Nu-Mode´ Magazine #9 "The Awakening" Autumn/Winter Edition

NU - ModE´ DESIGN ART & CULTURE MAGAZINE

The AWAKENING Emma Champtaloup Carine Roitfeld shaun ross Fabien Constant Femme En Fourrure Lapalux Shawn pyfrom Bang Bang Mike Carr john reuss Aja Frary Kimberly Shannon Murphy bevza Austin Paul Patrick Li Chef kpe paul phung Nadine Goepfert Photography Emily abay Autumn/Winter 2013 The AWAKENING issue NO. 9

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NU - ModE´ DESIGN ART & CULTURE MAGAZINE

The AWAKENING

Rachele Schank Carine Roitfeld shaun ross Fabien Constant Femme En Fourrure Lapalux Shawn pyfrom Bang Bang Mike Carr john reuss Aja Frary Kimberly Shannon Murphy bevza Austin Paul Patrick Li Chef kpe paul phung Nadine Goepfert Photography Gregory Keith Autumn/Winter 2013 The AWAKENING issue NO. 9

www.numodemag.com

NU - ModE´ DESIGN ART & CULTURE MAGAZINE

The AWAKENING Shaun Ross Carine Roitfeld shaun ross Fabien Constant Femme En Fourrure Lapalux Shawn pyfrom Bang Bang Mike Carr john reuss Aja Frary Kimberly Shannon Murphy bevza Austin Paul Patrick Li Chef kpe paul phung Nadine Goepfert Photography RYAN PFLUGER Autumn/Winter 2013 The AWAKENING issue NO. 9

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audrey kitching gregory keith

Nu-Mode´ Design art & Culture Magazine

Inside this Issue

Engaging Innocence Pg.15 Words Latoya P. Henry

Individuality, Versatility And Comfort Pg.16 Interview Irina Romashevskaya

Suzanne Rae Portal Pg.20

Words Irina Romashevskaya

Dong Li Blackwell Watercolor Language Pg.22 Words Latoya P. Henry

China Mike Making The Mark Pg.25 Interview Irina Romashevskaya

Red White Black Pg.28

Photography Gregory Keith

Measuring Up Pg.38

Interview Alexandra Stevens

Zana Bayne Pg.45

Words Latoya P. Henry

Separation From Normal Pg.47 Interview Alexandra Stevens

Unfinished Conversation Paul Phung Pg.50 Interview Irina Romashevskaya

Together Now Pg.56

Photography Amie Milne Styling Ricky James Flynn

Milena’s Rêverie Pg.68

Photography Karla Majnaric Styling Kate Gaskin

The All Round Gentleman Shawn Pyfrom Pg.77 Photography Allen Henson Words John Mark

Genre Bending Pg.82

Interview Alexandra Stevens

I Am ISIS Pg.86

Artist AJ Hateley / Animal Farm & Snowball

Photography Spencer Kohn Words Melody Burdette

Inside this Issue The Top 5 Albums We Love Pg.87 Alexandra Stevens Justin Moran Melody Burdette

Bang Bang Pg.88 Words Alexandra Stevens Chef KPE Pure Imagination Pg.93 Photography Sarah Kjelleren Art Direction Shaun Ross Words Melody Burdette

The Artist Andres Angel Prada Pg.94 Photography John Caballero Words Irina Romashevskaya

Diamond District Pg.94

Photography Florian Maas

Blending Dynamism And Structure Pg.112 Interview Irina Romashevskaya

A Tale Of Two Stuntwomen Pg.117 Photography Daniel Rampulla Words John Mark

Textiles Into Art Pg.122

Words Irina Romashevskaya

Waves of Emotion Pg.127

Words Irina Romashevskaya

Take Me Away Pg.130 Photography Amie Milne Styling Kim Ellmer Textures Pg.136 Carine Roitfeld In Mademoiselle Pg.149 Words Irina Romashevskaya

John Reuss A Modern Day Artist Pg.154 Interview Irina Romashevskaya

The Heart And Soul Of Shaun Ross Pg.161 Photography Ryan Pfluger Man On Fire Pg.168

Photography Rakeem Cunningham Styling Wilford Lenov

Stocklist PG.182

N U - M O D E´ EDITOR IN CHIEF & CREATIVE DIRECTOR LATOYA HENRY LATOYA@NUMODEMAG.COM MANAGING EDITOR JOHN MARK JOHN-MARK@NUMODEMAG.COM FASHION & ART DIRECTOR Irina Romashevskaya Irina@NUMODEMAG.COM FEATURES & MUSIC EDITOR ALEXANDRA STEVENS ALEXANDRA@NUMODEMAG.COM Emma Champtaloup Wears white coat Michael La Sordo fur coat Vintage earrings Petite Grand Photography emily abay Styling Nadene Duncan at DLM

nu-mode´ tv director Daniel Rampulla Daniel@numodemag.com Contributing Editor CLARK RAHMAN Clark@NUMODEMAG.COM Contributing Writers Melody Burdette . VERA SHABAN . Justin Moran PHOTOGRAPHERS emily abay . Gregory keith . amie milne . FLORIAN MAAS RAKEEM CUNNINGHAM . RYAN PFLUGER . DANIEL RAMPULLA ALLEN HENSON . SARAH KJELLEREN . JOHN CABALLERO TAKASHI HOMMA . MEGHAN SHARP . Karla Majnaric SPENCER KOHN . MARIA MOULUD . MARIA KULINA Christopher Gabello STYLING

Wears RACHELE SCHANK Stila Cosmetics Photography Gregory Keith Styling | Props Gregory Keith Make up Artist Azra Red Hairstylist Ryuta Tanaka

KIM ELLMER . RICKY JAMES FLYNN NADENE DUNCAN . WILFORD LENOV Kate Gaskin . John-Mark ADVERTISE ADVERTISE@NUMODEMAG.COM SUBMISSIONS & ENQUIRIES INFO@NUMODEMAG.COM

Special Thanks JERRY BEERSDORF . KENYA SCOTT . PATRICK OLCUTT FLORENT BELDA . CJ SWANTON . EDUARDO MORALES LONGHOUSE PROJECTS . REP . SAMANTHA PHILIPS OMEN PR . AGENCY V . CAPTION LONDON

NU-MODE´ MAGAZINE PUBLISHER LATOYA P. HENRY BROOKLYN, NY 11238 T. 7 1 8 . 8 1 2 . 5 8 1 5 Shaun ross Wears Shirt Ra’mon-Lawrence Necklace Rena Reborn Photography Ryan Pfluger Styling John Mark

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Contributors

emily abay I’m 27 and I’m an Australian Fashion Photographer. I first picked up a camera at a very young age, being as my mother and grandfather are both photographers, I knew what a Leica Camera was before I knew what cable television was and all through my teens I carried the scent of stop fixer rather than expensive perfume. I’ve been actively shooting for the last 9 years. I’ve been very fortunate to work with some very talented creative people, and I love that I’m constantly learning. Big thank you to my mother and grandfather. www.emilyabay.com

Gregory Keith “Gregory Keith lives and works in New York City.” www.gregorykeith.com

Florian Maas Florian Maas is a young photographer based in Hamburg, Germany. Besides his fashion work, he is also a lover of architecture and always searching for places that inspire him. www.florianmaas.com

Rakeem cunningham Born in 1992, Rakeem Cunningham fashion/portrait photographer residing in Los Angeles. His work aims to capture the essence of the subject. Rakeem incorporates different forms of light and locations to bring the subject to life, while his personal work explores themes of self-discovery. rakeemc.com

KARLA MAJNARIC Karla Majnaric photography exudes a fusion of timeless allure and razor-sharp modernity. Represented by Viviens Creative, her seamless approach embraces art direction and expert post-production. Renowned for creating visionary lighting directives, Majnaric services high-end fashion and beauty clients in Melbourne and Sydney, Australia. Her epic editorial narratives have graced the pages of both national and international magazines. www.karlamajnaric.com.au

azra red Azra Red Makeup artist and reamer based in NYC. Inspired by art, music and lights of the city. www.azrared.com

NU-MODE´ THE AWAKENING A/W 2013 .11

Editor’s Letter

THE

rebirth Reformatting, Reshaping, and becoming anew, “The Awakening” centers on the rebirth of Nu-Mode´.

We wanted to create a space where we could deliver an exhibition in the palm of your hands, creating access to the most inspirational artist within design, art and culture. We’ve been trying to find a good way to sum up exactly what the awakening entails, but it seems like the talent we feature can say it all for us. The awakening is “capturing ideas you’re passionate about” like Sandra Tervonen of Femme En Fourrure, “concentrating on creating strong moods and atmospheres” like photographer Paul Phung, and in the mindset of tattoo artist Keith “Bang Bang” McCurdy - “Whatever I’m doing at the moment I love. I won’t do something if I don’t love it.” These are a few of the pioneers we find inspirational featured in this issue, who are breaking barriers, jolting fans, viewers and followers, to wake up and pursue what inspires them, without the glass ceiling, pushing forward towards limitless possibilities. So how would we define the awakening? For us it’s knowing who we are, avoiding the robotic process and being true to ourselves. So here we are, issue number nine!! Nu-Mode´ Design Art & Culture Magazine “The Awakening”

LatoyaP HEnry

Latoya P. Henry Editor In Chief

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BEVZA www.bevza.com

ART

maska 2012 Acrylic & oil on canvas, 120/100 cm NU-MODE´ THE AWAKENING A/W 2013 .14

Hanna Ilczyszyn One to watch

Engaging Innocence Words Latoya P. Henry

ART

Teddy Bear 2012 acrylic on canvas, 80/60 cm

A graduate of the Fine Arts Academy in Wroclaw, Polish painter Hanna Ilczyszyn now resides in Belgium, where she creates stunning sequences of paintings in which she reveals the individuality of children through canvas portraits. Behind Hanna Ilczyszyn’s work is a portrayal of uncertainty and innocence, manifest through the perspective of youthful emotions. Ilczyszyn’s figurative compositions display children, carefree and spontaneous, expressing their emotions without restrictions.

Playing with a heavy use of monotones, hints of color and blurred scenery, each piece resembles a dream sequence of an unpleasant and blissful moment. One might find the daunting atmosphere uncomfortable, faced by children with distorted expressions, faceless features and unusual characteristics. However, the artist’s surreal approach translates her subjects into a fascinating series of illustrations.

The young contemporary artist has sold her paintings to collectors internationally, exhibiting her work at several group shows in Belgium and Poland.

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Design

Svetlana Bevza interview

Individuality, Versatility a n d c o m f o r t.

WORDS IRINA ROMASHEVSKAYA

Bevza is a Ukrainian womenswear line that started in 2006 under direction of Svetlana Bevza. Since then it successfully emerged as a smart, sophisticated, minimalist clothing collection for independent women that appreciate quality and craftsmanship. The line is currently sold in select stores and boutiques around the world.

“I started BEVZA in 2006 and it has gained an incredible amount of support, which meant I was lucky enough to be named Best Womenswear Designer 2013 at the Best Fashion Awards arranged by Ukrainian Fashion Week. All of my efforts now go into the continuous development of BEVZA as I spend all my time researching and designing for my next collection. It’s a lot of work, but I’m really happy with the brand and what I’ve achieved so far!” The brand’s aesthetic is anchored in building an individual point of view within a clean, minimalist clothing line. “BEVZA is simple, sophisticated NU-MODE´ THE AWAKENING A/W 2013 .16

Design NU-MODE´ THE AWAKENING A/W 2013 .17

Design NU-MODE´ THE AWAKENING A/W 2013 .18

Svetlana Bevza interview

Design

“BEVZA is simple, sophisticated and clean. My designs are always comfortable and versatile.” and clean. My designs are always comfortable and versatile. Our must-have item [of every season] is a white dress.” Bevza was also created with a particular customer in mind. “A young, professional woman who is sophisticated and enjoys quality things in life – it’s a woman that respects herself and lives in her own unique way.”

Back in her studio in Kiev, Ukraine, Svetlana creates her notable pieces, drawing her inspiration from a variety of sources. “I draw my inspiration from everywhere… Sometimes I just read books or watch films, but then I’m also inspired by my immediate surroundings; previous work and sometimes just by ideas that come into my head when I least expect it.” The usual design process consists of research and a few visual references. “I start with an initial idea that has come to mind and then I begin researching. It’s a mix of trend research, my own visual inspiration, key fabrics, and putting it all together to fit the brand identity. Once I have a better idea of what I want to design, I start experimenting with fabrics and silhouettes until I have something I’m really happy with. My collections are usually built around a handful of key pieces.”

A part of Svetlana’ inspiration comes from her numerous travel adventures. “I love travelling!

It fulfills me with new emotions and it’s always a feast for my eyes. Indirectly, it inspires me always. I think it’s incredibly important for every fashion designer to immerse yourself in foreign cultures and open your eyes to the world.”

Svetlana’s favourite vacation spot is Paris; it’s the place that sparks her creativity and where she recharges her batteries.

“Paris is the city of endless inspiration to me.

A city that breathes fashion, a city that is made from beauty... I travel there a lot because of my work, but I sometimes like to go just for the weekend.”

For Fall/Winter 2013 collection Svetlana presented a line of masterfully crafted tailored items with a wink. “The collection is quite edgy and inspired by the idea of a marionette – a puppet that can easily be controlled by her master. I was really excited to work with a contrasting palette while also developing some digital prints of doll heads, which in my opinion look a little bit frightening, but nobody can stay indifferent to it and I’m happy with the result.” With the next collection scheduled to be viewed next month, Svetlana is prepared to

give us a few hints, but prefers to leave the rest to our imagination. “We will actually be showing our Spring/Summer 2014 collection during Ukraine Fashion Week at the beginning of October. I don’t want to give too much away, but this time the main point is elegance. It’s something timeless – something I think should be present even in edgy clothes.”

Svetlana’s work for Bevza is already impressive and she also gained a bit of momentum in the past season. “We dressed emerging British singer Laura Mvula for her performance at the first ever BBC Urban Proms this year, and she looked beautiful!” With her dreams of dressing Cate Blanchett and Tilda Swinton, Svetlana is full of anticipation and excitement for her label in the next years to come. “Now that we have an established foundation in Ukraine, I am starting to work on expanding outside of Kiev and obtaining stockists in the UK and further afield. It’s going to be an exciting time!”

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SUZANNE RAE

Design

PORTAL NU-MODE´ THE AWAKENING A/W 2013 .20

collection suzanne rae ss 14

Design

WORDS IRINA ROMASHEVSKAYA Photography Christopher Gabello

Suzanne Rae Peleaz presented her eponymous line for Spring/ Summer 2014 on an interactive web platform that allowed visitors not only to see the clothes, but also learn about designer’s inspiration and explore the tiniest details of each clothing piece through photos, videos and mood boards. Aiming “to empower the modern-day woman”, Suzanne’s debut collection was inspired by futurism and enlightenment and largely influenced by Thea Alexander’s 70’s cult classic 2150 A.D. With a mixture of performance fabrics and natural fibers, this Brooklyn-based designer created a line of cleverly crafted must-haves. From neoprene coats and crinkled organza tops, to oversized crepe de chine shirt dresses and printed cotton pant ensembles – there isn’t an item in the collection that’s not wearable or effortlessly chic. Furthermore, utilitarian details of the neutral colored silhouettes combined with a few scenic prints make entire collection incredibly easy for mixing and matching, letting feminine individuality shine through.

