, so we have to go be-

spending and they have to make even

certain qualities. I was born where I did, I

yond fear. And I try to learn something

more, so, to me there is already the limit of

had the opportunities I did. At the same

from critiques.

the power of the image. But I have to say

time, life gave me a gift, sensitivity; my

that, even within these limits, if I have to

mother had very good taste and I learned

How is your process when you are work-

make ten pictures for a campaign, many

a lot from her, and when I arrived in Lon-

ing commercially for a big label?

times, at the end of the day, I say: “Ok, this

don, I was lucky to meet the right people,

When you work for a label, the fashion

picture is gorgeous, it doesn’t matter if it

who helped me. But we are lucky, aren’t

photographer becomes a spokesperson. I’ll

doesn’t sell; it’s about the image”. And that

we? It’s all part of your path. And, besides,

bring my taste, my experience, my profes-

is when I have creative freedom.

real work. My days go from 8 am to 10 pm,

sionalism, but, at the end, I have to convey

including Saturdays, and in many Sundays

what the brand is. I try to understand what

Many times a picture that is all about

I am in an airplane. I worked, but the truth

they need, see the label’s DNA, what made

the image comes out without being

is that it could have been different.

it become what it is today, because every-

planned or controlled.

one has their secret for success. For exam-

Exactly. There are things that we have to

Who are the masters of photography

ple, I’ve been with Burberry for 16 years,

do and the things that we do without hav-

that inspire you?

what is rare because everyone wants to

ing to do anything. I’m conscious about

Many. I learned looking at the work of sev-

change partners all the time. I’ve seen

the image that needs to get done. Many

eral photographers and others, such as

Burberry begin structuring a DNA, but

times we take pictures to be on a cover

Patrick Demarchelier and Peter Lindbergh,

when Christopher Bailey joined the com-

and magazine covers have limits, they

were very kind to me when I was younger

pany, he proposed a new direction and in-

need to be able to put the logo and write

and gave me some tips. But I admired the

cluded it in his vision for the future. I think

the headlines on top of it, so the construc-

work of Irving Penn, Cecil Beaton, Horst, all

it is interesting to work like this because

tion already comes with limitations. But for

of them. Not because I wanted to be like

one person can have several abilities and

the inside pages we do what we want. If I

them, but because each one shows the

more than one job. I can make an artistic

don’t want to show the model’s head,

ability to reach their own highest level.

picture to put on a wall and, at the same

that’s ok, there’s much more freedom.

That is what I learned: to find myself and

time, I have another quality, which is to

communicate my idea at the highest level.

take a picture that creates the desire in

Even in editorials for commercial mag-

people to go to a store and buy something.

azines like Vogue America? Aren’t there

Do you think you still have learning

certain limits when it comes to shoot-

to do?

Is there a difference in the way you

ing an editorial?

Obviously. Imagine that my mother is 91

make an artistic and a commercial

It depends on what we are doing. There are

years-old and takes English and computer

photo?

thing less constrained than others. Many

lessons. Whoever thinks they have nothing

Many times the freedom of expression is

times the limit comes in who you have to

to learn can retire and sit at home. We

controlled by the results you can have. To

shoot, right? A model comes as a white

have to learn. Every day I learn something

me, there has to be complete freedom, I

canvas and you can do what you want, but

new. The only problem is that, in order to

can’t have work conditions or limitations,

if it’s an actress well-known or of a certain

learn, you have to be completely opened to

because when the limit appears, the result

age, there are other things you need to

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mario testino

“Life gave me a gift, sensitivity, and when I arrived in London, I was lucky to meet the right people, who helped me. I was lucky, no? And, besides, real work. My days go from 8 am to 10 pm, including Saturdays, and in many Sundays I am in an airplane.” ceived, whilst the common person comes

Have you ever used a cellphone in a job?

art or not being art, but I feel that people

stripped of everything. But both are very

I’ve thought about it, but to me there’s still

get caught up in the definition of things.

hard. It’s only the way you see. I can live

not a phone that gives me the freedom

Things are because they are. And if they

with very well-known people, but when it’s

with the picture, because the lenses and

are good, they are good, and vice-versa. I

time to take their picture, it might be as

other technical things are still not perfect.

don’t have the pretention of being any-

complicated as shooting a new model.

work. Today, people talk a lot about being

You collect art. What do you search for

thing. I would like to be nothing to be able to become everything. I would like to be

How many days do you spend shooting

when you buy art?

whatever I want to be whenever I want.

a campaign or a fashion editorial?

Many times I look for the ridiculous, for

That is more important than anything,

It depends on how many photos they want.

what I don’t know, the surprise and some-

more than defining if I am English, French,

I try to do four pictures a day; when it’s

thing that shows me or teaches me some-

Peruvian… I like to be Brazilian when I am in

beauty, I do two, at the most. Sometimes,

thing new. That is what I search in every-

Brazil. I hear a lot of people talk about that

a job can last two days, sometimes, a

thing. If I go to a piano concert or to dine in

and I think: “Poor…”. I am free.

whole week.

a restaurant, I want to be surprised, to feel

Have you ever woken up in the morning

How many people work with you?

of a big job and not felt inspired or cre-

I travel with seven people, but I have a

Do you have Brazilian art?

ative?

team of 50, who take care of all aspects of

Many. Adriana Varejão, Beatriz Milhazes, Mi-

I think that in the moment I arrive at

my work, such as finances, books, exhibi-

guel Rio Branco, Vik Muniz, Valeska Soares. I

work, something happens to my energy,

tions, press, social media.

