Platinum Love Issue 6

THE FREEDOM ISSUE

FOR THE MOST GOLDEN / Issue no. 6

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FREEDOM BECAUSE YOU ONLY LIVE ONCE

Cover Star YANA @ MANDP FALL WINTER 2012

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The experimental, forward thinking, highly exclusive & collectable magazine. Pushing fearless fashion, design popping editorials & culture frenzied texts for pop culture maniacs.

PRINTED ISSUE 6 - VOLUME 2

The Team

CONTRIBUTORS

CONTRIBUTORS

PRODUCTION

Matthew Attard Navarro Editor in Chief & Creative Director

Fashion Contributors

Elias Hove Make up Artist

Art Direction & Editorial Design

Iggy Fenech Sub Editor

daniel.a@platinumlovemagazine.com

Karen Gauci Make up Artist

Sales & Advertising

Lara Boffa Womenswear Journalist

Louis Ghewy Hair stylist

Publishing House Platinum Innovation Co Ltd

hutch@platinumlovemagazine.com

ignazio.f@platinumlovemagazine.com

Daniel Vella Web Manager

Daniel Azzopardi Menswear Journalist

lara.b@platinumlovemagazine.com

Tiziana Gauci Womenswear Journalist

Art and Culture Contributors

Kelly Bartolo Womenswear Journalist

Kristina Cassar Arts & Culture Journalist

Kim Gregory Womenswear Journalist

Louise Mifsud

Martina Vella Womenswear Journalist

Nicola Petroni

Patrick Lief Fashion editor

Photography Contributors

Anna Peftieva Fashion editor

Guest photographer

kim.g@platinumlovemagazine.com

martina.v@platinumlovemagazine.com

Jordan Dalah Fashion editor

www.platinum-innovation.com

Matthew Grima Hair stylist

tiziana.g@platinumlovemagazine.com

kelly.b@platinumlovemagazine.com

www.werkdesigns.com

kristina.c@platinumlovemagazine.com Arts & Culture Journalist louise.m@platinumlovemagazine.com Arts & Culture Journalist nicola.p@platinumlovemagazine.com

Kris Micallef

Paulina Surys

Guest photographer

Anja Boxhammer Guest photographer

Werk Design Agency Guest illustrators

Reproduction in blogs & press Reproduction of any content in the magazine is only allowed in blogs & press media on the condition that the content lifted is credited with a link to platinumlovemagazine.com & all the credits in the editorial are listed down appropriately.

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Publisher details

Advertising contacts

Platinum Love Magazine is owned & published by Platinum Innovation Co Ltd, 27, Savannah Triq Ill Fuhhar Tarxien TXN1211, Malta, Europe

UK, Malta and Rest of Europe www.platinum-innovation.com

info@platinumlovemagazine.com www.platinumlovemagazine.com

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PLATINUM LOVE MASTHEAD

Editor’s Letter The theme of freedom is followed loosely in this issue, with constant struggles in every day life we felt we needed to place this issue in a perspective which we’ll be developing more on our online website for the upcoming few months, establishing a connection with creative freedom and financial sustainability seems to be the way forward for the culture industry, while many young creatives struggle to find such a balance and support it is becoming increasingly popular for creative bodies to think like business and artists to think like entrepreneurial machines. Therefore we focused on three emerging designers in this issue and shall be focusing on an emerging designer weekly online and the struggles they have to overcome and the successes they’re enjoying.

We spoke to Line Young Peteri who in Malta is working hard to push a creative female empowered industry and Mark Mangion on his revival of the conceptual MCA which is now roving Europe pushing the right buttons and asking the right questions, this will be our last issue as a bi monthly publication as we’re aiming for growth for 2013-2015, part of our Platinum Institute plans is to have two larger international printed issues and two online only publications. We look forward to growth and further freedom.

Matthew

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Elitism at its best / Issue no. 6

Elitism at its best / Issue no. 6

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The Freedom Issue

l’édition de liberté

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PLATINUM CONVERSATION EMERGING DESIGNERS

Emerging Taiwanese designer Ming Pin Tien just completed his MA in Fashion Design & Technology Womenswear at the London College of Fashion in February, 2012 with his graduate collection was showcased in V&A along with other a small selection of designers. In September 2012, he was once more selected as one of the winners of Vauxhall Fashion Scout Ones To Watch competition for Spring/Summer 2013 where he launched his debut collection. His stunning experimental yet intricate pieces made ripples within the fashion industry, as images from his catwalk shows got re-blogged over the internet repeatedly.

Season by season we’re seeing a growth in your style, slowly moving forward in a very structured dimension, tell us of your inspirations and your concept for your Spring Summer 2013 collection?

