GLAMCULT / 2015 / ISSUE 6 / #114 / EU

“Burn that mother down.”

FREE 2015—Issue 6 #114

Glamcult Independent Style Paper

MCQ.COM

Issue 6 #114 Update

Update

Cult 8 Albums 14

Autumn/Winter 2015 32

Platform

Embody

Jakob Kvist

8

Vetements 36

Interviews

Visual Essay

Tianzhuo Chen 18 Bea1991 22 Creatures of the Wind 24 Raury 28 First Hate 30

Your jaw at the disco... 38 Cause heaven need... 46 Plus

Stockists 54

Colophon Editor-in-Chief Joline Platje joline@glamcult.com Creative Director Rogier Vlaming rogier@glamcultstudio.com Fashion Editor Leendert Sonnevelt leendert@glamcultstudio.com Copy Editor Megan Roberts Sales & Marketing Filippo Battaglia filippo@glamcult.com Sales sales@glamcult.com Art Director Marline Bakker marline@glamcultstudio.com

Graphic Design Glamcult Studio: Karen van de Kraats Rutger de Vries Contributors: Daniël Heijl Emily Vernon Emma van Meyeren Fay Breeman Iris Wenander Jack Dolan Kelsey Lee Jones Misha Kruijswijk Sander van Dalsum Sarah Johanna Eskens Photographers: Ari Versluis Carlijn Jacobs Filip Custic Jonathan Baron Katharina Poblotzki Kope | Figgins Olya Oleinic Sophie Mayanne Kim Matthäi Leland

Quotes Burn that mother down.

—The Trammps Your jaw at the disco is all I see.

—Easter Cause heaven need a villain.

—A$AP Rocky Cover BEA1991 Photography: Violette Esmeralda— Eric Elenbaas Agency Hair and make-up: Yokaw for Laura Mercier—Angelique Hoorn Mngmnt Assistant hair and make-up: Nynke de Jongh

Publisher Rogier Vlaming / Glamcult Studio P.O. Box 14535, 1001 LA Amsterdam, The Netherlands T +31 (0)20 419 41 32 rogier@glamcultstudio.com www.glamcultstudio.com Distribution distribution@glamcult.com For all subscriptions please contact Abonnementenland P.O. Box 20, 1910 AA Uitgeest, The Netherlands T +31 (0)251 313 939 F +31 (0)251 31 04 05 For subscriptions www.bladenbox.nl For address changes and cancellations www.aboland.nl Eight issues a year The Netherlands € 37 Europe € 59,50 Rest of the world € 79,50 Prices subject to change

6

Subscriptions can start at any time during the year. Subscriptions need to be closed for at least one year and will be automatically renewed until further notice. Cancellations must be submitted written and at least six weeks before the expiry of the subscription period to Abonnementenland.

Changes of address must be submitted written at least three weeks in advance to Abonnementenland. © All rights reserved. Nothing from this publication may be reproduced in any form without written permission from the publisher and other copyright holders. The publisher cannot be held responsible for damage done by incorrect provision of information in the magazine. The views expressed in the magazine are those of our contributors and do not necessarily represent the views of Glamcult or its staff.

ISSN: 1874 1932

diesel.com

fashion is not about standing out

Cult

1

Gareth McConnell, AnOther Double I, 2010, from the series Close Your Eyes, 2014

3

2

Casper Sejersen We Want More

2015

5 TJ Tambellini Photo: Trevor Good, courtesy of Peres Projects, Berlin, 2015

The Charade, stop motion animation with suitcases, 2014

4

Tromarama

1

There’s an intangible softness to the work of photographer and filmmaker Casper Wackerhausen-Sejersen.

Whether he’s shooting Charlotte Gainsbourg for the cover of self service, a Vetements profile with Lotta Volkova or the official Nymphomaniac poster campaign, the images this Danish artist creates always seem to originate in a sandy, erotic dream.

Even violent and gloomy symbolism (exploding cars, dying flowers, broken mirrors) turns beautifully silky under Sejersen’s gaze. Although his portrait of a nude Shia LaBeouf might have gotten him most exposure lately—and rightly so, of course—Glamcult is especially struck by his homely but surreal compositions, as well as his surprising use of the colour yellow. Aficionados, we suggest you take a good look at Belongs to Joe: a 160-page photographic essay by the artist and art historian Cecilie Høgsbro, compiled as a set of notes on Lars von Trier’s latest film, shot from the perspective of the much-discussed protagonist.

By Leendert Sonnevelt www.caspersejersen.com

2

Los Angeles-based photographer TJ Tambellini forces us into the present with his online database, This Is Now Here. His photography shows us, next to the sunny and clean vibes of LA, cropped images of the world around him. Bringing these detail shots together on his blog, we see a realistic yet surprising view of everyday sights. For Tambellini there’s no flipping, recontextualization or defamiliarization necessary. By choosing common subjects and amplifying their textures, colours and shapes, he shows us beauty above all.

Not shying away from popping colours and abstract shapes, he depicts that which was already there—although you might never have noticed it. He brings the images together in his ongoing project and plays with the idea of online curation and temporality. The image can be found on a screen in your home, a coffee shop, your work or on the train.

Tambellini takes a detail from reality, a captured moment, and brings it to you: here, now. By Emma van Meyeren www.thisisnow-here.tumblr.com

Przemek Pyszczek 3

4

5

It’s the era of democratization, a development seen in the fashion, media and art industries, meaning that anyone can participate, and that distances between creators and audiences are decreasing. Of course, this is enabled by new digital technologies such as The Internet, and by the fact that tools of production are now accessible for all. The exhibition We Want More shows the interplay between such changes in the photography and music businesses. It explores photography’s role in defining music culture today, and concludes that this shift has led to a change in aesthetics. The exhibition displays, among others, Inez van Lamsweerde and Vinoodh Matadin’s Lady Gaga (2014) and Ryan McGinley’s You and My Friends 6 (2013), which addresses the photographer’s experience with live music. Also showing: freaky music videos created by photographers such as Roger Ballen for Die Antwoord.

By Sarah Johanna Eskens

In 2013, Amsterdam’s Stedelijk Museum began its Global Collaborations programme to create space in the museum for international artists who’ve never had a solo exhibition in a European museum before. This year they teamed up with Indonesian art collective Tromarama.

The members—Febie Babyrose, Herbert Hans and Ruddy Hatumena—all studied in the department of art and design at the Bandung Institute of Technology. At the Stedelijk, they show three large and two smaller animations that play with current issues in an Indonesian context.

When the Stedelijk asked them why they chose to use animation, they jokingly answered, “We love to play God.” Through the creation of new realities, Tromarama manages to initiate profound critiques of current issues. Happy Hour, for instance, is a response to the financial crisis that hit Indonesia in 2009.

We’re excited to find out what we’d see around us if these three were “the Creator”… By Emma van Meyeren

Polish-born artist Przemek Pysczek resides in art capital Berlin, a city with tons going on yet which remains relaxed and free from urban chaos.

To a creative mind such as Pysczek’s, this is a source of constant inspiration.

His interest in architecture and urbanism naturally makes him observant of such landscapes, and in fact all of his surroundings. Pysczek graduated from the University of Manitoba’s environmental design programme in Winnipeg, and his art practice has since developed to explore landscapes in the abstract. Best known for his elegantly restrained amalgams of painting and sculpture, Pysczek’s most recent work explores the physical and social landscape of both the pre- and post-communist era in his native Poland. He makes use of beautiful metalwork in pop colours, suggesting the ornamentation of prefabricated, modular and repetitive post-war buildings. By Kelsey Lee Jones

Until 20 September, We Want More: Image Making and Music in the 21st Century, The Photographers’ Gallery, London

Until 6 September 2015, Tromarama, Stedelijk Museum, Amsterdam

www.przemekpyszczek.com

www.tromorama.com www.stedelijk.nl

www.thephotographersgallery.org.uk

8

Gc Update

Cult

6

Photo: Hans-Georg Gaul, courtesy of Trust Ltd, 2015

Photo of live performance The Yellow Series, 2009, image courtesy of Kevin Kavanagh Gallery, Dublin.

8

Peter Puklus, Painted plaster head (Self-portrait of a man in orange), 2015

7

Amanda Coogan

Martin Niklas Wieser

10

Unseen

Graduation collection 2015, photo: Ronald Stoops

Graduation collection 2015 OOPS~, photo: Felix Cooper

9

Meng Yu

Miriam Laubscher 6

A yellow canary spreading its wings, a bare-breasted woman tearing up her golden gown, a hausfrau dressed in an enormous buttercup dress giving birth to bubbles. In Irish artist Amanda Coogan’s collection of works The Yellow Series, the colour is not just a hue; it’s a symbol— a symbol of femininity, sexuality, transcendence and endurance. In her recent works, meanwhile, Coogan’s main practice has been focused on live performances, some lasting up to 12 hours. Her 12 women is a visualization of the 1913 Church Street Disaster, where two tenement buildings suddenly collapsed in the overcrowded slums of Dublin. In the piece, women attempt to escape the rubble (or in this case, a blue sheet) while faced with death, confusion and sadness. Amidst the chaos is Coogan holding a bright headlight, like a light at the end of the tunnel. Little is known about I’ll sing you a song from around the town, Coogan’s new performance piece, but expect deep devotion and total immersion. By Iris Wenander 4 September until 18 October, I’ll sing you a song from around the town, Royal Hibernian Academy, Dublin www.rhagallery.ie www.amandacoogan.com

7

8

Over the last three years, lovers of contemporary photography have been going into ecstasies over Unseen. The Amsterdam-based photography fair has drawn both industry experts and enthusiasts from all over the world to view the works of photographers such as Blommers/ Schumm, Viviane Sassen and Lorenzo Vitturi. Romanian artist Peter Puklus had the privilege of making this edition’s campaign imagery, merging photography with 3D, graphics and film to create a collection of images that seem perfectly aligned with the idea of Unseen. The colourful sculpture used is in fact Puklus’s self-portrait, and is inspired by the tragic story of the disappearance of the (now unseen) statue representing Hungarian artist Joseph Csaky. Next to the established photo fair, Amsterdam Unseen Festival will be held throughout the entire city to connect galleries, institutes, academies and artists, delivering a diverse and accessible programme. Get ready to check off your never-ending ‘unseen’ list. By Daniël Heijl

Although his work might come across as minimal or even simplistic, the story behind Martin Niklas Wieser’s work is much more intricate. Rather than focusing on ( just) a fashionable end product, this German designer sets out to expose and critique the rules and processes of the fashion world—both in terms of mass industry and of sly marketing. Wieser proposes an unconventional alternative—not by means of heavy haute-couture embellishment or extensive artisanal techniques, but by employing the language of the everyday product world itself. Yes, that includes the IKEA utensils and Bauhaus shower curtains we all know too well. Complementing his nominal and genderless A/W15 collection with the exhibition Pink or Blue at Trust Ltd. in Berlin, Wieser shaped a room of garments and objects not bound to connotations of gender or time: “a smooth and muted utopia that is not separate from the product world, but rather finds itself a peaceful place within.” A quiet but bold statement.

