GLAMCULT / 2015 / ISSUE 8 / #116 / EU

“Need to find a paradise for me.”

FREE 2015—Issue 8 #116

Glamcult Independent Style Paper

Issue 8 #116 Update

Visual Essay

Cult 4 Albums 8

I burn off...

Let me be...

Take me to...

Platform

Andreas Melbostad 10

Report

Glamcult + SPRMRKT

Interviews

Phoebe English 14 Isa Genzken 18 Grimes 22 Lion Babe 24 Embody

Ed Marler

28 34 38 44

Plus

Stockists 46

26 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 Graphic Design Intern Madelon Balk Contributors: Daniël Heijl Fay Breeman Jack Dolan Katrice Dustin Kelsey Lee Jones Ruben Baart Pinar&Viola Sander van Dalsum Photographers: Ari Versluis Barrie Hullegie Elza Jo Hayley Louisa Brown Jasper Rens van Es Michael Avedon Michelle Hèlena Janssen SGP / Stefano Guindani

Quotes Need to find a paradise for me.

—Bonobo & Erykah Badu Take me to the river and I’ll be your angel.

—inc.

I burn off layer by layer.

—Björk Let me be your ruler.

—Lorde Cover Photography: Jasper Rens van Es— House of Orange Styling: Leendert Sonnevelt & Patrick Cramer Hair and make-up: Chiao Li Hsu for Clinique—House of Orange Models: Gil—Rebel Management, Ruben—Elvis Models Assistant photography: Merel Klaassen Total look: Comme des Garçons (tattoo print by JK5)

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

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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

this ad is gender neutral

Cult

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Cupboard with collection objects of the 16th—21th century

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Tripe, 2014

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Roman Schramm GEFELICIFASHION, 2015, photo: Imke Ligthart

Wunderkammer Olbricht

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A/W15 collection, photo: Isolde Woudstra

How to spell a sound that is physical, 2014, courtesy of Avlskarl Gallery

Das Leben am Haverkamp

Verena Schepperheyn

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German artist Roman Schramm likens the frame surrounding a piece of art to a rind or “peel” surrounding a piece of fruit. He argues that although the frame is associated with artifice and the peel with nature, both occupy the same functional space, and thus applies the algorithm: Peel + Content = Object. In his latest work, and soonto-be released book Satellite City, Schramm presents a series of “peeled” photographs. Rendered by the use of design software Cinema 4D, Schramm plays with perception, with seemingly unimportant details of the inner life of “fruit” forced into focus. The pieces are stylized in an almost fetishist way, with a sharp and hallucinatory effect, as objects float upon popping colour and shade. By contorting the picture plane of his images and placing them within digitally constructed rooms, Schramm has paradoxically formed a “presence that is yielded by interplay of duelling forces—one of the peel, and one of its contents”.

By Kelsey Lee Jones

Ester Fleckner 2

Who would have guessed that at least seven billion atoms would found their way to construct four individual entities that would eventually discuss the current state of something we delightfully (and often problematically) call “fashion”? Das Leben am Haverkamp is just that: a promising new platform by four graduates who crossed paths at the Royal Academy of Art, The Hague.

Anouk van Klaveren, Christa van der Meer, Dewi Bekker and Gino Anthonisse currently all design their own collections, but joined forces to explore uncharted territory as a collective—resulting in thought-provoking and unpolished work, often inspired by “alter egos, boyhood and floral curtains”. GEFELICIFASHION, the collective’s latest performance— aka “celebration of conventions”—involved a senior citizen, self-designed tattoos, white briefs and an overdose of jewels. Glamcult especially appreciates the mysteriously critical undertone of Das Leben’s work, and hopes to see much more of this during Paris men’s fashion week this coming January.

By Leendert Sonnevelt

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Somewhere in the middle of Mitte (ha-ha)—the sightseeing district of Berlin—there’s a place where quiet admiration is not the sole aim. Sheer astonishment is at the forefront of a visit to the Wunderkammer Olbricht at the me Collectors Room Berlin, reanimating a rich tradition in the German capital.

During the Renaissance and Baroque periods, European princes, rulers and scholars established cabinets of curiosities, in which artificialia (precious artworks), naturalia (rare phenomena of nature), scientifica (scientific instruments), exotica (objects from “strange” worlds) and mirabilia (inexplicable items) were preserved. The rooms served to demonstrate the wealth and power of the owners and reflected the standard of knowledge and view of the world at that time. With an emphasis on vanitas, Wunderkammer Olbricht provides an insight into that past and creates the very thing it was able to do some two to five centuries ago: transport the visitor into a realm of wonderment. By Joline Platje

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Through a process of constant trial and error, Danish artist Ester Fleckner creates her own visceral language expressed through abstract woodcut prints. With every carving, Fleckner investigates human notions (and emotions) such as identity, love and desire—with exploration of the body as the pillar of her work. Her piece I navigate in collisions sees white “clit-dick”-filled satellites and “anus star” constellations form undefined family trees, symbolizing a search for fluidity in often predefined relationships.

With queer and non-conformity as the norm, Fleckner challenges the status quo with a conceptual approach to the abstract. This culminates in her most recent work, Wooden scripts (How I love your obscure), where Fleckner’s language of symbols disrupts the rigid grid they inhabit as a force of nature.

And much like the body and its parts, the pieces exist both as individual entities and as part of a bigger whole.

Although what that entails is yet to be seen… By Iris Wenander

www.verenaschepperheyn.com www.me-berlin.com

www.romanschramm.de

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“All This In Its Place For Now”—all in its place, as the sunlight softly shines in on an old and empty botanical space, where an androgynous man dressed in a deep red knit hides against muted rock walls, waxy green leaves juxtaposing with orange silkscreen suits.

All was definitely in its place when designer Verena Schepperheyn met Isolde Woudstra to envisage this beautiful A/W15 collection and look book. Schepperheyn is an emerging German menswear designer based in Berlin and a graduate of the master’s programme at ArtEZ, Arnhem. Her designs seek to deconstruct and reinterpret traditional Western clothing, shaking up the framework of fashion.

The label adopts a material uniqueness; details like hand stitching, embroideries, textile manipulation and prints combined with strong shapes.

With typically “feminine” shapes, details and cut-outs, she creates a contra-balance between masculine and feminine. By Kelsey Lee Jones

www.esterfleckner.net

23 until 27 January 2016, Atelier Néerlandais, Paris www.daslebenamhaverkamp.com

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Gc Update

Cult

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For Moses Gauntlett Cheng S/S16

Graduation collection Shamash, photo: John Cubillan

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Dilara Findikoglu Deviations, 2015, courtesy of Will Weerkamp, Tuscany

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Florian Jomain

Photo: Stine Sampers

New Moon, from the series SCAN2400, 2014, courtesy of Galerie Bart.

Thomas McCarty

FLAW / Jewelry

Jannemarein Renout 6

As you might (or very well might not) know, the highly anticipated annual press show by Central Saint Martins only includes a selection of the actual BA graduates. And whether you think that’s a good thing or not, overlooked graduate Dilara Findikoglu certainly disagrees. Together with her fellow students, Findikoglu organized #encoreCSM: a guerrilla after-show where she presented her graduate collection to probably just as many press outlets. Glamcult believes the attention was well deserved, as the Turkish-born designer based her ornamental graduation project on a new belief system named Shamash, after an ancient Mesopotamian sun god.

Shamash tells the story of six laws that are represented by six deities: Napoleon, Eve, the Virgin Mary, Josephine Baker, Venus and Joan of Arc. Rather than exerting the control often pushed by religions, this designer’s belief system is meant to unify by means of simple human acts. The clothes it brings forth? Romantic and excessive—but always with a royal (and sexual) hint of AC/DC. Blessed are the twisted. By Leendert Sonnevelt

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Jannemarein Renout, who—fun fact— studied photography at the Gerrit Rietveld Academie (Amsterdam) after receiving a master’s degree in law, attempts to embrace the groundlessness of the unforeseen and uses this condition as a catalyst to create space for free thought. “Imagine you catch a cloud. But there is nothing to hold”—reads her website. Her ongoing project, SCAN2400, captures the dynamic Dutch skies with a scanning device, exposing it to different weather conditions—the titles of the works referring to these specific moments (think: Breezy or Time to take shelter). While irregular lighting is the only pointer for her scanner, motion and time make up Renout’s beautiful, abstract images. The low horizon provides the elements of wind, clouds and sun free reign to let a play of chance determine the outcome of her wonderful work process.

