FutureClaw Issue 5 by FutureClaw

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FutureClaw Magazine

Issue 5

CONTENTS THE FASHION SHOWS

[HE]ARTS ON FIRE 6

72 T E R E N C E KO H

We sit down with for a conversation with celebrit y DJ PAU L S E V I G N Y and his agents DA MO N D E G R A F F and YO N I G O L D B E RG .

really likes white

The Manrepeller, L E A N D R A M E D I N E , performs an intriguing social experiment

Do you B e l i e v e with PAU L I N E VA N D E R C RU Y S S E MO N I C A SAW I C K A Photography by Justin Wu

10 6

comes of age within the New York social scene

Mo o n C h i l d featuring

L E O F I T Z PAT R I C K 8

Let T H O M A S C A R D elevate you this spring

N AO M I P R E I Z L E R Photography by Eric Guillemain

The talented R I E R A S M U S S E N talks of her creative experience

Model N AO M I P R E I Z L E R is the artist and the muse

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Go tribal with supermodel N I K I TAY L O R

Photography by William Lords

A selection of hot new models of the season in K i d s

Artist L AU R A P I A S TA explores life’s magical mysteries

128

visits upstate on a denim adventure

Photography by Christopher Starbody

H A R L E Y V I ER A N EW TON

S i X X X X X X gothic beaut y looks from Japan

S p e c i m e n s are placed under observation by Z AC H A R Y BA KO 32

Photography by Ben Fink Shapiro

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Supermodel C I N DY C R AW F O R D is the timeless icon

Photography by Koichiri Doi

90 Z AC H A R Y BA KO

We go to Tok yo to find some of the world’s most cutting edge fashion boutiques

also discovers

an In fe c t i o n

Photography by Andrew Macpherson

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Sometimes you need to look to the heavens for inspiration, as in D i e Wa l kü re

Witness Y U S U F S E V I N C L I d a rk c it y.

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Art director and FutureClaw contributor T O MOY U K I YO N E Z U also publishes Th e R e a l i t y S h o w

Here are the faces of New York ’s hottest scenesters

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Our fashion editor in Japan, Naoko Watanabe, loves K E GAWA

Photography by Julian Ungano

NO M A R IES

Ridiculously beautiful model E L I SA S E D N AO U I inspires designer designer R A D H O U R A N I 68 R A D HOU R A N I

himself is so rad.

and

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Rave-rap from South Africa can only mean D I E A N T WO O R D 182

Try to understand photographer J A H N H A L L’s experience as an artist in New York.

Photography by Michael Bader

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Escape the Z o o Li fe with R I E R A S S M U S S E N and N A N O U VA N D E C RU Y S Photography by Rie Rassmussen

EDITOR’S LETTER THIS IS FUTURECLAW Issue #5. This has been my most personal issue, with over a year spent in its making to craft the most inspiring editorial mix, and represents what I believe a modern printed fashion magazine should be in the age of the Internet. Most of you are seeing this online, but those of you that are holding this issue in your hand know you’re connecting emotionally with something special that you won’t feel from the web. I’m dedicating this issue to all the powerful women and men in our lives that cause everyone to push creative boundaries through their endless inspiration. When you work with these leaders, the results are incredible, and I’m just as wowed as anybody else about the stories presented here. Every single person involved with this issue is amazing, I love them all.

BOBB Y MOZ U M DE R

MASTHEAD FU T U R ECL A W ISSUE 5

General Inquiries

I N F O @ F U T U R E C L AW.C O M

Editor-in- Chief BOBBY MOZ U M DE R

Publisher

ÂŠ 2011 FutureClaw, Inc. & Respective Copyrightholders. No part of this magazine may be reproduced without written permission from copyright holders.

J E N N A C RO S B Y

Chief Strategist DR EW STOCK

Fashion Editor (New York) R E N E GA R Z A

W W W. F U T U R E C L AW.C OM

Fashion Editor (Japan) N AO KO WATA N A B E

Features Editors

Also follow FutureClaw on W W W. FAC E B O O K .C O M / F U T U R E C L AW W W W.T W I T T E R .C O M / F U T U R E C L AW F U T U R E C L AW.T U M B L R .C O M

J U L I A N U N GA N O M A R I A GI R A L DO BOM BI N M E GA N AV E R B U C H

Art Direction F U T U R E C L AW S T U D I O S

Contributing Writers c o v e r :: C I N DY C R AW F O R D photographed by A N D R E W M AC P H E R S O N . Dress and shoes by H E R V E L E G E R B Y M A X A Z R I A . Wristband by T O P S H O P. Rings by A Z AT U R E . Stockings by WO L F O R D . b a c k c o v e r :: S PAT I A L S T U D I E S (S T U DY F O R A PA I N T I N G M A D E W I T H T H E P I G M E N T O F MO L D E V I T E) by L AU R A P I A S TA .

Gouache on Canvas [90cm x 70cm] 2010

L EA N DR A M EDI N E A R A BEL L E SICA R DI CL A IR E H A NA N JA H N H A L L

Contributing Photographers T HOM A S CA R D Y USU F SE V I NCLI J U L I A N U N GA N O R A D HOU R A N I RIE R ASMUSSEN C H R I S T O P H E R S TA R B O DY KO I C H I RO I D O I JUSTI N W U ER IC GU ILLEM A I N W ILLI A M LOR DS B E N F I N K S H A P I RO A N D R E W M AC P H E R S O N M I C H A E L BA D E R S A S AG U C H I CL AY TON CU BI T T JA H N H A L L

M a ny t h a n k s t o a l l t h o s e w h o h a v e made this issue possible.

WHITE IN 20 WORDS WORDS terence koh PHOTO julian ungano

After photographing artist Terence Koh in his apartment in New York, we were impressed by the fact that absolutely everything in his home was white. Everything. We then asked him to describe white, in 20 words. This is his response.

white is tight white is sight white is pie white is rye white is deer white is corn white is sing white is dry white is feel white is sea white is claw white is due

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- tea

A SOCIAL EXPERIMENT THE MAN REPELLER WEARS A LEATHER DRESS WORDS leandra medine

It was a rainy afternoon in Manhattan last April when I wandered into Topshop’s Soho f lagship store. Harem pants, shoulder pads, excessive sequins and faux fur adorned the infinite racks of clothing in the three story shop. After having just returned from a semester abroad in Paris, I admired Topshop’s effort to mimic the latest high fashion st yles. The shoulder pads screamed Balmain, the sequins had a special Isabel Marant f lare to them, the faux fur could have come directly from Colette and the harem pants had Galliano plastered across their questionable crotches. Two hours and four hundred dollars later I left the store in glee. While the sad realit y was that I would be channeling a disco-loving linebacker in drop crotch pants the next night I went out, I took solace in knowing I would look damn cool doing it. And that’s when it dawned on me: my st yle is Man Repeller chic. I dress to impress myself, and no one else. Except perhaps the Lagerfeld camp. No wonder I hadn’t had a boyfriend in three years. So I did what any fervent fashion fan slash senior journalism major in college would do and started a blog that would chronicle my adventures as a sartorial man repeller. Six months later I am pleased to know now, that my ten thousand readers sympathize with my fashion tendencies. Together, we share our stories with one another as we virtually unite in our leopard print coats to further the male-deterring process. Last week, however I had an out-of-body experience while I was at Saks Fifth Avenue. I found myself gravitating toward a leather Alice & Olivia bustier mini dress. It wasn’t until I handed over my credit card to the cashier that I realized I may have lost all my credibilit y as the model man repeller. So I thought about the vast ways I could turn the sex y dress into something more “me.” Perhaps with a chunk y necklace, one that resembled violent weaponry and an oversized plaid shirt over it. Yes, that would accomplish the rocker meets lumberjack look quite well. Before I did that, though I thought I should conduct a social experiment to see if it truly was my fashion sense that was slowing down the mating process. So I wore the dress last Saturday with stiletto heels. Nothing else. I felt naked and generic. I sat down for a drink with t wo of my girlfriends. They were shocked. One laughed. “I had no idea your waist was so small,” “No necklaces? None, at all?” they remarked. (Normally, I am a woman of many neck chains.) It wasn’t until the men at the bar started looking at me that I realized my hypothesis had been correct. I hadn’t garnered this much male attention since elementary school, when my classmates knew my father had season tickets for the Giants. “You’re the sexiest woman in here,” one man told me. I’ d never gotten that before. Another asked me if it hurt when I fell from heaven as he we cheersed our drinks. It was, as Kanye West so eloquently put it “a toast to the douche bags.” One even asked if I’ d like to meet in a more intimate setting the following week. I accepted his offer as I kindly pat myself on the back for hypothesizing so accurately. I couldn’t believe the leather dress had actually scored me a date. He and I are meant to have dinner next Thursday. I just hope he’s not surprised when I show up wearing a turban.

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ELEVATION PHOTOGRAPHY thomas card

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NINETEEN PAINTINGS naomi preizler While away from modeling for some of the worlds top designers, Naomi Preizler studies art and paints. This series of portraits were inspired by Eric Guillemainâ&#x20AC;&#x2122;s fashion photos of her in this issue.

FU T U R ECL A W M A G A ZIN E I S S U E 5

Laura Pia st a a nd A nni k a R i xen T H E I N V ISI BL E COL L EGE: T H R EE CH A NCE E X POSU R E S [ D i g i t a l B/ W P r i n t s 2 0 1 0 ]

NEW WORK ART laura piasta

Multidisciplanary artist Laura Piasta experiments in various medium in a never ending quest to discover hidden meaning. An example still life installation from her may include plush dolls popping out from cracks in walls, for who knows what kind of magical life lies beyond what we see? Her new work explores design patterns in art and psychology.

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S T I L L L I F E W I T H RO R S C H AC H PA I N T I N G A N D G L A S S VA S E [ Silver G elatin Print 2007 ]

STILL LIFE W ITH THR EE G L A S S E S A N D C R Y S TA L L I Z E D WA L N U T [ Silver G elatin Print 2007 ]

t o p :: T H E I N V I S I B L E C O L L E G E : B F F ( Tw o P a i n t i n g s ) [ Oil on Ca nvas 2010 - 1 10cm x 1 10cm ] b o t t o m :: S P L I T R H Y M E A N D S P O I LT M E T R E [ Oil on Ca nvas 2009 - 75cm x 60cm ]

Bobby Mozumder - I first came upon you through your beautiful watercolor works exploring the nature of memories, then saw your background in everything - dance, music, sculpture, installations, drawing, skateboarding, videos, and so on. It seems, for each medium, you look for a spiritual connection. Do you see that happening with your new work? Is it possible to rationalize it at all? Laura Piasta - My first artistic discipline, if you can even call it that at such a young age, was dance. I studied Ballet for almost 10 years and then made the cross over into skateboarding when I discovered boys and rock and roll. For the longest time I didn’t believe there were any connections in my visual art practice to these activities of my youth but now I am seeing the connection coming through in the way I relate to materials formally. I am really interested in the relationship between the rational and the irrational so I am naturally attracted to subjects such as “the Spiritual” since the spirit or soul may be one of the most abstract concepts we have connected to 24

FU T U R ECL A W M A G A ZIN E I S S U E 5

the human body. I am also fascinated by visual systems, such as geometry, that illustrate abstract concepts and have been exploring the legacy of abstraction in visual art. In the past I was looking at the Romantic movement and was fascinated by the rejection of rational thought and the emphasis placed on a non rational or spiritual connection to landscape. BM - Do you maintain the connection with your previous work?

LP - Yes, of course it is a continuous exploration that is growing over time. Naturally there is more focus in my practice now then there was maybe five years ago and maybe now an image of a triangle stands in for what would have been a figure in the past. BM - On your relationship with people, you mentioned before a love of Sylvia Plath, can you describe that further? Is she part of your mystical nature? Is it even possible to describe her influence on you?

LP - I collaborate with an artist named Annika Rixen and at some point we realized that we both had influential encounters with Sylvia Plath’s writing and oddly enough that our birth dates aligned with Plath’s birth and untimely death. Since we first met while studying in Vancouver Annika and I often have strange coincidences in our lives and have began to explore this phenomenon as a subject in our collaborations. It often feels like our collaboration is more like an experiment, in this case to rationalize the unexplainable. When I first read the journals of Sylvia Plath I was 21 and travelling through Europe by train. I was reading her thoughts and ideas and for the first time felt a parallel connection to another human. At some point in her journal she was on the exact same train route that I was on and when I got to the end of the book I discovered that she had commit suicide on the same day of the year I was born 18 years earlier. It was at this point that I had a small existential crisis and questioned the idea of reincarnation.

