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MAGAZINE PLEASANT SENSE OF FASHION INJECTION
Photographer Mia Milkins Model Claudia Trophy Odgers Stylist Kara Burton
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J a m e A d a m C H O I G H A R D E M A H y e o n C h e o H w a n K o s t y R a s s o k h i K e n t a K a r i m L a u r a M L i o r B a r m o u t M i a M i l k i n S h a l e v A r i e S i l v i P o r o p a S H U S H U T O N S I M O C R A C K E T U G B I T T E V i c t o i r S e v e n R a i s s B i s c o t t R h i a n e d D a n c e Y u l i P l a k h o t n i k o v Y y e j i n J u n Z O E N A T A L M A N E L L
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contributors contributors
B e n
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SIMON CRACKER
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HOME
HORROR MIRROR
ejin Jung
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interview
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Laura Ma
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Mia Milkins
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Hyeon Cheol Hwang
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Kostya Rassokhin
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interview
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Lior Barmouth
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Tristan Montalbot
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Ekaterina Dokuchaeva
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Shalev Ariel
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CHOI GO
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interview
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Yulia Plakhotnikova
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interview
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Silvia Poropat
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Sven Kristian
IF YOU WERE HERE WILL NOTHING CHANGED SHUSHU/TONG JEULLY
I CAN’T WAIT FOR -
THAT DAY TO COME
MY HOME TOWN IS-
FULL-TIME DEPRESSED LAST NIGHT
ROOFTOP PLAYGROUND HARDEMAN
REVOLUTIONARY TUGBITTER
ANOTHER KIND OF REVOLUTION FARM GIRLS
chapter two
this issue
GOLDEN TEARS
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chapter one
this issue
BLOODY NEW YEAR
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olyakosterina.com
WHAT SHOULD I DO I’M JUST A LITTLE BABY
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Raissa Biscotti
RHIANNED DANCEY
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interview
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Kenta Karima
CLOSE TO YOU
EDITOR-IN-CHIEF & FOUNDER Ekaterina Dokuchaeva GRAPHIC DESIGNER Nikita Eliseev EDITORIAL editorial@just-magazine.com ADVERTISING info@just-magazine.com www.just-magazine.com
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olyakosterina.com
October 02, 2017
Text by Huy Au
It was a time where the air was filled with toxic hairspray, neon parachute pants were somehow the trending craze and the alcoholics of Cheers had set the bar for ensemble comedies- that was the Eighties. It was the era where Michael Jackson was still donning his thriller fame, hair was being permed in all sorts of confidence and unexpectedly a seemingly random fear of clowns struck the modern world. Whether it was the eerie draw of Stephen King adaptions or the psychological slasher films movie goers suddenly yearned for- the Eighties certainly left its mark on cinematic history, giving birth to such cult classics like The Shining, Nightmare on Elm Street and Friday the Thirteenth. Yet despite being known as the era of free range youth, the eighties suffered some hard times, so much so that everyday folks unknowingly wanted a distraction from reality and found it the blood stained horror films that at the time seemed so unbelievably vicious it gave reality a not so bad name. Cinema has always subtly reflected society in some way or another- just like how in ten or so years from now the movies of today will undoubtedly show tales of progressive feminism and technological growth, the eighties cinema story will always be remembered for breakfast club like teenage angst and its reinvention of the horror genre. The 1980’s was a decadent time in history where many fixated their worried eyes on television screen nervously watching the news continually unravel stories of trials and national tribulation. The Iran hostage crisis sparked a prejudiced hate across the western world, radical environmentalism was being introduced and the global stage of the cold war was shaking the already tense nerves of common folk. People ran to the cinemas wanting to believe that there was worse out there, that there could be things more horrible than what was actually happening outside the cinema doors- at the time people almost wanted to be afraid of and scared by the absurd than the reality that was scarily unfolding. Nowadays horror films are seemingly not as thrilling as they once were thirty years ago, in the latest trend of reviving classic movies into modern day- most if not all Hollywood remakes of notoriety horror films have fallen short of the high bar the predecessors have set. People are no longer afraid of axe wielding men in masks let alone care to sympathise with psychotic vampires anymore but instead fear religion and the supernatural. Unlike the 1980’s viewers now need their villains to be more than just angry people, whilst back then all directors had to do do was put a mask on some willing actor, add a weak storyline and another money maker would be made. With the exception of the religious fearful themes and of course the iconic Human Centipede (whom will probably be remembered for other factors than the actual horror) in a couple years from now no one is going to care about the slasher and psychological horror films of today- they have all been seen before and it is no longer a new experience for viewers whereas in the eighties where the concept was still new Horror films were the Marvel movies of their time. There is no denying that cinema changes with each new decade. The golden age of cinema with the likes of Wizard of Oz and Gone with the Wind happened in the 1930’s, the 1940’s were the height of the film noir genre where new waves of subtle story telling were being introduced through the works Orson Welles and Frank Capra, the fifties- television was newly introduced forcing movie makers to make big budgets spectacles such as Ben-Hur and The Ten Commandments to keep both the movie experience and careers alive, the sixties were filled with the romantic idea of gentlemen swooning over beautiful women like Audrey Hepburn and Julie Andrews, the 1970’s captured the brutality of masculine men with Rocky and the Godfather whilst the Eighties gave birth to horror films scaring both children and adults into sleeping with the lights on and baseball bats at the sides of their bed just in case their neighbour may possibly be the cliché murderer the town was looking for, and even then nightmares were still stop safe from Freddy Kruger. Horror was the Eighties.
