Re bel Issue 7 by jaiden james

Issue 7, 2013

Re – b el, issue 7, 2013

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Nightcoregirl: Maksymilian Fus Mickiewicz High street: Jaiden James Dora Budor: Tatevik Sargsyan Luke Abby: Jaiden James Taste Portfolio: Alexandra Gorczynski Mira Gonzalez: Maksymilian Fus Mickiewicz Candice Jacobs: Monique Todd Blood Brother: Jaiden James Heidi L33: Maksymilian Fus Mickiewicz Portfolio: Margot Bowman

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Manipulation . . . . . . . . . . . . . . Photography . . . . . . . . . . . . . Simon Thiselton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Styling Simon Foxton Level nine . . . . . . . . . . . . . . Photography . . . . . . . . . . . .Rory van Millingen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Styling Phoebe Arnold Ego tripping . . . . . . . . . . . . . . Photography . . . . . . . . . . . . Kim Jakobsen To . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Styling Rasharn Agyemang Viola . . . . . . . . . . . . . . Photography . . . . . . . . . . . . . . . Rory Payne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Styling Rasharn Agyemang Ballad . . . . . . . . . . . . . . Photography . . . . . . . . . . . . Sarah Piantadosi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Styling Harry Lambert

Cover

Ramon wears Necklace by Ambush, shirt by Karl Lagerfeld.

Founders Rasharn Agyemang, Jaiden James Editorial director Jaiden James Fashion director Rasharn Agyemang Art direction and design Marcos Villalba, Christopher Lawson Design assistant Diego Ulrich Sub editor Jamie Smith Arts editor Maksymilian Fus Mickiewicz Font and logo design Andrew Osman Contributing editors Hannah Newell, Tatevik Sargsyan, Monique Todd Senior contributing fashion editor Simon Foxton Contributing fashion editors Phoebe Arnold, Harry Lambert Contributing photographers Rory van Millingen, Kim Jakobsen To, Rory Payne, Simon Thiselton Contributing artist Margot Bowman and Alexandra Gorczynski Advertising and project enquiries justjaidenjames@yahoo.co.uk Main distribution partners UK: Blood Brothers, Soho Books, KTZ, Magma, Claire de Rouen, Artwords. France: Colette and selected boutiques, stores and bookshops across the UK Website re-belmagazine.com

Front section

Page 12 to 39

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Nightcoregirl

Maksymilian Fus Mickiewicz: What is Nightcoregirl? Nightcoregirl: Nightcoregirl is my DJ and internet username. I claimed it because Nightcore is an internet based genre of music open to amateurs. In 2011 when I began DJing I was a major amateur, and I still am, but my intentions are sincere like Nightcore. Nightcore is melodic and so sugary it becomes hardcore. I like that with Nightcore sometimes you don’t know if its a 14 year old in suburbia uploading a remix or a professional music producers just feeding the genre for fun. Nightcore isn’t really about the individual it’s about the Nightcore. MFM: What technologies are you using to make sounds? N: I use Traktor with a MIDI controller and Ableton to make remixes and sometimes I rent a BOSS VE-20 vocal performer pedal and play with octave manipulation for samples. MFM: What kind of samples and rhymes do you look for? N: I try to find samples of angelic and beastly sounds, and make them fuck, I mean fuse. I like to hear the angelic struggling with thunder and ferocious Dub-step

drops. But the angel is always the hero in the remix. I often look for tracks with simple folk song roots made into high BPM dance music, think Happy Hardcore. This is probably the amateur in me. MFM: I picked up on gaba, trance and brostep, no rules? N: Fuck yeah, gabber. Tribecore, hardtek. Those are my main bitches right now. Brostep, sure I’m down. A lot of music genres are just fun to play with because it’s a reminder of the culture it’s bred from. That’s why some people will play brostep ironically. I dunno, the commercial evolution of dub-step is pretty fascinating #Windows, #Honda, #Pringles. MFM: Is your track Girlfriends 4ever, based on a true story? N: You should know that girlfriends forever is sampled from affect3d.com/ girlfriends4ever. I’m not responsible for writing that intro verbal part. Sorry if that spoiled a fantasy. It has a pretty generic trance build-up so I decided to remix into a more sombre dance track. It makes more sense now that you see the website right? On the internet babes, that looks like Tara Reid 3D might actually have tails or monster dicks and eat people.

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Nightcoregirl tracklist: Fitness: Connected by Trance Generators. Trance Generators really know how to pump my adrenaline. The breakdown of the song makes me feel like I’m in a video game. I like to pretend I’m like Lara Croft, or Kat from Hunger Games when I train on the treadmill. Wouldn’t be possible without Trance Generators. Champions: Encarta by Gatekeeper. This is timeless epic techno. I met these boys in Chicago, I really look up to them musically, pros. This is my favourite track of theirs. Make the dance floor feel like gladiator ring. Tribecore Remix: Scary Monster by Skrillex (Darktek Remix). Everything: MDMA Smf vs. Bas & Ram . Haha omg this song makes me want to have an epileptic attack in the best possible way. Probably my favourite song to dance to. Favorite Nightcore song: Nu Svärord Är Det Sommar by Nightcore. Interview by Maksymilian Fus Mickiewicz

