Culture Couture

Vol. 22 Est. 2016

A LOOK

F E AT U R E D :

ELLEN VON UNWERTH IRVING PENN S U S A N S O N TA G ’ S :

INSIDE THE “SUBJECTIVITY” OF PHOTOGRAPHY

“ I N P L AT O ’ S C AV E ”

Couture MAGAZINE

Fall / Spring / 2016

TABLE OF

CONTENTS 88

ELLEN VON UNWERTH

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IRVING PENN

S U S A N S O N TA G ’ S :

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“ I N P L AT O ’ S CAVE”

THE

WORLD’S LEADING MAGAZINE I N FA S H I O N A N D C U LT U R E

Vol. 22 Fall / Spring / 2016 C U LT U R E C O U T U R E

Couture MAGAZINE Fall / Spring / 2016 EDITORIAL ADDRESS Office Belgium Bellevuestraat 41, BE-9050 Gent

Office Germany Yorckstrasse 74, D-10965 Berlin EDITOR IN CHIEF Kristi Sengpraseuth C R E AT I V E D I R E C T O R Kristi Sengpraseuth PUBLISHER DAMnation Ltd Bellevuestraat 41, BE-9050 Gent MARKETING Walter Bettens walter@DAMNmagazine.net +32 (0)477549098

COLOPHON

EDITOR’S NOTE Culutre Couture Magazine is a fashion and culture inquiry based in Belgium. As the world’s leading magazine in Fashion and Culture, we as a publication strive to offer the world the latest news in fashion and international pop culture, as well as informative and intuitive conversation about important figures within the creative world. This issue focuses on the subjectivitiy of photography. We believe photographers are artists in their own medium of photography. Photographers, as image makers, hold a responsibility of offering and subjecting the viewer to a particular perspective. They hold the responsibility of capturing a moment in the world, and offering a conversation about that moment. As Susan Sontag said in her exert, “to collect photos, is to collect the world.”

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CARA DELEVINGNE

FOR STYLE MAGAZINE

ELLEN VON UNWERTH, FEB. (2016) ( 2 B M A N A G E M E N T. C O M )

ELLEN VON UNWERTH

I S A P H OTO G R A P H E R B E S T K N O W N F O R H E R E R OT I C A L LY C H A R G E D I M AG E S O F T H E R AW A N D N AT U R A L F E M I N I N I T Y O F WO M E N

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conic German photographer, Ellen Von Unwerth is on our top 10 most incredible photographers list. Her work is erotic, provocative and playfully wicked. She encourages her models to ‘play’ rather than pose, allowing them freedom to express themselves and have fun, creating images that are that much more ‘sexual’ because they are real.

Ellen Von Unwerth is a german fashion photographer who has been in the game for over a decade, is known for her iconic stylings in capturing what is coined the “erotic femininity”. She began an unconventional career in fashion and photography by mistake, and the background in which she came from could be accredited to her unique stylings of image capturing. She once said in an interview with “SHOWstudio” that she “strives to take striking images in which people want to go back to”She E L L E N V O N U N W E R T H F E AT U R E V

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ROTIC

FEMININITY

E R OT I C F E M I N I N T Y I S A P H R A S E I C O N I C I Z E D A N D C O I N E D A S U N W E R T H ’ S S P E C I A L I Z E D S U B J E C T I V I T Y, A N D S T Y L E I N I M AG E C A P T U R I N G .

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mages in which people want to go back to”She approaches every photoshoot with a scenario or a narrative in mind in hopes of enchanting viewers with the beauty of a narrative, and capturing the woman in her natural raw beauty.

Ellen’s childhood was very unstable. She was homeless for most of her teenage life due to lack of financial support from a guardian. So she would often times end up in foster care homes. She says that being in this environment did not encourage her artistic cravings, because her upbringing was so unstable she didn’t know what she wanted to do with her career she just happened to stumble upon photography.