Laura Pia st a a nd A nni k a R i xen T H E I N V I S I B L E C O L L E G E : C R Y S TA L L I Z E D L E V I â&#x20AC;&#x2122; S J E A N J AC K E T A N D H AT B OX W I T H M I R RO R S [ 2010 ]

INFECTION PHOTOGRAPHY zachary bako

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SPECIMENS [CLEVELAND] [TOKYO] PHOTOGRAPHY zachary bako

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CITY OF THE DEAD WORDS AND PHOTOS yusuf sevincli I simply consider photography as a means to communicate. When I say this, I’m not only referring to the viewers of my work but to myself as well; to, as a photographer, communicate with myself and with the world around me. Without photography I could be mute. I see and I press the button of my camera to take a photograph, and that’s my comment on life, my comment of how I see, of how I perceive things around me. That’s my response to my social surroundings, my environment, my response to the things that effect me. A bridge bet ween life and myself. Like an instinct embedded deep inside of me. As an individual that’s my saying to the world, an answer. It’s a simple and direct way to be closer to myself, to who I am, to what I’m interested in, what I desire and fear, to my vulnerabilit y.

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RESTE

JUENE RESTE BELLE

JULIAN UNGANO

words & photos

There is an area of lower Manhattan that sprawls about 20 or 30 blocks where trends are made and broken. A place where the items of clothing soon to be mass produced and coming to a retailer near you are dawned for the first time. The music, the art, the fashion, and of course the place where all those things come together, the parties. Here are just a few out of this sea of young pretty faces that keep the heart beating. Stylists Jessica Blair Ashner (Sabrina Linette Diaz), Rene Garza (Nina Stotler) Assistants Tim Doyon, Daisy Johnson, Hannah Glazebrook, Charlotte Rabbe

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TERENCE KOH Terence is the art-worldâ&#x20AC;&#x2122;s hottest star. Now often seen in the front-rows of fashion shows with his iconic white outfit, he brings a new pop-cool with his intriguing antics and surreal comic performances.

LEO FITZPATRICK After being cast in director Larry Clark’s seminal indie drama “Kids” Leo took to a life of skating, acting, and globe trotting. Now based back in New York you can find Leo Djing and working on his new passion, art.

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NINA STOTLER Nina Stotler has been described as having the best job in the fashion industry, that of a trends forecaster. With the relaunch of her own jewelry line, the multitasker now finds herself trending among the fashion avant-gard.

DALAD KAMBHU Dalad splits time between her native Thailand, New York (where she models while attending FIT), and Paris (where she interns for Christian Dior). You will often find the model at places like Cafe Gitane, Waverly Inn, and Momofuku.

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TESS PARE-MAYER The long legged San Franciscan born beauty at the helm of one of the most popular fashion blogs in New York: www.thelittleblacklist.com. Tess is a busy woman, when she isn’t working on her blog and posing for pictures, she’s becoming a sought after stylist, running the popular shoe brand United Nude in New York, and manages to maintain one of the busiest social calendars we’ve ever seen. We’ve managed to catch her cutting loose a couple times at the Club Room in the Soho Grand and grabbing lunch at The Smile.

YONI GOLDBERG & DAMON DEGRAFF It’s not often in our day and age we can call some one a pioneer. Damon Degraff and Yoni Goldberg are just that. One of the first company’s to do what they do, Damon and Yoni have perhaps the most sought after roster of DJ’s in world. With high profile talent like Paul Sevigny, The Mishapes, and Rev. Run on their roster, the sky is the limit for these two.

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WARIS AHLUWALIA Recently inducted into the Council for Fashion Designers of America for his work on his jewelry line, Waris may be more familiar to people for his appearances in his friend Wes Andersonâ&#x20AC;&#x2122;s movies.

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PAUL SEVIGNY Along with partner Nur Khan, one could argue that there hasnâ&#x20AC;&#x2122;t been a more important tandem in the New York City night life scene since dare we say Steve Rubell and Ian Schrager. Paul has been a star on the DJ scene for 20 years and shows no signs of slowing down.

SABRINA LINNETTE DIAZ When Sabrina isn’t gallivanting around lower Manhattan hot spots Kenmare, The Jane, and The Soho Grand, she’s traveling the world in search of the most unique pieces in vintage fashion. Meet the young woman behind one of this years most anticipated vintage lines “Found By Sabrina Linette.”

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EMILIE GHILAGA Born and raised on the upper east side of Manhattan 24 year old Emilie Ghilaga is launching her second line under the name â&#x20AC;&#x153;With Love, Emilie Ghilagaâ&#x20AC;?. Her line gained momentum last year after being featured in WWD and Paper Magazine.

ELISA SEDNAOUI THE MUSE WORDS AND PHOTOS BY rad hourani STYLED BY patti wilson

She’s not just a beautiful model, an artist, an actress, a singer, a muse or a great mind, she’s all of that in one. She also shows you that you can always find your way no matter how old you are or where you’re from. She’s more than cultured and way more than smart, this Elisa is unique, sharp, fast and brilliant. She’s all about what she lived and observed through her life as you can’t put her in any category or make her believe in anything you want her to believe in. I chose her for this FutureClaw interview for her energy and elegance as she’s one of those people that you’ll never forget once you meet them.

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RAD HOURANI - I remember when I first

met you two years ago backstage at my 2nd show in NYC that you were very charming & elegant. Your name was not established yet as a model. I look at you today and I see what a self-made person you are, you’re starting a new career by using your passion and brains, not by having a typical model hype. I’m always curious about people in this kind of category as I see myself in it. How do you feel about being a self-made person? ELISA SEDNAOUI - It took me time to understand and embrace the fact that what I’m building is my own path. When you’re younger you try to “conform” to what other people are doing. Today I don’t want to fit in a particular category, I don’t believe in this kind of rules anymore: I’m me, I’m 22 and I’m exploring the world. I follow my heart, and put passion in every little thing I do, because without passion I cannot live. I love doing what I do: acting, modeling, taking pictures, travelling, meeting people, taking time for myself to think and read, I like learning. And I would never be where I am today, if I hadn’t been surrounded by the right people. RH - When I met your mom, I noticed how

great her energy was, and I saw how your have a similar personality. What do you like the most about her?

ES - I love her sense of humor and this gift she

has of always being able to find a solution almost before you even finished exposing the problem. She gives me strength and energy when I run out of it and that is priceless.

RH - What about your dad, are you close

to him? Do you have any of his character in you? ES - My father lives in Egypt so we don’t

see each other often, but when we do, it’s always quite intense. I love how we start talking about philosophical matters like death and fear as soon as we sit at the dining table. Not so long ago he wrote me ‘without passion I cannot live and I am nothing’...... we are very alike. RH - What does “LOVE” mean to you,

what’s your defintion of “LOVE”?

ES - I think any definition would minimize

it: that’s why there is an endless number of poems, movies, songs, art pieces,… all trying to express LOVE…. What is it exactly? How can we define it?Love is what rules my life, what makes me move. Love is that “heart shrinking” when I hug my parents or my dear friends; love is the butterflies in my stomach, Love is when someone makes me vibrate, Love is when I’m happy and in peace simply by seeing you happy…Love is a story that we’re never finished telling, because it evolves as we grow OLDER. Love is what gives us hope, makes us smile, gives us tears. RH - So love is what everything is based

on, we are all here in this universe to have that feeling of loving and being loved? ES - We’re not really here ‘to have’

anything. We live. We are lucky souls if we love and feel loved. Love is what everything is based on for me, or at least I believe so, but we all know the world doesn’t always only turn around it..... RH - How much mystery and distance do

you need to preserve for love to work between two people?

ES - Being in a couple is like a game, every

day you put in new ingredients in order to keep desire and hope alive. I hate the idea that we have to “work” to make a relationship last: it shouldn’t feel like “work”. Some mystery and a little distance are healthy in a relationship when you have “trust”….. You should be able to share everything, yet to have and leave enough space so that you feel every morning that this is really what you’re choosing: being with the other person. RH - I don’t believe that a couple can be

forever faithful, I think it’s a possessive way of thinking. I think that respect is very valuable in a relationship, the illusion of belonging to someone is very naive. I think that we will always desire to explore new things in life, it’s part of human nature. Is that what you mean by trust? ES - I don’t believe in any rule. We are all

different and we all have different needs. Love is respecting the nature of the other,

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embracing it fully. I don’t think we should be anyone’s ‘property’, we simply ARE. What is fundamental in a relationship is to never lose ‘OURSELVES’, our individuality. By trust, I mean when you look at someone and you simply know her, you feel her. It’s respect. Actually it’s a quite difficult idea to explain because for me it’s related to instincts (and sometimes it turns out I’m wrong). I am a contradiction myself: I don’t know if we can be faithful all our lives, but I still have the hope that yes, one person can be the one that will go through it with you, grow up with you, without it feeling like it’s a compromise, but just as the most beautiful and fun choice you have. RH - What’s your your illusion of life?

what’s the reason for existence in your opinion?

ES - Well these are questions I ask myself

often, and I think I will for a while!!! Why do we live? Why do we do what we do?? Can we live in the present and simply enjoy it or are we always longing for the future, regretting the past? As for now my reason for existence is to find my way of being useful to this universe and to see what plans life has for me. I am myself a contradiction: on one side naive, with strong ideals, I still believe in a “supreme justice”, I’ve got hope and, at the same time, I don’t believe in NEVER nor FOREVER. RH - I think that we create our own path.

Do you think that life plans things for you or you construct your own life? ES - I think it’s both things at the same

time. I can’t help it, I believe in destiny, in timing, I believe ‘it is all written’. It is written that we have the ambition, the determination, the patience, to get what and where we want. That what we want is reasonable, fair to ourselves and to the others. RH - From where did this idea of acting

come to you? Was it a passion you had since you were a kid or is it a new interest for you? ES - I always wanted to explore different

ways of expressing myself. I didn’t know whether it could be acting or something else, I only knew I had to dig. When I got the chance to act for the first time, it was straight on the first movie, I felt this form of art worked for me: it fulfils my need of passion (again!). I love to live, eat, sleep, think, do everything only for the movie, become someone else and to think like her,... I like that it takes my life entirely. RH - So, you are a dreamer? A romantic

one?

ES - You can definitely say that. I am (still)

very idealistic and also I’m the type that jumps on a plane to come see the person

I love for literally 24hours. We live only once! RH - What’s the first question you’ll ask

a movie director once you are confirmed for a movie? And why? ES - Generally before I ask questions I let

the director speak, hear what really matters for him, get as much information as possible. Then I give time to the ideas to flow inside of me, and the questions will come up naturally, without following any rule. It will always be different depending on the person I have in front of me and the project we are dealing with. RH - Is there a role that you would like to

play more than another?

ES - Its not about a role, the real pleasure

comes from the research, experiment, breaking your limits, surprising yourself, committing fully to the character, whoever it is. RH - You speak over 4 languages and

everytime I hear you speaking in any language, I feel like you always make it your own, as if you create a new accent to it. I think it’s your voice that makes it sound perfect. Have you ever thought of singing? ES - I always felt shy to sing in public and thought I didn’t have a very interesting voice, but lately things have changed. I want to overcome my limits and break my own taboos. One of my favorite music producers asked me to sing for him. We are now working on a track, I will make you hear it when its ready! It’s a very exciting process!!! RH - What makes a good singer for you?

What elements do you notice the most when you hear a song?

ES - It must be a mixture of talent, voice,

charisma and soul. It’s the union of all those things. I’m fascinated by singers and musicians. What would our life be without music? Like with every other form of art, I relate to it mainly with instincts and my guts, so I think the first things that my body feels is the bass line and the rhythmic, but then there are a thousand other elements: from the fact that that songs works with my mood in that moment, the particular sound of a voice, the emotion, the energy that comes across….. Its all about energy after all. RH - What is your most valuable prin-

ciple?

ES - Is Respect considered a principle? MAKEUP hung vanngo HAIR gregory russell

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RAD HOURANI EUROPEAN MINIMALISM INTERVIEW BY christopher michael PHOTOS BY owen bruce STYLED BY rene garza

The futuristic cuts and rich textures that highlights much of RAD HOURANI’S collections enjoy comparisons to other modernist masters, such as Helmut Lang and Rick Owens. We wanted to find out more about the person that caught our eyes a few seasons ago and is growing in influence among the fashion crowd.