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dong li-blackwell One to watch

Dong Li-Blackwell Watercolor Language

art

Words Latoya P. Henry

Green Orgasm 2010 watercolour on paper, 74cm x105cm

Dong Li-Blackwell is a curator, artist, designer, and talent to watch.

After graduating in 2007 with a BFA in painting from Northeast Normal University in China, Blackwell left her homeland for the UK to further her studies. She completed her MFA in Fine Arts at Brighton University, and continues to create in Great Britain. The emerging artist composes delicate paintings that depict the femininity of the female form through watercolor. The beauty behind Blackwell’s paintings transcends into a meaningful substance of symbolism, which goes beyond just beautiful painting. The artist told Saatchi Online that “watercolor is my language,” and it’s how she expresses the emotions of her life. Collectively, Blackwell continues to strike the art community with her immaculate paintings, winning several prestigious awards internationally and exhibiting with acclaimed artists. So what is next for Dong Li-Blackwell?

We’re not sure, but we are looking forward to an immense future that lies ahead for this aspiring artist.

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ART

Lady X No.9 WAtercolor, 17.7 x 12.6 x 0 in NU-MODE´ THE AWAKENING A/W 2013 .23

ART

The mask NU-MODE´ THE AWAKENING A/W 2013 .24

China Mike Interview

China Mike.

Making the mark ART

WORDS IRINA ROMASHEVSKAYA

Mike Carr, aka China Mike, is known for his illustrative, vivid brush work that brings pure emotion to the surface of his paintings. After working as a commercial illustrator for global brands and record labels, Mike has switched to painting. Quietly working out of his studio in Bishopston, Bristol, Mike keeps occupied with a variety of different projects and exhibitions. Taking a minute out of his busy schedule, Mike shared his thoughts on finding inspiration, working with Will Barras and Duncan Jago and the difficulty of being an artist.

Remembering his early childhood, Mike confesses, “I think I’ve always been an artist, some kids want to be astronauts, some want to be policemen and I wanted to be an artist. I wasn’t academically gifted at school, wasn’t interested in science, literature or anything like that, so I played to my strengths – I just built stuff and painted a lot. I didn’t always know what kind of artist I wanted to be. I had a natural ability as a draughtsman which led me into illustration and from there into painting. It’s taken a very long time to get to where I am now with my work.”

Having a mentor early on in the artistic career might be an absolute necessity and Mike got really lucky with that. “I studied Graphic design at the University of the West of England in Bristol. I didn’t really gel with University so I quit in my second year and pursued my growing interest in illustration. I got some work with magazines and that’s when I met Will Barras and Duncan Jago. They had both graduated from UWE a few years before my departure. I got to know Will and he then introduced me to Duncan (Mr. Jago). They were already doing some really amazing work for brands like Sony and Nike as part of the scrawl collective, so they became almost like mentors to me; they gave me a little insight into the commercial side of art.”

Speaking of his painting style and technique, Mike explains, “I think of my technique as like a series of forced accidents, I try to create situations in my process where accidents can happen. A lot of what you see in my work is made up of layers; they’re layers of mistakes or mishaps.

I take the best bits and make an image, which is hopefully coherent NU-MODE´ THE AWAKENING A/W 2013 .25

art

China Mike Interview

Two sides of the same coin

“Every painting is a new journey, a new experiment and it’s that new experience each time that keeps me interested and excited.” and complete. It’s all about mark making. I trust my impulses and I make a series of marks and smudges, then I might paint over most of it; but I always leave the bits I like intact.” When stepping into unknown, a major part of the process belongs to experimentation. “My work is all about experimentation, each piece is one big experiment that then informs the next.” With a big accent on color, Mike uses the juxtaposition of soft colors against the vivid hues, achieving a highly expressive visual outcome. “[When painting] I tend to use Blues a lot; I use a lot of cool colors and soft pastel tones – it helps to make the more vibrant colors pop out.”

Speaking about his collaborations with other artists in the past, he continues, “I have done a few collaborations over the years and I would definitely like to again, but at the moment I’m pretty snowed under with my own projects, and most other artists I know are also really busy so it’s a case of getting the right people together at the right time.” It is natural for an artist to have a healthy dose of curiosity to explore other art NU-MODE´ THE AWAKENING A/W 2013 .26

forms, and for Mike it’s no different. “At the moment I’m solely focused on painting, I feel like I’m just discovering it. I was ok at sculpture when I was younger, so who knows, I might pick it up again at some point.”

Being an artist is perhaps one of the most challenging occupations. “[Sometimes] I’m surprised I’m still here painting away in my studio.

There have been plenty of times when I thought about giving up and doing something else.

That’s where I get to the trickier side of being an artist. There is a romantic notion that being an artist is really chilled out, all you do is sit around, drink tea, paint a bit and clock off whenever you want. People maybe don’t realize that to build a career as an artist takes a long time and it’s a long time with no money. You doubt yourself constantly, it can be downright depressing at times, and so it’s really only your passion that keeps you going at that point. [So if you had to ask whether] being an artist is a difficult occupation, I’d say, hell yeah!”

Being an artist involves a multitude of elements. It’s both inspiration, passion, and a true talent that goes into it, but the process is also an essential part. “It’s the process, I love getting paint on my hands and smearing it on the canvas or striking it with a brush, it’s definitely therapeutic. Having said that I would also say that painting can be one of the most frustrating things ever; things don’t always work out the way you would like.” When looking for an inspiration, most artists seek an ultimate concept, a clear idea, but for Mike it’s more than just inspiration. “My inspiration comes from the most mundane things; to me it’s not what you paint but how you paint. Every painting is a new journey, a new experiment and it’s that new experience each time that keeps me interested and excited.”

Walking the street

between rain and sunshine

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ART

the guardian

REDWHITEBLACK

PHOTOGRAPHY GREGORY KEITH

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PHOTOGRAPHY GREGORY KEITH Styling | Props Gregory Keith Make up Artist Azra Red Hairstylist Ryuta Tanaka MODEL RACHELE SCHANK AT WOMEN-DIRECT Make up Stila Cosmetics

Measuring

U P

Music

INTERVIEW ALEXANDRA STEVENS PHOTOGRAPHY MARIA MOULUD & Maria Kulina NU-MODE´ THE AWAKENING A/W 2013 .38

Femme en fourrure interview

Music

Femme En Fourrure is, in French, a “woman in fur.” But in music, they are the Finnish duo that brings us haunting dance beats, twerk piles, and b i g, t h i c k, h o r s e d i c k.

S

exually-charged vocals over smooth, minimalist electronic sounds are paired with dynamic videos, creating a graphic and memorable style all their own. A number of transitions and transformations have occurred since their first self-released EP in 2009, Pull Out, leading up to and beyond their very latest LP, 36-26-36. Their latest release from Convex Industries is a culmination of both musical and visual concepts, proving the group to be both progressive and accessible.

Femme En Fourrure is the work of Juuso Malin, more recently joined by Sandra Tervonen, and their clean, edgy, sounds have paved the way for live performances at European music festivals and a set with London’s famous Boiler Room. Their dark, bass-heavy sound is starting to garner attention from France to New York, charted through video views and podcast downloads. And when you’re showing your friends the satisfyingly bizarre videos by this group from Helsinki, don’t feel bad if you can’t pronounce the name right - neither can they.

There’s very little information available about the people behind Femme En Fourrure, what’s your artist dynamic?

JUUSO: Thanks for asking, there hasn’t been much opportunity to actually break down that we’re about. So about a year after I started the project, I asked my long time friend Bianca to do her spoken word thing for a track or two. We had collaborated before a few years ago, so I wanted

to try it again now that we were more mature. The first few dodgy tracks were uploaded to MySpace just for fun, and the ball started rolling sort of instantly, a lot of people wanted to work with us. Suddenly we were a duo - [Bianca and I] didn’t really talk about it or think too much, it just happened without any push. We didn’t feel any pressure, we just made music for fun and when we felt like it.

As soon as things started to be more official, it became clear that we couldn’t continue like that, and I finished the album alone. I started to get requests for live shows and my friend Pekka (guitarist for the band Bendagram, who helped produce and write 36-26-36) joined the live group, as well as playing guitar here and there on the album. Then by accident I met Sandra, who became the vocalist and keyboardist for the live group. That led to her becoming the official second member of FEF, and it’s more 50/50 now when we make music.

SANDRA: I guess I came along because the timing was right for both of us. I had been making music on my own for about a year and a half, acting really introvert at the time - I was making music for my own needs and mostly for my own ears, not really taking myself seriously as an artist. It’s a strange coincidence that I actually left my hide-out and ended up working with Juuso. At first it was putting in my time and effort to prepare live shows, and then at some point I found myself working on new material for FEF. NU-MODE´ THE AWAKENING A/W 2013 .39

Music

Femme en fourrure interview

“In the end I’m still making music for myself, and music that we, as a duo, feel needs to exist.

Juuso and I share many musical gods and goddesses that we grew up listening to, and we try and capture ideas we are both passionate about.” -Sandra What does Femme En Fourrure mean?

Not the literal meaning (thank you Google Translate), but symbolically?

JUUSO: At the time I was inspired by Russian aesthetics; its sort of a caricature of an elegant, profound, serious Russian woman. Wearing a fur coat, of course. And a bit of love for France, too. The name was supposed to be a mild statement against the ridiculous world of fashion, but I guess a lot of people don’t get it and think we support fur farming, or that we think killing animals is cool. It’s a pretty difficult name.

I actually can’t pronounce it, and whenever someone is like “what’s the name of your band again?” I have to write it down. But at least it’s personal and different.

Describe your sound in a sentence. Or two, or ten, whatever.

JUUSO: I guess the new and upcoming material is somewhere between super melodic pop music and techno. A bit like a mix of Medieval Techno, The Eurovision Song Contest, Karelian oral folklore and mythology, and the Baltic Sea birches.

SANDRA: Me being on board certainly adds the pop factor to the basis of all the upcoming NU-MODE´ THE AWAKENING A/W 2013 .40

material. Not that pop music is the only kind of music close to my heart, but music just seems to come out of me in pop structure, thus melodies obviously playing a major role.

passionate about. It sometimes seems as if we are, to the best of our ability, “continuing” the work of our idols. Which is insane. But I think that’s what we do.

JUUSO: It’s actually funny, considering that just a couple years ago FEF’s output was basically just minimalist percussion with kick drums and monotonic, mantra-like vocals.

There were no melodies, really, with overly sexual lyrical content and sexual issues as the main theme - but that’s probably obvious.

Tell us about your new LP, 36-26-36. What were you trying to create, and how do you think your music is evolving?

Your site describes FEF as “music made for DJs and catwalks; also for nightly promenades and oceanside sexin’.” Who do you like to imagine listening to your music?

JUUSO: I have no idea, actually. In the early days it probably used to be for the Tumblr-fashionistas, but I think they turned their backs on us once they realized we’re not airheaded, skeleton-skinny models and that our whole thing is a bit deeper than Plump Bisquit.

SANDRA: In the end I’m still making music for myself, and music that we, as a duo, feel needs to exist. Juuso and I share many musical gods and goddesses that we grew up listening to, and we try and capture ideas we are both

JUUSO: 36-26-36 is a figure measurement, the hourglass figure. It’s a shape that a lot of people find aesthetically pleasing. You could say that the album is about trying to achieve that figure, amongst other frustrations with yourself. The album has a really disturbing feel to it, and I love that we managed to capture it that well, but I don’t want to make a sequel to it.

The album is almost an end to the current “FEF sound,” in a way. We want to push the dancefloor-ish elements a bit further away the next time - we’re working on a more melodic approach, actual singing instead of spoken word.

Where do you draw inspiration?

SANDRA: Nostalgia for the near past, exaggeratedly upbeat dreams for the near future.

There’s strong identification with the playing of differ ent roles: characters from film and books, the stage personas of certain

Music NU-MODE´ THE AWAKENING A/W 2013 .41

Music NU-MODE´ THE AWAKENING A/W 2013 .42

Femme en fourrure interview

performing artists. The slight destruction of oneself due to putting your true self out there. Voices in our heads. Nature, art, love.

Clearly there’s a profound artistic link between the visual and audio aspects of FEF. Give me a little insight on the video creation process.

How has it all come together?

SANDRA: So far I’ve only been involved in the creation of one video, “Bronco.” We had the opportunity to discuss with Ezra Gould, the director, about how we felt the song should be represented in the visual form. The song had first come into being out of a vision by one of us, and [Juuso and I] talked about it a lot in visual terms while we worked on it. When we got to the point of planning the video, it was pretty clear to us what sort of feeling and look the song was about.

JUUSO: We’ve just been really lucky to get to work with these people.

Miikka Lommi, who directed “Pretty Boy” and “Plump Bisquit,” contacted us instead of the other way around. Our music just clicked with the ideas that he wanted to portray. Of course there’s a little planning, but we give a lot of freedom to the people we work with, who we adore and trust.

JUUSO: Me too. It’s such a cliche thing to say, but he’s responsible for Twin Peaks and that to me is the most beautiful thing ever. The whole Twin Peaks world and the Badalamenti soundtrack. I’d also love to do something with Dario Argento, Phenomena has inspired us a lot.

What’s happening right now in the electronic music industry that you’re most excited about?

JUUSO: This year has been pretty great, actually, as more left field-ish sound has gotten a lot of exposure. Artists like Vatican Shadow, Prurient, and Cut Hands, for example. At the moment I’m really bored with songs that are generated for DJs only, and all those artists have a lot of content and meaning behind their music.

SANDRA: Femme En Fourrure.

You’ve got an email address listed on your website (femmeenfourrure.com) for fan mail, rants, nudes, etc. How many people actually send nudes?

JUUSO: There could be more.

Any artists or directors you’re planning or hoping on working with?

SANDRA: David Lynch.

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Music

“Artists like Vatican Shadow, Prurient, and Cut Hands, for example. At the moment I’m really bored with songs that are generated for DJs only, and all those artists have a lot of content and meaning behind their music.” -Juuso

Design

collection zana bayne ss14

Known for her sleek hand crafted leather accessories, posh silhouettes, with refined bondage features; designer Zana Bayne designs pieces that are sculpted to highlight the wearer. Collaborating with fashion power houses such as Prabal Gurung and Sally LaPointe on their spring/summer 2014 collections, also teaming up with Pendv for Opening Ceremony on a capsule collection during New York Fashion Week, it is evident that Bayne has made her mark in this industry and she’s here to stay. Recently unveiling a stunning spring/summer collection at the L’Arrosoir floral shop in Paris, during Paris fashion week, it was the designer’s intensions to focus on a broader approach towards the severe look of her infamous leather harnesses. Finding inspiration from the delicate flowers and vines of Wisteria, Bayne created organic shapes that contour the body resembling how vines wrap around structures. The collection was hinted with elements of floral detailing and fan-lacing, uniting the soft to hard appeal of the collection; overall it’s interesting how Banye managed to fuse two extreme opposites without losing her personal signature, to develop a cohesive collection that is wearable for every form.