When she was in college Ellen had a slue of different jobs. She was a magic show assistant at one point and then went on to join the circus for a time to be a stunt

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performer. It was during her time in the circus when she picked up a camera and started documenting her surroundings. The livelihood of the environment set the tone for her artistic stylings.

Despite her humble upbringings, she still managed to pay her way to go to a university. However, she didn’t end up going. On her first day of stepping onto the university campus, she was spotted by famous fashion photographer and modeling caster, John Casablancas. At the age of 20, she moved to paris to begin a modeling career.

Ellen Von Unwerth was born in Germany’s town Frankfurt in 1954. She had been in foster care at times in Bavaria. After graduating from high school, she joined the circus as an assistant to do stunts When she was 20, she was approached by a photographer who invited her to model. Soon she shifted to Paris to chase her career.

91 CARA DELEVINGNE

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ELLEN VON UNWERTH, FEB. (2016) ( 2 B M A N A G E M E N T. C O M )

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CARA DELEVINGNE FOR

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S H E “ S T R I V E S TO TA K E S T R I K I N G I M AG E S I N W H I C H P E O P L E WA N T TO G O B AC K TO, S O S H E A P P R OAC H E S E V E R Y P H OTO S H O OT W I T H A S C E N A R I O O R A N A R R AT I V E I N M I N D, I N H O P E S O F E N C H A N T I N G V I E W E R S W I T H T H E B E A U T Y O F N A R R AT I V E T H AT H I G H L I G H T S T H E E S S E N C E O F R AW A N D N AT U R A L , F E M I N I N E B E A U T Y. “

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“ H E R L A C K O F B O U N D A R I E S I S W H AT MAKES HER A DISTINCT CHARACTER

PONYSTEP MAGAZINE

I N T H E F A S H I O N I N D U S T RY. ”

ELLEN VON UNWERTH FOR

he felt that a model was restricted to listening orders regarding her poses. Hence she held a camera and decided to work behind it since she had gained experience in the field. With this step, she could let the models show some creativity in poses. At this time she was being given essential insight about photography by a photographer whom she was living with. Unwerth started living with a photographer who taught her a lot about the art of taking photos. After several years of simply shooting photos and practicing, she landed a photo shoot with GUESS. She was able to shoot pictures of Claudia Schiffer, which is what helped her become known in the photography field. Her career skyrocketed after this and by 1998, she was one of the most famous photographers in the world.

After her big break with the photos she took of Claudia Schiffer, Unwerth started working for many other magazines. She has a unique vision that captures the sensuality and sexuality of women in a way that not many other photographers can do. Her goal is to take pictures that show a woman being real, not standing in a pose that looks uncomfortable and fake. Ellen uses her experience as a model to make sure her photos turn out the way that they do.

Ellen has worked with magazines like Vanity Fair, The Face, Vogue and more.

She has even created books about photography that explain her unique views and how she chooses to photograph her subjects. She keeps in mind what the model is going through when she is taking pictures and tries to bring playfulness and sexuality to her photos. Ellen’s popularity and skill led her to eventually become the photographer for Duran Duran from 1994 to 1997.

She also did work for other artists’ album covers, including, Cathy Dennis, Janet Jackson, Britney Spears, Christina Aguilera, Rihanna and many others.

Unwerth also has a passion for directing films, which led her to creating several short films and music videos. Some of the films she has done include I Create Myself, Wendybird, and Naomi.

Some music videos she worked with include I Got Trouble by Christina Aguilera, Year of 4 by Beyonce, and Fragment One-And I Kept Hearing

by Kenneth Bager. To top it off, she has even worked on commercials for companies like Clinique and Revlon.

Ellen, the walking circus, was always very playful on set. She hated how sometimes in her earlier days as a model she couldn’t move and felt like a mannequin, so when the time came and it was her turn to be in charge, encouraging everyone to play around, move and and be silly is what she did best. She never kept a straight face, some would accredit her to be a legend.