The main purpose of this collection is to break the perfect yet surreal images, and discover the stories behind the surface.

The concept of the uniform has been strongly highlighted in this collection in terms of colour, pattern cutting, details and styling. The idea of uniform is not only indicating the wearer’s occupation, but also eliminating the potential differences of individuals, such as identities, classes and distinct personal interests. Therefore, the design methodology of the collection is to take the items that we are familiar with, such as different forms of the trench coat, shirt, tailoring jacket, and manipulate them. In order to do so, one approaches pattern alteration, which means to destroy the regular patterns by using cutout and dissymmetrical pattern cutting methodology, yet still maintain the front panels of each item in order to deliver an illusion of perfection from the front view.

One thing that creatures and portraits are in common is creating a much stronger and powerful image than they truly are. Are they innocent or dangerous? People might never know. It is very visual. Insects carry the brightest and eye-catching patterns on their back in order to bluff their enemies into believing that they are beautiful yet deadly. The same concept is also put to use by applying the nature-inspired print onto most of the designs of this collection by prints. The prints’ applying area is focused on the back panel and work along with the altered patterns. As the pattern cutting methodology that the common front panels of those pieces are creating an illusion of perfection, then these aggressive prints on the back panels will be the protection of those concealed realities.

Where would you like to be in the next few years?

It is quite difficult to predict what will happen to me in the future, I am the kind of person who tends to go with the flow. But I would like to have my collections stocked in big retailers such as Browns and Dover Street Market in few years of time.

Have there been any creative challenges you had to over come over the past two seasons, you mentioned commerciality over creative freedom?

The challenges I have been facing are more regarding to technical issues, such as making patterns, sourcing suppliers and organizing the progress of production. Creativity-wise, I don’t feel I have been restricted nor challenged yet since I don’t draw a clear line in between conceptual design and commercial design. As far as I concern, the most important thing for me is to create desirable pieces regardless which category they are put into.

Talk to us about your leather coats, which still act as a creative show piece, but

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I guess give you the freedom to express yourself while still having commercial undergarments?

The whole collection represents a process of deconstruction in a sense of breaking the perfect image. I put the leather coat as the last piece because the silhouette is actually based off a trench coat, yet it is quite far away from the trench coat we are familiar with. It is definitely a one-off statement piece.

Some visitors at the exhibition told me it looks like samurai armour because of its colour and texture, and I think it was interesting to hear people’s different interpretations of my work.

What kind of woman would you imagine wearing your outfit?

She would be a combination of a 90% of strong-mind and a 10% of fragility.

Are there any other labels or designers who you look up to?

I respect Rei Kawakubo and Martin Margiela as designers for they are not afraid to be experimental and push the boundaries of conceptual design and commercial design.

You were chosen as the ones to watch at VFW, has that pushed you forward?

It certainly has. As a new designer, it is crucial to have a platform in order to let the public starting to know the brand and the aesthetic it represents. Vauxhall Fashion Scout has done a great job providing the opportunity and I have met some amazing people by participating the event.

Even though you show in London, you’re one of the new emerging designers who seem to are approaching a more structured, modern approach to fashion over the eclectic London fashion, how do you feel about the surrounding atmosphere? Does it inspire you to keep your style?

I love London, it is a great place for people who are creative, and it is very different from where I am from. However I don’t think my aesthetic has ever changed dramatically from the time I start doing fashion design till now. I wouldn’t say I am a person who is keen to keep up trends but having said that I do think the experience living of living and learning in London did opens my eyes and lets me being much more open-minded to different things.

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PLATINUM CONVERSATION EMERGING DESIGNERS

‘Yifang Wan received the L’Oréal Professional Young Designer Award at Central Saint Martin’s BA Fashion degree show in 2010 and in 2011 she received a bursary from Lane Crawford to study MA Fashion at Central Saint Martins. This is September saw Wan’s first live collection at Vauxhall Fashion Scout during London Fashion Week, wowing the crowds with her marvellous take on form and texture, and stunning memorable accessories.

On Yifang Wan’s invite for her spring summer 2013 collection one could see what would merely resemble a set of architectural objects, later what turned out to be the designers accessories, an instant success with buyers and her fans, who she has many of even at a fresh age. Yifang Wan is a model example of an emerging designer. Despite not winning the Ones To Watch competition her subtle collection makes enough of a statement to keep an eye out on London fashion week’s new talent. Together with other same generation counterparts Wan provides a needed change in aesthetic to what was becoming a repetitive eccentric environment that London has become popular for.