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WORDS Latoya p henry Photographs courtesy of agency v

zana

Design

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Music NU-MODE´ THE AWAKENING A/W 2013 .46

austin paul interview

Separation

From Normal WORDS ALEXANDRA STEVENS

F

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Music

or Miami’s Austin Paul, this is only the beginning. The 20-year-old singer recently released his latest EP Disparia, following Velvet as the second in an esoteric musical trilogy.

Each chapter reveals more about Paul both as an artist and character, rife with haunting passion and heavy with mood.

He describes Disparia as a truly introspective project, a musical selfanalysis.

“We wanted it to sound as if you were journeying to the bottom of your consciousness, then looking up and seeing everything from there,” Paul explained.

The unique name for the EP plays further off of that sense of inner chaos, a home-made moniker to describe the young vocalist’s intention.

“When I was writing the material for it, I came up with the idea that it was similar to the subconscious, something going on in the mind,” Paul said of the thought process behind the name. “I wanted to give it a name that implied disorder and enlightenment. Dis is the Latin root word for separation, and ‘disparia’ is like a separation from normal. A mental disorder, an elevation from normal reality.”

The first single from the EP, “Believer,” brought about an accompanying video that came out this summer.

“I wanted to release something visual to help people understand the sound. I felt like bringing in a visual aesthetic would bring light to the meaning of the music.” Paul describes “Believer” as “unea sy” and “eerie,” insisting he wanted to make something that makes people feel uncomfortable.

The black-and-white video was filmed and created by his brother, Andy Ryan Flores, while Austin directed and starred alongside his girlfriend and a friend from high school.

“I knew exactly, shot by shot, what I wanted,” Paul said. He went into the video with a balance of spontaneity and intent - a mix of last minute decisions and deliberately thought-out imagery. “I had it all planned out in my head,” he said. “I was like, ‘just trust me - we only need this amount of footage, this number of shots, put it together like this.’”

Paul decided he wanted one of the three locations they used for the video to be in his friend’s house, and maybe even in his friend’s dad’s car.

“The day before filming I was just kind of like ‘Hey, can we use your dads car? And film in your house?’” Paul said with a laugh.

“Luckily he said yes, then he asked his dad about the car, and he said yes too. We filmed it all in four hours.”

Several shots feature the cast on the living room couch, framed by oversized pillows and art. Paul sits, one leg across the other, blinking slowly and crooning into the camera. A little white dog appears nestled behind his shoulder, so still it hardly looks real.

“He kinda jumped behind my back during the second take,” Paul said, his friend’s terrier apparently eager to take part in the action.

They kept rolling with the dog in the shot, and the results look intentional. “We just kept it.”

With Velvet, Disparia, and a handful of videos and collaborations, Paul is still a a newcomer on the scene - despite this, he has managed to establish a pretty impressive cast of supporters. Successful artists have backed up Paul’s talent and potential, working with him to further his vision. Paul created “Without You” from Velvet with Kastle, producer and creator of record label Symbols.

austin paul interview

Music

“As a little kid, I was always into music. A lot of kids are born with that desire to create, or at least try to, and the more people that try to express themselves artistically, the more people that are gonna start showing up on the scene. My generation grew up on the cusp of technology changing our society. Now anyone can [make music] if they have the passion, and that’s really cool.”

“We approached each other online,” Paul said of his work with the L.A-based musician. “We started doing music together; we made like five songs together before Velvet even became a concept.”

Kastle facilitated the release of Velvet, performing a set in Miami to introduce their single. Paul shared the stage, singing “Without You” live.

“It was awesome because he’s very caring of the sound,” he said on working with Kastle. “He doesn’t just throw anything together - he really cares for what its all about, the direction.”

Paul has also flourished under the wing of musician Shae Haley, best known as one-third of the band N*E*R*D. “Shae is really supportive,” Paul said, explaining Haley’s total involvement in Pauls’ body of work.

“He’s there for everything musically, he’s at all the shows.” Haley then linked up Paul with Pharrell Williams, bringing serious star power to Paul’s lineup of helping hands. The rapper/ singer/designer/producer has been involved in both Paul’s music and tactical decisions.

“I hung out with [Pharrell], he listened to my stuff and happened to like it a lot,” Paul said of when the two first met. “He wrote me a song, there were several exchanges, then we met up every few months so he could give me the low down on what I should be doing,” he explained. “From the beginning we decided I shouldn’t sign to a label, to just feel it out and execute the music independently and see how far I could get.” So far the industry superstar’s advice has been well-heeded, and Paul shows nothing but gratitude for his network of supporters. “Pharrell is so inspirational, it’s really great that he helps out. He’s truly a genius - he knows how to do it, and I’m really thankful I’m lucky enough to be able to work with him.”

Paul hinted at upcoming work in collaboration with DJ duo Christian Rich, composed of twins Taiwo and Kehinde Hassa (nicknamed Christian and Rich, respectively).

“I recently hung out with them in L.A. at Red Bull Studios, that was really fun,” he said. “Looks like we’re gonna be working with them, just writing right now.” The producers have laid beats all across the rap and hiphop industry, credited on songs by artists like Chris Brown, J. Cole, and Earl Sweatshirt.

“I’ve been wanting to work with [Earl SweatNU-MODE´ THE AWAKENING A/W 2013 .48

shirt] for a while,” said Paul. “He’s one of my favorite artists right now.” He adds Kendrick Lamar and Cashmere Cat to the list. “And Kastle, of course.” He only hesitates a moment when I ask about his current favorite belt-inthe-shower tune.

“‘Forbidden Fruit’ by J. Cole, it’s got Kendrick [Lamar] in it too. That’s a great song.

Have you heard it? You should listen to it.”

He delves a little into what he appreciates most about the music he listens to. “Part of being an artist is taking care of your craft.

You have to take the time to execute it all with care, pick the right people to work with. I think artists like [Kendrick Lamar] are changing the way people perceive artists, the way they connect with them.”

With the complete overhaul of music from physical to digital, young artists like Paul seem to have the upper-hand on deftly navigating their music through the web. “It’s definitely changing the way music is made - it’s faster,” he said. “You have so many different minds, people from different places. [Kastle] and I live across the country, so when we made stuff together you get influences from both in our sound. There’s his chillstep vibe from California, and on my side there’s something similar but a little more grungy.”

“People can definitely use all this to their advantage,” he said about music convergence online. “The availability of it is so important - if you’re portraying yourself well, the right people will understand you, and your listeners can grow with you. You pick up this core group of followers, and it grows organically online. The new “word-of-mouth” is the internet. As long as you care, and you execute it properly, the possibilities are endless.”

“As a little kid, I was always into music. A lot of kids are born with that desire to create, or at least try to, and the more people that try to express themselves artistically, the more people that are gonna start showing up on the scene. My generation grew up on the cusp of technology changing our society. Now anyone can [make music] if they have the passion, and that’s really cool.”

Much of that music comes from his home base of Miami, a thriving music scene known more for thumping house music than Paul’s new-wave R&B.

“What I think is going on [in Miami] is that everyone gets stuck in their own little musical bubble, in their own districts,” he said

of the scene at home. “Nobody expands - it’s the same shows at the same venues. It’s a lot about the people who book the facilitate these events,” he clarified, pointing out what he sees as a lack of care and intention. “I make music to try and affect the world in a positive way, where I feel like a lot of people are doing it carelessly, not taking it seriously. There’s a lot of clutter.” The notion seems a little stiff, but Paul’s seriousness has long been apparent in his music.

“The music is great, but people need to start helping each other out as opposed to just competing. Competition is obviously good, but some people take it too far and too personally.”

Paul himself is an example of using the help of other artists to build a career, crediting his various collaborators and mentors as key factors in getting him where he is now. He insisted, however, that despite its struggles, Miami’s scene is mostly compromised of real talent.

“Beneath all that, there’s a lot of really great music,” he said. “There’s a really good DJ scene, a really good folk scene, surprisingly, some really good deep house stuff, good hip hop. Every day I’m turned onto somebody new, a local artist I’ve never heard of, and that’s great.”

Paul, purposeful as ever, immediately continued on to new projects in the wake of Disparia. “I want to be more external with the music, so people can understand it,” he said of the new material he’s been working on. “I just want to make people feel good, to be honest, in a groovy way.” He sweetly adds that his girlfriend had largely inspired the positivity in his new music. “I was in a dark place,” he admitted. “I needed a way to come out of that and see things for the positive aspects in them.”

No matter how meaningful or mature music may sound, people always seem eager to bring up just how young a young artist is.

20-year-old Paul shrugs off the age factor, saying he doesn’t really feel young. He looks more to the time instead of his age, saying he’s doing as much as he can with the resources available right now.

“I’m just thinking to myself that I need to do something now, before I get old and boring.”

Music NU-MODE´ THE AWAKENING A/W 2013 .49

UNFINISHED CONVERSATION.

PHOTOGRAPHY

Paul P hung.

WORDS IRINA ROMASHEVSKAYA

T

he mysterious world of Paul Phung’s photography captures a memory, a moment in the life of a stranger, that’s both intriguing and mundane. There is always a story, hidden emotion or an unspoken truth in Paul’s black and white imagery.

It’s technology combined with unique artistic vision that brings something simple under a different light and opens an alternate world of expression.

“I guess the first time I ever picked up a camera I was 15 and in my final year of school. At the time I had a really strong passion for painting and my art teacher told me to photograph my paintings for my sketchbook.

He lent me his 35mm film camera and sent me home to photograph all of my work. But back then I had no idea how to use a camera. And when I got the photos back, pretty much everything was underexposed.

Strangely enough, I remember thinking that these photos I’d taken had a really nice feel to them. After I left school I started a graphic design course but I knew it wasn’t for me, so I quit and eventually, after another three years of doing nothing, I decided to join a photography course. I don’t really remember thinking that I wanted to become a photographer, but I was doing it because it was quite enjoyable and I didn’t feel completely useless at the subject. It all changed for me when I got to the final year of my degree: I build up this huge passion for photography and knew I didn’t want to do anything else.”

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paul phung interview

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PHOTOGRAPHY

paul phung interview

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paul phung interview

PHOTOGRAPHY

“I’ve always found it quite difficult to explain my work, a lot of people have mentioned it being really dark, but I’m not sure if I see it that way.

I concentrate a lot on creating strong moods and atmospheres within my photos.”

It is sometimes difficult to find the right words describing this intangible craft: all the importance lies in the tiniest of details. “I’ve always found it quite difficult to explain my work, a lot of people have mentioned it being really dark, but I’m not sure if I see it that way. I concentrate a lot on creating strong moods and atmospheres within my photos.” Inspiration comes in a variety of ways; it is always a process, a movement, an unfinished conversation with the viewer. For Paul it’s cinematography.

“I’m greatly inspired by cinema, from directors such as Andrei Tarkovsky all the way to Wong Kar-wai. I’m still constantly learning from every shoot I do and know I’ve got a long way to go until I can be fully satisfied with my work. I also love the photographic series ‘Homes at Night’ by Todd Hido and I think that really inspired me when I was studying photography.”

Every photographer has a preferred way of work, sometimes it’s the location that produces a great shot, and sometimes it’s the overall feeling that makes an emotional connection. “Currently I love shooting against strong and bold architecture, I’m always on the lookout for locations, but I think my favorite time to shoot is at night. I wish I could always shoot in the night time. I just really love how peaceful it is at night and how mysterious looking the photographs come out as.”

Sharing his future plans and dreams, Paul adds, “I would love to visit Yosemite National Park one day to explore and shoot. I think that would be a dream place to visit, but I’m traveling to China soon, so I’m really excited for that and will hopefully start some new personal projects whilst I’m out there. I am also in the process of bringing out either a book or a magazine soon. But at the moment I’m just really enjoying my time as a photographer and I don’t really think too much about the future. I just try to make sure that every shoot I do is better than the last, and that’s all I can hope for at this time.”

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TOGETHER NOW PHOTOGRAPHY Amie Milne STYLING Ricky James Flynn

Caroline Mead Shirt Maison Scotch t-shirt Bassike pants Alexander Wang from Fred Shahed ear cuff Sarina Suriano X The Dark Horse

Dress MLM cardigan Ellery ring Estelle Deve

Liah Cecchellero Shirt Celine brA Jamie Ashkar jeans Nobody Denim

Sharnee Gates Top Latopic pants A.D by Haryono Setaidi scarf All Saints shoes Sol Sana

Tilda Dahlgren Top Three Over One pants Serpent and the Swan short necklace Estelle Deve long necklace Celine AT Fred Shahed shoes Converse

Jumper Acne leather trench Aelkemi

Kia Low Coat Neil Barret singlet Latopic shirt & pants Rebbecca Vallance shoes Nike glasses Dita

Dress 3.1 Phillip Lim

Tatyana Gillam

Coat Neil Barret ring Estelle Deve PHOTOGRAPHY Amie Milne AT Unsigned Management STYLING Ricky James Flynn MAKE UP ARTIST Kate Blainey AT Unsigned Management MODELS Caroline Mead AT IMG Models Liah Cecchellero AT London MGT Group Sharnee Gates AT IMG Models Tilda Dahlgren AT IMG Models Kia Low AT Chadwick Models Tatyana Gillam AT IMG Models

Milena’s

r êv e r i e Photography Karla Majnaric Styling Kate Gaskin

top Maticevski pants Alpha 60 brogues Clergerie from Christine

headpiece Maison Michelle from Christine silk top Livia Arena long sleeve tee House of Holland from Green With Envy skirt Maticevski

hat Lui Hon sunglasses Alpha 60 knit Trenery dress Simone Rocha from Green With Envy brogues Clergerie from Christine

fedora Maison Michelle from Christine waistcoat Willow knit Gorman skirt Livia Arena

hat Swash from Christine dress Ellery mini pants Livia Arena high tops Jimmy Choo

fedora Maison Michelle from Christine knit, coat and skirt Alpha 60 brogues Clergerie from Christine

Photography Karla Majnaric at Vivien’s Creative Styling Kate Gaskin at Network Agency Make up Artist & Hairstylist Julie Provis at Hart & Co Model Milena at Vivien’s Special thanks to Establishment Studios

FEATURE

shawn pyfrom interview Exclusive

Coat Blake Hyland Sunglasses Coco & Breezy NU-MODE´ THE AWAKENING A/W 2013 .76

THE all

round Shawn Pyfrom WORDS JOHN-MARK PHOTOGRAPHY Allen Henson

“Acting aside, music and art started as a very personal thing. If I’m writing something, music or painting, it’s because I want to. It’s something for me. Only after the fact do I think that it may be something that others are interested in.” Pyfrom’s “acting aside” refers to his very busy career as a child actor. Learning to talk and learning to act were practically synonymous for Pyfrom. By eighteen years old, he had already worked on over fifty film and television shows including 7th Heaven, Reba, Family Guy, Pay it Forward, Malcolm in the Middle, Chicago Hope, Nip/Tuck, 8 Simple Rules, and countless more. Then in 2004, Pyfrom was offered the role of Andrew Van De Kamp on Desperate Housewives. After star-ring in 112 episodes as the cunning and devious son of Marcia Cross, Pyfrom and the rest of the cast bid adieu to the critically acclaimed show with the series finale in 2012. Since then, Pyfrom has been passionately pursuing visual art.