By Joline Platje

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Visual artist Florian Jomain, who currently lives and works in Paris, presents the series Deviations as fresco-like objects that contain photographic artefacts found through online image searches.

The narratives these create take shape through image algorithms determined by loose associations. “For every search request, new connections are established. Images deviate from their usual thread of affiliation, letting unexpected pictorial histories unfold,” he explains.

The work is the continuation of his previous project, Surrender, with which he graduated from the photography department at the Gerrit Rietveld Academie (Amsterdam) in 2015. Jomain explores the ephemerality of the eternal online image by materializing digital files as he transfers them on to concrete surfaces.

The relics move across time and space; in their physicality they are bound to time, although their digital counterparts will continue circulating the web to be picked up by algorithms, therefore narrating new storylines. By Ruben Baart

www.jannemareinrenout.nl www.florianjomain.tumblr.com

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Growing up in a small town in Ohio— which is beautifully and somewhat ironically named Loveland—all the while becoming more and more aware of his own identity, Thomas Mccarty began exploring concepts of “hetero” and “queer”. With photography as his medium, flash-lit male genitalia, pink Ohioan skies and gender-fluidness became a few of the subjects later born out of this exploration. By challenging the boredom of hetero-normativity, McCarty quickly piqued the interest of newly sprung gender bending—or rather, gender anarchistic—brands like Vejas, Moses Gauntlett Cheng and Vaquera. The result was a set of strong yet gentle photos at New York Fashion Week. But with attention comes doubt, and on his Tumblr McCarty writes: “re-examining my work. tired of redundant photographs. what are photographs doing?”

An impossible question to answer, but McCarty’s photographs, at least to us, provide much-needed breathing space in what can sometimes feel like a thick, frozen layer of convention.

By Iris Wenander

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Contemporary pearl necklaces, sober open-worked signet rings and coral-shaped 18-carat gold earrings: Rotterdam label FLAW / Jewelry draws inspiration from classic designs and natural phenomena. The brand started when a husband wanted to give his wife a birthday present that was as unique and timeless as his love for her. Not finding the perfect golden necklace, he decided to design one himself, built of four pieces and joined together by classic clasps. After receiving numerous compliments about the jewel, the couple decided to go into business—a sustainable and environmental friendly business, that is.

Rob Gijsbers and Maureen Timmermans believe that there’s enough consumption in this world already, so their handcrafted (by their own goldsmith) pieces should last longer than a single fashion season. Using their friends as models, they’re careful not to cover up or overshadow the wearer’s personality. Just like nature, FLAW emphasizes beauty—not perfection. By Joline Platje www.flawjewelry.com

www.thomasrichardmccarty.com

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Gc Update

Albums Benny Sings

Jennylee

BOOTS

Kate Boy

Nicole Dollanganger

Studio

AQUARIA

right on!

One

Natural Born Losers

Dox Records

Columbia Records

Rough Trade

Fiction Records

Eerie Organization

Benny Sings’ fifth album, STUDIO, is an ode to his, well um, studio—a space that brought him much more than his cute pop productions. All of this is to be heard on his new record. The lyrics of opening track Straight Lines reveal the singer’s desire to vigorously dispose of the old habits that kept him stuck in a rut for years. It’s the smooth kick-off of a yacht-styled journey to find a place in the world, a home, a true love. And the man has succeeded: packed in around creamed beats and vintage hip-hop melodies there’s some actual sunny (love) tunes to be found on STUDIO. But Benny hasn’t deviated from his melancholic signature sound completely; he’s simply forging a style that is crisp and improved like him—combining familiar ’70s and ’80s analogue tones with ’90s iciness (introduced to him by Glamcult sweetheart BEA1991, whose songs he produces). Mixed by his own idols, The Stepkids, and with guest appearances by blue-eyed soul singer Mayer Hawthorne and rapper Goldlink, Benny proves himself not to be on his way to adult contemporary quite yet.

He’s just playing his favourite game.

By Joline Platje

There’s not going to be a single review of this record that doesn’t mention Beyoncé and FKA twigs, queens in their own leagues. So let’s get that out of the way. Yes, BOOTS is that artist. Releasing the dramatic short film Motorcycle Jesus less than a year ago, Jordan Asher gave an audiovisual preview of his hotly anticipated debut album—which is now finally here. Much like its capitalised moniker, AQUARIA is all about the large gestures. Speaking about the title track, the artist has revealed: “It’s my version of We Will Rock You. I wanted a beat that everyone could bang on the table.”

Coming from a musician largely associated with R&B, that’s perhaps a surprise.

But it’s just that which makes BOOTS outstanding: the ability to transcend genre.

At times AQUARIA feels like a sturdy alternative rock record, while at the same time being a rhythmic, strong, sensitive vocal trip. The question is: do large gestures work for the duration of 11 tracks?

As singing along is virtually impossible, find out by stomping to these unsettling beats. By Leendert Sonnevelt

Warpaint’s bass queen Jenny Lee Lindberg is going solo. If we were to apply some kitchen-sink pop music psychology that could either mean Warpaint are on the verge of splitting up or that Lindberg wants to explore new musical paths. There seem to be no signs of the former (although Theresa Wayman is also recording by herself), and of the latter the opposite seems to be true. Lindberg’s debut—released under stylised mononym jennylee— has dreamy-but-tough vocals, songs built on Lindberg’s signature grooving bass lines and trance-inducing drums provided by none other than Warpaint colleague Stella Mozgawa. In short, all the elements that are also omnipresent on Warpaint’s eponymous second album. Those Warpaint tracks where Lindberg takes the mic sound especially similar—although perhaps her solo songs are less melodious and darker.

Only time will tell if this individual project is just a temporary sideline or if we should worry about Warpaint’s future.

Until then, we can count ourselves lucky to have Lindberg’s coarse grooves to sway to with the lights turned off.

By Fay Breeman

When seeing electro-pop duo Kate Boy perform one immediately realizes that we’re not dealing with just another couple of Scandinavian sweethearts.

Dressed in futuristic black and white prints, faces semi-hidden, this duo and their band members feel more like a post-human squad. After releasing their first EP back in 2013, debut album One continues the stream of ingenious production, featuring chopped-up synths, atmospheric iron soundscapes and insanely energetic rhythms equally suitable for both heavy dancing and protest marching. Their message is simple but effective: “We are different, still the same”, and Kate Boy is not afraid of spreading the word with experimental build-ups and a bit of aggression. Kate Akhurst’s voice is extremely powerful and almost sounds concealed in the production, adding to the sense of being controlled and needing to fight for freedom. Despite these heavy topics, One is also very melodic and has more than enough moments of timeless pop to make this album feel as serious or as joyful as you want. “Self-control, selfcontrol!” We believe it. By Daniël Heijl

In some crooked fairy tale the daughter of Marilyn Manson and Grimes would be Canadian-born singer-songwriter Nicole Dollanganger. Her cute but cryptic persona reminiscent of Mark Ryden’s Lowbow, carnival-esque paintings comes as no surprise considering Dollanganger extensive antique doll collection and nights spent reading VC Andrews. Natural Born Losers, her debut studio album, delivers songs such as Executioner, Alligator Blood and White Trashing in a childlike, airy voice with minimal instrumentals. “He calls me with crocodile tears/while I’m chained to the bed” from Alligator Blood is just one peek into the album’s violent and subversive lyrics that harvest suburban aggression with Dollanganger’s vintage kitsch.