Re – b el tv

High street

The British high street once was, and still is, a diverse and multibranded place especially for Women where there’s a broad range of brands and shops offering fashion from basics to the latest trends, yet for men the high street still lags greatly behind. I used to love the high street and still do – a place for one and all, from Selfridges to Jaeger, to Topshop to Primark, high earners, big spenders to low budget, fast fashion, it’s all there and although the internet with ASOS, Ebay, Amazon, MR. PORTER and others maybe have taken a chip and chunk we’ve also seen mega malls pop up in the last five years such as the two Westfields, yet I feel completely let down at times and often leave shops with no bag in hand when in my browsing moods. It seems for men there still aren’t many places to shop, Primark offers fast fashion yet it’s hardly ever cutting edge and not exactly expected to fit nicely nor last long, which are two important factors in menswear. Names such as Blue Inc have offered a middle way, it’s cheap yet the quality is several marks up from Peacock and Primark and then there’s New Look, also an inbetweener. These brands are good at what they do but there are so many others that need a distinct voice and by doing so would help craft out and create not only a stronger high street but also strengthen the fashion industry. Mid priced companies like River Island are on trend mainly by the fact it knows how to pick, edit and select pieces. French Connection is still caught in a trap created by their own success, its hard to shake off the FCUK branding that was emblazoned across many t-shirts and jumpers in a bygone era leaving one to think what does French Connection excel at now? Zara has always been a tricky one, it’s clothes are good but are they great for their price? Zara knows how to copy and it copies well and fast. Cos offers minimalist pieces, it excels at the design details and fabrication allowing grown ups to get what they like and know where to get it from season to season without fail and upset. H&M of course is now largely defined by its blow out designer collaborations from Lagerfeld to Versace to lesser known household names Viktor & Rolf and Marni, a legacy that will be hard to live down even if it stops courting the luxury labels to sleep with, yet its not all that they do well, Hennes has multi-tier brands from basics to the slightly adventurous – I’ve got my fair share of edgy pieces from the brand such as a light jumpsuit and a black PVC motorcycle jacket. The higher end high street brands like Reiss and Jigsaw offer products that are casual and comfortable, nice in quality yet not exactly cheap, and aimed at the slightly older man, yet still slightly conscious of fashion, whilst Marks & Spencer is honestly bland and boring with garments aimed largely at an older gentleman who prefers unfussy fashion, the same can be said for Jaeger. All Saints does what it does and is good at it from the gloomy scarcely lit shops to the low cut t-shirts and oversized cardigans, it caters a cool edge to those seeking an edge. What’s left of the fashion brands on the high street is Topman, the jewel in the crown of Sir Philip Green’s menswear empire. Topman has gone beyond mere replication of luxury brand designs, being innovative and cutting edge, pairing with and supporting young talent, and this is it – it’s not only the clothes – it’s the brand image and advertising. Supporting young talent has been a key ingredient for Topman, beyond just a gimmick for quick press they’ve invested millions into making British menswear what it is

today with its support behind MAN (Fashion East’s sponsorship programme for young designers) and also the collaborations with the store helping to put money in designers’ pockets and reaching a wider audience. The formula has worked wonders for a shop that was largely in the shadow of its elder sister Topshop, yet now has its own image and identity that’s not only different from its sister but also many other men’s retailers. All in all to examine where menswear is at we have to look at how fast and far men have travelled in the last decade or so. There’s risk takers and men who tread on the side of playful conformity to adventurous dresser’s on those who take on the avant garde fully and wholly individuals like David Beckham and Kanye West two men who are highly respected in their professions and have had a large effect on how men see clothes. Beckham with his hairstyles and sarongs and West with his leather trousers and skirts. Both take risks and experiment, so what of those men who wish to do the same – where on the high street is there really to go? Male fashion icons are never really treated like their female counterparts, those Men who wear fashion that other men copy and its to those that these stores should try and reach out to, not only that but place more effort into advertising and those that feature within their campaigns. For example there’s M&S which has shot campaigns featuring women of all ages and the newest one is no exception, with the cast amped up to singers, actors, artists shot by Annie Leibovitz yet where is the men’s? Why shouldn’t there be an advert to counter the women’s with an all star cast crossing professions, age, colours, creeds etc. (Yes I remember Jamie Redknapp inserted into the previous ads and also when M&S opted for a little of Hollywood by selecting Ryan Reynolds and Rosie Huntington Whiteley, yet they felt forced and not really in tune or in line with the overall brand.) It’s the kind of bias that allows men’s fashion to not move forwards. Hardly any of these stores take risks with cut and colour, Topman has Topman Design which in truth used to actually dare to be different (patent yellow PVC duffle Jackets with Patent PVC oversized bags). Yet Topman now has relaxed, whilst as stated H&M has its occasional surprises, as does Zara, yet overall there’s nothing to scream and shout about. The most adventurous thing about Burton is Reggie Yates as the face, a great sign as its not only rare to see a black presenter on TV but its also rare to see a celebrity of sorts embraced in fashion. The issue with Burton is what’s the true distinction between it and Topman, if Topman is for under 25 year olds shouldn’t Burton be a little more Mature? It started out selling suits so shouldn’t it go back there? What if Burton did sensible, affordable off the peg and altered suiting, it would allow itself to sit above Topman in age and away from Reiss & Jigsaw in price, modelling itself on the quintessential British brand Burberry and did collaborations with not all who is cool, but those who place an emphasis on quality and cut, like the brilliant Aitor Throup or even brands on the Row like Norton & Sons. There are dreams for a better high street and in turn better wardrobes, not just for my own but for others across the land, calling out for wider product ranges and more daring designs but who knows sometimes dream do come true. Words by Jaiden James