CHRISTOPHER MICHAEL - The whole concept behind your collections and your brand is to not be defined by season or gender or any other traditional restriction that most use when defining their ‘image’… I feel like this is a reflection of you as a person, you don’t seem to be influenced by your upbringing or any particular worldly concept. It made me wonder, what does influence you from your life? Anything from your time in Jordan? Or even Montreal or New York or Pars?

RAD HOURANI - I think that what I do is a reflec-

tion of myself, the way I think, the way I do things, the way I react, the way I am. My entire self, and my way of thinking, is really the result of my own observance from everywhere that I’ve been in my life, be it Jordan, Paris, Montreal, New York or London…which ever country. I take the best in each city and I take what made sense to me from everything that I saw and what I found intelligent, I put that into my own way and the way I perceive it. So yes, you’re right on both cases… it’s the way I see the world in my brain and the way I’m influenced by the outside. Clothing is a part of my world, but it’s not everything in my world. I believe that the way everyone dresses is a reflection of who they are and their personality, so I think that I needed to create that costume in the clothes that I make to start aligning things with my world, but it doesn’t stop there with only fashion. When I create fashion I don’t think of fashion, I think of a whole world that I can share with others. My work is really the result of observing and finding your own way of seeing things and finding your own rules and principals via things that you’ve been conditioned by, from your youth, or society, or from who you are. Basically, my way of thinking is seeing the world with no borders, no nationality, no age, color, gender or season. I think that as a society, we’ve been extremely programmed. Even the most advanced societies are very limited in the way they define themselves. Be it by language, culture, gender or whatever, it seems to me as though countries are companies; we are all sort of their employees. Most people don’t see it this way. They think God put them on this earth in a

country called USA, Canada, or Jordan or whatever; but there is no country, it’s just an illusion of a border.. but there are no borders, just structures put in place to make money. The way I do things without gender, it applies to everything in life… It’s about defying those limitations that are so often self imposed.

considering that you yourself were also a stylist in the past? RH - What I love about Patti [Wilson] is that she

tions you used different colors, from reds to blues and greys, and you’ve ended up in this ultra chic world of all black...Do you think we’ll be seeing any color again in the near future from you?

does not impose a vision on anyone, including me. She completely understands my direction and when we work together it’s really about making it as perfect as possible and as polished and beautiful as possible. It’s not about who’s imposing a vision. We really work until the last drop, or as we say in French “ jusqu a la dernier goute” Every look is worked until it has found its own perfection. Also, sometimes it’s good to have an outside eye when working on the looks. She has an eye that has seen so much from fashion and life. What I love about her is that she understands that nothing from my collection can have a reference to the past, I don’t want a reference that is a 60s, 70s, 80s, or 90’s flashback. If you look at my coats they come from a more architectural place, it has no place of reference, it can be anywhere but comes from nowhere in particular. Patti will always apply that philosophy when approaching the collection; she understands that it’s always about moving forward, and the past belongs in the past. Working with her is really easy, its all about making a perfect silhouette and not about imposing anyone’s vision on each other, it’s great.

RH - I think it’s more of a feeling thing, it’s not

CM - Looking back to your earlier collections, I

something that I plan in advance. What you see on the catwalk is a reflection of myself, so whether it be red , white, silver or grey, it’s really a reflection of the way I’m feeling at that point in time. I think red represents intensity and passion and white is the purity and myth, black is confidence, modernity, clarity and the ultimate absence of gender. Everyone can wear black. I like mystery as well which is where grey comes in…that place between black and white…. It’s very non-chalant. It’s a color that shows the person more than the clothes. When I’m designing the collection, I don’t think to myself that I am designing a new collection necessarily, because it’s all an evolution from the collection before.

remember you also working on an incredible video project with various girls and seeing that you’ve continued this into the now as well. I wanted to find out where the element and medium of video came into your life… At which point did you start playing with all of that?

I believe that the obsession with segregation or religion is what breeds war. Religion has both good and bad but often times we don’t observe the beautiful things about religion and spirituality. I think that people should use their own brains to understand things and what is good or bad and what they like or don’t like, rather than allow it to be externally decided. I believe that there is a base to everything and my base is an illusion, because I am an illusion and you are an illusion, and everything is an illusion based on certain unique experiences. So I am the past and my past is my experience that I keep with me and I try to push forward and evolve with it. CM - Speaking of evolution, in the earlier collec-

CM - With your strong sense of vision, do you find

it hard to have another stylist come in and work on your collection when it’s time for the show,

RH - I think it’s all about what I was saying before,

about a world that I’m communicating with and sharing with everyone. The clothes are only one part of that, they’re not all of that. Photography and videography and film have always, equally, been my interests. When I was a 12 year old boy, my father bought me a camera and I was constantly photographing friends and everything… always taking pictures. I ended up having albums and albums. At the time, of course, I had no idea that there was a job, being a photographer or any of that, it was just something I enjoyed a lot and

always liked to be doing. The same when I first saw a video camera, I was so excited and wanted to use it and make videos. It’s really about my whole world… Photography and video are as necessary as the collections because it’s all about the language I feel the like to use when expressing myself and applying my vision, through all of these mediums. CM - With this whole hype around remember-

ing old wisdom and the studies of human potential and people being more aware of their own ability to affect the world around them with their own thoughts, etc… How much of your world do you believe is the result of your own thoughts, or ability to put energy into drawing things to you, and creating the world around you vs how much of it is fate per se? RH - 1000% of my life. Good or bad, up or

down, happy or sad, whatever it is, is one’s own responsibility. You are in control of what happens to you. I believe that energy is the main description of existence, I believe that existence is energy. We should always be careful of what we think or desire because it ends up manifesting into exactly what happens to you. People in your life, things that you want in your life, the energy you attract, it’s all under the control of your energy. You have to be very in contact with your own self or higher self and your own energy. I also believe strongly in Karma and the basic law that everything you do comes back to you. Ultimately, life is a lesson about understanding all of this and how everything is interconnected as the result of what we think and desire. I believe that the people that surround you are very important as well. You always need to be surrounded by good people; the people that give you love and make your energy even stronger, the people that feed you with that love and that energy that makes you grow and vice versa. I think that these people, you attract them… So again, it boils back down to you being responsible for everything that happens to you. Even when you have great people around you, it’s your energy that attracted those people to begin with, everything has to do with your energy and we need to be more conscious of our thoughts in order to create better lives for both ourselves and the world around us. We are energy and the rest is an illusion.

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CM - With such a solid label under your own

RH - I think that, I’m always answering the

name right now, how open are you to the idea of designing for another house or label at this point in your life?

same thing, which is that it’s really myself. Everything that I do, is out of what I want to be wearing and this is how I stay focused and maintain a clear vision. I don’t believe in this technique of having a muse, I think that it’s a way of thinking that doesn’t work so much for me. I’m happy with working in a way that I have myself as my own muse, it seems to be the truest vision.

RH - I’ve been approached 4 times to do

another label in Europe, and I’m open to that. I’m not against the idea but I don’t think that I will do it just to do it. I will do it if it’s really quality and a really a great vehicle where I feel that the understanding and vision is in line with something I could bring. I’m very open, but I’m not craving it or thinking about it. I’m more focused on what I do and if that happens one day it will happen, but I’ll always be open to it happening when the time is right.

CM - You show in New York, sales meetings

in Paris, and you have a lot of the production done in Montreal…Do you think that you will always keep up the going ‘home’ element of it all or will you eventually cut Montreal out? RH - I think it’s funny when people ask this

CM - What moments along the way have

stuck out where you’ve found yourself in shock and overwhelmed with excitement, perhaps when someone you’ve always respected or wanted to meet comes to your show and congratulates you on the collection or perhaps acknowledgement from a journal or publication you’ve always held in the highest regard? RH - That is a good question. I must say, I

really started from nothing, Christopher, and I’m so thankful for everything that has been happening to me. To be really honest, my first collection, it was really for myself, I never knew it would go this far, even if I imagined or projected this, now that it’s starting to happen, I’m so thankful for this. In regards to what has me excited, it’s really the people who were there from the beginning who really understood it, the ones who were there with me at the start and believed in it just from seeing the work rather than being told that I was amazing or that ‘Rad Hourani is going to be this or that,’ they just felt something and they understood what I was doing and they believed in it. They helped me from the beginning and until now. It’s when these people come to the backstage excited…Those, for me, are the most happy and satisfying moments. Of course the people who wear the clothes as well and who understand it, this is also what makes me the most happy. CM - Do you feel that there is any one person

that inspires you from season to season, or really epitomizes what you love to create…

question about “home;” ..Where is ‘home?”… For me the Universe is really my home. MAKEUP Mary Douglas @ www.marydouglas.com HAIR yoichi tomizawa HAIR ASSISTANT tsuyoshi harada MODELS Axel @ Red

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A FANTASTIC MAN TOMOYUKI YONEZU AND THE REALITY SHOW WORDS BY naoko watanabe TRANSLATION BY Eji

You can see his art direction in this issue for our SiXXXXXX story and our guide to Tokyo boutiques. An outstanding graphic designer and one of Japan’s top art directors, Tomoyuki Yonezu’s work in photography and illustration show an experimental and original take on fashion. Yonezu himself is a god of Tokyo’s fashion scene, followed by many young fashion addicts, which means his every activity creates something of an impact. After having just finalized one of his projects, Shu Uemura Tokyo Lash Bar 2010: Neo Tokyo Odyssey, a visual campaign in Japan for Shu Umuera cosmetics, Yonezu introduced the new alternative magazine The Reality Show, established in collaboration with tor-in-chief Tiffany Godoy. Their personal styles and the season’s trend mix on The Reality Show, while incorporating Tokyo street fashion. It’s the equivalent of a personal fashion blog, in an actual print magazine. Dramatic runway fashion, real Tokyo culture, and street fashion photography are linked together by Tokyo pop stars. It follows the motto “Do what you like, much more your style, enjoy your daily life through fashion next to you”. While many may say street fashion isn’t a viable business model for fashion publications, especially with some Japanese magazines ceas-

ing publications each season, The Reality Show aims to set itself apart and give meaning to its audience through cutting edge art direction and relevancy through the immediacy of street styles. On the 30th of June 2010, the release party was flooded with many celebrities, fashionistas, and 24-hour party people. Supermodel Ai Tominaga hit the dance floor with new Tokyo muse Mademoiselle Yulia spinning in the DJ booth lit by sparkling neon lights - and both are featured in the magazine. FUTURECLAW - What made you start The Reality Show? What is your message and what do you want the readers to feel?

TOMOYUKI YONEZU - Fashion and culture are in a worldwide recession, and we have no choice not to rely on the Asian market. It’s a really serious situation we are in. Meanwhile, a new market, fast fashion, has been spreading out gradually in recent years. That changed people’s view about fashion is - no more supermodels walking on the runway in fashion shows, it’s getting old and doesn’t provide meaning for many people. But, if you look at the streets in Tokyo, people are really proud of their own personal styles, and they love fashion. We call them “new leaders”,

who are much more fashionable than foreign models in magazines, posters, billboards, and fashion advertising. Recently a big problem in fashion is “No real, no actual fashion exists” in many meanings. Media can control a person, the main goal is no more media, and the subject is now changed to oneself. FC - How did you select the models and photographers?

TY - Tiffany, our Editor-in-Chief, she decided all the models. She always looking for new fashion leaders. For a photographer, Takuya Uchida, I used to know him and I think his pictures are not dry, and a bit sensual. FC - You are planning to distribute The Reality Show in Asia and U.S., do you have any plans on how you want to tackle those markets? TY - Art, design, and other creation are what’s needed for today. However much my aesthetic can communicate to those in the world, I will chase the possibilities.

The Reality Show is available at art galleries, select fashion shops, and select bookstores in Japan. Overseas, Lane Crawford in Hong Kong and Colette in Paris also carries it. UK, US, and Italian distribution are also planned.

HEY DJ GET THIS PARTY STARTED PAUL SEVIGNY AS THE CELEBRITY DJ INTERVIEW AND PHOTO BY julian ungano INTRODUCTION BY claire hanan

Young DJ take note: PAUL SEVIGNY could kick your iTunes-playing ass. He uses twenty years of record-collecting to spin what have become some of the hottest parties for the city’s pretty people. Because of this, he operates at the epicenter of Manhattan’s tastemakers finding the next big party, restaurant, or club - sometimes by opening them himself. The Beatrice Inn? His accidentally incredibly successful club. Kenmare? His co-owned restaurant frequented by Mick Jagger and the like. Futureclaw sat down with Paul and his agents YONI GOLDBERG and DAMON DEGRAFF the progenitors of the celebrity-DJ phenomenon - at his latest venture, the relaunching of Don Hills in SoHo.