This bang of an album would not be possible, however, without Grimes, who created the Eerie Organization, an artists’ co-operative, to distribute this album. Though recorded outside of the bedroom, Natural Born Losers still reveals the same fragile nostalgia of a girl grappling between small-town isolation and the depths of online provocation. By Emily Vernon

Le1f

EL VY

Raury

Seinabo Sey

SOPHIE

Riot Boi

Return To The Moon

All We Need

Pretend

PRODUCT

Terrible Records

4AD

Columbia Records

Universal

Numbers

If you’re familiar with Le1f, you’re also familiar with the rapper’s outspoken social presence. Yet Koi, the bouncy first single of the artist’s first album, might have left the wrong impression.

Sure, we love the club banger with PC Music’s SOPHIE, but Le1f’s debut is much more complex, coming from a self-described “sassy, dark, purple place”.

Teaming up with the most forward producers out there—Balam Acab, dubbel dutch, Evian Christ, etc.—Riot Boi is as progressive in terms of sound as it is in its message. Race, sex and injustice are recurring topics, with tracks dedicated to (queer/black) icons like Juliana Huxtable, Grace Jones and Naomi Campbell. “If you don’t get intersex, you gotta get outta my selection,” Le1f urges with his recognizable deep, swift, murky voice—dropping one of 2015’s most heartfelt records to dance to. One warning, however: get your tissues out for album closer Change, which also has Dev Hynes and Le1f’s own mother dreaming of a better world. By Leendert Sonnevelt

When Matt Berninger (The National) and Brent Knopf (Menomena/Ramona Falls) come together to make an album, you’re pretty much obliged to pay attention. Which is lucky because Return To The Moon is a work that requires some thought and consideration. Conceptually, musically and lyrically there’s a lot going on. To be honest, we’re still a little lost on the concept (something about a parallel universe where the famous Jockey Club never closed and the Minutemen are the biggest band ever).

Whatever the inspiration, the results are compelling. Knopf’s inventive musical preparations put Berninger’s understated composure in a new, shifting and rousing context. There’s a subtle sense of Knopf’s theatricality in the lyrics too that adds a bizarre twist. Of course, hearing Berninger’s moody storytelling over a more lively and changeable backing may be a bit jarring for hardline National fans, but when it’s so well executed its hard not to warm to it.

By Jack Dolan

Singer-songwriter-cum-emcee Raury has been receiving a great deal of buzz and critical acclaim lately. The 19-year-old has a very distinctive approach, fusing indie-folk with hip hop in a way that sounds authentic and unforced. The meeting of these polar opposite worlds is what makes All We Need such an exciting listen. In fact, just the realization that such a fusion could even exist is probably the most exciting part of it. Raury ventures into such uncharted territory stylistically that it’s not surprising that some moments feel a little clumsy. The rapping in particular varies greatly from a pretty lacklustre performance on the title track to a super tight flow on Peace Prevail. The short cameo from RZA is also a major highlight. All We Need is refreshingly eccentric and actually quite ground-breaking but as is often the case with such things, could do with a lot more refinement before it becomes truly historic. By Jack Dolan

Swedish-Gambian noir-pop practitioner Seinabo Sey sings the blues anno 2K15.

For this modern-day gospel diva pumping beats are her handclaps and the club is her church. Over epic synths and big melodies she pours out her powerful voice as well as her aching heart— albeit a little muffled by the heavy production on her debut album Pretend.

Sey developed her bird’s eye and ability to mould painful situations into beautiful things at an early age. Born in Stockholm, at the age of four she moved to Gambia, homeland of her famous and strict musician father (Maudo Sey), where she was encouraged to be good and sit still, like all children there. This surely helped her sharpen her songwriting, as we can hear on her smart and soulful pop record. But Sey’s great emotional vocal strength and weary lyrics only really get to you when you see her preach up to heaven, while you’re in a poorly-lit nightspot. So go out and see this woman: you’re not getting any younger! Joline Platje

In the last couple of years, pop music has been appropriated by those who think the top 40 is way too plastic and glossy, unless it’s ironic. The oversaturated and luscious productions of the PC Music family, for example, are a fine addition to your weekly satirical Katy Perry listening sessions and a tasteful soundtrack to the conversations you’re having about Miley Cyrus being the best modern art piece since Euro Shopper’s current visual identity. British producer SOPHIE is associated with the same group of pop experimentalists, although his gleamingly bright songs feel more bound to the dance floor. The tracks on the compilation PRODUCT make up for an extraordinary dose of legitimately new music, that’s actually been around for a while now. That doesn’t make it less brilliant though—a song like VYZEE sounds like it belongs to a tacky nightclub, while it’s also abstract enough to piss off nearly everyone there. That makes SOPHIE okay in our book.

By Sander van Dalsum

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Gc Update

shop.swatch.nl

Andreas Melbostad Working closely together with enfants terribles Nicola Formichetti and Renzo Rosso, Andreas Melbostad is not exactly the rebel in the house of Diesel. Which is exactly why, combined with his solid fashion training, he’s the ideal candidate for creative director of Diesel Black Gold, responsible for the brand’s most refined pieces.

By Joline Platje Portrait: SGP / Stefano Guindani

“Most of the creational stuff happens in New York, in my apartment, where I’m on my own, without a team,” Andreas Melbostad, creative director of Diesel Black Gold, tells Glamcult from his home.

“Obviously there’s a Diesel US office, but I don’t work there. I usually work two to three weeks solitaire, focusing on research, design and creative development.” The Norwegian designer needs this focus, although he likes to be around people as well. “Working from home is… nice and not so nice.

There’s something really wonderful about waking up at home and starting work right after breakfast. But it can be frustrating too, when your home becomes an office. During the last couple of years I started commuting going back and forth to Italy. While in Italy I’m in meetings all day, so there’s really two different realities for me!”

After working for an impressive array of labels (think: Yves Saint Laurent, Calvin Klein and Donna Karan), Melbostad joined the Diesel design team in 2012, bringing a clean, lighthanded Scandinavian touch to the brand. It’s a move of which we—and the fashion world in general—strongly

“I’ve lived in New York for the last 15 years now, at the moment in a pre-war building, located in Chelsea, where I have an amazing view of the city. It feels very spacious, even though it’s an intimate apartment. Everything is white and the furniture is mostly black; I guess you could call it simple or basic. It’s not really decorated, because I like to focus on the things that I really care about: books.

I have a lot of art and design books.”

Photography: Kevin Sinclair

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approve. “Yes, I’ve worked with a lot of important people within the fashion world. And I feel super fortunate to have collaborated with all of them; especially since they all have a different approach and aesthetic. What really attracted me to become a part of the Diesel world is Renzo’s red bull spirit, always going his own way.” Next to the two famous Diesel faces—Renzo Rosso (founder of the brand’s empire) and Nicola Formichetti (artistic director of the main label)— Melbostad fulfils the role of “classy” designer. “With Diesel Black Gold I want to provide the foundation of the irreverent attitude, but at the same time give a refinement to the work,” he explains.

“Together with our little team we try to bring quality, we try to bring thoughtful, well-executed designs, bearing in mind the core countercultural influences. I’d like to bring these opposing values together.”

He continues: “Ultimately, I want to have a dialogue with a big audience on an international level and become a part of the urban uniform that is speaking to the current time and values.”

Melbostad confesses his dreams for the future. “I think it’s a good moment for

Diesel to reconnect with youth culture.

A lot of my Nineties design heroes are playing in my mind right now: Comme des Garçons, Helmut Lang, Yohji Yamamoto. I remember going to the Diesel store in Covent Garden in London when I was a student in the mid-Nineties, and even though Diesel was a lot different from those other references, they had such a cool energy, there was something really exciting about it.” But how should this urban uniform look?

“Pure shades really suit urban life. That’s why I always return to black. And if it’s not black, then white is my next choice.