By Leendert Sonnevelt

18, 19 and 20 September, Unseen Photo Fair, Amsterdam

www.martinniklaswieser.com

9

The work of womenswear designer Miriam Laubscher expresses the joy of painting with colours and playing with cuts. Employing yellow, red and blue, for her MA collection at the Royal Fashion Academy of Antwerp, she created 12 walking paintings that evoke the images of Rothko and Mondriaan. Glamcult especially appreciates Laubscher’s pairing of soft, flowing garments with more angular shapes—there is lightness, movement and freshness. Having obtained her BA also in Antwerp, and studied at a technical fashion school in Zurich, in between Laubscher cut her teeth at Alexander McQueen and Vivienne Westwood, both in London.

Laubscher says this collection was inspired by the work of artist Lygia Clark, who professed that art should be a multisensory experience. From this starting point, Laubscher makes the wearer part of the painting, then has them walk out of it to create their own story. We hope the designer’s next chapter is just as poetic and dreamy. By Sarah Johanna Eskens

10

Every year, Glamcult goes through the graduate collections of London’s biggest art schools like kids in a candy store. This time around, London College of Fashion womenswear designer Meng Yu caught our eye in particular. Yu’s loose-fitting, pastelcoloured knitwear pieces are the perfect combination of cute and baggy. As the designer told Dazed of her pastel patterns, the shapes resemble an accident, like when you spill water over yourself. The mixture of water and colour is what inspired her to create the patterns, which is also why she named them “whoops”.

Before Yu began her masters at LCF, she attended the Dalian Polytechnic University in the eastern region of her home country, China. She aspires to return to China in the future to run her own business—we think her creative mind will take her to equally creative places. Yu proves that oversized can easily be cute, a look that’s equally endearing and daring. By Emma van Meyeren

www.unseenamsterdam.com

10

Gc Update

Cult

By Kelsey Lee Jones Photography: Kope | Figgins

11

Cult11AD

11

From one “cult” to another, Glamcult recently got down with Cult11AD, a Jo’burg-based “iconographic, psychedelic clothing & accessory brand”. The creatives behind the collective go by the names of Miroslav Bijelich and William Ndatila, and “11AD” references their first ever fashion collaboration, which they founded together in 2011, Anno Domini.

“Cult” enters the equation because Bijelich believes that all fashion brands are like cults—“call it what it is,” he says. “The definition of ‘cult’ states: ‘a misplaced or excessive admiration for a particular person or thing’. The word conjures thoughts of religious beliefs or practices regarded by others as strange or sinister, yet the world we live in today worships status, money and celebrity. Are we not all part of a subconscious cult?”

Appropriately enough, Cult11AD looks to the fringes of society for stimulus—seeking out the alternative, the abnormal, the uneasy. Global street culture, design, iconography and bio-

logy all provide the “esoteric practices of a #hashtag generation”. Somewhat ironically, Bijelich and Ndatila have earned an immense “cult” following via their Instagram accounts. Follow @williamcult and @telepathic2000 and you’ll get your daily dose of mind-bending ephemera. “Instagram for me is a lot more personal than you might think,” confesses Bijelich. “I go through stages where I’m happy and sad and you can see that reflected in the images I post. In essence, it’s my running mood board, which keeps me creative. It gets me in the mood to design and helps me when I have artist’s block. It’s not everybody’s cup of tea, but that suits me perfectly.”

Walking the line between profanity and homage, the Cult11AD design philosophy seeks “to break fashion and art apart”, and to examine its particles and reconstruct them in a new way. There appear to be no rules, and the designers-cum-activists’ visual aesthetic changes as they make new discoveries—although they confess to

romanticizing the concept of expressing individuality through clothing. “We would like to offer a product that is relevant to the individual which doesn’t have a sell-by date or is strictly on trend. The challenge and aim with the brand is producing garments and ideas that speak to an audience on a deeper level.”

Cult11AD’s most recent collection for A/W15 was comprised of an uncanny assemblage of knitwear that referenced nature, algae and salamanders, with a composition inspired by ’80s Italian furniture designer Ettore Sottsass of Memphis Milano. But it was perhaps the first collection, in which they attempted to make the biggest visual impact with the smallest, most prolific item in most people’s wardrobe—the T-shirt—that best demonstrated their activist politics.

“We have always loved T-shirts,” they say, talking us through iconic moments like Debbie Harry on stage in a Doctor X tee and Katherine Hamnett meeting Margaret Thatcher in a anti-

12

nuclear power T-shirt—“you realised then that the often overlooked and undervalued T-shirt is a great message sender,” says Bijelich. “Although it’s perhaps cliché, John Lennon sums it up in his song Imagine. I think I’m always going to be that person that’s going to question the world we live in today.

Cult11AD is all about questioning the status quo, whether it’s fashionable or not.”

As a collective, the division of labour is shared across Cult11AD’s small team, with just two people creating patterns and samples, and Bijelich and Ndatila working closely together in an organic way. “We are constantly discussing what we see around us or online, separately gathering research and storyboard images. Miro is the graphic whizz-kid… I make the visual changes as an art director, always keeping in mind his initial ideas.” Of their initial meeting and creative attraction in the late ’90s, Bijelich and Ndatila speak with a kind of synchronicity. “It was one of those situations

where you find yourself naturally drawn to each other and you’re not sure why. We were part of the same club scene when South Africa was opening up as a reformed country, I had just moved there from NY and hit it at the right time. It was quite an exciting time with the rave scene and gay clubs.”

Being the alternate types amidst a traditionally conservative society has made the duo stronger and wiser, and given them the courage needed to continue pushing the boundaries.

These two close friends, who both share a love for clothing that stirs emotion and thought, will continue Cult11AD as long as they can, insists Bijelich. “It has rewarded us with a sense of purpose, which enriches us as people.

We’re moving to London this year, going back to school and continuing with the brand. All I can say is watch this space. We are fearless.” www.cult11ad.com

Gc Update

People.

“It’s important to me that every component in my house tells its own story.”

Visit Sophie’s home and get to know her at basematters.com Sophie Bargmann Cultural entrepreneur / Scaper

Homes.

Scapes.

Carpets for contemporary homes.

by

Albums Beach House

Bob Moses

Dam-Funk

Dornik

Ella Eyre

Depression Cherry

Days Gone By

Invite the Light

Dornik

Feline

Bella Union

Domino Recordings

Stones Throw Records

PMR Records

Virgin EMI Records

News of a Beach House record is always something to get excited about, and new offering Depression Cherry doesn’t disappoint. Victoria Legrand and Alex Scally have been recording delightful tunes with a distinct artistry for over ten years now. While we at Glamcult wouldn’t necessarily agree with the friend who once compared their enticing and thrilling sound to making love to a beautiful girl, the duo’s fifth album is Beach House in its purest manifestation: minimal instrumentation, maximum melody. It’s an authentic attempt, as the band itself states, “fully ignoring the commercial context” yet still stunning. Sparks is a spark of genius, Space Song a track somewhere outside of our world and the repetitiveness of PPP could go on and on and on and we wouldn’t complain… And let’s not forget Days of Candy: what an enchanting chanson that is. Beach House equals satisfaction.

By Matthijs van Burg

Bob Moses are proving a big hit at festivals this summer—and it’s no real surprise; the Brooklyn-based duo have perfected a winning formula. Equal parts indie-pop and club-ready house, their live show offers dancefloor progressions with sing-along vocal hooks, and that’s exactly what you get with Days Gone By. If it sounds cheesy, well it kind of is, but luckily there’s enough poise and subtlety within the production to elevate it a notch or two. A lot of the tracks (see: Tearing Me Up) are drenched in eerie guitars reminiscent of Chris Isaak.

Nothing At All offers a slightly more wonky groove than the rest, perhaps the record’s high water mark, and Touch And Go throws up a groove that builds purposefully throughout its seven and a half minutes. Even though it’s sadly a touch too predictable for our tastes, this record is extremely well executed and will no doubt be a success. By Jack Dolan

Punk’s dead, hip hop’s lost its touch and funk is long gone: these hollow allegations by old timers and purists mount daily, but luckily there are still musicians like Damon G Riddick (aka Dam-Funk) who keep breathing life into these classic genres. Riddick’s recent 7 Days of Funk collaboration with Snoop Dogg most certainly kept us going, but the latest full-length by the California native is well overdue.

On Invite the Light, the producer and lyricist takes the listener on an autobiographical trip down memory lane, reminiscing his way through the years since he dropped his debut on Stones Throw Records. Riddick’s production is on point as always, with his voice more prominent than ever, and the list of collaborations is as diverse as it is impressive. Ariel Pink, Q-Tip, Walter “Junie” Morrison and Nite Jewel give the record a contemporary touch, while the synthesizers and drum computers from a past era of peace and love keep on drifting onwards.