JULIAN UNGANO - Paul, you’ve been doing the DJ thing for a min-

YG - So, Paul, when I speak on the phone to people about you as a

ute, and Damon has been doing his own DJ thing for a while. Tell me how you all got connected. PAUL SEVIGNY - We met through a mutual friend of ours, this kid

DJ, they often hang up (laughs) but when they don’t, I always say Paul is really different from every other DJ. And I say that because I believe it and I say that with a lot of conviction, but explain what makes you different and what makes you unique as a DJ?

named Mark. That was Mark “American” Ronson in New York. (Laughs)

PS - I feel like I walk that just accessible edge a little better than

PS - And as far as managers in the DJ game, that’s not all he does.

most people? An obvious first thing that people see these days is that I’m still actually using vinyl records to play with, which is becoming more and more important to my game at this point, because people seem to feel the nostalgia for that. You can see that I’ve actually put in the work over 20 years collecting these records. I’m not a kid with a computer downloading a whole set in two days in iTunes. I also try to dig deeper than iTunes. A lot of times when people ask for my playlist, they’ll say “are those real songs? Because we weren’t able to get those on the computer.” That’s part of the point of it. Maybe that’s what makes me a little bit different from the rest of them these days.

He was, by far, the most respected; he helped break that whole scene. I was pretty happy to move over to his crew.

YG - I have to say that of all of the DJs that Damon and I repreesnt,

JULIAN UNGANO - Damon, tell me what kind of stuff you were do-

ing when you and Paul got hooked up? DAMON DEGRAFF - I guess that’s kind of the beginning of the

whole “celebrity-cool” DJ phase. Paul was somebody we always respected, but had never really formally met until Mark had introduced us, and then a few years down the line we ended up working together.

PS - Yoni, how did you meet Mr. DeGraff? YONI GOLDBERG - I was a few months out of school, living in New

York, and my first day working in the Music Business, I went with my boss John Shapiro to listen to music with Damon, and then about a year down the line, another friend reconnected me with Damon; one thing led to another, and we started working together. Five years later, here we are.

well you’re certainly not my favorite (laughs) you are the one that i’ve certainly learned the most music. Everytime I hear you DJ, I lean over your shoulder to try and read the record to see what it is several times during your set. There are no other DJs that I lean over their shoulder to see what they’re playing, and I think everytime you DJ, he introduces me to 3 or 4 songs. I think that’s what I tell people. Paul really creates an atmosphere and a mood and isn’t just playing a record that he thinks is cool, but is really trying to craft something. PS - I’ve been lucky to do that, and probably wouldn’t have been

PS - Damon, how did you get started, by-the-way? DD - Originally from Bermuda, I was working for a company; they

were managing Mark Ronson and D’A ngelo. Everybody was on D’A ngelo’s dick, and I was like “if I’m going to get my shine, I want to have my own thing, and I’ll work with Mark.” We brought this celebrity DJ factor to a light.

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able to do it without Damon & Yoni. I think with them helping represent me, I’m able to walk a much finer line. I don’t have to do weekly club jobs, and when people come to them, they go through their roster, they’re looking for something more specific in me. I’m not their “every party” DJ, but there’s certainly 10 percent of them I’m the perfect guy for, and they help communicate that to potential customers.

DD - I guess we should ask something about your new ventures.

You still DJ. You did the Beatrice. Tell us a little more about your most latest ventures. PS - Chelsea. I opened up a restaurant with a small lounge

underneath it called Kenmare on Kenmare st. And, we’re sitting in Don Hills right now, which we’re relaunching, which is one of the last real classic rock venues in New York City with a lot of history. We’re not necesarrily looking to the past, you can see a lot of the changes happening here. We’re looking more to the future, and we’re going to bring back sundays all ages matinees, to bring something back to the community and to keep younger people interested in music, and we’re going to have fairly large bands to kick that off with. All the proceeds are

going to Children’s Charity, which is pretty special, and which is bringing new major acts, and we’re working with Don Hill himself, which is real OG, and we’re also going to be changing the artwork on the walls on a quarterly basis, and try to bring in not just some street stuff, but pretty high-end stuff too, and taking major artists and letting them show the world their vision of a nightclub, which i think will be kind of fun, keep it relevant and keep it fresh. YG - Wear all black. Keep it sexy.

A NEW SKIN LEO FITZPATRICK AND COMING OF AGE IN NEW YORK INTERVIEW BY julian ungano

INTRODUCTION BY bobby mozumder

The New York social scene is full of creatives with the colorful histories that rightfully brings them together. LEO FITZPATRICK is one such personality placed at the forefront of the art world with the likes of Chloë Sevigny and Rosario Dawson through his starring role in Larry Clark’s teen film Kids. We sat down with him to chat about his coming of age within this creative social scene.

JULIAN UNGANO - Talk about growing up in

Jersey, coming up into the city when you were young. LEO FITZPATRICK - I started coming into the

city when I was 12 years old. I think I started skating around 10 years old. I started skateboarding really young. First I was a BMX kid, then I started skateboarding. For a kid who hated his homelife, it was awesome, because even if you didn’t have any money, you could skateboard to the next town and discover something new. I was always curious, I always wanted to get out of my town. Eventually, when I was 12, these older skateboard kids brought me to the city to skateboard the brooklyn banks. Once I saw New York for the first time, it became an obsession, and I wanted to be here constantly. That led to me living here. I started probably coming here the most when I was 14 to 16. When I was 16, I pretty much dropped out of school, and I would just come here to skate every day, hang out all night, and I definitely smoked a lot of weed all night, drank a lot of 40s, and that’s all we did when we put our money together. When I was 14, I met Larry Clark, who ended up directing Kids, and when I was 16, I did that. It’s funny, because the more affiliated I became with the city, the less I wanted to live here. I hated New York by the time I was 18. I done it all and I already got sober - I was straight edged. I was sick of ravers and skaters and all that. So, I actually moved to London for a year when I was 18, I didn’t know anyone, I lived in a youth hostel for a year and went to a skate shop, and met some kids who lived there. I did that for a year, was sick of being broke, went to LA, I lived with Steve Berra and Eric Koston and these guys. I ended up living there about 2 years, then moved back to New York with my girlfriend, and I lived here ever since. New York is like an addiction, I hated it, but I always ended up back here. I feel like the older I get, the more I slowed down, the more I can actually appreciate New York. I feel like as kids, we were all crazy, just trying to go out and get as fucked up as possible, and take advantage of as many people as possible, whether it be getting free drinks from a party, or just manipulating the city to its best for us. I ran with a crazy crew like Ryan McGinley, Dan Colen, and Dash Snow, and the Irak crew,

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and random skaters here and there. But mainly it was the Irak crew, because they were the biggest bunch of fuck ups and basically formed their own crew because they didn’t fit with anybody else, which I felt the same way. That’s the story up until now. you mean that in an affectionate way?

shot, we did it our way, now it’s somebody else’s. Like passing of the torch, also let them fucking have it, and good luck, because I’m done with it. When they’re all in fucking rehab in five years, we’ll see who’s laughing. I guess if anything, if I could complain about anything, it’s that when I first started coming in New York, you didn’t have to be a rich kid. Now you have to start off with some sort of means to live here.

LF - Oh yeah, totally. To me, we didn’t even have

JU - That’s my biggest gripe.

JU - So when you say they were always fuck ups,

the option of fitting in, so we had to make our own reality. We all appreciate how weird each other was. We didn’t want to fit in, we didn’t necessarily want to be accepted. But, for me, growing up skateboarding, that was the norm. We all shared this common feeling of being a misfit, so that was the best. JU - Is it awkward for you now that that scene

has become popular, and a legitimate industry of people making money selling that lifestyle brand? LF - For me, it’s weird that people want to imi-

tate it. It wasn’t awesome the first time around. It’s weird that people would want to try to hold on to what New York used to be. And that goes back to the 70’s. I love New York Dolls, Johnny Thunders, and CBGBs as much as everybody else, but I’d rather do it my way, to use their influence to do it my way. Nowadays, it seems kids use Vice Magazine as kind of a blueprint. I like Vice, I’m actually friends with all the owners, I like what they do, but for me it seems a little weird for people to consider it a lifestyle. But I recognize that it exists, I don’t hate the kids at all. I think, if anything, it’s probably more jealous that I’m old now. Let the kids have it. Young DJ’s, young photographers, they’re still excited about New York. You’ll find inspiration here. If anything, I miss that more than I would hate on them, because I’m just burnt out on it. But now, I do my own thing. I still go out and stuff, I don’t chase parties or chase girls, or chase good times necessarily. I just like going to Max Fish and hanging out and talking about skateboarding. JU - So you’re not bitter at all? LF - No not at all. I think it’s good, kind of

exciting for young kids to take over. We had our

LF - It’s sort of frustrating to know that you

have these rich kids trying to be these scumbag heroin addicts. You have every option in the world and this is the option you took? For me it’s kind of just a shame, because I would love, even at this age, to be adopted and be a rich kid. I would be the most extravagant rich kid you’ve ever seen. I wouldn’t try to dress down and buy a leather jacket off a squatter punk for $5. I’d be fucking balling, I wish I was a rich kid. Also I think DJ’ing is a false thing. A lot of people come here and become a DJ, and when I first started DJing, everybody used vinyl and stuff. Now, everybody with 2 ipods can be a DJ. That almost stole more from DJing from the craft of DJing than it did from the nightlife scene. It’s just kind of a shame that any scumbag with Arcade Fire in their iPod can be a DJ. It doesn’t take much skill anymore. I think it really watered down a lot of parties in New York. Like I said, if you have 2 iPods, and if you can kill it, then I’m down - fucking let’s throw a rager. But, most kids now, they see it as an easy out, an easy way to make a couple hundred bucks a night they can still go to school, or do whatever and party. I just wish it was quality over quantity. I would get rid of 75% of the parties if there was at least 1 good one a month, but now it’s everybody and their mother is a DJ, and there’s all these new bars and stuff, and they all pander to these 20 year old kids, and they’re the ones that’s going to invite their friends. I don’t promote, I just DJ. I just wish there was quality there as well. I don’t want to go to a bar, and wait 20 minutes to piss because there’s fucking 3 20 year olds doing coke in the bathroom. For me, I don’t have time for that, I’m old, I’m boring.

KISS RIE RAS RIE RASMUSSEN ON CINEMA INTERVIEW BY arabelle sicardi INTRODUCTION BY claire hanan

Once a muse to Tom Ford at Gucci, RIE RASMUSSEN has proven to be one captivating fixture to the New York arts scene. Her short films have won awards at Cannes and the Berlin Film Festival Panorama, and recently, she had the mettle to tell photographer Terry Richardson what she thought of his highly-sexualized work with a few young models. We emailed Rie after her shoot to discuss her latest film, The Bullet Class, her violent motifs, and the fine line between art and sexual exploitation.

ARABELLE SICARDI - When I first heard about

you, your multi-tasking blew me away – artist, actress, filmmaker, model – how’d that happen? RIE RASMUSSEN - They all pretty much fall un-

der the same category of ‘creative arts’. I create using whatever is at my disposal. My greatest attribute is my ability to try anything without fear of failure. I was born with the desire to draw from my mother the rest I learned, honed and refined...I still am, learning constantly, and always will be: evolving. AS - Human Zoo your first feature was selected

as the opening night film at the 2009 Berlin Film Festival Panorama. How’d that feel? Did you think that would ever happen? RR - My first short film Thinning the Herd was

nominated for a Palme d’or at the Cannes film festival, so I am spoiled in the sense that I received very solid recognition from the start. None the less it was one of the most magical moments and a huge honor to be able to show my film at such a prestigious venue. Even more, especially since the festival validated my film, much to the dismay of my oppressive production company, who generally produce low rent action films and the boss didn’t like that I had my own voice. It was (sometimes still is) long and hard making and fighting for the existence of my film against people who’d rather bury you than fight or hug it out, cowards, but then again life offers so many of those. AS - How do you transition between acting and

modeling? Is there a transition? RR - Obviously catching the moment in a photo

is much easier, so the transition from acting back to being the muse is a wicked pleasure. Actually embodying a character for a film or play is much much deeper. In a photo you only have to look like your For me started consciously around 4 years old and my world was one big stage, or even one beautifully infinite art film JUST FOR ME! Every kid has that story, I just never had to stop yet! Even the darker elements of my life I’ve remembered as tragic acts in a play. When I was 17 i went to film school out in LA as a writer director, but I also really started to hone my skills as an actress playing the roles I’d written and that’s where I really felt compelled to play the characters. After that I

really took it seriously and knew that there were certain roles I had to play as an actress.