I think my focus in designing is about highlighting details and silhouettes rather than colours. You know, I wear the same thing every day. When I was younger there was more fun in what I was wearing, but I have to say these days my attire consists of jeans and a black shirt. When I pack my bag to fly to Italy I just put eight black T-shirts in it!

I really don’t think about it, when I get dressed in the morning. All of my creative thoughts go into my work, ha-ha.” www.diesel.com

Andreas Melbostad “Essentially it’s all about attitude, about being bold and brave. I love the idea that a woman is very self-aware and that she has the confidence to express herself. The A/W15 women’s collection is about that. You can really see my signature in terms of silhouettes, fabrication and the colours, of course—ha-ha!

When it comes to who I imagine dressing, it’s difficult to provide specific names. I don’t know why, but it’s a really abstract thing for me. I don’t see one character; all the people I meet or see represent different parts of the spectrum. Although I'm always very happy when an artist like Rita Ora wears one of my designs. The association with music is very much part of our DNA.”

“For the men I wanted to create something that could be part of my dreamedof urban uniform. When we did the casting for the show we really looked for boys with the same expressions as punk-rock icons. Music is really important to me, I like to always have a soundtrack to my life; not only do I listen to it when I work and travel, I use it as a visual inspiration too. Iconic music references like The Clash are very inspirational for DBG.”

“I’m a creative director, but I also really love to design. So I’m very hands-on with the process: I do a lot of sketching and designing myself. The DBG A/W15 women’s collection was inspired by the works of photographer Peter Lindbergh.

These images lend themselves to translation into the image of a metropolitan, independent and spiritual woman.”

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Gc Platform

Swatch x Sigrid Calon She explores from a natural, nonstop, inescapable urge. Dutch visual artist Sigrid Calon and her work can be described with a single phrase: curiosity.

She’s not at all content with the everyday, or with fixed meanings and identities.

Instead, the artist questions whether there is actually such a thing as truth or essence—never limiting herself to a single medium, model, material, form or colour.

Constructing a distinct graphic language based on pure, bright and geometric patterns, Calon is at all times looking for an almost childlike sense of wonder. It is this ongoing investigation, according to the artist, that represents the beauty of life.

While going into yet another process of discovery for the design of her very own Swatch Art Specials, Calon searched for three core characteristics: “strong, clean and fresh.” She also wanted to find a way to indicate the hour of the day in a new, original way. Born from this extensive quest were two distinct watches, both displaying a raster that is very reminiscent of the artist’s signature work. Calon named them DUET IN BLUE AND RED and DUET IN GREEN AND PINK—we obvs don’t have to explain the difference.

www.sigridcalon.nl www.swatch.com Get your limited edition Swatch Art Special DUET IN GREEN AND PINK now, as the DUET IN BLUE AND RED was sold out within a matter of hours.

During the festivities of Dutch Design Week, taking place in Eindhoven this past October, the brand new Specials were launched with an overwhelming installation. Calon’s positive patterns were not just premiered on watches, but also projected on the floors of a beaming exhibition space—next to riso prints from her critically acclaimed book To the extent of / \ | & - and adaptations of portraits from the Willem van Zoetendaal archive on textile. Calon thinks aloud: “To what extent is it possible to find autonomy in applied objects?”

Not only does this reflection underpin all of her personal work, it more than ever comes alive in the creation of her Swatch Art Specials. So whatever you believe the answer to be, think again with this brainy new gadget around your wrist.

While presenting her work at an art fair in Milan some years ago, Calon was spotted by a representative of Swatch, the renowned Swiss brand famous for its innovative watches, but also for its grand collaborations. She only found out a few months later, when she got an unforeseen phone call and was officially asked to team up. “That was a huge surprise,” she tells Glamcult. “Especially when I think about the many great artists that have been asked to design a watch before.”

With predecessors such as David LaChapelle, Keith Haring, Vivienne Westwood and Pierre et Giles, you get the sentiment…

Interviews

14 hoebe English: “My interest in fashion might be more like 18 an illness!”

With her authentic sculptures sa Genzken makes criticising 22 society fun. rimes: “I wish the kids cared more about politics.”

24 ion Babe’s music is as much a sign of the times as it is an expression of the duo’s soul.

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By Leendert Sonnevelt Photography: Barrie Hullegie—HALAL

Styling: Thomas Vermeer Hair: Daan Kneppers—NCL Representation Make-up: Judith Neyens—NCL Representation Model: Eveline Rozing—Ulla Models

Phoebe English Surrounded by outmoded radios, electric fans and rusted light fittings at London Fashion Week, Phoebe English presented a typically pensive but highly dystopian collection for this autumn/winter season. More than ever, the British designer, Comme des Garçons protégé and professional daydreamer displayed her brilliant vision: a personal take on construction and deconstruction. “I wanted it to look like a mess...”

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Gc Interview

Phoebe English

“It takes tea, lots and lots of tea. I can’t get through a single hour without at least one cup of tea.” Say hello to a day in the busy life of Phoebe English— who once again proves that fashion isn’t nearly as rock’n’roll as it would like to be.

Precision, beauty and uncompromising consideration to extremely laboured textiles are the key constituents of this designer’s practice, which was born after graduating from Central Saint Martins in February 2011. Almost five years later, eight collections and a number of awards have followed. Yet English is anything but presumptuous: “I got to this point through lots of accidents, failures and maybe fate? I didn’t have any future plans. I was just going along—and the going along happened to have arrived here.”

Born into a family of artists, English’s self-described “fate” was never mapped,

yet always apparent. “I have been interested in fashion since my earliest memories,” she recalls to Glamcult. “It has just always been something I’m hardwired to pick up on. If I watch a film I usually have to watch it twice, as the first time I only see the clothes, not the story. It actually might be more like an illness!” Although her family background played a considerable role in shaping who the designer is now and what she has learned, she can’t quite explain how. “In a way, I don’t know any different from this creativeness, so I’m not sure how else it is supposed to be...”

It was English’s very first collection that drew the attention of fashion super powers Comme des Garçons, with the label picking up pieces for retail at Dover Street Market, London. The support of the legendary house has meant “a great,

great, immeasurable amount” to English, who speaks very fondly of “that special family”. Not only are her pieces now sold worldwide, but she was also asked to create window displays and installations for Comme Des Garçons sites around the world. It resulted in the hushed glass installation An Accumulation of Nothing in Paris, as well as a four-metre plaster rock avalanche in New York, among others. Not at all unexpectedly—for either English or her Japanese supporters—these works explored themes such as chaos, control, gravity, suspension and temporality.

Despite coming farther than most in a matter of seasons, English’s autumn/ winter 2015 presentation was the first to (finally!) be recognized by the British Fashion Council at London Fashion Week. “I am extremely surprised by the

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difference that has made,” she reveals.

“In many ways I feel that potentially everything I have done up to this point may have been pretty invisible and nonexistent to a large area of the industry, which I have very mixed feelings about, both positive and negative.” At the BFC show space, English made a raw, industrial décor clash with her poetic, carefully constructed clothes. Focusing on the power of structure and surface over anything else, she treads a fine line between laborious craft (“made in England”) and design. As perfectly described by the official press release, English let her creative spirit be guided by “an understanding of the relationship between material and motion”. And though her designs can be described as mesmerizing or even romantic, they’re anything but tedious. “I wanted it to look like a

Phoebe English

mess, a beautifully chaotic mess.

A well-considered mess.”

Seeing these intricate designs and considering fashion’s current “wearabilty” hype, one might wonder: What’s in it for me? “Of course, I think about that when I’m designing,” English responds. “It’s not the main thought beneath every piece but it is an absolute key ethos I work from. The pieces must function successfully as products on the shop floor, even if they are complicated ones. I don’t want people to be intimidated by the clothes. I want them to be pleasantly surprised how straightforward some of them are in real life.” This makes us curious: does the designer also wear her own works? “I used to really struggle to!” she laughs. “I found it a very exposing experience—as if I was boasting. However, I’m totally over that

now. Lots of the pieces I make are quite subtle and almost ‘stealth’ in a way. So I can wear them without feeling like I’m trying to be some weird, over-confident self-promoter.” As for her audience, English sincerely hopes her “woman” isn’t too polished or refined. “I would totally hate that! I like the pieces I make to not be too predictable.”

