Nu-Mode´ #13 "Project 13" The Winter Edition

chad jus patricia

neon martha

wys

vun derks

gosia chamoun

hitch herba alberto

elisabeth aoi zambelli

stray

pedersen kotsuhiroi synchrodogs

NU - Mode´ DESIGN ART & CULTURE

Project 13

Mary-Margaret Henry

The Winter Edition no.13 Photography Vlasta Pilot

numodemag.com @numodemag

chad jus patricia

neon martha

wys

vun derks

gosia chamoun

hitch herba alberto

elisabeth aoi zambelli

stray

pedersen kotsuhiroi synchrodogs

NU - Mode´ DESIGN ART & CULTURE

Project 13

Somalia Knight

The Winter Edition no.13 Photography jonne johnson

numodemag.com @numodemag

chad jus patricia

neon martha

wys

vun derks

gosia chamoun

hitch herba alberto

elisabeth aoi zambelli

stray

pedersen kotsuhiroi synchrodogs

NU - Mode´ DESIGN ART & CULTURE

Project 13

Hannah Nesbitt & Colette

The Winter Edition no.13 Photography bonnie hansen

emilyabay.com

emily abay photography

N U - M O D E´ LATOYA P. HENRY EDITOR IN CHIEF & CREATIVE DIRECTOR FASHION & ART DIRECTOR Irina Romashevskaya

t

h

e

c

o

v

e

FASHION EDITOR RENESSTA OLDS FEATURES & MUSIC EDITOR ALEXANDRA STEVENS Social Media & Web content Editor Arielle Chambers Contributing Art Editor Vera Shaban Contributing Writer John Mark Interns Kyrsten Bates PHOTOGRAPHERS BonnieHansen .

Jus vun . vlasta Pilot JD Barnes . Drew Wheeler . Eugene Shishkin valeria mitelman . breanna nichelle . Jodi Jones Jonne Johnson .

Mae Richards

Mary-Margaret Henry wears. scarf Dominic Louis ear muffs Baby Phat Photography Vlasta Pilot styling Christine McLaughlin

STYLING Nicole Adler . olivia marie . Ivana Martyn-Zyznikow Hangna Sohn Koh .

Michael Stallings Renessta Olds .

Britt Layton valerie oster . Christine McLaughlin . Christian Riley MAKE UP ARTIST . HAIRSTYLIST & Nail Artist Samantha Patrikopoulos .

Jessica Hunt anthony payne .

Katalina Mitchell Angela Ivana . Cass Lamar . Hiro Yonemoto Ta Ming Chen .

May Eng .

Kat Zemtsova .

Caitlin Wooters natanya wilson . sarah marx . Shelby Samaria Team Assistants Alex Mouganis . Julian Burak . Mike Press Jordan Bishop-Smith . AV Wayans . Ayato Yokojima . Amy Cowley . Aaron Chin . Adam Rodriguez

Somalia Knight wears.

Jacket with fur sleeve Wenqi Wen Photography Jonne Johnson Styling Christian Riley

ADVERTISE ADVERTISE@NUMODEMAG.COM SUBMISSIONS & ENQUIRIES Zöe Payne INFO@NUMODEMAG.COM NU-MODE´ MAGAZINE PUBLISHER LATOYA P. HENRY BROOKLYN, NY 11238 T. 7 1 8 . 8 1 2 . 5 8 1 5 WWW.NUMODEMAG.COM WWW.TWITTER.COM/NUMODE Instagram @numodemag WWW.FACEBOOK.COM/NUMODEMAGAZINE Special Thanks To BROOKLYN FOX www.BrooklynFox.com

Hannah wears . dress Arnley ear cuff poms colette wears. top & pant arnley Photography BONNIE HANSEN styling NICOLE ADLER

r

CONTRIbUTORS

VLASTA PILOT saddest person always laughs too much.

vlastapilot.com

bONNIE HANSEN melbourne based fashion photographer bonnie Hansen started her career in the fashion industry working in advertising. She decided to pursue her dream of getting behind the lens instead of being stuck behind a desk and has since proved herself as a professional fashion photographer. www.bonniehansen.net.au

JUS VUN Jus vun is an australian photographer currently based in tokyo, Japan andtravels to Brisbane, australia and Paris, France. He has been to over 25 countries and his favourite color is black.

He is available for fashion, portrait & editorial assignments in Paris, Tokyo, Sydney and internationally. jusvun.com

JD bARNES “JD barnes’ approach to his photography can be summed up in one phrase ““Today everything exists to end in a photograph.” He works from West St Studios in greenpoint, brooklyn.” thejamesbarnes.com

DREW WHEELER my mum always said: “If you’ve got nothing funny to say, don’t say anything at all!” www.drewwheeler.net

EUgENE SHISHkIN London based photographer who adore women, always looks for true emotions and feminine beauty. Currently doing bA Fashion Photography course at LCF. www.eugeneshishkin.eu

13

InSIDE

THIS

ISSUE

editor’s letter Pg.7

a natural Beauty never lies Pg.54

The luminous gem neon Hitch Pg.158

colorful expression Pg.8

creamsickle Pg.63

The integrity of stray Pg.164

chad wys i think That art informs

seeing Double Pg.76

exhibition aoi kotsuhiroi Pg.172

us about each other & ourselves Pg.10

not Disapproved not Promoted Pg.85

seeking a knight Pg.180

Pure connections Pg.17

last call Before The curtain rises Pg.90

une Fleur cachĂŠe Pg. 191

untitled Pg.18

lost in soho Pg.110

Fall classic Pg.196

alabaster Haze Pg.31

simplicity Pg.127

list Pg.204

gosia Herba The most of my work, i love Freedom Pg.44

morington rising Pg.135

interscope italia Pg.51

Dark twisted Fantasy synchrodogs Pg.152

Rafael Kouto

rafaelkouto.com

13

EDIToR’S

LETTER

The beauty of winter highlights textures that lay deep within the surface. As the seasons change we camouflage ourselves with rich textures and multiple layers. Even though winter is usually a time to scurry home with your favorite cup of cocoa, winter is one of the best times to gather inspiration and thoughts. I believe winter is the only season, where you realize the true beauty of things. For instance, the clean sheet of snow that layers over nature’s treasured elements such as, the trees, rocks and soil translating into something that arouses curiosity. Even with manmade fibers like, concrete, bricks, metals and glass, aged to perfection, gather something inspirational for artists, photographers and designers alike. Through texture we’re able to translate emotions, touch and visuals without words, sort of a silent expression. For “Project 13”, it’s a collection of textures expressed through the ideas of the visionary, presenting line, color, pattern and placement, all inspired by texture. The beauty of texture gleams into everything we use, even our own skin. As I thought more about the concept of texture, I never considered how much this peculiar essential effects how we strategize refreshing theories for the next fascinating thing.

LatoyaP Henry latoya P. Henry editor in chief

NU-Mode´ tHe winter edition .13

C

O X

O P

R

R

F

E

S

U S

L I

a

r

t

E

L

P A T R I C I A D E R K S. RED NU-MODE´ the winter edition .14

O

N

Patricia

derks

Artist

Moment

Words arielle chambers

Art serves as a translation of emotion and turns internal ab- development process adds a distinguishable credibility to stracts into physical displays. Thus, artists use the product of Derks’ creations. In evaluating the progression of art, the translating their internal sentiments to express what they feel. painter maintains her personal style. She works with opposites such as light and dark and thick and thin. Her Painter Patricia Derks follows the deeply personal ap- preferred medium is oil and Derks opts for large canvases. proach. She loves to paint and her passion, inherited from her father and driven by the academy, Arendonk, Her most recent series, displayed on her website, is full of exudes on canvas. According to Derks, “in paintings, color and unique expression. Derks uses an array of color you show yourself, the manuscript, the composition, to provide realistic portraits full of emotion. Particular emthe use of color.” So close to her heart, she argues, “[to] phasis should be placed on her ability to provoke feelings paint yourself,” but also interpret others’ perspectives. and thoughts through the eyes of her subjects in the paintIt is necessary to “think about what is going to come ings. The trio, It’s All About Orange,” illustrates three very out, look at what others are doing, [and be mindful of ] different emotions, all with a splash of orange cohesion. what is going on in contemporary art,” Derks explains.

Derks’ exhibitions date back to November 2011, and Derks describes her art process further, stressing the im- she is currently showcasing at the Arts Centre Galportance of planning prior to production. “All investiga- lery Second Weteringdwarsstraat in Amsterdam. tions [should be done] before the paint is on canvas.” The a r t FAMILY AFM 100 X 120 NU-MODE´ THE winter edition .15

artist

C H A D

chad

wys

interview

W Y S

art

“I think that art informs us about each other and ourselves”.

Interview vera shaban

Chad Wys has a very interesting career, which includes the work as a Visual artist, Designer and Writer. Our attention was attracted by how he uses contemporary digital technology to intervene Art History. I tried to find out how it all happened in his life.

come an artist; in some ways it still isn’t clear... I’m quite casual when it comes to art. I’ve always been creative and expressive, but never much of a traditional painter or draftsman. It wasn’t until my early 20s, about a decade ago now, that I realized I didn’t have to be a traditional artist to hone my creative voice. I’ve been experimenting and Recently ended Art Basel, have you attended this event? challenging myself with new methodologies and mediums ever since.

No, I didn’t personally attend. However, my work made an appearance this year at the adjacent Context fair, part of Art Mi- What period in the history of art do you like most? ami--thanks to my representatives at Converge Gallery. From I suppose I’m fondest of the second half of the 19th century. I’ll what I hear it was equal parts excitement and chaos, and a always have a soft spot for Impressionism and the philosophies pretty amazing chance to experience a diverse array of artists. that flourished during that period. Artists broke from tradition in enormously crucial ways and we haven’t looked back since.

Where did you study? Why did you choose a profession artist?

I studied Visual Culture at Illinois State University in the Midwest Please give me three things, which you do not US. That program consisted of an examination of critical theory like in the old high culture of classical art? (philosophy) and art history in tandem, but also visual information I don’t like the absence of female artists. I hate that the oppresin general that influence our cultures. Those academics influenced my sive hierarchies throughout Western culture limited the number of work in countless ways; in fact, during my time as a graduate student women who could study and practice creative expression. It’s madI was inspired to create my first readymade. I don’t know that I ever dening to think about how many great minds we “lost” to time made a clear decision to become an artist. I’ve been passionate about due to male chauvinism. The absence of people of color in the art art all my life, but it was never clear at any one point that I would be- canon is equally alarming. The overwhelming presence of white, Composition 496 paint and glitter on laser print 2014 10.5 x 8 NU-MODE´ the winter edition .16

art

A Painting of Flowers With Color Bars paint on found painting and frame 2014 13.75 x 11.75 x 1.5 NU-MODE´ the winter edition .18

artist

Chad

Wys

interview

hetero-, Christian, male perspectives paints a very specific type of history (pardon the pun). Art history is so important; think about how much greater it could have been if had been open to diversity.