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BERET- GENERIC GENERATION TOP - MISBHV GLOVES- ADIDAS SHOES- GIVENCHY JACKET- PUMA BELT- VINTAGE
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Photographer yejin Jung @yejinjung0415 Model NA @na___c (Morph Mgmt from Korea) Stylist soeun Park @p__413 Hair & makeup gkwanghyup Cha @hyop.2
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Photographer Taner Tumkaya Wardrobe Stylists Ranxelle Levin and Garen Romeo Hair and Makeup Ranxelle Levin Model Therese @ Photogenics LA Location Fitzpatrick-Leland House by R.M. Schindler (1936)
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HEADWEAR- CHANEL PANTS- LOUIS VUITTON SHOES- DORATEYMUR
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HEADWEAR- GENERIC GENERATION GLASSES- FENDI JOINT- CHRIS RIVERA SHIRT- MARC JACOBS NECKLACE- DIOR BELT- SALVATORE FERRAGAMO BOTTOM - GENERIC GENERATION SHOES - MARSÈLL
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SCARF- VIVIENNE WESTWOOD SHIRT- MAISON MARGIELA JUMPSUIT- GENERIC GENERATION GLOVES- DOLCE & GABBANA BELT- TOM FORD TIE SHOES- VETEMENTS
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HAT- MEXICAN IMPORTS DRESS- GENERIC GENERATION PANTS- HOOD BY AIR JACKET- VINTAGE SHOES- SAINT LAURENT
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ACCESSORY- BVLGARI BLAZER- CALVIN KLEIN SHOES- GENERIC GENERATION 07B (NECKWEAR- OSH KOSH)
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DRESS- GENERIC GENERATION HEADWEAR- GENERIC GENERATION BELT- VINTAGE SHOES- VINTAGE MANOLO BLAHNIK
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Photographer Emon Toufanian @eemonn Styling Nay Campbell @naycampbellx Hair Denzel Morgan @ohdenzel Makeup Juliet Jane @julietjane Model Laura Hanson Sims @laurahansonsims 31
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TOP MUSED SKIRT FRANCASCA LONGO BOOTS YSL
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TOP AND SKIRT - FRANCESCA LONGO CHOKER- POSSESSED SHOES - YSL
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DRESS MUSED TROUSERS FRANCESCA LONGO BELT AS CHOKER RAG & BONE BOOTS YSL
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All from BLINDNESS (seoul fashion week brand, 2017 LVMH contest prize one of the winner of 20) @blindness_official Actually we are inspired by 80’s horror movie «BLODDY NEWYEAR»’s poster so we reinterpret the poster, each page has a mood of awkward especially makeup. Photo yejin Jung is always shoot the feature in dramatic way, u know what it means when u see her instagram, she expressed harmony of the horror and beauty of 80’s fashion in her own way each of tiny detail of clothing, accessorry and make up is the key point in this Editorial. enjoy.
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SIMON CRACKER INTERVEIW photographer ZOE NATALE MANELLA zoenatalemannella.com styling/production LYAN KAPLUN & SABRINA TRIONE model SVEVA MISEROTTY @elite_milan muah NICOLE 38 BAUZON @nicolebauzonmua
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BRIEF «To be or not to be»
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Tell us briefly about yourself and your history as a creative. How did you discover an interest in fashion design? When i was a student, I wanted to be an advertising graph, but in a short time in this system, understand that it is not appropriate for me. So i decided to start drawing a line of accessories made of upholstery materials, in 2006, and will launch its small brand, in a italian small town, Cesena. Over the years i worked with some collections together at Central Saint Martins - UAL - University of the Arts London, making its collections available to styling summer courses students. In 2010, back in Italy and launches Simon Cracker at Fashion Week in Paris in NEW YOUNG DESIGNERS , with a collection of tailored label, in the palace Pierre Cardin, capturing the attention of buyers in Tokyo, Osaka and Hong Kong. Since that time my style is immersed in the Japanese without limits of fabrics, materials and geometries. Meanwhile works as a stylist, social media and art director with well-known brands, Jo No Fui, Who’s Who, Mariu De Sica, MSGM, and other emerging designers. This helped me to understand what was commercial and what not. This was always my obsession, my “to be or not to be”. Do an emotional collection where I spit out of my body all that I feel about the world, or I try to sell, what people want to buy? The route from stylist arrived unexpectedly, alongside stylist magazines or brands, and in the meantime becoming editor of Moh Magazine. How would you describe your overall aesthetic? If you had to choose a celebrity to interpret your latest collection, who would that be? My aesthetic? What I consider, aesthetically beautiful, usually all around me, find it, deformed, disgusting or refined and elegant. I think deforming the body is an interesting way of wrapping up in the mystery, asking people something. I think it’s nice that everyone sees things in their own right, to see if I like something, squinting my eyes and a blurry image I decide if I like what I’m looking at. I love to see a different silhouette from what I’ve seen. Maybe I’m not good at doing “fashion.” Before creating a collection, I create the person I would like to dress, every now and then a housewife, or an employee, or as in the last collection, a strong woman who works in the factory, imagining dancing with her work uniform, thinking to wear luxurious suits, made of wrapping materials. Celebrities? Definitely Chloè Sevigny has been in my heart for so long, because he has given me treasures such as “kids” and “gummo”, “boys do not cry”, “party monster” and I could go on for hours.