started collecting 20 years ago and, at the

something new.

like someone has turned on the light. I

time, I met someone who is now a very

dive in the story. Of course we are not on

Are they the young people you recruit?

important curator, Adriano Pedrosa. He told

the same level every day, just like an ath-

Yes, who learn from me, but who also

me: “You should see the Brazilian artists,

lete. But, at the end, I have to show a work

teach me. Young people know more than

because they are at the highest level”.

in a minimum level, and that minimum is

old ones. They might not have the knowl-

quite high.

edge of someone older, but they have the

Did you use to come to Brazil then?

energy, the will to work. I think that is per-

I started coming here at 14. That is why I

What kind of work gets you out of your

haps what young people have going for

speak Portuguese. I would come to spend

comfort zone?

them. I see that all my assistants have

the holidays. I had a friend whose father

I always try to do personal projects and I

become photographers, what makes me

was a banker and I stayed with them in

find it difficult to identify what are those

very happy.

Rio. I was crazy about Rio because I grew up in Lima, a very old-fashioned place. And

projects. Maybe that is what gets me out of my comfort zone, because I live a very

How do you see photography with

there was a freedom about Rio that I was

organized life. For instance, when I was

a cellphone?

able to walk on the streets wearing speed-

building the exhibit High Fashion, I had to

I think it’s great. I think that everyone

os and Havaianas. And I thought it was

go from London to Cuzco to shoot these

who take pictures with their phones now

amazing going to the bank, to the market,

pictures in a single day. It is hard, you may

know how hard it is to take a good photo

to the beach in a swimsuit, all you had to

not be inspired to do that on that specific

(laughing). But I think it’s an interesting

do was tuck in a little money and the keys.

day, but still things have to happen.

way to communicate and express one-

I remember that, when I was 17, I watched

self. For the longest time I didn’t want to

Secos & Molhados in concert and that

Is there a difference between photo-

go on the social networks, until last De-

opened my mind and it changed the way I

graphing famous and common people?

cember, when I accepted starting my In-

saw the world. Brazil has these freedoms.

They are two different exercises because a

stagram. It is very interesting to realize

You go to carnival and the transvestite is

famous person comes with an idea of who

that, wherever I go in the world, people

next to the banker, to the lady from soci-

they are and how they want to be per-

tell me they like my profile.

ety. I find that wonderful. The country

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talk

“Brazil has these freedoms. You go to carnival and the transvestite is next to the banker, to the lady from society. I find that wonderful. The country hasn’t been able to solve its social issues, but at least you can live next to one another.”

Mario welcomes FFWMAG at Faap

ful or solar? How does that affect you?

is turn on the TV, read the paper, there is

that is our problem, Latin America’s –, but

It makes me reflect all the time, but I un-

not one single positive thing. I was once in

at least you can live next to one another.

derstood one thing: I’ve been around the

a TV show and the director told me: “If I

hasn’t been able to solve its social issues –

world and there is no solution. I haven’t

don’t have anything bad to say about

What did your parents do?

been in a country that has everything

you, the show is no good”. And I asked:

My father was a businessman who worked

right. What we suffer here because of our

“Why? There’s so much that can be inter-

hard to provide for his six children and wife

poverty, elsewhere people suffer in other

esting. Why does everything needs to be

the best possible life. He wasn’t a rich man,

ways. In a way, I am over-capitalist and I

sensationalist?”. I believe that we all have

but he succeeded in his career. And my

think that if I work 12 hours a day and

a mission in life. Mine is to bring joy, beau-

mother always took care of us. And now we

someone else wants to work 5, why am I

ty, and positivity.

take care of her.

not to have more? And on another side, I

—

We speak about this joyful aspect of

am a socialist and I think: “Why do I have

Instagram @mariotestino

Latin America, but we have many is-

an opportunity and you don’t?”. It is hard

sues. And great South-American artists

to find a balance. A lot of people ask me:

were and are strongly influenced by

“Why do you have to have people smiling

them. How do you deal with that side of

on everything you do?”. There’ so much

your background that is not so beauti-

negativity in the world, all you have to do

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Lenny Niemeyer

By Sarah Lee Rio de Janeiro, 08/27/2014 Photo Lucas Bori

talk

Photos: Agência Fotosite

Reference in beachwear, Lenny talks about Brazilian style, inspiration, parties and assures us that she is far from retiring: “I still have too much ahead of me!”

Models in the backstage of the Summer 2015 show

“I think I am a little shy”, she says when I am about to hang up at the end of the interview that flowed for one hour as if we were at the beach sipping our coconuts. It was surprising to hear that from a woman of honest and easy smiles, famous for being one of the best hostesses in Rio de Janeiro. Small curiosities such as these make designer Lenny Niemeyer (bachelor in Arts whose real name is Maria Helena Ortiz), a reference in carioca elegance (but who was born in Santos and graduated in São Paulo) and a synonym of glamour and sophistication (who started in fashion making bikinis with materials that she developed herself from bones bought at the local butchery) even more interesting.

In this interview for FFWMAG, she speaks about her business, which started in a garage and now has 19 stores, 200 points of sale, and is sold in more than ten countries; Brazilian beachwear supremacy; the fact that she is “paddling on a stand-up board”; and that show in Fashion Rio Summer 2015.