AS - The photoshoot was at your apartment in

AS - What compelled you to make the movie?

New York with all of your art. The theme of your art is the body. Can you tell us a little about your paintings and what they mean?

RR - My family was trying to adopt a vietnamese

RR - I draw and paint many different things,

girl whose mother had been sold into prostitution and, fearing the same for her daughter, sent her throught the human traffic lines to Denmark, only to be excluded because of her nationality. Also, for years I had been drawn to the violent clashes over identity in the Balkans and the story of humans dividing themselves over the lines on a map and what it means to be a woman in the world of war where jungle law rules. This was a story I had to tell. I went to write in Serbia and Kosovo and for months, traveled around. Because i knew I would direct and produce, I scouted the best locations in the easiest proximity to one another and wrote them into the script. I then traveled to Afghanistan for research on certain characters in the story and ended up in Marseille, where the present day love story takes place. Once principal photography started, we shot Macedonia for Kosovo, because the insurance was too expensive because of being a warzone.. but all the locations are real. I did the post production in Paris and the music in LA. It broke me spritually, physically, and monetarily because I was left without a producer. I learned some hard lessons about trusting people. (get it in your contract). In the end Human Zoo was selected to premiere at the Berlin Film Festival and I’m proud to say that out of 80 films EuropaCorp has put out, Human Zoo is their first and only official Berlin Selection. After that things really started to turn around. I didn’t have a producer to look out for me, so the burden and the fight became my own, it’s sad an tiresome...everybody deserves a team. A director needs a GREAT producer, they are few and far between, but priceless... AS - What experience do you prefer in filmmak-

ing, in front or behind the camera? RR - It depends on the story and how I am

involved from the beginning. I love to direct and some stories I will have to tell myself, but I really enjoy the freedom and ease of just acting for a great director, as opposed to running myself ragged doing both jobs. It is all a creative process...I just love feeling a part of the magic!

but the pieces on the wall of the SoHo flat are from a period where I was consecutively doing the Gucci and the Yves Saint Laurent shows exclusively. They actually pay you not to work for other designers, so I had a lot of extra time on my hands to paint and an abundance of scantily clad men and women at my disposal. I paint what I see… AS - How do you regenerate between film,

fashion, and your art? RR - In switching between them all, letting

one inspire another...giving the flow its proper place. The completion of illustration, painting, photography and film covers my view of the universe I am creating, or what I am commenting on. Every day I write, take a photo, draw a picture and, if I can, I paint. Each medium influences the other. I act to express myself immediately and direct to tell the story in a medium that lasts. AS - How much sex is acceptable in art, in fash-

ion? How does one define sexual exploitation? RR - It completely depends on the subject and

the point your are trying to make...but generally in society, even western, women’s sexuality is never allowed on an equal measure with a man’s ...that is always as frustrating as it is interesting. If the person involved with creating the art feels exploited then they are, but it’s pretty obvious when someone is being manipulative or using there position to influence others. AS - What’s next for you? RR - My next film is called The Bullet Class. It’s

my violent response and commentary on socially tolerated ignorance. I got a lot of flack for the violence in Human Zoo this will be my apology in the form of a “Fuck You!”

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KIDS

Each season brings a new gang of fashion models into New York City. Here are a few of the moment.

Photography Christopher Starbody Styling Martha Violante

p r e v i o u s t w o p a g e s :: Chriselle wears a vintage T-shirt, a R I C H A R D C H A I sequin shirt, MC Q pants, S E E B Y C H L O E boots, C H R I S H A BA N A necklace, and K E N N E T H J AY L A N E bracelets. Kasia wears an U N D E R . L I G N E tank top, L I N A O S T E R M A N coat, I SA B E L M A R A N T pants, L D T U T T L E boots, and K E N N E T H J AY L A N E bracelets. Kel wears a vintage T-shirt, MC Q mens pants, I SA B E L M A R A N T sneakers, and her own watch and belt. Maddie wears an I SA B E L M A R A N T sweatshirt and sneakers, T H E B L O N D S leather pants, and C H R I S H A BA N A necklace. Shane wears a L I N A O S T E R M A N trench, A N D - I belt, C H R I S H A BA N A necklace, and his own glasses, jeans, and boots. Jules wears a vintage T-shirt, S I K I I M pants, and C O N V E R S E sneakers. t h i s p a g e ::

Kel wears M A RC B Y M A RC J AC O B S T-Shirt.

o p p o s i t e p a g e ::

Jules wears a vintage T-Shirt.

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Shane wears S I K I I M . o p p o s i t e p a g e ::

Kasia wears A . F. VA N D E R VO R S T top and skirt.

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Maddie wears a vintage sweatshirt, A N D - I belt, and C H R I S H A BA N A Ring. o p p o s i t e p a g e ::

Chrishell wears I O S E L L I A N I earring.

Makeup Artist Asami Matsuda for MAC Cosmetics Hair Stylist Shawn Mount at Artlist Mens Grooming and Hair Anna Bernabe for Redken Models Chrishell Stubbs, Kasia Wrobel, Kel Markey, and Maddie Welch at Supreme. Jules Hamilton and Shane Gambill at Adam

Photography Koichiroi Doi Fashion Editor Naoko Watanabe Art Direction Tomoyuki Yonezu

SIXXXXXX Dress by N U K I S I G O R A H A R A / C A N DY . Ear piece by C H R I S H A BA N A / PA R K B Y K3 .

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Headband for sunglasses by H O U S E O F F L O R A / C A N DY . Glove by G .V.G .V. / K3 O F F I C E . Vintage vinyl coat by P R A DA / D O G . Inner black top by B Z Z / W U T B E R L I N

Mask and bra top available at D O G . Leather tank by G E M M A S L AC K / C A N DY

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Down jacket by J U N Y A S U Z U K I / C A N DY. Dress by G E M M A S L AC K / C A N DY. Sunglasses available at D O G .

Silver headband for necklace by H I I L A / N O I T I S N A R T. Gold necklace and ear piece by DAV I D L O N G S H AW / S I S T E R . Black necklace by A S SA D MO U N S E R / D I P T R I C S .

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Ear piece by N U K I S I G O R A / C E M E N T S T O R E . Jacket by BA L M U N G / X A N A D U. Black leather dress available at A L C AT RO C K . Cage cuff by N O M*D / H 3 O FA S H I O N B U R E AU. Hair Kazuya Matsumoto Makeup UDA Model Yuan @ Bellona Models

ALCATROCK Alcatrock has been a hidden closetlike place for fashion people. A vintage shop standing in the quiet area where you find mostly residences, the theme of this shop is “vintage for adult women.” They propose to introduce those who don’t like used clothing the charm of vintage.

A full-service stylists shop, Alcatrock also deals with design, production, and styling of musician’s performance costumes, while also offering cleaning and repairing services.

They also collect high quality and well-designed dresses based on their motto, “a dress that suits to high brand shoes!” We recommend dresses from Victor Costa and GUNNE SAX.

DOG is the shop at which you feel as if you’re visiting a designer’s atelier. The owner himself takes flights all over the world to buy designers’ or used clothing. His sense is excellent and trendy all the time. Stars like Beyonce or Lady Gaga are also his fans. He also produces costumes, and recently offered Lady Gaga her performance costume. This shop is an absolute leader for Tokyo Pop. Address

3-23-3 B1F JINGUMAE SHIBUYA-KU TOKYO JAPAN 150-0001 + 81 3 3746 8110 www.dog-hjk.com

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YVES SAINT LAURENT, EMILIO PUCCI, LEONARD, CHANEL AND MORE HIGH BRAND VINTAGE, VICTOR COSTA, YES CLOTHING, GUNNE SAX

Address

ALCATROCK Appointment only. 090-7232-5926 www.alcatrock.com

FASHION

SHOPPER’S GUIDE TO TOK

DOG

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CANDY Street. Out of assumptions. Dissatisfaction and uneasiness of the status quo. The possibility in incompletion, playing with a sense. Based on street fashion, Candy has become Shibuya’s new trendy fashion spot that deals with used items collected with their own sensual point of view from all over the country as well as world, where they discover and pick up independent designers’ items to introduce to people. Designers

FAKE Building This trendy building opened in the middle of Shibuya, Tokyo, in April 2008, consisting of three shops: The first floor is a men’s store called “CANDY”, the second floor is a lady’s store “Sister”, and the third floor is a gallery called “Fake”.

S KYO

KATIE EARY, JAMES LONG, GEMMA SLACK. CRAIG LAWRENCE, KOMAKINO, GARETH PUGH, KTZ, MIKIO SAKABE, JUNYA SUZUKI, BALMUNG, BODYSONG. KAZUSHI HARA,ZAORIK, CHRISTIAN DADA and more.

Address

1F [CANDY] +81 (0)3-5456-9891 www.candy-nippon.com 2F [SISTER] +81 (0)3-5456 9892 WWW.SISTER-TOKYO.COM 3F [GALLERY FAKE-] +81 (0) 3 -5456-9893 WWW.FAKETOKYO.COM 18-4 UDAGAWACHO SHIBUYA TOKYO JAPAN 150-0042

Gallery FAKE This is the place where you can understand fashion widely as an idea. It is the place that creates crossover in the various ways. They focus on seeking the possibility and durability in fashion field.

by Naoko Watanabe and Tomoyuki Yonezu TRANSLATED BY YO SHIN

Faline Tokyo Faline Tokyo is like Harajyuku’s antenna and sends out “Tokyo Kawaii” to the world. The world-wide designers, musicians, artist and fashionista, who keep company with Baby Mary, the shop owner, love this place. Faline kids, Faline girls, and Bambi-Boys who say “We Love Faline!” lead the fashion trend in Harajyuku!

Designers

JEREMY SCOTT, KTZ, CHARLOTTE OLYMPIA, MAISON MICHEL, FAFI ADIDAS, JEREMY SCOTT X LONGCHAMP, RVCA X COBRASNAKE, LARA BOHINC, OBESTY AND SPEED, MARJAN PEJOSKI, KSUBI, FIF CHACHINIL, FUTURE CLASSICS, ERIN FETHERSTON, INSIGHT, CORTO MOLTED, SPIKERS EN SPIKERS

Address

1-7-5 JINGUMAE SHIBUYA-KU TOKYO JAPAN 150-0001 TEL.+ 81 3 3403-8050 www.bambifaline.com

Sister The shop Sister sticks to the idea of “women” to represent women’s original will and style to live by means of fashion. They mainly select items from England.

The atmosphere of the interior of the shop comes from “Boutique Style”, and they also changes the concept of styling every season. They hope they’ll be able to extend the possibility of fashion trend. The recommended brand is a new and spirited head brand, Piers Atkinson, which Sister brought to Japan for the first time. It is a favorite brand for many celebrities such as Lady Gaga and Tim Burton. Designers

ERICKSON BEAMON, STEPHEN JONES, PIERS ATKINSON, MARIOS SCHWAB, MARK FAST, GILES, BORBA MARGO, DAVID LONGSHAW, HERMIONE DE PAULA, SOPHIE HULME, MALCOLM GUERRE, SACHIO KAWASAKI, HATRA

Grapevine by k3 has been open in Sarugaku-cho, Daikanyama, since 1995 when the area was still unknown as the fashion district. Since then, they have suggested their own path in selecting items and individualistic mixed coordinates, without following the trend or name values.

Grapevine by k3

Fifteen years later, starting from srping 2010, G.V.G.V. designer, Mug, joined their project as a buyer with a new concept. Mug has some sort of flexibility to select items because of her status as a freelancer. With her experiences, she selects only what touches her sense of art and beauty. Their aim is to showcase items as lovingly as its original brand would, and to be a gallery-like

Laila Vintage Collection

Laila Vintage Collection is a vintage shop, not a select shop even though they change every thing in the shop every year.

They buy items from collectors and buyers scattered across the world. The shop is a full of vintage, such as valuable nonbrands produced during 50’s to 90’s, which were often the source of exciting designers’ inspirations. Laila could be in the showcases of a designer’s recollection gallery.