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What fascinates you about the art world today? When I create a moodboard, I come across an artist, a sculptor photographer. Whenever I meet ideas, colors and emotions with modern or antique artists, I vent my chaos on fabrics and fabrics, they do it through a painting cloth or a photographic lens. I do not care for myself, famous or usual artists. Sometimes by chance, I wonder about emerging talents that give me really much or align perfectly with my state of mind. Now, for example, I am trying to understand the concept of Lara Zankoul. Lara Zankoul is a Lebanese conceptual photographer that first entered the photography scene in 2008. Graduating from the American University of Beirut with a Masters in Economics, Zankoul turned to photography as a way to escape the everyday life of a cubicle in which she worked her first full-time job. I’m living a lot of her mood and admire who as she uses art as a way of escape from this world filled with routine and everyday life. Tell us about your latest collection. How your designs evolved since you first started? Everything started with a picture of my grandmother in 1963, along with her friends in front of the factory where they worked. At that moment, my mind moved to a world of memories and shadows in the past. Groups of women who worked tired and sweaty in the summer months. With blue and green uniform, two colors that attracted me particularly when I was a kid. I was seven years old and watched from my grandfather’s car, women workers carried huge black bags, full of fruit ware scraps, up to garbage cans. This has pushed me to create tops and skirts inspired by the black swollen garbage bags. I concentrated my eyes on these black masses, swollen in the warm sunshine, and I looked curious, the faces that sometimes fluttered on the way. My enormous admiration for these women who worked so many hours a day incessantly, and even found time to smile in the short lunch break, where they gossiped and boasted of the successes of children and grandchildren. These women still exist, will be forever, now I look at them to do even heavier jobs, between metal-pile mountains, welding wearing protective goggles, they are assembly chains packing postal parcels and delivering them, assembling cars and secretly deride the man who shows his virility behind a desk wearing a stylish suit. The woman to whom I dedicate the collection deserves to wear a man’s jacket and trousers, always being elegant, sensual and feminine, despite the hands shaken by fatigue. They are my muse, smiling colleagues joking with each other and as the captain does not control them, they proudly proud with the fluttering uniforms, friendships pretend to be queens among wooden boxes full of ripe peaches that smell the sweet environment, accomplices in creating elegant dresses with packaging materials, tearing from laughter, between play and the other. Sisters who will support each other, always and in any case.
«Everything started with a picture of my grandmother in 1963»
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Can you talk us through your design process a bit – what are the key considerations? My creative process is not always the same. I’m very instinctive, sometimes I’m all out of a material I come across or start drawing my moodboard on a night of conflicting emotions. What I always do is create a coherent picture of what I want to achieve, then something always changes in the process, but having a precise emotion to shape my way is the key to not getting out of the way. Once the concept is clear, design the outfits, probably so that only I can understand the way. The research of the fabrics happens later, but I already consider that I will have to alter them. I like to experiment with materials, treatments and colors, in the last collection I have altered the cotton with raw lattice, in this I created a fabric with the adhesive tape, and then I created inspired items to the boxes ready to ship. What is the most difficult or challenging aspect of being a designer in 2017? I started designing in 2009, so I came across bad times, the economy is a bad thing. I feel a lot afraid in fashion at the moment and leave the creative part very often. I hope in a change, something upsetting that comes for all those who really communicate through this art. I would slowly reach the unisex level. No gender. This is my goal for the future. How do you think, fashion is an important means to explore some social and political issues or other big ideas? For me, fashion is the key to discuss topics such as politics, sex, and what’s happening in the world today. It is the only way I know how to communicate and say what I think of the world. Our Autumn-Winter edition of Just Magazine is about the 80’s horror movies, what are your favorites, if any? Oh my God! is the most beautiful question of all. I love Horror movies since I was too small to be able to see them. I have often inspired horror movies for my collections. There are so many horror films that have accompanied me in my life. I started with the Halloween saga, Michael Myers with a white mask, when I was a teenager, led me to organize beautiful parties on October 31st. Then growing up I lived in the late 90s, Scream 1.2 3. But the horror trash left in my heart is “Splatters”, which is not scary, but I laugh when I look at the excited zombies.
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Maybe I’m not good at doing «fashion.» What I consider, aesthetically beautiful, usually all around me, find it, deformed, disgusting or refined and elegant.
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Before creating a collection, I create the person I would like to dress, every now and then a housewife, or an employee, or as in the last collection, a strong woman who works in the factory, imagining dancing with her work uniform, thinking to wear luxurious suits, made of wrapping materials.
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Who would you most like to collaborate with from within the visual arts and fashion spheres? I constantly work with young artists, for every collection I want to find a different vision of my clothing. Photographers, stylists, art directors give my brand a look through the shooting and lookbook, I need them continually to work together. I always check young talents who are still studying, because they are still uncontaminated by what is the conventional and commercial fashion system. Of course I also have my idols in the fashion system, I’m curious to see myself working in Rodarte, Margiela or Comme des Garcons. But I prefer at this time to see how I can make room in this difficult fashion environment.
What can we expect from you in the future? What concepts will you be exploring through your work next? This is a difficult question. The concepts come when I do not expect them and under different forms, so MYSTERY. What I am obliged to respect and that I always want to keep as a goal is to reach a level of collections, spontaneous and artistic. Surely my clothing in the future will be uncomfortable, and not practical, and during the fashion shows, models that will not be able to walk because they will be covered with cement. More and more tough, rigid, uncomfortable, pungent, aching, and heavy. What to expect from me in the future? As my stylist Sabrina says: flying donkeys.