Is it boring for you to look at classical paintings of great artists?

Not at all! Art of all periods speaks to my heart and mind in deeply passionate ways. I can’t imagine living happily without it. I don’t “hate” or “dislike” the images and objects I appropriate, I adore them and I want to challenge the viewer to consider them more deeply.

If I understand you correctly, through your work you are trying to reach to the people figuratively “get bananas from the ears, remove the coins from the eyes and knock on the head”?

Hah! What a great quote. If I understand you correctly, yes, I think we’re on the same page. Most of the meaning of my work exists in the act of appropriation itself. I want viewers to open their eyes and mind wider and consider what art and images mean to them. I want people to start seeing hidden meanings and hidden agendas where visual information is concerned. When they think more deeply about what they’re seeing, and in turn think more deeply about how they’re being influenced to see, they’ll be less susceptible to manipulation.

The Girl With Stars In Her Eyes (white) paint on found bust 2014 15 x 8 x 5

art

I love classical painting, and I always thought that the main thing it’s HOW, but when I you look at your work - the most importantly - WHO. It was so kind of painful to watch your work; I want to ask you why and how did you get this idea? Please describe your genre.

Perhaps the better question is, “WHAT?” That is to say, “what is he appropriating?” I seldom alter an original artwork. The focus of my attention is mass reproduction, and how art and decoration is transmitted and re-transmitted add infinitum through processes of replication. I interfere with reproductions in order to challenge the viewer about the reception of copies and simulacra.

I always thought that classical painting - it is a gift of Muse or the Gods kiss. This is from what may make you feel dizzy when you look at it. Don’t you think so?

Are you asking: do I think art is impulse or divine? I definitely don’t think it’s divine. Nothing is sacred. I think art is impulsive, I think it’s derived from our personal and collective experiences. I think that’s why art is so important: it informs us about each other and ourselves.

Who or what has been the biggest single influence on your way of thinking?

It’s difficult to attribute influence to any one source, but a particular professor springs to mind as important in terms of exposing me to the philosophies and ideas that continue to inform me creatively and personally. Dr. Elisabeth Friedman, of Illinois State University, is a

NU-MODE´ THE winter edition .19

artist

chad

wys

interview

art

“Well, I think both technique and concept are equally important to all art. I think “quality” is too subjective to hold much merit; some artists and viewers problematically attribute a great deal of importance to the precision and mastery of particular artistic skill sets. I think that’s distracting”.

brilliant and kind teacher, and one of the smartest people I’ve had the pleasure of knowing. She’s an instructor in the Visual Culture program at the university and I can credit her with introducing me to critical theory and its influences on contemporary art... Truly vital to my career as an artist and as a responsible citizen of the world.

all art. I think “quality” is too subjective to hold much merit; some artists and viewers problematically attribute a great deal of importance to the precision and mastery of particular artistic skill sets. I think that’s distracting. I think “concept” is also subjective, but I think that’s the point of ideas in general: we all experience ideas differently, bringing different life experiences to our understanding of what various concepts and philosophies mean to us. I think “technique,” or the process behind a work of art can be important and influential to our understanding of the artwork, but I don’t think that’s the same as “quality.” I think it’s too easy to dismiss artwork because one perceives it to be poorly made; look more deeply and challenge the mind to consider what it could mean.

Do you remember your first show and how is your audience perceived your work?

My first show was a very small one while I was at University.

It was a very casual experience and everyone who I spoke with about my work was thoughtful and inquisitive. I’m eager for each viewer to consider my work individually--there is no correct or wrong answer--so I’m never disappointed by the audience’s is of contemporary artists do you like? perception (unless they refuse to perceive my work altogether). Who I enjoy Gerhard Richter because I think the breadth of his oeuvre is In contemporary art is very important idea, but on impressive. I’m quite fond of the Pictures Generation of artists, like the quality of work is often artist paid little atten- Robert Longo, Louise Lawler, Sherrie Levine, Richard Prince, John tion. What is more important for you quality or idea? Baldessari, Barbara Kruger, etc. Plus, countless other contemporary artWell, I think both technique and concept are equally important to ists who are emerging online; I find someone new every day on Tumblr. sculpture With A Spectrum 2 collage on paper 2014 10.5 x 7.25 NU-MODE´ the winter edition .20

NU-MODE´ THE winter edition .21

N G I S E D

Words arielle chambers

“Everything is connected through a thin line.” Martha Chamoun, an emerging footwear and accessories designer uses her theories of connectedness and purity to create her new collection, CONNECTIONWITH. After studying design in Polimoda, Florence, Chamoun implemented the skills she acquired in design school and used them to serve as a catalyst to her product. Purity is a continuing theme within CONNECTIONWITH. The line combines pure thoughts and pure materials to create women’s shoes. Each shoe contains the “super-soft” material, memory foam. Memory foam places emphasis on Chamoun’s desire to create a comfortable shoe. The material also serves as an unconventional material, making CONNECTIONWITH such a unique shoe collection. CONNECTIONWITH projects an overall sports-like feel. Along with the sportswear detail, the collection gives off the soul of Italian classic handmade shoes.

NU-MODE´ the winter edition .22

Featured on CONNECTIONWITH’s website are black and white platform shoes, gray strapped sneakers, and a muted bag. Chamoun paid close attention to detail in each item. A small, cohesive feature of the shoes and the bags is the illusion of foam oozing from various areas. The use of whites and grays also contributes to CONNECTIONWITH’s unique aesthetic. Items in the collection give off complex minimalism, due to the intentional use of pure color in juxtaposition with the intricate detail of the pieces.

The gray and white strapped sneaker is a staple for the collection. It incorporates Chamoun’s vision of purity with the color, gives an athletic feel with the straps, and shows the comfort via memory foam with her use of the illusionary spilling foam on the outside, top of the sneaker. Great for the casual minimalist who pays particularly close attention to detail, CONNECTIONWITH is among the top of show innovation!

MARTHA

CHAMOUN

p C

DESIGN

u O

N

N

Moment

r E

C

T

e I

O

N

S

D E S I G N

M A R T H A C H A M O U N. NU-MODE´ THE winter edition .23

untitled PHOTOGRAPHY Bonnie Hansen STYLING Nicole Adler

Top Shakuhachi Choker nylons

Top Shakuhachi Pant Blesse’d Are The Meek

T shirt Watson x Watson Skirt Shakuhachi Earrings poms

All Shakuhachi Bracelet Au Revoir Les Filles

dress bul necklace poms shoes The Mode Collective

top & skirt Lonely hearts necklace Au Revoir Les Filles

Top Oskar choker poms

top Shakuhachi

Jacket Oskar bodysuit Shakuhachi

bodysuit Shakuhachi Photography Bonnie Hansen styling Nicole Adler make up artist Samantha Patrikopoulos using M.A.C Model Elodie Russell at Chadwick Models

Dress Sarah Hoopes Jacket SCAPES NY

A l a b a s t e r H a z e

PHOTOGRAPHY Mae Richards STYLING Britt Layton

Slip Dress LAKO BUKIA Exterior Dress LAKO BUKIA Fur Headpiece Zamir Furs Socks Topshop

Jacket SCAPES NY Tank Top SCAPES NY Socks Topshop Shoes Marc Jacobs

Top KIELEY KIMMEL Skirt CARLEEN Dress worn as shawl LAKO BUKIA Socks Topshop Shoes Marc Jacobs

Fur Collar Vintage Quilted Tank CARLEEN Skirt SCAPES NY Socks Topshop Shoes Marc Jacobs

Jacket SCAPES NY Tank Top SCAPES NY Socks Topshop Shoes Marc Jacobs

Blue Slip Dress CARLEEN White Dress Arianne Elmy Blazer Suzanne Rae Socks Topshop

Long-sleeve button-up Dolores Haze Tank CARLEEN Skirt Sarah Hoopes Socks Topshop Shoes Marc Jacobs

Long-sleeve Top Stylist’s Own Dress Arianne Elmy Skirt KIELEY KIMMEL Socks Topshop Shoes Marc Jacobs

Slip Dress LAKO BUKIA Exterior Dress LAKO BUKIA Fur Headpiece Zamir Furs Socks Topshop Photography Mae Richards Styling Britt Layton Make up artist Caitlin Wooters Hairstylist Kat Zemtsova

g o s i a herba “The most of my work, I love freedom”.

Vera

Shaban

a

r

t

INTERVIEW

Gosia Herba is multidisciplinary artist-illustrator. Her work includes painting, drawing, graphic designer and comics. One of my favorite works of Gosia it’s an amazing surreal portraits in profile with gorgeous color palettes. She is doing hand paintings on canvas, gif-files, hand-drawn aesthetics, covers for music records, custom playing cards and ceramic illustration designs.

She was born in Poland finished the National School of Fine Arts in Wroclaw and took a jewelry making class. After graduating Gosia decided to study History of Art on the University of Wroclaw. Visual arts and books have accompanied her since she was a child. And her choice of career was almost obvious. Especially illustration for children inspired Gosia to become an artist.

Who is the most important influent for you?

It’s very hard for me to point to specific artist or style. I could go on with a long list; from the Gothic painting and sculpture, Japanese print art, painting of polish artist like Witold Wojtkiewicz, drawings of Stanislaw Wyspianski, colorful projects of Zofia Stryjenska, Frans Masereel’s woodcuts or contemporary comic art by Charles Burns, Daniel Clowes, Seth, Joann Sfar, David B. and others. My pretension of art and human activities in general has changed completely thanks to my studies. So I’d say studying the history of art has molded me. Certainly it was very important for my perception.

NU-MODE´ the winter edition .50

artist

Gosia

Herba

interview

a r t

In A Forest Dark and Deep gouache on canvas NU-MODE´ THE winter edition .51

Gosia

Herba

a

r

t

Artist

Lava Lake NU-MODE´ the winter edition .52

interview

a r

The Girl With Stars In Her Eyes (white) paint on found bust 2014 15 x 8 x 5

t

Illustrator work requires not only boundless imagination and skill, but also a large amount of time and, of course, perseverance. How much time do you spent on the illustrations?

I still learn to work faster. In the event of cooperation with magazines I get a couple of days for a set of illustrations. Sometimes I have only one day for this. Thankfully I have also the pleasure of working for publishers who give me longer deadlines. I’m trying to be flexible but the most important thing is the quality of my illustrations.

What kind of techniques do you prefer to use in your work?

My favorite medium is gouache paint. I also work with ink, paper cutout and Eco line. When making illustrations for magazines I often use a graphic tablet, as it’s a faster way Is it necessary to use a computer, or better still handmade?

I prefer analogue techniques but to be honest computer is indispensable if you want to work in illustrator profession. For preparing printable files for instance.