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LENNY NIEMEYER

“As incredible as it sounds, I don’t have many bikinis; five, at the most. I live with that the whole day. Can you imagine the number of bikinis I see?”

The label Lenny Niemeyer and yourself

hand. But the difficulties of the past are

always get it right, but the important thing

have been established as a synonym of

the good things of today. I can dig in; if I

is to focus on innovation, in creating thing

Brazilian style and, especially, carioca…

have to dye a fabric here in the atelier, I’ll

appealing to the eye, in being truthful to

Oh, thank you! (laughing)

do it. My training in fashion was through

the costumer, who trusts in the quality of

experience. I was always close to people,

what you do. It is a great responsibility as an

Don’t mention it! But in this globalized

never someone distant from my world. I

entrepreneur and a designer.

market, is it still possible to speak of

can sow, model… Now, thanks to God, I

Brazilian and carioca style?

have a team for that, and I think it is very

Do you often read reviews about

Yes, Brazil is a trendsetter when it comes to

good to be surrounded with people with

your shows?

beachwear, people abroad search for the

different training, who teach me. We are

We end up hearing what people say, and

Brazilian style. Modeling, no doubt, is cop-

always learning.

when it’s positive, it is certainly gratifying.

I’m committed; I spend four month practi-

to a woman’s body. We live the beach cul-

cally living in my studio, working day and

ture throughout the whole year, while in other markets it is seasonal. In this virtual world, with everything changing so fast, you have to work harder and not settle for what is easy. Focusing on this Brazilian

Photo: Agência Fotosite

ied; there isn’t a swimsuit that is better fit

night. It is almost a religion: I don’t go out, I don’t drink, I am completely focused. So, when there is a productive review, when people understand that that plant is growing from the earth, the hand painted fab-

style, which is very wide. When I say Brazil-

rics, it is wonderful: “I got my message

ian style, I don’t mean that you only have

through”. It is important for the designer,

to reproduce palm trees – by the way, I do

the team, the client… It’s about a set of

have that print –, but I’m talking about

things, not only vanity. It reverberates to all

finding the colors, the shapes, and the de-

200 people in my team and motivates us

tails that you can identify as Brazilian by

to finish the work that is ahead.

looking at them. When I moved to Rio, what charmed me the most was the way

What are your main sources of

the women were able to look chic wearing

inspiration?

jeans, Havaianas, and a white t-shirt.

I think that inspiration comes from life, from our stories. It comes from the day-

Transforming a pair of pants in shorts and looking beautiful. This relaxed way of be-

Swimsuit with prints in 3D Summer 2015

to-day and from what you watch and keep in your memory, and in a certain moment,

ing, seeming not to have a commitment to fashion, ends up making the woman ele-

Have you ever thought about quitting?

it all comes together and acquires shape.

gant.

I never did. As I said, I am driven by chal-

Imagination runs an unknown trail, it is

lenge. At the time, some people would say:

very subjective, but we end up tying every-

How was your beginning in the fashion

“Lenny, give it up!”. I answered: “No way!”.

thing that lies in our subconscious to our

industry?

And I worked in peace!

observation. When I create, I always build a link to my previous collection. For in-

I started out in a garage, making handmade bikinis. Only I know how many mis-

How does someone who is self-taught

stance, I had made one inspired in light,

takes I made. I was compelled by the chal-

maintain a successful company?

afterwards that light faded and a seed

lenge; I’m still driven by it. There was the

You need to have a team. I am very focused

started to germinate from the earth to

flood, the factory was robbed, the ma-

on the style; through my background in

become Botanic.

chines didn’t have insurance… I never had

arts, I worked with architecture and land-

any luck. But the hardest was finding the

scaping, what gave me an idea of colors

The presentation of the collection Bo-

time to be with my small children and

and shape proportion, what enabled me to

tanic was among the most praised in

building a successful business. I didn’t

build the body architecture that makes my

Fashion Rio Summer 2015. How was the

have the resources to invest, to import

swimsuits fit so well. The rest you just learn.

conception of the show?

fabrics, to run tests – I used what I had in

I’ve been doing this for 20 years. We don’t

It was a very emotional show to me, in the

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talk

“In order to sell, I’d have to conduct my work in another direction; if the bride wants to get married, she needs to dress the part.

And I am paddling my stand-up board. I am happy like this.” way that in was born, in how the team

And I am paddling my stand-up board,

What is your work day like?

worked together. I like to have a story to

thinking about my next collection and pre-

I work every day, usually for eight, nine

tell, no matter how little time there is, and

senting a well-finished product. I welcome

hours; when we are putting together a

we had the idea to make this botanic that

anything that can add and give me more

show, we work 14 hours! (laughing) I come

springs from the earth – the birth of a flow-

resources to do a better job. Anything can

to the office in the morning and I never

er in search of sunlight. You can notice that

happen, but I don’t think about that. I am

leave to grab lunch, ever, because it inter-

it starts with beige, from the earth, a seed

happy like this.

rupts the rhythm – I like to eat homemade

that is still germinating, and it acquires the

food –, and I stay until I finish my duties; I

color of the sun, blossoming and becoming

How about retirement?

leave and don’t take work home. Even Ins-

tridimensional, while the prints reflect an

It doesn’t even cross my mind. I still have

tagram, which I like, I only go on it during

explosion of colors. The fabrics were hand

too much ahead of me, I want to own a

the day. At night, I close the door of the

painted; the materials had a linen texture.