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Dora Budor

Dora Budor is a NYC based interactive media artists with a background in design and architecture. Budor’s artistic practice is heavily influenced by design, branding and advertising strategies. Collaborative work is at the heart of Budor’s artistic development, she has collaborated long term under D+M with Maja Cule, as well as various musicians, designers, artists and institutions, including an ambitious installation at Palazzo Peckham for the 55th Venice Biennale. We caught up with Dora to discuss all things revolving around collaborations. Tatevik Sargsyan: What are your essentials for collaboration? Dora Budor: My work flow can be compared to outsourcing methods typical for a television production house or an advertising agency; casting or collaborating with others to acquire certain results under my direction, but the end result is transformed through the participant’s performances. My projects depend on other people and their ability to perform and subjectively reinterpret my ideas. I often merge and remix digital media, sculptural installation, video and performance to explore and reinterpret universal behavioural and aesthetic patterns coming from contemporary corporate environment and the entertainment industry. TS: With whom have you enjoyed working and collaborating with in the past?

DB: Until 2013, I was part of a duocollaborative, D+M with Maja Cule. Our works have focused on new media, juxtaposed realities, as well as using design and strategic brand campaign tactics as our primary mode of production. Last year, we created a series of photographs and products promoting sustainable living improvements and eco-ware styles in collaboration with Rachel de Joode and DiS magazine. TS: Can you tell us a little more about your current projects? DB: As part of Palazzo Peckham for the 55th Venice Biennale, I collaborated with musicians and artists to create a art reality show called New lavaro. Nine musicians were commissioned to create sounds capes by combining new sounds and sourced material from other reality shows. The thirteen actors who had been selected for this project were all young artists based in NYC and were given daily assignments to perform. The reality show is exploring relations between creative industry workers and the aspirational lifestyles operating behind the curtains of contemporary sustainable economies. The project has a non-conventional approach by experimenting with production in extreme living conditions, operating with minimal budgets, theft or misuse of commercial resources, and testing the boundaries of how we can produce art in a time of economic crisis and material overload.

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TS: What would be your dream project? DB: My dream project would be if Universal Pictures allowed me to shoot on their set while they are filming a new sequel of certain sci-fi movie. I would also like to receive a commission from Emirates Airlines to curate a show on a plane doing a round-trip from NYC to Dubai. TS: And what can we expect in the future? DB: One of my upcoming projects is a collaborative video The invisible industry with seven Berlin based artists. These artists re-perform their daily studio practice through certain obstructions and instructions. I am interested in the performative aspect of engaging with artistic labour, in specific how it operates and the parts that get lost or translated between the initial idea and the final product. My project with Helga Wretman (artist and stunt woman) is called Action Paintings . Helga acts as my stunt double in a series of short action videos. Throughout the process we switch roles – she takes on the lead role and I become an extra. While constructing a new narrative that merges history of gestural approaches, painting and cinematic production elements, the questions of creation / destruction and representations of violence as a driving force embedded in Hollywood action movies is being compared against the artistic process as representation, therapy and phenomenon. Interview by Tatevik Sargsyan

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www.re-belmagazine.com/p/re-bel-tv.html

Luke Abby

Jaiden James: The last time I interviewed you, was three years ago. You were 18 and now you’re 21. How would you say you’ve grown both artistically and personally since we last spoke? Luke Abby: It’s been a crazy few years. Back then I was very naive which a lot of people abuse in the industry. Now I know it inside out. I opened my design studio in 2012 which was something I had always wanted. A space to myself where I could create what ever the hell I liked. It was inside a re-constructed church and I had a 24 hour keycard. The amount of nights I ended up crashing there waking up in a church and going to a job was crazy. We also used to throw these dinner parties every Sunday evening called Social Sundays. JJ: You’ve worked with a range of individuals from Gary Card to JW Anderson to David Sims, what do you say you’ve learned most from your creative partnerships? LA: It never hurts to learn everything. I’ve always been a believer in doing things first hand and fucking off typical ways of ‘how to do something’. JJ: In that time period you’ve also travelled widely, where’s been your favourite place? LA: Yeah its been non-stop for the past three years. I loved Tinseltown. JJ: You regularly speak about the gap between commercial and creative in fashion and how in recent years its widened with everyone reverting to playing safe, what’s your views on where fashion is at now? LA: At the end of the day, the mindsets of the majority of the population are still very set back although it is changing. Slowly but surely. I used to battle a lot with myself about this. You need to divide your time between commercial work and artistic work. Otherwise you may find yourself going crazy.