NU-MODE´ THE winter edition .53

What techniques or materials would you like to explore in the future?

Currently I’m working on hand painted porcelain. I think that I’ll spend a lot of time working on this technique. In the future I would like to make silkscreens. I’m interested on textiles design also.

a

r

t

You work in several directions, which do you like best?

For this moment the most important for me are comic books and children illustration. They are my goals for the nearest future.

Tell us about your project Lava Lake what was inspired you?

“Lava Lake – Festen” is a collection of several objects: paintings on canvas, gif-files, hand-painted porcelain and textiles. What brings them together is a grid motif of red lines that form a vibrating and moving spot. This structure – folded, rugged and slotted – is once an abstract ornament, and another times a base for figurative representations. In this living “fleshy” tissue, there appears a gap revealing the raw surface of the object: canvas, porcelain or textiles. This gap in the pattern encourages the viewer to look beyond the illusion, under the surface of the image. As for the title - the collection refers to movie by Thomas Vinterberg.

And how difficult it is to work with the dishes?

I just paint on ready dishes, which I bought at a porcelain factory. Porcelain is just another basis for my illustrations. Of course this technique is a bit more difficult. Ceramic paint has very specific texture. It entails a lot of patience and precision.

NU-MODE´ the winter edition .54

What

do

F

r

you e

enjoy e

most d

about o

your

job?

m

.

artist

Gosia

Herba

interview

a r t

They’re Sleeping NU-MODE´ THE winter edition .55

design NU-MODE´ the winter edition .56

moment design Zambelli Alberto

design

I n t e r s c o p e I t a l i a.

Words Arielle Chambers Images courtesy of Alberto Zambelli

NU-MODE´ THE winter edition .57

Alberto

Zambelli

design

design

Architectural structuring paired with geometrics and clean lines, decorative garments unique in detail yet still respecting proper subtleties, a minimalist’s dream displayed through an array of black, white, and grays crafted together in mastery: all are qualities Alberto Zambelli’s eponymous brand encompasses.

Zambelli channeled his past experiences to create a line of his own and founded Alberto Zambelli in 2013. Prior to pioneering the personal collection, Zambelli attended the institute Fortuny. He then took his talents to Marangoni and began his working career developing collections such as Dolce & Gabanna, Versace, and Exte’, as a part of the knitting group Itierre. These major Italian companies not only furthered his expertise and allowed him to master his craft, but they also served catalyst to Zambelli’s entrepreneurial intentions.

Upon the conclusion of his collaboration with the lines of prêt-a-porter, Zambelli, in addition to the creative aspect, also played a role in the development of collections and coordinating the product area. Zambelli received recognition for his commendable work in 2007, when he won Fashion Incubator, CNMI’s competition-his first maison, the “Archive Private.”

The designer now lives and works between Lake Garda, Milan, Tokyo and Shanghai.

2013 was Zambeli’s debut year. Alberto Zambelli showcased several high-fashion, womenswear pieces. Maturing with the seasons, the designer has really channeled his aesthetic. Spring/summer 2015 features wide-legged pants paired with extended-length tops, long skirts with jackets, and long, flowy tops with bottoms hitting the knee. He has a plethora of skirts, from mini to floor-length.

The appeal of the line is certainly its eccentric feel.

One gray mini dress in the collection features white octagons with illustrations inside. Paired with the dress are gladiator-like glasses giving a futuristic persona. Spring/Summer ’15 also includes sheer black pieces with various line placements. The statement pieces are must haves. The quality is evident and the material falls on the body beautifully. For a hyper-feminine look, the metallic short sleeve mini dress is essential in any closet. 23 pieces, featuring colors of black, white, gray, metallic blue and pink, are brought together to create Collezioni.

NU-MODE´ the winter edition .58

moment

design NU-MODE´ THE winter edition .59

A n a t u r a l beauty n e v e r lies.

PHOTOgRAPHY VALERIA mITELmAN STYLIST VALERIE OSTER

SHIRT VLADImIR kARALEEV

jacket Stine Goya dress Michael Sontag

raincoat Stutterheim

scubasweater Stylists own

shirt Vladimir Karaleev

cardigan Vintage Galore Berlin top Minimarket

shirt Vladimir Karaleev Photography valeria mitelman Stylist valerie oster Make up artist & Hairstylist sarah marx Model tatiana at m4models

Sweater as a Scarf Loma London

c

r

e

a

m s

Photography Vlasta Pilot styling Christine McLaughlin

i

c

k

l

e

Asymetrical Sleeve Dress Vladimir Karaleev Scarf-stylists own

Dress Vladimir Karaleev Muff a sweater by Loma London Boots Stylists own

Silk dress Tibi Cardigan Sweater Blessed Are The Meek

Wool tank Dress With & Wessel Cable Knit Sweater LOMA London rings Daphine

cable knit sweater LOMA London Tuxedo Pant Malene Birger

Mock Neck Kimono Shirt THIRD

Ivory Kimono Shirt THIRD Wool Tank Dress With & Wessel

Mock Neck Kimono Shirt THIRD

Silk Dress Tibi Cardigan Blessed Are The Meek

Faux Fur Coat Unreal fur Fur Loop Scarf Dominic Louis Wool Dress Malene Birger

Dress Issey Miyake sweater & Boots stylists own

Faux Fur Coat Unreal Fur Wool Tank Dress Enza Costa

scarf Dominic Louis ear muffs Baby Phat Photography Vlasta Pilot styling Christine McLaughlin make up artist Natalie Rey hairstylist Shelby Samaria model Mary-Margaret Henry at Major Photography assistant Alex Mouganis All Clothing available at BROOKLYN FOX

s

e

e

i

n

g

PHOTOGRAPHY BONNIE HANSEN STYLING NICOLE ADLER on hannah . dress Arnley . Ear Cuff poms on colette . top & Pants arnley

d

o

u

b

l

e

on colette swimwear nookie on hannah swimsuit will be . ring poms . shoes ginger & smart

on hannah pant ginger & smart on colette jacket Echoes Of You

all Carla Zampatti

dress Echoes Of You Dress earring Poms

on hannah jacket BC by Bless’ed Are The Meek . ear cuff poms on colette jumpsuit Bec and Bridge

on hannah top Khoon Hooi . swimsuit Will Be on colette Khoon Hooi Photography BONNIE HANSEN styling NICOLE ADLER make up artist & hairstylist Merton Muaremi Using MAC cosmetics and Kevin Murphy models HANNAH NESBITT & COLETTE at SCENE MODELS

NU-MODE´ the winter edition .90

I have never considered myself a particularly active member of the GLBT community. This past year in China, that all changed.

When I first moved to the People’s Republic, I resided in a suburb of Hangzhou. The lack of homosexuals around me appeared synonymous with the lack of foreigners. For the first few weeks, the adventure was sublime. I ate noodles, played basketball with local kids, taught dance lessons, and enjoyed a lifestyle without mention of RuPaul, Donna Summers, or the political endeavors of Carmen Carrera and Laverne Cox. Then it started.

It wasn’t that I wanted to date. More than anything I just wanted an acquaintance to share inside jokes with, someone that could fully understand the hapless luck of the homosexual’s disposition in China.

I soon moved into a new apartment that was much closer to downtown. The day I moved in, I discovered a Chinese smartphone-dating app called “Hornet” that worked on my phone. The users were mostly Chinese, a few older foreigners, but in both cases, there appeared to be a pretty rough language barrier. I eventually managed to meet at a restaurant in the shopping district with a 23-year old named Chen.

As the Creative Director of a mobile game company, Chen has a very busy social life. His circle of friends was large and his circle of business acquaintances was even larger. He has a beautiful office on the edge of one of Hangzhou’s mountains. Its lofted ceiling and large windows make for an inviting environment to Chen’s five employees.

Chen works hard, often staying at the office until ten at night. He feels a great sense of responsibility for his games and his employees.

cul t u r e

I was not actively searching for gays, but what appeared to be an absence of them, began to subtly grate on my psyche. I attempted to download Grindr, but it wouldn’t install properly on my phone.

Every adult man that I met had a girlfriend or wife and a few of my brave inquiries were met with a laugh and a shaking of the head. “We don’t do that around here,” said a neighbor of mine. She had to be wrong. Naturally, I understood that I was living in a culture where GLBT culture would slide under the radar, but I was starting to get anxious. Six weeks passed, and I hadn’t met a gay. Chen’s parents live in a rural town hours from the city. In addition to being deep in the closet, much of his lifestyle is inaccessible to I became obsessed with the hunt. I would over interpret eye con- them. Though he’s quick to express his undying affection toward tact, fixate on body language, and ask every liberal foreigner I met if his mother, Chen described his relationship with both parents as they’d seen or met any men who like men. After six weeks without an inexhaustible questioning of “Are you making money?” and “Do a fruit in the basket, I took to the Internet. An out of date website you have a wife, yet?” Chen became one of my closest friends in forum spoke of a gay bar named Jundu near Hangzhou’s West Lake. China. His ambition was an inspiration to me and I found myself I translated the directions to the best of my ability, but finding that particularly forlorn to discover how unsupportive his family was. bar was impossible. I asked a few locals for help in my rough and tumble Mandarin, but as far as most were concerned, it didn’t exist. The day I met my flamboyant neighbor Todd at my new apartAfter wandering in circles for an hour, I gave up and went home. ment was a tremendous victory. Todd was a British twenty something working in China as an English teacher. It was through I couldn’t help but find the irony in my situation. Two months prior Todd that I was introduced to Hangzhou’s small exclusive gang I had been sitting at a coffee shop in Manhattan, complaining to a of homosexual foreigners. It was also through that group that I friend about how much I hated walking past all the amped up gay managed to find the Jundu bar that eluded me as well as another bars in Chelsea. Two months later I’d have just about sold my dog GLBT hangout called Deeper. (Yes, I know, it’s quite a name.) just to traipse into any one of those sordid Chelsea establishments.

Not Disapproved– Not Promoted words John Mark IMAGES Daniel Rampulla & Jesse Draxler SPECIAL THANKS Cassie Schauwitzer

NU-MODE´ THE winter edition .91

cul

t

u

r

e

Jundu and Deeper were dimly lit. While it’s not out of character for a bar to have low lighting, the unanimous extreme of such ambiance might suggest a focus on anonymity. These venues are clearly important places for the patrons inside. In the city of Hangzhou there are only two gay bars for a population of two and a half million. While social stigmas towards homosexuality have improved between small groups of friends, being open about ones gayness at work, family gatherings, or community events is strictly forbidden.

As weeks turned into months, my circle of friends grew larger, as did my awareness of China’s GLBT community. A friend of mine named Wizard worked in the creative industry as a photo assistant. He is one of the lucky few whose working environment and big city lifestyle allow him to speak more liberally about his sexuality, though Wizard still stays closeted whenever visiting home. “All of my friends in Hangzhou know my sexuality, but back home… two of my teachers and that’s it. One of my teachers figured it out. People can tell it, if you’re really close,” he shared.

