ISSUE 04
CONTENT
ADS
16
28
46
Interview: Kenzo Takada
Interview: Khairullah Rahim
Feature: Damien Soh
issue 04 is produced by Editor-In-Chief Cornelyus Tan | cornelyus@modamagsg.com
Yeo Lijuan
Editor | lijuan@modamagsg.com
DEPUT Y Editor Gabriel Tan | gabriel@modamagsg.com Cr e ati v e Dir ector Aaron Han | aaron@modamagsg.com a dv ertising/M a r k eting Dennison Phua | dennison@modamagsg.com Contr ibutors Leslie Wong Qristal Ling Ilah Lim Hongling Ry-me Ramlan Follow us: www.modamagsg.com facebook.com/moda.mag.sg instagram.com/modamagsg
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CURATOR’S NOTE “...Live fast, die young Bad girls do it well Live fast, die young Bad girls do it well...” - M.I.A Dedicated to all ya bad assery, back alley shenanigan. To the Hanging-off-your-friends-shoulder at 3 am, weave falling off, floor rolling, gutter puking antics. To the #YOLO believers, the hard party ravers, the arm swinging machismos. For all your licentious debauchery, you are the young, the free, the reckless, It’s a new year and a new direction, MODA has evolved, in the ever changing world of art and design, and dangers that come from being stationary, we realised that we had take a bold step forward. MODA will now be curated. As art director, it is with great pleasure to see artists and designers given more control of their works, given the ability to not just showcase their works, but also allow them to create a vision, a peek in to their world, their minds. Being the first issue this year, I shall start the ball rolling. not thats RATCHET... Peace, Love and Hair Grease, Aaron Han
ART DIRECTION: AARON HAN PHOTOGRAPHY: CORNELYUS TAN STYLING: GABBY G MAKEUP & HAIR: ILAH (9638 2741) MODEL: QRISTAL LING
Dress: Kae Hana, Necklace: Stylist’s Own
Gloves: Yahn Adam, Swimwear: Wanderlust (@ Gnossem), Necklace: Stylist’s Own
Earrings: Taara (@ Gnossem), Necklace: Foreward, Ring: Taara (@ Gnossem), Skirt: Saloni Rathor, Gloves & Visor: Stylist’s Own
Dress: Zardoze (@ Gnossem)
Dress: Zardoze (@ Gnossem), Necklace: Stylist’s Own
Earrings: Taara (@Gnossem), Dress: Divya R (@ Gnossem)
18
INTERVIEW
Humberto and Carol are young Americans. One is an American born Chinese and the other, a American born Korean. Their birth origin is reflected in the diversity of design, where a good mix of western and orient culture can be seen. I do not have a say in the current creative process. In 2011, Humberto Leon and Carol Lim resuscitated the Kenzo tiger. Back in 1978, when you debuted with Jungle Jap, you were famous for frontal tiger prints. Was the tiger your alter ego? A. [Laughs] It is actually a coincidence. When I debuted Jungle Jap, I did not have any money. Yet, I had to renovate and coordinated my shop front. I was inspired by Arno Russo, hence, Jungle Jap. In 1986, when I launched my second line, I titled it ‘Jungle. I too, used plenty of tiger prints. Tiger was simply part of an archive so I used to it.
KENZO TAKADA Text Lijuan Yeo
Images Courtesy of Cyanmag.com
Amidst the buzz at Fide Fashion Week, I greeted Kenzo Takada - fashion wunderkind, for an interview. He looked dapper in a well-pressed suit; with coiffed hair and dress shoes. In an industry known for outrage and gimmicks, his modest appearance was an ode to class. To the ignorant, he could pass for an affluent businessman. To the informed, however, we clamour for a piece of him. Most unfortunately for me, the privilege of interviewing Kenzo was marred, by shabby dressing. I, in a state of delirium, opted for something simple – too simple, I’m afraid; arrived resembling a child who lost her way. I was lucky though. If he was perturbed by a poor wardrobe choice, he concealed with nonchalance.
When you were still in the industry, who did you consider competition? What fashion houses did you have your eye on? There are many young, emerging talents that I do not know, but their creations are incredible. I have a good impression of Haider Ackerman because his collections were always fresh. I heard you have been grooming young Parisians and young Singaporeans, what do you think is the edge that sets the Singaporean apart in the industry? These days, there is plenty of spotlght on Asia. It’s the food, the economy and the fashion. We are rich in tradition and culture. As Singaporeans allow these factors to influence their fashion, I hope they will translate their rich heritage into contemporary fashion, and create something new. I look forward. As a member of the Asian Couture Federation (ACF), what are some dreams and aspirations you have as a board member?
A session punctuated with mirth and deep, thorough thinking. I welcome you into the mind of Kenzo.
I can’t say anything now. But I think it is about getting involved. I believe my role means getting involved in the lives of young talent.
To the world, you are known as Japan’s fashion legend, but I am curious as to what Mr Kenzo thinks of himself?
What do you think are some criteria for couture in Asia?