It is English’s working process that largely defines her label. When Glamcult tries to summarize this distinctive approach as “construction through deconstruction”, the designer ponders aloud: “Maybe… some of my pieces did get ripped on floor-board nails during the presentation, spilling all the black glitter trapped inside in a trail behind the models. Yes, that does fit!” English is interested in anything but decoration, however, which reveals itself in the

dominance of (various forms of) black and white, rather than colour. “It’s natural for me to work with these,” she explains.

“I’ve always been more interested in structure and form.” In spite of her intensive methodology, couture is a term that the designer avoids at all costs.

“Couture is an extremely specific thing, which I believe can only exist in one specific place and sphere. That’s why I don’t relate to it within my own creative practice one bit.” That being said, she does add: “I have been lucky enough to witness it and have a huge respect for it as a practice.”

Inspired by Mr Pearl, the notorious French corsetier with an 18-inch waist, as well as the late Louise Wilson, Central Saint Martins’ dearly missed fashion professor, English thus creates intrinsically avant-garde, aesthetically striking

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prêt-à-porter. Her definition of success would be “time to think”, yet her work is—very visibly—that of a daydreamer.

“Yes, it’s a very annoying thing to be…” she concludes. As for the future, English’s promise is tremendous. And while she may be dreaming, her plans are unambiguous.

“There will be more menswear and more womenswear. There will not be any pet wear, bridal wear or children’s wear!” www.phoebeenglish.com

Gc Interview

By Joline Platje

Isa Genzken

Photos taken from the book I love New York, Crazy City, 2006, Photo: Wolfgang Tillmans (1996), courtesy of Galerie Buchholz, Cologne/Berlin/New York

The oeuvre of artist and phenomenon Isa Genzken is rooted in the medium of sculpture, but before you start thinking of marble, stone or bronze, think again. Her work encompasses installation, film, video, painting, collage and photography. The art world praises her for her incessant pursuit of artistic renewal and willingness to risk everything in that quest. In the Journal of Contemporary Art Genzken sums it up like this: “I always wanted to have the courage to do totally crazy, impossible, and also wrong things.�

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Isa Genzken

Ohren (detail), 1981, photo, 72.7 x 50 cm, Collection Stedelijk Museum Amsterdam

Glamcult loves German artist Isa Genzken for her unorthodox vision of the world around us. For her radical use of materials usually not connected with established art (graffiti spray paint, epoxy, window dummies). For her seemingly nonchalant attitude towards putting together her work. For her passion for all things unpolished and underground. The innovation and invention of her work, rich in autobiographical elements and subtle comments on society, have served as a source of inspiration for generations of artists and art lovers. Despite being schooled as a sculptor, Genzken has never felt constrained in her use of media. Rather, she’s always challenged the concept of sculpture, scanning the boundaries of the discipline while working around themes such as big-city life, fashion, architecture, the human body, subcultures and (dance) music. She started to experiment in the 1970s, while studying art history and fine art, with computer-calculated

abstract sculptures, followed by wooden spear-shaped objects (ellipsoids and hyperbolas) and sculptures made from unusual materials (concrete and epoxy).

She really challenged the concept of sculpture with her more recent, complex narrative collages and assemblagetableaux integrating everyday objects, which over the last ten years have brought a renewed sense of urgency to her work.

It comes as no surprise that someone with a CV like Genzken’s has been featured at Documenta in Kassel (2002), the Venice Biennale (German Pavilion, 2007) and had several retrospectives in Europe. It was the city of New York, however, that showed her first comprehensive survey exhibition—at the MoMA in 2013. It’s not especially surprising given that despite being based in Berlin and studying both there and at academies in three other German cities (Hamburg, Cologne and Düsseldorf), Genzken has

always felt attached to New York, travelling there twice a year before settling in the Big Apple in the Nineties for some time. Off the back of her stay, Genzken created the book I love New York, Crazy City, providing us with a weird and wonderful guidebook for the city that never sleeps and a much-appreciated look into her private life through all kinds of posters, takeaway menus, torn pages from magazines, notes, addresses, hotel bills and photos taken of her during her stay (by, among others, none other than photographer Wolfgang Tillmans, a kindred spirit and close friend).

In the 1980s, while she was in New York and lacking a studio to work from, Genzken started to take photos of the ears of women on the streets of New York.

In an interview with Wolfgang Tillmans she said: “Not a single woman said no.

Because I didn’t ask for their face, but for something largely anonymous… The women always said, ‘What, my ear?

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Sure!’ Everyone thought it was great.”

Genzken loved the different shapes she saw, and the way people expressed their identity through them with jewellery (or the lack of). Next to “unknown” people in the street, Genzken also portrayed her own ear and that of Sonic Youth’s Kim Gordon. By enlarging a single, specific feature and positioning it so that it receives full attention, it could be argued that Genzken turned the ear into a model for a sculpture. Ears not only caught the artist’s attention for their beautiful form, but also because they connect with two prominent themes in her work: 1, they pick up signals and 2, they serve as a window between inside and out (of the human body in this case).

Gc Retrospective

Isa Genzken With her Nineties series of colour-sprayed, dyed and taped-on ready-to-wear shirts, Genzken was researching the borders between sculpture, fashion, painting and performance. The shirts are raw, authentic and eccentric—just like the artist—and they completely fit her aesthetic: colourful with a dark rim, cool but not necessarily beautiful. They’re mostly shown up against a wall, but last spring they were exhibited on real models—those of the well-known agency Tomorrow is Another Day, which provides boys for the shows of the likes of Saint Laurent and Gucci. Genzken told Interview how delighted she was that the models had fun during the performance, and that they even took pride in wearing her designs.

She loved to see how real life and art can be merged like this, shifting roles and meaning. Just as they did in the Nineties, when she offered the shirts for sale at an exclusive menswear shop at the Kurfürstendamm in Berlin for the not inconsiderable sum of €5,000—too expensive for even the most fashion conscious. Not that it mattered to Genzken; she was happy that the shirts stirred things up.

Hemd, 1998, mixed media, 80 x 53 cm, Collection Galerie Buchholz, courtesy of Galerie Buchholz, Berlin/Cologne

For her photographic series X-Ray, Genzken persuaded her doctor to make radiographic photos of her while drinking, laughing, singing and smoking.

She didn’t have trouble convincing her doctor, since the two of them had a good understanding: “He liked to drink too,” she explains in conversation with Jeffrey Grove, co-curator of the Isa Genzken retrospective at MoMA. She was allowed to keep her jewellery on as well, something forbidden when undergoing X-Ray under “normal” circumstances. Just like drinking wine from the bottle while being “examined”. In an interview with Wolfgang Tillmans she said: “I was just interested in seeing what it looks like inside my head—and the idea that they could just examine the inside of my head like a globe.”

From this, Genzken created two series.

The first (1989) was printed positive (black on white) and the second (1991) was printed as negative (white on black). Genzken humorously refers to the images as “party pics”.

X-Ray, 1991, photo, 100 x 80 cm, private collection, courtesy of Gert Jan van Rooij

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Isa Genzken For her series Schauspieler (Actors) Genzken took window dummies, loosely dressing them in colourful clothing, wigs, gas masks and other embellishments, thus creating remarkable types. According to the artist, mannequins possess the idealized version of our human body, and by taking them out of their context, dressing them differently and placing them in a museum, they can be viewed as actors. It could also be argued that Genzken creates alter egos with these dolls; it’s her own clothing she uses to dress them. The series plays once again with notions of sculpture, creating images that could represent a scene from a film.