home store, expand my line, do so many

office and leave it all behind. You got to

The story is coherent and involved a lot of

other things. I’m trying to find the time.

have time for yourself, without thinking

work because there were 40 looks, 40

Who knows I might even start thinking

about something else. Laughing with

models, 40 prints, 40 shapes. I loved doing

about partnerships to grow and focus on

friends, watching a good movie, cooking,

it because I fell in love with that job.

the creative end of the business. For now, I

chatting…

work so much I haven’t had the time to

How do you keep the balance between

think about selling the company (laugh-

How did a woman from Santos become

the concept showed on the runway and

ing). I love what I do, I take pleasure in

a reference in Rio de Janeiro – not only in

the final product?

working, in everything. I couldn’t do with-

fashion, but also in lifestyle, for the

I put a lot of emotion in my work and peo-

out it.

parties in your apartment that have become a tradition during Fashion Rio?

ple can feel that. The show has to be tireless in the effort to touch people. I am a

Your trajectory inspires those who want

I was raised in a family that loved to have

perfectionist, the colors and cloths have to

to venture into the fashion industry.

big Sunday lunches – I always enjoyed hav-

be coherent. So I follow everything closely

How can beginners achieve success?

ing people over. The parties during Fashion

and I have a team with me. Dani Ueda

I encourage our interns, who are staring

Rio started because it is a time of the year

(stylist) and Zee Nunes (director) are peo-

out. There is always room for those who

when you work too much and don’t have

ple with whom I have worked with for a

work and believe in what they do. I began

the time to see anyone, and it is on the day

long time, and I think they are geniuses,

at the end of the 1970’s, when everyone

of the show that you can finally relax, and

they buy the idea and run with it. Every-

was wearing thongs, and I brought a shape

you want to celebrate, because it is special.

thing has to be completely thought of;

that it was not for older women or the

And I wanted to combine my fashion uni-

there is no room for improvisation. Not all

younger girls. I would hear “there’s no mar-

verse with my friends, my family, my sister,

articles can be commercialized. The skirts

ket for that”. But I found my target: wom-

and my mother, when she was alive. Be-

of the collection were huge; they had to be

en who wanted to be well-dressed at the

cause after it was over there wasn’t a

tied with nylon threads because they were

beach, elegant, chic, timeless. It can be an

place where everyone could meet – we were

so heavy. But when I build a collection, I

18-year-old girl or a woman in her 50’s.

in Fashion Rio and then everyone went to a

always think about the business end,

People also said that the maxi prints

restaurant, to different places. I think that

about pieces that my clients can wear and

weren’t going to sell. The silk beach dresses

the secret of a good party is this mix of

look as beautiful as the models, otherwise

were there to prove otherwise. Step by step

people, friends, friends from out of town,

it doesn’t make sense. But I think it is im-

I build my customer base. That is why I say:

international journalists, and my team,

portant to put on a good show.

believe in what you do, evolve, learn the

with whom is so important to share the

technics, understand management, color,

glory. It is not simply a matter of having

Have you ever considered selling your

molding, fabric, and inspiration will find

VIP guests – especially because the people

company to a large group?

you – the information gets processed and

we know are the most illustrious in our

In order to sell, I’d have to conduct my work

you can achieve your place in the sun.

lives, right? (laughing) It is a day when no

in another direction; if the bride wants to

There is room for everyone.

one has to worry about being photographed, becoming news. Of course it

get married, she needs to dress the part.

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LENNY NIEMEYER

“I started out in a garage, making handmade bikinis. Only I know how many mistakes I made. I was compelled by the challenge; I’m still driven by it.” needs good music and drinks, a relaxed

the number of bikinis I see? (laughing)

Retriever, 10 years-old, the king of the

environment – nothing in my house is very

You mentioned that you are from Cap-

house; Chica, a Shih Tzu; and another Shih

formal. And not having a curfew! (laugh-

ricorn. Do you believe in astrology?

Tzu, called Kowl – actually his name is Bow-

ing)

I’m not an expert, but I am a believer. I was

ie, but he looks like and owl and everyone

born January 9; my sign has the particu-

calls him Kowl. My daughter brought him.

Tell us about a party to remember.

larity of being very determined. It is from

And of course I fell in love, because I love

A party that was very special to me was

the earth, so it is stubborn, it never quits. I

dogs.

the label’s 20th anniversary. I dreamed

think I am a little shy. I’m very strict when

about having a party at Lagoa. I live there,

it comes to my sense of justice and my

Any obsessions or addictions?

so it was very nice to set up a party there,

principles. Persevering, I chose a path and

Well, I am a smoker, right. (laughing)My

with the goodwill of the mayor’s office and

stick to it. And the little crazy things, like

cigarette holder, more than my cigarette.

was for one thousand people and then we

Coffee or tea?

had a huge tent for another thousand, made from thatch and reforestation wood. It was a super production, it looked incredible. It was a lot of work, but it was

Photo: Agência Fotosite

the neighborhood association. The show

I drink both: coffee in the morning and tea in the afternoon. I drink more tea than water; my favorite is lemongrass.

the party I enjoyed the most.

A drink?

Gin and tonic with Hendrick’s.

Do you go on vacation every year?

Every year, always in July and January, be-

What do you do to renew your ener-

tween collections. I often go to the south

gies?

of Bahia, but exceptionally this January, I

I am religious. I have faith, I believe in God,

want to change, still don’t know where.

