NeverLazy - Issue 12 - Winter 2013

Never Lazy

Winter 2013 --------

Breathe Creativity Anagrama Daniele Botallo Hsiao-Ron Cheng Valeria Chorozidi Chow Ka Wa Key Eli Craven Martine Frossard Lucia Giacani Tomek Jankowski Heiko Laschitzki Madame Lolina Wojciech Nowak Carla Pires Ricor Joe Russo Cherelle Sappleton Cory Schmitz Ming Pin Tien TOMAAS Damien Tran

E D I T O R S A B B I E

C O H E N

J E S S I E

Features Editor

C O H E N

Designer

twelve------winter 2013

C O N T R I B U T O R S

ANAGRAMA Daniele BOTALLO Hsiao-Ron CHENG Valeria CHOROZIDI CHOW Ka Wa Key Eli CRAVEN Martine FROSSARD Lucia GIACANI Tomek JANKOWSKI Heiko LASCHITZKI MADAME LOLINA Wojciech NOWAK Carla PIRES RICOR Joe RUSSO Cherelle SAPPLETON Cory SCHMITZ Ming Pin TIEN TOMAAS Damien TRAN

O N

T H E

C O V E R

Eli Craven

NEVERLAZYMAGAZINE@GMAIL.COM W W W. N E V E R L A Z Y. N E T • B L O G . N E V E R L A Z Y. N E T

THE WINTER 2013 ISSUE 3

Editor’s Letter

Welcome to NeverLazy Magazine’s 12th

(p.8), two young and successful fashion

issue! This is our third winter spent

designers who share their collections and

journeying through the ever-expanding

experiences of the industry so far. Lastly,

worlds of fashion and visual art, and we

we’re eager to present exclusive editorial

hope you’ve enjoyed the ride so far.

stories by Wojciech Nowak (p.30), Daniele

In this issue we have lined up some

Botallo (p.64), Heiko Laschitzki (p.100)

special talent with particularly unique

and Carla Pires (p.208).

aesthetics, no matter their backgrounds and walks of life – from budding

As the end of yet another year

photographer Joe Russo (p.186), to

approaches, we are bringing diversity to

established collagist and cover artist

our pages and platforms in the hope of

Eli Craven (p.76). We got in touch with

motivating you, no matter your passions

design studio Anagrama (p.136), who

and inspirations. Until we see you again,

offer insight into their world, and spoke to we wish you a wonderful festive season Chow Ka Wa Key (p.14) and Ming Pin Tien

4 N E V E R L A Z Y M AG A Z I N E

and a blessed and creative New Year! AC

06/ Fine Cut Chow Ka Wa Key

88/ Lucia Giacani “I try to

158/ Cherelle Sappleton

and Ming Pin Tien

represent how I feel

Multilayered

inside...“

20/ Damien Tran Free Flows

30/ Magnetism

100/ Runway Girls photographed

by Heiko Laschitzki

photographed by Wojciech Nowak

112/ Madame Lolina “I would

168/ Cory Schmitz A Growing Identity

178/ Valeria Chorozidi Dark Fairytales

42/ The creative streak of Martine Frossard

define myself as ‘an

186/ Joe Rosso

illusionist...’”

Natural Explorations

52/ Hsiao-Ron Cheng

124/ Ricor

196/ TOMAAS

The Power of Silence

Cinematic

136/ The refreshing spin of Anagrama

206/ Roche

Pastel Personality

64/ Stereotyping photographed by Daniele Botallo

76/ Eli Craven

photographed by Carla Pires

148/ Tomek Jankowski Unveiling Secrets

Fold and Learn

THE WINTER 2013 ISSUE 5

FINE

Meet two rising visionaries

designs are taking the fashi

young designers hail from Ta

introduced their riveting co

London, where they are curre

Ming Pin Tien and Chow Ka Wa

interviews for NeverLazy Mag

6 N E V E R L A Z Y M AG A Z I N E

whose brilliant, conceptual

ion world by a storm. These

aiwan and Hong Kong and have

ollections to audiences in

ently based. Get to know

a Key, in two exclusive

gazine.

CUT THE WINTER 2013 ISSUE 7

His AW13 collection ‘Bye Bye Youth’

into fashion but I’ve always loved clothes

is a complex hybrid of edgy textures,

and designing.

loose shapes and monochromatic palettes, coloured here and there with

My mother works for a local company that

eye-popping pastel shades: fashion

develops fabrics, so I have always been

designer and fine-tuned pattern cutter

surrounded by different fabrics. I guess

Ming Pin Tien produces collections

it’s one of the key influences for me, that

which always retain a delicate Asian

made me naturally step into fashion. From

influence, as they flirt with European

then on, my mother has been a resourceful

themes drawn from his experiences as

advisor to me in terms of materials and

a London-based creative. The London

fabrications.

College of Fashion graduate speaks to us about his eponymous brand Ming, his

What does a normal day in your life

fascination for abstract themes, and

look like?

his plans for the next season.

There started to be a very vague line Tell us about yourself: Where are you

between my personal life and my work

from? What first sparked your interest

life once I had set up my label. Normally,

in fashion design?

I wake up around 7:30am and start working pretty much straight away in order to catch

I’m originally from Taipei, Taiwan, and I

up with people based in Asia, and I just

came to London to study at the London

keep myself busy until 5pm. I’m a bit of a

College of Fashion. I can’t remember the

workaholic when I need to be but I try not

exact point in time when I decided to go

to work overtime for the sake of my mental health. >

8 N E V E R L A Z Y M AG A Z I N E

•

p h oto gra p hy R E B E C C A A N D R E W S • H A I R an d ma k eu p M I N K Y U N G K I M S T Y L I N G P E I G T S A I • M OD E L J U L I A at B ODY L O N DO N

THE WINTER 2013 ISSUE 9

You launched your label Ming last year.

The concept of ‘Bye Bye Youth’ came from

Could you tell us more about this, and

the references of World War II taking place

about the challenges and experiences

in China. In my research, I focused on the

you faced in the process?

children that suffered from the worst of time and how they are forced to step into

I was very lucky to be chosen to take

the grown-up world at an early age, which

part in the Fashion Scout SS13 Ones To

is unlikely to happen to us in the modern

Watch and it has led me to set up my own

day.

label. As a graduate, I didn’t know much about this industry except design. It is

In terms of the design, I combined shapes

very different from my previous working

and details from the traditional Chinese

experiences because I’m the one who’s

folk wardrobe, military uniforms from

making all the decisions, such as looking

the 30’s to 40’s and modern student

after the budgets, sourcing productions

uniforms; yet I manipulated the elements

and doing my VAT return. These are things

with contemporary colours, symbols and

that I haven’t experienced before but are

textures, such as different shades of pink,

essential in order to keep the business

blue and white in woven fabrics, knits

running.

and leathers, combined with graffiti-like patterns across the surfaces. My aim, which

1 0 N E V E R L A Z Y M AG A Z I N E

Tell us about your most recent collection,

was also my design aesthetic, was to create

‘Bye Bye Youth’: What was your

a clash by experimenting with different

concept? What technical and creative

textures and elements that are on the basis

processes did you use to bring your vision

of a solid pattern cutting aesthetic. >

to life?

THE WINTER 2013 ISSUE 11

1 2 N E V E R L A Z Y M AG A Z I N E

How do you combine your interest in

However, I do think the way I interpret

abstract concepts with your knowledge of

design is very Asian. In another way, I’m

complex pattern cutting?

also heavily influenced by the London fashion, especially the trends in East

I’m very interested in abstract concepts

London. It is so different from Taipei in

like human emotion because they are never

terms of the atmosphere, the way of living

perfect. How I treat a garment is the same

and thinking, and the way people approach

as how I evaluate a person. I’m interested

art.

in their stories because I get to know the processes and the reason behind why they

What would you say are your biggest

are like who they are now.

strengths?

Therefore, as a pattern cutting-based

Pattern cutting and time management.

fashion designer, I always apply flaws on my garments, such as slits, overlaps, cut-

What upcoming projects can we expect

outs, and let those elements clash with

to see from you?

something that seems to be simple and perfect. I find this a very efficient way for

For the coming AW14/15, we plan to

me to get my thinking across to potential

introduce more products to our accessory

customers.

line. I am working with different designers and craftsmen based in Taiwan on several

Would you consider your designs as an

projects, and our goal is to let this industry

embodiment of cross-cultural design?

know who we are alongside Taiwan’s

Between your Taiwanese roots and your

famous goods culture and hi-tech products.

experiences as a London-based designer, what do you tend to draw from more in

A word of wisdom to share with us?

your work?

Trying to create something beautiful can be I don’t see myself as a cross-cultural

meaningless sometimes. ∞

designer because what I’m interested in is people instead of different cultures.