I think I am a very fortunate person. When I went to Paris, I met a lot of friends and received plenty of opportunities that made a career in fashion possible. Because it was entirely unexpected, I think I am very fortunate. When you retired in 1999, you left your label in the hands of very talented successors. What do you think has changed about the brand? Do you still have a say in the creative process? Back in 1999, the thought that the world would give way to a new order coincided with my retirement. When Antonio Marras succeeded me, he followed closely to my ways. That was good. It was classic. Later on, when the label fell into the hands of Humberto Leon and Carol Lim, they brought new energy and vision to the label. And I like that it reminded me of myself, when I first began. Their passion gave Kenzo a fresh spin, a new birth. It was a very good with that.
It’s a philosophy sort of question. I think it is very difficult to describe. [Laughs] I believe it is about establishing an identity. As Asian, it is our nature to be meticulous about detail as we bring out our culture. Yet, we should not stick to the rules, but strive to create a hybrid. When we talk about Asia, it is so vast and different, it is tough to pinpoint. You’ve dabbled in paintings and decoration, what can we expect from Kenzo in the near future? I definitely want to focus on painting. Of course, inspiration is so important. If I have a chance to explore other chances, I will. That is possibly my biggest drive when I paint. But for now, I am still interested in painting.
FIGHTCLUB
ART DIRECTION: AARON HAN PHOTOGRAPHY: LESLIE WONG STYLING: GABBY G GROOMING: LIM HONGLING (9455 8681) MODEL: RY-ME RAMLAN
Cap - OS Accessories
Necklace - Mandy Wu
Bracelet - By Invite Only
Necklace - Lactose Intoler-Art
Body Harness - Mandy Wu
Necklace - Mandy Wu
30
INTERVIEW
KHAIRULLAH RAHIM Text Aaron Han
Images Courtesy of Khairullah Rahim
Who is Khairullah Rhahim? Khairullah Rahim (B.1987) graduated with a Bachelor of Fine arts (Painting, with a First Class Honours) from LASALLE College of the Arts, in partnership with Goldsmiths, College of London in 2013. Khairullah was also a receipient of the Future Leadership Scholarship (Full) from the college. He has participated actively in various exhibitions both in and outside of the college such as “No Approval” (Grey Projects, 2013), Cross Encounters (JCC, Embassy of Japan, 2013) and ASIA CONTEMPORARY ART SHOW (Hong Kong, 2013) to name a few. In addition, his works has also been showcased in numerous exhibitions and art fairs abroad; Malaysia, Taiwan, Hong Kong, USA, and Japan. In 2009, he bagged the first prize in the SLA painting competition organized by the Singapore Land Authority and in 2010, he was the top four finalists and also the recipient of the People’s Choice Award at the CLIFTONS Art Prize 2010 competition organized by CLIFTONS, Australia. Recently in 2013, he was invited to extend his research and practice at an artist-in-residence in Tokyo, programme organized by YOUKOBO Art Residency Programme, Japan, and INSTINC Gallery, Singapore. Up to date, his artworks are in numerous private and corporate collections. Who or what inspires you? My everyday experiences I guess. I am sorry if this sounds really boring and overused. I try to have my sketchbook with me wherever I go. You use a lot of animals in your art works, but they aren’t your everyday pretty painting kinda animals why is that? Is it some form of self-reflection? In actual fact, that’s not quite true! Yes we don’t see rhinoceros and dinosaurs everyday at the void deck, but these animals/creatures were indeed my “everyday animals” when I was much younger. I used to watch lots and lots of National Geograpghic documentaries on them in the past. However, if you observe, I began to rely heavily on ornamental fishes as my subject matter in my body of works since 2012. I assume they would be quite familiar to our local audience? However, now I really have to acknowledge that I am moving on into a slightly different direction. I guess
Beauty of Spring, Acrylic on Linen, 100cm x 100cm, 2010
I feel like I need to grow as an artist and do things that challenge me and really reflect on what I want to discuss/show in my works. Your art deals with a lot of personal issues but they also have a political side to it. Please elaborate? When I first started, I have to admit a lot of things revolved around the desire to be accepted; as an artist, as a Malay, as a gay men. But I kinda did beat around the bush about it. Haha!! Not closeted though! In short, I felt like I am the second fiddle in many aspects. But now, I am pretty upfront about it. My interest lies in the dialogue concerning queer marginalization experience in Singapore. There you go. Your choice of colours evoke a sense of playfulness and innocence, but the issues you deal with are rather serious. Is there a reason why there is this stark contrast? I am an artist, not an activist. I don’t have to scream. I whisper (ok seriously, bad joke!!!) What do you wanna be remembered for? Khairullah Rahim, the Singaporean artist. Any upcoming projects?