The young designer received the L’Oréal Professional Young Designer Award at Central Saint Martin’s BA Fashion degree show in 2010 and in 2011 she received a bursary from Lane Crawford to study MA Fashion at Central Saint Martins. This September saw Yifang Wan’s first collection to be shown at Vauxhall Fashion Scout during London Fashion Week. With a sense of simplicity and originality, she further explores the signature architectural aesthetic of her MA graduate collection and once again creates an elegant linear look that focuses on high quality materials and impeccable cuts.

The Spring/Summer 2013 womenswear collection retains an elegant, elongated silhouette but with looser deconstructed styles that are both lucid and effortless. The clothes are imagined for a statuesque confident woman, according to the designer.

Supple fine wool in variations of black are gathered together by oversized angled block resin belts and leather fastening, which proved to give the emerging designer the edge she needed to attract interested buyers. Multi faceted cuffs and pointed cocktails rings finish off the constructed look in a theatrical presentation. For a heightened sense of fluidity, the subtle sensibility between the varying levels of fabric plays to the juxtaposition of soft and hard, long and short, inside and outside. A flip and a flap, hints of martial arts can be cleverly detected through architectural collars, movements on the slits of long coats and tunics, dropped shoulders and loose fitting trousers.

Balance is the key word with every punch, direct and uncomplicated.

Yifang Wan, like many other designers who showed at Vauxhall Fashion Scout during London Fashion week, including Charlotte Simpson, Phoebe English, Ming Pin Tien, Timur Kim, MASQ and Hana Cha went against the extravagant eccentricity which London is famous for and offered a fresh approachable outlook to spring summer 2013. While this step was also somewhat maintained by the on schedule shows it has been imperative for the British fashion industry to push more buyer savvy emerging designers such as Yifang Wan who succeed at creative wearable collections.

In a disposable age of designers, who work hard at building other companies brands up and then get replaced with the more popular kid on the block Yifang Wan admires the work of other independent designers and plans to move in that direction. Succeeding at creating a namesake label has never been

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harder but never been more rewarding, with emerging markets and increased buyers, new boutiques and online possibilities it is now the time for young designers to exploit the future and tap into various sources of income.

Showing at London Fashion Week has become accessible and crucial for emerging designers from schools such as Central St Martins, however to be taken seriously and be seen beyond a selection of teen hip bloggers these designers need a further push, Vauxhall Fashion Scout did well with their latest season offering providing an exhibition both in London and Paris for the selected few emerging designers which put them in touch with both with buyers and the general public, however one will only know the true success of these events from the things which really sometimes matters the most, and that unfortunately is sales.

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PLATINUM CONVERSATION EMERGING DESIGNERS

Masters MASTERS of Disguise OF DISGUISE Featured above are designer Sorapol creative director and Daniel Lismore

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"I think it’s important to make your dreams come true, through hard work, perseverance and respect for yourself and others."

The extremely outrageous and eccentric team behind Sorapol provide a direct opposition to the clean lines which other emerging designers are offering.

Their latest collection launched merely a month ago yet felt more like a 90s underground vogue-ball dance off.

Doing away with all rules and regulations Sorapol is growing in popularity with celebrities such as Nicki Minaj and Azealia Banks who have both been seen sporting their outfits in their latest videos. The team at Sorapol does away with all their inhibitions and fear of sales and just focus on what feels right for their collection, keeping things fun and (yes, I said it) fearless.

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What have you done so far and what do you want to achieve? Have you accomplished any of your goals?

[British Council of Fashion], only seem to focus on the same designers (which is understandable).

Sorapol has just launched. The show hasn’t yet even begun. Starting my own label was one of my goals since I’ve been extremely young. I have also been lucky enough to find a strong creative team to work around me at all times.

They never seem to seek out the new talent, that London brings. I have been taught to be somebody else, and was forced into the wrong direction, I felt this affected my entire creative outlook, however I persevered.

What inspired you to create such a unique collection and will you go back to these same inspirations for future collections?

My desire to create unique clothing is a decision provoked by the way that other designers in London conform to.

Sorapol is a platform for those who want to explore and push their creativity. As a brand, we are constantly looking for new ‘people’ to collaborate with, who have similar views on mainstream fashion. We will follow certain influences and reasons, but never the same garments!

I believe the past is the teacher of the future.

Financial resources are very difficult obviously when starting a new brand for any emerging designer. We know there is huge potential, but others who may have the power to help, refuse to look and listen.

Do you have a muse? Who would you love to see wearing your clothes?

Our muse at the moment is Azealia Banks. We have mutual love for each other’s visions and work. We would love to see Daphne Guiness in our clothes, as she represents culturally and aesthetically what we are about as a brand.