THE WINTER 2013 ISSUE 13

p h oto gra p hy pj est mireille • H A I R s h ue lai • ma k eu p tsang yu S T Y L I N G mildred lo • M OD E L gleb g o r o dk o v

1 4 N E V E R L A Z Y M AG A Z I N E

At the ripe age of 23, London-based

What have you learned from studying at

menswear designer Chow Ka Wa Key

the Hong Kong Polytechnic University?

swept up the Hong Kong Young Design Talent Award with ‘Mrr._____’, a

The Hong Kong Polytechnic University

graduate collection that showcases

stresses on professional techniques as well

Key’s youthful approach to design

as theories about fashion and textiles, and

and denounces moral and social issues

enabled me to be technologically advanced

that Key has found to prevail in his

in knitting as well as textile designs like

hometown – a combination of elements

printing, embroidery... you name it! Some

which highlights the power of fashion

tutors who studied in some renowned

as well as this young designer’s

fashion colleges in Europe also inspired me

innovative flair. Key, now a student

a lot to develop my own, unique personality

at the Royal College of Art, shares

and aesthetic.

his impressions of the fashion worlds in both Hong Kong and London, and

What have your postgraduate studies at

talks about the creative processes and

the Royal College of Art enabled you to

challenges he has faced with his award-

do?

winning collection.

The Royal College of Art enables me to Tell us about your experience obtaining

further develop and criticise my own

the Hong Kong Young Design Talent

personal style with menswear design.

Award...

I can learn from other talented classmates, build networks between other students

Hong Kong Young Design Talent Award is a

from other disciplines like textile design

sponsorship supported by the Hong Kong

or even architecture, and have an

Government to give HKD$250,000 to two

international and global outlook.

design graduates from all the design fields, for overseas study or work attachment.

Tell us about your graduate collection,

Since there are loads of applicants

‘Mrr._____’: what concept did you have in

each year, I was required to pass a few

mind and what inspired you?

screenings consisting of portfolio review and presentations. To be frank, the judges

I was inspired by my personal observation

are very professional and critical. I spent

of how people from Hong Kong react or

much effort and time on portfolio editing

think about homosexuals and their rights.

and clarifying my design philosophy in

I translated my view into a story about two

order to make myself presentable.

men’s wedding in a landfill. Due to >

THE WINTER 2013 ISSUE 15

1 6 N E V E R L A Z Y M AG A Z I N E

the society’s discrimination against them as homosexuals, they had no place to have their wedding other than the landfill. No one would want to make wedding costumes for them, so all they could do was grab the rubbish from the landfill and make their own costumes. I hope this story can show how miserable the homosexuals in Hong Kong are now.

What techniques and materials did you use for this collection, and what have you aimed to communicate through them?

I used Merino wool roving – a raw material of yarn – and knitting yarn to create fluffy silhouettes. I also used transfer paper printing on the knitted fabric to create a “cracked” effect. All of the surfaces I created for this collection were like accumulated “rubbish” that you can grab in the landfill – decayed papers, dust, etc – in order to be consistent with the story and to show how miserable homosexuals are in Hong Kong now.

What main challenges did you face when putting this collection together and how did you overcome them?

The main challenge was how to apply my designed surfaces to make >

THE WINTER 2013 ISSUE 17

a well-finished garment, since that is

sometimes I can obtain sponsorships and

not what fashion designers normally do.

professional training from fashion and

Usually, they can just buy the desired

textile manufacturers, but Hong Kong is too

fabrics and then start their production.

dominated by manufacturers and trading

However, I am used to creating my own

companies, and what they usually think

fabrics with unique treatments. I needed to

about so much is the monetary return. That

experiment and test if my fabrics could be

is very different from the fashion scene

finished enough to produce wearable and

in London, which emphasizes creativity

durable garments.

and unique personality.

Describe your identity and signature

How do you see yourself evolving in

aesthetic to us...

the near future? What are your current goals?

Impressionistic and highly personal.

After studying at the Royal College of Art, I How has Hong Kong benefited you as a

hope I can develop my own strong, unique

designer? How different would you say

design philosophy and a personal style

London’s fashion scene is, in comparison?

in my menswear designs. [I hope to have] creativity, professionalism and a global

First and foremost, Hong Kong is an

outlook. My current goal is to showcase my

inspiring international city with mixed

designs on international platforms, in order

cultures from Asia, Europe and America, due to prove that Hong Kongers can have the to its history. Therefore, I can see different

ability to participate in the international

people wearing diverse kinds of interesting

fashion design industry.

fashion styles from Japan, Korea, Britain and America, which can inspire me a lot.

A word of wisdom to share with us?

Yet, Hong Kong is well connected with

Be personal and take risks! ∞

China in terms of its manufacturing support;

1 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 19

2 0 N E V E R L A Z Y M AG A Z I N E

Damien Tran Free Flows

Berlin-based graphic designer and printmaker Damien Tran, 28, creates screen printed pieces in which components are layered to convey complex visual stories. Through a combination of colour, texture, geometric shapes and typographic elements, Damien conveys intriguing scenes that, although chaotic at first glance, also seem to originate from lengthy and carefully calculated production processes. Damien is the second half of Palefroi, an art collective which unites his talents with those of illustrator Marion Jdanoff; the team creates quirky designs, which make for refreshing art prints or feature on the covers of eye-catching handcrafted books. AC

THE WINTER 2013 ISSUE 21

2 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 23

2 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 25

2 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 27

2 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 29

Young Polish photographer Wojciech Nowak captures the essence of a mysterious setting as well as an amazingly energetic atmosphere in ‘Magnetism’, a black and white shoot overflowing with dramatic tension. A member of SPOT Management’s talent pool, 25-year-old Wojciech utilizes an interestingly varied wardrobe and a bold setting to bring elegance and edginess to this new editorial story, skilfully styled by Joanna Glowacka. A brilliant representation of a woman’s femininity and strength, ‘Magnetism’ is exclusive to the pages of NeverLazy Magazine. AC

3 0 N E V E R L A Z Y M AG A Z I N E

Dress Stabo, bracelets Katherine, shoes Aldo.

Magnetism p h oto gra p hy w o jciec h n o wak styling an d ma k eu p j o anna glo wacka m o d el justyna at s p ot management

THE WINTER 2013 ISSUE 31

3 2 N E V E R L A Z Y M AG A Z I N E

Dress Inspiracja Butik, shoes vintage.

THE WINTER 2013 ISSUE 33

Dress Inspiracja Butik, bracelets Katherine, earrings Orsay.

3 4 N E V E R L A Z Y M AG A Z I N E

Dress Inspiracja Butik, jacket stylist’s own, bracelet Katherine.

THE WINTER 2013 ISSUE 35

3 6 N E V E R L A Z Y M AG A Z I N E

Dress Stabo, bracelets Katherine, shoes Aldo.

THE WINTER 2013 ISSUE 37

Dress Stabo, necklace Katherine.

3 8 N E V E R L A Z Y M AG A Z I N E

Dress Inspiracja Butik, jacket stylist’s own, bracelet Katherine.

THE WINTER 2013 ISSUE 39

4 0 N E V E R L A Z Y M AG A Z I N E

Dress Inspiracja Butik, jacket stylist’s own, bracelet Katherine.

THE WINTER 2013 ISSUE 41

The Creative Streak of Martine Frossard

4 2 N E V E R L A Z Y M AG A Z I N E

Montreal artist Martine Frossard draws detailed illustrations bursting with character. By layering geometric figures and vibrant colours over amazingly expressive portraits, Martine aims to communicate the feelings and thoughts bubbling within her as she draws. A raw translation of her emotions, Martine’s work perfectly exemplifies the deep-rooted connection between an artist and their art. Martine talks to us about her experiences as a multidisciplinary creative, in an interview that encapsulates her passion and energy.

Tell us a little about yourself and your

came to settle in Montreal and we began

story so far as a multidisciplinary artist...

to talk about the possibility of creating participative installations together. What

I am a Montreal-based artist born in

I like is using a place as a starting point to

Strasbourg, France. I am almost Franco-

create a project – like a white sheet – and

Canadian, and split my time between

using the public as the main character of

graphic design, drawing and installation. At

these creations. We like the idea of people

18, I left my hometown and went to Paris

living strange experiences on their way

to study design at the Ecole Boulle. After

between home and work.

three intensive years, I left my country for Montreal.

How has your creative style evolved, and where do you see it going in the future?

I started drawing without thinking too much, after a long period of not being

When I had an idea in mind, I had to realize

creative. I always had this passion for

it quickly in order to keep up with the

drawing – it was just buried inside me.

momentum of inspiration. I started working

I started to show at a few exhibitions and,

once an idea came to me. This allowed me

little by little, I have finally taken place

to maintain my passion and enthusiasm.

within Montreal’s artistic community.

Now, I need more and more focus. Once the

At the same time, I’ve started doing more

emotions have passed, I take a step back

and more graphic design commissions.

and think more deeply about what I want to communicate. I think that we should never

In 2010 my friend Isabelle Guichard,

think too much when we draw and should

with whom I studied at the Ecole Boulle,

let the emotions speak, but I want to take >

THE WINTER 2013 ISSUE 43

4 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 45

4 6 N E V E R L A Z Y M AG A Z I N E

more time to think about what I did, about

different mediums.

what just happened with my emotions.