She highly respects any form of artistic expression, that I believe empowers woman. In her unflinchingly erotic photographs, von Unwerth explores the vocabulary of the brothel and its inhabitants: the wrinkled sheets, filmy curtains, black stockings, auto-eroticism, and the air of depravity. But her work is also characterized by the fun and games of contemporary life in the fast lane.

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“ SADOMASOCHISMO ” V O N U N W E R T H ’ S I M AG E S H AV E O F T E N BEEN COINED AS “SADOMASOCHISTIC”, I N H E R R E P R E S E N TAT I O N O F A WO M A N ’ S R AW S E X U A L I T Y T H R O U G H H E R O W N DOMINEERING PRESENCE.

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ome flaunt personal fantasies; others are guarded, suggesting that we have stumbled into a secret world. Fashion and fantasy were never so enchantingly combined. Ellen von Unwerth is a Director and Photographer specializing in fashion and erotic femininity.

After a decade of successful modelling career, von Unwerth brought a first-hand knowledge of the kinetic energy of fashion shoots to the creation of her own work.

Ellen’s sensual campaigns for Guess? in the early 1990s launched her commercial career, and subsequently she has directed campaigns for prestigious clients such as Dior, Agent Provocateur , Azzedine Alaïa, Katherine Hamnett, Guerlain, Clinique, Revlon, Victoria’s Secret, Cacharel, Kenzo, Miu Miu, Chanel, Diesel, Lacoste, H&M, MAC Cosmetics, Baccarat, Belvedere, Moët & Chandon, Cointreau, Veuve

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CARA DELEVINGNE

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ELLEN VON UNWERTH, FEB. (2016) ( 2 B M A N A G E M E N T. C O M )

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IRVING PENN I R V I N G P E N N WA S A N A M E R I C A N P H OTO G R A P H E R K N O W N F O R H I S A B I L I T Y TO B E V E R S I T I L E I N M A N Y F I E L D S I N C L U D I N G F A S H I O N P H OTO G R A P H Y, P O R T R A I T S , A N D S T I L L L I F E S .

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rving Penn (1917–2009) was one of the most important and influential photographers of the 20th century. In a career that spanned almost seventy years, Penn worked on professional and artistic projects across multiple genres. He was a master printer of both black-and-white and color photography and published more than nine books of his photographs and two of his drawings during his lifetime.

In 1995, Irving Penn donated his archive to the Art Institute of Chicago. With that gift, the museum became one of the world’s leading repositories for photographs by Penn and material about his life and work. Housed in two locations—the Ryerson andBurnham Archives and the Department of Photography—the rich, diverse holdings are united for the first time on this website, creating pathways into Penn’s multi-faceted career.

IRINA AND VALERIE FOR VOGUE, J U LY 1 9 9 5 , I R V I N G P E N N (THE RED LIST)

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RVING

PENN

I R V I N G P E N N WA S O N E O F T H E M O S T I M P O R TA N T A N D I N F L U E N T I A L P H OTO G R A P H E R S O F T H E 2 0 T H C E N T U R Y. I N A C A R E E R T H AT S PA N N E D A L M O S T S E V E N T Y Y E A R S , P E N N WO R K E D O N P R O F E S S I O N A L A N D A R T I S T I C P R O J E C T S AC R O S S M U LT I P L E G E N R E S .

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rving Penn was born June 16, 1917 in Plainfield, N.J. Educated in public schools, he attended the Philadelphia Museum School of Art from 1934 to 1938, where Alexey Brodovitch taught him advertising design. While training for a career as an art director, Penn worked the last two summers for Harper’s Bazaar magazine as an office boy and apprentice artist, sketching shoes. At this time he had no thought of becoming a photographer.