Saint Terezinha protects me, and every-

Time and again I go to Saint-Tropez, and

thing excites me! My family, my friends, I

this year I went to Mykonos, a place that I

am a cheerful person; I like people, to be

had been wanting to visit for quite some

with people. Work excites me; the chal-

time. It is to die for! I fell in love with it! My

lenge of a new collection excites me.

quest is the sun and the summer; I love the ocean and all that surrounds it.

Lenny follows the show’s rehearsal

when I stay in a hotel, I always like to stay

What is in your closet? Do you wear your own label to go to the beach?

We can see that you are very positive.

Does anything bring you down?

Negative people who are not committed to

in the same room (laughing).

anything in life. Sometimes I feel discour-

I have a lot of white shirts and collection

aged by the way things don’t move forward

items. As a good Capricorn woman, I don’t

What differs from today’s Lenny from

in our country, social injustice, and not be-

throw anything away; I have all my clothes

the Lenny of 30 years ago, when you

ing able to help as much as I’d like. But I am

since the age of 15 (laughing). I do wear my

started

positive, I believe in the country, I have faith

label; there are prints that I like from eight

changed?

that everything will work out and that ev-

years back. My favorite bikini is from the

I think Lenny is more confident in what she

eryone will have the same opportunities.

20th anniversary, a print of blue macaw,

does. To me, it was all unknown, a chal-

We can’t be disheartened. I hear people

which I wear with our classic pleated skirt

lenge, especially because I had never done

say: “I am tired of Brazil, I want to get out of

and a white shirt. As incredible as it sounds,

it before. I’m still learning, but with more

here”. How so? God! We have to fight for

I don’t have many bikinis; five, at the most.

confidence. I work the same as I did 30

our country, not abandon it.

I have a collection of everything I’ve done,

years ago. I’m happy just the same, ac-

the most important pieces of each collec-

complished just the same.

in

fashion?

What

hasn’t

tion, and when I miss wearing one, I’ll reedit it, but I don’t keep many at home… I live

Do you have any pets?

with that the whole day. Can you imagine

Three dogs: Maddox, a beautiful Golden

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— Instagram @lennyni — See Lenny Niemeyer’s complete SS15 collection at ffw.com.br/desfiles

fashion

Maurício Ianês

By Camila Yahn São Paulo, 08/29/2014 Photo Gil Inoue

talk

Between fashion and art, he chooses both.

In this interview, he shares his artistic experiences, talks about his days in Judaism, and about his relationship with fashion and with designer Alexandre Herchcovitch

Performance Melancolia at SPArte, 2013

Despite retro feeding each other, fashion and art also have their jams.

Having carte blanche to move between both universes without having to make a choice is no easy feat. That is Maurício Ianês’ gift, artist and stylist, equally respected in both fields of expertise. He dives into profound considerations through artistic research and at the same plays with fashion’s ephemeral desires.

At 41, he has an ongoing partnership with Alexandre Herchcovitch that has lasted 20 years and started as a love affair. It was the designer who introduced him to the fashion world and, indirectly, reinstated his interest in Judaism, which later resulted in his conversion. That shows the intensity with which Ianês lives life and makes him a very interesting character. We spoke on the patio of his studio, next to Galeria Vermelho, in São Paulo – his studio was hosting an artist friend who came for the Biennial.

From the teenager who lost his mom at 15 and who called himself an artist even before joining college to the multi-talented person he is today, Maurício moves through art, fashion, and music with a freedom that few master.

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art

MAURÍCIO IanÊS

“I was always pretentious enough to call myself an artist even while I was a student. During an argument in class, a professor said: ‘No, you are not an artist, you are still a student’.”

You’ve always moved between fashion

that attention to detail. And then I moved

And what did it mean?

and art. What came first?

towards street art. During my years at

It was precisely about education. I put myself

Art. My mother was an Art major and she

Faap, some artists struck me. Joseph Beuys

there as if I was the teacher, but with my

taught at the college in Santos. I was al-

was one of the firsts; I was astonished by

back to the board, facing the students, giv-

ways encouraged to draw, to paint, and we

his work, especially for the Free Interna-

ing my respiration, using copper as an energy

always had art books at home. I decided I

tional University, which was a great perfor-

conductor, the cocoon on my head, which is

wanted to be an artist from an early age,

mance that thought strongly about social

where thoughts comes from. On the day, I

after I wanted to be an astronaut, an ar-

aspects. Marina Abramovic’s earlier work

thought: “Well, I am screwed. Instead of a

cheologist, Indiana Jones, all that sort of

also left me quite restless. Anselm Kiefer, be-

paper, I’m delivering a performance, but let’s

nonsense. (laughing)

cause I still wanted to work with paint. But at

do it”. The professor understood it and gave

the time I started to experiment with perfor-

me an A.

You were still a child when you decided it?

mances. In 1995, I did my first. It was a theo-

I started dedicating myself as a child. I stud-

retic class, and I presented a performance.

Was it during that time you met

ied from ages 8 to 15. At the time I went to

Alexandre Herchcovitch?

college, my mother had already passed.

Yes, in 1993, on Sra. Krawitz’s dance floor.

We started to date and moved in together

How old were you when your mother died?

and that is how I got into fashion. I started

Fifteen. I moved in with my stepfather, who

asking him to teach me things, I would in-

asked me: “Don’t you rather study architec-

terfere in what he did, help in his work for

ture instead of arts? It is a way of being an

college. I started to work with fashion

artist and making more money”. So I did that

through him, very casually.

and got in, but on the very first day I thought: And at the time the job stylist didn’t

“There is no way in hell I am staying”. I left the class and changed my major to philosophy.