JJ: What would you say you dislike mostly about the industry? LA: The lack of importance it has in respect to the world when you put everything into perspective. JJ: You look a lot to the past for inspiration and references and you’re quite nostalgic towards the 20’s and Art Deco, what do you think makes you look towards that specific era with such high regard? LA: I believe in a visual that speaks and says something relevant about the world today. I play on the idea of triggering someone’s thoughts or emotions hopefully someone will see the world differently. If I get sent a mood board which references nothing but current work of others from today I will delete it and forget I ever saw it. A mood board shouldn’t aim to re-create. It should trigger new ideas and invent something to inspire someone else. I developed a huge fascination with the 1920’s over the past few years. I think it stems from people’s outlooks, which I find fascinating. It was a time people didn’t give a fuck anymore about “the expected way to be in society.” JJ: Who in this day and age would you say is inspiring? LA: Nine – Fivers inspire me. They know how to let their hair down. JJ: You create for magazines mostly, yet which ones do you read personally? LA: Anything that looks interesting when I’m waiting in an airport. I like Wallpaper* magazine. JJ: You’ve got your hand in quite a few projects at the moment from the brand Absolon to Supposition3000 along with the additional set design that you continue to do, could you explain each project in detail? LA: Yes. I’m launching Absolon London. I can’t say much about that at this stage but we are currently working on the first

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collection and it’s a lot of fun. (www. absolon.co.uk) and Supposition3000. com came about when me and Mr Jed Root were having a late night talk about names for a blog type of platform which shares my view of the future. Nothing more nothing less, but there will be an exhibition coming up on it. Set design gets my hands dirty. But I love it. JJ: You’ve been using photography as a form of expression for a while now, yet it seems you’re taking it more seriously of late. What’s led you from being in front of the lens as a model to creating the set and scene for others to capture, to now making your own images? LA: Modelling was just to make some extra money while I was at the Brits. I knew that I had more to give than walking down a runway. I used to make videos of the shoots I was on, documenting the whole process on my shitty camera phone so I could show my friends this different world I was becoming a part of. I’ve always loved making images, it allows me to express what’s in my mind and document this amazing point in time. JJ: I know plans aren’t something you like making or sticking to, but what would you say your plans for the next three years would be? LA: Growing my hair. That’s something I’ve never been able to achieve very well. JJ: What advice would you give others looking to break into set design? LA: Just do your fucking thing and don’t take yourself too seriously. JJ: Has social media influenced your work? It’s forever changing and I cant keep up. As much as I love technology I also resent it. Everything has became too accessible and it’s sucked the quality out of a lot of things. Interview by Jaiden James

Taste

Rum Kitchen: Laid back vibe with dimmed lights and low music, the walls covered in wood to give the wood shack vibe and a visible kitchen at the back. Cocktail choice: Rattle skull punch fruity refreshing concoction. Starters: Salt fish fritters crisply coated with a sweet salt fish filling balancing off the slight kick that came with the accompanied chilli jam. The jerk chicken wings are so juicy and tender that it falls off the bone. Marinated splendidly, and even more delicious when dipped in the accompanying spicy sauce. Main: Sea bass, complimented well with sofrito and pepper salsa adding another flavour and element to the dish even more so when mixed with an additional side of rice and peas. Rum Kitchen is a great place to catch the vibe and taste of the West Indies with Caribbean hospitality and food filled with flavour, it’s definitely a spot to drop by. Rating: 3.5 of 5 Waterway: Low level lighting and music at hum, tables generously spaced yet located close enough to allow engaging conversations to be had with tables nearby. It’s situated just by the river close to Warwick Avenue station, living up to it’s name. Planked ceilings and antler chandeliers allowing for a luxury liner fine diner feel. Cocktail choice: Passion fruit kiss, a more fruity than fizz champagne splash sweet and summery. Starters: Scallops, light with the sauce and nuts grounding and basing the dish. Crayfish, simple and effective dish – a ravishing riot of flavours. The bloody mary sauce marinating the entire curation with guacamole and crayfish served cold, with each factor adding to the other. Smoked duck, tasty with a billowing smoked effect with the added crunch of celeriac with the sweetness of the cumberland sauce makes this a fusion of

flavours that worked terrifically together. Main: Marinated salmon fillet light and slight in texture with added sweetness making for a juicy delectable dish. Dessert: A medley of crumbled chocolate chip cookie, chocolate mousse and ice cream. The crunch and combination of textures made for a light sweet dessert. Waterway offers a relaxed dining experience where time trickles by allowing the diner to lose themselves to the atmosphere, and an important factor for the food is that the staff were helpful. The location is great and the building beautiful all adding up to a great evening. Rating: 4 of 5 Best burgers Bens Canteen: Coming in a soft glazed fresh bun I loved how all the meat retained moisture, remaining tender and juicy – the salad killer was the highlight premium on the menu for £13, but well worth it. Double beef patties make for a mighty messy mouthful with the juices and highly delicious sauces oozing out on bite. Honest: With prices ranging from £6.50 to £9.50 allows for Honest to be close to a large McDonald’s meal and on par with some of Burger King’s entry burgers, yet is equal quality of more pricey outposts such as Byron Burgers which Honest quite easily passes in taste and texture. The chips were a delight also, and although the main focus is the burgers, there’s no compromise and they make for an excellent companion, a cross between wedges and fries with the potato’s skin still left on yet finely cut and seasoned with rosemary and salt, helping to add flavour and balance the dish out nicely. Advisory Burger: Onion and mushroom burger served in a glazed lightly grilled bun, retaining its softness with lettuce