By Sander van Dalsum

Singer-songwriter, drummer and producer Dornik has already managed to ingratiate himself into an impressive line-up, being compared to the Neptunes and Michael Jackson and letting his (never meant to be heard) demos get discovered by none other than Jessie Ware. His self-titled album features a soulful collection of warm, relaxed and seductive melodies that sound like they were made to be blasted out of an ’80s car radio while cruising down the coast. Lyrically, Dornik presents themes like desperate adoration with a surprising amount of confidence in his voice, creating a collection of summer love songs that sound both light-hearted and somewhat emotional. Something About You is definitely one of the album’s highlights, smooth electronic soul at its peak. Although days are soon to be getting shorter, Dornik is sure to make you revisit all those magical summer 2015 moments. By Daniël Heijl

She’s a lion’s best friend, has fiery, vigorous hair and has already blown us away with her all-powerful voice.

Yep, Ella Eyre sure knows how to make an entrance. With musical influences including Lauryn Hill, Etta James and Basement Jaxx, it’s no wonder that this young Brit makes a mix of smoky, soulful vocals and anthemic, catchy drum’n’bass. Two years after the release of her debut EP Deeper, her first full-length Feline offers bigger tunes that are definitely made to impress.

Stripped-down piano ballad Even If shows Ella at her most vulnerable and best, making the rest of the album feel almost hysterical at times. However, Feline’s continually emotional yet destructive lyrics are so empowering that even the most cynical can’t help but feel excited for how this talented vocalist is going to develop herself in the future. By Daniël Heijl

Empress Of

Steven A Clark

Kwabs

Petite Noire

Farao

Me

The Lonely Roller

Love + War

La Vie Est Belle / Life Is Beautiful

Till It’s All Forgotten

Terrible Records

Secretly Canadian

Atlantic Records

Double Six

Full Time Hobby

“Water, water is a privilege / Just like kids who go to college / There’s a ring around your mouth now / Where you used to whisper knowledge.” With this brilliant mixture of poetry and politics, the personal and public, Empress Of conjured up one of our favourite tracks of last spring. Now releasing her debut album Me, Lorely Rodriguez confirms all of that kindled excitement. Inspired by a lonesome trip to Mexico’s most desolate places, the Brooklyn-based artist’s clear voice—an emotional but controlled flutter—is at the centre of this record. Rodriguez, a formally trained singer who left the “bullshit” of jazz college for electronic music, explores the many sides of her “me” through intricate dance pop. Whether it’s a straightforward frenzy of sex and desire on How Do You Do It or the more abstract examination of privilege on Standard, this young monarch manages to bring it all together. All hail!

By Leendert Sonnevelt

“I use my actual name because there’s no point in just talking about a character on stage,” Steven A Clark told Noisey after the drop of the first single from his debut full-length, The Lonely Roller.

Clark’s choice to use his real name resonates very clearly through the ten-song album, which shows influences from electronic music to R&B but is above all pure pop: easy to vibe along to as it explores recognizable themes. Songs such as Can’t Have touches upon topics every listener will be able to relate to. While the lyrics speak of the disappointments love can carry—Does he know what love is? / Has he ever seen it?—the beat is comforting, maybe even happy.

Recommended to anyone who’s looking for an outlet for (un)processed emotions. By Emma van Meyeren

Much as the title suggests, this hotly anticipated debut is a serious tale of juxtapositions. “I might see heaven tonight, I might get turned away,” Kwabena Sarkodee Adjepong groans on Love + War. Rising to fame through viral YouTube covers—ranging from James Blake and Katy Perry to a sober rendition of Sometimes I Feel Like a Motherless Child—Kwabs has made his way from the National Youth Jazz Orchestra to the pop charts. And although this album presents Kwabs as a pop star, Love + War’s strengths reside in the artist’s more serious roots.

His soulful electronic sound is contemporary and his beats remind us of Disclosure and SOHN, but there’s much more going on. Kwabs is the kind of artist that prioritizes product over image, his precious voice over rock’n’roll. So we end up with a debut that breaks your heart when Kwabs cries out for a father figure, and makes you feel guilty for finding it catchy at the same time. By Leendert Sonnevelt

Yannik Ilunga, better known by his stage name Petite Noire, entered the scene with a bang this year with his EP The King Of Anxiety. Calling out a plethora of associations from Joy Division to Kanye West, listeners and critics alike agreed his debut would be promising. Ilunga manages to fulfil these expectations with the 11-song album La Vie Est Belle / Life Is Beautiful. His subject matter is straightforward and real, with song titles such as Freedom, Just Breathe and Down. Petite Noire himself categorizes his work as noir wave, a label he coined to redefine what it means to make “African” art, pointing out that this has been categorized as backward or primitive for too long. The album artwork is the most vivid example that Petit Noire practices what he preaches. By Emma van Meyeren

“Track you down and shoot you like a hunter,” sings Kari Jahnsen, aka Farao.

Her words are like arrows pointed straight at us. She sings them directly into the camera in the mesmerizing video for single Hunter, confidently following it up with a shot of a bloodcovered rock in the wilderness. Clearly, this London-based Norwegian songstress is not to be messed with. Playful tenacity is very much the fundament of Farao’s debut album, and it’s most present in the rhythms that are fit to march to. Perhaps that’s not surprising since Jahnsen spends her spare time drumming in a band called Hella Better Dancer. The other strong suit of Till It’s All Forgotten, which was recorded in Iceland, is Jahnsen’s ethereal vocals, which on paper might seem the opposite of tough. But in fact they increase the elegant ballsiness of Jahnsen’s songs, because it feels like we’re being lured into depths that we might not come out of. How’s that for deliciously dark pop? By Fay Breeman

14

Gc Update

Become

a Scaper

Cityscapes is a modular, tiled carpet or wall application made of high quality materials, designed by Allt Studio. The geometrical tiles enable you to create your own personally designed rug: size and shape are easily adaptable to your individual interior wishes.

at

Design your own Cityscapes carpet at www.basematters.com and become a Scaper.

basematters.com Carpets for contemporary homes.

by

rent profession as the only remaining option open to him. Back in 2009, he started to “set up lights for concerts and stuff” in one of the many clubs in the vibrant Nørrebro district of Copenhagen, where Kvist still lives with his girlfriend and son. He was clearly pretty good at it, for a year later he started building light shows for various theatres and touring with bands, the brilliant When Saints Go Machine among them.

Today, Kvist does smaller music jobs and more installations, most of them commissioned. For someone this talented, that may sound as if he’s limiting his own potential, even though his clients include famous festivals such as Roskilde, plus cool hotels and galleries. But Kvist explains he likes restrictions such as a given setting, budget and theme: “When I’m doing ‘free’ work, it can be hard for me not to wander off and to keep working on a single concept. I’m fascinated with details, almost to an OCD kind of level,” he explains. “I think I owe a big part of my success to that trait, but it’s also a curse: this unhealthy obsession can

take over a whole project, leaving me with a completely different end product.” It’s clear that lighting means a whole lot to this bright artist. “For me, working with light is a way of expressing feelings, telling stories and enlightening myself and the people around me. I don’t know what kind of impact my creations will leave on the viewer, but I’d like to think they somehow leave a trail in their minds on a subconscious level.” www.jakobkvist.com

“My work is like a disease to me; I have to do it every day, from the morning till the evening. But whenever I create something, I try to do as little as possible. For the monolith I made for the Danish Centre for Light in an old industrial train depot, I let light and colours define the structure, rather than the form itself.”

Installations made for the Art Zone at Roskilde Festival, 2015

Regenerate, permanent chromatic colour installation for Hotel Generator, Copenhagen, 2014

“I’ve always been fascinated by light,” Danish lighting designer Jakob Kvist begins. “I see myself as a translator of light. I interpret a room, a setting or a piece of music in light. The better the music, the setting or the room, the easier I can translate it into light,” he explains. It all started when Kvist was still a young boy. He recalls rebuilding concert installations out of Lego in his room. “Watching the lightshows of Queen, Michael Jackson and Pink Floyd as a child was magical to me. I would watch the concerts that my dad had recorded on VHS for me, over and over again, and I would take in how rhythmical and musical light can be.

Nowadays, when I’m working with music, I let the music guide the light, as if the light were an instrument too.”

On hearing this childhood story it makes perfect sense that Kvist became the lighting designer he is, seamlessly combining music and architecture in his practice—although he himself didn’t see it coming, having wanted to become either a musician or a chef. Having failed to make a living out of both, Kvist entered his cur-

Chromatic primary colour installation for Lyset’s Dag by Dansk Center for Lys, Lokomotiv Værkstedet, Copenhagen, 2014

By Joline Platje Photography: Kim Matthäi Leland

Jakob Kvist Jakob Kvist adds a little disco to our feeble, fading daylight with his luminous installations found throughout the streets of Denmark and beyond. The family man/workaholic has been mesmerized by lighting for as long as he can remember. Re-enacting the light shows of videoed music concerts in his room, Kvist discovered the essence of light at an early age. “For me, it’s a way of expressing feelings, telling stories and enlightening myself and the people around me.”

“I adore the American artist James Turell for his simplicity.

He’s helped me understand colours in a whole new way. What he does is just fantastic, it’s super inspiring!

For the permanent installation at Hotel Generator in Copenhagen, I gave each floor its own colour, so that guests find their way to their rooms intuitively.”

“When creating new work, I try to get very connected to the setting, the music or the architecture. For the constructions at Roskilde, I worked together with two very talented architects, Marcos Zotes and Robbert van der Horst. It took me only a few minutes to figure out what I wanted to do with their buildings. I connected the two structures with colours, the one facing the east referring to sunrise, the one pointing to the west referencing sunset.”

16

Gc Platform

Interviews

18

Tianzhuo Chen Tianzhuo Chen’s outrageous oeuvre revolves around religion and the ritual practices that accompany it.