Your works are such interesting mixtures Naturally, mindlessly, I’ve started to

of detailed line art and pops of colour.

constantly draw faces and expressions,

What do you try to convey through this

which often match my mood of the

and what technical process do you usually

moment. I then always end up covering part

undertake?

of the face with paint or geometric shapes, to display only the piece of expression that

I’ve tried a little bit of everything but have

I wanted to highlight. So, finally, each of my

returned to the simple use of the pencil.

portraits tell small stories of my identity

Technical drawings inspire me a lot. I’ve

quest: it’s when we’re looking for identities

also started using pins and strings or paper

that they take shape. Get lost and disappear tape in my artworks – I’ve discovered that behind a mask to exist again. I realized

I want to develop that further. I have a

that graphic forms around my characters

big interest in geometry and architecture

symbolize both identity loss and future

but also in the human body, faithfully

reconstruction.

reproduced portraits, light and shadow on faces, Egon Schiele’s angular anatomical

Whether in my illustrations or in my

drawings, the architecture of the body

installations, I always like to bring an

in general... So I’ve ended up mindlessly

element of absurdity, mix incongruous

mixing these two themes to create

elements together, and create strange

complex portraits. When I draw faces with

dream worlds. I want to continue working

my lead pencil, it’s a kind of moment of

on the human body and going further into

concentration where I try to express >

THE WINTER 2013 ISSUE 47

all my emotions. Then, when I add a mix

qualities an illustrator should possess?

of detailed lines to the drawing, it’s more mechanical and spontaneous.

An illustrator must draw a lot, all the time, and find their style progressively. We often

What is the biggest challenge or obstacle

expect an illustrator to tell a narrative

you are aspiring to overcome?

in his drawings, but I think the key is to find the right balance: not too much of a

I want to continue to draw more and more

narrative, just enough to convey a message

for myself. I also wish to confirm my status

that is not too obvious and that is more like

as a freelance graphic designer, and of

an emotion. I am often more attracted to

course continue to create new installations

illustrations that make me react strangely.

in different kinds of places. I think I have found my balance well within in these three

A word of wisdom to share with us?

passions. I’m not worried because I know that I will always continue to draw and

“Tout vient à point à qui sait attendre.”

create. It is too important to me.

[All things come to those who wait.]

This is a very classic quote that I repeat

Based on your current experience, what

to myself all the time when I experience

would you say are the most important

boring or tough phases... ∞

4 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 49

5 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 51

5 2 N E V E R L A Z Y M AG A Z I N E

Hsiao-Ron Cheng Pastel Personality

When Taipei-based illustrator Hsiao-Ron Cheng introduces herself to us, it is with a line that quite flawlessly sums up her work: “I love everything in pastel colours”. Hsiao-Ron is a young artist with an interest in conveying stories through image creation, and whose original style is a true reflection of her evolution as an artist – an aspect that she quite strongly values: “Everyone knows it’s important to have personal style but to be honest, I’d rather not think about it all the time. To me, [creative] identity and style should come in a natural way and grow continuously within the artist. A current style is just a temporary sediment of personal taste”.

The 26-year-old believes in listening to her own voice, and works on concepts drawn entirely from her imagination. Speaking of her creative process, she says: “When some ideas pop up in my head, I usually write them down on my notebook in literal form”.

Her charming creations feature surreal fantasy creatures, floral elements and a delightfully mysterious aura, all of which serve to communicate the artist’s feelings. Although somewhat bizarre, Hsiao-Ron’s illustrations also remind us of the fairytales we’ve all read and loved. Her style is infinitely soft and graceful, and works in perfect harmony with the philosophy she lives by: “Be passionate and patient”.

Hsiao-Ron is currently working on a mural and packaging illustration project with a chocolate shop based in Sydney.

She plans on starting an illustration book and a pattern design project. AC

THE WINTER 2013 ISSUE 53

5 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 55

5 6 N E V E R L A Z Y M AG A Z I N E

“ Always listen deeply to your own voice.”

THE WINTER 2013 ISSUE 57

“ Identity and style should

come in a natural way and grow continuously within the artist.�

5 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 59

6 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 61

6 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 63

Jacket Koonhor, jeans vintage, shoes Superga.

S T E R E O ---

p h oto gra p hy daniele b otallo • styling martina allena • hair an d ma k eu p silv ia musumeci , gaya russ o

6 4 N E V E R L A Z Y M AG A Z I N E

Daniele Botallo, an Italian creative based in Milano, sees photography as a passion passed down to her by her family. The lives of those around Daniele gravitated around the trade, which inspired her curiosity towards a rather unique photographic field: “I started with astrophotography, a field I love. It gave me a great technical ability.”

From that point on, Daniele developed

photography, which she uses to express

a career in photography that guided her

herself and her beliefs: “With fashion

towards the fashion industry: “I began

photography, I try to stay true to my

to take my first steps in my hometown

convictions. I arrange the set and the light

Palermo, but even though it can stimulate

in the most appropriate ways, to obtain an

creativity a lot, the organizational

aesthetic result that enhances the clothes

capabilities, the collaborations with other

and the models... but then I let things

professionals, and the type and size of the

run freely. I try to establish a connection

market did not meet my expectations.”

between myself, my collaborators and the

This triggered Daniele’s move to Milan,

model, to create a comfortable atmosphere

a city which she qualifies as more “fertile”

or one that’s in tune with the mood and

in terms of the opportunities she can

ambience chosen.”

find as a photographer: “Here, I have deepened my specific knowledge about

Whilst one may think photography involves

fashion photography at the John Kaverdash

carefully monitored processes, Daniele

Accademia di Fotografia, with whom

believes that it captures elements beyond

I now collaborate for work.”

her control; according to her, the artist cannot convey the “perfect moment” and should

Although she enjoys being versatile,

instead be ready to let the camera capture

Daniele is most fascinated by fashion

details which escape the naked eye: >

--- T Y P I N G

THE WINTER 2013 ISSUE 65

Jacket Koonhor, jeans vintage, shoes Superga.

6 6 N E V E R L A Z Y M AG A Z I N E

Jeans American Apparel, golf COS, shoes Superga.

THE WINTER 2013 ISSUE 67

Blouse Equipment, jacket Roy Rogers, glasses Marc Jacobs, jeans vintage, shoes Superga.

“In my opinion, the photographer must become aware of the impossibility of absolute control and must emerge himself into contexts that work best; they must be open to influence and be influenced by events. I think it’s exactly the impossibility of absolute control, the constant comparison with the imponderable, that makes photography unique and different from all others art.”

In her editorial story ‘Stereotyping’ styled by Martina Allena, Daniele looks at the negativity which surrounds digital photography: “I played around the >

6 8 N E V E R L A Z Y M AG A Z I N E

Blouse Equipment, jacket Roy Rogers, glasses Marc Jacobs, jeans vintage, shoes Superga.

THE WINTER 2013 ISSUE 69

Jacket Jean Paul Gaultier, body Cristiano Burani, jeans Coin, shoes Superga.

7 0 N E V E R L A Z Y M AG A Z I N E

Jeans American Apparel, golf COS, shoes Superga.

THE WINTER 2013 ISSUE 71

Jacket Jean Paul Gaultier, body Cristiano Burani, jeans Coin, shoes Superga.

7 2 N E V E R L A Z Y M AG A Z I N E

Jacket & Other Stories, skirt vintage, shoes Superga.

THE WINTER 2013 ISSUE 73

Sweater Hache, jeans Closed, shoes Superga.

7 4 N E V E R L A Z Y M AG A Z I N E

Jacket & Other Stories, skirt vintage, shoes Superga.

supposed diatribe against digital and ‘fake analog’ photography. While shooting I used a digital camera and a medium format loaded with 120 rolls of film. I developed the film, trying to give it the ‘imperfect look’ that many expect from a shot on film.

“I chose to present the shots as contact sheets selected after editing, because I think that from an aesthetic point of view, this makes them very attractive. I’ve always been intrigued by the charm of film as such; I think it precedes and goes beyond the image that’s imprinted.” ∞

THE WINTER 2013 ISSUE 75

Eli Craven Fold and Learn

7 6 N E V E R L A Z Y M AG A Z I N E

Because of his eye for colour and detail, it is safe to think that Eli Craven is a skilled collagist. By digging into the depths of his work, though, one would understand that collage, for Eli, is not simply a skill: the 34-yearold American artist uses collage meaningfully, to represent his history and the evolution of his personality, and will always have a fascinating story to tell through his work. Inspired by the timelessness of vintage photographs, Eli has folded and combined imagery in smart and occasionally cheeky ways, to create brand new worlds in which one can so easily become immersed.

Who is Eli Craven?

I saw in the magazines that I collected in my youth.

I am an American artist living and working in Illinois. In my work I use photography,

As I grew older and a digital, virtual world

found imagery, sculpture and collage to

grew as well, my interests shifted to the

create pictures and objects that suggest

visual arts and my aesthetic followed. I

something physical behind the surface of a

think the work I make reflects my history,

photograph. I gather imagery from collected

what I have seen and experienced comes

magazines, books and my own personal

through in the images and choices I make.

history, and reconfigure the pictures with a delicate blend of humour and melancholy.