A typical day at Pyfrom’s West Hollywood home often begins with a paintbrush. As he shared, “Sometimes if I’ve started a painting the night before, I’ll wake up and get right to it before breakfast. Hours will go by, and I’ll realize I haven’t eaten anything all day [laughs].” Pyfrom’s paintings are categorically dark and minimalist, and for Pyfrom, they’re entirely personal. “Any type of art that I choose to explore is a cathartic process – I’m working through something that’s troubling me. All my darkness goes into my work. I’ve thought a lot about why I go dark with my paintings. Even with my acting in some ways, I try to find the darkest part of that character and explore it... but on the whole I feel like I’m a pretty positive person.” It’s true. From his shoot’s hair and makeup team, to our restaurant’s waitress, Pyfrom’s positivity was infectious.

“When we’re happy, we’re living out a moment and we want to continue living out that moment. You’re not like, ‘Oh fuck, I want to sit down NU-MODE´ THE AWAKENING A/W 2013 .77

FEATURE

GENTLEMAN

Shirt Sir NY Coat Ra’mon-Lawrence ChaiN Rena Reborn

“Honestly, any way that I can be involved in the art community, I want to be involved. It’s now become a larger part of my life and I want that to continue. I’m entering a whole new world and have a lot to learn – that’s the stage I’m in.”

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shawn pyfrom interview Exclusive

FEATURE

ON TOP Shirt . Pants .Vest Sir NY Rings Rena Reborn ON LEFT Shirt Sir NY Coat Blake Hyland Shorts Sir NY Necklace Rena Reborn Shoes Alexander McQueen Sunglasses Coco & Breezy NU-MODE´ THE AWAKENING A/W 2013 .79

FEATURE

shawn pyfrom interview Exclusive

Pants Asher Levine Sweater Religion Necklace Rena Reborn . Watch Hublot Hat BRXTN Photography Allen Henson ART DIRECTION JOHN MARK STYLING JOHN MARK Hair Adam Maclay Makeup Amanda Markoya Style Assist Melody Burdette Photo Assist Lucas Hazlett PHOTOGRAPHED at MAC Pro Showroom & Studio NU-MODE´ THE AWAKENING A/W 2013 .80

“I wanted to paint subjects that people use to escape reality. All these subjects are things people feel black or white about.

They’re either for or against it.” and paint for an hour.’ When I’m going through something dark or troubling, it’s easier to understand it if I can see it or hear it, you know? I guess that’s why a lot of my paintings are dark. It’s therapy.”

Though he had always been the type of child to go for the tracing paper and colored pencils, Pyfrom’s first real immersion into visual art was a bit of happenstance. “I started painting when I was eighteen. I had just moved out of my mom’s place and I wanted art for my walls but thought that if a painting wasn’t worth $20k, it wasn’t worth jack shit, but you know - what did I know I was an 18-year old kid [laughs]. Obviously, that’s not the case. But I couldn’t pay the money for really expensive art, so I just started painting. I did my first painting, liked it, and it was always just a hobby until about two or three years ago.”

For his Escape Series, Pyfrom painted very recognizable artifacts on small canvases. A cigarette. A pill. An iPhone. A line of cocaine. A glass of alcohol. Some people might call them vices, but Pyfrom sees them for their function. “I wanted to paint subjects that people use to escape reality. All these subjects are things people feel black or white about.

They’re either for or against it. In the way that you look at a pill for example, it elicits a certain feeling; you either really want it or are repulsed by it. That’s kind of what I was going for with all of those subjects.”

There are many great things in the works for Shawn Pyfrom. Between his upcoming art exhibition in Beijing, his music blog, “Sonic Pleasures,” his newfound interest in live theater, and learning to play an instrument, the 27-year-old actor, artist, and all around renaissance man is keeping busy. However, there is a fresh excitement in his voice when talking about his art work. “Honestly, any way that I can be involved in the art community, I want to be involved. It’s now become a larger part of my life, and I want that to continue. I’m entering a whole new world and have a lot to learn – that’s the stage I’m in. I’m focusing on bettering my skills, and just learning about this world that I’m entering.”

Pyfrom is sensitive in the best of ways. From our preliminary phone conversations to our days together in New York, Pyfrom was surprisingly sweet and sensitive, not just in his own emotions, but to his surroundings as well. Our interview sessions felt appropriately informal, and Pyfrom was just as much a great listener as he was an articulate speaker. It was also inspiring to sense that Pyfrom has now truly grabbed his career by the horns. He has reached a well-deserved plateau where he can call the shots. This was apparent in his genuine excitement about his current lifestyle and endeavors. As a new chapter begins, regardless of what we see from Pyfrom in the next few years, we can rest assured he’ll be leading with his heart.

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MUSIC

GenreBending WORDS ALEXANDRA STEVENS PHOTOGRAPHY Meghan Sharp

25-year-old London native Stuart Howard speaks with a sort of disarming casualness, responding more often than not with a thickly accented “I dunno, actually.” Producing under the monicker Lapalux, Howard’s mellow nonchalance seems all too appropriate when you liken it to his music. Even before signing to Flying Lotus’ indie label Brainfeeder in 2012, Howard has been releasing a constant stream of predictably unpredictable sound. Lapalux finds itself in the newfound chasm of truly genre-less music, a steadily growing group of artists who create sounds that are almost impossible to categorize. Atmospheric, ambient, hiphop, soul, and dance are all keywords that seem to pop up in descriptions and comments on his work, but no grouping of adjectives can pinpoint his sound as a whole.

“A lot of it is emotion-based music,” Howard said. “It’s based on what’s going on in my life and whatnot. Sort of like potential, motive-driven music.” It’s a forward response, and yet still cryptic - the exact same kind of duality that seems to appear in his production. “I’m just trying to go into the world and create.” Howard released his debut LP Nostalchic earlier this year, a 12-track album of mesmerizing, spacey sound. “I don’t really stick to a genre, so it allows so many possibilities,” he explained. “The new stuff I’ve been working on is merging a lot of genres. It’s a fresh kind of sound.”

Despite resistance from artists like Howard, music-sharing websites still structure music categorized by genre - even if you can’t.

“I really wouldn’t,” Howard insists, when asked what genre he would choose to describe his sound if he had to. “I never really stick to one.

At the moment I’m doing this sort of club-y, almost techno sound. The next album is kind of hip-hop beats, a funky kind of thing. I wouldn’t want to put myself in any box. That’s why it’s nice not having to stick to one genre - I play around with different ideas and end up with all these different sounds.”

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Lapalux interview Exclusive

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MUSIC

Lapalux interview Exclusive

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“There’s a lot of crossover, versatility. I like to make things that are open to anyone interpreting what they want from it. ” MUSIC

The disparity in influence creates a broad scope, spreading out his fans track by track. “Each song could have a different listening base. Like maybe young people listening to something like Guuurl,” he said, for example. “Older guys listening to other tracks. There’s a lot of crossover, versatility. I like to make things that are open to anyone interpreting what they want from it.” With all the globalization of music on the internet, it’s hard to pinpoint who exactly is listening, and from where. “It might actually be America,” he muses when asked where he thinks his central fan base might be. “It varies, I couldn’t even really tell you.”

Howard is currently touring North America to promote Nostalchic, his music having taken him worldwide within the past few years. “I like being out of my comfort zone,” he stated. “I like moving around.” And moving around he certainly has - Lapalux has performed everywhere from Japan to Pitch Festival in Amsterdam, and even had a gig at the iconic Sydney Opera House. “I like to sit down in the studio in my own home, it is nice to have a place I can always go back to,” Howard said of the on-the-road life of today’s music makers.

“But in the end I like experimenting, going out and making shit.”

Cinematographer/director Nick Rutter has now teamed up with Howard for two artistic ventures, creating haunting short films using Lapalux’s music. The first video was released in March of this year, set to the strippeddown sound of “Without You,” a track from Nostalchic. Natalia Tena of Game of Thrones and Harry Potter fame stars alongside an unnamed actor in an always-unsettling gimp suit.

Kerry Leatham’s vocals are overlapped on a minimalist beat, providing a contrastingly mellow sound for the bizarre video. Early September marked Rutter and Howard’s second collaboration, the short film “Chrysalis,” set to an original Lapalux track entitled “Gold” featuring Jassy Grez. Clocking in at just under five minutes, the film details the story of a love-stricken teenage boy who physically rots as he aches for a girl who’s with another boy. Rutter’s creepy, romantic aesthetic is perfectly complemented

by Howard’s atmospheric sound; the duo has combined forces for captivating results. “I’d like to think I could get more into scoring, or films,” he said, his recent projects with Rut-

ter having shown off his keen eye for pairing music with film. “It’s all about the crossover between visual art and the visual representation of my music. I think of it as a sort of sound collage.”

Howard himself rarely listens to music aside from his own, a surprising notion for a producer. “I’m really focusing on my own music,” he explained. “I feel like I’ve been stuck in a way, from listening to new music.” Much of that focus has gone into his next album, which fans can expect... “I dunno yet,” he answered. I could practically hear him shrugging over the phone. “Probably early-ish next year.”

Howard’s take on creation is refreshingly in-the-moment - he simply lets his process evolve naturally instead of forcing it within constraints of time. “I don’t really dwell on where I’m going to go with it,” Howard said of future plans. “It’s just a fluid sort of process.

It’s not really about where I’m going to be in five years, I’m just working on stuff constantly and seeing where it fits in. I don’t really think too far ahead.” And for him, it seems like right now is exactly where he needs to be.

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MUSIC

a moment with I am (isis)

I AM (ISIS) WORDS Melody Burdette PHOTOGRAPHY Spencer Kohn

Throw away your preconceived notions of rock and soul music, because I AM (ISIS) and her band lay down a sound unlike anything you’ve heard. Her cadence-tight, spoken word poetry lyrics and sultry-smooth hooks are backed by sexy guitar riffs to make melodies that - in her words - make you want to “get free.”

“When you see, hear, experience us - you experience everything that is you that you didn’t even know you had,” says ISIS. “We just want to make good music that moves people.” The band’s eclectic fivesome have been bringing energy and technical prowess to the stage for over two years, and have opened across the country for the likes of India. arie and Wyclef Jean. Their shows have been described as a series of juxtaposes – explosive but graceful, rock-filled but bluesy, sonorous but with the amps at 11.

Rock history will attest that music creation in a band with five members, a powerhouse lyricist, and a constantly traveling schedule proves to be anything but ordinary. With their new album amazingly random due in Fall 2013, ISIS and her band have had to focus their tangible energy.“The best part of creating is when everybody takes charge, and all of our sounds and technical abilities marry into this sonic stew,” says ISIS. “It’s in those differences that we discover how alike we are.”

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Albums we love

the Top 5 Albums We Love 1. Disclosure - Settle There’s probably a bunch of you looking at this and scoffing like duh. At this point, Settle might have gotten more love than Cara D’s eyebrows. This album has been hyped hard since its June 3rd release, heard throughout the summer from rooftops and car stereos. Then fall began, and the weather confused everyone, and Settle was playing at runways and parties all over New York Fashion Week. And yet, three months later, I still feel the need to join in on the Disclosure ass-kissing because Settle is just that good.

Brothers Guy and Howard Lawrence of Disclosure are only 22 and 19, respectively, and their debut album is nothing short of impressive. The Surrey natives have referenced musical styles beyond their years to turn out their own seamless blend of soulful, funky, deep house-pop. Disclosure introduced the album before its release with songs like “White Noise” with AlunaGeorge and “You & Me” featuring Eliza Doolittle, both showcasing the duo’s ability to masterfully combine their sound with powerful vocals.

The album features the voices of fellow Brits like Jessie Ware, London Grammar, and Ed Macfarlane. Their collaborations are skillfully executed vocal melodies compliment the music without overwhelming it.

Settle occasionally finds itself sounding slightly repetitive; the looped samples and slow progression miss the mark on a couple tracks like “Grab Her!” and “Stimulation.” “When A Fire Starts to Burn” samples an interesting bit from self-proclaimed “hip-hop preacher” Eric Thomas that I found really trying at first, but eventually grew to like. Settle’s explosive lead single “Latch” with Sam Smith is more pop-oriented, and has received criticism for it, but is probably my favorite track on the album. Settle is infectiously happy without losing any complexity, an exceedingly mature debut from the British duo. -Alexandra Stevens Best Tracks: Latch, Defeated No More, White Noise Rating: 5/5

2. Danny Brown - Old Danny Brown isn’t even old. The 32-year-old Detroit rapper admitted so himself, but said his album Old is more about the idea of being old than the actual concept of age. Two years in the making, the much-anticipated album was finally released in late September on A-Trak’s label Fool’s Gold.

Old starts with a surprisingly contemplative A Side in which Brown flexes his prowess of rhythm and rhyme. The B Side brings the the trippy, gaptoothed Danny Brown we all came to love in XXX. Radio-friendly party jams about twerking and rolling on Molly still manage to be clever and excellently produced, as seen on Darq E Freaker’s “Handstand” or with A-trak’s “Smokin & Drinkin.”

Brown’s collaboration with Canadian duo Purity Ring and his closing track with goth-pop princess Charli XCX show off his versatility and range. He deftly transitions between and within songs with his usual array of vocal styles - sometimes he sounds like a completely different per

son from track to track, but it never comes off gimmicky. Freddie Gibbs, ScHoolBoy Q, Ab-Soul and A$AP Rocky make appearances throughout the album, a solid lineup that complements Brown’s sound.

If you’re actually old, you probably won’t like Old. If you don’t like Danny Brown, you definitely won’t like Old. While it’s certainly an evolution of his sound, Old is still chock full of the usual drugs, sex, and high-pitched cackles (which, let’s be honest, we’d all be disappointed without). The A Side is decidedly more thoughtful and creative, but the B Side brings catchy hooks and bouncy bass lines that make for guaranteed party-starters. Charisma, playability, and a satisfying feeling balance: Old is doin it. -Alexandra Stevens Best Tracks: The Return, Torture, Dip Rating: 4/5

3. Washed Out - Paracosm flow between the warm winds of Greene’s paradise, we find ourselves running endlessly without breaking a sweat amidst the album’s web of soothing guitars and grainy drums. The sounds create a sentiment of endless freedom that can only exist in this distant domain.