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What I always do is create a coherent picture of what I want to achieve, then something always changes in the process, but having a precise emotion to shape my way is the key to not getting out of the way.
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Photo & DA Laura Ma Models Maeva & Jane MUAH Romane Lebihan & Ste Pénélope
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HOME
Photographer Mia Milkins @miamilkins Model Claudia Trophy-Odgers @cbo_killah Stylist Kara Burton @karaburton_
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HORROR MIRROR PHOTOGRAPHER Hyeon Cheol Hwang @hchulee MODEL @h_h_m0519 (@modelxsf) MAKEUP & HAIR @easyid_ STYLIST @wookiyy
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PUR COAT & PANTS : KIMMY.J @KIMMYJ_OFFICIAL , INNER : STYLIST CUSTOM
BLUE VELVET COAT : KIMMY.J @KIMMYJ_OFFICIAL , PANTS : KYIMER @KYIMER_OFFICIAL RED BELT : KYIMER @KYIMER_OFFICIAL
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BIN BAG TRASH BAG : KIMMY.J @KIMMYJ_OFFICIAL PANTS : STYLIST CUSTOM
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PUR COAT & PANTS : KIMMY.J @ KIMMYJ_OFFICIAL INNER : STYLIST CUSTOM
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BIN BAG TRASH BAG : KIMMY.J @KIMMYJ_OFFICIAL PANTS : STYLIST CUSTOM
BLUE VELVET COAT KIMMY.J @KIMMYJ_OFFICIAL PANTS, BELT KYIMER @KYIMER_OFFICIAL
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If you were here will nothing changed Photographer Kostya Rassokhin @kostyarassokhin Model Aster from Bacca Models @baccamodels Makeup and hair @hudozhnikova Style Polina Vinogradova @v.stylepo Location: @bedford_studio
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interview Inspired by the 1980s black comedy Heathers, for A/W 2017 collection, SHUSHU/TONG aims to reshape the iconic image of Heather Girls, a gang of cool girls in a high school campus, with more contemporary and relevant aesthetics and approach. Considerate tailoring carefully decorates dress hems and sleeve cuffs with rounded petal outlines, reinforcing brand’s longterm preference towards a more girly and playful look. Attention to the shoulder lines and sleeve shapes as well as a variety of detachable accessories contributes to the result of more diverse silhouettes of the new collection. For this season, SHUSHU/TONG woman naturally becomes much more sophisticated and mature, which still enjoying the freedom and spontaneousness from the youth that she would always love and deserve. Collection’s majority of creations are made of wool, velvet and synthetic fabrics with a furry touch, the different textures of which resonate well with the diversity and complexity that the designers would like to achieve. Light grey, azure, black and beige composes the collection, with vibrant red, yellow and purple mixed within as subtle highlights. A/W 2017 collection perfects the SHUSHU/TONG woman image. It offers a fresh sense of belonging, just as the starting point film suggested in the very first beginning. Modern Heather Girls are again gifted with a much satisfying wardrobe choice from the brand.
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«Its not all about sweet, it is young, brave»
What is the concept behind your AW17 collection and how do you see your designs evolving? For 2017aw, we aims to reshape the iconic image of Heather Girls, a gang of cool girls in a high school campus, with more contemporary and relevant aesthetics and approach. Considerate tailoring carefully decorates dress hems and sleeve cuffs with rounded petal outlines, reinforcing brand’s longterm preference towards a more girly and playful look. Attention to the shoulder lines and sleeve shapes as well as a variety of detachable accessories contributes to the result of more diverse silhouettes of the new collection. For this season, SHUSHU/TONG woman naturally becomes much more sophisticated and mature, which still enjoying the freedom and spontaneousness from the youth that she would always love and deserve. Collection’s majority of creations are made of wool, velvet and synthetic fabrics with a furry touch, the different textures of which resonate well with the diversity and complexity that the designers would like to achieve. Light grey, azure, black and beige composes the collection, with vibrant red, yellow and purple mixed within as subtle highlights. A/W 2017 collection perfects the SHUSHU/TONG woman image. It offers a fresh sense of belonging, just as the starting point film suggested in the very first beginning. Modern Heather Girls are again gifted with a much satisfying wardrobe choice from the brand. How would you describe your overall aesthetic, As there’s two of you, was it difficult to initially decide on one aesthetic or concept for the brand? Generally, Our aesthetic is based on what we really like, very personal. First of all, we are trying to build a image which is girly. But it`s not all about sweet, it is young, brave, emotional and sensitive, everything between childhood and grown up. We ve known each other about a decade, was classmate from high school to MA course. And we lived together when we studying in London. Before this brand, we talked a lot about what we want to do.
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What the points are fundamental for you in your work? It is crucial that I have to feel connected to my work. Despite I m a male designer, but I insist to try every piece by myself, so dose to Tongtong. ( TongTong is she ) What are your main goals by this moment? For now, the brand is just in its early stage, there is a lot of things we need to learn and adapt every season. Can you talk us through your design process a bit – what are the key considerations? We always start a collection by talking to each other first. To exchange things we have seen and read for the past few month. Then, we will build up a character of a certain type of girl, give her a background. what she would watch, read, drink. It bit like a create a character in vision. the key is no matter what we do, or what inspire us, it has to be in our language. What fascinates you about the art world today? What are your current inspirations? The technic really change the way people seeing and creating art, more and more artist is doing video, 3D etc.