Showing Espectro do Vermelho (2014)

formally exist.

No, not at all! I would say that I was his

On the very first day? What did your

What was it like?

assistant. I only came across that word

stepfather say?

It was an assignment for a class about

when I lived in London, in 1999. I dated a

When I got home, they celebrated: “Look! My

education in art.

guy who was Alexander McQueen’s first as-

son, the architect!”. And I said: “Your son, the

sistant and I met Katy England, who was

philosopher!”. (laughing) It was quite dramatic,

Your classmates turned in a paper and

the stylist. “Oh, there is that job! That is

but I studied philosophy for one year. Then I

you did a performance…

what I am”, I thought.

tried out for arts and got in Faap.

Yes. (laughing) I organized the chairs, stood with my back to the chalkboard,

You and Alexander have a synergy that

When did you start referring to yourself

covered my head with a cocoon of raw silk,

has lasted ever since. What is it about you

as an artist?

I wrapped my head, hands, and feet, and I

two that seem to complete one another?

I was always pretentious enough to call

had a copper plate on my lap. I had a nip-

There is a lot at stake because we are in fact

myself an artist even while I was a student.

ple piercing and I put two steel cables at-

very different. But since the beginning there

During an argument in class, a professor

tached to my nipple that went across the

were things that brought our minds togeth-

said: “No, you are not an artist, you are still

classroom, through a pulley on the front

er. He had a transgressive will that came

a student”. I only felt confident to admit I

wall and had two weights. As I took a

from the gay universe and I came from a

am an artist about 15 years ago.

breath, the weights would go up and down.

punk heritage. I helped him in reflecting, in creating a concept of where he wanted to

Did your work at the time relate to

And you couldn’t see people’s reaction.

get with his work. On the other hand, he had

what you do today? Who were your in-

I couldn’t see anything, but I could hear.

a thing for research, a will to break boundar-

fluences?

Students from other classes started com-

ies, a curiosity, and mad skills to make

Before I joined Faap, I copied Salvador Dali,

ing in and say: “Dude, this guy is insane!

clothes. He learned modeling at home, so he

(laughing) I wanted to paint like him, with

What is he doing?”. (laughing)

did it with a geometrical line of thought,

FFWMAG 38

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art

talk

“One day I met a certain rabbi that made a revolution in my life. When he left for Canada, he asked me to come and work with him. Then I thought: ‘Come on. A rabbi’s assistant is a little too much’.” based on intuition. And it worked better

grownup it is a little more painful, you have

can do to work within the system that is put

than the teacher’s assignment, so he had

to do it in the hospital, general anesthesia.

before us today. Or you quit and lock yourself in your room, or you end up signing a

arguments. It all led to an interesting combination.

Once converted, what practices were in-

contract you’d prefer not to.

corporated to your routine?

Do you have that level of collaboration

It was quite intense. I started eating kosher,

And there is no way out...

with anyone else in your life?

I prayed four times a day – morning prayer

The best we can do within this system is work

No… Not as an artist. I evolved somewhat

lasted three hours in my basic Hebrew. It

the best we can and be free enough to pose

and my work has been taking other paths

changed my life completely.

questions. My relationship with fashion has several issues. I hear people say that I could

because of the discussions I have with artist friends, philosophers, and that helps me

Did it interfere in your relationship

care less about fashion, which is a lie. I love

somehow. I had very important teachers,

with people?

fashion, I keep on thinking about it and want-

such as Edu Brandão (partner at Galeria

Certainly. I became more orthodox and, when

ing to work with it, but it is a complicated re-

Vermelho) and Dora Longo Bahia, who

you are an orthodox, you can’t even touch a

lationship, as it is with art, food. I try to be

plays at the band Cão with me. They are

woman in her menstrual period. How was I

honest about what I believe is socially correct.

two people with whom I talk a lot and who

supposed to know? I wasn’t going to ask

bring me a very powerful reflection. Be-

around... So I didn’t touch any woman. During

In fashion you are invited to sign the styl-

sides that, I have my brothers, William and

fashion shows, I had a bunch of assistants to

ing of labels like Ellus and your level of

Laura. My brother is a historian and a fenc-

touch the models. I spent three years like that.

involvement can vary from label to label.

In art, what does your work consist of

er for the Brazilian national team and my sister is an anthropologist. They are people

And when did you detach yourself?

besides performance?

who share many views similar to mine.

I was in a very orthodox moment; I went to

I don’t have a specific outlet. In my last individ-

Israel and began studying with another rab-

ual there was video, sculpture, installation, oil

It was Herchcovitch who made you

bi. One day, walking with him in Bom Retiro,

on canvas, a little of everything. I have re-

take an interest in Judaism. It was a

we had an argument, because he told me

search that guides my work, which is the mat-

transforming moment in your life.

something that I found very prejudicial and

ter of language and how it is socially applied. I

What led you to it?

questionable and I realized that, in the end,

am not interested in doing little products, but

I was always interested, then Alê introduced

religion is more humane than divine. I chose

in promoting reflection with the things I make.

me to a friend with whom I began to study

to abandon it and hold on to a view that is

and go to the synagogue and speak to the

not religious, but that takes into consider-

And when you deliver a performance, is

rabbis, because Alê hated the synagogue.

ation ethic towards people, the world, the

there an expectation on how the audi-

One day I met a certain rabbi that made a

animals, and not only think that my ethical

ence will understand or relate to it?

revolution in my life. I studied with him, I

behavior comes from God.