22

Bea1991 Bea1991: “If I had to represent anything, it would be the everyday human.”

24

Creatures of the Wind Creatures of the Wind: “I think our approach is distinctly American.”

28

Raury Raury: “I rather create at the benefit of the world than at its expense!”

31

First Hate The boys of First Hate explain that hate is also an expression of love somehow.

19:53, 2015

By Misha Kruijswijk

Rapping twin dwarfs, lizard-licking clowns and the slow removal of a ponytailed butt plug, all set against a ’90s plastic fantastic backdrop: watching Tianzhuo Chen’s videos is like taking an outrageous trip. Combining elements of the rave scene, contemporary pop culture, fetishism, hip hop and manga with religious iconography, Chen blends it into a single hysterical hallucination. In the process, he expresses the brokenness of modern existence within a contemporary spiritual experience. Trippy…

19

Gc Interview

19:53, 2015

Tianzhuo Chen

Right after graduating high school, Tianzhuo Chen (1985) left his hometown of Beijing to study graphic design at London’s hallowed Central Saint Martins, following it up with a master’s in fine art at the Chelsea College of Art and Design. After seven years of living, studying (and raving) in London, he decided to return home—in spite of his controversial subject matter and the cultural tyranny of his native China.

Now, Chen’s biggest solo show so far is on view at the Palais the de Tokyo in Paris—and it’s quite the eyeful.

For the opening, Chen collaborated with dancer Beio and House of Drama, a Parisian artists’ collective, to create a frenzied and highly stylized spectacle. The performance, titled ADAHA II, combined a light show, dancers and seemingly endless props, all blended together into one crazy carnival. In spite of the heady, anything-goes aesthetic, Chen stages events like this carefully, consciously playing on the responses it may evoke within the public: “My performance is kinda like a musical or an opera: it contains a narrative, so I need to think of how it will catch the audience’s emotions and attention. In certain parts, I might want the audience to feel touched or provoked,” he explains.

“I’m playing a director’s role.”

Typical first responses to Chen’s work generally run the gamut from mild distaste to overt disgust.

Unfolding as loud and colourful parades of shameless exhibitionism,

his performances are in fact staged to perfection to prevent us from looking away—from their styling to their direction.

Combining music-video choreography with the ecstatic aesthetics of the ’90s Ibiza rave scene, Chen confronts us with the empty hedonism that seems so characteristic of contemporary culture.

But it is his incorporation of religious symbols that distinguishes Chen’s work from postmodern pop artist such as Jeff Koons and Micha Klein. In fact, his entire oeuvre revolves around religion and the ritual practices that accompany it.

Chen’s installations and performances abound with ambiguous references to different forms of religion: here a statue from a Buddhist temple, there a nod to Christian iconography and over there a South American totem.

Blending in different forms of culture, high and low, different art forms and dances, Chen’s work starts to signify something new.

PICNIC, one of Chen’s latest works, opens with an androgynous figure ceremoniously lighting up an enormous bong. Dressed in a fluorescent, hemp leaf-printed suit, the figure sits between two colourful flags declaring Jerk Off in Peace and Ordo Ab Chao (order from chaos) respectively. In the hallucinatory vision that follows, we see a skinny guy wearing nothing but a mask, two ponytails and a white cord between his buttocks. Standing before a bright sun of neon lights and flanked by two bodily painted midgets, he performs a dance that resembles Butoh,

an experimental avant-garde form developed in Japan in the ’60s and which forms a recurrent motif in Chen’s work. Dance as a means of expressing feeling and soul through movement is an obvious preoccupation in this, as in all, Chen’s work.

To the well-travelled, the sun structure in PICNIC’s background may remind of the halos in neon and flickering LED lights that adorn many Buddhist temples in modern-day Asia. And although European and Asian approaches to aesthetics and religious decoration are very different, it calls to mind the age-old—and non-denominational— alliance between religion and spectacle.

This blurring between temple and theme park is even more apparent in Chen’s reversal of the usual tropes: club culture becomes a form of religious cult.

Which is no coincidence: with every event or exhibition, Chen creates a contemporary place of worship, a temporary temple. For the exhibition Tianzhuo’s Acid Club in Beijing’s Star Gallery, Chen turned the space into a rave club. “That was one of my best experiences,” he recalls. “About 500 people came to the party, smoking weed, taking mushrooms or LSD. That night was so dope!” But his intentions were somewhat more profound than a drug-fuelled orgy: Chen was attempting to create a religious experience through building a church- or temple-like space.

A Buddhist himself, much of Chen’s work is preoccupied with individual belief and the distinction

between the real and unreal. His performances all combine a candy-shop aesthetic with a dark and gloomy undertone because, he says, “happiness and darkness are basically one and the same, containing each other and both being part of the void.” He continues: “This is a very Buddhist idea, and I think it’s so true. My work is kinda grotesque and I think the grotesque is beautiful at the same time. Within Tibetan Buddhism, there are many figures and gods that look very grotesque and dark but they actually represent goodness. The good can appear angry and grotesque, in order to scare the demons out of our minds.”

Meditating on Chen’s performances, one starts to see parallels between rave culture and the materialization of religious cult. Ecstasy as a state of consciousness has been described in many religious traditions— most notably the Christian one, but also in Hinduism and Sufism. In contemporary club culture, the DJ becomes the high priest, standing behind his altar of mixing desks, the audience worshiping via dance. Chen’s work addresses our human yearning towards some transcendental experience, touching on the universal or even the divine.

Amen to that…

Thianzhuo Chen will be on view at the Palais de Tokyo (Paris) until 13 September. www.tianzhuochen.com

Exhibition view of Tianzhuo Chen, Palais de Tokyo, courtesy of Bank Gallery (Shanghai), photo: AndrĂŠ Morin

Tianzhuo Chen

21

Gc Interview

By Joline Platje & Leendert Sonnevelt Photography: Violette Esmeralda—Eric Elenbaas Agency

Hair and make-up: Yokaw for Laura Mercier—Angelique Hoorn Mngmnt Assistant hair and make-up: Nynke de Jongh

Bea1991 There’s not a single major music platform that hasn’t endorsed her, yet her enigmatic credibility is only growing stronger. We’re talking about BEA1991, of course, “creator”—her term—of distant pop that nonetheless goes straight to the human heart. Glamcult met Amsterdam’s most promising young (cover) star to talk sea creatures, ’90s memories and the demands of making music.

“If I had to represent anything, it would be the everyday human.”

She peers at us from behind a pair of yellow sunglasses, which throw synthetic streaks of sunlight across her beautiful face. “I got them at a thrift store in New York, but they don’t block out sunlight at all,” BEA1991 laughs. “They just give me a different colour to see everything with.

I really like yellow, I think it’s a really nice colour. Isn’t it weird that when you’re wearing sunglasses, it adds something to how people look at you, and how they interact with you? And so it changes something about how you interact with those people as well. It becomes a weird dynamic. I don’t want it to be a barrier, like a lens or a camera.

It’s just a silly piece of fashion…”

It would be very easy to describe Bea as a poster child for all things now.

Much like her moniker, her contemporary aesthetics—both audible and visual— are those of an odd, detached, melancholic modern world. They’re overly polished by new technology, yet always straightforward, intimate and raw.

When Bea sings and speaks, however, the Dutch artist lets her words flow thoughtfully, creating patterns that lift everyday simplicity to more abstract heights, her accent revealing her British background. “In the world around me I mostly see a lot of people: eating, talking on the phone, travelling from A to B. I try to enjoy it and I try to have moments by myself within that mass of humans.” She pauses. “It can be suffocating at times. Seeing the world on a bigger scale, I think I just want to meet a lot of new people. I was very focused on certain people around me before, but now I feel like meeting new people and seeing what’s going on.”

Having released two critically acclaimed EPs in the past year, and with new material coming out this autumn, a lot has been said and written. “BEA1991 Makes Awkward Cool” a quick google search reveals in big, bold letters.

“Yeah, I think that was The FADER,” she confirms with a large smile. “Or perhaps Dazed. Or was it Noisey? Ha-ha, I really don’t know!” Behind all the current media attention, however, is a long and passionate process of writing and recording, for which the singer faithfully collaborated with producer Benny Sings. For the 23-year-old artist, that process

came (and still comes) with frequent challenges. “I’ve been thinking about this a lot lately, because I don’t want the fact that I’m basically poor to influence the music or the way I’m working. And it hasn’t so far. To be honest, I’ve been broke for the last two years.” Thankfully, that struggle hasn’t moved Bea to become or do anything that is unlike her self. “No, I don’t think that’s going to happen. I don’t think I would ever be seduced by some commercial corporation and sell my image to them.”

Coming back to the offbeat element that runs through everything she produces, Bea comments: “Maybe I’m not trying to make awkward cool, but I am trying to make it more prominent.

So I’m happy that people see it that way. They’re not describing my work as anything else but using the word ‘awkward’, seeing it transition into something else. I like that, it’s a positive way of seeing things. I think awkwardness is a different way of talking about uncertainty, slowness or imperfection.

Those are things that interest me greatly.

I’m always trying to look for that essence.

It also makes you have more humour.

I want people to laugh at me—not because they think I’m stupid, but because they feel relief. The stakes aren’t that high; being human and making mistakes is just as important as making lovely, beautiful things.” With Bea’s latest video showing her wrapped in spotless white sauna towels, weirdly but wonderfully wiggling her big toe, the message certainly comes across.

“In that video I’m definitely trying to be awkward about the fact that I’m lip-syncing,” she laughs. “That’s something I hate doing. The idea was to simply lie down and lip-fucking-sync!

I reckoned it might as well just be about that...”