“Paracosm” plays with the youthful nostalgia of a child’s limitless fantasies, but exhibits Greene’s fine-tuned craftsmanship as a musician and artist. It’s playful, cohesive and an inimitable showcase of a world we can experience for an hour, but never fully understand. Although it’s arguably difficult to create work both mysterious and devoid of pretention, Greene has permanently opened the door into his personal fantasy.

-Justin Moran Best Tracks: All I Know, Weightless Rating: 5/5

4. Julianna Barwick - Nepenthe Haunting and atmospheric, Julianna Barwick’s third album Nepenthe is a stunningly layered collection of songs that evoke both vivid scenery and emotion. Nepenthe, a reference to an ancient Egyptian medicine for sadness, perfectly suits the tragic undertones of Barwick’s compositions. The Brooklyn-based musician uses her own Grimes-esque vocals, breathy and often wordless, looped over chilling strings and gentle piano lullabies to form complex melodies. “One Half” is one of the only tracks that features clear lyrics, Barwick’s voice ringing out clear and strong. Echoes and hymn-like progressions evoke the rural midwestern churches of her childhood; simple and humble at parts, then swelling to cathedral-like proportions. The 10-track album plays like a haze of forgotten memories, told in

sweet, unintelligible whispers. Barwick’s musical evolution has led up this release, which stands as an example of ambient music done right - free, achingly emotional, and strangely nostalgic in an unplaceable way.

-Alexandra Stevens Best Tracks: Pyrrhic, Look Into Your Own Mind, The Harbinger Rating: 4/5

5. John Mayer - Paradise Valley The days of John Mayer being relegated to pop radio channels and Page Six tabloids are long gone. Over the past ten years Mayer has solidified his place among the ranks of history’s greatest guitar players, and performers, showing us that while we can all get down to “Your Body Is a Wonderland” - he’s got more tricks up his sleeve. Mayer’s latest album Paradise Valley follows a three-year hiatus from the public eye and two throat surgeries and we’re happy to report that #mayerisback.

Paradise Valley is ripe with American folk music influences, and homage to the time Mayer just spent in Montana. His lyrics have a distinctly more reflective feel, as well as his hooks being more closely tied

to blues tones than the standard hooks of Room for Squares. From the airy summer opening track “Wildfire” to the ode to women who chameleon themselves to fit social surroundings “Paper Doll” - the entire album is an auditory slam-dunk. Pour yourself some bourbon on a back porch and do yourself a favor, this album does not disappoint. -Melody Burdette Best Tracks: Paper Doll, I Will Be Found (Lost At Sea) Rating: 5/5

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MUSIC

On Washed Out’s sophomore LP “Paracosm,” singer Ernest Greene exemplifies the album title with his sonic representation of a euphoric world untouched by human hands. With muffled, lo-fi beats, textural sounds layered over lulling melodies and Greene’s smooth, echoic voice, the collection is an experience that sounds like a summer romance too impeccable to be recalled through only words.

Greene invites us into his personal paracosm with the fitting opening song “Entrance,” when you’re transported into a foreign world of uncanny optimism. This track pulls you into a faded vision—as if transitioning from dream to dream in your sleep—where the clear skies are a saturated hue of blue unlike anything that could exist in the earth’s atmosphere. We’re relaxing on an endless bed of soft, green grass and our vision is slightly blurred like viewing the world through a fisheye lens. As the body tracks ebb and

bang bang interview exclusive

B A N G B A N G.

CULTURE

WORDS ALEXANDRA STEVENS IMAGES COURTESY OF BANG BANG NYC

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Bang Bang’s new Clinton Street studio sits in a cool Lower East Side neighborhood, just a short walk from the Williamsburg bridge.

The sleek glass entrance is marked with Bang Bang’s square logo, leading into a brightly lit, white-walled room. The former gallery space continues to display visual art with rotating installations curated by Max Teicher and Allison Smith from New York’s renown Gagosian Gallery.

The outdoor patio hideout is laid with turf, and the basement level houses a secretive underground oasis for high-profile clients. We caught up with Bang Bang at his September grand opening party, where guests like the New York Knick’s J.R. Smith and Rihanna sipped Patron cocktails to music by DJ Becka Diamond.

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CULTURE

hat do Lady Randolph Churchill, a Samoan high chief, Rihanna, and a 5,000 year old European mummy have in common? It sounds like the start to a bad joke. The answer, however, is an ancient art form practiced on the most intimate canvas of all - tattooing. Evidence of tattooing can be traced back thousands of years, and our fascination with tattoos is clearly here to stay. Now everyone seems to have one, with celebrity tattoos in particular receiving lots of attention. The internet was set abuzz when Rihanna got her enormous, Egyptian-inspired rib cage tattoo, and the baby-faced Justin Bieber shocked his tween fan base by getting inked. Celebrity tattoos have proliferated pop culture like any other fashion statement, being constantly photographed, blogged, and imitated. So who’s skillful hand is behind so many of these nowrecognizable tattoos? Meet tattoo artist Keith McCurdy, known as Bang Bang. The 27-year-old got his humble start with his own machine in his mom’s kitchen, practicing on himself, then friends and family. Fast-forward not even ten years and Bang Bang can now take credit for tattooing a barrage of iconic actors, athletes, models, and musicians. McCurdy’s work can be seen permanently etched into the skin of Rita Ora, Alan Cumming, Alicia Keys, and Amar’e Stoudemire, to name to few. After stints in tattoo parlors throughout NYC, McCurdy has finally opened up his very own namesake studio - Bang Bang Tattoos is now open in downtown Manhattan, and Bang Bang is set to literally make his mark.

“We’re gonna try and change the tattoo industry into something welcoming and fun,” McCurdy says of his team, which currently includes eight celebrated artists with mesmerizing portfolios. The studio’s website describes the shop as “a re-imagining of what it means to be a tattoo parlor.” (bangbangnyc.com) McCurdy hopes to use an upscale salon environment to clear the negative connotations behind tattoo art. “We’re gonna try to bring this brand towards welcoming people, especially women, and be supportive of the arts and supportive of the people who want them.” Bang Bang is definitely on to something more than just a fleeting trend; polls within recent years have shown a marked increase in female tattoos, many suggesting that tattooed women now outnumber tattooed men for possibly the first time in history.

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“It’s really gonna be something unique - we’re trying to bridge the gap between fashion and tattooing,” he says of his new space. Like a necklace or a pair of shoes, a tattoo is a conscious form of outward expression. “Tattooing is the ultimate fashion, people just haven’t realized it yet.” Tattooing has become more common than ever in recent years, and lately they really seem to be just as common as jewelry. No longer exclusive to the skin of sailors and bikers, tattoos are now unsurprising to find on housewives, bankers, and sorority girls.

“Information spreads, tattooing has never gone away, its only been growing and growing throughout our culture since the 1920’s,” said Bang Bang, weighing in on the growing number of people with ink.

“In ancient Egyptian days people were getting tattoos, really important people. [Tattoos have] never not been here, and people are now really starting to accept that. They’re like, ‘Oh, it’s okay you have a tattoo.

You’re not a bad person, you are you.’” Part of McCurdy’s objective is to promote that image, to further enforce the idea of a tattoo as a personal declaration. “Be you, support individuality. On a planet where there’s nine billion humans, how do you be you?” He asks. “Define yourself.

Get a tattoo.”

As with any medium, the art of tattooing offers up countless possibilities and variations from portraits to lettering to colorful characters - and Bang Bang loves it all. “Whatever I’m doing at that moment, I love. I won’t do something if I don’t love it, or don’t love the idea of it, or find a way in my head to make it beautiful - If I’m doing it, I love it.

I really just love the application and the whole process. This is my job,” he says with enthusiasm fit for a professional candy taster. He looks around his studio with an infectious grin. “I’m working right now.”

McCurdy seems to have boundless love not only for his craft, but his clients as well. He lights up when he’s asked about his dazzling array of famous canvases. “I love them all, I really do,” he says of his star-studded client list. “Cara [Delevingne] is a party in a bottle. Justin [Bieber] is hilarious, you just want him to be your little brother - at least I do. Lenny [Kravitz] is so talented, just being around him feels like I’m like, stealing power from him,” he says with a laugh. “Alicia Keys, Adele, I can’t even speak on their talent level and the timeless music that they make.” He lists off customers like one would talk about close friends, insisting he could never play favorites. “They all mean so much to me, I can’t single one out.”

He likes them so much, in fact, that he often hands over his gun and lets them turn the tables. One of McCurdy’s legs serves as a wearable scrapbook, covered in scattered tattoos from a unique list of characters. Celebrities, friends, and even the twelve-year-old son of his first tattoo teacher have left permanent autographs on Bang Bang. A smiling peppermint candy by Katy Perry sits next Rihanna’s R-emblazoned umbrella, while a “Swaggy” muscular cartoon mouse by Justin Bieber reads a lot more like “Swassy.”

With such an impressive and recognizable list of clients, who could possibly be missing in the lineup? “I’ve been saying for a while I wanna tattoo Obama,” Bang Bang told me. “I think an American flag or a tattoo of his daughters would be appropriate.” I expect the canvas to be somewhere subtle, easy to cover up behind the podium, but Bang Bang’s fantasy is truly full-fledged. “Neck, for the flag, maybe,” he says earnestly. “Portrait on the thigh.” I look at the namesake revolvers on McCurdy’s neck, among others, and try and picture the president with a neck tattoo. Maybe the placement seems a little laughable, but the idea in itself isn’t so far-fetched - many former presidents were rumored to have tattoos, and countless Congressional Representatives and cabinet members currently rock tattoos. President Teddy Roosevelt was confirmed to be proudly inked across the chest with a family crest.

So with a beautiful new parlor and big plans for the culture of tattooing, what should we expect next from the inked-up powerhouse?

“We’re going to globally dominate,” he deadpans. Though he laughs, I get the feeling he’s only half-joking. He proudly looks over the crowd celebrating his latest venture. “This is our new studio, this is our grand opening, and we’re ready to rock. We’re full steam ahead.”

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“Whatever I’m doing at that moment, I love. I won’t do something if I don’t love it, or don’t love the idea of it, or find a way in my head to make it beautiful - If I’m doing it, I love it.

I really just love the application and the whole process.

This is my job.”

bang bang interview exclusive

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Chef kpe interview

Chef Kpe. pure Imagination

CULTURE

WORDS MELODY BURDETTE PHOTOGRAPHY Sarah KJelleren Art Direction Shaun Ross

When you consider that his resume already boasts an Executive Sous Chef position at Central Park’s Jean Georges Steakhouse, a diploma from the Culinary Institute of America, and the experience of cooking for President Barack Obama – it’s hard to deny that the plates are stacked in Kristopher Edelen’s favor.

Chef KPE, as he’s known to his friends, cites growing in many different American cities as the thing that initially shaped his palate and love of differing cuisine. Personal inspirations for Edelmen include British celebrity Chef Heston Blumenthal and his Nana – but the man who inspired his cooking from the beginning? Willy Wonka. “He’s a genius,” KPE says. “A man who uses pure imagination to create things that can’t be duplicated. That’s what a great chef is supposed to do.”

Creating dishes that can’t be duplicated means pulling from a variety of interests, and in KPE’s top three are the worlds of art, fashion, and cuisine. Along with making a killer tomahawk steak and black truffle pate choux fritters with confit asparagus (the envy-inducing meal prepared for President Obama) he is a self-proclaimed “pro shopper”, and uses his sartorial conquests as inspiration for new creations.

“I like taking outfit ideas and transforming them into food concepts.”

KPE says. “An Alexander Wang mesh shirt paired with black snakeskin pants could translate to black sea bass ceviche with squid ink foam ice cream.” However intricate his dishes may be, his advice for budding palate pleasers is simple: “Patience is really a virtue, and you can’t get much done in life if you only work on the days when you feel good.”

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Andres prada interview

the Artist Andres Angel Prada.

ART

WORDS IRINA ROMASHEVSKAYA Photography John Caballero

A

ndres Angel Prada is a soft spoken Colombian born and New York-based artist with an air of mystery around him.

His approach to art could be described as a combination of spirituality, spontaneity and unconventional wisdom. Prada’s latest collection of paintings is a step beyond the regular format of two-dimensional fine art: the paintings can be rolled, moved or folded, allowing for a greater flexibility in both shape and interpretation. I met Andres at his studio where he creates most of his work, and had a firsthand experience of his new artistic project.

Why did you choose art? What led you to this decision?

I started out in 2010. In many ways I have always been appreciative of art. My family is full of artists; there are composers and painters, my mother is a singer. Growing up I felt I wanted to follow this career path, but ended up studying finance. I had a moment, when I was completely confused and didn’t know what to do with my life. I had so many things I wanted, but none of them really fulfilled the void inside. And so I struggled being in one way or another. I had all kinds of different jobs, but neither of them felt right. I am a very energetic person and very social. I needed to find the way to merge that energy into something. The paintings were the answer. I needed to breathe. It was the beginning of another way of expression.

How would you describe your painting style and technique?

It’s very hard to speak for my own work. It’s so beyond even my own understanding. I’m just happy to be able to produce it. It’s really abstract; there are a lot of emotions in it, and it’s very difficult to describe an emotion. Sometimes it’s pain, sometimes it’s love; there is some sort of anger – there are all different kinds of feelings. I think my work is different in its evolution. I work with different sorts of materials. I’m painting with my special technique of drip paint on canvas. I use spray cans, watercolors and a lot of tempera. I like to mix those mediums and see how they behave together; I like looking at them as they take a life of their own. There is always an element of experiment in my work. I don’t have any boundaries in choosing my technique or materials; I simply decide what’s supposed to be done at the moment or I listen what the NU-MODE´ THE AWAKENING A/W 2013 .94

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Andres prada interview

“I’m a big follower of all kinds of different artists, but mostly modern artists and the way they express simplicity. I think that to find simplicity you have to explore. You have to go through a jungle of complexities and feelings, objects and things to then decide, what is really simple.”

painting is asking for. I can compare my work process to a dance, and in that dance there is harmony. I try to find harmony as much as possible; harmony is very difficult because it has so many elements, it’s almost unreachable sometimes.

What does art mean for you?

What role does the artist have in society?

I think artists are essential in society. They are the ones that are able to have the sensitivity. They sense what currently happens in the world and foresee changes and evolutions. It’s because of that sensitivity they are able to grasp that much more. As an artist, you transform the common thought of society into art using your own language, be it paint, words or marble. In the art we also allow room for interpretation and open windows for people to breathe. We are able to make a beautiful allegory out of a grey day and bring hope to a lot of people. In that way, art is a print of society’s history.

How has your work evolved since you started?

My first exhibition was called “Fractal Integrity”. I felt like a free bird as a new artist. I had the composition, the colors, the energy, the

Which color direction are you taking right now?