An aspiring photographer, Wizard’s family pressures him to move back home and get a more stable job on the regular. Obviously, this would be misery on two fronts. As primitive as I felt Jundu to be, the more I spoke with Wizard and Chen, the more I realized how lucky we were to have even one meeting space for gays.

“I’ll probably marry a lesbian,” Chen said. These lesbian/gay man partnerships have become an increasingly popular way to cope with family pressure. While this fate may fall upon Chen, Wizard would have none of it. “I couldn’t do that,” he shared, “Some of my friends did it and it just got ridiculous. Usually one lives in a separate apartment, but then they are running over andjumping through a back window to maintain the lie when parents come to visit.” Though homosexuals have been suffering through double lives throughout history, it was still hard for me to wrap my head around the plausibility of a sham wedding in today’s world. That was, until the wedding I went to.

NU-MODE´ the winter edition .92

cul

t

u

r

e

e r u t cul NU-MODE´ the winter edition .94

It’s not like we were lovers or even best friends, but it was hard to watch the ceremony. The couple seemed well matched on paper.

Both came from affluent families, both were Shanghai grown, and had a similarly comedic personalities… much like a Will & Grace. Having never been to a Chinese wedding, when my coworker Ling extended the invitation, I couldn’t say no. Ling had never explicitly said it was a sham wedding, but his inclination for cuddling with members of the same sex was truth without words.

ration of church and state, some academics theorize that China will quickly approve gay marriage as soon they see its economic benefit.

cul

In more recent news, the UK Telegraph reported “a British diplomat has become a gay icon in China after marrying his American partner on the lawn of the ambassador’s residence in Beijing.” Although the wedding wasn’t legal under Chinese law, its wide publicity sent a good message to China’s bourgeoning GLTB community. Meanwhile, in Shanghai, transgender choThe wedding was by all accounts, beautiful. Regardless of Ling’s reographer Jin Xing has become a popular television personality personal preferences, it was obvious that he was fond of his bride as a judge on one of China’s beloved X-Factor-like reality shows. and excited about the next chapter of his life. This six hour ordeal began with a well attended ceremony, followed by an endless receiv- During my ten months between Hangzhou and Shanghai in China, ing line, and ended with the packing of two hundred people into a there were many times I felt outraged with the state of things for ballroom set up for dinner. Much like an American wedding, the the gays. This injustice was impossible to ignore, but the Chinese mothers and fathers of the couple ran rampant, directing, schem- people’s naivety to the gay lifestyle was not all bad. A silver lining, and schmoozing. It was obvious that the event was just as ing to the absence of openly gay men is the dually noted absence much for them as anyone else. On a shuttle transport from the of homophobia. Male friends are comfortable being affectionate wedding reception to the hotel, Ling left his bride in the front seat with each other and our brutish western notions of masculinity to cuddle up next to me in the back. It had been an intense day. are not as embedded in the Chinese culture. In China, men who paint or dance instead of sport are seen as intellectuals, not panThough there are still clinics in China that claim to cure homosexual- sies. This is not a victory for the GLBT community specifically, ity with electro shock therapy and hypnosis, there is definitely change but a healthier side of their social culture in general. It will be interafoot. The official government of China has adopted a three-part esting to see how views may change as a GLBT community takes approach to the subject: Not Approved, Not Disapproved, and Not more prominence in China over the next ten years. For my friends Promoted. Some time has passed since a GLBT hangout has been Chen, Wizard, and Ling, change couldn’t come soon enough. “busted” in China and as a government that maintains a true sepa-

t u r e NU-MODE´ THE winter edition .95

Last Call. before the curtain rises NU-MODE´ the winter edition .96

A photographic diary curated by Jus Vun Interview Alexandra stevens

NU-MODE´ THE winter edition .97

photography NU-MODE´ the winter edition .98

ALICE AUAA

Photographer

Jus

vun

interview

Photography

Foodies turn to Japan for ramen and sushi, while pop culture buffs bug out over J-pop and Hayao Miyazaki. Japanophiles can easily rattle off a myriad of reasons to visit the Land of the Rising Sun, but fashion and design inspiration usually get buried beneath bug-eyed anime characters and mind boggling delicacies.

The dedicatedly fashion-conscious, whoever, know Japan as a serious contender in the global style game. The official website for Mercedes-Benz Fashion Week Tokyo groups Tokyo with Milan, London, New York, and Paris as cities with the most influential fashion week presentations in the world. Sometimes referred to as the “Big Five,” the twice-yearly fashion spectacles in each city set the groundwork for the upcoming season in global fashion trends.

Tokyo Fashion Week touts itself as becoming a “gateway for success in the world of new designers,” a nod towards its presence as a platform for emerging designers. There to capture it all during the Spring/Summer 2014 season was photographer Jus Vun, who gave us a behind-the-scenes look at Japan’s biggest fashion event.

Despite being the only major fashion week in all of Asia, Tokyo rarely features designers whose names are known outside of industry circles. While Hermes, Marc Jacobs, and Burberry Prorsum create sprawling runway presentations overseas, Tokyo showcases underground labels like Patchy Cake Eater and Atsushi Nakashima.

“The big name Japanese designers, such as Commes des Garcons, Yohji Yamamoto, Kenzo, Junya Watanabe, and Issey Miyake have, for years, chosen to show in Paris, Milan, or New York, leaving the lesser known Japanese designers for Tokyo,” Vun explained.

The resulting experience is the showcase of a niche market, with lesser-known designers presenting new labels brimming with fresh ideas, free from the weight of expectation and history. With no big-name recognition to lean on, these up-and-coming designers rely even more on talent and creativity to impress buyers and the media. Vun’s stunning imagery captures the strong and dramatic design Tokyo has come to be known for, putting out surprisingly powerful work for a photographer that’s relatively new to the game.

NU-MODE´ THE winter edition .99

photography NU-MODE´ the winter edition .100

NU-MODE´ THE winter edition .101

Photographer

Jus

vun

interview

photography

Born in Borneo, a large island near Malaysia, Vun moved to Australia as a child. Vun graduated from Australian University in 2011 with a Bachelor’s degree in business, a field about as disparate from fine art as it gets. Vun kickstarted his working years with the Australian State Government and Universities, moving to Tokyo in 2006 to pursue work in education.

“Life goes through cycles and chapters, and I wanted a change of scenery, so my move from Australia to Japan came out of necessity,” he said. “Stepping outside your comfort zone allows you to discover your surroundings and yourself.”

While living in Japan, Vun began freelancing as a documentary photographer, the first step in his journey towards a career in the arts. His first major assignment was editorial work around Tohoku, an area that had been devastated by the 2011 earthquake, the most powerful ever recorded to have hit Japan.

“It was a humbling and eye-opening experience,” said Vun. “In retrospect, [that was when] I realized [photography] was what I wanted to do, though I never fully pursued it until 2012, when I moved to Paris.”

Once in France, Vun went back to school, academically preparing himself to change gears. He graduated with an Master of Fine Arts from the Spéos Paris Ecole de Photographie, actively pursuing a variety of opportunities in his new field. In 2013, Vun was a finalist in a “Fashion Now” contest run by Vandals Magazine, an international photography and art publication. Deeply influenced by his Parisian experience but missing his “second home,” Vun returned to Japan in 2014 to continue work as a fashion and portrait photographer. Upon his return to Tokyo, Vun noticed a few marked differences between the fashion celebrations in Asian and Europe.

“From a photographer’s viewpoint, the main difference I see is [the lack of ] hoards of street style photographers that are ubiquitously present during Paris Fashion week outside the ritzy venues,” said Vun. “You hardly see any on the streets in Tokyo.” Some argue that in cities like Paris and New York, the obsession with street style has begun to overshadow the presentations themselves, especially on the internet. The fixation is at an all-time high, with many photographers (and even a few aspiring fashionistas or bloggers) showing up just to see and be seen, braving snow and sun without actually stepping foot inside a venue. A consistent swarm of photographers hovers outside the Lincoln Center through the entirety of New York’s Fashion Week, chasing down random well-dressed runway attendees with such gusto that passerby often pause to see if they’re snapping a celebrity.

NU-MODE´ the winter edition .102

DRESSEDUNDRESSED

Photography NU-MODE´ THE winter edition .103

photography NU-MODE´ the winter edition .104

NU-MODE´ THE winter edition .105

NU-MODE´ the winter edition .106

Photographer

Jus

vun

interview

Photography

And the commotion continues beyond fashion statements and blog hits; Paris recently experienced a megaphone-wielding Cara Delevingne lead an orchestrated “women’s rights march” down a Chanel runway, and New York Fashion Week has frequently provided an unintentional platform for groups like PETA. Tokyo, on the other hand, leaves the statement-making strictly to its designs.

“I understand the backlash of the faux-feminist protest aimed at Karl Lagerfeld, and perhaps it may make light of a more serious issue, but I think people tend to be overly sensitive these days,” Vun responded when asked about politics in fashion. “In Japan, I don’t see any major designers who voice their political discontent through fashion, or on t-shirts, such as what British designer Katherine Hamnett has done in the past.

This is in large part due to Japan being mainly a conformist society, and one that strives for harmony, at least on the surface.”

In fact, I noticed a jarring example of conformity while going through Vun’s Fashion Week images. Flipping through hundreds of photos of beautifully made-up models, I was struck by the lack of Asian faces. The backstage galleries shot by Vun could be virtually interchanged with those from any of the European or American fashion week presentations. Most presentations featured a cast of mostly white models, with maybe one or two Asians thrown in the mix. Andrea Pompilio and Onitsuka Tiger’s collaborative collection was shown on a decent mix of white and Asian models, and designer Yasutaka Funakoshi’s Alice Auaa was the rarity, with a runway lineup of mostly Asians. However, Funakoshi’s fetish-inspired collection meant that models faces were obscured by masks, headdresses, and an interesting helmet-like piece made out of unopened condoms. As a half-Japanese girl myself, I have to admit I was a little disappointed by the lack of representation.

“On the runways, it really depends on the designer’s concept and target markets,” explained Vun when I noted the racial disparity. “I have seen some runways with all white models, some with all Asian models, and others with a mix of both. High fashion magazines tend to go with white models for their covers, which isn’t necessarily exclusive to Japan; it tends to be industry-wide.” Sad, but true - in 2014, only four people featured on the covers of U.S. editions of Vogue were not white. One of those four was Kanye West for his controversial wedding cover

Onitsuka Tiger X Andrea Pompilo

NU-MODE´ THE winter edition .107

photography NU-MODE´ the winter edition .108

Photography

“In Japan, I don’t see any major designers who voice their political discontent through fashion, or on t-shirts, such as what British designer Katherine Hamnett has done in the past. This is in large part due to Japan being mainly a conformist society, and one that strives for harmony, at least on the surface.”