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and juicy tomatoes. All burgers come medium rare unless stated, I opted for rare which was tender and just right, juicy and succulent and retaining all its juices Tommi’s Burger: The food came served in baskets, the burger was, and is, the main attraction, the bun soft and glazed with additional toppings of tomatoes, crisp lettuce and onions, and prime cut beef cooked medium rare, that fell apart in the mouth. The accompanying companion to the star attraction came slim cut and deep fried until golden and crispy and the chips tasted even better in my opinion, lightly salted and for those who love a slight kick – with tabasco drizzled over adding ketchup and mayo to calm and cool. Five Guys: The burgers are able to be customised by adding this and taking away that, although you can’t choose how you want your beef, it simply comes Five Guys style which is well done. Burgers come wrapped in foil, a soft sesame seeded bun that’s lightly grilled and the meat is meaty, grounded pounders with bacon and cheese coming with a double burger patty. Nibbles & Bites: Fudges lemon zest biscuits, crunchy with half dipped in white chocolate for adding a creamy layer, allowing for the biscuits to not be too dry, the lemon zest flavour is also an additional treat with all ingredients working together to make a scrumptious dessert. YU Bars: Coated in a yoghurt, packed with an under laying of berries, one bar leaves you wanting another. Wray & Nephew: At a whopping 63%, the liqueur sure can help you party hard. It goes down a treat when mixed with tropical juices and I found ting and lilt to be my mixers of choice.

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Gummihandshuhe

by Alexandra Gorczynski

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Mira Gonzalez

Mira Gonzalez is several things all at once: a twenty one-year old MVP of New York altlit, a potent and prolific internet presence, a neat encapsulation of ‘Generation Y’, in the sense of, both, what most parents desperately fear and most twentysomethings equally desperately crave, and, fore mostly among (and contributing to) these things, a poet whose first collection I will never be beautiful enough to make us beautiful together, published by Brooklyn-based Sorry House and now on its second print run, is a true gut-punch in the best possible sense and well worth giving your time and your money to. In the past month alone her oftenmanic twitter feed suggests that she has given a TED talk on feminism, developed and grown attached to a yeast infection, found a loaf of bread in her purse, talked loudly about cocaine in Applebee’s and smuggled confectionary marijuana onto a commercial flight from her family home in Los Angeles to New York. While it might seem to border on the fantastic, like her poetry, it is something more like a concentrated or amplified version of the rare ups and all-consuming downs of life. And, if anything, that’s very fucking real. Maksymilian Fus Mickiewicz: Recently, at an event in London with Ben Brooks, Tao Lin suggested that the internet isn’t really relevant to his work at all. You’re both quite a prolific literary internet presences: what’s the relationship of your work to the

internet and to modern technology? Mira Gonzalez: I think I agree with Tao, in that, if I was born in the 19th century, I would probably be producing the same or similar work. I’d just be using venues other than the internet to display it. But I do think that there is no way I would have had anywhere near as much success without the internet: the internet has given me a means of displaying my work to a large audience. I don’t know how I would do that without something like Twitter or Tumblr or Facebook. MFM: Do you think that the internet – and contemporary forms of communication in general – are having a more widespread effect on the production of literature? MG: I don’t feel qualified to answer this. From my perspective it seems that the internet has had a widespread effect on people in general, so I can only assume it has effected literature as well. I can’t speak for anyone besides myself, though. I’m sure some people are effected very little by it. MFM: How much of what you post-between your various accounts – on twitter is objectively ‘true’? I suppose in a way, we all caricature ourselves on social media to some extent. MG: This is a question people have asked me a lot and I’m never sure exactly how to answer. Everything I post on twitter is generally based on something

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that actually happened to me. If I tweet ‘I’m smoking crack’ its because I’m actually smoking crack. That being said, obviously I choose what aspects of my life to write about. If something doesn’t seem funny / entertaining / relatable / interesting / etc. then I won’t write about it. I guess i do caricature myself to some extent, but its all based on reality. MFM: Outside of your own circle, in terms of contemporary poets and writers, who do you read and who would you count as influential on your own work? MG: I’ve recently enjoyed books by Haruki Murakami, Fernando Pessoa, Fredrick Barthelme, Jack Gilbert, Ben Lerner and Joy Williams. I read 50 Shades of Grey on a flight from New York to Los Angeles and I did not enjoy it. (That book is bullshit, all build up and barely any porn-y scenes, do not recommend.) MFM: The first print run of your first book sold out. Presuming a second run of that at least, are you working on a second? MG: A second run of my book has been printed (please buy it: sorryhouse. com/product/i-will-never-be-beautifulenough-to-make-us-beautiful-together.) I am working on another book but its going to be a long time before I have my ideas organised and an even longer time before the book is finished. Interview by Maksymilian Fus Mickiewicz

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Candice Jacobs

Working within the mediums of sound, sculpture, video and the animated gif, Candice Jacobs is a Nottingham based artist and curator whose practice explores the realms of meaninglessness. With a focus on advertising, television and the internet, Jacobs often inspects the crevices between these mediums, where repetition and boredom reside. One of the founding directors of Moot and Stand Assembly (an artist-led gallery / studio collective based in Nottingham), the fine art graduate has co-founded and codirected various artist-run projects since 2005. Here, she discusses her influences, the importance of context and medium in her practice. Monique Todd: What are the main ideas / themes you’re exploring in your work? Candice Jacobs: Most recently I have found myself exploring the role of gender in the space that exists between work, leisure, escapism and capitalism. For Pleasure Voyage, a forthcoming exhibition at SYSON, I am attempting to examine the ultimate feminine aesthetic that exists within this place. Taking inspiration from nostalgic design, fashion, the workplace, electronic music, health and beauty.