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What are your thoughts on the current trend for ‘fast fashion’ – do you think it’s giving brands less time to grow? I think fashion has never been slow. No matter 50 years ago or 100 years ago . Its human nature to focus on different things . But it doesn’t mean that for a designer brand , we should follow this “fast-fashion” trend . The reason why people buy from a designer brand is obviously different from why they buy a fast fashion. Our Autumn-Winter edition of Just Magazine is about the 80’s horror movies,what are your favorites, if any? “The shinning “ by Kubrick “ the birds “ by Hitchcock Who would you most like to collaborate with from within the visual arts and fashion spheres? We are both very found of Pipilotti Rist ! For me , her work perfectly demonstrates the kind of twisted girly sweetness , which we are trying to achieve. What are your plans for the future? Any glorious projects/collabs lined up? We are enjoying what we are doing at the moment , and growing our brand little by little . Now, we are arranging a video for our 2018 spring-summer collection
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ÂŤFor this season, SHUSHU/TONG woman naturally becomes much more sophisticated and mature, which still enjoying the freedom and spontaneousness from the youth that she would always love and deserve.Âť
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«Everything between childhood and grown up»
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DRESSES H&M TOP ZARA AND SECOND HAND VINTAGE
L LY PHOTOGRAPHY AND ART DIRECTION Lior Barmouth @leorbar MODELS Noa Scholosser @noaschlosser, Tally Melamed @tallymelamed, Michal Ironi @michalironi 105 ASSISTANT Alina Braginski @alinabrg
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TOP MONKI JAKET SECOND HAND VINTAGE SKIRT ZARA
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I C A N ’ T WA I T F O R T H AT D AY T O C O M E
Photographer Tristan Montalbot www.tristantmontalbot.com @eltristano Stylist Victoire Seveno www.victoireseveno.com @vic_toire Makeup artist Isabelle Kryla www.isabellekryla.com @isabellekryla Model Siah from @ Silent @siah_ultra
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SHIRT COMME DES GARCONS PANTS STELLA MCCARTNEY SHOES ZARA
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GLOVES – ARCHIVE STYLIST SUIT – ACNE STUDIOS SHOES – ZARA
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COAT BOYAROVSKAYA UNDERWEAR INTIMISSIMI SHOES ZARA
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T-SHIRT SEX – BOYAROVSKAYA PANTS – ACNE STUDIOS
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SHIRT AND PANTS – VERONIQUE LEROY SHOES- ZARA GLASSES – DIOR VINTAGE
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> COAT - BOYAROVSKAYA UNDERWEAR - INTIMISSIMI SHOES - ZARA
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Photographer Ekaterina Dokuchaeva @dokuchaevaekaterina Designer Olya Kosterina @olya.kosterina Model Ira @irasurikova 131
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Photo & DA Laura Ma Models Maeva & Jane MUAH Romane Lebihan & Ste Pénélope
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Photography and art direction by Shalev Ariel @shalevariel Modeling and styling by Nitzan Paz @Nitzanpaz
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TOP AJO PANTS AJO HAT HERITAGEFLOSS SCARF CHANCECHANCE
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TOP AJO PANTS LEVIS SUNGLASSES RAYBAN SHOES ADIDAS BAG AJO
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TOP AJO PANTS LEVIS SUNGLASSES RAYBAN SHOES ADIDAS BAG AJO
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HARDE PHOTOGRAPHY: Hatnim Lee STYLING: Kat Banas MAKE UP: Allie Smith HAIR: Sean Bennett SHOES: Peterson+Stoop
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Tell us briefly about yourself and your history as a creative. How did you discover an interest in fashion design? HARDEMAN uses denim to break all conventions. The Amsterdam-based brand takes everybody’s favorite material and transforms it into deconstructed, gender-fluid clothes that couldn’t be further from your trusty 501s. Away with traditional ideas.
How would you describe your overall aesthetic? If you had to choose a celebrity to interpret your latest collection, who would that be? By breaking down divisions between ‘high’ and ‘low’ culture, ‘proper’ vs ‘tacky’, baggy fits and ‘skinny jeans. By bringing Club wear to the streets and prom to the ranch, Hardeman takes the ordinary and twists it up into new formations. Favorite celebrity would be Arnold Swarzenegger.
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You are positioning the brand as the new sexy standart. Why did you choose denim for this purpose? Is it actually gender-free? Taking inspiration from the ‘ordinary’ Hardeman reflects on society. By using regular clothing such as jeans, a fashion house is created which is welcoming to everyone.
What fascinates you about the art world today? Can you tell us a bit about the inspiration for AW17 collection? It’s the clothing piece that you can find in anybody’s closet and therefore welcoming to a wider audience.
Can you talk us through your design process a bit – what are the key considerations? Not to speak in terminology, I believe everyone should dress how they like. tomboys, gilled boys boyish men, manly girls. Hardeman hopes to create a system wherein fashion is brought back to the wearer, giving one the freedom to explore and thereby express thy own identity.
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How do you think, fashion is an important means to explore some social and political issues or other big ideas? A big part of fashion industry still commutes on values created by commerce. Money is pumped into what brings money. Instead of creating pieces that create economic profit the great appreciation should lie into artists who are presenting radical new visions, ideas ,demonizing the spell of political powers and offering solution, through compelling beauty standards. Fashion is art, and it is a visual language that speaks to a public. So by creating a visual language that speaks to everyone Hardeman uses ‘everyman’s’ clothing to break down social constructions and celebrate individuality.