They are sculptures that are almost alive, not resting on a pedestal but leaning forward into the room. In many of her late works, Genzken uses assemblages to redefine known and unknown objects or images from contemporary society with everyday materials. She likes to create work that is both well known and new to us, creating something unfamiliar and weird from something that we recognize from our daily reality.

Schauspieler, 2013, mixed media, dimensions variable, private collection, Cologne, courtesy of Galerie Buchholz, Cologne/Berlin/New York

Close to Genzken’s Berlin studio, there’s a plaster works where they make reproductions of the famous Nefertiti, shown at the Egyptian Museum in Berlin. Not only does this bust reference the classical Berlin museum world, but also Nefertiti’s mythic beauty. Genzken had long wanted to find out how to make a cast of Nefertiti herself, usurping this iconic figure and dressing her the way she wanted, modernizing the ancient sculpture to her own liking. She has created two series of Nofretete so far (in 2012 and 2014). In the latest she styled her busts with funky sunglasses that wouldn’t attract attention on Fifth Avenue. Or the Panorama Bar, for that matter. Did we say we just love this superstar?!

Isa Genzken: Mach Dich Hübsch! will be on display at The Stedelijk Museum (Amsterdam) from 29 November until 6 March 2016. The exhibition is the first comprehensive retrospective of Isa Genzken’s work and the largest retrospective ever in the Netherlands of one of the most influential artists of the last 40 years. The survey presents a broad spectrum of Genzken’s work, from her early films, drawings, ellipsoids and concrete sculptures to complex narrative collages and recent assemblagetableaux integrating everyday objects.

Nofretete (detail), 2014, mixed media, dimensions variable, Collection Galerie Buchholz, courtesy of Galerie Buchholz, Berlin/Cologne and David Zwirner, New York/London

www.stedelijk.nl

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Gc Retrospective

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By Pinar&Viola Edit by Leendert Sonnevelt Photography: Michael Avedon

Grimes It’s hard to believe more than three years have passed since Glamcult and Claire Boucher met for the very first time. Now a full-blown superstar, Grimes graces covers around the world and is set to release her long-awaited second album. Glamcult reps Pinar&Viola caught up with the outspoken producer in a Parisian hotel to talk music, politics, aliens, veganism, fashion and spaghetti.

We just listened to your new album—talking about it actually makes us blush. It feels like you’re reborn, you’re glowing. Tell us about the process behind that.

As a professional artist, the more you create, the more it starts to feel normal. When you start out, you don’t want people to hear your voice, you’re doubting whether it’s good or not—especially while performing. I’m a lot more confident now. I’m no longer scared of making music in the way that I used to be. I can do more voices, I’m not whispering anymore.

I can watch it once in a while. It reminds me of Caravaggio, the dark colours and images…

So you’re literally opening your mouth.

Yeah! Especially on tour, you have to be yelling all the time. You get used to that and it’s quite freeing, not feeling inhibited by your own voice.

We feel like art could change this.

I agree. Some of the songs on the new album are kind of political. They’re all abstract enough to not hear it, but if you look at them through a political lens… I don’t want to blame people or make them feel bad. But I still get a lot of shit sometimes.

How do you feed your inspiration?

We currently watch a lot of History Channel shows and listen to BBC podcasts.

I discovered those yesterday! My brother has been playing them, they’re amazing. I think history is one of my biggest influences. Obviously there’s musical inspiration too, but I like to look outside of music because it’s more interesting.

I’m really into rococo architecture at the moment.

You must be very happy here.

Oh yeah, Paris… Yesterday we were driving somewhere and all we did was scream because the buildings are so nice.

The driver was like, ‘Is everyone okay?’

Have you ever been to Istanbul?

There’s an old Ottoman palace, and we’re sure you’d lose your mind there.

No, but I really want to! I sometimes travel there on Google Images. [Laughs] Is it possible to turn these inspirations into sound?

I think so, but it’s very abstract and hard to describe. In my office I have paintings and pictures everywhere. I keep The Godfather on my computer so

Your Tumblr is like that too. We’re happy you’re so transparent about your drives and ideals.

Is there something you’re hoping for? A cultural revolution?

I wish the kids cared more about politics. My generation is a bit apathetic sometimes, and that scares me. Why don’t people care more about the environment? Human rights? The refugee crisis?

‘How can you eat Ben & Jerry’s ice cream if you’re a vegan?’

Exactly! You know what was hard about that ice cream issue... I was like, if you love ice cream, eat ice cream. If I want to eat ice cream just once a year, let me. I don’t give a fuck.

Can you give an example of how you morph a political message into a song?

There’s a song on the album written from the perspective of a butterfly that’s looking at an airplane and seeing a giant dead bird. I tried to show what’s going on from the animal’s perspective.

It doesn’t understand why its habitat changes and life is being destroyed.

I like to think about things like that.

How would you define success?

I think success is when you’re happy.

Bingo! But you get a lot of negativity as well. How do you not let it pollute you?

It sounds kind of silly, but there’s no one who’s worked on my albums besides some guest vocalists and myself.

Even if everyone hates it, it’s my thing.

That’s very satisfying. Everyone asks, ‘Why do you not work with producers?’

I don’t know if I could take the barrage of negativity that comes with that. When something is Grimes, it’s actually mine.

People can take away everything but I have that, and it gives me confidence.

When people criticize me as a person, it usually comes from a misunderstanding.

It’s important to ignore that. For my last video I just disabled the comments, which was great.

If you’re sure of creating something positive, it’s like a light that you bear. You just let it shine.

Yeah, I feel like that’s how art used to be before comment sections!

[Laughs] A broad question: can we talk about aliens?

Sure! Have you heard of the Drake equation? It looks at how many planets there are, how far they are from the sun, and takes into consideration every single factor needed for carbon-based life.

It calculates that there are probably 10,000 intelligent civilizations in the universe. I studied astrobiology in university, and one of my professors actually discovered ALH 8400, a meteorite found in Antarctica with potential for life on it.

What do you imagine them to look like? Bacteria sound a bit boring.

Well, not if you consider that we evolved from bacteria. There’s a bacterium that eats plutonium. You know how we exhale CO2? It exhales oxygen.

Imagine if that bacterium was able to evolve through millions of years, that’d be crazy.

We feel like they were there before our civilization. Just look at ancient art.

I feel like that’s a possibility. Or someone is watching us, and we’re in a Petri dish.

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Let’s go to a lighter topic. You were at the latest Louis Vuitton show. Did Nicolas Ghesquière’s collection look familiar to you?

Yeah, I hang out with them! [Laughs] I think it was a bit Grimes-y. They say that too, actually. The Louis Vuitton team is very supportive; I’m in Paris because they flew me out here. It’s a good relationship.

I don’t know if my style is always good, but I appreciate the effort.

We noticed that you mention Tarot sometimes. How do you use it?

I don’t use it very much because it’s stressful. The last time I did, we were driving out to the middle of nowhere and the guy in front of us hit a deer. It was very gruesome and sad; the deer was dying on the road. When we got to our destination, my step mom read my Tarot. There was a deer, a stag, and in the middle was a road. My Tarot is always a bit creepy.

What’s your favourite card?

The Devil.

Do you use it on a regular basis?

No, I don’t want to play with fire too much...

How’s life in LA? I hate driving in LA. And the food isn’t very good.

You’re the first person to say that!

No one uses oil, and no one uses salt. LA doesn’t have very good food, especially compared to Paris.

What do you eat here?

Spaghetti, that’s my favourite food. You guys use olive oil.

The French are also very good with French fries. But it’s hard to be vegan in Paris.

Yes, that’s true. But you can always have spaghetti! www.grimesmusic.com

They would like your music.

Maybe… I hope so!

Gc Interview

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By Katrice Dustin Photography: Hayley Louisa Brown

Lion Babe “Music is an expression of the soul, but it’s also a sign of the times.”

Armed with the wisdom of their respective creative histories and the determination that comes with being seasoned New Yorkers, Jillian Hervey and Lucas Goodman of neo-soul duo Lion Babe are forging a new musical direction, celebrating the inquisitive nature of the post-internet generation and seeking inspiration from the music of their youth.