What motivates you to keep on doing what you do?

Have you faced any obstacles? Do you think it’s difficult to start a career in fashion, especially when trying to carve out a niche for one-off couture pieces like yours?

Executing my dreams. I think it’s important to make your dreams come true, through hard work, perseverance and respect for yourself and others.

It is extremely hard for us as a brand to push ourselves out there.

What does Sorapol stand for? What message does it want to communicate?

Certain establishments, for example the BFC

Love. Vision. Drama.

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PLATINUM FASHION BLONDE AMBITION SERIES

BLONDE AMBITION SERIES #1 SENSATIONAL YANA

Photography Matthew Attard Navarro Fashion Editor, Anna Peftieva Model Steph Yana at MandP Make up Elias Hove at Jed Root Hair by Louis Ghewy

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Yana wears top by Yifang Wan, skirt by Cunnington and Sanderson, shoes

by Ming Pin Tien

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Yana wears top by Cunnington and Sanderson, belt by Yifang Wan, trousers by Petra Shultzova

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Yana wears cape by Petra Shultzova, trousers by Yifang Wan and shoes by Ming Pin Tien

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Yana wears top by Petra Schultzova, trousers and shoes by Ming Ping Tien, sits on briefcase

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Yana wears coat and shoes by Ming Pin Tien over a dress by Peggy Tsai

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Yana wears blazer, trousers and shoes by Ming Pin Tien, with ba by Taeseok Kang

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Yana wears top by Cunnington and Sanderson with belt

by Yifang Wan

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Yana wears dress and belt by Yifang Wan with shoes by Ming Pin Tien

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Yana wears harness by Ming Pin Tien

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Yana wears top by Peggy Tsai and shorts, belt and knuckle dusters

by Yifang Wan with shoes by Ming Ping Tien

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Yana wears top by Cunnington and Sanderson, trousers by Petra Shultzova

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Yana wears top by Peggy Tsai and shorts, belt and knuckle dusters

by Yifang Wan with shoes by Ming Pin Tien

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PLATINUM INFLUENCERS CONVERSATIONS

Iggy Fenech sits down with Line Young Peteri as she shares her views about her role as Ambassador for St James Cavalier, her future endeavours and her uncensored opinion on various topics as Valletta18 looms ever-closer.

Line Young Peteri is a woman who has managed to have it all. She is a gaming expert and a businesswoman; a wife, a mother, and the founder of her own company which specialises in consultancy and long-time investments and shares. She is particularly known in Scandinavia for her role as Danish Country Manager for on-line gaming company Betsson, and her work with Jesper Hougaard, a two-time World Series of Poker champion.

Recently, Line has also been appointed Ambassador for St James Cavalier, Malta’s primary cultural institution, as her company is set on developing Malta’s cultural and business sectors. At a crucial time in Malta’s cultural scene, with big investments and changes occurring thanks to its capital city’s appointment as European Cultural Capital in 2018, Line speaks her mind on an assortment of cultural, political and social topics.

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Line Young Peteri illustrated by Werk Design Agency

IN THE LINE OF VISION

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PLATINUM INFLUENCERS CONVERSATIONS IGGY FENECH: St James Cavalier is one of Malta’s most important cultural institutions. Where do you, as its Ambassador, want to take it?

LINE YOUNG PETERI: St James is a very important cultural part of Malta and I am quite sure that when people - and especially foreigners - who are sitting on the money, discover how much work St James is doing, it will get sponsorships and investments for projects much more easily. At the moment, however, I think one of the big issues St James has to face is to push the boundaries between the Maltese and “the Rest”.

IF: And what do you think should be done to push these boundaries?

LYP: In general, I do think that the foreigners who are living here should integrate better, I assume that, at the end of the day, they didn’t leave their country only to “stick to their own”. But, on the other hand, I also think that Maltese institutions should be better at involving themselves in foreigners’ communities. Both sides have a lot to learn, but the basic problem is down to the infrastructure and the mentality. As long as foreigners are treated as foreigners they will probably continue to behave like that, and in turn people won’t get motivated to help the country.

IF: One of your previous jobs in Denmark was Country Manager for Betsson.

Does this help you in any way to target audiences and push art and culture in Malta?

LYP: No, not really. Betsson was a relaxed company to work for even though my area was the whole of Denmark. My other business areas however, have given me a big insight on Malta. Part of the work for my creative agency [YoungPeteri Ltd.] actually involves working closely with several Maltese companies and pushing them to international clients; this, amongst other things, has given me a big understanding of the Maltese ways. I also run three non-profit communities here in Malta to create an easier environment for foreigners to settle down and be involved in the local culture.