At all times (obviously) influenced by the ’90s, Bea names The Cranberries, William Orbit and DJ Spoko as musical influences. “My taste is… all over the place? I’ve always been envious of people who know everything about music, because I don’t. I reckon that as a person, I really get drawn to objects and sounds separately. I don’t want to go into -isms; it’s more of an instantaneous thing. I’ll hear a sound that I like and listen to it

over and over again. It confuses me, but it also makes me happy that I know what I like, though from the get-go I often don’t.

I was trying to explain this to myself the other day, trying to figure out what it is.

There is a general thing about ’90s music that I really like. I enjoy the sound of enthusiasm in early electronic music.

And the almost pretentious laidbackness of the trip-hop I listen to. ‘I’m cool, it’s cool, we’re all cool’—that white-peoplewith-dreadlocks type of thing. What that sort of music represents is the kind of lonely, hermit composer who’s been trying to make it work, you know?

With The Cranberries for example, so much of their music is actually really shit. But then there are a few songs that are so good melody-wise. Their music contains a lot of intention and optimism.

It doesn’t try to intimidate you like much electronic music nowadays.” Don’t let there be any misconceptions, however.

When Glamcult inquires who influences the performer vocally, the answer is much shorter: “No one.”

Reminiscing about the ’90s, the era in which her mum “would put on the Deep Forest album and start cleaning on a Sunday,” visibly takes Bea back to childhood moments. “Being in the circus was my biggest dream. I used to listen to music while practicing on my trapeze, it added to my fantasy of flying around in the air. That aerial characteristic of music was very important to me. And that has never changed.”

Bea’s adolescence reappears in her new video, encapsulated by the beauty of a colossal self-made oyster. “All I remember from being young and around music is being on the beach in England, playing with shells and singing my own weird songs about playing with shells. That’s my first memory of making music, somewhere between age five and ten.” She adds: “The oyster feels like something from the past, in a way. I like oysters because they’re super old; they’ve been around for ever but haven’t evolved that much. They’re set in time and haven’t really changed.

And then the idea of being inside an oyster came up… I guess I always look around subconsciously for things that are beautiful. It represents a childhood part of me.”

23

Slowly but surely, BEA1991 is reaping and releasing the results of much hard work— a special collaboration with Dev Hynes being just one of them. A steady, determined place in this world is not what she wants or needs, however. “Every kind of extremist approach to life ends up being a nightmare. My utopian way of living would be to keep all doors open, to have options. The midway between being very ambitious and very laidback is probably the best for me.” In fact, the singer would rather not call herself an artist. “A lot of the time when you’re making things as a creator, you really don’t know when you’re making something really good. Often you don’t know it. Music is the making of something that wasn’t there before. The same goes for someone who is very creative with making bricks or making a recipe for pancakes. Or making a baby, if you ask me. What is an art form? I think we’re overdosed by things called ‘art’. We can’t identify a burger from a plastic one, or being in love from not really being in love. The terms are so diluted, we don’t really know any more.”

What’s very certain is that BEA1991 is anything but an illusion. “I have no interest in that at all!” she stresses.

“Being put in a certain category is so unhelpful, we’re mislead by terms and labels. I’m not the Tumblr girl people have been saying I am. Sure, I have a Tumblr because I need a website, and I do think it’s interesting what’s happening there, but where I’m going right now is a more organic direction.” Thinking aloud, she ponders: “Can you be a leading woman who makes good music, who wants to look good, who wants to look bad, and not be labelled post-internet or feminist? I think the most effective thing is to do what I do. I don’t want an alter ego, my music is exactly who I am. Maybe that drives you crazy once you get famous. But if that happens, I’d rather be driven crazy and enjoy it.

If I had to represent anything, it would be the everyday human. My point is to enable myself to do this as Bea, not as someone I’ve imagined for myself. That character definitely doesn’t exit.” www.bea1991.info

Gc Interview

24

Sunglasses Anders Haal

By Leendert Sonnevelt Photography: Jonathan Baron Styling: Lu Philippe Guilmette Hair: Takuya Uchiyama using TIGI

Make-up: Jessica Taylor using MAC Cosmetics Model: Brogan Loftus—Select Models Assistant photography: David Hopwood Assistant hair: Mikio Aizawa All clothing Creatures of the Wind A/W15

Transforming their unorthodox identity into high-end fashion, Shane Gabier and Christopher Peters display a fresh new vision season after season. Like the countless covers of the timeless song that spawned their moniker, each Creatures of the Wind collection channels a strong emotional narrative, but always in a slightly different way. This season sees the designers celebrate their roots: “We are definitely American designers.�

25

Gc Interview

Jewellery Annina Vogel via Selfridges

Creatures of the Wind “There’s never been one moment that has changed everything. Instead, these are just single steps forward, and only when there are many of these can you start to see the real progress.” Looking back on the first seven years of Creatures of the Wind, Shane Gabier and Christopher Peters reveal a great deal of patience and experience. Large-scale success seemed inevitable when their first collection was featured on the cover of WWD’s September issue in 2008. “We both thought that cover was going to change everything immediately—like it would turn into sales dollars right away.”

And even though the designers openly admit “that is probably never the case”, they have gradually made their way to the forefront of American fashion. “It’s only really in hindsight that you can actually mark this movement forward.”

The circumstances that brought these men together back in the Noughties are actually “really simple”, according to Gabier. “I was teaching at the School of the Art Institute of Chicago and Chris was a student, close to graduation. We started dating and I had a studio in my house. We started sketching together and then started making things in my studio.

We considered those first pieces to be more of a project than a collection; it was around 18 to 20 items and we made almost everything ourselves. We really liked the result, so after a couple of months we decided to make it official by naming it.” Touched by Nina Simone’s rendition of Wild is the Wind, originally recorded by Johnny Mathis in 1957 for the eponymous film, they instantly fell for a name. For we’re like creatures of the wind, and wild is the wind. “It’s been covered by Cat Power, David Bowie and many others. We really liked that every person who sang it brought such strong emotion to the song, but in a different way. And we still think about this when we begin each season’s development.”

Starting a fashion label in Chicago wasn’t painless for the designers. “At the time, there was an incredible amount of prejudice toward anyone who wasn’t based in New York City. Rodarte was actually the only high-level brand that was functioning outside of New York.

We actually had buyers tell us to lie and say that we were from NYC—which we never did, of course,” they add. “The only way to get past this was to just produce a really beautiful, perfect product. We started buying small pieces of couture fabrics and trims, as much as we could afford, and using these in the garments.

We started to manufacture in NYC while living in Chicago, and we were really strict about the fit of the clothes and the quality of the sewing.” It wasn’t just their self-imposed margins with regard to quality, but also a restriction on quantity that led to a strong beginning for Creatures of the Wind. “We were making really small amounts, so we were able to ensure that things were as beautiful as possible,” they explain.

“We also had to say no to a lot of stores that weren’t right for us, holding

26

out for the shops that we knew we wanted to work with. That was really hard, but it was worth it.”

Close to a decade later, the thoughtful pair is firmly based in the Big Apple—where they now present four (!) collections a year. “It’s the right city at this moment for sure; we produce almost everything here now, and there’s a lot to be gained here. But really, from a design perspective, we could be anywhere.

It’s not necessarily tied to NYC aesthetically or conceptually, although somehow subconsciously it does inform what we’re doing. We also really love LA… it would be interesting to see how living there would influence what we do.”

Gabier adds: “It’s important to have a presence here. It’s a pretty social industry, and participating on some level is really important. There’s a lot of support here, and definitely a lot of interest in young designers.” Wherever the two are located, however, stars and stripes will always mark their way. “Yes, we are definitely American designers. Our approach is distinctly American.”

It thus comes as no surprise that starry sashes graced Creatures’ autumn/ winter runway looks. And even less surprising is the name of this season’s collection: Americana. Both mini dresses and glamorous gowns are marked by psychedelic prints—hinting at the ’20s, the ’60s, the ’70s and even the ’80s.

“It’s a study of various moments in American culture that were informed by psychedelics on some level,” Gabier expounds. The much-admired collection includes a surprising amount of lavish, outspoken and shimmering looks—at all times perfectly executed—especially in comparison to the label’s past ventures. Yet the division of labour and design process weren’t any different for this season. “We always both look at fabrics and choose colours. We both research the concept and sketch, and we both oversee all of the development.

Nothing is really taken for granted or decided by just one of us. We may start from a different place sometimes, but in the end we have to agree on everything before it makes it into the collection.”

Touching on common denominators and creating together, both designers—carefully—admit to channelling a little part of the ’80s. “My first real style icon from that era was Denise Huxtable,” Gabier pronounces. “I hesitate to admit that there’s an influence, but if you look closely, I think there’s a little bit of Denise in every collection…” For Peters, the ’80s influence is a little heavier: “Legend, the movie, has been a pretty consistent aesthetic influence on everything I’ve ever made in my life. It really impressed upon me the importance of atmosphere and how you can tell a story without too much explanation. At one point in the film, the heroine is seduced by the devil, and is transformed into a demon through a waltz. This scene has stayed with me since I was a small child; not because it was scary, but because it was so strikingly beautiful and oddly sad.”

Creatures of the Wind

At a time when major media outlets describe fashion weeks as “boring” and the hurried system is enduring heavy critique, Creatures of the Wind show no fear. “Fashion is just like anything else—there are natural ups and downs. The system isn’t dead; it’s just shifting, changing into something else.

When systems change, it means that there is new opportunity. Obviously it’s important for a young company to be flexible and adaptable, which is what we’re trying to do.” Presenting new, as

well as commercially attractive ideas, the designers’ lack of fear is anything but reckless: “We’re all for strong, editorial, conceptual ideas. But we’re also all for selling clothes, which is sort of the goal, right?”