Tell us about your creative process, and how you source and combine the images

How did you develop an interest in your

you work with...

current aesthetic? What do you believe it says about yourself, as a creative?

My creative process starts with looking for sources. I look for books and magazines at

I believe my aesthetic grew out of my

thrift stores, estate sales, etc. I still enjoy

interest in photography in my youth and

looking through pictures in books and

my education in traditional film processes.

magazines, and this act of looking is an

Growing up in the 80’s, I loved looking at

important aspect of the work. I find images

music and skateboarding magazines and it

I like and I collect them, pin them up and

was the images that always drew me in. I

study them until my action comes to mind. >

wanted to take photographs like the ones

THE WINTER 2013 ISSUE 77

7 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 79

8 0 N E V E R L A Z Y M AG A Z I N E

“ I think the work I make reflects my history,

what I have seen and experienced comes through in the images and choices I make.”

THE WINTER 2013 ISSUE 81

This process, in many ways, reflects the way I would pin pictures and posters on my wall in my youth. The next step is deciding what to do with the image and usually it is an emotional response. An intervention needs to happen, be it a fold, stretch, cut, etc.

What is it that draws you to vintage photographs, and what do you try to achieve by featuring them in your work?

I connect to vintage photographs or images from the past because they were created with a physical dimension in mind. Owning a photograph or magazine was to own an object. Photographs, trading cards, postcards, etc, were collected and handled.

They are loaded with history and I hope to use this history to ask questions about our present and future.

I have used current images in my work before, but they communicate something different, they are temporary and fleeting.

Old, vintage photographs have settled over time and in this settling I hope to uncover a new meaning. >

8 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 83

8 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 85

“

Find what it is you like to do and find a way to do it.”

What series or piece have you

struggles. I have also had the fortune

particularly enjoyed working on?

of good friends, family and rewarding accomplishment. The biggest hardship

The collage work is really enjoyable for me.

is coming to terms with the good and the

I tend to work on multiple projects at once

bad which we all face, and not letting it

and when I get stuck with a process or idea,

take control of you and finding a humble

I step away and look for images to collage,

balance.

cut and fold.

What projects are in store for you?

“Screen Lovers” was a lot of fun and came at a time when I just needed to step

I have a lot of new work in process and

away from some serious work and make

I am working on a couple of collage books.

something with my hands.

Check my website and blog for updates and new work in progress.

What is the biggest hardship you have had to, or are learning to overcome?

A word of wisdom to share with us?

I would say that life in general is the

Be honest. It makes everything easier.

hardship we all endure. I have experienced

Find what it is you like to do and find

loss and death, financial hardships and

a way to do it. ∞

8 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 87

LUCIA As they blaze with brightness and confidence, Lucia Giacani’s work is an amazing representation of her strength of character. An Italian fashion photographer based in Milan, Lucia displays immense creative flair by crafting many of her own sets and props, in her aim of telling stories based on her life and personal experiences as a woman. She takes a minute to talk to us about her creative vision, her disbelief in creative boundaries, and her intriguing views on commercial photography.

GIACANI “I try to represent how I feel inside during certain periods of my life.”

8 8 N E V E R L A Z Y M AG A Z I N E

Who is Lucia Giacani? How did

where I took a black and white photography

you develop an interest in fashion

night school course in Trastevere.

photography?

How would you describe your creative I am from a small medieval town in the

vision?

centre of Italy, called Jesi. Photography was a hobby of my dad’s. I am the youngest in

My creative vision is not typically Italian,

the family and was the only one to have

although I think it is typically feminine. I try

shown an interest. I received a compact

to represent how I feel inside during certain

automatic camera as a present for my First

periods of my life and I always try to put

Holy Communion, and it was from that

“myself” into the shoots, so often that it

point that I starting experimenting with

requires personal reflection. As such I think

photography (as a side note, I would like to

that you can see maturity or progression in

say that I find it incredibly boring the way

my work.

photographers always bang on about their first camera, almost like it’s a competition

A common link in all my photos is

as to who is the most precocious.)

surrealism and the unconscious. I don’t document explicit episodes, though; my

In my teen years I used to go out to

photographs represent a feeling of being

abandoned places to shoot with friends and

myself. It is for this reason that I have no

get dressed up. Then I moved away to study

interest whatsoever in photographing men,

languages in Bologna, then design in Rome

or greased-up languid women. >

THE WINTER 2013 ISSUE 89

9 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 91

9 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 93

what it can be], even if you have no money

challenges the viewer and stimulates the

or resources. I work with paper, card and

eye as much as the mind. To inspire others

Obviously, following on from my previous

paint a lot because they are cheap, but they

is a great thing, but I do not particularly

answer, it could be said that simply being a

are also the bread and butter of any set. I

care if this happens or not when people

woman inspires me. But let’s change from

make a lot of the sets and props myself as

see my work. For me, photography is a self-

the sexual to the psyche: to start with I do

I enjoy working with my hands. I am very

centred process of expression that drives

dream a lot, and I think that dreams are a

determined when it comes to work and

me artistically.

good creative resource. After waking from a

to my vision: if something has to be done

particularly strange dream I often copy the

then I will do it (as opposed to my daily

Commercial factors bring money and

story and a few sketches into a dairy that I

life, where the washing up and my bills

allow the expansion and embellishment

keep by my bed.

are ignored for as long as possible). That is

of an idea. The mindset that you have

the same for everyone I suppose: it comes

‘sold out’ if you have commercial interests

I also often get inspired walking around

down to a sense of passion. When you are

is anachronistic. If Michaelangelo were

flea markets and imagining situations with

passionate and have a vision of what you

alive today he would be on TV, dressed in

the strange objects I come across. More

want to do, being bold comes naturally.

Dolce & Gabbana, wearing perfume and

What inspires you at the moment?

designing for new fashion boutiques and

recently, exasperated by being stuck at home this summer, I am looking to travel

Tell us about your approach to fine art

restaurants in Dubai. Commercialism is the

with some close friends to go to some

photography, and how you incorporate

new religion. Fact. What any artist has to be

really strange locations and do some great

this into your fashion work...

good at is using his or her tools.

Or how do I incorporate fashion into my

As any artist knows, they will often be

What do you tend to look for in a setting

fine art photography? I joke. But do I? My

asked to produce work that is more

or subject? What is it that draws you to

thoughts are as follows: I do not believe in

commercial, to cater to the tastes of the

the bold sets and styling techniques often

structures or boundaries. To me, the most

gallery owner or the public at large.

found in your work?

interesting events in culture exist around

In my work I have never come across

the edges of so-called disciplines. I love

this artistic constraint, probably because

work that questions orthodoxy, and that

I am not especially radical. >

work together.

Every shoot should be the maximum [of

9 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 95

9 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 97

9 8 N E V E R L A Z Y M AG A Z I N E

The fundamental principles are liberty

being a woman without having to regress to

and trust and when you have these from

typical forms of representation.

a client, there forms an understanding and respect. With such freedom the work

What is your work philosophy?

gets better.

Tenacity, liberty, trust and respect.

I am always looking to create something new. A lot of so-called fine art photography

What have been your proudest moments

is copied or extremely banal and is not to

so far, as a fashion photographer?

held up as something precious. As with all disciplines, it’s about being selective about

Starting to work for Vogue; my first time

what inspires you, and this is why personal

travelling to Hong Kong alone for work...

taste is so important.

and surviving; recently, I have also had great satisfaction from organising a big

What do you try to communicate to the

personal exhibition of my work.

viewer through your photographs?

A word of wisdom to share with us?

The ethereal and interesting essence of Don’t create limitations. ∞

THE WINTER 2013 ISSUE 99

RUN ---AWAY GIRLS p h oto gra p hy Heik o L asc h it z ki • m o d els luisa , M arlene , s o p h ie , yara ; alicia at in d ee d m o d els ; pepa at m 4 m o d els

In his poignant fashion story ‘Runaway Girls’, Berlin-based photographer Heiko Laschitzki shines light on the innocence and vulnerability of his models, in ways that work wonderfully alongside the youthfulness of the garments at the centre of each photograph. By conveying a sense of loss and unease, found in his models’ gazes as well as in each distinctive setting, Heiko creates an enigmatic atmosphere set to weigh on the minds of many. An insightful representation of the unpredictability and emotional hardships of today’s youth, ‘Runaway Girls’ is just as gripping as it is a strong expression of style. AC

1 0 0 N E V E R L A Z Y M AG A Z I N E

Sophie wears leather jacket Gestuz, shirt Levis, pullover Rich and Royal, bag Mavi and trousers Motel.

THE WINTER 2013 ISSUE 101

1 0 2 N E V E R L A Z Y M AG A Z I N E

Luisa wears coat Denham, shirt QS by S.Oliver, pullover Rich and Royal, bag Napapijri and trousers Replay.