NU-MODE´ THE winter edition .109

Photographer

Jus

vun

interview

photography

with Kim Kardashian, and Joan Smalls shared the September supermodel cover with Cara Delevingne and Karlie Kloss. Rihanna and Lupita Nyong’o graced the covers in March and July. No other races were represented.

Even more surprisingly, not a single issue of Vogue Japan featured an Asian model on the cover in 2014. Joan Smalls and Naomi Campbell were the only ethnic cover models for the entire year; Campbell was, like Smalls in its U.S. counterpart, featured on the September supermodel issue alongside four white models. Vogue Japan’s last Japanese cover model, the only one in the past two years, was Tao Okamoto, a model and actress best known overseas for playing Hugh Jackman’s love interest in 2013’s “The Wolverine.” Okamoto posed for the cover of the October 2013 issue of Vogue Japan above an unrelated, all-caps headline reading “LET’S GO BRITISH.” For Vogue Japan’s “Special 15th Anniversary Issue” this November, Australian model Miranda Kerr donned a high-fashion kimono and stylized wig for the cover. Editor-in-Chief Anna Dello Russo described it as her “dream issue,” featuring a foldout series of Kerr in various Japaninspired getups, including a samurai warrior and a manga character.

NU-MODE´ the winter edition .110

“Japan’s fashion magazines tend to be very commercial, that’s why a lot of models, stylists, makeup artists, hair stylists, and photographers choose to build their books by doing editorials in [Western] markets,” Vun explained.

The prominence of white models in ethnic markets, especially Asia, marks an undeniable pattern in high-end fashion. For many aspiring designers, achieving commercial success means achieving success in Western markets. For the mainstream shopper abroad, “Japanese fashion” translates to cosplay, Hello Kitty, and Gwen Stefani’s “Harajuku Girls.” Tokyo Fashion Week operates in almost direct opposition to these stereotypes. Outside on the street, attendees are photographed in a variety of styles, all-black outfits juxtaposed with a flurry of colorful skirts and bold, graphic prints. On the runway, the Japanese designers represent a community backed by expert tailoring and high-quality fabrics. Supported by the Japanese government, the Japanese textile industry helps produce luxury garments that are known for a quality that justifies the Yen. Lacking the big-name labels and media frenzy that accompany presentations in Europe and New York may actually lend Tokyo an added air of authenticity. Tokyo Fashion Week is foremost about the fashion itself; an expertly orchestrated presentation of artistry, culture, and talent.

“I just enjoyed the whole experience,” said Vun. “Being able to move [from] backstage to the runways freely, mingling and conversing with the models, stylists, and designers. I was taken aback by how humble and friendly some of the designers were. I can’t wait for next season.”

PATCHY CAKE EATER

NU-MODE´ THE winter edition .111

NU-MODE´ the winter edition .112

Photography NU-MODE´ THE winter edition .113

photography NU-MODE´ the winter edition .114

www.jusvun.com

NU-MODE´ THE winter edition .115

L O ST I N S O H O PHOTOGRAPHY Eugene Shishkin STYLING Hangna Sohn Koh

Top TOPSHOP

Body suit AUBADE

Crop top TOPSHOP Pant ZARA Cardigan TOPSHOP

Top CHESCA

Cardigan ESPRIT

Cardigan ESPRIT DRESS TOPSHOP SHOES DOC MARTENS

Cardigan ESPRIT Top TOPSHOP Pant ZARA

Bra AUBADE Bottoms AUBADE

Cardigan ESPRIT Dress TOPSHOP Shoes Doc Martens

Body suit AUBADE Shoes Doc Martens

Dress TOPSHOP

Top TOPSHOP Pant ARMANI EXCHANGE Shoes ELIE TAHARI

Bodysuit AUBADE

Bodysuit AUBADE

Cardigan ESPRIT Dress TOPSHOP PHOTOGRAPHY Eugene Shishkin STYLING Hangna Sohn Koh MAKE UP ARTIST & HAIRSTYLIST Jessica Hunt MODEL Lydia AT Models1 UK

Top & Pants Michael Alan Stein

S I M P L I C I T Y Photography BREANNA NICHELLE styling OLIVIA MARIE

Dress Gershon Bram

Dress Gershon Bram

Dress & Jacket Marolli NYC

Dress AND B Shoes INC

Jacket L——INK shoes INC

DRESS Michael Alan Stein

Vintage Calvin Klein stylist own PHOTOGRAPHY BREANNA NICHELLE STYLING OLIVIA MARIE MAKE UP ARTIST NATANYA WILSON HAIRSTYLIST ANTHONY PAYNE

Jean Paul Gaultier skirt worn as dress from Eurotrash

M

O

R

I R

N

G I

T

S

O

N N Photography Drew Wheeler STYLING Ivana Martyn-Zyznikow

I

G

KNIT JUMPER Jac and jack SKIRT Carven SHIRT Steven Alan scarf Epice FROM Grace boutique

LEATHER PLEATED DRESS Thank ion VEST SEA NEW YORK FROM Grace boutiquE SNEAKERS Nike airforce one

JEANS J BRAND CROP TOP AMERICAN APPAREL SKIRT CARAVeN vintage mink fur coat from Eurotrash BOOTS Alias Mae

JUMPER MSGM white suede leather dress

Trench, jumper & pant all Jac and jack

TOP Edith A Miller

SHIRT & PANT Jac and jack BLANKET STYLIST OWN

Knit cardigan FROM Eurotrash

Shearling jacket and Dress Up skirt from Eurotrash SHEER SHIRT JAC AND JACK shirt worn around waist equipment from Grace shearling Boots Hermes

Jeans Vivienne Westwood SINGLET Jac and jack

JUMPER CARVeN PLEATED SKIRT comme des garรงon SOCKS AMERICAN APPAREL grange boot Alias Mae PHOTOGRAPHY Drew Wheeler STYLING Ivana Martyn-Zyznikow MODEL Charlotte Gregg AT IMG ALL ROUND COOL GUY Julian Burak

P h o t og r a p h y

D

a

r

T w i s t e d

k

, F a n t a s y

s y n c h r o d o g s.

NU-MODE´ the winter edition .158

Animalism, Naturalism

synchrodogs

photographers

of

the

moment

Words Arielle Chambers

Photography enables a person to capture his or her own perspective. Images showcase the personal reality in which whoever is behind the camera believes. For Ukrainian photographic duo, Synchrodogs, their reality manipulates what one could believe is the everyday environment. Mostly engaged with photo and video art, Synchrodogs’ images are nothing short of euphoric depicters.

Public presentation and being nationally known are not issues with Synchrodogs. The photographers have been featured in a copious amount of publications including, but not limited to: New York Magazine; Dazed and Confuzed; British Journal of Photography (UK); AnOther Magazine (UK); Neon (Germany); Baron Magazine (UK); Esquire; Harpers Bazaar; Dust Magazine (Spain); and Vision (China). One of their most recent projects is their partnership in shooting Mark Zuckerberg for Afisha Magazine. They have broken international borders.

P h o t og r a p h y

Synchrodogs Tania Shcheglova and Roman Noven joined forces in 2008. Both from Ukraine, though residing in origins of an eight-hour difference by train, their creative purpose diminished the line of separation and caused them to come together. Currently the two, Shcheglova (23) and Noven (28), are content with their nomadic tendencies; their photography requires them to travel often and they claim that as a result, they are “in constant search of [their] own home.”

Shcheglova and Noven’s traveling benefits their photography greatly. Locations of the shoots tend to be vast, modern day wonderlands. However, the fantasy feel

is beautifully offset by the subjects in the pictures. The people in the photos, who mainly pose nude or with careful body paint placement, transpire an eerie or dark feel.

Awkward contortion and non-traditional, unstructured posing, allows an uncomfortable attraction to the images.

Consumers will be transfixed, almost hypnotized, in the irregularity of the shots. It is because of their originality and obscure aesthetic that the duo reigns so successful.

Reverie sleep NU-MODE´ THE winter edition .159

synchrodogs

NU-MODE´ the winter edition .160

photographers

of

the

moment

Animalism, Naturalism NU-MODE´ THE winter edition .161

P h o t og r a p h y

Personal as well as commissioned work is showcased on Synchrodogs’ website. Personal collections include: Reverie Sleep; Animalism, Naturalism; Fobia; Synchrodogs; Misha Koptev; Horoscope; Hidden Luster; Girls of Shanghai; Internet Documentary; and Diary. All of these fall under the twisted fantasy aesthetic of the two. Locations vary from mountainous, even arguably volcanic rock, to deserted beaches, even to the desert. Reverie Sleep contains an image of a barren field with the subject in an Indian-style sit, yet hunched over. It gives the viewer much room for interpretation of the subject’s pain, suffering, or maybe solace. Also in the specific series, a rainbow painted woman is found, seemingly in bliss, stretched out on an isolated shore. She resembles a mermaid in a vividly colorful way. Animalism, Naturalism captures audience attention by the animalistic, free spirit posing of the people in the pictures. One image from the series contains the model hanging from a tree that is propelled over the waters with his mouth wide open. Another interesting capture includes a fatigue body suit covering the subject as he sprawls across the side of a mountain.

Horoscope is a series more realistic, yet still authentically grunge.

Images include a subject’s hand against a white surface with chipped emerald nail polish and marker drawn rings, a couple bicycling on a foggy night, and hooded figure with its back turned to the camera.

Commissioned work includes: Bimba & Lola, KENZO, Jalouse, Sheriff & Cherry, New York Magazine, Femen for Dazed and Confuzed, Masha Reva, Leonardo DiCaprio for Esquire, Helloglasses, Anna October, Harper’s Bazaar, and Urban Outfitters. With Synchrodogs’ unique eye, they certainly have a great future in high fashion photography and eccentric print work. Necessary to note, every single one of Shcheglova and Noven’s images tell a story, whether personal or commissioned work. The narration to the image is illustrated greatly through the nonconventional ways of shooting.

Exhibitions of Synchrodogs’ work have ranged from Ukraine, to Australia, to United Kingdom, France, Canada, the United States, Japan and Croatia. Recent plans for solo exhibitions include locations, Krakow and Berlin. In addition to their gallery showcases, they have entered and won several international competitions since their beginning as well.

NU-MODE´ the winter edition .162

synchrodogs

photographers

of

the

moment

P h o t og r a p h y

HIDDEN LUSTER

NU-MODE´ THE winter edition .163

t n

NU-MODE´ the winter edition .164

h e

e g

L o

n

u

music

m h

e

i

artist

Neon

hitch

n i

interview

o t

u c

s m h

Interview Alexandra stevens Images courtesy of sequoia emmanuelle, Derek Brad & Neon hitch

Hitch’s travels have provided most of her musical inspiration, picking up ideas from the local sounds of countries like India, Spain, and Portugal. She describes her sound as “gypsy pop,” a blend of big choruses and world music with a pop sensibility. When we spoke, Hitch had just arrived in New Orleans after a week in Puerto Rico.