With this clear vision and highend approach in mind, Glamcult can’t help but wonder: how long till a major fashion house snatches these young men up? “We would always consider any offers very seriously,” Gabier and Peters disclose. “We’ve had a few moments

that have been very flattering. To date, nothing has been a perfect match, but we’re always open to the idea!” And even though four collections a year sounds impossible—spoiler alert— there’s more on the horizon for Creatures of the Wind: “We both feel like our aesthetic would translate well to men’s clothing, and it seems like it could be a really good opportunity. Even while we’re designing the women’s collection, we’re thinking about what we want to wear and how we would wear this par-

27

ticular thing or that… it’s already part of the conversation in theory, so it would make a lot of sense to do it. But right now we’re focusing on the women’s collection, getting a stable footing with the four-season calendar, production, shipping, and much, much more. So not just yet… but soon.” www.creaturesofthewind.com

Gc Interview

28

By Emma van Meyeren and Leendert Sonnevelt Photography: Sophie Mayanne

All clothing G-Star RAW for the Oceans

Raury Atlanta-born singer-songwriter and guitarist Raury Tullis, best known by his first name only, has a surprisingly solid following for someone who’s not even left his teenage years behind. Having opened for Lauryn Hill and Andre 3000 and sat down with none other than Kanye West to talk music, Raury is as much about idealism as he is about music, considering his involvement with the RAW for the Oceans project.

Raury’s style might be best described as a mix of indie and folk. As a black kid from Atlanta, however, he’s often placed in the hip-hop genre—which just doesn’t do his genre-bending music justice. But that’s not to say that he isn’t inspired by artists such as Andre 3000 or MF Doom: “Being from Atlanta, you can’t avoid hip hop,” he says.

A true millennial, Raury’s own style developed through his discovery of different kinds of music on the internet.

“When I first heard folk and stuff I thought it was weird. I didn’t accept it,” he says.

“But then I dove deeper into it and went all the way back to Bob Dylan, and now I’m hooked.” And he’s still expanding his tastes: “Making the music that I make, it’s come to a point where people say, ‘I hear this or that artist in your music,’ I then go and listen to that person and it influences me. Like Marvin Gaye, for instance.” Just as Pharrell once showed that a skateboard can have a place on a BET stage, Raury is showing that an acoustic guitar shouldn’t be considered odd in a black music environment either. And although black artists have long shown that the indie, folk and rock scenes aren’t as exclusively white as they are often portrayed (some of Jimi Hendrix’s best work was just him and an acoustic guitar), the indie and folk

scenes of our (internet-influenced) age are still predominantly whitewashed.

Raury isn’t the first to struggle with genres—take, for instance Tyler, The Creator, who was simultaneously “never a rapper” and always a “rapper”. But whereas Tyler was always obviously inspired by Skateboard P, Raury is most often compared to his fellow Atlantan Andre 3000. Raury himself is honored by this comparison: “What he brought to hip hop and the culture, that’s what it’s about. It’s about opening doors for other artists so we can help the culture and the people.

Like Drake opened doors for people who sing and rap, Andre opened a door for me to be as weird and unpredictable as I want to be. I’m really grateful for that.”

Aware of the artists that broke boundaries before him, Raury is ready to continue this journey. This year he set up his own festival, Raurfest, where he reserved one stage for the music of a new generation of black artists from Atlanta, such as Elhae. “It’s completely for my city and the people outside of my city that don’t understand or haven’t fully grasped that Atlanta is so much more than just club and trap music,” he explains. “I met with Winston Marshall from Mumford and Sons and he was

wondering how I made what I make because he thought all Atlanta made was trap. He’s from London and a lot of people from outside looking in are only seeing one thing. So I want to fight to show another side of my city—all sides of my city.”

It soon becomes evident how invested Raury is not just in his music but also in the (local) culture of which he’s part. He doesn’t just care about his own music, but about culture at large, too.

As a strong believer in the effects of positive input and innovation, it’s no coincidence he didn’t have to think twice when G-Star RAW asked him to climb aboard for RAW for the Oceans.

The project, for which G-Star RAW has already transformed two million plastic bottles into denim, shows how products that might otherwise have polluted our oceans can be given a new purpose as wearable denim pieces. In an appropriately cyclical manner, part of the collection was designed by Raury’s predecessor and mentor Pharrell, and subsequently worn on stage by Raury during his most recent world tour. “It made perfect sense for me to join the team, it was as if the stars were aligned for me,” he says of the collaboration.

The philosophy of “creating at the benefit of the world instead of creating

29

at the expense of the world” is one he hopes to carry out himself, both in his music and his many other ventures.

With his innovative mind and focus on positive change, Raury’s often considered an old soul, apparently unconcerned about the things other boys of his age might be preoccupied with. Although he personally doesn’t identify with this description, he sure isn’t the boy next door either. Whether he’s showing up at Sway in the Morning with a bunch of crystals, doing an acoustic cover of Kanye’s Blood on the Leaves at Ebro in the Morning or using his art to push a cause like ocean pollution, Raury’s own EP title might describe him best: he is indeed an Indigo Child. www.indigochildproject.com www.rawfortheoceans.g-star.com

Gc Interview

By Emma van Meyeren Photography: Carlijn Jacobs

First Hate Danish duo Joakim Nørgaard and Anton Falck Gansted came together for their first performance at the secretive Copenhagen festival Henrys Dream back in 2013. The two go back way longer, however, having met at Confirmation classes when they were just 14. Glamcult got to know the driving forces behind First Hate— who are actually much sweeter than their moniker suggests…

Listening to First Hate’s melancholy lyrics and digital sounds, a myriad of associations come to mind. While the gloomy vocals make us wonder if these two are the secret progeny of Morrissey, their beats couldn’t be further from The Smiths’ ’80s rock. Instead, First Hate’s danceable tracks show how imbedded they are in the present. And thus it comes as no surprise that these boys started making music without instruments, playing with music-making software Reason. A few years later, Joakim is becoming more familiar with synths and the band has traded Reason for Garage Band—“but the real skill is to just sit down for hours and get into a trance of producing something. We can’t really play any instruments.”

This “tactic” of fiddling around for hours playing with Garage Band at home is what eventually resulted in the first, self-titled EP. The tracks on First Hate weren’t made with the idea of creating an EP, perhaps unsurprisingly: “We didn’t make music for any kind of reason. Which is different now, because we currently focus on an EP as a finished thing.” Finding inspiration

mostly in boredom and everyday experiences, without a strategic endgame, gave First Hate’s debut a sense of sincerity and irony, Anton explains. “You can find really genuine lyrics on it because it was made for fun— in a state of mind where you’re really honest because you don’t expect anyone to hear it.”

It was an encounter between Anton and a “really cute dog” on the streets of Copenhagen that inspired him to make the songs of that debut.

“After that, I couldn’t sleep through the night for some reason, so I wanted to make a tribute to that dog.” That real and sincere vibe is something First Hate intends to maintain on the second EP, for which a lot of the material already exists: “In a way we’re reinventing the material, we’ve played it for so long already. It needs to get new life for us.”

First Hate’s latest output is the video they co-created with Esben Weile Kjær for the song Warsawa. The video depicts every kind of First Hate merch conceivable, accompanied by light-hearted pastel backgrounds and props such as skulls, flowers and fruit.

Taking a DIY approach, the boys created every piece of merchandise themselves. Inspiration was found in 16thand 17th-century still lifes, reminding us of the changeability and temporality of life. The Christian origin of the vanitas, which plays with the idea of earthly life versus the impending afterlife, was the starting point: “We wanted to discuss life versus death and symbolize this through the merchandise.” To Joakim and Anton, this also links to the idea of the artist as star or idol: “One day you’re an icon and the next you’re not.”

Working on their new EP, First Hate is considering the way the songs work in a live setting. Although they believe “the experience of a concert should be something other than listening to music at home”, they’re currently challenging themselves to make more fun, danceable songs. “We want the EP to sound like 2020,” they laugh, as they attempt to shake off the ’80s influences that people constantly perceive in their work. “We never made the music with an ’80s vibe in mind, and we’re often surprised at what people hear in our music.” This duo isn’t planning to be

30

boxed in to a decade: “We think it’s more fun to do something surprising than to make something that sounds exactly like it’s from the ’80s.”

Themes of time—and our experience of time—come back over and over in First Hate’s work, whether it’s through putting many hours of boredom into tunes or by reminding us of the temporality of our earthly stay. These subjects can also be found in the story behind the band’s name. Hate, to Joakim and Anton, is a logical consequence of something else: love. “Real hate can only occur when you’ve lost something to a person. Or they’ve taken something away, which you want to take back. So hate is also an expression of love somehow, the feeling you get after someone breaks your heart,” they explain. In this way, the moniker perfectly explains the feeling First Hate’s music evokes: it’s melancholic but not sad. It’s the experience of heartbreak, boredom and disappointment without ever forgetting the wonderful moments lived. www.firsthate.com

Gc Interview

DE HALLEN HAARLEM

12 SEPT 2015 — 3 JAN 2016

PRIMITIVE DATA

Opening on Friday 11 September, 6pm — 9pm De Hallen Haarlem, Grote Markt 16, Haarlem Tue – Sat 11 am – 5 pm + Sundays 12 pm – 5 pm dehallenhaarlem.nl Markus Selg’s exhibition has been made possible by the kind support of the Institut f r Auslandsbeziehungen.

Although the age of those we endearingly like to call “fashion vampires” seems to have lightened up lately, dark romance continues to reign supreme at Alexander McQueen. For autumn/ winter, Sarah Burton excelled in her characteristic combination of opposites: dark and light, romantic and industrial, hard and soft, historical and youthful.

Touching on last year’s World War I centenary, her new collection celebrates truth, valour and honour—each explicitly expressed in a single look, but also through a much subtler approach. Embroidered poppies and English roses on uniform-like silhouettes celebrated the noble virtues of the soldier, while heavy-soled creepers formed the foundation of this solemn, pale-skinned defilé.

One of Glamcult’s most-anticipated New Gen showcases is VFiles’ global Made presentation at New York Fashion Week. Surprisingly, this autumn/winter it was a young designer from Zürich who stood out from the pack. Combining simple workwear fabrics with asymmetrical, deconstructed silhouettes in primary colours, Julia Seemann transforms casual denim into bold high fashion. The designer studied at the Institute of Fashion Design at the Academy of Art and Design in Basel and— obviously—interned with Vivienne Westwood and Meadham Kirchhoff.