MT: What inspired you to start your practice in the mediums you have chosen? CJ: I have always had an interest in sound and electronic music, whether its using contact microphones to detect small vibrations in materials, wearing secret microphones whilst working as a waitress, re-editing language training cassette tapes or going to all night raves.

CJ: Context and meaning are big terms, malleable to very different concepts determined by the individual. I often try to remove context through an editing process. Meaning can also be manipulated through this process of reduction, and also through a process of repetition. The more you repeat something, the less meaning it starts to take on.

MT: The concept of reality and non-reality provides an interesting undertone to your work. How would you describe your relationship with these ideas? CJ: For me, boredom and distraction heighten the sense of what reality really is. I see the Internet, the television, the restaurant, the bar or the nightclub as environments that create an alternative sense of reality, a hyper-reality. Yet there is always a business construct in place within these structures that power the dreams and there are always people who work within them to generate a framework for their own day-to-day life.

MT: What are your thoughts on the ‘recontextualising’ platforms such as Tumblr and Pinterest, where many images are taken out of context and put onto the user’s personal space? CJ: Image collection and manipulation is something that technology and the internet is incomparable to. The personalisation of this data is where the ownership of the ideas come in, even within structured frameworks such as Tumblr, Pinterest, Facebook and Twitter, it’s the way that the consumer is able to personalise their collections of images in order to market themselves as a brand. The recontextualisation of the image has eventually led to the marketing and branding of the individual.

MT: The ‘recontextualisation’ of media seems to be of great significance in your work. What are your thoughts on context and meaning?

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Interview by Monique Todd

Blood Brother

Jaiden James: What are the main advantages of working as a duo? Blood Brother: Nick and I have known each other for a long time and we studied together at LCF. We both have different strengths and approaches to working. I came from a sales and business background, whereas Nick is the creative force behind the brand. We both share the same focus but have different perspectives on the industry. JJ: You chose Hoxton as the place to launch your flagship store. What do you feel led you to choose Shoreditch as the brands home? BB: It’s where we both feel comfortable and reflects the ethos and spirit of our brand. Charlotte Road is also a great location, we are situated amongst great stores, for example Start is on the opposite corner to us. JJ: How did the label come about? I know you started from t-shirts and eventually moved into full on collections, but what made you want to take the jump into

creating a brand of your own? BB: We always planned to start a label and in order for us to do that we started out by designing t-shirts. James and I could see a gap in the market for a new contemporary menswear label and realised we had the ability to do it. We are both ambitious and realise how the industry works. Starting out with t-shirts was a way of testing the market, we’ve nurtured relationships with factories, stockists and our customers and by doing this it has helped us define our identity. JJ: London menswear seems to be a lot more DIY and raw opposed to the slickness of Italy, luxe of Paris and casualness of America. You guys seem very hands on and to have built the brand up steadily and readily, what do you think makes London menswear so different from other places? BB: London is famous for producing new talent and is the city of focus for the next big thing. We want Blood Brother to be a business and continue to grow. We want our label to have longevity and cultural reference, so for us the best way

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to achieve this, is by growing the brand slowly and getting the product in the right hands. We don’t just see Blood Brother as a clothing label, we also see it as a platform for new talent and we plan to expand our product offering and continue to develop our concept. JJ: What are the main recurring inspirations from season to season? BB: We don’t have recurring inspiration we change each season, Autumn Winter 2013 is all about the Middle East, Dubai and our visions of the future. Spring Summer 2014’s inspiration is hardcore 90’s dance culture. JJ: Other than your own brand, what designers are you buying into, admire and appreciate their work and vision? BB: I’m currently buying Cavempt and Clothes Surgeon, I’m really into what they are doing. I would say Moschino and John Richmond Destroy are two labels whose work I admire and I appreciate their vision. Interview by Jaiden James

ryan-trecartin-at-moma-ps1-9-6-.jpg

Heidi L33

‘Heidi L33 is an exotic digital magpie creating odd, one-of-a-kind inventions to be worn on the head. Combining her love for the mysteries of the universe, technology and a sprinkle of surrealism, her design alchemy is always projecting my imagination forward – into the unknown future.’ — Veronica So Fused with biological and technological prints Heidi L33’s unique headgear turns brain patterns into holographic rainbows, micro-processed from computer data onto 3D printed millinery, that can take the form of a regular go to cap or a full on antennae customised with LEDs responsive to radio waves. Pataphysics, theosophy and orgone energy are core to this New York based designers speculative fantasies, where surrealism comes head to head with science-fiction. One acid coloured fur hat is tailored in preparation for a freezing desolate planet, The Atomic Universe Hat orbits electrons round your head as if your skull was the nucleus of an atom, while a chain-mail dress plays on the quantum mechanics of string

theory. From DiS Magazine to Vogue, Vidal Sassoon to Icona Pop, it looks like almost everyone is caught up in L33’s futurist’s experimental haute couture world. Maksymilian Fus Mickiewicz: How did you come to be a scientific milliner? Heidi L33: Hats are my medium of choice as an artist and designer. I view them as collectible wearables. Collect them all and you get a chance to see and live in the headspace of Heidi L33. Imagination and curiosity are the spark of science. MFM: What materials and fabrics do you use? Where do you source them? HL: It’s an exploratory hunt all around NYC and the world, sourcing and finding untouched nooks and crannies, befriending mysterious shopkeepers hidden away in dark corners. I am a wanderlust creature by nature, so I’m a collector of strange artefacts and souvenirs, and I weave my life travels into all my work. MFM: What technologies are you fusing into your hats? HL: Hardware hacking, computer-