When I ask her what kind of music she likes to listen to, a cacophony of horns bursts into song behind her, melodious jazz pouring through the phone line as if on cue.

“These guys right here!” she said with a laugh. “I don’t know their names, but they’re awesome. When I was a kid, I didn’t have electricity, so I didn’t listen to the radio or anything,” Hitch explained. “My mom would play a lot of punk music, then she would play folk music, it was kind of all over the place. The first pop music I was introduced to was Michael Jackson and Madonna. My dad was like, ‘That’s all you need to know.’”

music

Some people, it seems, are born to experience things.

Neon Hitch is one of those people. Living everywhere from inside a converted school bus to deep the jungles of India, the 28-year-old singer-songwriter has lived enough lives to make a cat jealous. In fact, simply labeling her a singer-songwriter barely touches the surface of the countless titles Hitch has held throughout her life; add circus performer, yogi, LGBT advocate, and businesswoman, and you’ve at least got a good start. Inspired by her father’s career as a light technician, her parents gave her the name Neon, setting her extraordinary future in stone.

Shortly after she was born, their family home in England burnt down. Instead of buying or building a new one, they bought a bus and decided to hit the road. A tattoo of a pink bus on Hitch’s forearm, one of many, pays homage to her caravan lifestyle. By the time she was small child she had joined a circus, sparking a lifelong passion for performance arts with fire swinging, trapeze art, and stilt walking. A self-proclaimed gypsy, the colorful and vibrant Hitch has repetitively intoned that home is wherever she lays her headscarf.

“I call many places home,” she said. “I make a new home wherever I go. People are like ‘Oh, I’m a gypsy as well. I’m a mermaid, I’m a fairy.’ And I’m like ‘No, no, really. I’m a real gypsy.’ It’s just the way I was raised, it’s all I know,” she said transient lifestyle. “There’s a lot of stereotypes and attitudes about my culture, about the way I was raised.

People will be like ‘Oh, you’re homeless,’ and I’m like ‘No, I’m not homeless. I have a fantastic home.’ I’ve always had a home, I’ve always had my bus. But I think that it can be a difficult concept for some people to understand.”

Hitch’s forthcoming album, Eleutheromania, is the ultimate culmination of her lifelong travels and inspirations.

The album’s name came from a post she found on Pinterest, describing the word as a “a mania or frantic zeal for freedom.” From the album name to the production methods to her break with traditional record labels, Eleutheromania is serving as Hitch’s true path to freedom.

Despite being signed to two different labels over an almost ten-year time period, first Mike Skinner’s The Beats Recordings, then to Warner Brothers, Eleutheromania will be Hitch’s first official album. After signing with Warner in 2010, her original debut, “Beg, Borrow, Steal” was slotted for release in summer of 2012.

Thealbum’s two lead singles, “Fuck U Betta” and “Gold,”

NU-MODE´ THE winter edition .165

music

artist

Neon

hitch

interview

“It’s been so amazing to see the process and know my business, whereas before, I didn’t fully understand what really went on behind closed doors. It’s been very educational for me.”

music

hit number 1 on the Billboard Hot Dance Club Songs chart, but the album release date was inexplicably pushed forward. In the meantime, Hitch kept busy collaborating with a long and varied list of artists like Sky Ferreira, Bruno Mars, Imogen Heap, and Rivers Cuomo.

She co-wrote the major hit “Blah, Blah, Blah” with fellow pop act Ke$ha, and wrote and featured in “Follow Me Down,” a 3Oh!3 song that was featured on the concept album for Tim Burton’s 2010 rendition of Alice in Wonderland. Hitch also released several unexpected covers, showcasing her creativity and range with renditions of “No Hands” by Wacka Flocka Flame, “Gucci Gucci” by Kreayshawn, and “Wannabe” by the Spice Girls.

Despite running the gamut behind the scenes, Hitch’s own voice didn’t truly hit the mainstream market until late 2011, with her Gym Class Heroes collaboration “Ass Back Home.” The song peaked at number 12 on the Billboard Hot 100, the rap/pop track becoming Gym Class Heroe’s third biggest hit. The song went on to be nominated for a Teen Choice Award, and Hitch become the opening act for Gym Class Heroes’ North American tour. Hitch had performed for a sold-out crowd at Madison Square Garden, was pitching creative ideas to artists all over the industry, and had still yet to release an album. An EP titled “Happy Neon,” produced for Hitch

by Happy Perez, was released for free through Billboard in early 2013. By then, over a year had gone by since the initial release date for “Beg, Borrow, and Steal”; when she had first signed with Warner, she had felt like she finally “made it.” Three years later, she just felt trapped.

In late 2013, Hitch officially announced that her album was being scrapped completely. Early 2014 brought forth a different musical project, a mix tape called “301 to Paradise,” co-written and produced by NYC-based duo Kinetics & One Love. The mix tape was relatively well-received, and Hitch finally decided she had enough.

In May of 2014, she parted ways with Warner, leaving her unreleased debut album behind forever. She plans on selling some of the material to other artists, and chalks the whole thing up as a learning experience. Hitch described feeling as though a lot of the music she had recorded for the label wasn’t personal enough, and that she hadn’t been allotted the creative freedom to create what she wanted. Her inspiration had been bottled up for years, and all she needed was a proper outlet. Unlike many other artists, especially in pop music, Hitch didn’t need the commercial direction to help craft a persona.

NU-MODE´ the winter edition .166

The ideas were there, the character was there, all that was missing was the manpower and funding to make an album happen. Fed up with the traditional business model, Hitch turned to her fans and supporters for help.

“It wasn’t even something that I had to sit and brainstorm on,” Hitch said of her solution, a fan-fueled project called WeRNeon. “It’s just about embracing what’s happening naturally and expanding on it.”

Hitch decided she would create her own record label to release her album, supported by her fan base through popular crowd funding website Indiegogo. com. The projected goal was $50,000, the approximate cost of recording, producing, mixing and mastering her album start to finish. Par for the course with crowd funding, donations were incentivized - $30 could get you a follow on Instagram or Twitter, $12 got you a copy of the completed album, and $301 earned a custom “301” necklace that grants the owner access to the rest of Hitch’s performances, for life. Of course, ditching a record label isn’t all freedom and independence.

“I’m running my own business now, and it’s a lot of work,” Hitch admits. When we spoke, Hitch was in the process of recruiting the right people to help organize the departments of FanLabel and WeRNeon. She was in New Orleans to meet with a branding company about the future of her self-made label, learning the process as she goes along. For someone who described their schooling as “a month here, a month there,” Hitch has moved through her challenges adeptly, quickly figuring out the side of the industry many artists know little about.

“It’s been so amazing to see the process and know my business, whereas before, I didn’t fully understand what really went on behind closed doors. It’s been very educational for me.”

The project officially kicked off with the single “Yard Sale,” a song about getting rid of baggage and moving on, complete with a ducttaped actor to stand in as her “ex-boyfriend.”

“I kind of like, didn’t even know what I was getting into,” said Hitch her experience filming the video. “I drove all night from Vegas after my birthday, I had been up all night, and I arrive on set like, ‘Oh, so this is a pretty big set...’ I was totally unprepared!” But pulling an all-nighter just seems to be part of Hitch’s over-the-top persona. Still wearing the shorts she had put on the night before, Hitch starts the music video sprawled out in the neatly trimmed

NU-MODE´ THE winter edition .167

NU-MODE´ the winter edition .168

music

artist

Neon

hitch

interview

“I have gotten through my whole life always making anything work, and I don’t even know how I do it; it must be my belief that if you can believe something strongly enough, then you can make it happen. Nothing can stop me.” lawn of the Cinderella Mobile Home Park in Paramount, California. Her signature strawberry Bubblicious hair is coifed into a headscarf, her own 301 necklace is seen nestled amongst the numerous other jewels on her neck and ears. She tosses her phone in the air with a laugh before seductively licking the rim of a pint of Ben & Jerry’s HalfBaked. Just those few seconds seem like the perfect peek into Hitch’s world - vibrant and colorful, sexy but silly.

music

“I mean, obviously I have some days where I’m a more exaggerated version of myself,” she says of her personal style. “But I feel like I’m in a really good place now. I have this kind of sense of contentment because now, sonically, visually, I feel like it is all me. It’s all tying together. It just makes sense.” She gathers fashion inspiration from everywhere; she loves Carmen Miranda (duh) and Marilyn Monroe (“But who doesn’t?”), and says she draws the most from her mom. She cites her mom’s style and creativity as the source of her “hippie vibe,” her passion for wild colors, and her love for jewelry.

Obsessed with accessories, Hitch is fully decked out at every concert, photo shoot, and video set. In the opening of Yard Sale, her claw-like blue fingernails are seen tapping out a text, emblazoned with the name of the song and ornamented in tiny pearls. Her favorite accessory, though, is her headscarves. She admits to her collection being “in the hundreds,” usually traveling with about thirty at a time.

“I have a problem!” she said, laughing. Hitch also said she loves using shirts and pants as makeshift headscarves; if it wraps, she’ll wear it. “I’m wearing one of my favorites right now,” she said, describing a pair of Coca-Cola print pajamas. Most of Hitch’s outfits consist of discoveries at thrift shops and markets; the cowboy boots she wore during our interview, however, she had actually bought from a fan during one of the real-life yard sales held during her nationwide tour.

“It was not like your usual tour,” Hitch said of her headline tour experience. “It was unlike any tour I’ve ever been on before. It was really like a freedom movement.” The actual yard sales held alongside her performances were a concept that Hitch felt brought people together while giving them the opportunity to (literally and metaphorically) clean out their closets. She said one of the most interesting things she sold was her old bedsheets, obviously ridden with memories and emotion. The interaction with her fans added an element of interest to her tour while giving her valuable face time with her future co-conspirators.

“I found my tour bus on the side of the road in L.A.,” said Hitch. “I just went up to this hippie bus and was like, ‘Hey, will you be my tour bus?

We’re gonna drive across America. Let’s do this.’”

The video for Hitch’s FanLabel video has now been seen and shared a collective 10,000 times across Facebook, Twitter, and YouTube. In it, Hitch is seen explaining the FanLabel concept, her animated dialogue interspersed with hand gestures and the metallic jingle of her jewelry. She briefly touches on her past music success, her struggles with Warner Brothers Records, then asks for your help to “cut out the middle man.” A thirty-second montage in the middle of the video depicts clips from Neon Hitch followers around the world, passionately supporting her music with generous helpings of colorful language and LGBT fans.

“Are you havin’ a birthday party? Are you havin’ a Bar Mitzva? Bachelorette party? Hello!” Hitch singsongs to the camera. “I’ll host your coming out party with a rainbow flag and a rainbow dildo! Let’s go!