It wasn’t just Glamcult that was blown away by this very blue outfit, however.

Just two weeks after Seemann’s debut in New York City, queen RiRi herself was spotted wearing our fav look by the side of mister Alexander Wang. #BBHMM

Comme des Garçons

Julia Seemann

Alexander McQueen

By Joline Platje and Leendert Sonnevelt

If runways around the world portrayed anything this season, it’s that our current generation of fashion talent is over minimal. From the (in) famous John Galliano transforming Margiela into a dollhouse on drugs to CSM graduate Ed Marler brilliantly reinventing camp, the spirit of deconstruction is back. And whether that leads to sportswear being unravelled, gender binaries taking heavy fire or blackness finally being celebrated through fashion, excess is the new success. Hello, autumn!

32

Chanel

Autumn/Winter 2015

No matter the responsibility that weighs on his shoulders and the intense amount of historic tweed he employs each and every season, isn’t it wonderful how Karl Lagerfeld gives zero fucks?

Chanel’s ready-to-wear collection amounted to a total of nearly 100 (!) looks, presented in the setting of a traditional French brasserie at the Grand Palais. Much like the humongous set, our favourite look from this season’s collection is extremely French at its core as well as extremely luxurious, but infused with the attitude of a young superstar. Just imagine Kylie Jenner in her blacked-out windowed, matte Mercedes SUV, sending you smoking hot Snapchats of her Chanel outfit from behind the wheel, the speakers blasting Rae Sremmurd... You get the idea!

Casting her iconic spell season after season, Rei Kawakubo has made her name embracing weighty subject matter. This season was no different in that respect, with the hooded grim reaper himself opening the CdG Homme Plus parade. Kawakubo worked together with South African photographer Roger Ballen for beautiful patch-like photographic prints, but the element that dominated this collection was a colourful second skin by tattoo artist Joseph Ari Aloi, better known as JK5.

Sweeping colourful letters on a nude base read “Born to die” and “Fight off your demons”, covering the male body with a heavily themed but feathery bright layer. Kawakubo’s presentation read much like a ceremony of death— with this look more haunting than the reaper himself.

“WARNING: EXPLICIT BEAUTY.” Coming from Walter Van Beirendonck, a (fashion) statement like that is anything but a surprise. Last year Glamcult featured the renowned Antwerp Six designer with an extensive profile on his defiant anti-racism collection. This winter, Van Beirendonck wasn’t actually intending to protest at all—until Paul McCarthy’s “butt plug” sculpture had to be removed from Place Vendôme, and until Charlie Hebdo’s headquarters was brutally attacked. Rather than presenting 15 minutes of pure beauty, the designer changed his mind to comment on the beauty of freedom. Not with a heavy or gloomy collection, but from a typical Van Beirendonck angle: light-hearted and erotic, as well as built on a rocksolid political foundation. Winter might be looming, but freedom isn’t bound to season. Bare it all.

VFILES

Grace Wales Bonner

She burst into the fashion/art world with a bang—a beautifully tranquil bang, that is. During her second Fashion East appearance, menswear designer Grace Wales Bonner presented Ebonics: a collection that unravels elements of formalwear with a rhythm disturbed by (Swarovski-supported) bejewelled visions of femininity. Wales Bonner’s selfdescribed “black symphony” unfolds the poetic opulence of her CSM graduate collection: deep tones of crushed velvet in mushroom, chocolate and indigo become rich, luxurious flares, hand embroidered with the currency of cowrie shells. Born in southeast London to an English mother and Jamaican father, Wales Bonner examines cross-cultural hybridity, masculinity and notions of European and African luxury fashion, and cites artists who explore black identity and queerness through their work as inspirations. Speaking to Dazed, WB perfectly summed up her exquisite A/W15 work: “That gentle representation of black people that I don’t think I see so much—that’s what I’m trying to push for.”

Grrrrrrrrrrl power! In a fashion system moving beyond gender one baby step at a time, VFILES has often acted as an important precursor, and still does. The online and offline New York fashion platform kicked off its striking autumn/winter ’15 show with a cheerful tribe of Instagram youth strutting the runway, among them full-time party duo Jarlos—the first gay couple to sign to a major modelling agency and the first to be fired within weeks—in corresponding statement looks. Yes, you got it: girl power is no longer the standard for women only. Say hello to the signs and wonders of our times! What do they look like? Double trouble, optimistic— and very, very cute.

33

Caitlin Price

Walter Van Beirendonck

Autumn/Winter 2015

The prestigious Central St Martins’ MA is always good for delivering some dozen very skilled and unique newcomers to the wondrous field of fashion.

Many art academies nowadays teach their offspring that the heyday of couture is long gone, steering them into alternative directions away from becoming star designers. The London-based college of art and design, however, launches a handful of it-collections every year—even though it’s difficult to inspire and discipline students, especially when they possess a lust for non-study-related activities (read: partying). Caitlin Price, a likely candidate to become at least a little famous with her graduation looks, used this passion for her own benefit, drawing inspiration from her friends making themselves ready to hit the town. Her models (kiss curls covered half their innocent faces) wore the luxurious sportswear collection with pride —think: track gowns, zipped-up shiny sweat suits with feminine ruffles and ’90s G-strings peeping over satin draperies. Now that’s what we call premium rave ware.

Gc Update

Autumn/Winter 2015

Rapper, rock star, designer, Picasso, saviour: is there a Kanye moniker that doesn’t polarize the masses? Kicking off his New York Fashion Week performance—a collab with the artist Vanessa Beecroft—with a voiceover proclaiming “I’m here to crack the pavement”, Yeezy showed full awareness of his divisive practices. But all that BS aside, we spotted a dystopian collection on a model army of 50 beautiful characters, a cast more diverse than 95% of this season’s presentations. Whereas bulky, protective sportswear pieces in military tints covered the body, flesh-toned stockings revealed a physically aware, vulnerable and dystopian side of West. “I’m an extreme speaker,” Kanye recently told The Sunday Times, “and I speak through comparisons.” Glamcult would love to see more of that thin skin, and strongly suggests a collab with young underground photographer Filip Custic, who is taking skin-over-skin to an entirely new level. They need that Ye in the streets.

Now that feminism is fashionable again, it’s okay to mix a little Miley Cyrus with Ellen DeGeneres: seductive lace, leather straps and sexy studs with oversized blazers, knitted turtlenecks and sophisticated, pristine oxfords in the 50 shades of Diesel Black Gold. As loyal readers, by now you must know how keen we are on gender equality, so you can imagine how delighted we were to see this urgent topic high on Diesel’s agenda too. Black Gold, the contemporary designer collection, shares its parent brand’s irreverent attitude, so it’s always good for a little provocation here and there. That’s why we don’t feel offended by all the sturdy buckles and other kinky references to bondage. It’s women on top ;-)

Ximon Lee was the first menswear designer to win the H&M Design Award.

And although we’d rather not focus too much on that fact, we can’t let it go by unnoticed either. Not yet. With an inspirational shoot on his website, Lee encourages girls to wear his architectural pieces, too. So like Glamcult, the New York-based designer is clearly averse to labels—even while all of his collections are decorated with them (mainly parental warning tags and the kind of imperative texts more often found on menu cards). They’re texts not every child in the world will come across. The layered fabrics from various materials in black, white and a degradé of blues refer to the attires of the homeless, vodka-drinking, glue-sniffing underaged inhabitants of the streets of Moscow, which Lee has seen with his own eyes while growing up on the border between China and Russia. It left a deep impression on Lee. And on us.

Ximon Lee

Kanye West x adidas

Diesel Black Gold

Loewe

Eighties chic: can we really refer to this contradictio in terminis without losing credibility? We figured that if heroin can be stylish, surely the ’80s could too?

Plus, Jonathan Anderson knows how to do some respectful revising (he didn’t earn a Wallpaper award for “Best Rebrand” for nothing). For this season he threw everything kitschy in the mix —geometric graphical prints, vintage knits, slouchy patent jackets, pale leather coats and glittery disco pants— and literally all looks came out looking super snazzy. Whether it’s his eponymous line or the collections he does for the Spanish luxury brand, Glamcult now knows for sure that everything JW touches turns golden… Or, eh, lamé.

34

Adam Selman

Maison Margiela

Autumn/Winter 2015

Vetements

We doubt anything is still necessary to prove the credibility / cool factor of Vetements. Introducing the designer collective last season with an in-depth interview, draping viral model-of-themoment Charlie James in a Vetements trench coat, and featuring head designer Demna Gvasalia with stylist Lotta Volkova in this very issue: Glamcult is obvs madly in love. And so is the rest of the world. But even though the cult label has grown up fast and Kanye was very present on the guest list, that didn’t stop Vetements from showing in the basement of Parisian gay club Le Depot and keeping its cool. Ironically, it was a cut-up, reconstructed, high-collared and very wearable “Antwerpen” tee that stole the show in Paris and will be sold out before you know it—wherever you may be.

Ed Marler’s hotly anticipated second season for Fashion East is trashy, campy cool. A/W15 is the rebel’s ode to British pop culture. The outspoken designer robed his characters in leopard print, glitter heels, a satin bathrobe, a football scarf the size of a cape and an outsized Kim K-worthy lammy coat. All looks were highly stylized nods to typical British working-class outfits; faux pub attire. Our absolute favourite was the reincarnation of one of the most reproduced fine art prints in the world; Vladimir Tretchikoff’s Chinese Girl. The “Green Lady” by the Russian painter nicknamed the King of Kitsch loomed over the runway just as she lit up so many living rooms in the past. Cheers!

Gucci

Ed Marler

A new creative director always deserves a little (or a lot of) attention, especially when it’s someone as (in)famous as John Galliano reigning the enigmatic maison of Margiela. The fashion world just loves drama. And it got what it wanted; what a marvellous comeback!