Their recent foci include: “Martin Margiela, who are one of the most brilliant designers while tons of brands exist, especially in his 90’s collection. The European antique, especially from 1800’s to 1840’s, the time when clothing was essential to survive rather than enjoying

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shop where the beautiful objects are always accepted. They also suggest not only clothing, but also lifestyle related to the street culture. Recently, their attention has focused on Swedish creations. Designers

ALEX & CHLOE, DRESSEDUNDRESSED, LINA OSTERMAN, MARIOS SCHWAB, MOURIE & EVE, RAQUEL ALLEGRA, TINA KALIVAS, ANN-SOFIE BACK, R13, ALEXIS BITTAR, BLISS LAU, NATALIA BRILLI, JOOMI LIM, GIGI BURRIS, CAMILLA SKOVGAARD, and more..

Address

Sarugaku 13-2 B1F, Shibuya TOKYO 150-0033 03-3464-5354 www.grapevinebyk3.jp

the fashion. And, England’s honor to the world, the hand optical brand by Oliver Goldsmith’s 60’s~70’s vintage”. They respect the good things of days past yet have a free and attractive sense of the world without interfering with common sense. Designers

EMILIO PUCCI, YSL, PIERRE CARDIN, CHANEL, BETSEY JOHNSON, OSSIE CLARK, BIBA, JEFF BANKS, EMANUEL UNGARO, MAISON MARTIN MARGIELA, STEPHEN SPROUSE, LEWIS LEATHER and more..

Address

3-15-13 #202 Kitaaoyama Minato-ku Tokyo 107-0061 Tel. 03-3406-4088 www.laila.jp

Wut Berlin In recent years, Berlin has become a haven for international creatives: artists, musicians and fashion designers work hand in hand and constantly develop new ideas. Wut Berlin shows a selection of young Berlin and international designers in a space which reflects the beauty and the chaos of the city of Berlin. It is a space that offers prospects, possibilities of change and rediscovery.

XANADU Xanadu is a select shop that has been open in Harajyuku, Tokyo, since March 2009, for which many young Japanese designers work. The collaborate not only with designers but work actively with image-makers and post their collaborative works in the gallery on their web site.

Xanadu has actively suggested men’s dress up styles and coordinates since opening. The peculiar brands are Nyte, OBSESS, TAKAHASHI Kazuya, DRESSEDUNDRESSED, ROGGYKE.

Designers

BALMUNG, DRESSEDUNDRESSED, ETW, VONNEGUET, F.E.A.R, GEGEN IVLAUX, KATSUHIROIGARASHI, KYOSUKEFUKUDA, LIE…, NICK NEEDLES, NYTE, OBSESS, ROGGYKEI, SMOOOCH, SET ME FREE, TAKAHASHI KAZUYA, VEGA, VERONICA, YOSHIHIRO TAKESHIMA, ZZUCKER ZEIT, and more…

Address

3-34-7 4F JINGUMAE SHIBUYA-KU TOKYO JAPAN 150-0001 TEL/FAX 03-6459-2826 www.xanadutokyo.com

ANNTIAN, BZZ, GROUND ZERO, HUI HUI, KAVIAR GAUCHE, RENE GURSKOV/SEELENKLEID, STARSTYLING, VLADIMIR KARALEEV, MIDNIGHT RENDEZ-VOUS, ANDREA CREWS, DISSTEADY OWN PHILOSOPHY, HENRIK VIBSKOV, KTZ, SISE, and more..

Address

5-1-15 Jingumae Shibuya-ku Tokyo 150-0001 03 3797 1505 www.wutberlin.com

CEMENT Various talented young designers selected from around the world work for Cement. This small, hidden shop functions also as a showroom, in which the owner collects and displays what he feels is fashionable with his own intuition. Cement maintains a strong following among fashion-industry insiders, including many stylists and magazine editors. Their focus now is in selecting brands from Northern Europe, having their eye on not only clothing, but also accessories and perfumes, which effectively creates great synthetic styles.

Designers

HARTMANN NORDENHOLZ (AUSTRIA), CONNY GROENEWEGEN (NETHERLANDS), CANEDICODA (ITALY), SIMON CRACKER (ITALY), VAVA DUDU (FRANCE), TWOTOM (FRANCE), MARK FAST (ENGLAND), GEORGIA HARDING (ENGLAND), HORACE (ENGLAND), IKOUTS SCHUSS (SWITZERLAND), YAZBUKEY (TURKEY), TRIKOTON(GERMANY), JACLYN MAYER (AMERICA), CZEREMONY (JAPAN), WRITTEN AFTER WARDS (JAPAN), MIRROR (JAPAN), PISTIL (JAPAN)

Address

2-18-20-201 JINGUMAE SHIBUYA-KU TOKYO JAPAN 150-0001 TEL.+ 81 3 5770 6573 www.cement-own.com

Photography Justin Wu Stylist Katherine Erwin

BELIEVE 96

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Tutrleneck by I S S E Y M I Y A K E . Leather coat by A Z Z E D I N E A L A I A .

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Dress by C H A D O R A L P H RU C C I .

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Turtleneck by J M E N D E L . Lace top by PA M E L A P O M E ROY. Gloves by L A C R A S I A .

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Lace top by A D R I E N N E L A N DAU.

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Dress by C H A D O R A L P H RU C C I . Gloves and boots by A Z Z E D I N E A L A I A .

Featuring Pauline Van Der Cruysse & Monika Sawicka Hair Adam MacLay Makeup Tara Drake Assistant Kirt Reynolds 106

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( P a u l i n e)

( M o n i k a) Shirt by I S S E Y M I Y A K E . Sash by A D R I E N N E L A N DAU. Boots by C E L I N E . Dress by I S S E Y M I Y A K E . Lace top by A D R I E N N E L A N DAU. Boots by G U I S E P P E Z A N O T T I .

MOON

CHILD Photography Eric Guillemain Fashion Editor Rene Garza

Featuring Naomi Preizler @ NEXT Hair Allison @ Susan Price Makeup Asami @ Lâ&#x20AC;&#x2122;Atelier Production Sonia Adamczak @ 2b management

Dress by A L E X A N D E R WA N G .

t h i s p a g e ::

Bodysuit by P E T I T O L E .

o p p o s i t e p a g e :: Dress TOM M Y H I L FIGER .

by B U R B E R R Y P RO R S U M . Bra by

a b o v e ( l e f t) :: Bra by V I C T O R I A’ S S E C R E T . Pant y by D O N N A K A R A N . a b o v e (r i g h t) :: Shirt by F I F T H AV E N U E S H O E R E PA I R . Pant y by C A LV I N K L E I N . b e l o w :: Bra by R I C H A R D C H A I . Leggings by AGA M I C . Model ’s own necklace.

a b o v e ::

Stockings by D K N Y . Pant y by D O N N A K A R A N .

a b o v e :: Dress bra by P O R T S 1 9 6 1 . Stockings by D K N Y . Shoes by C A N D E L A . o p p o s i t e p a g e (t o p) :: Fishnet by B E T S E Y J O H N S O N . Corset by D O N N A K A R A N . o p p o s i t e p a g e ( b o t t o m) :: Stockings by D K N Y . Pant y by D O N N A K A R A N .

Long-sleeve shirt by R I C H A R D C H A I . Panties by C A LV I N K L E I N . Model ’s own socks. o p p o s i t e p a g e (t o p) :: Leather bra by R I C H A R D C H A I . Shirt by L O GA N N E I T Z E L . Model ’s own necklace o p p o s i t e p a g e ( b o t t o m) :: Dress by AGA M I C . a b o v e ::

NIKI Photography William Lords Fashion Editor Rene Garza

o p p o s i t e p a g e :: Dress by S I LV I A T C H E R A S S I . Sweater by S O C I E T Y F O R R AT I O N A L D R E S S . Scarf by L AU R A S I E G E L . Belt by P O R T S 1 9 6 1 . Ring by A L B E R T O J UA N . Boots by M I S S S I X T Y.

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o p p o s i t e p a g e :: Pants by C H L O E . Shirt by S O C I E T Y F O R R AT I O N A L D R E S S . Scarf by W E A R E OW L S . Plaid scarf by L AU R A S I E G E L . Necklace by P O R T S 1 9 6 1 . Rings by A L B E R T O J UA N . Boots by M I S S S I X T Y .

Dress by P O R T S 1 9 6 1 . Coat by L AU R A S I E G E L . Necklace by P O S S I B L E . Rings by A L B E R T O J UA N and L A RU I C C I . a b o v e ::

o p p o s i t e p a g e :: Sweater by L AU R A S I E G E L . P O S S I B L E . Boots by M I S S S I X T Y .

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Necklace by

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Dress by P O R T S 1 9 6 1 . Coat by L AU R A S I E G E L . Necklace by P O S S I B L E . Boots by C A N D E L A . Rings by A L B E R T O J UA N and L A RU I C C I .

o p p o s i t e p a g e :: Dress by RO B E R T O C AVA L L I . Coat by C U S T O BA RC E L O N A . Boots by C A N D E L A . Ring by A L B E R T O J UA N .

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oBreast p p o s i t eplate :: Dress EMIL PU CC pring stocking by WO L F O R D . andby pants byI OJ O SE DIU. RLeopard A N . Dress Earring byS G AE NLF.R A N C O Fand E R Rbracelets E available by L AU R A I EI G Shoes by from Coquette. P O R T S 1 9 6 1 . Ring by A L B E R T O J UA N . Feather earring by DA N I K A . 128

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Featuring Niki Taylor Hair Jawara Wachoupe Makeup Erin Parsons Assistant Noella Diaz Styling Assistant Ally Prada

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WANDERER Photography Ben Fink Shapiro Styling Megan Ahern Harley Viera Newton skips the glamour of the New York City for a raw denim adventure upstate. t h i s p a g e :: Jan Vest by D I E S E L . Black Albuquerque by K S U B I . Red boots by N O. 6 . o p p o s i t e :: Belted playsuit by K S U B I . Vintage thigh-highs & ethnic bag. M A RC B Y M A RC J AC O B S black saddlery perfect purse. Lana sweater by AC N E .

Studded Chambray Button Down Shirt by L E V I ’ S . Gold 16” Thin Chain with Ethiopian Bead Necklace by C A RO L M A R I E . Silver and Brass Thin Chain with Ethiopian Bead Bracelets by C A RO L M A R I E . Brass Blade Ring by M A D E H E R T H I N K . Vintage M I U M I U Bustier. Long Pleated Skirt by T I MO W E I L A N D. Felt Top Hat by PAT R I C I A U N D E RWO O D . Dark green satchel by N O. 6 . 132

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Denim Shirt-dress with Rivets by D E MO C R AC Y O F N E V E R M I N D . Black Alice bag by M A D E H E R T H I N K .

Black choke denim dress by K S U B I . Nav y/Orange f lannel shirt by N U D I E . Poncho cardigan by F I L L I PA K . Dark green satchel bag by N O. 6 . Gold 16â&#x20AC;? thin chain with Ethipoian bead necklace by C A RO L M A R I E . Silver and Brass thin chain with Ethiopian bead bracelets by C A RO L M A R I E . Brass blade ring by M A D E H E R T H I N K . Red boots by N O. 6 .

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Indigo cotton shirt with pockets by M A RC B Y M A RC J AC O B S . Silver and Brass thin chain with Ethiopian bead bracelets by C A RO L M A R I E . Brass blade ring by M A D E H E R THINK. 136

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Silver and Brass thin chain with Ethiopian bead bracelets by C A RO L M A R I E . Brass blade ring by M A D E H E R T H I N K . Red boots by N O. 6 .

Powder Blue Wash Collar Shirt by L E V I ’ S . Georgina Bra by AG E N T P ROVO C AT E U R . Black Jeans by D I E S E L . Brown Skinny Leather Belt by A L L D R E S S E D U P. Berlino Bucket Flap Bag by PAT R I C I A N A S H . Gold 16” Thin Chain with Ethiopian Bead Necklace by C A RO L M A R I E . Silver and Brass Thin Chain with Ethiopian Bead Bracelets by C A RO L M A R I E . Black Boots by N O. 6 . Brass Blade Ring by M A D E HER THINK.