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aided design, 3D printing, radio-frequency communication, LED’s, lenticular vinyl, photopolymer holograms, and many more. MFM: Are any connected to the net? HL: The Singularity Hat is connected to the idea of the internet of the future. MFM: What sci-fi influences you? HL: Science Fiction gives more leeway to creating worlds that may not exist in this dimension. Portals into the unknown always call for risk and adventure, which are crucial in my books. MFM: Yves Saint Laurent’s director moved to Apple, Google is dabbling in glasses, any predictions for what we might begin to see in future of fashion? HL: Brave new worlds lie ahead. The future of design and technology is unknown. However there are trends that predict the pulse of where things are to go. Fashion will always be at the forefront of innovation and will continue to offer a critique of the zeitgeist. Interview by Maksymilian Fus Mickiewicz

Plug me in and turn me on

by Margot Bowman

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Back section

Page 42 to 93

Manipulation

Photography Simon Thiselton

Styling Simon Foxton

Page 42

Ramon wears sunglasses by Thom Browne, jumper and trousers by Craig Green, shoes by Kris Van Assche, hat stylistâ&#x20AC;&#x2122;s own.

Ruff stylist’s own.

Top by Issey Miyake Men. Following page: Jumper, trousers and shoes by Alexander McQueen.

Jacket and kilt by Moncler Gamme Bleu, socks by American Apparel, boots stylist’s own. Opposite page: Boots by Red Wing, trousers by Karl Lagerfeld, top stylist’s own.

Visor by Moncler, spiked dogcollar stylistâ&#x20AC;&#x2122;s own.

Jacket by Alpha Industries, socks by American Apparel, shoes by Umit Benan, American football shorts stylistâ&#x20AC;&#x2122;s own.

Top, trousers and trainers by Umit Benan, necklace by Ambush, shawl stylistâ&#x20AC;&#x2122;s own. Opposite page: Necklace by Ambush, shirt by Karl Lagerfeld. Make-up: Liz Daxauer at Caren. Model: Ramon Gazhang. Stylist assistant: Jona Fuller. Assistants: Paulina Arlauskaite and Courtney Campbell. Studio and lighting: Sunbeam Studios. Special thanks to Robert Moore Studio.

Level nine Photography Rory van Millingen Styling Phoebe Arnold Page 58

Bo wears shirt by Samsøe & Samsøe, tie by Richard James, trousers by Karl Lagerfeld, bag by Banana Republic. Opposite page: Coat by Paul & Joe, shirt by Karl Lagerfeld, polo neck by Hugo Boss.

Shirt by Holly Fulton, trousers by Paul & Joe, poloneck by Hugo Boss, vintage belt from Beyond Retro. Opposite page: Suit by Vivienne Westwood, shirt by Sandro, wool vest by Christian Dior, boots by Tiger of London, vintage belt from Beyond Retro

Coat by Jonathan Saunders, shirt by Peridot, trousers by Karl Lagerfeld, poloneck by Pinko. Opposite page: Jacket by Zadig & Voltaire, shirt by Viktor & Rolf, tie by DSquared, poloneck by Hugo Boss. sunglasses by Retro Super Future..

Skirt and jacket by Jonathan Saunders, shirt by Camilla & Marc, tie by DSquared, poloneck by Hugo Boss. Opposite page: Coat by Christian Dior, shirt by Camilla & Marc, trousers by Eudon Choi, shoes by John Galliano.

Coat by Joseph, shirt by Sandro, tie by DSquared, trousers by Escada, bag by Jimmy Choo. Make-up: Lucy Bridge at Jed Root using Radical Skincare and Laura Mercier Cosmetics. Model: Bo Don at Next London. Photography assistants: Phillip Banks and Adam Fussell. Styling assistants: Dee Moran, Johanna Burmester-Andersson and Melissa Emerson. Retouching: Vanessa Merrill. Special thanks to Natalie Argent at NCP Car Parks and James Powell.

Ego tripping Photography Kim Jakobsen To Styling Rasharn Agyemang Page 68

Taj wears blazer and jeans by Moschino. Opposite page: Jumper and jacket by Topman Design.

Blazer by Moschino, trousers by Karl Lagerfeld, shirt by Christopher Shannon and shoes by Viktor & Rolf. Opposite page: Jacket and white shirt by Moncler, jeans by Maison Martin Margiela, toy tiger stylistâ&#x20AC;&#x2122;s own.

Biker jacket by BLK DNM, shirt by Unit Benan, trousers by Roberto Cavalli, shoes by Christian Louboutin. Opposite page: Jacket and jumper by Markus Lupfer.