Hervey and Goodman met at a friend’s party in Boston almost seven years ago, at a time when both artists were in transition and when 21st-century American music was experiencing a key turning point. As the world digested the news of Michael Jackson’s shocking passing, there was an unprecedented surge in sales of his albums, making Jackson the best-selling artist of the year and formalizing his position as one of the most influential artists of all time. The idiosyncratic sound Jackson pioneered—infusing the classical elements of soul, rock and R&B—successfully redefined popular music, and in turn opened doors to a new generation of innovators.

Lion Babe was born out of this generation’s trailblazers, united by a love of music and the desire to create.

After reconnecting in New York some years after their initial introduction, Hervey and Goodman decided to join forces, and began working on a sound that would eventually see collaborations with top names in the industry, including chart-topping, genre-bending artists Pharrell, Dave Sitek and Childish Gambino.

It was these experiences that encouraged the duo to continue their musical experimentation, and it was working with Pharrell that Goodman notes as an integral moment in his career: “It was amazing to work with someone whose music I grew up on. I often reference his techniques when I make new beats now,” says Goodman, who also produces under the moniker Astro Raw. Back in 2012, Lion Babe’s debut single, Treat Me Like Fire, garnered international recognition and the pair later signed to renowned label Interscope,

with whom they released their self-titled EP in 2014. But the vision for Lion Babe was born way before fame beckoned.

Reflecting on the birth of the project, Goodman says his foray into music began on the technical side, learning key skills in his previous life as an engineer at record label Truth & Soul. “I used to play in bands with friends growing up, and got my first sampler in high school. I’d work on as much music as I could in my free time, making beats,” he says. “My parents put me on to the music I grew up with— Iggy Pop, The Rolling Stones, Jimi Hendrix…

That’s my roots.” As for Hervey, her origins lie in the dance world: “Before Lion Babe, I was living in Manhattan working as a freelance dancer. I danced in a few companies, and worked as a hostess in a pizza spot in the Lower East Side,” she explains. “Dance was my primary passion and career choice for most of my life.

The first time I ever did anything music related was through my mom [Vanessa Williams], singing on one of her Broadway albums with a children’s choir.”

With her now iconic golden mane and charming ’70s-inspired style, you’d certainly be hard-pressed to miss Lion Babe’s front woman. Teamed with her smooth, jazzed-out vocals, as heard on Wonder Woman, the Los Angeles native certainly has the package of a future icon. And while she duly acknowledges the inevitable influence of some of the greats—“Chaka Khan, Erykah Badu, Aaliyah, Billie Holiday to name some of my favourites”—she’s also both aware and accepting of the platform she occupies as a female artist, at a time when the voices of female musicians addressing the gender divide within music are

beginning to be heard and recognized.

“People at large need to be encouraged and reminded of the power within them, so as a woman, I strive to use my platform to get those messages into the heads and hearts of any female who will accept,” she states. “I especially connect with Björk [in her recent Pitchfork interview] on the idea that sometimes lyrically you write things that you are telling yourself. Treat Me Like Fire was the first song I ever wrote, and at the time it was exactly what I wanted to say to myself.”

While every big city has its own unique characteristics, it could be argued that NYC is home to the most dedicated urbanites, who will defend the prestige of the “Big Apple” to its proverbial core.

Living in the famed city has had a crucial impact on both the personal and professional lives of Hervey and Goodman, who see it as a melting pot of vibes and culture. “There’s such a rich history and it’s always been such a creative place,” says Hervey, who moved to New York by way of Westchester Country to attend college. “It can be a struggle at times, but I love people’s grind and hustle mentality because it forces you to go above and beyond. I also appreciate being able to have whatever type of experience I want—24/7. There aren’t too many places like that around the world.”

But at a time when music can be accessed at the click of a button—and often for free—what exactly do Lion Babe see for the future of the music industry?

“Streaming is the next phase of how music is sold. I don’t think it’s good or bad, just an adjustment. Just by browsing on YouTube or Tumblr, you can come

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across amazing artists from the past and present that you might not have seen or heard otherwise,” says Hervey.

“Mainly, though, artists should be getting more of a cut for what they do. No one talks about the amount of money it takes to actually make a record, and— even with success—lots of artists are left in the red.” And while noting the struggle faced by artists today, both feel grateful to live in a time where the discovery of new music is vital to the progression of not only the idea of genre, but to the industry as a whole: “We all can listen to whatever we want to whenever we want to; availability of music is endless. I can listen to any artist or genre from any time period,” Goodman says excitedly. “It just feeds into everyday discovery of music and breaks barriers.

Now you can have it all.”

Their new album, set to be released this year, has been a journey of self-discovery for Lion Babe, who speak optimistically of their process as a simple reflection of what they’ve been through —touching on themes of both self-acceptance and self-empowerment. Both agree that the final work was a long time coming and well worth the stress that comes with progression. “We have dedicated ourselves to Lion Babe for the past few years, so it’s only natural that this album is personal and emotional. This experience has taught me a lot about myself and what my driving emotions are,” Hervey says. “It’s going to be a huge accomplishment to share it with the world.

2016 is going to be our best year yet.” www.lionbabe.com

Gc Interview

Words by Leendert Sonnevelt

Embody by Ari Versluis

Ed Marler They claim to spend most of their spare time “putting on pyjamas and getting wasted on the couch”, yet the names Ed Marler and Matthew Josephs are buzzing all over. From Ed’s vampy, wellreceived first collections to Matthew’s acclaimed editorials with the world’s top photographers and artists, this team is changing fashion for the better.

Glamcult met the duo (also a couple in non-professional spheres) in London with photographer Ari Versluis.

“Going out in East London, mutual friends, clubs, events…” That’s just how they met, according to Ed. “But it took us ages to speak to each other.” The designer and stylist might look inseparable today, but hooking up was certainly not a given, as Matthew divulges with a laugh: “You know when you already

know somebody but you don’t speak to each other? We’re both quite difficult like that...”

Three years later, the boys share an apartment and a wardrobe.

“It includes the clothes I make,” Ed professes. Both in terms of styling and design, there is a continuous sense of reciprocity between the two. “When it’s a busy time for me, it’s usually a quiet time for Matthew. When Matthew is busy, I’m winding down from fashion week.” They have the same degree (a BA from Central Saint Martins) and a visibly profound understanding of each other, but Ed and Matthew do disagree. “Ed is quite difficult! When I get up in the morning and put on an outfit, he’ll say: ‘That’s disgusting, change it.’” And while Matthew, like many a stylist, can swap preferences from day to day, Ed’s taste is more specific. “Because of the way I look and the things I make, people think I

like crazy, froufrou and girly. That’s not necessarily the case.”

Despite their constant collaboration, Ed wouldn’t describe his partner as his muse. “When I’m designing I do have people in mind, but they’re fantasy people. I build characters out of bits of pieces. A girl is not just Kate Moss or my mum, yet they’re both part of the person I create. I draw all of them and save images as I go along.” Matthew adds, candidly: “I think with your last collection, you put a lot of yourself into it. Like a self-muse.” “Most of my ideas stem from getting dressed from day to day,” Ed confirms. “I don’t have a lot of money, so a lot comes from having to be resourceful. I’m forced to think outside the box. Can these two football tops be a party dress? The little characters I build are exaggerated parts of myself.”

All of this leaves Glamcult wondering: Is there really not a largerthan-life version of Matthew in Ed’s

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work? “Yeah, during my first season there was,” the designer laughs. “It was kind of how Matthew was dressing at the time. When I made that collection, we were just getting together. I think I was trying to—” Matthew is quick to finish the sentence with a chuckle: “—impress me.”

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.edmarler.co.uk www.matthew-josephs.tumblr.com www.ariversluis.com

Gc Embody

Visual Essays

28 burn off layer 34 by layer. et me be your ruler.

38 ake me to the river and I’ll be your angel.