A work like what I did in the 2008 Biennial

found the speech interesting and profound,

depends a lot on the audience, it is a cre-

and there was also a spiritual aspect that

How did those experiences influence your

ation with it, a dialogue established through

had me absorbed. When he left for Canada,

work in fashion and art?

the donation of objects. People were part of

he asked me to come and work with him.

It is hard, it raises issues. For example, I am a

that. I don’t necessarily seek to be under-

Then I thought: “Come on. A rabbi’s assis-

vegan, so I don’t wear leather or fur. Then I

stood. What I hope for is that the person cre-

tant is a little too much”.

work in a collection made of leather shoes.

ates with me. Lately I’ve been trying to work

I’ve been designing shoes for Alê for ten

in a way that artist and audience become

But you still moved forward and were

years, and then you think: “This guy is a hyp-

one. No hierarchy. I don’t want them to look

converted. How was that?

ocrite, he shouldn’t design leather shoes”.

at me as a source of one-sided information.

I studied with this rabbi and was converted

But if I take everything by the letter, I would

by CIP (Israeli Congregation of São Paulo),

have to stop at once and become a vegetal.

You place audience and artist as one

which is discredited by the orthodoxies. I had

If I use an Apple computer, I am supporting

entity. How is it like to have that con-

a bar mitzvah and was circumcised at 30

a Chinese sweatshop. We are surrounded by

cern in a time when artist are in pedes-

some. There are no rituals. When you are a

holes and there is a limit of how much we

tals and the audience stands as mere

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art

MAURÍCIO IanÊS

“I am a vegan. Then I work in a collection made of leather shoes, and then you think: ‘This guy is a hypocrite, he shouldn’t design leather shoes’. But if I take everything by the letter, I would have to stop at once and become a vegetal.” observers?

by private companies. It is a complex subject,

close to me, because that opens opportunities

I believe that artists like Jeff Koons, for exam-

because it is not black and white. If at the

to establish real dialogue. I confess that I am

ple, are part of a heritage of a time that en-

end they wanted to be reimbursed, I would

more interested in following philosophers, writ-

dures, but today there are many movements

sign a ticket and they could go to the cashier

ers, cultural, social, and political critics.

against it. This edition of São Paulo’s Biennial

the Palais created for the performance. They

is full of good example of artists who put

couldn’t reimburse someone with the money

You also have a deep connection to music.

themselves in a place where Jeff Koons

from the working cashier, so they created a

What have you been listening to?

doesn’t, despite him playing an important

second one with a limited amount to be giv-

I listen to music all the time and I like exper-

part as a critic character within pop history.

en back to people.

imental music, noise, black metal… Luigi

The problem is that the critic is gone and he became a commodity of the art industry.

Nono, Prurient, Kevin Drumm, Tropic of And how do you feel about it being a

Cancer, Xiu Xiu, Portal, Sofia Gubaidulina...

joint venture?

Which is part of today’s industry.

I don’t feel it’s ok. If art is public, it should

You have a project that gathers music,

It is part of the art system. And there are

be democratic, funded by the people, and

visual, and performance called Cão,

many artists and movements that want to

freedom would be preserved. Otherwise,

whose members are Dora (Longo Ba-

exclude that aspect. If that is viable or not, is

hia), Bruno Palazzo, and Ricardo Cario-

another matter. At the end, we know it will

ba. Where did the idea come from?

fail. We build an exhibition that criticizes the

We are all friends and artists and, together,

hierarchical relationship artist vs. audience

we created a band with a space to spend

or the commercial behavior of an institution,

time and create music. Cão is a sound and

but we end up being swallowed by the same

music performance group that appeared

industry we are trying to censure. Really, if

unexpectedly and spontaneously.

you want to make a statement that is serious and solid, the best is not to do anything.

And fashion designers. Is there one that

The only way out of this labyrinth is to stop

you appreciate more than others?

going inside it.

Rei Kawakubo, always. I buy clothes from thrift stores, but Comme des Garçons and

And the biennials are losing importance

Dries Van Noten are always a desire.

to the fairs.

The fair is the new biennial. The controversy

What inspires you the most about fashion?

surrounding this Biennial shows how the art

There isn’t a specific person or thing. I

market works these days, who sponsors the ex-

would say the challenges, the opportuni-

hibitions, where the money comes from…

ties to reflect, professionals or amateurs Work Progresso at Galeria Vermelho, 2013

that pose more questions than answers.

Paris, which is one of the coolest places

the interests are no longer the people’s,

When you work in a fashion show, what

of contemporary art.

but the companies’. That is very clear when

part gives you more pleasure?

The exhibition talked a lot about that. The

you see institutions making nothing but

No doubt, the thrill of being backstage, when

Palais was one of the first French institutions

blockbuster exhibitions because all they

the show is successful. (laughing)

to work under joint capital. I sat at a table,

care about is profit.

In 2014, you were in Palais de Tokyo, in

started to talk to people who got close and

— Instagram @mauricioianes

asked what they had thought of the show.

Besides that, what else annoys you?