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What challenges did you face your favorites, if any? when designing and producing the latest collection? HORROR movie’s: definitely The two weeks before the show I get the greatest new ideas,. But the most important and fun part is getting the show together, working on the styling, visuals, and music.
The clothes are not overly designed. Hardeman is what you wear everyday but then tighter, backwards, and twisted. Pieces embrace round hips, stick legs, full chests and wiggly arms. with sizes range from XXS-XXL Hardeman rows with non gender specific and leaves to the people how they want to wear and be dressed.
Our Autumn-Winter edition of Just Magazine is about the 80’s horror movies, what are
Blaire’ Witch project, I love ‘Naked Lunch’ from David Lynch and Deatproof or Quintin Tarantino- though i;,m not sure if that fits the theme!
Who would you most like to collaborate with from within the visual arts and fashion spheres? We are experimenting a lot with different media. Right now we’re working on a exhibition, a scent, and a film. For these projects we collaborate a lot with other artists which is something we greatly enjoy.
What can we expect from you in the future? What concepts will you be exploring through your work next? Hardeman hopes to become a lifestyle brand. Dream to have our own departments store. Hardeman jeans, bedsheets, underwear and skin care and Hardeman green beans!
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Photographer Yulia Plakhotnikova @yplakhotnikova Model Kamilla Casanova Andy Fiord Models @andyfiordmodels Style Arina Polshkova @arinapolshkova Make up and hair Olga Kuznetsova @olga_faceart Light Demian Nezhdanov @demn.v
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COAT BY TIBI PANTS BY MRZ TOP BY SOFIA ZHAROVA BOOTS BY MELISSA EAR RING BY COMME DES GARÃ&#x2021;ONS
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JACKET BY SUBBOTA DRESS BY Lâ&#x20AC;&#x2122;EDITION SCARF BY LLARIA NISTRI BERET BY MONKI
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DRESS BY GRAVITEIGHT UNDERWEAR BY SOFIA ZHAROVA SNEAKERS BY LUCA SABBIONI
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TOP BY INSPIRI COSTUME BY MONKI BOOTS BY TATYANA PARFIONOVA OUTFIT HAT ZORRO EAR RINGS BY MONKI
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BOMBER BY COMME DES GARÇONS LEGINS BY URBAN YOGA CAP BY MONKI NECKLACE BY COMME DES GARÇONS BOOTS BY ACNE
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interview interview TUGBITTER
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TUGBITTER.COM
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Tugba AK is a young Turkish designer who recently graduated from BA in Fashion Design Istituto Marangoni in London where she remained to launch the label following her graduation. After establishing her signature technique of embroidery and denim with her graduate collection, Tugba was soon elected one of the best 6 of all Istituto Marangoni graduate collections to showcase the collection at Mercedes Benz Fashion Week Russia 2017. The combination of technical skill and curiosity in fabric experimentation has resulted in commercial success. The designs celebrates individuality, with high-contrast patterns, strong silhouettes and off-beat colours, which is carried off with a confident â&#x20AC;&#x201C; even rebellious â&#x20AC;&#x201C; attitude and grounded by a casual spirit, taking inspiration from variety of subcultures and eras.
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Tell us briefly about the brand and your history as a creative. How did you discover an interest in fashion design? I am a London-based fashion designer of Turkish origin. My interest in fashion began at the age of 5 Iâ&#x20AC;&#x2122;d say, sewing dresses out of old clothes for my Barbie dolls. Since then, it has been a dream to establish my own brand in fashion industry. I started interning at our family-owned jean factory while taking various fashion courses on my spare times during high school years; this is basically where my denim passion comes from. I then moved to London to become a fashion designer by starting formal education at Istituto Marangoni in Fashion Design when I was only 19. I am now launching my own brand at the age of 23 to bring my dreams into reality.
What is the concept behind your SS18 collection and what are your favorite pieces? It is my first official collection after graduating so I wanted to express my own style which is carried off with a confident, even rebellious, attitude grounded by a casual spirit taking inspiration from 70s surreal fantasy. Designs reference historical details such as flares, ruffles and, bustiers and corsetry bring a focus on the bust and waist. It is hard to differentiate but my favourite ones I would say, wide-flared stone wash jeans, bleached trucker and skirts.
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is s, h u c i o i h l l g w e n i b le re ak y t s n it t n ve ir .Âť w e sp sy o , y nt al ta m e su fan d s s nfi ca l e pr co y a rrea x e a b su o t ith ed 0s ed ff w und 7 t n o o om a r fr d w g e ÂŤI rri de ion ca ttitu rat a spi in
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How would you describe your overall aesthet- reaction. When I see something exciting I assimilate it, ic? Is there a type of person you have in mind and put something in that flow. when designing your clothes? Who would you There are two ways of existing in fashion; you can like to see wearing them? pretend to be someone you’re not, or you can grasp I’d probably say rebellious, gritty, youthful and individual. I mostly look at gender equality, social issues, historical events, surreal art and mythical stories. I believe my work is a part of me so it consists of the same elements of my character. I am designing for universally admired empowered and fearless women standing up against any kind of inequalities and fighting for independence. My biggest admirations are women who changed the history such as Amazons, Boudica, Cleopatra, I. Elizabeth, Rosa Parks, Coco Chanel, Hurrem Sultan, and many more.
what made you, your attitude and introduce it to the market. I am trying to do the second.