Photography: Jasper Rens van Es

Photography: Elza Jo

Photography: Barrie Hullegie

Gil: jacket Olivier Jehee, jeans Y/PROJECT, boots Diesel Black Gold

Gil: total look Comme des Garรงons (tattoo print by JK5)

I burn off layer by layer.

Ruben: top Gucci, necklace Wouters & Hendrix

Section

29

Gc Interview

Ruben: jeans Y/PROJECT, belts Paul Smith

Gil and Ruben: tops J.W. Anderson via Van Ravenstein, jeans Sophie Hardeman, loafers Paul Smith

Ruben: jacket Balmain x H&M, jeans Diesel (customized), boots Diesel Black Gold

Gil: top J.W. Anderson via Van Ravenstein, trousers stylist’s own, loafers Paul Smith

Ruben: trousers Gucci, vintage bolero via Laura Dols, shoes Clarks x V&A Museum, necklaces Wouters & Hendrix

Ruben: vest Diesel Black Gold, trousers Gucci, vintage brooch via Laura Dols

Photography: Jasper Rens van Es—House of Orange Styling: Leendert Sonnevelt & Patrick Cramer Hair and make-up: Chiao Li Hsu for Clinique—House of Orange Models: Gil—Rebel Management, Ruben—Elvis Models Assistant photography: Merel Klaassen Special thanks to Replay Amsterdam

Let me be your ruler.

Top Left: Tirino: jacket Balmain x H&M Derrick: necklace Atelier Deneuve, earrings Balmain x H&M, jacket Dries Van Noten Ray: headpiece Chanel, sunglasses Moschino (vintage), necklace Bulgari, jacket Balmain x H&M Bottom Left: Fosa, Tirino and Ray: all clothing Manon K端ndig Right: Fosa: necklace, bracelet and glasses Atelier Deneuve, shirt Duran Lantink Jermain: necklace Chanel, earrings Moschino (vintage) Cheraine: vintage headpiece, pearl ring Bulgari, golden ring Bodes & Bode, jacket Givenchy

Top Right: Danny: sun necklace Otazu (vintage), jacket and golden necklace Balmain x H&M, belt Y/PROJECT via SPRMRKT Tirino: shirt Vetements via SPRMRKT Bottom right: Derrick: jacket Fake London, hat Thrasher Ray: headpiece Chanel, nose piercing Cartier, necklace Bulgari, shirt Y/PROJECT via SPRMRKT Jonathan: vintage coronet, earrings Christian Lacroix, shirt Duran Lantink Fosa: necklace and bracelet Atelier Deneuve Left: Ray: head piece Chanel, necklace Bulgari, shirt Y/PROJECT via SPRMRKT Ray: headpiece Chanel, nose piercing Cartier, jacket Acne Studios, scarf Manon K端ndig Danny: sun necklace Otazu (vintage), golden necklace Balmain x H&M, bracelets Monies via Bodes & Bode, belt Y/PROJECT via SPRMRKT

Photography: Elza Jo—HALAL Styling: Duran Lantink Concept: Sofie Spindler and Johann Tangyong Hair and make-up: Kathinka Gernant for Chanel—UNSPOKEN Casting and production: Tirino Yspol Models: Cheraine, Danny, Derrick, Fosa, Jermain, Ray and Tirino Assistant photography: Alex Berger Assistant styling: Ruby Houwer Assistant hair and make-up: Mandy Nijland Thanks to Ray Fuego and his mom, CONCRETE, SPRMRKT and Bodes & Bode

Blouse and jeans Acne Studios, shoes Saint Laurent, scarf stylist’s own

Take me to the river and I’ll be your angel.

Left: Shirt Dolce & Gabbana, jeans Frame Denim Right: Bomber 3.1 Phillip Lim, sweater Isabel Marant

Left: Bra Miu Miu, dress Zara, jeans MiH Jeans Right: Shirt Bottega Veneta, top Christopher Kane

Photography: Barrie Hullegie—HALAL Styling: Suze Kuit—House of Orange Hair: Daan Kneppers—NCL Representation Make-up: Elise Haman and Suzanne Verberk—NCL Representation Model: Cheyenne Keuben—Paparazzi Model Management

Glamcult + SPRMRKT You think it’s impossible to gather Amsterdam’s finest people in one place? Think again. Launching our ‘dolls on drugs’ October issue on the neon-lit turf of SPRMRKT Amsterdam, we turned the scenic store into a stage for Dutch talents BEA1991, The Stress, APPIAH, The Thins, Carlijn Jacobs and Das Leben am Haverkamp.

Photographer Mies Janssen shot us an analogue report—for your own safety the all-night after party remains a (lack of) memory...

Photography: Michelle Hèlena Janssen Special thanks to Warsteiner and Absolut Vodka

www.glamcult.com www.sprmrkt.nl

SPRMRKT holds something significant for each: a selection of contemporary and progressive fashion, a wide range of accessories, books and design objects, as well as things as of yet undiscovered.

With its belief in the necessity of pushing the envelope, SPRMRKT also functions as a platform for inspiring ideas in fashion, art and design by hosting exhibitions and events that showcase upcoming talent and bring people together. SPRMRKT is currently stocking Marques’ Almeida, Y/PROJECT, Vetements, Yang Li, Craig Green, E.Tautz and Xander Zhou.

44

Gc Report

Aus Berlin is the festival where you can get completely lost in a LABYRINTH which is full of intense visuals, crazy sounds and weird objects. An experience that gives you the feeling you are in a surreal place. This is what Aus Berlin presents during its third edition on the 28TH OF NOVEMBER in Tilburg. Tim Henrik Schneider, the artist behind the famous Berlin labyrinth PERISTAL SINGUM, is responsible for all the art and decoration. Check out the pictures or website to get the idea.

Besides an artistic experience the festival is all about music from Berlin and some upcoming Dutch DJ’s. Aus Berlin Festival presents: Anja Schneider, Tiefschwarz, Weval (NL), Thomas Schumacher, Klangkuenstler, Channel X, Dan Caster, Benotmane, Luuk van Dijk (NL) and Eversines (NL).

28 november

SPOORZONE TILBURG www.ausberlin.nl

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 3.1 Phillip Lim www.31philliplim.com

Diesel Black Gold www.dieselblackgold.com

Phoebe English www.phoebeenglish.com

Acne Studios www.acnestudios.com

Dolce & Gabbana www.dolcegabbana.com

Replay www.replay.it.

American Apparel www.americanapparel.net

Dries Van Noten www.driesvannoten.be

Rodrigo Otazu www.rodrigootazu.com

Atelier Deneuve www.atelierdeneuve.nl

Duran Lantink www.duranlantink.com

Saint Laurent www.ysl.com

Balmain x H&M www.hm.com/balmain

Fake London www.fakelondon.com

Sophie Hardeman www.sophiehardeman.com

Bodes & Bode www.bodesenbode.com

Frame Denim www.frame-denim.com

SPRMRKT www.sprmrkt.nl

Bulgari www.bulgari.com

Givenchy www.givenchy.com

Thrasher www.thrashermagazine.com

By Malene Birger www.bymalenebirger.com

Gucci www.gucci.com

Van Ravenstein www.van-ravenstein.nl

Cartier www.cartier.com

J.W. Anderson www.j-w-anderson.com

Vetements www.vetementswebsite.com

Chanel www.chanel.com

Laura Dols www.lauradols.nl

Wouters & Hendrix www.wouters-hendrix.com

Christian Lacroix www.christian-lacroix.com

Marc Jacobs www.marcjacobs.com

Y/PROJECT www.yproject.fr

Clarks www.clarks.com

MiH Jeans www.mih-jeans.com

Zara www.zara.com

Clinique www.clinique.com

Miu Miu www.miumiu.com

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

Monies www.monies.dk

Concrete www.concrete.nl

Moschino www.moschino.com

Diesel www.diesel.com

Paul Smith www.paulsmith.co.uk