Metallics and gold. Gold is a primary color in my work right now. There is gold everywhere.

There is 24 carat gold, and acrylic that looks like gold, or sprays, or even gold leaf for small pieces. Gold is also a representation of value, both visual and monetary.

How would you describe your work process?

I paint while listening to classical music. When I paint, I paint nonstop. I would have days when I’d have no sleep and would continue painting, painting and painting. That’s how I created my first collection in 2010.

Who are your favorite composers?

Handel, Mozart and contemporary Welsh composer Karl Jenkins, whose “Allegretto” inspired one of my works.

Could you name three artists you admire or would like to be compared to?

Some of my paintings can be compared to Jackson Pollock, and some to Wassily Kandinsky for the similar use of circular motions. I admire many artists, such as the surrealist work of Vladimir Kush, which makes you think of objects as so transformable, like a table that can be made into an oasis.

everywhere I look. I’m fascinated with human behavior and psychology, and how we interact in this world. If you really pay attention, there is such a stream of consciousness that connects us all. So I like to study that. I read all kinds of information in different kinds of forms: fiction, philosophy, mathematics, psychology.

There are some books that I will read to a certain page, and it would lead me to something inspiring. I think the most important in life is learning from people and their actions, learning how people really behave. What drives me crazy? Perhaps, authority. I think authority and limitations are two things that I hate the most.

That is probably why I like to use big format for my paintings, because it doesn’t restrain my expression and allows me to explore.

What are you working on right now?

I’m exploring an idea of using two sides of the canvas to display my work. I like the concept of using canvas on both sides. I think the idea of having the paintings to be more free-flowing, more three-dimensional is really exciting. You are able to be a part of the painting, there is no restriction between a wall and a painting. It’s like a painting can be alive. I feel that some of these paintings have their own personality, their own life and entity. I enjoy working in an organic way, shaping my canvases to fit my imagination. This piece is pretty much an experimentation, which can be recreated over and over again. I’m also currently working on a commissioned piece titled “Rose Window”.

What would be your dream project if you had the opportunity to do anything?

I’d paint entire town gold! I’d be interested to have my artwork in the public space, painted on walls, windows, and arranged as sculptures.

What makes you angry and what inspires you in life?

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ART

Art is the way I live my life. It’s something that allows me to express myself entirely and more so. More so, to the point of being able to be surprised with the things that are evolving through my work. But I try to be as humble as possible about my work. I feel that for an artist it’s important to have real respect for his gift and not to take it for granted. It’s hard to be an artist. And it’s hard to be an artist talking about being an artist. As an artist, I just feel and paint. This is the freest way of expressing myself. Art is similar to writing, but in writing you are limited to words to a certain degree.

I’m a big follower of all kinds of different artists, but mostly modern artists and the way they express simplicity. I think that to find simplicity you have to explore. You have to go through a jungle of complexities and feelings, objects and things to then decide, what is really simple.

To me, simplicity in art is what works. When I see my paintings, I see a lot of energy. The energy of the time.

structures, some mathematics and some philosophies in my work. Inspired by Tibetan flags, I mostly used primary colors in the beginning.

My following collections were a continuation of my previous exploration. When I see all the pieces together, I feel there is a composition that continues to evolve. There is the same kind of work in layer after layer, after layer, until you are able to see a whole concept of it all.

There was a lot of circular motion and energy in the beginning of my work. Gold movement came later. Most of the backgrounds in the early pieces are white, but with time they move towards black and grey.

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Dress Roi Gadasi Photography Florian Maas Make up artist & Hairstylist Miri Ben Shimol Model Danielle Liberman at Passion Management Tel Aviv

DESIGN

Designer patrick li

BLENDING DYNAMISM AND STRUCTURE. Interview IRINA ROMASHEVSKAYA

For a relative newcomer to the fashion industry London-based Patrick Li is incredibly grounded and determined to succeed. After a couple of successful stints at avant-garde power houses of Hussein Chalayan and Victor & Rolf, Patrick set off on his own journey, becoming one of the most promising young designers to watch. Blending architectural lines with a subtle color palette, he successfully creates a modern aesthetic, a unique vision that redefines the way women of today aspire to dress.

Tell us about your fashion background. What was your journey into fashion?

I have basically gone through the traditional route of fashion education and completed a whole seven years of fashion studies. It was a long but rewarding journey. Growing up I was always drawn to arts and crafts – anything creative really – I knew it was something I was good at and it felt great doing it. It was the stimulating and glossy images in the fashion magazines that gave me the idea of giving fashion a go, but it wasn’t something that crossed my mind at first. I took a foundation course in art and design at LCF (London College of Fashion) and tried out different disciplines in alternative creative areas. I thought of becoming an artist and graphic designer, but at the end I came to study fashion and have never looked back.

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DESIGN

“Architecture is one of my main concept references. I am especially intrigued by the work of Zaha Hadid and Frank Gehry. I really like the bold structure and the serene feel of Zaha’s projects and the abstract rhythm in Frank’s work.”

Tell us about your work with such heavy weights of the avant-garde fashion as Hussein Chalayan and Victor & Rolf? What did you learn from working with them?

What was the inspiration of your latest collection?

It was such a privilege to intern at Viktor & Rolf and Hussein Chalayan.

Gaining insights into how fashion houses are run were eye-openers for me. Both houses worked extremely creatively in terms of the design process. I learnt how to work and communicate effectively within a team at Hussein Chalayan. It was an exciting time there that season, he was experimenting a lot with laser and Swarovski crystals, and it was fascinating to see technology applied in fashion. At Viktor and Rolf I worked with the womenswear and the atelier teams, where I sharpened my design skills and, interestingly enough, also learnt how to make amazing Dutch salads, as all the interns had to take turns making lunch!

For the Fall/Winter 2013 collection I was initially inspired by the ‘Shadow Catchers’ exhibition at the Victoria & Albert Museum, especially the work of Garry Fabian Miller. I found the use of singular lighting intriguing and the images both impeccable and sensual. The collection aims to capture the subtlety of the light shining through the darkness. Incor porated into the dark colour palette, are contrasting textures in leather, velvet and wool, adding depth and dynamism to the collection. I also took inspiration from the work of Zaha Hadid. The bold structures in the architecture provided a stimulating starting point to development of the collection. The sharp and striking asymmetric cutting for F/W13 also incorporates bias seams, adding an organic touch and a strong contrast against the geometry.

Do you find it difficult to find the right balance between conceptual and commercial sides of fashion?

What can we expect from you for Spring/Summer 2014? Can you give us a few hints?

I struggled to balance between the two whilst still at school, where creativity mattered above all and commerciality was the last consideration.

However, I found a way to balance both harmoniously by constantly thinking of the women that would be wearing Patrick Li when designing a collection.

I am working with a lot of bright colors this season, and asymmetric cutting with bold graphic shapes.

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Designer patrick li

What is your favorite part of the job as a designer?

What inspires you the most in your work?

I enjoy the designing and creating part of the job; seeing a collection finally coming together, seeing the clothes on the models is the most rewarding feeling to me. It would be great to just fast-forward the long development process though.

Architecture is one of my main concept references. I am especially intrigued by the work of Zaha Hadid and Frank Gehry. I really like the bold structure and the serene feel of Zaha’s projects and the abstract rhythm in Frank’s work. I also find photography and fine art installation inspiring.

Can you describe your work process? What is your preferred way of work?

A lot of my design work comes from drawings. As a starting point, I find a few key images to capture the direction and mood of the collection, and then draw the ideas and shapes down, and after that sample and work in 3D. What is your favorite color palette?

I don’t have a favorite color palette per se. It depends on the season, I suppose. I used a lot of pastel colors and rich dark hues in the previous seasons.

In your opinion, what is the most important item in every woman’s wardrobe?

That would be a special day dress. I think every woman needs a special piece to wear during the day.

Can you share your future plans with us?

I am planning to show on schedule in London and expand the label to the US and Chinese markets in the upcoming seasons.

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DESIGN

“The collection aims to capture the subtlety of the light shining through the darkness. Incorporated into the dark colour palette, are contrasting textures in leather, velvet and wool, adding depth and dynamism to the collection.”

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Jumper Addison Story Accessories Antonym NU-MODE´ THE AWAKENING A/W 2013 .116

Aja Frary & Kimberly Shannon Murphy interview exclusive

A Tale of Two Stuntwomen WORDS John Mark Photography Daniel Rampulla

At the 2013 Taurus World Stunt Awards, Aja Frary was nominated for Hardest Hit and Best Stunt by a Stuntwoman while doubling on Columbia Picture’s Premium Rush. During her photo shoot at our Midtown Office, she showed me a behind-the-scenes video of the notorious stunt.

At the helm of a fixed gear bicycle, Frary speeds towards an overturned barrel, which stops the bike in its path and sends Frary flying over the handlebars. Without wires, she tumbles across the pavement. Though it happens in a matter of seconds, the skill and preparation required for a perfect and safe execution of the stunt are unimaginable.

Sweater Primary New York

Frary was a professional athlete long before she was a stuntwoman. “I went to college on a scholarship for track and field, that was my background. After college, I moved to the Olympic Training Center in San Diego and continued to compete at a National level for several years, until I got injured.” As Frary explained, with every intention to return to her track and field career, she decided to take a short hiatus in New York City to visit family, rest, and heal up from her injuries. That’s when her path took a very different turn. A track and field friend introduced her to his brother, a stunt coordinator, who thought she would make a great addition to the stunt team that was filming American Gangster at the time. Frary in hindsight still only saw the opportunity as a hobby, until a short while later that same stunt coordinator, Stephen Pope, pulled her aside, “He was like, ‘I am telling you- if you stay, you’re going to do really well.’ I didn’t realize at that moment the opportunity being handed to me, that this business could actually be a career… Something you can grow in, that will embrace you as an athlete and a woman. I feel so grateful to have a career where I get to embrace those two things.

Staying in New York and pursing this world was definitely the right decision.”

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S

hattering glass tables, vaulting off buildings, spinning out cars, and fighting for Hollywood’s A-list actresses are all in a day’s work for Aja Frary and Kimberly Shannon Murphy.

While their backgrounds and beginnings in stunt work are different, both of these women belong to the most physically demanding occupation of the film and television industry. It is a job of epic proportions, fitting to Frary and Murphy, whose fearless abandon into their craft has rewarded them with a most impressive body of work and versatility in the industry.

Aja Frary & Kimberly Shannon Murphy interview exclusive

CULTURE

Kimberly Shannon Murphy’s entrance into the stunt world was that of an acrobat. As she explained, “I was a gymnast and a dancer growing up, and I started performing, doing circus stuff. I did silk and hammock, and I had a couple acts that I did. I traveled the world doing that before I started getting into the stunt business. I got a call from this coordinator to do this movie that was a lot of wire work, gymnastics, and kind of everything that I did.” It was the movie that threw Murphy right into the fire. Shortly after that phone call, she auditioned and was hired to double Uma Thurman for nine months in My Super Ex-Girlfriend. “It was my first film, and I pretty much haven’t stopped working since.”

A native of Long Island, Murphy grew up with three sisters and a father who served as a Marine in Vietnam. “He raised us with that toughness,” she shared. It’s a toughness that is put to good use, as Murphy explained.

“In stunts, women are tougher than the men are, because we don’t get to use pads when we’re doing stunts--we’re often half naked.” Murphy’s strength is wonderfully dichotomized by the career she has built as a double for some of the most beautiful women in Hollywood. A gorgeous blonde herself, Murphy has over fifteen film and television credits solely dedicated to her stunt doubling of Uma Thurman, Cameron Diaz, and Emily Van Camp.

When asked about her most challenging stunt, Murphy shared, “I doubled for Cameron Diaz on Knight and Day. We did a lot of motorcycle work and trick-riding without helmets on and with live animals. That was definitely the most dangerous. If something goes wrong… you know.” It goes to show that stunt-doubling a star on an action movie requires much more than a resemblance. Murphy has had to learn to do it all, from vehicles, to fight choreography, to high falls, and everything in between.

Versatility is very important as a stunt performer, and Aja Frary’s favorite part of the job. “Sometimes you’re doubling, sometimes you’re playing yourself and quite often you’re doing both! I pride myself in being a well-rounded stuntwoman. [Before stunts] I was a heptathlete, which is seven events over two days. I’ve always loved being versatile.

I really enjoy training in everything that encompasses the stunt world.

Wire work, driving, fighting, even the behind the scenes of editing and camera work come into play when building a fight for your actress or with the director.” Frary, who expressed interest in someday moving to a job behind the camera, loves the idea of spending her life’s career in the stunt world, which has already offered her a world of adventure and as of late, doubling Megan Fox in the reboot of Teenage Mutant Ninja Turtles.

Another facet to the industry that Frary loves is the sense of community.

“It’s a very team-oriented business. I call it the ‘stunt-epede,’ because we all move as one. I worked on Iron Man 3 last summer. I was a part of the fight team, which was a great experience. We had an entire month of rehearsal. You’d go in everyday and work-out, have a great time building these ‘dances’ with your friends, then you get to perform them. It’s a very fulfilling feeling to see all your hard work come together.”

Murphy has found friendship and much more in the stunt community.

“My husband is a stunt man. He just started coordinating, but he’s probably one of the best stuntmen in Hollywood. He gets it. We met on Knight and Day. He’s very humble. He doesn’t talk about the stuff that he does, he does it well, and then he goes home.” A marriage between two stunt people seems like a film in itself. It’s fun to imagine what Murphy and her husband’s courtship might have been like, as they undoubtedly got to know each other flying, falling, and speeding through Knight and Day’s rigorous production schedule.

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“Sometimes you’re doubling,sometimesyou’re playing yourself and quite often you’re doing both! I pride myself in being a wellrounded stuntwoman.

[Before stunts] I was a heptathlete, which is seven events over two days. I’ve always loved being versatile.

I really enjoy training in everything that encompasses the stunt world.”

Dress Carolina Sarria Bracelet BCBG Coat Skingraft Pants Skingraft Necklace Blake Hyland Bra Diesel

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Aja Wears Coat Skingraft, Pants Skingraft, Necklace Blake Hyland, Bra Diesel Kimberly wears Shorts Addison Story, Tank Blake Hyland, Boots Steve Madden, Necklace Blake Hyland & Jumper Addison Story, Accessories Antonym Photography Daniel Rampulla art direction john mark Styling John Mark Make up artist & Hairstylist Amanda Markoya & Edward Reyes Styling Assistant Raquel Zerbe NU-MODE´ THE AWAKENING A/W 2013 .120

Aja Frary & Kimberly Shannon Murphy interview exclusive

CULTURE

“So many people have been my mentors in the industry. George Aguilar gave me my first job, and I’ve been so blessed. I got hooked up with a couple of different actresses who have continued to use me over the years.”

We were able to shoot Murphy on one of her very few days of reprieve, as she was simultaneously doubling Cameron Diaz for a film in Long Island and working on Captain America: The Winter Soldier in Cleveland.