IF: In 2018, Valletta will be Europe’s cultural capital. How do you think this will work out? What will St James Cavalier’s role be?

LYP: I think it will be great! One of the biggest strengths the Maltese posses is the passion for their country and I’m very sure that when there is the opportunity to show their country off to the rest of Europe they will do a great job. St James is a pioneer in this and will therefore have to lead. Be sure that Valetta will stay true to its culture however and will not only be focused on economic gains. I am really looking forward to this, and I hope I can be of big help to show my own country [Denmark] how great Malta is.

IF: What would you say are the main advantages of Valletta being the European Cultural Capital?

LYP: We are working on a lot of projects to show that Valletta and Malta are much more than places where people come to get drunk or lay on the beach.

Valletta18 will hopefully show the thousands of years of culture and history, with an innovative mindset. This will not only create an exciting experience but will also show the rest of Europe, that what Malta lacks in size, it definitely has in culture and impact.

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I have been here for almost four years, and I often hear foreigners complaining about the slow service, and the general, typical Mediterranean mentality; but what they don’t see, and I hope will be shown much more in the next six years, is the determination and pride the Maltese possess to succeed. I’ve met some of the team behind Valletta18 and they are very ambitious - it will be incredibly interesting to see what they will come up with.

IF: What made you fall in love with Malta? What’s so special about it?

LYP: Oh, don’t get me started! I love the dedication Maltese people have to their country, and the little “big” country mentality they have. They are a truly unique people with passion, temper and pride. I also love the fact that despite its size it’s very international, and, obviously, the weather!

IF: What do you think of women’s role in Malta’s media and art worlds?

LYP: Well, I think that women are not visible enough - not only in the media and art industries but in any industry - and there is still a big gap between men and women. At the moment I’m in the talks with a couple of influential women in Malta to start an NGO that will work more with female entrepreneurs and businesswomen. I’m aware that there already are similar groups, but it seems like we need more action now.

IF: When you say that there is a ‘big gap between men and women’ do you mean in visibility or in other factors as well?

LYP: The mentality here is very different from that of Denmark’s. In Malta I only know a handful of women who work once they become mums, whereas in Denmark I don’t know anyone who would leave work when they have children.

Most Maltese women don’t network outside their own circles, and a lot of them make up excuses, saying they are not good enough instead of having a more proactive mindset and finding solutions. I feel that Maltese women have the same ‘small-town syndrome’, that I felt I had in Denmark.

It’s hard to create a big business within the country, but still more safe than to try to be more international. Nevertheless, I think there should be more focus on helping the ones that want to go back to work, and I’m active in a new movement within the Malta Business Chamber to help women starting their own businesses. We are not talking big million-Euro companies, we just want to get their self-esteem to a higher level, and also help them grow as entrepreneurs.

IF: You’re a wife and a mother and a businesswoman. How do you manage to have it all?

LYP: I have been much more selective with the projects I work on and people I work with and have around me since I’ve become a wife and a mother, whereas before I would do everything and work with everyone. I eliminated all the disturbing elements, but also people around me, who gossip, badmouth others or have a bad attitude in general, this gives me the energy and focus on the four most important things in my life: my child, my husband, my friends and my business. But don’t get me wrong, I’m not trying to be a super person. Truth be told I love those days when I get up early, dress my son for kindergarten, prepare his lunchbox, go to work, have lunch with a friend, and then have THE FREEDOM ISSUE 44

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time to prepare a nice dinner for my husband before he comes home. It’s going back to basics really, but I think in today’s world, women in Scandinavian countries seem to have chosen career over family, whereas here it seems that women think they have to choose family over career.

The irony is that you need both to have a good balance in life; if you, as a woman, don’t feel feminine and attractive, and just become one of the guys, you will regret it – but if you don’t have something to wake up for, that develops you, then you will not get stimulated enough. I remember some years ago, I meet one of the top bosses from Microsoft Nordic and she said: “You work so hard not to be a sex-object as a woman, and then years after you are not even seen as a women anymore.” That touched me deeply.

IF: We’ve heard rumours that you’re setting up an online boutique. Can you confirm this? Is there any information you’d like to share with our readers?

LYP: Yes, it’s true! We are starting a online shop/community where I can basically work with everything I love: fashion, trends, but also helping upcoming designers, I can’t say much about it yet, but I promise it will be great.

IF: As you know, Platinum Love is primarily a fashion and design magazine. So what do you think of Malta’s fashion industry? What do you think is lacking?