His first job on graduating in 1938 was art director of the Junior League magazine, later he worked in the same capacity for Saks Fifth Avenue department store. At the age of 25, he quit his job and used his small savings to go to Mexico, where he painted a full year before he convinced himself he would never be more than a mediocre painter. Returning to New York, he won an audience with Alexander Liberman, art

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director of Vogue magazine, who hired Penn as his assistant, specifically to suggest photographic covers for Vogue. The staff photographers didn’t think much of his ideas, but Liberman did and asked Penn to take the pictures himself. Using a borrowed camera, and drawing on his art background and experience, Penn arranged a still life consisting of a big brown leather bag, beige scarf and gloves, lemons, oranges, and a huge topaz. It was published as the Vogue cover for the issue of October 1, 1943, and launched Penn on his photographic career.

Penn soon demonstrated his extraordinary capacity for work, versatility, inventiveness, and imagination in a number of fields including editorial illustration, advertising, photojournalism, portraits, still life, travel, and television.

In his earlier work Penn was fond of using a particular device in his portrait work, replacing it with a fresh one from

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BY IRVING PENN,

“STRONG SUITS”

VOGUE, DEC. (1989)

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JAN. (1996)

IRVING PENN BY

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HERMANN LANDSHOFF

“ H E WA S K N O W N F O R F I N D I N G B E A U T Y

(1948)

O U T S I D E O F T H E F A S H I O N I N D U S T RY ’ S S TA N D A R D S T H R O U G H O U T H I S C A R E E R . ”

I N D R A M AT I C B L AC K A N D W H I T E , H E C A P T U R E D P O R T R A I T S , S T I L L L I F E S , A N D N U D E S WITH A HIGH DEGREE OF TECHNIC AL PRECISION AND COMPOSITIONAL BALANCE.

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t one time he placed two backgrounds to form a corner into which his subject was asked to enter. It was, as Penn explains, “a means of closing people in. Some people felt secure in this spot, some felt trapped. Their reaction made them quickly available to the camera.” His subjects during this ‘corner period’ included Noel Coward, the Duchess of Windsor, and Spencer Tracy, most of whom complied readily.

Two series of portraits are especially memorable. One was made during Christmas in Cuzco, Peru, the other in studios in London, Paris, and New York. The first, in 1948 high in the Andes, followed a fashion assignment. With a few days to spend between planes, Penn persuaded the local photographer to rent him his studio. Pushing aside the ancient studio camera and picking up his Rollei, Penn made some 200 portraits in color and in black-and-white, in a studio that had a stone floor, a painted background, a small rug, and an upholstered posing chair similar to a piano stool.

The other series was the famous Small Trades project, a large number of workers posing formally in their work clothes and holding the implements of their trade or occupation. Each was posed against a plain background and lighted from the side, the characteristic lighting that has become identified with most of Penn’s portraiture.

In the 1950s, Penn founded his own studio in New York and continued to develop his fashion, commercial and personal work for the rest of his life. Notably series include Flowers - produced over seven years for Vogue’s Christmas editions; Dahomey - taken in 1967 when visiting the kingdom for Vogue; Still Life - modernist compositions formed of objects Penn accumulated, and Cigarettes shot in the early 1970s and exhibited at the Museum of Modern Art, New York in his first exhibition in 1975.

Penn died in 2009; his work is still widely exhibited around the world, and is held in major collections including the Art Institute of Chicago; J. Paul Getty Museum, Los Angeles; National Portrait Gallery, London; National Gallery of Art, Washington and the Metropolitan Museum of Art, New York, amongst others. In 2013 The Irving Penn Foundation donated 100 images to the Smithsonian

“ S PA C E - A G E B E A U T Y ” ,

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O C T. ( 1 9 8 4 )

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NADJA AUERMANN, J U LY ( 1 9 9 4 )

“ PRECISION ” IRVING PENN C APTURED PORTRAITS, J E A N PAT C H E T T, (1950)

VOGUE,

S T I L L L I F E S , A N D VA R I O U S I M AG E S , W I T H A HIGH DEGREE OF TECHNIC AL PRECISION AND COMPOSITIONAL BALANCE.