As I sat across from Murphy, chatting as she got her hair done, I could not help but be a bit intimidated. Despite her nomination for “Stuntwoman of the Year” at the Diamond in the Raw awards, her two Taurus World Stunt nominations, and the great wave of demand for her talent and expertise, Murphy remains humble. “So many people have been my mentors in the industry. George Aguilar gave me my first job, and I’ve been so blessed. I got hooked up with a couple of different actresses who have continued to use me over the years.”

Both Murphy and Frary are quick to credit their success to the stunt coordinators and actresses that have booked them, and while these people are justly to be credited, it’s not hard to see why they chose to work with Murphy and Frary. On their respective shoot days with Nu-Mode, we asked them to throw a few kicks and punches for our behind-the-scenes video companion. Even in the intimacy of our photo studio, without plot or characters, Murphy and Frary blew our minds.

Their eyes laser-focused, their punches swift, and their long hair flying, I came to the conclusion that these were not mortal women. My childhood’s comic book fantasies came flooding back as Wonder Woman and Batgirl were real and alive in the room. While it may be unfair for me to objectify these very genuine and level-headed ladies as my own private super heroes, upon thorough research, I’ve come to the conclusion that Stunt Woman and Super Hero are actually quite synonymous.

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Nadine goepfert interview

Textiles into Art. Words IRINA ROMASHEVSKAYA

We often think of textiles as mere clothing materials, not realizing their inherent potential for art exploration and research. Textiles are never truly considered to be an art medium, but German-based textile designer Nadine Goepfert thinks otherwise. Through constant research and collaborations with other artists and designers, Nadine is on her way to change that perception.

“As long as I can remember I’ve had a great interest in traditional textile techniques and craftsmanship, so in my work I constantly experiment with the diverse aspects of the materiality and structure of textiles.

My projects are based on research and conceptual thinking, and in some of them I explore the wide field of eventualities by creating open situations, which form the basis for my textile designs and art installations.”

But what makes textiles so important? Nadine is very passionate about her work as a textile designer: “Textiles are one of the most multifaceted materials known to mankind. I like the idea of having an ability to start at the absolute beginning of a product. When working on a textile, the NU-MODE´ THE AWAKENING A/W 2013 .122

only thing you get right at the start is plain yarn, but it offers plenty of possibilities for interpretation. And this is what makes it so exciting to work with.”

Is textile an art medium or a simple clothing material? This is definitely a subject open for discussion. But Nadine doesn’t insist on her role of being an artist, “I see myself as a textile designer, and not necessarily an artist, although art and philosophy are definitely influencing my work and create the starting point of my projects.”

Working with textiles, like working on any other art project requires a lot of research, insists Nadine. “I have quite a big interest in literature and philosophy, so most of the time I start reading and researching tocreate some kind of a working concept, which doesn’t need to be profoundly elaborate. I try to leave some space for surprising developments or even mistakes during the working process, which will often lead my work in a completely different direction.”

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Nadine goepfert interview

Design

“When working on a textile, the only thing you get right at the start is plain yarn, but it offers plenty of possibilities for interpretation.”

Research, exploration or plain old curiosity are all a major part of working with textiles. “Sometimes I also just get fascinated by the different conditions of materials, such as melting, or techniques which are not necessarily related to textiles, like conservation, and try to find a way to translate those phenomena into textile materials. This method also involves a lot of research and experimentation.” As a necessary compo nent of every garment, textiles are closely intertwined with fashion, and that makes fashion and textiles coexist in a balanced union, providing plenty of room for exploration. “For a few years now research on garments and fashion has been a major part of my work”, adds Nadine.

“This particular research attempts to reveal unconscious givens and prospects in terms of clothing habits, which are not only theoretically implemented, but also constitute the origin for further material explorations.”

The talented German textile designer is known

for both her solo projects and collaborations with other artists, as she clearly enjoys working with others, bouncing ideas from her colleagues and implementing new ways of artistic exploration. “Working with other people can be very enrich ing in several respects. Sometimes it’s just a thought you stumble upon during a good conversation, or someone else’s point of view that sticks with you for a while and inspires you later.” Sharing her experience on artistic collaborations, Nadine adds, “My most recent collaboration was with fashion designer Vladimir Karaleev. Together with the wonderful florist Annett Kuhlmann I created a colorful selection of photographic flower prints for Vladimir’s Spring-Summer 2013 collection.

For “The garments may vary” project, I worked in a close and very inspiring collaboration with photographer, Sanna Helena Berge. This project was meant to capture a certain condition, a moment of a naturally changing object, and included a collection of garments made from a

variety of unusual materials like memory foam, wax and liquid incased in plastic. During the project Sanna and I worked closely on documenting these changes, and I’d have to say it is really important how your thoughts and ideas get communicated within this medium to get the desired results.”

Looking into the future of textiles, Nadine admits, “There is a huge development in smart textiles, which is not necessarily the field I am focusing on at the moment, but something that might evolve as an interesting medium in terms of art.” Textiles are no longer just ordinary clothing materials, but objects of art and technology, filled with possibilities for bountiful research and bound to amuse.

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ART

Takashi Homma exhibition

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NEW WAVES, 2002 C-print with plexiglass 39 ¾ x 49 ½ in / 100 x 125 cm

WAVES OF EMOTION Words IRINA ROMASHEVSKAYA Images courtesy of Takashi Homma & Longhouse Projects

NEW WAVES, 2011 C-print with plexiglass 39 ¾ x 49 ½ in / 100 x 125 cm

NEW WAVES, 2009 C-print with plexiglass 39 ¾ x 49 ½ in / 100 x 125 cm

A recipient of Kimura Ihei Photography Award, Japanese-born Takashi Homma has worked in many genres in his early career including notable magazine and advertisement work. This particular versatility, or rather ability to mix commercial, conceptual and mundane, resulted in an unparalleled use of color and light, which gives Homma’s work another dimension of pure emotion captured on film. His latest series New Waves, shown in New York for the first time, is a quintessential breath of fresh air: numerous ocean landscapes stretched on the walls of the gallery welcoming quietly into their depths. The scenic imagery is both nostalgic and promising; it’s hard to take your eyes off the shimmering sunlight, whispering wind and quivering waves. The standouts of the exhibit also include a series titled Mushroom – a collage of ten different fungi varieties each displayed in a light box – that brought to mind peaceful summers of the long gone past.

Homma’s latest work is currently exhibited at Longhouse Projects until October 26th.

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Takashi Homma exhibition

NEW WAVES, 2000 C-print with plexiglass 47 ¼ x 59 ⅛ in / 120 x 150 cm

NEW WAVES, 2007 C-print with plexiglass 39 ¾ x 49 ½ in / 100 x 125 cm

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Takashi Homma exhibition

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NEW WAVES, 2002 C-print with plexiglass 39 ¾ x 49 ½ in / 100 x 125 cm

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TAKE ME AWAY Photography Amie Milne STYLING Kim Ellmer

Lieutenant Khaki Jacket Leonard Street Low Crotch Pant E.S.S

Ethereal Long Lace Dress Mariana Hardwick Spiral sleeve Charcoal Long Coat E.S.S

Vintage Australian Navy Jacket Camberwell Market Miss Pippa Lace Top Mariana Hardwick

Taol Coat E.S.S

White Bolero Mariana Hardwick

Black Jacket Alannah Hill Songbird Navy Dress Leonard Street PHOTOGRAPHY Amie Milne AT Unsigned Management STYLING Kim Ellmer AT Viviens Creative MAKE UP ARTIST & HAIRSTYLIST Karen Bicchierai AT Unsigned Management MODEL Nikita AT IMG Models PHOTOGRAPHY ASSISTANT Ken Hughes-Parry STYLING ASSISTANT Rosemary Sarr

TEXTURES. Photography EMILY ABAY STYLING Nadene Duncan

top Aje sequin jumpsuit One Teaspoon denim jacket Bassike belt Maison Scotch rings Petite Grand

top Romance Was Born pants Carl Kapp

dress Zimmermann lace Vintage leather and sequin jacket, stylist own shoes Romance Was Born

jumpsuit House Of Elsmore leather fur vest Jennifer Kate Vintage Chantel Thomass black fur stylist own

Vintage French lace top, from The Vintage Clothing Shop jacket & jeans Bassike sweater (around waist) Zimmerman sweater (around neck) Vintage One Teaspoon boots bracelet Peter Lang jeweled earrings & fine bracelets Petite Grand

jumpsuit Romance Was Born sequin top Kate Sylvester mesh

Vintage cape, stylist own crop hooded top & shoes Zimmermann top May lace jeans One Teaspoon necklace Lyn and Tony

Vintage bodysuit & jacket stylist own boots One Teaspoon

white coat Michael La Sordo fur coat Vintage earrings Petite Grand

vest Bassike bib Ellery beaded top Friend of Mine top Romance Was Born

black dress Cirqlate white feather skirt Tristan

top Alice McCall hat Strand Hatters Vintage Chantel Thomass black fur stylist own PHOTOGRAPHY Emily Abay PHOTOGRAPHY ASSISTANT Rhyees Wedes Retoucher Peter Orlik STYLING Nadene Duncan AT DLM HairSTYLIST & Make-up ARTIST Gavin Anesbury AT RP Represents Model Emma Champtaloup AT Priscillas Models

FILM

carine roitfeld & Fabien constant interview exclusive

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Carine Roitfeld in ‘M a d e m o i s e l l e C’

FILM

WORDS IRINA ROMASHEVSKAYA

When former editor-in-chief of French Vogue, Carine Roitfield, embarked on a new adventure, CR Fashion Book, a film crew guided by Fabien Constant followed her every step, bringing to light behind the scene … Mademoiselle C documents not only the birth of the new magazine, but also a transformation that took place in Carine’s life since she left French Vogue in 2011. Being compared to September issue, the movie offers a gentler approach, and a personal take on the fashion industry, and showcases while showcasing a fresh approach to fashion magazine publishing that stays true to Carine’s aesthetic and taste, but brings a touch of spontaneity.

When I met with Caroline for an interview, she had just arrived from the film’s screening the day before, stunning in her understated yet elegant ensemble. Speaking in lightly accented English, she was definitely excited about documentary’s outcome. “Everything started as a joke in a way: we did a scene as a joke and suddenly it became a reality. Everything moved so fast: I’m doing a scene, you see the poster and it’s the day of the screening already.” The camera followed her for four months, but she never really got used to it. “I never get comfortable with the camera, never. And I think not a lot of people are comfortable with it. And when you ask our team – it was a new team for me – oh, you

have to be followed by the director and you have to be cool, everyone was really anxious.” Carine is generally very shy and humble about her work. “I’m not a very good actress, I don’t think, but there were great supporting actors in the film. When you see Karl Lagerfeld or Tom Ford, Ricardo Tischi, or someone from my team like Steven Gun, they were all quite good at explaining their work on screen.”

Balancing her family life with her work, Carine manages to find time for nearly everything, but her job is not an easy one, “[In the film] you’ll see me everywhere, just running, running, running… You see me all over town, at the airport in flat shoes – I’m not always wearing high heels – you’ll see me on set doing pictures and….., so working on a magazine is not always that glamorous. People say that to raise kids and to have a family is impossible in fashion, and I’d agree that it’s not always easy.

I was very lucky not to be working as much when my kids were young.

You will see me with my family a lot, and it’s the first time that you’ll see my husband on screen. My family is very important to me, we are like a block; and I think it’s necessary in this day to have something that you can rely on. My work for the magazine may be beautiful or amazing, but it’s not a reality. So to tell you the truth, sometimes your family can be the only reality you can have.”

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“When you try to please everyone, it becomes boring, so this is a big problem and I quite possibly may be Jeanne d’Arc trying to bring fire to fashion. I try to protect design, I really do. And I think I’m the only magazine, that’s not using a lot of advertisers. We only associate with people that have love and respect for the work we do.” - Carine Roitfeld Referring to her style being called Parisian, she explains, “I was really thinking of this idea of Parisian chic. When people say you look like a Parisian, what does it mean? Is it a dream? Is it Catherine Deneuve in “Belle du Jour”? No. I think Parisians are not like New Yorkers or Londoners for example. [In Paris] the street is not very nice with different people, so you have to be a bit low profile; you have to find something deeper. So the trick is not to show everything, but to see how you put it all together.

Being Parisian is the way you put a perfume on, the way you cross your legs; the way you handle your bag – it’s all of it mixed in together.”

Carine is very proud to have long lasting relationships with her friends and colleagues, and she is also trying to prove that friendships are possible in fashion, “People think it’s impossible to have friendships in fashion. I’ve been very good friends with Steven [Gun] for more than 15 years […], we did a lot of things together, working on Bazaar together, and now we see a huge success of the work we’ve done for our new magazine. So friendship is possible in fashion! I’m very happy [with the film], because I get to finally hear my friends talk about me, and it’s the first time I can say, ‘Oh, someone really likes me, or even loves me!’ It was especially touching to hear Steven, who never shared like this before, to say nice things about me. Karl, Ricardo, Donatella – everyone in the film had to talk, even if it wasn’t a good day [for them]; they all accepted it and didn’t feel betrayed. There are all these people [in the documentary] I’ve known for a long time… I was working with Johnny Versace in the last year of his life, many years ago now; and Tom Ford when he was new, maybe 20 years ago… These people, they are a part of my coutidien. I’m very happy they decided to share and collaborate, and because they are a part of this film, it helps the documentary to be a success.”

Remembering her first fashion shows a few years back in France, Carine confesses, “I always think of myself when I started. There weren’t so many fashion shows like today and I didn’t always get to be invited when I was young. So I always try to bring with me a student or two to see the shows, because with so many magazine editors they have to invite these days, it leaves very little room for people who really love fashion. You don’t hear the clapping, the screaming – but we need these NU-MODE´ THE AWAKENING A/W 2013 .150

people to make it the real show.” Fashion can also be very political; the sitting arrangements at the shows can become problematic at times.

“I think it’s the only business where if you up in fashion, you have to go down: you start standing all the way at the top, then you go down, and when you finally ‘arrive’ – you finish in the first row. It’s very interesting because, even when you are not in the big magazine, which I am now, where do you sit? So when I moved across the Atlantic, I am no longer with the French, I see them seated in front of me […]

Oh, everything changed totally, but I still have a good seat.”

Speaking about the differences between big fashion businesses and the difficulties experienced by young designers, Carine adds, “I think now fashion is a huge business with so many people working in the industry doing their job. On the other side, the bigger you are, the least creative you can be. With designers being forced to do a minimum of four collections a year, you can imagine the stress that comes with it, a lot of stress. How can you be creative for all of the four shows or make an ‘it’ bag for each season?” But it’s difficult to disregard the importance of big companies making fashionable clothing more accessible.

“Karl Lagerfeld was the first one that did collaboration with H&M. It was the beginning.

People don’t realize he opened the door to everyone, and it became a part of H&M.”

It’s a complicated relationship between magazines….