Suit by Richard James, polo neck by Moschino. Opposite page: Shirt by Christopher Shannon, trousers by Moschino, shoes by Christian Louboutin. Hair: Carl Campbell. Make-up Nami Yoshida at The Book Agency using Mac cosmetics. Model: Taj at Select Model Managment. Photography assistant: Chelsea Jackson.

Viola Photography Rory Payne Styling Rasharn Agyemang Page 76

Photography Rory Payne

Maggie wears dress jacket by Maison Martin Margiela. Opposite page: Jacket by Gareth Pugh.

Top by Issey Miyake. Opposite page: Jacket by Gareth Pugh.

Top by Karl Lagerfeld, trousers by Maison Martin Margiela, jacket by Norvegian Rain. Opposite page: Jacket by Issey Miyake.

Jacket and veil by Medham Kirchhoff. Opposite page: Dress by Gareth Pugh

Jacket by Issey Miyake, trousers by Just Cavalli. Opposite page: Top by Just Cavalli. Model: Maggie Maurer at IMG London. Hair: Nao Kawakami. Make-up: Jenny Coombs at Streeters. Nails: Becca Gray. Photography assistants: Matthew Healy and Willow Williams. Digital operator: Ruaridh Papworth. Retouching: Hempstead May. Special thanks to Studio Spaces.

Ballad

Photography Sarah Piantadosi

Styling Harry Lambert

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John wears top by Aries, necklace by Vivienne Westwood, trousers by Diesel. Opposite page: Aza wears jumper by Woolrich, trousers by Diesel, feathers stylist own, shoes by Jena Theo.

Aza wears jumper Bimba & Lola, skirt by Simone Rocha. Opposite page: John wears t-shirt by Markus Lupfer, jeans by Paige.

John wears suit jacket by Vivienne Westwood, t-shirt by YMC, earrings by Delphine Charlotte Parentier, trousers by Maison Martin Margiela, gloves by Beyond Retro. Opposite page: Aza wears jumpsuit by Ashish, gloves by Beyond Retro, earings by Vivienne Westwood.

John wears jacket by The Kooples, trousers by Zadig & Voltiare. Opposite page: Aza wears vintage top by Beyond Retro, trousers by Ashish. Casting: Eddy Martin for File & Parade. Hair: Kota Suizu at Caren. Make-up: Bea Sweet. Models: Aza Shade and John Whiles at Ford Models Europe. Production: Angele Alberti. Photography assistant: Ben Simpson. Styling assistants: Gary Moore and Joseph Thornton Allan.

A American Apparel: americanapparel.net Astrid Andersen: astridandersen.com Alex Mattsson: alexmattsson.com Alexander McQueen: alexandermcqueen.com Alpha Industries: alphaindustries.com Ambush: ambushdesign.com Ashish: ashish.co.uk B BLK DNM: blkdnmcloseup.com Beyond Retro: beyondretro.com C

Christopher Shannon: christophershannon.co.uk Christian Louboutin: christianlouboutin.com Craig Green: craig-green.com Camilla & Marc: camillaandmarc.com Christian Dior: dior.com

D Dsquared2: Dsquared2.com Dior Homme: dior.com Dolce & Gabbana: dolcegabbana.com Diesel: diesel.com Delphine-Charlotte Parmentier: delphinecharlotteparmentier.com E E Tautz: etautz.com F Fred Perry: fredperry.com G Gareth Pugh: garethpugh.net G-Shock: gshock.com Givenchy: givenchy.com

L Lanvin: lanvin.com Levi’s: Levi.com Lou Dalton: loudalton.com M

Moncler: moncler.com Martine Rose: martineroselondon.blogspot.com Maison Martin Margiela: maisonmartinmargiela.com Moschino; moschinoboutique.com Missoni: missoni.com Marni: marni.com Markus Lupfer: markuslupfer.com Meadham Kirchhoff: meadhamkirchhoff.com

Neil Barrett: neilbarrett.com Norwegian Rain: norwegianrain.no Nike: nike.com Nasir Mazhar: nasirmazhar.com

P Paul & Joe: paulandjoe.com Paul Smith: paulsmith.co.uk Peridot London: peridotlondon.co.uk R Red Wings: redwingshoes.com Richard James: richardjames.co.uk Roberto Cavalli: robertocavalli.com S Samsøe & Samsøe: samsoe.co.uk Simone Rocha: simonerocha.com T Tommy Hilfiger: uk.tommy.com Topman: topman.com Thom Browne: thombrowne.com

H Holly Fulton: hollyfulton.com U Umit Benan: umitbenan.com I J

Issey Miyake: isseymiyake.com John Galliano: johngalliano.com Just Cavalli: justcavalli.com Jil Sander: jilsander.com J Lindeberg: jlindeberg.com JW Anderson: j-w-anderson.co.uk

V Viviennewestwood: viviennewestwood.co.uk Viktor & Rolf: viktor-rolf.com W Woolrich: woolrich.com Wrangler: wrangler.com Y Adidas Y-3: y-3.com

K Karl Lagerfeld: karl.com Kris Van Assche: krisvanassche.com The Kooples: thekooples.co.uk

Z Zadig et Voltaire: zadig-et-voltaire.com

Re – b el

Styling Rasharn Agyemang.

Louboutin. Photography Kim Jakobsen To.

by Moschino, shoes by Christian

Shirt by Christopher Shannon, trousers

re-belmagazine.com Page 96