Makeup Artist Nico Guilis for See Management Hair Stylist Sarah Sibia for See Management Retouching Frank Yi for Eyescape Labs Photo Assistants Hugo Arturi and Mike Bogart Fashion Assistants Sydney Reising & Isabella Althoff Special Thank You The Stissing House and Chaseholm Farms Shot on location in Pine Pains, NY

CINDY Photography Andrew Macpherson Styling Elizabeth Sulcer

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t h i s p a g e :: Feather dress and belt by S O N I A R Y K I E L . Shoes by G U I S E P P E Z A N O T T I . p r e v i o u s p a g e :: Dress by P R E E N . Necklace by Y V E S SA I N T L AU R E N T from Coquette

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Bodysuit by WO L F O R D . Boots by C H R I S T I A N L O U B O U T I N . Necklace by L A N V I N , available at Pinkclouds.com. Hexagon gold bracelet by G I A N F R A N C O F E R R E . Gold bangle by A L E X I S B I T TA R . t h i s p a g e ::

o p p o s i t e p a g e :: Bodysuit by WO L F O R D . Coat by Y V E S SA I N T L AU R E N T and necklace by L A N V I N , available at Pinkclouds.com. Boots by C H R I S T I A N L O U B O U T I N . Gold bangles by A L E X I S B I T TA R . Hexagon gold bracelet by G I A N F R A N C O F E R R E

from Coquette.

Dress by E M I L I O P U C C I . Leopard pring stocking by WO L F O R D . Earring by G I A N F R A N C O F E R R E available from Coquette.

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Gown by W E S G O R D O N . Sequin boots by BA R BA R A B U I . Necklace from C A R T I E R , available at Coquette.

Dress by E M I L I O P U C C I . Earring by G I A N F R A N C O F E R R E available from Coquette.

o p p o s i t e ::

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Feather dress and belt by S O N I A R Y K I E L . Shoes by G U I S E P P E Z A N O T T I . 150

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Dress by D O L C E & GA B BA N A . Leopard print stockings by WO L F O R D . Shoes by C H R I S T I A N L O U B O U T I N . Necklace by L A N V I N from Pinkclouds. com ( l e f t a r m) Leather with gold pyramides bracelet by M I U M I U . Gold and diamond bracelet by G I A N F R A N C O F E R R E , available at Coquette. (r i g h t a r m) Gold stone deco bracelet by E T RO . Gold and black lucite bangles by G I A N F R A N C O F E R R E , available at Coquette. o p p o s i t e ::

Featuring Cindy Crawford Hair Enzo Angileri @ Cloutier Remix Makeup Robin Black for Nars Cosmetics @ starworksartists.com Manicurist Jenna Hipp for Kiss usa @ traceymattingly.com Studio Manager Anne Kim Digital Tech Nate Caswell with Industrial Color Photo Assistants Alex Almeida and Trevor Smith Stylist Assistants Megan Freilich and Jessica Margolis Special Thanks to Jayme Phillips and Nicole Caruso at Wolf Kosteler

DIE

WALKĂ&#x153;RE Photography Michael Bader Stylist Janina Amrehn

a b o v e ::

Headdress by R E Y PA D O R . Silver dress by I R I S VA N H E R P E N .

Female wears short black dress by I R I S VA N H E R P E N , long beige dress by AGAT H A D Z I A L O C H A , and ancient diaden. Man wears wool jacket by J O H A N A K E S S O N , corsage skirt by F R E D E R I C K H O R N O F , and necklace by C E D R I C J AC Q U E M Y N . o p p o s i t e p a g e ::

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t h i s p a g e ::

Felted brocade lace dress and accessories by TA L B O T RU N H O F . n e x t p a g e ::

Asymmetrical long dress by A . F. VA N D E R VO R S T . Train by F R E D E R I C K H O R N O F . Jacket and belt by by AGAT H E D Z I A L O C H A . Accessories are st ylistâ&#x20AC;&#x2122;s own.

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t o p :: Train trousers by F R E D E R I C K H O R N O F . Shirt jacket by J O H A N A K E S S O N .

Accesories are st ylist’s own. Headdress by R E Y PA D O R . Silver dress by I R I S VA N H E R P E N . b o t t o m ::

Jacket by R E Y PA D O R . Knitted sweater by C E D R I C J AC Q U E M Y N . Train by F R E D E R I C K H O R N O F . Trousers by J O H A N A K E S S O N . Accessories are st ylist’s own. n e x t p a g e ::

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Wrap jacket by J O H A N A K E S S O N . Trousers by F R E D E R I C K H O R N O F . Pieces of armour and gauntlet are ancient. a b o v e ::

o p p o s i t e p a g e :: ( l e f t) Corsage top by AGA H T E D Z I A L O C H A . Long dress by J A N I N A A M R E H N . Accessories are st ylistâ&#x20AC;&#x2122;s own. (r i g h t) Knitted sweater by C E D R I C J AC Q U E M Y N . Corsage trousers by F R E D E R I C K H O R N O F . Accessories by I R I S VA N H E R P E N .

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Jacket by R E Y PA D O R . Knitted sweater by C E D R I C J AC Q U E M Y N . Train by F R E D E R I C K H O R N O F . Accessories are st ylistâ&#x20AC;&#x2122;s own. (r i g h t m o d e l) Jacket and linen top by F R E D E R I C K H O R N O F . Trousers by J O H A N A K E S S O N . Accesories are ancient. l e f t :: ( l e f t m o d e l)

b o t h i m a g e s b e l o w :: Train trousers by F R E D E R I C K H O R N O F . Shirt jacket by J O H A N A K E S S O N . Accesories are st ylistâ&#x20AC;&#x2122;s own.

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a b o v e :: Jacket by F R E D E R I C K H O R N O F . Scarf by A L A N D O N OVA N T J O N . Necklace by C E D R I C J AC Q U E M Y N . Fur and accessories are st ylistâ&#x20AC;&#x2122;s own. o p p o s i t e p a g e :: Leather ruff le trouser by G R A E M E A R MO U R . Corsage by V I K T O R & RO L F . Diadem and gauntlet are ancient.

dress

Cape by AV E L O N . Shirt by C E D R I C J AC Q U E M Y N . Trousers by J O H A N A K E S S O N . a b o v e ::

o p p o s i t e p a g e :: R A M I AY A R I .

Leather dress by I R I S VA N H E R P E N . Sleeves by Skirt by F R E D E R I C K H O R N O F .

Photography Michael Bader at www.michael-bader.com Hair and Makeup by Sabrina Holtmann Photo Assistant M체ller 3000 and Michael L채mmler Grafik by Jan Philipp Welchering Models Bianca and Dominik at Megamodels, and Arne. 166

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ZOO LIFE

RIE RASMUSSEN & NANOU VANDECRUYS starring

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t h e ki s s of d e a t h Trench by P O R T S 1 9 6 1 .

a n a n g e r re a c t s Trench by K A I -A A K M A A N .

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conscience Coat by 3 . 1 P H I L I P L I M .

conscience Dress by J OA N N A M A S T RO I A N N I . Briefs by C A LV I N K L E I N .

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g re a t s a d wh o re Jacket by T I MO W E I L A N D .

g re a t s a d wh ol e Cape by C A M I L L E A N D M A RC . Shoes by M I S S S I X T Y .

Photography and Concept Rie Rassmussen Fashion Editor Rene Garza Makeup Yumi @ www.l-artist.com Hair Gregory Alan Camera Operator Nick Corey Photo Assistant Robert Cardona Tech Lelanea Fulton Production L&A Artist NY, www.l-artist.com

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ju s t n o m o re re a s o n Coat by F R A N K T E L L . Shoes by R A P H A E L YO U N G F O R F R A N K T E L L .

BUYER’S GUIDE 3.1 PHILLIP LIM - w w w.31philliplim.com

CARTIER - w w w.cartier.com

A.F. VANDEVORST - w w w.af vandevorst.be

CEDRIC JACQUEMYN - w w w.cedricjacquemyn.be

ACNE - w w w.acnestudios.com

CELINE - w w w.celine.com

ADRIENNE LANDAU - w w w.adriennelandau.com

CEMENT STORE - w w w.cement-own.com

AGAMIC - w w w.agamicnyc.com

CHADO RALPH RUCCI - w w w.bergdorfgoodman.com

AGENT PROVOCATEUR - w w w.agentprovocateur.com

CHLOE - w w w.chloe.com

AGATHE DZIALOCHA - w w w.agathedzialocha.com

CHRIS HABANA - w w w.chrishabana.com

AGENT PROVOCATEUR - w w w.agentprovocateur.com

CHRISTIAN LOUBOUTIN - w w w.christianlouboutin.com

ALAN DONOVAN TJON - w w w.donovantjon.be

CONVERSE - w w w.converse.com

ALBERTO JUAN - w w w.etsy.com/shop/A lbertoJuan

COQUETTE - w w w.coquette.com

ALCATROCK - w w w.alcatrock.com

CUSTO BARCELONA - w w w.custo-barcelona.com

ALEXANDER MCQUEEN - w w w.alexandermcqueen.com

DANIK A - danika-bxny.com

ALEXIS BITTAR - w w w.alexisbittar.com

DAVID LONGSHAW - w w w.davidlongshaw.co.uk

ALL DRESSED UP - w w w.alldressedup.com

DEMOCRACY OF NEVERMIND -

AND_I - w w w.and-i.net

ASSAD MOUNSER - w w w.assadmounser.com

DIESEL - w w w.diesel.com

AVELON - w w w.avelon.me

DIPTRICS - w w w.diptrics.com

AZATURE - w w w.azature.com

DKNY - w w w.dkny.com

AZZEDINE ALAÏA - w w w.doverstreetmarket.com

DOG - w w w.dog-hjk.com

BALMUNG - balmungtokyo.web.fc2.com

DOLCE & GABBANA - w w w.dolcegabbana.com

BARBARA BUI - w w w.barbarabui.com

DONNA K ARAN - w w w.donnakaran.com

BETSEY JOHNSON - w w w.betseyjohnson.com

EMILIO PUCCI - w w w.emiliopucci.com

BEYOND RETRO - w w w.beyondretro.com

ETRO - w w w.etro.it

BIJOU R.I. - w w w.bijoou.com

FALINE TOYKO - w w w.bambifaline.com

BIJULES - w w w.bijulesnyc.com

FIFTH AVENUE SHOE REPAIR - w w w.shoerepair.se

BILLIONAIRE BOYS CLUB - w w w.bbcicecream.com

FILIPA K - w w w.filippa-k.com

BLISS LAU - w w w.blisslau.com

FRANK TELL - w w w.frank-tell.com

THE BLONDS - w w w.theblondsnew york.com

G.V.G.V - w w w.g vg v.jp

BURBERRY PRORSUM - w w w.burberry.com

GALLERY FAKE - w w w.faketokyo.com

BZZ - w w w.davidebazzerla.com

GEMMA SLACK - w w w.gemmaslack.com

CALVIN KLEIN - w w w.calvink lein.com

GIL CARVALHO - w w w.gilcarvalho.com

CAMILLE AND MARC - w w w.camillaandmarc.com

GIANFRANCO FERRE - w w w.gianfrancoferre.it

CANDELA - w w w.neimanmarcus.com

GRAEME ARMOUR - w w w.graemearmour.com

CANDY - w w w.candy-nippon.com

GRAPEVINE BY K3 - w w w.grapevinebyk3.jp

CAROL MARIE - w w w.carolmariedesign.com

GUISEPPE ZANOTTI - w w w.giuseppezanottidesign.com

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w w w.democracyofnevermind.com