This Is Not Paradise Estate, acrylic on canvas, 92cm x 92cm, 2010
My exhibition in Japan Creative Centre, Embassy of Japan just ended recently. Now, I am in the midst of preparing for an exhibition in an established gallery in Singapore, to be held next year. Do look out for it!! http://paradiseestate.carbonmade.com
I Love You, acrylic on canvas, 40 x 40cm, 2013
Here Comes the Bride, acrylic on linen, 180cmx 122cm
#RATCHET ART DIRECTION: AARON HAN PHOTOGRAPHY: CORNELYUS TAN STYLING: GABBY G MAKEUP & HAIR: ILAH (9638 2741) MODEL: QRISTAL LING (8280 8476)
Vest & jeans: Yahn Adam
Shorts: The Editor’s Market, Shoes: Jeffrey Campbell (@ The Editor’s Market), Sunglasses and Stockings: Stylist’s Own
Bracelet: LARUICCI (@ Gnossem), Swimwear: Kae Hana, Shoes: Toton (@ Gnossem)
Bracelet: N I I N (@ Gnossem), Leggings: L’ile Aux Ashby, Fur Coat & Shoes: Stylist’s Own
Skirt: Lile Aux Ashby, Cuff: Isharya (@Gnossem) Tattoo Sleeve: Stylist’s own
Bracelet: Yahn Adam, Dress: Saloni Rathor, Sunglasses & Necklace: Stylist’s Own
Necklace: Foreward, Bracelets: Yahn Adam, N I I N (@ Gnossem), LARUICCI (@ Gnossem) & Ishraya (@ Gnossem), Romper: Mash Up, Leggings: Revasseur
Necklace: Foreward, Top: Kae Hana, Shades: Stylist’s Own
INTERVIEW
48
DAMIEN SOH Text Aaron Han
Images Courtesy of Damien Soh
Who is Damien Soh? Growing up from a tender age, I have always been more interested in the imaginary than the tangible aspect of the world, I have very little attention span to physical objects but squander all my time with stray sheets of papers and pencils, it would be that time of the day my parents would habitually leave me be, I would spend a few hours on it and voila back to terrestrial plane. “Day dreamer” was one of those recurring words that stuck year after year in my report slip, at that point it obviously connotes a sense of aloofness, and a lack of tether, which in the average Singaporean parents would leer warily at, armed with their plethora of after school activity meant to bring their child back to their fullest “potential“ My folks however were indifferent to that system, they were proud of every scribbles I have ever done, framed like a museum piece. Each worthy of having a title of a masterpiece. That would in turn serve as the foundation of my confidence and later the mastery to my own craft. It feels like I have done myself a poetic justice to have turned the word “day dreamer” around. To have used it as a source of good, today in-between juggling with freelance stints, I take up jobs offering enrichment to kids and adults who are themselves dabbling in art, I wouldn’t rephrase Daydreamer any other way. Who or what inspires you? It took just one work from Jenny Saville to throw my entire artistic endeavor off my own orbit. By simply looking at her works, it liberates me from my usual constrains and fear, I must say I am never a true believer of magic, but this is the closest thing for me.
Your works are dark, whimsical, surreal and macabre, is that a self-reflection? Or do they have darker meanings? In the earlier series of work that I have grew from, I tapped most of my inspirations from the spirit of fairytales, maybe it got to me that those books were written for children but has been incidentally laced with the writer’s own pessimism/ outlook of life which one goes to wonder, Are they really meant for kids after all? The symbolic idea of things made for kids were meant to be pure and innocent, but yet it is impossible to achieve such sterility when it is made by someone who has experienced the real facet of life, which will inevitably be distilled into the message hidden within a seemingly harmless narrative. A few of your works have a sense of desolation and despair, yet there is certain calm after the storm, is it reflective in life? I liken it to be the ideal state of being, when one faces great tragedy or pain, to be able to create a detachment and state of non-reactivity, like being in third person while watching your life fleet by. As with some of my works, it is inherently clear that the characters were not in pain or loss, they are neither reacting or creating an interaction with their predicament, that to me brings forth an even strong state of being, a state of transcendence perhaps. Your choice of colours evoke a sense of playfulness and innocence, but your subjects are rather dark or twisted, Is there a reason why there is this stark contrast? In the same breath of how I find it ironic that fairy tales were made for kids but were written as cautionary tales. The pastel colors represents the child like state of being, where one is as gullible and personable, much like that of any protagonist in a fairy tale only to have later encounter the big bad wolf and realizing that many things aren’t all that it seems. Again in reflection to how fairytales got to me with their habitual grimness, with that being said, I must have been profoundly scarred by some fairytales to have come to this point of perversion. Haha What do you wanna be remembered for? In a few simple words, I would like to be remembered for the spirit and essence of always doing what you love and never falter. Any upcoming projects? Currently I am managing a small scale Art jamming event at The Quincy Hotel, hoping to boost awareness to more of such activities and the holistic nature of painting and I must say, Singaporeans can paint despite saying otherwise! Also on the sidelines I am collaborating with a local designer , Ilyazid, who is currently finishing his Degree in LaSalle by the coming months. I am definitely looking forward to that as well! http://amien.4ormat.com
FLESH TONE ART DIRECTION: AARON HAN PHOTOGRAPHY: LESLIE WONG STYLING: GABBY G GROOMING: LIM HONGLING (9455 8681) MODEL: RY-ME RAMLAN
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