And how can it be improved?

like Carina Camilleri who seem like they are slightly ahead of the time. But I’m keeping a very positive attitude towards its [Malta’s fashion industry’s] future.

There are a lot of things going on however, and it does seem like Malta is beginning to break away from the British and Italian influences; but change takes time. I’m really not worried though, as there is plenty of talent, but the bigger companies here in Malta will have to invest more and in better ways in local talents.

IF: Are your businesses in Malta investing money in this talent? How? LYP: I invest money and of lot of time in Malta, simply because this is my and my family’s home now, and instead of complaining that there is no talent here, I prefer to develop it myself. As I said before, I am working on a new and rather ambitious on-line fashion project which will hopefully help the local design talents to be showcased in Malta as well as abroad. I’m responsible for the World Robot Olympiad 2013 which is sponsored by Lego.

This project will see us working with kids from the age of seven, who will be able to learn science in a fun and playful way. I have three fundamental things I work with here in Malta: women and business, education, and culture and fashion – for me these are things I love to work with, and, in my opinion, things that need to be developed in the place where my children are growing up.

LYP: Well, in my opinion it still suffers from small-country syndrome, because it’s hard to be really innovative and different; nevertheless, there are pioneers PLATINUM LOVE VOLUME 2 ISSUE 6

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NEUE GOTHIC

Photography by Anja Boxhammer Represented by Hille photographers.

Styling by Patrick Lief Represented by Nude.

Hair and Make Up by Sascha Hughes Represented by Blossom Management

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Model wears fur jacket by Schumacher and tights as headscarf by Wolford

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Dress by Lever Couture with latex belt by Atsuko Kudo, fur hat as collar by Schumacher and all bracelets by Schumacher

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Blouse by Wunderkind, latex belt by Atsuko Kudo, pants by Dietrich Emter, shoes by Talbot Runhof and earrings by Schumacher

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Blouse by Wunderkind and latex skirt by Atsuko Kudo

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Dress by Unrath & Strano

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Fur jacket by Schumacher, belt by Schumacher, skirt by Somy So and tights worn as head scarf by Wolford

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Leather corset by Dietrich Emter, trousers by Schumacher and leather gloves by Wunderkind

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Dress by Lever Couture, shoes and necklace by Schumacher

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Blazer by Vivienne Westwood, top by Lever Couture, collar by Talbot Runhof

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PLATINUM TRAVEL MALTA

Catherine wears blazer by Black Halo, top by Yves Saint Laurent, harness by Zana Bayne, trousers by Topshop and ring by Laruicci.

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PLATINUM TRAVEL MALTA

more credits www.krismicallef.com / www.juliaschaetz.com

DESCENT IN SPINOLA BAY

Photography Kris Micallef All fashion, Julia Schaetz Model Steph C at SO Management Hair Matthew Gauci Make-up Karen Schembri Grima PLATINUM LOVE VOLUME 2 ISSUE 6

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PLATINUM érotique Auguries of Innocence

PLATINUM érotique

of

Auguries Innocence

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PLATINUM érotique Auguries of Innocence

Auguries Of Innocence Photography by Paulina Otylie Surys Represented by Art+Commerce

Celebrating the launch of her new book, LIMBO.

Words by Camilla Brown

[taken from the forward of LIMBO, a new book by Paulina Otylie Surys]

The past seems ever present in Sury’s work due to her use of old photographic techniques. She uses an array of cameras (the most modern being made in the 1970s) working with a range of film sizes (35mm as well as medium and large format).

She always prints in black and white using the silver gelatin process. Sticking with these analogue techniques is an intentional decision by an artist working today. It is much easier, although significantly less skillful, to take shots digitally and then alter settings so that they are printed in black and white. However for connoisseurs of photography the look, texture, feel and resonance of the older process is lost in digital format. Another type of photography that Surys has experimented with is the wet-plate collodion process first introduced in 1851 and used by the American Civil War photographers. It is a method of making photographic negatives using a glass plate coated with chemicals which are then put into an old bellows camera. It is a technique that has seen a resurgence of use in recent years by a range of contemporary artists, most noticeably Sally Mann. It has been described as ‘painting with light’ and in Sury’s work you can see the liquid marks across the print. The work with its vintage look has an almost ghostly quality to it. These processes are key not only to how Sury’s makes her work, but also impacts greatly on how the work looks, as she creates an enigmatic and timeless visual language.