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enn demonstrated his extraordinary capacity for work, versatility, inventiveness, and imagination in a number of fields including editorial illustration, advertising, photojournalism, portraits, still life, travel, and television.

In his earlier work Penn was fond of using a particular device in his portrait work, replacing it with a fresh one from time to time. At one time he placed two backgrounds to form a corner into which his subject was asked to enter. It was, as Penn explains, “a means of closing people in. Some people felt secure in this spot, some felt trapped. Their reaction made them quickly available to the camera.” His subjects during this ‘corner period’ included Noel Coward, the Duchess of Windsor, and Spencer Tracy, most of whom

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VOGUE,

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“FRECKLES”

“BEE ON LIPS”,

NEW YORK, (1995

IRVING PENN, (CIRCA 1960)

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SUSAN SONTAG “ ON PHOTOGRAPHY ” S

usan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne’s College, Oxford.

Her books, all published by Farrar, Straus & Giroux, include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same “ S U S A N S O N TA G O N A B E D ”

BY DIANE ARBUS, NEW YORK, (1965)

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N PLATO’S

CAVE

I N “ O N P H OTO G R A P H Y ” , S U S A N S O N TAG N A M E D H E R F I R S T E S S AY “ I N P L ATO ’ S C AV E ” I N R E F L E C T I O N O F T H E A L L E G O R Y O F T H E S A M E N A M E B Y P L ATO.

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umankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth.

But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Fi-

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nally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later,

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“ S U S A N AT T H E H O U S E O N H E D G E S L A N E ” ,

BY ANNIE LEIBOVITZ, LONG ISLAND (1988)

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TO COLLECT

PHOTOS IS TO

COLLECT

THE WORLD.

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“ALLEGORY OF THE CAVE”

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B Y P L AT O (514A–520A)

“ H U M A N K I N D L I N G E R S U N R E G E N E R AT E LY I N P L ATO ’ S C AV E , S T I L L R E V E L I N G , I T S A G E - O L D H A B I T, I N M E R E I M A G E S O F T H E T R U T H . ”

“ TO P H OTO G R A P H I S TO A P P R O P R I AT E T H E T H I N G P H OTO G R A P H E D. I T M E A N S P U T T I N G O N E S E L F I N TO A C E R TA I N R E L AT I O N TO T H E WO R L D T H AT F E E L S L I K E K N O W L E D G E A N D, T H E R E F O R E , L I K E P O W E R .”

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now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings.

Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way

“ON PHOTOGRAPHY”

B Y S U S A N S O N TA G

(1977)

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“ P H OTO G R A P H S A R E E M P O W E R E D B Y T H E I R P O W E R TO I N T R O D U C E A N E W ‘ V I S U A L C O D E ’ C O N S I S T I N G O F A ‘ G R A M M A R ’ A N D A N ‘ E T H I C S ’ O F S E E I N G , T H E Y T E AC H U S T H E S T R U C T U R A L R U L E S O F L O O K I N G AT A P H OTO, ‘ W H AT I S WO R T H L O O K I N G AT A N D W H AT W E H AV E A R I G H T TO O B S E R V E .”

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hotographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the

camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography’s “message,” its aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.

That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art.

It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

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CONTRIBUTERS Cristina Guadalupe Galván Jurriaan Benschop Léopold Lambert Manel Molina Nadine Botha Norman Kietzmann Silvia Anna Barrilà Veerle Devos

Fall / Spring / 2016 C U LT U R E C O U T U R E

CULTU

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Vol. 22

Fall / Spring / 2016

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CULTURE Couture

THE

WORLD’S LEADING MAGAZINE I N FA S H I O N A N D C U LT U R E

EDITORIAL ADDRESS Office Belgium Bellevuestraat 41, BE-9050 Gent

Office Germany Yorckstrasse 74, D-10965 Berlin EDITOR IN CHIEF Kristi Sengpraseuth