Can you talk us through your design process a bit – what are the key considerations? I travel, talk to people, participate in culture. Don’t sit in a studio looking at computer screen and depend on your staff to give you inspiration. I create based on
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Fashion plays a vital in enabling individuals to construct, sculpt and express their identities, especially in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them.” When speaking of fashion, people usually tend to generalise the term to merely clothing but in fact, fashion goes far beyond that. The Punks are probably the best example, they are the most extreme subculture that through their anti-fashion style of dress expressed the affect the changing political and economic structures had on their lives, and the general situation of post 50’s Britain.
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«I am designing for universally admired empowered and fearless women standing up against any kind of inequalities and fighting for independence.»
What fascinates you about the art world today? How do you think, fashion is an important means to explore some social and political issues or other big ideas?
After showing your first collection, what did you learn about your creative process and how do you see your designs evolving? My graduate collection showcased twice - Graduate Fashion Week 2016 and Mercedes-Benz Fashion Week Russia 2017. Graduate fashion show was more like the prize of your 3-years-studying in university that you prove your success towards yourself, family and friends. It was so exciting tho. But MBFW Russia was completely different thing. It is much more professional and serious. I learned a lot such as fitting, styling, time management - even PR.
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Our Autumn - Winter edition spheres? of Just Magazine is about the 80â&#x20AC;&#x2122;s horror movies, what are I am open to any art collaborayour favourites, if any? tion whose works excite me. I reI am definitely in love with 80s horror movies! I find them so inspiring. I would probably say my faves are Inferno, Society, Night of the Creeps, Childâ&#x20AC;&#x2122;s Play, A Nightmare on Elm Street, The Return of the Living Dead.
cently saw Esther Mahlangy x BMW collaboration in a museum that I really like. Also I am willing to collaborate with Balenciaga or Gucci one day.
What can we expect from you in the future? What concepts will you be exploring through Who would you most like to your work next? collaborate with from within the visual arts and fashion Stay tuned!
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ANOTHER KIND OF REVOLUTION PHOTOGRAPHER Silvia Poropat @silviaporopatphotography MODEL Pauline at Wonderwall Mgmt @paulineiv STYLING Francesca Martorelli e Rafaela Rusca @francesca_rafaela MAKEUP Barbara Bonazza @bonazzamakeup HAIRSTYLE Luce Tasca @lucetasca
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JACKET: VINTAGE. TOP: URBAN OUTFITTERS. PANTS: GIUDITTA TANZI. SHOES: PREMIATA.
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COAT: ZHANG QI. PANTS: DEPARTMENT 5. POCHETTES: TRAKATAN. BELTS: VINTAGE.
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JACKET: VINTAGE. TOP: URBAN OUTFITTERS. PANTS: GIUDITTA TANZI. SHOES: PREMIATA.
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COAT: ZHANG QI. PANTS: DEPARTMENT 5. POCHETTES: TRAKATAN. BELTS: VINTAGE.
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> COAT: GIUDITTA TANZI SKIRT: LOCH CARRON BRA: & OTHER STORIES
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Photographer : Sven Kristian (@svenkristianphoto) @birdonawiresa Models : Alexandra Wright @laurenalexwright @stormmodels Ava Hilmarsdottir @avahilmars @premiermodels Grooming : @Katiemooremua using @dermalogica Fashion : Ben Adams @Benjamesadams Fashion Assistant : @Melissakatherinehamilton
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BLUE RUFFLE TOP - DANNY RENIKELEATHER TROUSERS - DAWID TOMASZEWSKIFISHNET TIGHTS - EMILIO CAVALLINIBLACK LEATHER SHOES - GUCCINECKLACE - SWAROVSKISILVER BELT - DIOR
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BLACK LACE TOP - SUAN K. CORSET - DMITRY GOTSFRID. GREY TULLE SKIRT - DMITRY GOTSFRID. SUEDE BLACK THIGH-HIGH BOOTS LAURENCE DECADE. FUR STOLE - YVES SALOMON.
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BLACK DRESS WITH FEATHERS - DANNY REINKE. WHITE BELT - CALVIN KLEIN. PATENT CALF LEATHER WHITE - LAURENCE DECADE.
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DRESS & SHOES - SALVATORE FERRAGAMO SILVER BELT - FENDI
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RED RUFFLE DRESS - DANNY REINKE. RED SUEDE ANKLE BOOTS - LAURENCE DECADE.
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photographer Raissa Biscotti makeup and hair Chantal Amari model Annie @ m+1 models
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styling Nicola Bacchilega
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JACKET ALESSANDRA TACLA PANTS + SHOES NICOLA BACCHILEGA
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VINYL CORSET AND PANTS ALESSANDRA TACLA SATIN TOP NICOLA BACCHILEGA SHOES ALESSANDRA TACLA
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TOP AND PANTS ALESSANDRA TACLA SHOES NICOLA BACCHILEGA
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AC L A DRA T ES SA N L A T S K IR C H IL EG A C T AND JAC K ES N IC O L A BA SHOE
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DRESS MUSED SHORTS & GLOVES MARC JACOBS
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Rhianedd Dancey Menswear Designer, Stylist & Journalist
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Tell us briefly about yourself and your history as a creative. How did you discover an interest in fashion design? I recently graduated from the University of Brighton in the UK, since graduating I decided to move back to Berlin in which Iâ&#x20AC;&#x2122;m currently working as a stylist and fashion
journalist. Initially I was super interested in costume, I was totally obsessed with dressing up as a kid and making outfits out of socks for my Barbies, however when I turned 18 I knew it was fashion I was interested in so left my small welsh hometown to the bright lights of Brighton.