THE WINTER 2013 ISSUE 103

Marlene wears shirt Mavi, cardigan Heartbreaker, bag Napapijri.

1 0 4 N E V E R L A Z Y M AG A Z I N E

Pepa at M4 Models wears vest Mavi, pullover Monki, bag Napapijri, trousers QS by S.Oliver.

THE WINTER 2013 ISSUE 105

1 0 6 N E V E R L A Z Y M AG A Z I N E

Alicia at Indeed Models wears jacket, scarf and bag Mavi, hat Aware Cashmere, pullover and trousers Rich and Royal.

THE WINTER 2013 ISSUE 107

Yara wears coat and shirt Gestuz, bag Mavi, and trousers Replay.

1 0 8 N E V E R L A Z Y M AG A Z I N E

Sophie wears leather jacket Gestuz, shirt Levis, pullover Rich and Royal, bag Mavi and trousers Motel.

THE WINTER 2013 ISSUE 109

1 1 0 N E V E R L A Z Y M AG A Z I N E

Marlene wears cardigan Heartbreaker, sweatshirt Gestuz, bag Qwstion, scarf Aware Cashmere.

THE WINTER 2013 ISSUE 111

Madame Lolina “I would define myself as an ‘illusionist who indulges in femininity and beauty’.”

Through her feminine illustrations, South Korean artist Madame Lolina spins wildly imaginative stories in the softest and most subtle ways. By combining unusual themes brimming with fantasy elements, together with delicate and realistic portraits, the 29-year-old produces beautifully coloured mixed media pieces which highlight the beauty of both fashion and nature. The artist chats with us about her passion for illustration, her signature aesthetic, and the meaning behind her rather unique pseudonym. >

1 1 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 113

1 1 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 115

1 1 6 N E V E R L A Z Y M AG A Z I N E

Tell us a little bit about your creative

I perceive it as a name which reflects my

background and the meaning behind the

actual personality, as I am very bright and

name ‘Madame Lolina’.

mischievous.

I am an illustrator living in South Korea.

The name ‘Madame Lolina’ reminds one of

I majored in apparel design in university

the image of a scene where a long feather

and began drawing as a hobby. I started

pen is used to write a signature, and the

my career in this field in 2012: I designed

paper is sealed with melted candle wax.

illustrations for domestic magazines, books,

Though it is a name that does not hold a

and posters.

significant meaning, it reminds one of the novel ‘Madame Bovary’ and it is a name

I conduct sales of illustration prints in

which Koreans find unique and catchy.

online galleries linked to New York and Paris as well as joint cover works with a

How would you define yourself and your

UK band named ‘Rodina’. Most recently,

aesthetic?

I conducted a masking tape illustration operation with a Japanese brand named

I would define myself as an ‘illusionist who

‘Aimez Le Style’.

indulges in femininity and beauty’.

In terms of my name, I combined two words

What influenced or inspired you to

that I favour. In South Korea, the term

develop such an aesthetic?

‘Madame’ is applied to female owners of bars, coffee shops and jewellery stores; so,

Whenever I wanted to run away from

it brings up the image of a sophisticated

reality, my unrealistic imagination seemed

yet decadent female. The name ‘Lolina’ is

to comfort me. My sense of inferiority

pronounced in a sweet and cheerful way;

about not feeling pretty made me >

THE WINTER 2013 ISSUE 117

obsessed about ‘beauty’. Those desires

destiny, within a limited amount of time.

there are many cases when expressions

led me to stress out through my drawings.

It brings me great pleasure to personally

are made through reference to objects

witness the magical works of such an

(a scarecrow, a mushroom, a thorn bush)

unpredictable illumination.

that hold a metaphorical meaning.

influenced by the vast energy which

With illustration, imagination is actualized,

It is up to the viewers to interpret what

overwhelmed and dominated me. The

and data collection and composition

they are seeing, but I have a great passion

wonders brought by nature, the dark and

are decided through planning. Design is

to directly deliver the bliss that I perceive

hidden emotions within human beings,

utilized as an operation to supplement or

or become intensively mesmerized by.

and the numerous dreams which never

balance the blank spaces in drawings or

seem to leave me for even a day, cause me

photographs.

When I watched the movie ‘The Cell’

by Director Tarsem Singh, I was greatly

to shudder. In fact, many of my works are inspired by my dreams.

What is it about illustration that you are most passionate about?

In other words, these three mediums satisfy my desires with their own distinguishable

I feel a strong aspiration to visualize

You are an illustrator, designer and

attributes, just like different-flavoured

elements of my emotions, or aspects from

photographer. How do your approaches

chocolates.

my imagination. This is a prolongation, as well as a powerful source, of an energy that

to these three mediums feed into each other?

I believe these three mediums are different

What messages or moods do you

exposes me to the world when I want to

generally try to convey through your

hide from it.

work?

tools through which I can reflect my

While I draw, elements like meaningless

personal aesthetic, and gain a distinct

Drawings each hold different messages,

portions of my thoughts, my bold

sense of satisfaction at the same time.

but I would generally like to convey the

imagination, and strange jokes, all apply

Photography differs from the tasks of an

message about beauty, which creates

within the creative process. Being able

illustrator as it is highly dependent on the

imagination. Drawings do not contain

to communicate with people through such

power of nature, which is encountered by

complex foreshadowing elements, but

a process is unbelievably fascinating. >

1 1 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 119

1 2 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 121

1 2 2 N E V E R L A Z Y M AG A Z I N E

Though I do not know how people will rate

just as though the well were being filled

the value, my goal might have been to

with water.

convey the simple yet certain truth that “I exist in this world”.

When I’ve worked in vain in an extremely goal-oriented manner, I try to discern

I mostly use pencils for my works, and I

myself rather than force myself to strive on.

love the sensation given off by a pencil

Creation is a very voluntary behaviour; one

so much that I sometimes wonder if I am

does not create because one is told to do so.

overly attached to pencils as if pencils are my lovers. I actually collect various pencils

A word of wisdom to share with us?

of specific yet diverse tones.

I would like to share an inspiring excerpt How do you motivate yourself as a visual

from a novel:

artist, whether to overcome an art block or achieve a particular goal you’ve set for ““According to Andre Malraux, art is a yourself?

measure for human beings to create fate into their own.”

I narcissistically fall in love with my own drawings and, in contrast, assess my

I believe that those who discover their

works in an objective manner. I apply

fates in life are fortunate. Those who have

both viewpoints appropriately to provide

assurance about the path that they are

solutions when I fall into despair or

walking on have nothing to fear. They do

experience slumps.

not have to count what they achieved or could not achieve or even the number of

However, when I take it that there is no

steps that they take. All they have to do, is

longer anything to pull out from within, just

do their best and go as far as they can.”

like facing a well which is nearly empty, I focus on unrelated tasks or minor things

- Cheon Kyeong Rin, ‘The Red Ribbon’ ∞

that I like to do. Other desires then form –

THE WINTER 2013 ISSUE 123

THE POWER

OF SILENCE

RICOR 1 2 4 N E V E R L A Z Y M AG A Z I N E

At only 25, he has already mastered the art of shooting photographic narratives blessed with timeless grace and innocence: Taipei-based freelance photographer Ricor sparks curiosity through glossy and richly textured works that highlight what we too often fail to stop and admire – the world’s vast, immense beauty.

By placing his stories within varied yet always idyllic geographic spaces, Ricor uses the magic and colour of a setting to bring his photographs to life.

The artist offers a glimpse of his vision as he speaks to us about his love for picturesque places, his constant hunger to learn about his trade, and his attraction to the power of silence.

What would you say your creative style

How do you go about conceptualising a

tells us about yourself?

shoot? What motivates and inspires you?

I capture the grace and mystery of women

The best way for me to work is to take

and gorgeous scenes. Because these are so

models to some unexpected, picturesque

difficult to understand or describe, I can

places. Choosing an inspiring location is

only show them in pictures.

really important for me.

What has encouraged you to develop the

What do your personal photographic

aesthetic that one will often find in your

projects enable you to express?

work?

I don’t plan too much before the shooting I’m not really sure about why I became

of my personal projects, I believe that to

in this way, maybe just because I like the

search or to make a good surrounding can

power of silence.

lead me to create a good picture. >

THE WINTER 2013 ISSUE 125

1 2 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 127

1 2 8 N E V E R L A Z Y M AG A Z I N E

“

I’m still hungry to learn.”

THE WINTER 2013 ISSUE 129

“

I like the power of silence.�

1 3 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 131

1 3 2 N E V E R L A Z Y M AG A Z I N E

Tell us about a particularly memorable shoot you have experienced...

I’m now in New York and every day is memorable. I shot many people here and some of them are professional models; they really open my eyes.

Would you consider yourself more driven by the technical or the emotional aspect of a shoot?

Both ways are important and interesting to me. I’m still hungry to learn.

What is your biggest dream, as an artist?

To shoot the most impressive people and inspiring places around the world.

A word of wisdom to share with us?