“Magazines want to please advertisers. Advertisers are really important and we can’t live without them, but it’s very difficult to please everyone. When you try to please everyone, it becomes boring, so this is a big problem and I quite possibly may be Jeanne d’Arc trying to bring fire to fashion. I try to protect design, I really do. And I think I’m the only magazine, that’s not using a lot of advertisers. We only associate with people that have love and respect for the work we do.

I think working in a magazine is like having a dinner, so you can invite a lot of people at the same time who enjoy working together and respect each other: one iconic designer like Karl Lagerfeld, someone very new like … Desson, or an iconic model like Linda Evangelista, an aspiring young photographer… I think it’s the way you mix everyone together, and this is what I want to do with my magazine.” … “But it’s very difficult to refuse money today, and

refuse certain people, because you don’t want to mix people that create and people that copy the creations. I appreciate the work behind big fashion brands, but I don’t think it’s design.”

Carine is known for a very particular style that many tried to emulate, but this time she is going to make it different. “For ten years, I was working in the big magazine, but now I make my rules. I decided to have my advertisers listed in alphabetical order – it was impossible for everyone to be listed first – so if you are a Yamamoto you are at the end and if you are Altuzarra – in the beginning. And finally, I have no problems. […]There are so many magazines today, and if we a new magazine, we are going to do something different, open new windows.

The other way to think of it is the idea of transmission: we are going to transmit our vision to others and we are going to say something new.”

“People are going to compare it to the September issue because it’s a bit of the same idea, I think, but to see both sides, both films, is very, very different. But one thing is common – passion. We have to work and we have to really love it, and if you love it, there is always a dream behind. It is so difficult now to be a designer that doesn’t belong to a big group: how do you find a slot to show or have a picture in a magazine? It’s very difficult [to be a young designer], so if you can help these people to be the big names of tomorrow – it is the best thing you can do in fashion. And that’s what I’m trying to do in CR.” She creates her magazine with ease and impeccable taste. “I’m a very spontaneous person, so you can see that this issue is very spontaneous too, not everything is perfect. The spontaneity, that’s quite fresh, compared to all the big magazines and I hope you will fell this too.”

Fabien’s recollection on the beginning of the film was inspiring, “I’ve always known I wanted to tell something about Carine’s amazing life. I also wanted a real story; a narrative story with an A and a B, and everything happening in between those two points. And the creation of the magazine was the perfect reason for that. Since I knew that Carine has no boundaries between personal life and professional life, I was certain doing a personal story about a woman behind a magazine will be more interesting, than just doing a story about a magazine. But to be honest, I didn’t

carine roitfeld & Fabien constant interview exclusive

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carine roitfeld & Fabien constant interview exclusive

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-Fabian Constant

expect to have so much access into her personal life. I also didn’t expect her to be obsessed with babies… Even if I knew that Julia was pregnant, I didn’t realize at the beginning it would end up to be the main story of the movie. [So as a result] it’s the movie not just about the creation of the magazine, more of a portrait of the woman behind the magazine.

It’s not necessarily a biographic portrayal – I really don’t go through the biography in this film – but a portrayal of a woman working in the fashion industry, having her life change and moving from Paris to New York; from being used to being the owner of the magazine, from being a sexy woman to be a sexy grandma.”

Mademoiselle C has already been compared to September Issue on numerous occasions, but Fabien insists on quite a few differences between the two, “I love September Issue, but I would say it’s the movie about the same subject shown in a different way – like positive and negative spaces in a photograph. I don’t know Anna personally, but you can tell she is a brilliant politician, a hard worker, and a very clever woman; however, it’s not so easy to see who is the real woman behind those sunglasses. Carine is really the opposite: she is very sweet and she is also very reachable, you can talk to her, she says hi to everybody, and most of all, she hates meetings – she is on set doing pictures and that’s what she likes. Carine is really polite and focused, And this is the way she is in the real life and everybody in the fashion world knows that. So everybody around her is quiet too and trying to do their best for her. So it was not about fashion clichés, but about those creative people trying to bring more beauty into the world, sharing their point of view and making a difference.”

Describing their working relationship during the shoot, Fabien adds, “The way we worked is that I would ask for a schedule to see what they do in the next few days, and I’d decide if I wanted to be there with the camera or not. And there wasn’t a time when Carine said ‘no’ to me. She really played the game. I don’t think she even realized she was giving so much. Going through everything in the editing room after a long day of shooting, I realized that I had a lot of very personal things, more personal than I thought. When Carine was talking to the camera, she really was talking to me; she needed to see my eyes behind the camera. She really trusted me, because she was not used to the video camera and, to be honest, didn’t like it so much. What I didn’t expect and [what I happened to] love as the result of that is, every time she talks to me in the movie, she also talks to the camera and the audience. She looks into the audience’s eyes – something that you usually try to avoid when doing a documentary – and creates a link between herself and the audience.”

Talking about his impression on the fashion industry as a whole, Fabien notices, “May be the reason why I love fashion so much is because it’s a bunch of funny people! They are interesting [personalities] that speak multiple languages […], travel the world, and it’s always about what’s next with them. They are cultured, and, yes, they can also be very superficial, looking for the next It bag, but whether they are on set with Carine or working in the office, they all work together for the same purpose of creating a picture. And I love that!”

Finding a right picture for the poster proved to be a difficult task, “When shooting a documentary you have the tiniest team ever, [it was] just me and my sound guy; I had no photographer and no stills from the set. So I had to go through a process of finding [suitable] images for the film, but they are never as good as you want [them to be]. When I found this picture of Carine shot by Karl Lagerfeld, I was completely obsessed. It tells more about Carine than any other picture of her and you can barely see her [in it]. But it’s 100% her and even beyond this.” Talking about the poster she adds, “I like this picture because you can’t see me too much.”

Mademoiselle C is screened in select movie theaters…

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“Carine is really polite and focused, And this is the way she is in the real life and everybody in the fashion world knows that. So everybody around her is quiet too and trying to do their best for her. So it was not about fashion clichés, but about those creative people trying to bring more beauty into the world, sharing their point of view and making a difference.”

ART

John reuss A MODERN DAY ARTIST WORDS IRINA ROMASHEVSKAYA

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John Ruess interview

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A self-taught artist with a degree in computer science, Germany-born John Reuss is one of those rare individuals whose work is so profoundly emotional it touches the soul. Deeply talented and incredibly humble about his work, John shared his thoughts and struggles with Nu-Mode, giving us an insight into what it takes to be a modern day artist.

the art world. Strangely enough, I could never really stop painting – even if I didn’t show my work to anyone. Finally in 2007, after a longer break when I tried to stop painting entirely, I decided to show my work again and from there on things started happening for me! I got into juried shows, got a gallery deal and did some really great solo exhibitions... And here we are!

How did you become an artist?

Would you say your background in design & pattern development influenced your work as an artist?

Being creative, drawing and painting is something that has always been in my nature. In fact, I used to be extremely shy about my work and didn’t feel comfortable showing it to anyone at all. Eventually I did and had a couple of exhibitions that followed with year-long breaks from

In general, I think that anything I ever did in my life played some sort of a role in my work.

I’d say the design & pattern development as well as the graphic design & layout in some

terms satisfied my fascination with geometric rules and concepts. And I do think it has carried through to the work I do today. I often integrate very clean, geometric shapes and monochromatic blocks of color in my work. One of the things I’m very fond of is clashing sharp-edged geometric shapes with soft organic figures.

How would you characterize your work?

Existential is the word that first comes to mind.

A lot of my inspiration is grounded in what you may call existential doubts. I’ve heard my work being labeled as “Existential Surrealism” or “Psychological Realism”, which in my opinion covers it pretty well. In general, my work is about that inner world where everything is NU-MODE´ THE AWAKENING A/W 2013 .155

John Ruess interview

symbolic of psychological and cognitive processes of my art figures.

And I think aesthetically, my work is characterized by the juxtaposition of opposites on several levels: from the elements in the pictures, to the way I work with color.

What is your favorite medium and signature painting technique?

I started painting at the age of 10 using oil paint and continued using it well into my teens. Somewhere along the way I also discovered acrylics, and now they fit my style and temperament in a much better way. When working with multiple layers, especially when working intuitively, it’s really nice that the paint dries fast. So for the time being my favorite medium is acrylic paint, but I wouldn’t rule out taking up oil painting again. I’d say that my signature style is probably my layered use of multiple techniques, the most prominent mix being traditional brush work with spray and a lot of drawing.

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How do you find inspiration for your work?

A lot of the inspiration comes from the work process itself, as I keep on adding layers, removing or adding elements once again. I see my way of work as an exploration or a dialogue. Getting lost in the work, letting the work talk to me and respond without having a conscious thought; not knowing which layers or details come into play – that is really where the magic happens. The great thing about getting inspired through the process is that even if I feel stuck creatively, I just have to start drawing and adding elements and the cogwheels start turning! I find that words often inspire me: terms, idioms, things people say, poetry, lyrics and various books… I am also very interested in certain areas of psychology and philosophy as sources of inspiration. Visually, I’m very much like a sponge; I take in surfaces, shapes, structures, etc. I love architecture, sculpture – and really anything that catches my eye on a daily basis.

Often I recognize certain elements in my work from something I saw maybe months or years ago.

Can you describe your work process? What is the starting point of each painting?

In the beginning, I prep the canvas with a mix of paint and an assortment of mediums to give it a muted grayish color and a texture that lets charcoal and pencil drawings stick on top of the paint. I always start with a sketch directly on the canvas and then I add layers of paint and more drawings. I paint and draw my subjects from numerous angles, adding and removing elements as I go. This is also how my figures turn out so weird, with multiple and/or missing limbs and features. I don’t plan a complete picture in my head and then replicate it on canvas. I sort of discover the picture as I work: I apply paint, work with charcoal and pencils on the painting and it “talks” back to me, I respond and the cycle continues. Sometimes things emerge almost by accident. In fact, I’ve discovered that the more lost I get in the work and the numerous layers of my paintings, the better the end product gets! Once I feel the work is close to completion, I usually finish it by cleaning up certain areas, filling in small details like highlights and reflections. The funny thing is that, since I work in a cyclical manner, I often rework my “finished” pieces – even if they’ve been already exhibited – sometimes years later.

However, this way of work makes it very difficult to deal with deadlines, as I never know if a certain piece will take me three weeks or three months to complete.

What does it mean for you to be an artist?

For me being an artist means you have a strong urge to communicate, to reinterpret all of your life’s experiences, emotions and thoughts. Being an artist is a constant process, an ongoing quest for insight in your subNU-MODE´ THE AWAKENING A/W 2013 .156

“Being an artist is a constant process, an ongoing quest for insight in your subject matter, refining and expanding your skills and technique, evolving your concepts; a compulsion to create your art even if it’s not being exhibited or purchased.”

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John Ruess interview

ject matter, refining and expanding your skills and technique, evolving your concepts; a compulsion to create your art even if it’s not being exhibited or purchased. Being an artist means that you do it for you, because you can’t imagine yourself doing anything else. For those who feel compelled to create art: work, practice and experiment as much as you possibly can. Use you insecurities and doubts as a driving force to keep getting better and better!

What was the best compliment you’ve ever received?

I remember two compliments that really stuck with me. One I received from a collector a while back, who told me he didn’t really feel that my paintings were his to keep, that he expected to hand them over to a museum some day. The other compliment was paid to me just recently – being told that I was one of the best contemporary artists in Denmark.

I know that’s hardly true, I’m still refining and evolving, but it made my day none of the less! In the last few years I’ve also started receiving fan mail, which is a huge compliment in itself and it makes me very happy!

Can you tell us about your “Please destroy this” project and collaboration with visual artist Jacob Juhl?

Tell us about your artistic plans, dreams and upcoming exhibitions.

As far as my work goes, I’d like to continue to evolve and expand my technique, both through experiments and collaborations with other artists. As for dreams – not having to do other work to make ends meet is one of them. Doing some large scale projects like murals could be another one. And more exhibitions outside Denmark – I’d really like to go back to the States, maybe New York City in the near future? www.johnreuss.com NU-MODE´ THE AWAKENING A/W 2013 .159

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The “Please Destroy This” project came about in a bit of an odd way.

In 2010 Jacob Juhl and I both got admitted to one of the most important juried shows in Denmark. At that time we had never met, but did however see and like each other’s work. Two years after the show I received an email from Jacob suggesting some sort of collaboration. We agreed with the initial notion that, although we work in very different ways, there would be some sort of kinship in the subject matter. So we set up what so far has been our only face-to-face meeting, and within a few hours we had loosely laid out the guidelines of our project to be. The final details were discussed via e-mail and we slowly began our work.

The guidelines were pretty simple: the format of the pieces had to be A3, with all sorts of mediums, techniques and alterations being allowed.

Each participant would receive art work from another artist and could do anything he felt like – from adding subtle details to ripping it apart or even burning it – whatever it took to make it work; and then he’d have to send it back! The only rule was that the one who worked on the painting last could not claim the finished piece. So if I received a piece, I’d either call it finished or I’d work on it and send it back. The interesting thing is that even though we virtually never spoke or met, it didn’t take long before some sort of common language emerged in the process. All in all, I’m pleasantly surprised that a project that started off as a vague idea, a “play date” between two strangers, has developed into something so interesting and inspiring! In fact, we are both getting increasingly serious about the project and looking to turn it into an exhibition, showing both the finished artwork and possibly some sort of documentation of the work process.

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a moment with shaun Ross

THE HEART

SOUL OF Shaun Ross

RYAN PFLUGER PHOTOGRAPHS THE MODEL PIONEER WITH HIS FAVORITE PEOPLE, ANIMALS, AND IDEAS. WORDS John-Mark

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he career of Shaun Ross is notably focused on a way he is different. As the first internationally successful male model with albinism, Ross is a hero and an icon for his community.

He is most often photographed as an otherworldly vessel for couture and while his uniqueness surely deserves to be celebrated, for his editorial at Nu-Mode´, we wanted to focus on the ways in which Shaun Ross is very much the same as you and me. I met with Ross at his favorite Italian spot in Soho, a small but delicious piece of real estate, with just three tables, and the owner at the cash register.

Ross described it as “the best Italian in New York!” He was right. What we discussed over pasta was a simple list of themes. A special pet, a suit by his favorite designer, a Polaroid camera, and then of course, the editorial debut of his precious little brother. It was our aim to create a photo shoot that highlights the everyday facets to the life of Shaun Ross off the runway and away from the cameras. Simply Shaun Ross.

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AND

a moment with shaun Ross

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“I feel like instant film really captures the soul.”

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a moment with shaun Ross

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“I’ve always wanted to be a voice for something amazing.

I’m humbled by what I’ve been able to accomplish, to be able to educate and be a voice for those living with albinism.”

a moment with shaun Ross

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“I just love Kiki. He’s the best dog. He was named after the Scissor Sisters song…”

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“My little brother motivates me a lot. He’s been through some tough times and I never give up, because he didn’t.”

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THE GARMENTS MAY VARY.

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