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How would you describe your overall aesthetic? If you had to choose a Celebrity to interpret this collection,who would that be? I would say my overall aesthetic tries have an attitude. I have a very DIY ethos in regards to the creation of the clothes I make, and I like the idea of this image to come across too. Often I envision a muse who I’d want to wear the clothes I make so I can try and convey that attitude. I’d love to say Bowie, however I think this collection is a bit more rough and ready so probably Iggy Pop.
You are positioning your latest Menswear collection as sexy. Why did you Choose plastic and mohair for this purpose? I was obsessed with Punk mohair jumpers from the late 70’s. My parents had been punks and I loved all the leather and PVC jackets they wore in photos, rather than just recreating these garments with the
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same fabrics I wanted to create a new textile. I had been experimenting a lot with mohair and PVC and it just wasn’t working, I tried finding thinner PVC but eventually that got me to plastic. It being so thin and almost transparent gives it that cheeky sexy feel without being too revealing. It’s also bloody hot wearing plastic and mohair so it’s all a bit steamy which is also quite sexy in my opinion.
Fashion often is associated with affluence and luxury exclusivity, my parents grew up in a deprived area of the UK in the 80’s with no money, I wanted to create a collection that was cheap and inclusive with a working class heritage and DIY ethos. As I used plastic and old mohair blankets that some people may consider trash I came up with the title Working Clash Trash.
Can you talk us through your What fascinates you about the design process a bit–what are art world today? Can you tell the key Considerations? us a bit about the Inspiration for Working Clash Trash? I’m a menswear designer, if There’s so much to see constantly, it’s hard to keep abreast of everything as there’s always something new or undiscovered. I draw my inspiration often from my heritage as I feel it is my unique point of difference. Working Clash Trash was inspired by photos of my parents in the early 1980’s Punk scene in industrial south Wales. They both had matching orange hair and crazy homemade outfits.
you asked me to design a dress I wouldn’t know where to start, I don’t even wear dresses! So conventional processes such as draping fabric and working on the stand just aren’t for me. I prefer experimenting, especially with textiles and fabrics. Sustainability is also considered in my design development. I like use unconventional, unwanted materials and create something exciting and beautiful and completely new out of them!
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«Often I envision a muse who I’d want to wear the clothes I make to try and convey that attitude»
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How do you think fashion is an important mean to explore some social and political issues or other big ideas? Fashion is a form of art and expression which can be used as tool to project social and political issues. I believe it is a visual form of communication, and it can be really successful such as with Vivienne Westwood and her global warming campaign, it’s great that she’s using her power in the industry to tackle these issues. Naturally, being inspired by punk my collection did aim to tackle some social issues I feel are in the industry, however I’m not sure how successfully this was translated to people seeing my collection, definitely nowhere remotely near Vivienne Westwood’s scale that for sure.
me. Time and money. The turn over for seasons are very short, making clothes is also very labour intensive there are so many elements to consider which most people aren’t aware of. Unfortunately if you don’t have the funding to have support sewing your garments this can be challenging and time consuming. I created all garments by hand myself, although challenging I’m proud I can say I did that.
new projects, it keeps things exciting and fresh and it’s great to see people’s ideas and viewpoints. Since I’ve been writing a lot in Berlin recently I’ve come across some great photographers here I’d love to work with, there’s also this incredible photographer Elizaveta Porodina, a brand I used to work for called Fomme uses her for their campaigns and they are just brilliant.
Our Autumn-Winter edition of Just Magazine is about the 80’s horror movies, what are your favorites, if any?
What can we expect from you in the future? What concepts will you be exploring through your work next?
One of my favourites which inspired the shoot for Just Magazine was a Clockwork Orange, however it’s 1972 so I’m not sure if that counts!
Going back to my heritage, I grew up in a docking town next to an old funfair resort. Very stereotypical british seaside. Whilst I was in Brighton I started gathering inspiration from seaside walks. You can expect some new textiles and ideas surrounding that. Maybe some sexy sailors! We’ll see, I definitely want to keep creating and collaborating, thats whats most important to me at the moment.
Who would you most like to What challenges did you face collaborate with from withwhen designing and producing in the visual arts and fashion your own collection? spheres? There were two main issues which I’m sure any designer or fashion student would agree with
I love meeting new and fellow creatives, I’m constantly trying to get people to work together on
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C LO S E T O YO U Photographer Kenta Karima @kenta_karima Stylist Ai Suganuma @aisuganuma Hair and Make up Yousuke Toyoda @toyodayousuke Model Yaco @yaco_offi
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DRESS MELANCHOLY TOP MURRAL SHOES STYLISTâ&#x20AC;&#x2122;S OWN
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GLOVE C.E
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RED JACKET AND SKIRT CHIRAL UNDER SKIRT PAMEO POSE SHOES MIKIO SAKABE
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RED JACKET AND SKIRT CHIRAL UNDER SKIRT PAMEO POSE SHOES MIKIO SAKABE
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TOP MURRAL
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BLACK JACKET AND PANTS VINTAGE TOP AND TANK TOP GALLERIE TOKYO SHOES STYLISTâ&#x20AC;&#x2122;S OWN
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RED JACKET AND SKIRT CHIRAL UNDER SKIRT PAMEO POSE SHOES MIKIO SAKABE
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BLACK JACKET AND PANTS VINTAGE TOP AND TANK TOP GALLERIE TOKYO SHOES STYLISTâ&#x20AC;&#x2122;S OWN
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