Respect the relationship between models, surroundings, and the camera. ∞

THE WINTER 2013 ISSUE 133

1 3 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 135

THE

REFRESHING

1 3 6 N E V E R L A Z Y M AG A Z I N E

SPIN OF ANAGRAMA

THE WINTER 2013 ISSUE 137

1 3 8 N E V E R L A Z Y M AG A Z I N E

Through its intelligent work, Mexican-based studio Anagrama takes sleek design to new heights. With a wide-ranging number of projects that appear as effortless and they are neat and harmonious, Anagrama puts its refreshing spin on brand design in ways that highlight its strong identity and awareness of clear and concise communication. We take a minute to chat with the studio about its core values and work process, and they let us in on their current aspirations and favourite projects to date.

Who and what is Anagrama? Tell us a bit

smoking breaks. The phone rings A LOT,

about your core values.

and we all work, work, work like a finetuned machine.

Anagrama is a multidisciplinary design studio based in Mexico. Our services

How do you normally approach a brief?

reach all of the branding spectrum from

How do you combine your aesthetic with

strategic consulting to fine tuned brand

the needs and desires of a client?

objectives for the company, to logotype, peripherals and captivating illustration

We have a very particular work

design. Since our creation, we decided

methodology. It’s flexible enough to

to break the traditional creative agency

allow many different final visual results

scheme, integrating multidisciplinary

from project to project, but it is based in

teams of creative and business experts.

metaphorical conceptualization and clean Swiss grid systems and design.

What does a typical day at the studio look like?

Your focus is on both graphics and interior design – how do your designers

I guess it looks like at any other design

work together to cater to these different

studio. Clients come and go, we blast out

projects?

and share new music and visual references, hang out and exchange ideas during short

We have a specific process and >

THE WINTER 2013 ISSUE 139

1 4 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 141

1 4 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 143

methodology that we follow almost

Our main difficulty is probably delegating

religiously. It makes sure that everybody

the work among ourselves.

Of course! We have a ton of projects we’re

is on the same page regarding a specific project.

store, for us to look forward to?

What have been your most memorable

working on and we’re constantly (every

projects to date?

two weeks) uploading new work onto our portfolio – so you’ll see them very very

Although the projects you undertake are varied in nature, what do you strive to

[Our projects for] Theurel & Thomas and

achieve through all of them?

Sofia.

soon.

A word of wisdom to share with us?

Perfection in form and function as well as

Who would you most like to design for?

Be sharp, be neat, be honest. ∞

a clear conceptual message that is great, above everything else, for the brand.

[We would like to] do the branding for an airline or hotel.

What are the main difficulties you face, and how do you seek to overcome them?

What projects are you working on now?

Do you have any exciting projects in

1 4 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 145

1 4 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 147

Tomek Jankowski is a multi-skilled creative whose talents lie in the fields of both photography and design. A freelance artist and the name behind Mondo studio, Tomek is currently developing his interest in portait, fashion and commercial photography after a ten-year journey through the worlds of graphic design and street photography.

Tomek brings his work to life through an uncanny use of light, and establishes an astonishingly deep connection between his subject and photographic lens. As they appear to unveil their secrets to an unsuspecting viewer, Tomek’s photographs are nothing less than captivating. AC

1 4 8 N E V E R L A Z Y M AG A Z I N E

Tomek Jankowski Unveiling Secrets

THE WINTER 2013 ISSUE 149

1 5 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 151

1 5 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 153

1 5 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 155

1 5 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 157

1 5 8 N E V E R L A Z Y M AG A Z I N E

MULTIWith London-based Cherelle Sappleton, collage art takes on a strikingly simple appearance: she forms complex yet refreshing narratives out of a minimal number of cutouts, which feature anatomical elements from fashion shoots and fill a piece with intriguing layers of texture, pattern, colour and geometry. The 29-year-old, having developed a curiosity for a multitude of mediums including photography, moving image, installations and sound, uses her wide-ranging skills to inform her unique approach to collage art. As well as letting us in on the process behind her work and on her drive as an experimental visual artist, Cherelle speaks of what she hopes to accomplish through collage art. >

-LAYERED

THE WINTER 2013 ISSUE 159

1 6 0 N E V E R L A Z Y M AG A Z I N E

“ My collages definitely express a fascination I have with visual culture and the pleasures of looking.”

THE WINTER 2013 ISSUE 161

Tell us a little bit about yourself and

I make are darkly humorous and strange,

your work...

but whether I am those things you’d have to ask my friends.

My work is informed by an interest in

creep in.

What have you learned from being a collagist?

performance and surrealist imagery and

In your collage work, how do you

concepts. I’m fanatical about music;

approach a theme or concept? What

The beauty of the brain and the visual

I used to be in the all-female choir GAGGLE

creative process do you follow and how

system. They are amazing, so complicated

up until the end of last year, but had to give

do you source your images?

and highly attuned. I can only put it down

it up to concentrate on finishing my MAFA

to a kind of magic – how we see and

at Central Saint Martins – I miss it. The girls

A day in the studio starts with music. I

are all amazing, special, strange, wonderful

can’t work without it – it’s the background

creatures.

to most things I do. I try not to work with

What topics are you inspired to explore

a theme in mind unless I’m producing

and apply to your collage work?

What do your collages say about you?

perceive things.

something for someone specifically. All I need are some images to cut up, a cutting

Again, I don’t think about a particular topic

I don’t think they say anything about me

mat, a scalpel and enough time to play.

but I do think the materials I use have their

but they definitely express a fascination

Playing is the most important aspect. I try

own politics. I use fashion imagery – mostly

I have with visual culture and the pleasures

and keep things loose in my mind and just

of women from Western culture, and mostly

of looking. A lot of the time the images

let things happen, without over-thinking

of women because the models show much

it. This allows chance and wonderment to

more variation in their poses than men >

1 6 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 163

“ Success means different

things to different people.�

1 6 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 165

generally. The magazines I appropriate

dimensions – breaking down the collages

Other than collage, what mediums are

contain so much in terms of aspirations,

into constituent parts, enlarging them

you keen to experiment with?

certainly from a Western perspective,

so they take up physical space.

possibly globally: what we consider to be

I’ve mentioned photography moving image

beautiful, the treatment of the body within

I used to use collage as a contrast to

and installation. I like to try all sorts.

visual culture, how we regard gender and

working in video; it helped me work on

My most recent interest is animation. I

race. Essentially, all I do is represent this

ideas and do something with my hands.

exhibited my first at a friend’s show – ‘Neo’

content utilising slick and beautiful imagery

The intense periods I spent editing were

at Islington Arts Factory last year – and

and twisting it into something surreal,

laborious; it was so nice to get a break from

it was funny to see people’s reactions. It

absurd and disturbing whilst retaining its

a computer screen.

uses a collage as its basis but with very

beauty.

subtle changes; people were watching it The response to my work has been

perplexed, as they couldn’t quite work out

What do you hope collage art will help

wonderful and this has really boosted my

what was moving.

you do? What has it enabled you to

confidence in what I do and what I want

overcome?

to achieve. It’s really easy to start doubting

A word of wisdom to share with us?

yourself when you are working on your I want to work for myself as a freelance and

own with little input from others, so having

Success means different things to different

practicing artist. I’d really like to produce

people reblog work I’ve produced and

people. It’s important to think about what

album artwork – that’s my dream – and sets

writing about it is like receiving a critique.

you want for yourself and not be influenced

for fashion shoots and theatre productions.

I’m always surprised about what people

by what others want for you or their ideas

I really want to start working within three

pick up on and how they view what I do.

of what success is. ∞

1 6 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 167

1 6 8 N E V E R L A Z Y M AG A Z I N E

Cory Schmitz A Growing Identity

Graphic designer Cory Schmitz produces visual design masterpieces that are as fun as the artist himself. At 26, he presents a cool creative identity through an endless stream of freelance projects, and has already ticked a fair share of big names off his collaboration checklist, from Sony to PlayStation. A high-spirited and persistent designer, Cory will dedicate months to reworking a given piece, until he feels that familiar sense of satisfaction – an admirable trait, if anything, resulting in a portfolio that is both sharp and finished to perfection. We chat with the artist, whose ambitious side shines through his motivations, inspirations and favourite collaboration projects to date. >

THE WINTER 2013 ISSUE 169

Tell us a bit about yourself and your interest in graphic design...

Hi! My name’s Cory Schmitz. I’m a graphic designer and illustrator living in Boston.

I design for PlayStation, Polygon, The Verge, Elijah Wood, Anamanaguchi and more. I graduated from Cornish College of the Arts in Seattle in 2010. After that I made two video game magazines, ‘EXP.’ and ‘The Controller’, and worked at an advertising agency for a little over a year.

I’ve been freelancing since then. Some of my biggest projects have been my work on the PlayStation game ‘Sound Shapes’ and my branding work for Polygon and Sucker Punch Productions. >

1 7 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 171

1 7 2 N E V E R L A Z Y M AG A Z I N E

“ I try to incorporate a few visual elements

that when combined make something unique.”