We’re not really sure what to think of the dubious history of Margiela’s new leader, but we strongly believe everyone deserves a second chance. Recontextualisation we call that, something Juan Carlos Antonio once again proved himself to be a master of, too.

It was the perfect synergy between the remakes of the label’s characteristic looks and the designer’s flamboyant nature that charmed us. His loony heroines, the crazy hunchbacked dolls, made us forget all weirdness from the past; rather, it made us celebrate the imperfect.

Adam Selman’s A/W15 collection was cute, funny and a little sleazy, just like the designer’s moustache. Cheeky rockabilly girls sporting ’60s beehives, bobby socks, pointy pumps and chequered pinafores: on paper, it might not have been the collection of our choice.

But the first look on the runway, an eggyolk yellow and bubblegum pink iconic Clueless twinset, immediately won us over. Not that we expected anything else from badgalriri’s costume designer.

We loved the body-con mid-length dresses, the furry jumpers and rib knits.

Plus, we’re still big fans of the Adam Selman x Le Specs cat-eye shades, too. Oh, how we would love to insert everything into our virtual wardrobe composer. Mis Match!

35

Maison Margiela was not the only house swapping creative directors.

Even though Alessandro Michele’s gossip record might not be as spectacular as that of his British “competitor” John Galliano, Gucci’s opting for one of their own behind-the-scenes designers was somewhat shocking in its own way.

For his debut, the quirky supervisor added some of his own gypsy self to Gucci’s DNA—which he is practically built of himself—resulting in a novel form of Italian chic. The poetic silhouettes in earthy autumn pinks and reds and dorky accessories even made the showy logo look romantic. All honour to this free spirit!

Gc Update

Words by Leendert Sonnevelt

Embody by Ari Versluis Vetements

They form a golden duo that captures the zeitgeist like no other: designer Demna Gvasalia of Vetements and stylist Lotta Volkova. Throughout the past few seasons, this twosome has somehow, astoundingly, imbued a fresh new label with a cult-like status.

While Gvasalia has managed to quietly but firmly found the Vetements collective and generate three standout collections, Volkova has played a not insignificant role in giving the label its raw, urban facade—both in terms of styling and arguably also by being the label’s most recognizable face.

Together with photographer Ari Versluis, Glamcult figured it was time to explore the spirit that binds these two. “We met at a dinner party through

mutual friends about two years ago,” they tell us, “but it feels like it was much longer ago.” Both on a human and a geographical level, Gvasalia and Volkova share many similarities. “We’re friends, which means we share good and bad moments together, we have fun, go out, hang out, laugh and talk about anything. We also share the same cultural background, being from the former Soviet Union, so there’s a lot of common language.” Their mutual influence is, they say, “above all a discussion and constant exchange of thoughts and ideas”.

Yet the historical term “muse”— often still employed for anyone that influences another by means of body, personality or expression—doesn’t

apply to their relationship, says Gvasalia: “Vetements’ muse is any woman wearing our clothes. The idea of a muse is too singular to be applicable today.”

Someone who does come very close to the outspoken expressions of Vetements is androgynous model Paul Hameline, subject du jour of buzzing photographers such as Lea Colombo, Lasse Dearman and Brett Lloyd. “Paul is a friend of ours and an über-cool guy with whom we share lots of interests,” the two explain. “His interests and that coolness go well with the Vetements aesthetic.”

From underground dance floors to the cover of i-D Magazine’s big birthday issue, Vetements is taking over the world. That doesn’t keep this duo from

36

staying critical and very true to each of their individual beliefs, however— “we disagree sometimes, and fortunately so!” It also doesn’t keep Gvasalia and Volkova from living fully and recklessly.

“Our ultimate night out? Looks like a blackout.”

Embody is an ongoing collaborative project by photographer Ari Versluis and Glamcult, exploring the relationship between influential contemporary fashion designers and those who influence their work. Stay tuned for more. www.vetementswebsite.com www.lottavolkova.com www.ariversluis.com

Gc Embody

38

46

Visual Essays

Your jaw at the disco is all I see.

Photography: Filip Custic and Kito Mu単oz

Cause heaven need a villain.

Photography: Olya Oleinic

Neclace model’s own

Autumn/Winter 2015 Diesel

Autumn/Winter 2015 Chanel

Autumn/Winter 2015 McQ Alexander McQueen

Necklace model’s own, shoes stylist’s own

Autumn/Winter 2015 Versace

Autumn/Winter 2015 Topman Design

Neclace model’s own

Autumn/Winter 2015 Acne Studios

Jewellery stylist’s own

Autumn/Winter 2015 Diesel Black Gold

Autumn/Winter 2015 Loewe

Photography: Filip Custic and Kito Mu単oz Styling: Ilduara Vandall, Filip Custic and Kito Mu単oz Model: Keran Rosales Set designer: Ilduara Vandall Production: Dmntia, Madrid

Jacket Jean Paul Gaultier, top Barbara Langendijk, shorts Marques’ Almeida via SPRMRKT, shoes vintage

Vest Issey Miyake (vintage), hoodie Vetements via SPRMRKT, trousers H&M, gloves Lanvin, earrings Monies via Bodes & Bode

Catsuit Liselore Frowijn

Shirt Vetements via SPRMRKT, trousers Replay, gloves Lanvin, earrings Monies via Bodes & Bode

Above: Top Schueller de Wael, trousers Peet Dullaert Below: Sweater Vetements via SPRMRKT, catsuit H&M, shoes & Other Stories

Photography: Olya Oleinic Styling: Duran Lantink Hair and make-up: Chiao-Li Hsu for Clinique—House of Orange Model: Willy Morsch—Paparazzi Model Management Junior athlete: Wesley Vissers Assistant hair and make-up: Sisley Angenois Thanks to SPRMRKT Amsterdam

Back to School You’ve very likely mumbled a dazed “oh, hello” to this beauty when her face was plastered all over your neighbourhood. Or you’ve scrolled all the way down her huge Instagram anthology: a flaming mix of party shots, divine bedroom selfies, #americanapparel campaign pics and unabashed One Direction affection. Let’s just be very straightforward about this: Jill Megan Kortleve is making life a little more pleasurable, one appearance at a time—whether she’s offline stirring up Amsterdam’s nightlife with the Amazing Agency, or online making herself one of American Apparel’s most visible employees. So when Glamcult decided to shine a spotlight on AA’s Back to School collection for this autumn/winter, our casting choices were easily made. What better model than the one who already flaunts it best? What better stylist than the one who already sells it best? And what better photographer than the one who—obviously—knows her very best angles? Make way for a special series of selfies by Amsterdam’s only Jillionaire.

@

jilla

te q

uil

52

aa

a

#a

me

ric

an

ap

pa

re l

American Apparel

53

Gc Report

ADE

TICKETS: MELKWEG.NL

DO 24 SEPT PETITE NOIR

DO 15 OKT THE MAGICIAN

DI 15 SEP

DENGUE FEVER

DO 15 OKT

KATE BOY

MA 21 SEP

AURORA

DO 15 OKT

25 YEARS OF NINJA TUNE

DI 22 SEP

DABY TOURÉ

DO 15 OKT

THE MAGICIAN

DO 24 SEP

PETITE NOIR

VR 16 OKT

DAVID AUGUST

WO 30 SEP

LITTLE BOOTS

VR 16 OKT

KID SIMIUS

MA 5 OKT

CHRISTINE & THE QUEENS

ZA 17 OKT

LARRY GUS

DO 8 OKT

MARIBOU STATE

ZA 17 OKT

NOISIA INVITES

I want Glamcult

Glamcult is released eight times a year, providing a platform for rising and established talent from the realm of fashion, music, art and film.

We don’t tell you what to wear, what music to listen to, or which parties to attend. We simply give a unique impression of what is happening

on the frontlines of avant-garde (youth) culture.

Sign up now to get every issue sent straight to your doorstep!

Go to www.facebook.com/glamcult to subscribe!

Stockists Acne Studios www.acnestudios.com

CULT11AD www.cult11ad.com

McQ Alexander McQueen www.mcq.com

Adam Selman www.adamselman.com

Diesel www.diesel.com

Monies www.monies.dk

adidas www.adidas.com

Diesel Black Gold www.dieselblackgold.com

Peet Dullaert www.peetdullaert.com

Alexander McQueen www.alexandermcqueen.com

G-Star RAW www.g-star.com

Replay www.replay.it

American Apparel www.americanapparel.net

Grace Wales Bonner www.walesbonner.net

Schueller de Waal www.schuellerdewaal.com

Annina Vogel www.anninavogel.co.uk

Gucci www.gucci.com

SPRMRKT www.sprmrkt.nl

Atsuko Kudo www.atsukokudo.com

H&M www.hm.com

Swatch www.swatch.com

& Other Stories www.stories.com

Issey Miyake www.isseymiyake.com

TIGI www.tigiprofessional.com

Barbara Langendijk www.barbaralangendijk.com

Jean Paul Gaultier www.jeanpaulgaultier.com

Topman Design www.topman.com

Bodes & Bode www.bodesenbode.com

Julia Seemann www.juliaseemann.com

Versace www.versace.com

Caitlin Price www.caitlin-price.tumblr.com

Liselore Frowijn www.liselorefrowijn.com

V Files www.vfiles.com

Chanel www.chanel.com

Lanvin www.lanvin.com

Vetements www.vetementswebsite.com

Clarks www.clarks.com

Loewe www.loewe.com

Walter Van Beirendonck www.waltervanbeirendonck.com

Clinique www.clinique.com

MAC Cosmetics www.maccosmetics.com

Ximon Lee www.ximonlee.com

Comme des Garçons www.comme-des-garcons.com

Maison Margiela www.maisonmargiela.com

Creatures of the Wind www.creaturesofthewind.com

Marques’ Almeida www.marquesalmeida.com