Then I would say: “Would you like your money

Lack of dedication and responsibility, igno-

back? I am Maurício Ianês and you are part

rance, arrogance, and discrimination.

of the performance Recusa (Refusal)”. And then we would start discussing about the art

Which artists do you like to follow?

market financing, if it was ok to be financed

There are many, but I like to follow the ones

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art

Realização:

Oskar Metsavaht 192

studio

This may be the last chance to see the designer’s current atelier. After 14 years, Osklen’s creative space, in Rio, will have a different zip code

By Mark Cardoso :: Photo Lucas Bori

“Wow, you guys arrived in the middle of the move”. With this open-

When I start to think about a collection, I see it as a movie. And

ing line, Oskar Metsavaht welcomed FFWMAG into his studio, in

what we create here at Osklen are like the costumes for that movie”,

Rio de Janeiro, with the excited spirit of someone who had just

explains the former doctor, who became hooked on the creative

arrived from New York. It’s that after 14 years, the headquarters of

universe through a Super 8 and his father’s old moviola.

the United Kingdom of Ipanema creative consulate will soon start to issue its visas in Rio Comprido.

Like in every good film, there is image, soundtrack, costumes, and narrative. And all of that is evident in Oskar’s workplace. On every

Meanwhile, the thick walls of an ancient building in the

corner and surface, fragments of a style rooted on samba and rock, on

traditional neighborhood of São Cristovão hold a space erected

a plunge in the sea, on a rain shower, on the oceanic and urbanity of

on burnt cement, industrial metal, raw wood, and a lot of black

“board sports”; it’s all there. On the walls, a sample of Oskar’s favorite

and white. Coming in through the reception, dark and enclosed,

artistic expression: photography. “I wouldn’t say I am a photographer.

you may find yourself surprisingly breath taken upon entering the

What I can say is that a large part of my creativity finds a way of being

creative studio, on the second floor: a skin of glass cuts through the

translated into photographic images.” His modesty gives way to an

entire lateral façade, allowing the blue skies and the surrounding

excitement and a youthful energy when Oskar tells us that, in the new

nature to take part in the designer’s and his crew’s routine.

building, there will be a small photographic studio.

The term “designer” doesn’t even begin to describe Oskar.

This multi-platform creativity spreads through the second

Today, he sees himself more as a storyteller: “I am very visual.

floor of the gray building of discrete façade: on the fore is the

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fashion

OSKAR METSAVAHT

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194

fashion

studio

“I am very visual.

When I start to think about a collection, I see it as a movie. And what we create here at Osklen are like the costumes for that movie�

FFWMAG 38

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fashion

OSKAR METSAVAHT

area of graphic design, illuminated by large and antique windows.

Oskar stretches for occasional reading – at the moment, a book by

“If I play filmmaking most of the time, here is where we play

William Gibson. Close by, three large tables standing on trestles

magazine editing”, he says, amused, pointing to the prints on the

edge the skin glass that borders the room: in one of them, Oskar

wall that will feature on next summer’s t-shirts. Right next to it

sits in front of the computer, approves work, and keeps handy

is the audiovisual department, where Oskar’s last artistic work –

creative references for ongoing projects. On another, he gathers

involving projections and performances, shot in Minas Gerais –

his style team around books and magazines that, according to him,

was being edited.

hide small doses of timeless inspiration.

On the back of the building is where what the majority of people

At last, in the back, the third table is the setting for objects and

understand as Osklen pulsates: clothing! On one side, the creative

creative references part of Osklen’s history: the ad of a Woody Allen

studio; on the other, the largest area of the structure: style. Only

film torn from and old Interview, a pair of cross country boots from

a bookcase holding the elements of the many stories this doctor-

the 1960’s, whose uncommon sole has inspired one of the label’s

designer-filmmaker-photographer has dared to tell keeps those

shoes, and a collection of keels, from which comes the movement

two environments apart. Among the keepsakes, the most iconic: a

and the curve, elements ever-present in Osklen’s creations.

heavy black-gray object made of buttons, zippers, grommets, and other apparatuses. “This is part of what I found when I arrived

—

from a trip and was surprised by the news the place was in flames!

instagram: @oskarmetsavaht

And so it was the studio’s turn to become part of the label’s stories

See Osklen’s complete SS15 collection at FFW.com.br/desfiles

by inspiring the Fenix collection, in 2011.

As an extension of the design brought by the label, the furniture that decorates the space is sophisticated in its simplicity: two Oscar chairs and a Kilin, by designer Sergio Rodrigues, invite for a quiet talk next to a comfortable sofa dressed in crude linen, watched by a classic Charles and Ray Eames long chaise on the corner, in which FFWMAG 38

196

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Photo: Courtesy of the artist and Metro Pictures

Cindy Sherman, Untitled #458, 2007 / 2008

When pointing the camera at herself, Cindy Sherman became one of the most respected and provocative photographers in contemporary art. Her work uses fashion elements, such as garments, accessories, and makeup, to create characters of different behaviors and styles.

She established with fashion an immediate relationship in the construction of these women-oeuvres, and that affinity is even more interesting because Cindy creates characters in contraposition to the glamour of fashion and photography found in magazine editorials. They are imperfect women, tired, sad, dizzy, crazy, but, still, interesting and mysterious, as if there were so much to be discovered behind that lost gaze and smudged lipstick. Through these creatures, the artist questions women’s role in society and the ideas of what it means to be feminine, besides the responsibility of the media and art itself.

Until the next

www.melissa.com.br