What motivates you to create and design

online. It makes me want to be a better

on a daily basis?

designer.

First and foremost, I simply find it fun and

How do you preserve your individuality

rewarding. I love the feeling you get when

and creative identity in all of your

a logo finally starts to make sense, or when

projects?

a poster starts to look cool. I like beautiful things and I’m trying my best to make

I try to incorporate a few visual elements

beautiful things. Also, it’s my job. Haha.

that when combined make something unique. Certain colours. A solid concept, but

Who from within the visual arts sphere do

not hitting you over the head with the idea.

you most look up to and admire?

Sometimes a little texture and roughness.

I like to make my stuff look like it’s been

The Designers Republic, Büro Destruct,

around for a while without it looking retro,

Eike König, Herb Lubalin, Saul Bass, Fumito

if that makes sense. I almost always stick to

Ueda, David Lynch, Stanley Kubrick, Sofia

a grid. Things like that.

Coppola, Keita Takahashi, Björk, Kanye West, Jean-Pierre Melville, to name a

Tell us about the creative process you

few. Not necessarily all visual artists, but

follow and what you generally like

it’s hard for me to separate designers,

incorporating within your work...

musicians, filmmakers, etc, when they all inspire me in different ways. My friends

I usually begin by researching; gathering

and colleagues are also a huge inspiration

images online, finding visual inspiration,

to me. It’s crazy seeing the work they post

reading up on the subject, anything >

THE WINTER 2013 ISSUE 173

1 7 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 175

“ I’m trying my best to make beautiful things.”

to get my brain more involved in the

I find it thrilling. I end up making really

I want to keep doing what I’m doing for

project. Then I start sketching (whether

comprehensive pitches, which can be 20-

now, but someday I’d like to work on bigger

in Adobe Illustrator or in an actual

60 page PDFs. I go all out on pitches

projects, like being the art director of a

sketchbook, it doesn’t really matter to

because I really want to win. Haha.

video game or a film. One of my all-time

me). Then after a while, some of the ideas

favourite collaborations was The Designers

(hopefully) click, and I run with them until I

How would you say your style has

Republic’s work for Psygnosis’ ‘WipEout’

have a few final-looking options. I present

evolved since you first developed an

series. I’d love to do a project like that

those to the client, then it’s back-and-forth

interest in graphic design?

someday. Kind of like ‘Sound Shapes’, but

until everyone’s happy. It’s the same for

I’d be in at the ground floor and have a

most projects, with varying amounts of

I’d say my visual style has evolved from

bit more time. Maybe someday I will run

back-and-forth. Sometimes I’ll get it right

when I started and is more unique now.

a design studio with employees, but not

the first try, sometimes it takes months of

I think people can look at something I’ve

for many years, probably. The solo act is

tweaking.

designed and can tell I designed it,

working pretty well right now.

whereas when I started I was taking a lot What has been your most challenging

more inspiration from designers I admired,

project to date, which has required you

so my work might not have been as

to push your limits?

identifiable.

Any time I’m doing a pitch for a project

What path do you see yourself pursuing

against other designers or agencies. It

in the future, as an artist?

stresses me out so much every time, but

1 7 6 N E V E R L A Z Y M AG A Z I N E

A word of wisdom to share with us?

Do what makes you happy! ∞

THE WINTER 2013 ISSUE 177

DARK

A budding conceptual artist from Greece, Valeria Chorozidi combines fine art with photography to create gothic images which resemble paintings and mirror her personal style: “My work is conceptually dark but not always aesthetically dark. I often use bright and contrasting colours in my images, and fragments of fairytales as well. I came up with this aesthetic mostly because of my look, since I started [photography] by shooting self portraits, and until today I follow this aesthetic with most of the models I shoot.”

Valeria explains that she has always been fascinated by dark elements, and hopes to show her viewers that beauty exists in any form, feeling or concept – including in darkness. When she sought to further develop her interest in photography >

VALERIA CHOROZIDI

1 7 8 N E V E R L A Z Y M AG A Z I N E

FAIRYTALES

THE WINTER 2013 ISSUE 179

“The most important element in a portrait photo shoot is definitely the feeling.�

1 8 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 181

1 8 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 183

1 8 4 N E V E R L A Z Y M AG A Z I N E

“My work is conceptually dark but not always aesthetically dark.”

three years ago, she turned towards selfportraiture, which she believes is a more personal mode of communication. To her, conveying an emotion to the viewer is in fact a vital aspect about photography: “The most important element in a portrait photo shoot is definitely the feeling. Expressive and emotive portraits are what I love.”

Valeria wishes to explore conceptual fine art photography in more depth and hopes to step further into the world of fashion photography, to which she hopes to apply her original style.

Through her thoughtful creative identity and approach to photography, Valeria seems to perfectly embody the wise words spoken by one of her favourite photographers, Ansel Adams: “You don’t take a photograph, you make it.” AC

THE WINTER 2013 ISSUE 185

--- Natural Joe Russo

Explorations

1 8 6 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 187

Joe Russo is still quite a green photographer, yet nothing about his thoughtful and strong-willed personality could possibly give that away. When he first picked up the trade less than a decade ago, Joe had moved away from his home in Toronto for a life of self-discovery in Taipei, where nature, the city and the people first fuelled his creativity. Now 29, Joe continues to grow as a person through his trade, and his ability to create images filled with a natural and relaxing aura appears almost effortless. He paints a poetic vision of his career path, as we ask him a bit about himself in an exclusive interview.

Who is Joe Russo? What is the concept

through a scattering medium in a straight

behind Ballistic Light?

line. Photography, straight to the point.

At 29 years old, I’m still trying to narrow

When and how did you develop an

that down; I have an odd little story so

interest in photography?

far, I guess. The first 21 years of my life were spent listening to and following

I’ve been in school all of my life. After high

instructions in Mississauga, right near

school I did two years of college studying

Toronto, Canada. But I can’t really say

digital arts in Toronto; I guess my interest

I “grew up there”. I’ve spent the last 8

for photography started there, but the craft

years in Taipei, Taiwan, growing up and

never really blossomed. I moved to Taiwan

becoming my own person.

in 2005, and while I was in school studying Mandarin, I picked up the little Ricoh GR-D

Ballistic Light is a twist on the physics

and started exploring the mountains. I think

term ‘ballistic photon’. In my spare time,

that’s what did it: the beautiful landscapes,

I read and watch a lot of science-related

cityscapes and interesting people on

material, and thought that it would be

the streets in Taiwan sparked that little

a fine representative for what I’d like to

something inside me that made me want

achieve in my work: photons that travel

more. >

1 8 8 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 189

1 9 0 N E V E R L A Z Y M AG A Z I N E

How would you describe your aesthetic?

To you, what is the most important

How would you differentiate your

aspect about a shoot?

personal work from your commercial projects?

For things to look natural, definitely.

From posing to lighting, I try to keep

A calculated miscellany of trivialities in

things looking as though they were just

our daily lives. I’ve never had to describe

stumbled upon, that they just happened

it before, but I think that describes the

and were captured. This requires a relaxed

essence of what I try to explore. Whenever

atmosphere, as well as comfortable and

I start a personal project, I try to act as

familiar dialogue with the model. Being

my own client. It helps me ideate in two

friendly and personable with everyone

different ways at once, as I try to satisfy

helps immensely, and can even spark

the nagging and annoying part of my brain

some great relationships afterwards.

by running through different creative scenarios. I’m constantly asking myself

Whether a subject, concept or emotion,

questions and reviewing what works and

what would you say you most love

what doesn’t, or what I could do differently

photographing?

to make the model come alive. It’s a bit of a struggle. For projects with a client, I

Curiosity, for all three. Subject-wise,

kind of relax a bit and let them handle the

curiosity could be the mere interest in

heavy thinking. An odd feeling; it’s not only

someone else’s concerns. Whether it be a

liberating, but also more exciting.

place or a thing, I want the lens to seem interested in it, to be peering in. >

THE WINTER 2013 ISSUE 191

1 9 2 N E V E R L A Z Y M AG A Z I N E

Conceptually, curiosity is the motivation.

people I care about the task at hand. I think

end up with a plethora of material to review

The viewer should be automatically

I’ve been lucky enough so far that I haven’t

and scrutinize.

engaged and curious about all the ‘why’s’

run into something I couldn’t handle or

of the scene. Emotionally, the expression

something that seemed discouraging.

How do you see your career in

of curiosity lays in the model’s hands.

I really hope that means that all that

photography evolving?

I love giving little directions here and

planning and preparation is working.

there and seeing where the model takes it, how they make it their own.

What have you learned through your

Right now, it really does feel like I’m in the What would you say photography has

larvae stage of the process, and literally can

taught you, whether about art or life

take this journey in any direction I please.

more generally?

It’s quite a comforting feeling that elicits hope for the future and is something I’d

photographic collaborations? What do you enjoy about them and what have

Photography has taught me about

like to keep a firm grip on if I can. I don’t

been your most daunting experiences

subjective objectivity and how it can be

really want to be typecast, so to speak, but

to date?

applied to my work as well as my life.