H30 FASHION BUREAU - w w w.h3otokyo.com

NUDIE - w w w.nudiejeans.com

HERVE LEGER BY MAX AZRIA - w w w.herveleger.com

NUKI SIGORA - w w w.2all.co.il/ Web/Sites/nukisjewelry

HIILA - w w w.hiila.com

PARK BY K3 - w w w.k3coltd.co.jp

HOUSE OF FLORA - w w w.houseoff lora.net

PATRICIA NASH - w w w.patricianashdesigns.com

IOSELLIANI - w w w.iosselliani.com

PATRICIA UNDERWOOD - w w w.patriciaunderwood.com

IRIS VAN HERPEN - w w w.irisvanherpen.com

PETITOLE - w w w.petioleny.com

ISABEL MARANT - w w w.isabelmarant.tm.fr

PINKCLOUDS.COM - w w w.pinkclouds.com

ISSEY MIYAKE - w w w.isseymiyake.com

PORTS 1961 - w w w.ports1961.com

J MENDEL - w w w.jmendel.com

PRADA - w w w.prada.com

JOANNA MASTROIANNI - w w w.joannamastroianni.com

PREEN BY THORNTON BREGAZZI - w w w.preen.eu

JOHAN ÅKESSON - w w w.johanakesson.se

RAD HOOURANI - w w w.radhourani.com

JOSE DURAN - w w w.joseduran.net

RAPHAEL YOUNG FOR FRANK TELL - w w w.frank-tell.com

JUNYA SUZUKI - w w w.candy-nippon.com

RICHARD CHAI - w w w.rchai.com

K AI-A AKMAN - w w w.kai-aakmann.com

ROBERTO CAVALLI - w w w.robertocavalli.com

K AZUSHI HARA - w w w.candy-nippon.com

SEE BY CHLOE - w w w.chloe.com

KENNETH JAY LANE - w w w.kennethjaylane.net

SIKI IM - w w w.sikiim.com

KSUBI - w w w.ksubi.com

SILVIA TCHERASSI - w w w.silviatcherassi.com

LA CRASIA - w w w.lacrasia.com

SISTER - w w w.sister-tokyo.com

LAILA VINTAGE COLLECTION - w w w.laila.jp

SOCIETY FOR RATIONAL DRESS -

LANVIN - w w w.lanvin.com

LARUICCI - w w w.laruicci.com

SONIA RYKIEL - w w w.soniarykiel.fr

LAURA SIEGEL - w w w.laurasiegelcollection.com

TALBOT RUNHOF - w w w.talbotrunhof.com

LD TUTTLE

TIMO WEILAND - w w w.timoweiland.com

- ldtuttle.com

w w w.societ yforrationaldress.com

LEVI’S - w w w.levi.com

TOMMY HILFIGER - w w w.tommy.com

LINA OSTERMAN - w w w.linaosterman.com

TOPSHOP - w w w.topshop.com

LOGAN NIETZEL - w w w.loganneitzel.com

UNDER.LIGNE - w w w.underligne.com

MADE HER THINK - w w w.madeherthink.com

VICTORIA’S SECRET - w w w.victoriassecret.com

MARC BY MARC JACOBS - w w w.marcjacobs.com

VIKTOR & ROLF - w w w.viktor-rolf.com

MCQ - w w w.m-c-q.com

WE ARE OWLS - w w w.weareowls.com

MICHAEL KORS - w w w.michaelkors.com

WES GORDON - w w w.wesgordon.com

MISS SIXTY - w w w.misssixt y.com

WOLFORD - w w w.wolford.com

MIU MIU - w w w.miumiu.com

WUT BERLIN - w w w.w utberlin.com

NO. 6 - w w w.no6store.com

XANADU - w w w.xanadutokyo.com

NOITISNART - w w w.noitisnart.com

YVES SAINT LAURENT - w w w.ysl.com

NOM*D - w w w.nomd.co.nz

KEGAWA NO MARIES PHOTO sasaguchi WORDS AND STYLING naoko watanabe TRANSLATION yo shin

is a Japanese rock band formed in 2003. Representing the standard rock sound arrangement with a slight update for modern tastes, the band has independently released three albums and an LP, and has recently signed with major label Columbia Music Entertainment. FutureClaw’s fashion editor in Japan, Naoko Watanabe, is a major fan of Kegawa no Maries, and we asked her to style a shoot with them while also describing her personal experience with the band. KEGAWA NO MARIES

I was glad at having the opportunit y to collaborate with Maries as I was working on representing an invisible, internal world. When I visited their live performance for the first time, it was as if an electric light ran through my body. I tripped onto a different world, another space in an instant from the Club Shibuya, in which I actually was. They were emitting some special power that I can’t explain in words, I was completely attracted to them. A collaboration of music and fashion. The commercial fashion and fashion. Creation that is begun with bringing the issue primarily what people demand, rather than starting to stare at the point where oneself and the realit y intensely intersect is eternally barren. It is absolutely a wrong thought to control people by convincing them to come to us or coming down to them ourselves. With that kind of thought you cannot give any answers with a question how the genuine solidarit y among people could be possible. Freedom exists without any connection with business. Commerce exists for sale. Themes or expressionist groups are chosen by organizations based on the models that will be used until the audience gets tired. There are writers whose masterpieces make us astonished and forget the obedience to the power of commerce. They have succeeded in improving the nature of commerce with their creative talent. “Even if one has no intention to show his work to others, the nature of

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representation contains others,” a representative for the American underground film director, Jonas Mekas, stated about his process. “Man’s mind is realistic and concrete. Creating art based on man’s mind and the effect of mind born through creating art are also realistic and concrete.” In order to unite with “Cosmos” (orderly world), we must seek the consciousness of beyond. It is often said that art has to confront with the political circumstances. Probably, art always needs to be independent to do so. We should not be satisfied with using progressive ideology and the old-fashioned way of expression. I was particular about the search for a new motif and the pursuit of the new way of expression together. What is the most important thing about being avant-garde is to keep radical attitudes rather than the contents of the works or theories. It’s a fantasy world, delusional illusion. A macrocosm to a microcosm (and/or man). The nature of the experimental picture is continuit y of confirming the relationship bet ween the world and us at all times, which is also equivalent to “ being alive.” I was trying to stay away from transcending the ordinary way of looking and expressing the world as an object that I could see. HAIR kazuya matsumoto MAKEUP masayo tsuda PHOTO RETOUCH emoto shouta

DIE ANTWOORD WORDS AND PHOTOGRAPHY clayton cubitt STYLING rene garza

DIE ANTWOORD are the answer to a question

you didn’t know to ask. You will love them, or you will hate them, but you will definitely feel something about them. Put down this magazine and search for them on the Internet, their native habitat, like a virus. Watch their videos. Now pick this magazine back up and read these lyrics, imagining an Afrikaans accent: You Walk In The Silence, Not Sure What The Time Is It’s Totally Twilight, The Sky Is Violet An Abandoned House, Look Ahead You See Someone Opens The Door, Yes It’s Me With The Meanest Penis You Ever Seen You On Your Period, With No Tampon You Kneel Down And Get With The Vibe Your Period Blood Has Crystalized You Offer Me The Red Crystal (It’s Ill) Grab Hold Of The Mic Tight, Tonight’s The Night The Vibe Is Live, Pump Up The Base I Got Tentacles Coming Out My Face I Rise Into The Air Cut Myself Open Warm Blood Pours Down All Round I Speak From The Deep Cut In Between My Thighs You Covered In Blood Rubbing Your Boobs, Feeling Nice Fur coat by MICHAEL KORS

And ask yourself if you’re not curious now, what the answer is, to the question you didn’t know to ask five minutes ago. Die Antwoord are a South African rap/rave duo, NINJA and YO-LANDI VI$$ER, whose debut album $O$ is currently available from Interscope Records. FutureClaw asked to have a brief email conversation with the duo after our photoshoot. Here is their response.

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CLAYTON CUBITT - Hello brother Ninja and sister Yo-Landi! So my friends at FutureClaw would like to eavesdrop on us having a chat. So I see your global tour just took you to Japan for your first visit. How did it feel like to be there? DIE ANTWOORD - fine. i think we going to move there for a while soon. i want to learn to speak japanese fluently and yo-landi wants to buy more clothes that fit her so nice in heaven everything is fine we made really cool friends there who make toys. we making NINJA, YO-LANDI toys soon. but we starting off with EVIL BOY toys here is a EVIL BOY toys i made myself CC -I could see you living there. Your speaking cadence always struck me as Japanese. Has anyone told you that? I think you’d learn it easily. I wish I was smart enough to learn the language, it seems frighteningly hard. DA - yes we are more clever than you but dont worry when we finished learning it we will teach you all the easy swear words to that you can be in our gang. The only thing I learned really well is “Ohayo gozaimasu,” which means “good morning” really politely, which since I’m never up in the morning is not so useful. I ate shark cartilage while I was there. And called America from a fancy toilet phone. CC - Are the Japanese going to make your Evil Boy toy? I know they have strict rules against genitals in videos, but maybe a giant toy boner is exempt? DA - yes they told us about the strict rules about showing your big penis but our japanese friends are fokken clever little sneaky prawns they said they are going to wrap our EVIL BOY toys up in shiny paper and tell everyone that they are actually big sweeties that you suck no problem happy happy joy joy let’s go CC - Where do you go for inspiration? I know it strikes anywhere, and often at the least convenient times, but is there a spot or place you go to for thinking? I think mine is going to have to be a long hot bath. Anywhere, as long as it’s calm and quiet.

DA - I don’t have to go anywhere. My trance is 24/7/365. CC - So there’s that legend that the bass frequency 33hz causes a resonant vibration in ladyparts which they find agreeable. I was at a couple of your shows with some ladyfriends and they seemed to agree your bass frequencies are agreeable. Did you and Hi-Tek plan this? Is Yo-Landi ever caught in the crossfire on stage? DA - We like loud bass. In Cape Town the taxis pump their bass so loud that you can hear them before you see them. CC - The ancient Chinese believed that the man should withhold his orgasm, his Yang, and collect the sexual energy of as many women as possible, their Yin. The more Yang he

retains and Yin he collects, the more powerful he becomes. Some call this technique “injaculation.” It reminds me of the Frankie Say Relax motto. DA - Yes loosing sperm is bad for you. International ejaculation much more next-level. CC - You got your crank tattooed with the Afrikaaner slang for “What you looking at?” Are you ever tempted to flash it to people who are staring at you? Can we let Futureclaw publish the photo we made of it? DA - No I don’t just show it to anyone. Only special people. Clayton Cubitt is a photographer, artist, and filmmaker in New York City.

FINAL PAGE

THE MYTH OF SYPHILIS WORDS & PHOTO BY jahn hall

Monday was a completely average, unexceptional morning. I woke up with the TV still on. Since Trashcan died, I’ve had to keep the TV on at night to keep the quiet from getting into my head. Morning television was on. They were interviewing young some girl who’d raised a fuckin’ huge pig somewhere where apparently fuckin’ huge pigs are raised by little girls. My eyes slowly focused on the heavy-set teenager holding a trophy big enough to have you thinking she’d done something more than raising that fuckin’ huge pig. Good job. You overfed your swine. Now here’s a big fuckin’ trophy. I rolled over, taking note that a piece of cellophane had stuck to my face, leaving an imprint across my cheek like some topographical map. I peeled it off and sighed realizing that right there, that moment, well before noon, was to be the highlight of my day; the one thing that made today different that any other. I used to rely on Trashcan to break the monotony of my life with some sort of clever cat maneuver; some implausible leap from the foot of my bed to the top of the rerigerator littered with empty beer bottles. Empty beer bottles left undisturbed by her ninja moves. It seemed like she possessed some other-wordly ninja powers I swore other cats didn’t have. A window left ajar took Trashcan’s ninja powers away. Nine lives cut short by the rusted out hole in my 6th floor fire escape. That’s how I wanted to go. Some big kapow to an unsuspecting crowd below. A perfect introduction to the neighbors on floors one through five who inevitably didn’t even know I lived there. Shit. I’d settle for one day of Trashcan’s ninja powers. Days had become so inconsequential that I couldn’t follow what day it was. You know, like that part in Party Girl where Parker Posey was talking about that guy who’s destiny was to push a giant rock up an even more gigantic hill except that when he got to the top of the hill, the rock would slide from his grip to the bottom of the hill. This would last for eternity. Every day he’d start and end his day at the bottom of that hill. Fuckin’ Syphilis and his existential bull-shit existence. How the fuck did guys like me and Syphilis or whatever the fuck his name was end up like this? I left Wyoming, moved to New York and sold my van. I’d get into some band, play some shows, get somewhere.

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Instead, New York had kicked my ass. No job, no band and six months behind on rent in an apartment smaller than my van but without the heat and radio. It wasn’t as though I hadn’t tried. I’d just given up. Sucked in by a life of cheap beer and internet porn. So I was left with nothing but a giant fucking rock and an even more gigantic hill. I stared out my 6th floor window and for a while wondered if I’d fit through that hole in the fire escape as Trashcan had. Live dull, die young. A sort of rock and roll end to an easy listening existence. Or enter any random bullshit phrase here to indicate that ending my life would be the most exciting thing I’d ever do. The only issue? The lack of any real passion to actually go about killing myself. Albeit brief, it was a very ‘Teenage Suicide, Don’t Do It’ kind of moment. I sighed again, heavily, pretending it was to be my last breath. I rolled back over and stared at the TV. Morning television had given way to afternoon talkshows. How the fuck did that happen? Wasn’t it just like 10 a.m.? I was suddenly jealous of that fat girl and her big fucking pig. She was the shit back in whatever town she came from where little girls raise huge fuckin’ pigs. She’d grow up dreaming of New York, move here and end up pushing a rock just as big as mine up a hill just as big as mine. No one would care about her fucking pig and trophy here.