Whaaaat,” she chants with an infectious smile, pumping her fist, her chains knocking against her bikini top.

“Naked fireswinging,” she continues, “around a fire. Naked yoga. You say it, let’s do it! I will come to you, that’s a promise, anywhere in the whole wide world.

So take a look and see what works for you. Even if you just have three dollars and one cent. Or three hundred and one million dollars! Richard Branson, I’m talking to you,” she deadpans, referring to one of the richest citizens in the U.K., a businessman worth about $4.9 billion U.S. “Let’s talk business after this is done,” she jokes.

Hitch’s Indiegogo page closed on December 13th with $41,120 pledged towards FanLabel. Though the page only reached 82% of its $50,000 goal, Indiegogo’s “flexible funding” option allows campaigns to keep what they’ve raised without reaching the entirety of their funding goal. Hitch has yet to make any official announcements on where FanLabel will go from here, but she was confident in their success before she even knew the outcome.

“I have gotten through my whole life always making anything work,” she said. “And I don’t even know how I do it; it must be my belief that if you can believe something strongly enough, then you can make it happen. Nothing can stop me.”

NU-MODE´ THE winter edition .169

DESIGN

designer Elisabeth stray pedersen interview

the integrity of s t r ay Interview Latoya p. henry

NU-MODE´ the winter edition .170

NU-MODE´ THE winter edition .171

NU-MODE´ the winter edition .172

designer Elisabeth stray pedersen interview

Accentuating the characteristics of minimalism and femininity, Oslo based designer Elisabeth Stray Pedersen constructs distinctive pieces with the ability to transition the wearer’s look, day into night. Grasping the demands of modern women. Pedersen understands how to manifest designs, which the consumer can relate too while remaining true to her design aesthetic. Her objective is not only creating beautiful clothes, but to broaden the knowledge around identity and style. During our discussion Pedersen reveals what’s substantial to design, and how we define our identity through the garments we wear.

You aim to increase awareness around identity and style, how important is it for designers to have their own individuality, and how do you manifest a distinguished identity through design?

I have found it very useful to look into my own visual inheritance, and use what have distinguished

Would you say most trends play an important role towards one’s identity?

I think we are always related to the trends around us, but how they affect our identity I think is a choice. It is a dialogue between what once was, and what is now.

Not everything floats, so I think it is important to be a bit conscious of what you let affect you and what not. It is possible to re-contextualize but not necessarily change the whole content. Even if I look at my past, I always mix it with what is important around me right now, like the social phenomena for instance.

DESIGN

Your encounter with design, when did you know you wanted to become a designer and tell us a bit about who is Elisabeth Stray Pedersen?

Both of my parents were very encouraging when it came to expressing creativity from an early age. My mother stitched a lot herself in the 70s she designed and made her own clothes, which she kept archived in the house for me to check out. My dad loved photography, filmmaking and building things. I loved to make something from whatever leftover I found in the house, and I would stand in front of the mirror draping different fabrics around me from an early age. I was a bit misunderstood on how I liked to dress as a kid, and felt like I could relate better to fashion in magazines.

my taste as the starting point for my designs, like for instance wardrobe studies. In this way I know why I made the choices that I make in my design process, and my designs turn out with an identity I can relate to. Before I was more phenomenological towards inspiration, and that made me lose track to some extent. I don’t think it is necessarily important to just have individuality, if you don’t have substance.

One of the most interesting aspects of design is the capability to explore versatility, do you feel as if designers create an element of surprise that is functional and versatile and what’s your approach?

In my SS15 collection I have been looking at how women see their wardrobe as an evolving project and making solutions with subtle changes for a day to evening look. This could either be the various combinations between the garments, or possibilities to change the garment itself with accessories. I think work and after work is more and more attached and to have a style suitable for the whole day is more relevant.

NU-MODE´ THE winter edition .173

designer Elisabeth stray pedersen interview

I was very much fascinated by how many young girls in Oslo drastically changed their clothes from day to evening, like it was two different persons. The nighttime version, almost like an alter ego with a new face and killer heals.

DESIGN

For ing

NU-MODE´ the winter edition .174

the next collection I am look- I often find a framework for my process first, even more into soft tailoring. what are the important tendencies going on, what are relevant production methods, maFrom your experience of working with de- terials, factory visits etc. If I am going to fursigner Eva Emanuelsen, what did you learn ther develop my ideas I do draping, vintage from this overall experience, which you reworks and collages. Place and time wise I apply towards your production process? work very well creatively at home, at the cabin The most important thing I learned working or other places I normally don’t work, and in for Eva was how diverse it is to run a fashion the evening. 12 pm is my creative primetime. business. You have to think about every part of it, both visually and economically. In edition to Share a bit about your design aesproduction process, how it was organized at Eva thetic, how do you normally apwith four seasons and foreign production, made proach a new collection concept? it often stressful and pushy. Smart planning and I tend to create something in the midproduction transparency is key to my process. dle of minimal and characteristic, feminine and odd, nostalgic but new context.

As a designer, list a few important fundamentals you use in order to execute a design, how are For each collection there is a story or these fundamentals important for a designer tone, describe the specifics behind the and in what way do these components effect a Autumn/Winter collection, did you exdesigner from the beginning to future stages? plore new theories while creating your A mix of beautiful fabrics, visual inherit- AW14 collection, and what vision did you ance, and current social phenomena as in- want to create with the AW14 lookbook? spiration, always with a minimalistic and While working with the collection I was very conceptual point of view, vintage shoots, much fascinated by how many young girls in along with collage as tools to rework the Oslo drastically changed their clothes from inspiration. Assemblage of these compo- day to evening, like it was two different pernents curated into a new context as a result. sons. The night-time version, almost like an alter ego with a new face and killer heels. I What is the most influential part of de- wanted to create a collection that was turnsign, how do you normally find your crea- ing it a bit upside down. I was thinking about tive niche and do you prefer a polished a scenario where the girl ran out of the house technique or an expressive one and why? at night revealing a more private self, with ranI find it useful to talk to people, study be- dom home wear, fabrics looking like draping or havior and bounce ideas with other creative. inherited garments thrown on, very effortless.

NU-MODE´ THE winter edition .175

NU-MODE´ the winter edition .176

designer Elisabeth stray pedersen interview

The toughest challenges you’ve faced as a designer, how did you escalate pass this obstacle and what is the best way to move forward pass a hindrance in your path?

I think the toughest challenge as a designer, is to believe in your ideas even though others don’t. I experienced people being critical during the process coming to me after a collection is finished saying, “Now I understand what you were trying to explain, and now it makes sense”. As a designer you try to imagine what is not there already. My best advice is to ground the ideas in values you believe in, and believe in the visions you make from that.

Not everyone may understand it before it is finished. As a fresh designer this can be difficult, as you have not earned that respect, and you might be insecure of if you really have something to contribute with.

Describe the most recent collection you’re working on and the details you want to distinguish with this collection compared to previous works?

The most recent work is very fresh, but it will be working even more with softer fabrics. I will continue working with developing patterns and fabrics, but softer tailoring, and outerwear in particular. It is all about wool.

I am establishing a collaborating with a small

With every design and designer there is a purpose behind the concepts they’ve developed. What is your sole purpose as a designer and what do you hope to achieve?

My sole purpose is to create beautiful garments that people love, feel inspired by, connected to and that feel like an extension of their identity. I want to contribute and create fashion systems that have a positive ripple effect for the costumer as well as the people involved with making it.

Elisabeth Stray Pedersen 2015, hopes for the New Year and what should we look forward too?

I am working on a new collaboration as mentioned earlier. This is very exciting and a huge door- opener for me if it all works out. Production and materials are very important to me, and I prefer to choose it carefully. The new collaboration gives many opportunities in the direction of working local to ensure quality and production transparency. It also opened up opportunities on more flexible lead-time, and delivery.

DESIGN

The beauty of design is the ability to create things that one could appreciate, for each collection you’ve created, I’m sure there is a hidden message behind each design. If your pieces could express themselves vocally, what would they say and for the woman wearing your designs, who is she and how would she feel wearing “Stray”?

Integrity is the key word. The garments are created for the independent modern women with a high pace schedule and different roles going from day to evening. She wants to be representable, but at the same time show identity, femininity and a subtle humor even.

manufacture in Norway that has worked with Givenchy and Dior in the early days.

We’re all about celebrating the aspiring creative community; do you have any words of advice for emerging designers following your footsteps?

Believe in your ideas, and aim to change the world for something better. Being a designer is being a pioneer. Find people to collaborate that share your creative values and beliefs. At the end of the day you are your own biggest motivator.

Final Thoughts?

Thank you!

NU-MODE´ THE winter edition .177

e

x

h

i

b

i

t

i

o

n

a

o

i

k

o

t

s

u

h

i

r

o

i

A o i K O T S U H I R O I nothing but words to learn to lie

ex

h

i

b

i

t

Words

images

&

objects

Aoi

Kotsuhiroi

©

The syringe needle plunged into my arm with a strange warmth, the heavy liquid slid under my skin without saying anything. It will make its way through my body, it will take care to repair my melancholy.

The nurse had this look of satisfaction of someone who is absolutely right. She was exercising her right to dominate my emotions, crying was forbidden. My mother was one of those psychiatric nurses. I thought she was empty of humanity, she maintained schemas like a soldier, one had to obey her, doing “this” meant that one was like “that”.

She Inflicted a relationship of domination not to lose control. She had lost my father. He was gone long before my birth. Thus man was guilty. And I was the witness to this story.

I could only breathe in the escape, it was the only place where I could grow. My mother continues to heal others’ injuries, her daughter is gone a long time ago, she sees her as something stranger to herself, nothing has ever existed. I had this body and I put my life on a scale, too heavy memories to carry and this product in my body that spreads its lie, a sort of suffocation of the memory. I was sitting in the hallway, reading pages of boredom. Faces moved and looked for intersections to cross. I watched this flashing emergency exit, where was the danger?

I kept these dead birds on my shoulder, my body was a branch. I saw death as a pile of sand, a dialogue of dust. Around my mouth I kept these dusts from you, I looked down at my legs covered with white and it seemed to me that all this nudity was harmless. I was suspended to nothing, I lived in that hallway, sitting on that waiting chair, its body and mine discussed, I touched its scars let by pain and distress, they refused to yield, still healing like a new skin that grows after a winter of sleep.

NU-MODE´ the winter edition .178

NU-MODE´ THE winter edition .179

NU-MODE´ the winter edition .180

e

x

h

i

b

i

t

i

o

n

a

o

i

k

o

t

s

u

h

i

r

o

i

This hallway of medical caresses reeked of death, I couldn’t stay there, waiting for a nurse to pick me up like a bulky package, a kind of waste that can not be recycled. My emotional reactions were outside the norm, it was preferable to say nothing, remain smooth and smile stupidly.