Words by Matthew Attard Navarro The work of Paulina Otylie Sury fits perfectly in with our first edition of platinum érotique, a section dedicated to intimate personal works by the most golden of photographers. Upon my first meeting with Surys I was immediately drawn to her textile, somewhat sensual approach to photography, Surys is a young master in the art of traditional photography producing captivating, textile prints through the silver gelatin process. Her work is both flooded with emotion and strictly thought out, a sublime mix between intimate portraits and fashion photography. Despite a fresh move in the fashion world Surys captures the magical moments that rekindle a glimmer of the once glamorous world of fashion, now somewhat diluted through the mundane paparazzi-style portraiture that haunt the contemporary fashion world.

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PLATINUM érotique Auguries of Innocence

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PLATINUM LOVE VOLUME 2 ISSUE 5 Model kneeling wears sheer silk teddy by Steph Aman

Model seated wears beaded cape worn as veil by Francesca Marotta, lace corset by Sian Hoffman, 1930’s lace gown worn as skirt by blackout II, lace gloves, stylists own, bamboo cane, the model traitor, suspender belt by Follies by Renaud, stockings are by Coco de Mer, bespoke ballet boots by Ian Heron for The Model Traitor.

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Silvio wears General Idea button-down shirt, Buckler trousrs and belt

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Sheer teddy by Steph Aman, leather horsetail waspie belt & horsetail flogger by Paul Seville, chain collar and ankle cuffs by The Model Traitor

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Travis wears General Idea button-down shirt, Richard Chai trousers, Penguin lace up boots

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Moulded leather mask by Paul Seville, sheer silk gauntlets by Steph Aman, high waisted briefs by Belle et BonBon at Coco de Mer, fishnet hold-ups by Agent Provocateur, shoes by Christian Louboutin

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Model wears knickers by Agent Provocateaur, suspender belt by Follies by Renaud, stockings by Coco de Mer

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Model kneeling on floor wears sheer teddy by Steph Aman, leather and horse hair waspie belt by Paul Seville, chain collar and ankle cuffs by The Model Traitor, horse hair whip (on floor) by Paul Seville

Model seated wears riding hat, stylist’s own, veil by annies antiques, bra by Coco de Mer, high waisted briefs and bondage suspender belt by The Model Traitor, bespoke leather thigh high boots by Fabulously Fetish

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PLATINUM ART MARTIN MARGIELA ILLUSTRATIONS

Celebrating the exp of Maison Mart art direction team Agency came up wi rendition of the pop Margiela collection 15th of November PLATINUM LOVE VOLUME 2 ISSUE 6

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PLATINUM ART MARTIN MARGIELA ILLUSTRATIONS

perimental freedom tin Margiela, our at Werk Design ith an illustrated pular H&M x n released on the 2012 PLATINUM LOVE VOLUME 2 ISSUE 6

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Joan Smalls wearing integrated bra bodysuit Spring Summer 2007

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Arizona Muse wearing oversized Peacoat Autumn Winter 2001

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Lara Stone wearing asymmetric dress from Spring Summer 2005

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Abbey Lee Kershaw in the darted jumper reinvented from 1990

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Liu Wen in the sock jumper, Autumn Winter 1992

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Raquel Zimmerman in the re envisioned narrow shouldered jacket from the 1989 collection

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Karlie Kloss in the silk skarf apron and top reinvented from the 1992 classic

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Karmen Pedaru in the print evening dress Spring Summer 1996

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Daphne Groeneveld in the Duvet Coat Autumn Winter 1999 2000

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PLATINUM ART CONVERSATIONS

P A R A L L E L B O R D E R S Parallel Borders is a long-term roving laboratory for interdisciplinary and cross-cultural research created as an artist / curatorial partnership between Mark Mangion and Malta Contemporary Art. A series of collaborations will be initiated in 2012, generating a discourse with a diversity of specialists invited to contribute to an explorative platform of site-specific fieldwork in various regions around the world, questioning ideas of cross-field dialogue through visual culture. An ambitious, epic global journey will be embarked upon, creating a foundation for historical study and anthropological mapping, storytelling and geo-political cultural examination against a backdrop of a deflating capitalism, environmental instability, technological revolution and ideas and disputes of borders; physical, territorial, scientific, philosophical.

This network of collaborators, gradually including professionals, academics, craftspeople and scientists among others, will be invited to collectively question and respond to a thematic trajectory ranging from War & Politics to Science & Technology to the Environment and the Universe, culminating in a series of texts, films, events, photographs, sound works, drawings, collected and constructed objects, cyber spaces, performances, actions, workshops and gatherings, architectural and digital models and other. In

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each project the selected collaborators will reexamine the parameters, patterns and crossovers of their own individual field of research within a group dynamic and connected to place, time and culture.