I do realize that having a consistent body of

Natural, matter-of-fact photos being the

work helps in landing gigs.

I ’ve learned that loving what you do and

goal, objectivity gets to be the vessel in

loving the people you do it with is so

which my personality is carried to the

Ideally, I would love to be able to branch

important to a quality end product. The love

observer. I try not to force things. If it’s

out in the future and attempt combinations

I’m referring to encompasses admiration,

not working one way, try another. If it

of the art forms I’m familiar with:

friendship, passion, trust and respect. I

fails again, try a completely different

photography, design, music, dance and

know it seems like a lot to give if you’ve

way. In trying those different, sometimes

literature. I think they all have different

just met someone or don’t know them well,

new methods, you engage your intuitive

voices and personalities, and could lead to

but it’s something I try to bring out to show

responses and work from the heart, and you

some very interesting medleys. ∞

THE WINTER 2013 ISSUE 193

1 9 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 195

Spirit Rider Assistant photographer Kosuke Furukawa,

styling Carla Engler represented by Bryan Bantry Inc., makeup Fiona Thatcher for Make Up For Ever,

hair Seiji Uehara represented by Ennis, Inc, model Katya Sergeeva at Ford Models.

1 9 6 N E V E R L A Z Y M AG A Z I N E

CINEMATIC Like stills from the most imaginative films, TOMAAS’s diverse works tell stories filled with vibrancy and creativity. TOMAAS, a fashion, beauty and travel photographer hailing from New York, uses colour and movement to add energy to his photographs and relies on clever props, styling and settings to bring out positively electrifying moods and atmospheres. Armed with a powerful cinematic vision, TOMAAS uses photography to transcend representations of everyday life; he shoots scenarios which, although realistic in appearance, are also characterised by a beautiful surrealism which invites the viewer to believe that anything is possible. AC

THE WINTER 2013 ISSUE 197

Snowblue Assistant photographer Kosuke Furukawa,

styling Aletia Gonzalez represented by Ken Barboza Associates, styling assistant Mariana Gro Dingler, makeup Fiona Thatcher for Make Up For Ever,

hair Seiji Uehara represented by Ennis, Inc, model Snow at Q Models.

1 9 8 N E V E R L A Z Y M AG A Z I N E

Hair You Are Styling Allison St. Germain represented by Pix Management, makeup Nevio Ragazzini represented

by Ford Artists, hair Seiji Uehara represented

by Ennis, Inc, hair styling assistant Sofiya Pylo, model Nastasia Ohl at Muse Models.

THE WINTER 2013 ISSUE 199

Eco-Beauty Hair Seiji Uehara represented by

Ennis, Inc, makeup Emi Koizumi, model Alexandrina Turcan at Major Models.

2 0 0 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 201

Sins of Jezebel Assistant photographer Charles Chan Casela, illustrator Januz Miralles, makeup Gregg Hubbard represented by Bernstein & Andriulli, hair Seiji Uehara represented by Ennis, Inc,

hair styling assistant Sofiya Pylo, model Liliya Polokhova at Muse Models.

2 0 2 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 203

The Color of Dreams Assistant photographers Jason Moore, Chad Saville and Liang Li, styling Carla Engler

represented by Bryant Bantry Reps, assistant stylist

Ann Nguyen, makeup Fiona Thatcher for Make Up For Ever, hair Seiji Uehara represented by Ennis, Inc, model Elena Melnik at Next Models.

2 0 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 205

Shirt and trousers American Vintage, coat Billabong, shoes Clarks.

--- R O C H E

2 0 6 N E V E R L A Z Y M AG A Z I N E

There is an admirable tranquility in ‘Roche’, a stunning editorial piece by Portuguese photographer Carla Pires. Aided by the textures of a peaceful beach backdrop, as well as by a sophisticated and androgynous wardrobe, the Lisbonbased fashion photographer has found a way of crafting a fashion shoot into a pensive and entrancing black and white series that viewers will lose themselves in. A budding self-taught photographer, Carla is currently based in Lisbon, Portugal. At only 25 years of age, she demonstrates dedication and curiosity through a varied portfolio, from which we are excited to present this exclusive editorial story. AC

p h oto gra p hy carla pires • styling ricard o ac o styling assistants pedr o nic o lau & silvana c o vas hair an d ma k eu p anita perna • m o d el lena f is h man at l’ agen c e

THE WINTER 2013 ISSUE 207

Sweater Ricardo Preto, skirt Patrizia Pepe, boots Dkode.

2 0 8 N E V E R L A Z Y M AG A Z I N E

Cloak Malene Birger, boots Dkode.

THE WINTER 2013 ISSUE 209

2 1 0 N E V E R L A Z Y M AG A Z I N E

Sweater Franklin Marshall, blazer Tommy Hilfiger, trousers Levi’s, boots Dkode.

THE WINTER 2013 ISSUE 211

Sweater Ricardo Preto, skirt Patrizia Pepe, boots Dkode.

2 1 2 N E V E R L A Z Y M AG A Z I N E

Sweater Tezenis, skirt Diesel, boots Dkode.

THE WINTER 2013 ISSUE 213

Sweater Pinko.

2 1 4 N E V E R L A Z Y M AG A Z I N E

THE WINTER 2013 ISSUE 215

Shirt and trousers American Vintage, coat Billabong, shoes Clarks.

2 1 6 N E V E R L A Z Y M AG A Z I N E

Cloak Nuno Baltazar.

THE WINTER 2013 ISSUE 217

Credits Anagrama p.136-147 http://www.anagrama.com Daniele Botallo p.64-75 info@danielebotallo.it Styling: Martina Allena Hair & makeup: Silvia Musumeci, Gaya Russo Hsiao-Ron Cheng p.52-63 http://hsiaoroncheng.com Valeria Chorozidi p.178-185 fiction_friction@hotmail.com https://valerievenus.see.me Chow Ka Wa Key p.7, p.14-19 http://chowkawakey.com ‘Mrr._____‘ Photography: Pj Est Mireille Styling: Mildred Lo Hair: Shue Lai Makeup: Tsang Yu Model: Gleb Gorodkov Eli Craven p.76-87 elicraven@gmail.com http://www.elicraven.com Martine Frossard p.42-51 http://martinefrossard.com

2 1 8 N E V E R L A Z Y M AG A Z I N E

Lucia Giacani p.88-99 http://www.luciagiacani.com

Joe Russo p.186-195 ‘Ballistic Light’ http://www.gogo7188.ca

Tomek Jankowski p.148-157 http://facebook.com/tomekjankowski.net http://www.tomekjankowski.net

http://www.facebook.com/ ballisticlight.jr Collaborators: Ricor at http:// inverselive.com

Heiko Laschitzki p.100-111 Models: Luisa, Marlene, Sophie, Yara;

Cherelle Sappleton p.158-167

Alicia at Indeed Models; Pepa at M4

contact@cherellesappleton.com

Models

http://www.cherellesappleton.com

Madame Lolina p.112-123

Cory Schmitz p.168-177

madamelolina@gmail.com

info@coryschmitz.com

http://www.madame-L.net

http://coryschmitz.com

Wojciech Nowak p.30-41

Ming Pin Tien p.6, p.8-13

http://spotmanagement.pl/zespol

info@mingpintien.com

Styling & makeup: Joanna Glowacka

press@mingpintien.com

Model: Justyna at SPOT Management

http://www.mingpintien.com AW13

Carla Pires p.206-217

Photography: Rebecca Andrews

http://www.carlapires.com

Styling: Pei G Tsai

Styling: Ricardo Aco

Hair & makeup: Minkyung Kim

Styling Assistants: Pedro Nicolau and

Model: Julia at Body London

Silvana Covas Hair & makeup: Anita Perna Model: Lena Fishman at L’Agence

TOMAAS p.196-205 http://www.tomaas.com

Ricor p.124-135 http://inverselive.com

Damien Tran p.20-29 damien@palefroi.net http://www.damientran.com

Disclaimer All content published in NeverLazy Magazine and/or appearing on NeverLazy Magazine’s digital platforms (website, blog, social networks) is unless stated otherwise, copyright Š 2011-2014 NeverLazy Magazine, the Editors and respective Contributors and collaborating individuals. Any adaptation, reproduction, direct-linking and/or selling of content found in NeverLazy Magazine and/or NeverLazy Magazine platforms is strictly forbidden.

Content may not be reused or republished unless consent is found between the Editors, the Contributor, and Third Party, and written permission is attributed by both the Editors and respective Contributors and collaborating individuals.

NeverLazy is: Founding Editor, Features Editor - Abbie Cohen Founding Editor, Designer - Jessie Cohen

Please address feedback, queries and other to: neverlazymagazine@gmail.com

Where to find us: http://www.neverlazy.net http://www.issuu.com/neverlazy http://www.facebook.com/neverlazy http://www.twitter.com/neverlazymag

Thank you to all our readers and contributors.

THE WINTER 2013 ISSUE 219

2 2 0 N E V E R L A Z Y M AG A Z I N E