I could go at the end of the hallway and come back, I had eight minutes to make that distance, to move in this time,eight minutes where I should not breathe,walking like a kind of tightrope story, moving this way to take out of me words that I didn’t know, words that had robbed me what I was.

It was an opening of the mouth ceremony, a backward walk that opened on cold dreams.

i b i t

I stood there and rubbed my hands against each other to find a sound that can get me out. A sound of passage that would open that door. Why didn’t he come to see me? He had to worry now not to find me, I should tell him that I was there, that I had kept the keys in my mouth.

h

I waited, I had to arrange my things, first I would put appearances on one side and then shadows on the other. Afterwards I’d decide if I take shadows or appearances. I think that shadows are lighter for the journey and that appearances are superficial anyway. I didn’t want too much things, just few details that I would put in my bag, a kind of transportable reality to feed shadows.

ex

I was cold in this hallway, sat I re-built white sheets, folds of scents searched for a twilight like an awakening to the envy. I was double up with seams, and my leg became tattooed with a sky of birds.

I had to wipe my sex, I had this feeling it was crying, I tightened my thighs to hold back its tears, I spoke to it gently. For some time it was crying like a flowing melancholy. Things were going away.

I missed the cherry blossoms.

I wanted to put flowers onto uncertainty, hanging flowers of uncertainty on every moments that I loved.

Thus, in this perfume, I would hold a kind of scents tree, a tree that could continue to grow in this uncertainty.

NU-MODE´ THE winter edition .181

e

x

h

i

b

i

t

i

o

n

a

o

i

k

o

t

s

u

h

i

r

o

i

I stroked my lips swollen with pain, the night opened like a wound, I had to leave. Everything collapsed in that chaos, the noise of the storm became an animal screaming its anger. I had lost teeth in the gravels, I was looking for them and found a dream tooth. I put gloves and I sewed a stone on my sex. It was a stone of sex, a stone to grow roots, I had to tie it well, to sew it well so it can grow on me.

ex

h

i

b

i

t

I couldn’t remember my Flesh, my I went to I vomited the wear and tear of nameless things, pieces of flesh, impressions of lies, circles of I still breathed, more slowly than usual, but I My bed was no longer I had cut earthworms and made a sort of

name. flesh, vomit, wounded end. breathed. white. mixture.

I was like a mistake, a wild animal without feathers, with different lifetimes.

At night, I wrote pieces of stories when the sky is gone, with this memory of impressions, the reason out.

There was chaos in the Sacred.

There nothing abandoned wet stains and

but

were words of wait

that

these I soiled for

hadn’t

words, said, silhouettes, horses, lives, wait.

Withered clouds went round in circles, they prepared their departure.

I didn’t want to be there anymore, with this feeling of spending my life in this bed.

I closed my eyes to watch the rain waking up, handfuls of earth in each hand to hold oblivion.

NU-MODE´ the winter edition .182

NU-MODE´ THE winter edition .183

NU-MODE´ the winter edition .184

e

x

h

i

b

i

t

i

o

n

a

o

i

Women dragged their shopping trolleys to say, with their mouths dirty of I watched them pass, like trolleys lives hooked to themselves, they

k

o

t

s

u

h

i

r

o

i

to be the first, the first mediocrity: “I was there”. of meat, their spits of no longer felt anything.

h i b i t

Dogs dug tunnels, pockets of silence that they brought back up to the surface.

They held chaos in their mouths, something confused that couldn’t find its place.

A high wall of skulls heated by the sun reflected our digestive obligations.

Rotting in a tepid bed because it’s forbidden to be cannibal, it’s not done.

So stay lying down, it’s still necessary to rot a little more...

ex

I turned my back, I waited for the noise of the things to go away.

I went to pick flowers to clean the life, horizons of flowers without affiliations to cover the wounded river, these icy waters that no longer dream.

The rain seeped into my body, it was invisible, but it was there, like a necessary functioning.

Drops of water from the time, lost dusts, a shadow that I connected to my memory, a dream that I put aside not to get it dirty.

This couple, order and disorder, is a balance with which I dance.

I was sitting in the car seat for several miles and I was waking up slowly.

I wasn’t cold, it was raining a little and the road was quiet.

Aoi Kotsuhiroi © 2012.

www.aoikotsuhiroi.com

NU-MODE´ THE winter edition .185

S E E E k I N G a K N I G h t PHOTOgRAPHY JONNE JOHNSON

Jacket with fur sleeve Wenqi Wu

Jacket with fur sleeve Wenqi Wu Sheer Pants Sheena Trivedi Heels Aldo

Jacket with fur sleeve Wenqi Wu

Long Jacket Wenqi Wu White Bandu Top & Bottom Sheena Trivedi Shoes Aldo

Long Jacket Wenqi Wu White Bandu Top & Bottom Sheena Trivedi

Sheer Jacket Sheena Trivedi Leather Shorts Sheena Trivedi

Feather Sweatshirt Sheena Trivedi Black/White Skirt Wenqi Wu Photography Jonne Johnson Christian Riley make up artist Ta Ming Chen hairstylist May Eng Model Somalia Knight

Blouse & skirt Tocca Necklace & Bracelet NINA jewels

u

N

F C

L a

E

E C

U H

r É

E

PHOTOgRAPHY JODI JONES STYLINg RENESSTA OLDS

Dress Tia Cibani Shoes Steve Madden Earrings NINA jewels

Turtleneck and blouse Tia Cibani Pants Tocca Flowers Miu Miu Earrings NINA jewels Shoes Paul Mayers Attitude

Shirt S.I.L.K. Pants S.I.L.K. Earrings & Bracelet NINA jewels Purse Big Buddha

Top Tia Cibani Leather top Titania Inglis Skirt Titania Inglis Earrings NINA Jewels Photographer Jodi Jones . fashion editor Renessta Olds Make up artist Hiro Yonemoto for M.A.C cosmetics hairstylist Ayato Yokojima models Kate Moran & Lindsey Byard at Re:Direct Models digital tech Adam Rodriguez . retouching Aaron Chin fashion assistant AV Wayans photography assistant Amy Cowley

FA l l C LA S S I C PHOTOgRAPHY JD bARNES STYLINg mICHAEL STALLINgS

Fur Pier Antonio Gaspari Cuff Erickson Beamon Blouse Issa London Pant Issa London

Blouse Meskita Pant L.A.M.B. Bracelets Stylist’s Own Sweater Pier Antonio Gaspari Earrings Erickson Beamon

Blouse Pier Antonio Gaspari Blazer L.A.M.B. Necklace Erickson Beamon Ring Stylist’s Own Broach Erickson Beamon

Dress Michael Kalve Necklace Erickson Beamon

Vest Vintage Dress Pier Antonio Gaspari

Headpiece Vintage Necklace Erickson Beamon Dress Pier Antonio Gaspari Photography JD Barnes Styling Michael Stallings Make up artist Angela Ivana Hairstylist Katalina Mitchell Nail Artist Cass Lamar Model Ash Walker at Supreme Styling Assistant Mike Press Hairstyling assistant Jordan Bishop-Smith Studio West St Studios, Brooklyn NY

L

I

S

T

Shakuhachi www.shakuhachi.net

Versace www.versace.com

Nike www.nike.com

Pringle of Scotland bulletin.pringlescotland.com

Sheena Trivedi www.sheenatrivedi.com

With & Wessel withandwessel.com

Watson x Watson watsonxwatson.com

Celine www.celine.com

J brand www.jbrandjeans.com

Armani Exchange www.armaniexchange.com

Aldo www.aldoshoes.com

malene birger www.bymalenebirger.com

Poms www.pomspoms.com.au

marni www.marni.com

American Apparel www.americanapparel.net

Scapes NY www.scapesny.com

Nill Lotan www.nililotan.com

Au Revoir Les Filles www.aurevoirlesfilles.com

Zampatti www.carlazampatti.com.au

Alias mae www.aliasmae.com

Pier Antonio gaspari www.pierantoniogaspari. com/en

marc Jacobs www.marcjacobs.com

Pura Lopez www.puralopez.com

bul www.bul.com.au

michael Alan Stein www.michaelalansteinstyle. com

mSgm www.msgm.it

Carleen www.carleen.us

Unreal Fur www.unrealfur.com.au

Arianne Elmy www.arianne-elmy.com

Dominic Louis dominiclouis.com

kieley kimmel kieleykimmel.com

Issey miyake www.isseymiyake.com/en/

Suzanne Rae www.suzannerae.com

baby Phat www.babyphat.com

Lako bukia www.lakobukia.com

brooklyn Fox www.brooklynfox.com

Tia Cibani www.tiacibani.com

Dolores Haze Doloreshaze.squarespace. com

Cluny clunynyc.com

Tocca www.tocca.com

Vladimir karaleev www.vladimirkaraleev.com

miu miu www.miumiu.com

Stine goya www.stinegoya.com

Paul mayers Attitude www.paulmayerattitudes.com

michael Sontag www.michaelsontag.com

Titania Inglis www.titaniainglis.com

Stutterheim stutterheim.com/usa

Steve madden www.stevemadden.com

minimarket www.minimarket.se

Wenqi Wu wenqiwu.com

Loma London www.lomalondon.com

The mode Collective usa.themodecollective.com Lonely hearts lonelylabel.com

gershon bram www.gershon-bram.com

Edith A miller www.edithamiller.com

marolli NYC

Hermes www.hermes.com

Stella mcCartney stellamccartney.com

And b www.and-b.com

Equipment www.equipmentfr.com

Oskar oskarthelabel.com

Calvin klein www.calvinklein.com

Vivienne Westwood www.viviennewestwood.com

Arnley www.arnley.com.au

Jean Paul gaultier www.jeanpaulgaultier.com

Comme des garcon www.comme-des-garcons.com

Nookie www.nookie.com.au

Eurotrash www.shopeurotrash.com

Zara www.zara.com

ginger & Smart gingerandsmart.com

Jac and Jack jacandjack.com

Topshop www.topshop.com

Echoes of You www.echoesofyoulabel.com

Carven us.carven.com

Aubade www.Aubade.com

bc bless’ed Are The meek blessedarethemeek.com.au/bc

Steven Alan www.stevenalan.com

Chesca www.chescadirect.co.uk

khoon Hooi khoonhooi.com

Epice www.epice.com/uk

Dr martens www.drmartens.com

bec and bridge becandbridge.com.au

Sea New York sea-ny.com

Esprit www.esprit.co.uk

Erickson beamon ericksonbeamon.com Issa London www.issalondon.com meskita www.meskita.com L.A.m.b l-a-m-b.com NINA Jewels www.ninashoes.com big buddha www.bigbuddha.com

Lanvin www.lanvin.com Parkchoonmoo www.demoo.com Diane Von Furstenberg www.dvf.com by malene birger www.bymalenebirger.com COS www.cosstores.co Correll Correll www.correllcorrell.com

jack henry new york

www.jackhenrynewyork.com