Parallel Borders commences in 2012 with Capitalzealotism, a collaborative pilgrimage marking a fault line across Europe from Athens to London, reflecting upon ideas of capitalism and social and political change culminating in a series of site-specific actions in public spaces as well as a curated collection of actions, objects, films, and images. Questions of social and transcultural context will be investigated, through the collective effort and notions of community.

Due to the nature of this issue’s theme on freedom, we felt parallel borders was a prime example of contemporary art reflecting the current state of the world we live in. Addressing many topics relating to freedom (or the lack of ), through the politically war torn states of the European cities the project is touching, Parallel Borders is definitely a welcome fresh revival of the MCA under Mangion.

Matthew Attard Navarro talks to Mark Mangion on the themes addressed in Parallel Borders.

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PL: Parallel borders is a new project under the MCA which gazes on the war torn state the world is currently in, both political and economical, both drastic and shocking. This reality reflects the current society we’re surrounded by; what is the reception you expect from this project; do you think viewers want a reminder of what is happening or would you think they would prefer a soothing escapist ideal?

MM: Parallel Borders is a long-term project I founded merging my artist practice and curatorial research into a collaborative and nomadic trans global space. I guess my motivation to create MCA also came about as an artist project responding to a complete lack of infrastructure for the visual arts thus making it very specific to Malta. After MCA losing its physical space in Malta it seemed very appropriate to merge the MCA project with the Parallel Borders project.

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The first of these is located in Europe and proposes a series of projects in 2012 questioning ideas of consumption and power, protest and awakening, pilgrimage and fracture, architecture, monument and shrine, reflecting a decay in western culture propelled by an addiction to capitalism.

Commencing in Athens, a collaborative journey to London via stops in Rome, Zurich, Frankfurt, Brussels and Paris through many of the most significant cultural, political, historical and financial cities of Europe will be embarked upon. A distinct fault line will be drawn out from South East to North West Europe, in a cacophonous and politically engaged and historically and culturally grounded spectacle interrogating a growing strength of public commonality and sentiment in an ailing and bloated capitalist reality. An artist will create a site-specific work in each of these cities in a varied selection of works. As you pointed out some of these projects

could also in fact propose an escapist soothing approach. Nothing is fixed in this project. That is the whole point of collaboration.

PL: Your new project starts with ‘Goodbye Europe has left you’ a very strong title and a statement, you will be showing in seven different cities with very different stances in the European Union at the moment, will the exhibitions change/progress depending on the city it’s being shown in?

MM: Each artist will be creating a unique oneday piece. Some of these will be located in public spaces, some in private and some in virtual. Some will be announced as actions/ events, others will be left as isolated objects and images within the fabric of the city. All will be documented through photography, film and other for eventual display as a archived group of works shifting from a public context to an art one.

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PLATINUM ART CONVERSATIONS

Each individual work exists as an isolated action, which I will connect through a journey I am physically making between Athens and London via the mentioned cities. Apart from directing the project curatorially, I will also be making a series of short films in each city.

PL: The fact you are playing with the concept of low budget installations in order to empower the theme selected is definitely a great start to get the audience thinking, Angelo Plessas’ online piece is both thoughtful, yet addictive, in a way somewhat playful and light hearted, due to the nature of the topic do you think an element of playfulness is needed to except the current social scenario?

MM: I think each artist chooses to deal with significant and topical ideas the way they want to and I do not interfere in this. Parallel Borders proposes the impossibility of large unresolvable questions, which each artist can trash out to pieces, if they choose to and in what ever way they want.

I support this breaking down of the original idea.

This is when interesting things occur.

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PL: This is only one of many more projects coming up, what are we to expect from this ‘new’ MCA? MM: Over the next years MCA will engage with a selection of political, social and cultural ideas and territories of timely relevance through cross-field collaboration repositioning the artist, curatorial role within the visual cultural context.

PL: Despite the cliché statement the MCA has always pushed the boundary in the Maltese art scene, do you think it is still important to find a Maltese base, is it really necessary?

MM: I think the future of MCA is not in one place.

This new roving situation suits more experimental trajectories a lot better so I guess the answer to your question would be no.

MCA was initially conceived when I lived in Brooklyn in the 90’s. It was founded in Malta in 2008. Its future now is about movement, extension and continual renewal seeking broader perspectives, which are not culturally or physically specific to one place and its history.

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PLATINUM ART CONVERSATIONS

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PLATINUM FACE JOSH ROWLEY

PLATINUM FACE BURNING DESIRE Photographs by Matthew Attard Navarro Fashion Editor Jordan Dalah Model Josh Rowley at Models 1

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PLATINUM FACE JOSH ROWLEY

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