Saskia Reis Schön! Magazine 16

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guys & Dolls

16 15

guys & Dolls

Editor’s Letter

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guys & Dolls

Allow  us  to  introduce  to  you  this  glorious  16th  edition  of  SchĂśn!  Magazine;Íž  a  sequence  of  delights  await  to  tease  and  titillate  both  your  imagination  and  intellect.   It’s  time  to  strip  yourself  of  cellophane,  step  outside  the  box  and  cease  to  be  a  living  doll.   Let  us  awaken  your  mind.    Take  a  trip  into  Wonderland  with  Ellen  Von  Unwerth’s  spectacular  photo-­shoot  â€˜Eat  Me,’  perfectly  capturing  the  erotic  femininity  of  performance  artist  Angeleno  Lauren  Avery.   Dripping  with  pearls  and  enveloped  in  lace,  Unwerth’s  stunning  photography  perfectly  FDSWXUHV RXU P\VWHULRXV PXVH WRSSHG RII ZLWK D VRUEHW RI FDQG\ Ă€ RVV KDLU ,Q GLUHFW FRQWUDVW male  supermodel  David  Gandy  brings  his  own  brand  of  personal  electricity  as  he  smolders  across  our  pages  in  this  moody,  eponymous  shoot  by  regular  contributor  Dimitris  Theocharis.    Step  back  in  time  and  revisit  all  the  ways  in  which  Jean  Paul  Gaultier  transformed  the  power  of  female  sexuality  in  our  â€˜Retrospective’  editorial.   Photographer  Karel  Losenicky  and  stylist  Simone  Valsecchi  combine  their  respective  talents  to  provide  us  with  a  powerful  exhibition  of  Gaultier’s  collections,  whilst  Saskia  Reis  gets  to  grips  with  fashion’s  enfant  terrible  himself.    And  whilst  we  at  SchĂśn!  would  never  encourage  violence,  we  must  demand  that  you  embrace  your  inner  revolutionist  and  celebrate  all  things  â€˜Soviet’  with  our  emboldened  editorial.   0RGHO .DW &RUGWV GHÂż QLWHO\ HDUQHG KHU VWULSHV LQ WKLV DXWKRULWDULDQ SKRWR VHULHV EHDXWLIXOO\ shot  by  Pierre  dal  Corso  and  styled  by  our  very  own  Kay  Korsh.  In  a  similarly  radical  vein,  we  meet  the  uber  talented,  whimsically  minded  Russian  design  duo,  The  Popovy  Sisters.   The  pair  have  managed  to  stretch  reality,  melding  their  creative  interpretations  of  art  and  fashion  into  a  collection  of  incredibly  costumed,  hyper  real  dolls.    On  another  planet,  photographer  Karina  Twiss  and  stylist  Anthony  Stephinson’s  collaboration  PDQDJHV WR LQÂż OWUDWH WKH KLGGHQ ZRUOG RI Âľ7KH 6WHSIRUG :LYHVÂś FDSWXULQJ WKH HVVHQFH RI waxen,  unearthly  beauty  in  their  secretive  suburban  environment.   Animatronic  versions  of  WKH SHUIHFW ZRPDQ WKH\ DUH IDXOWOHVV DW Âż UVW JODQFH EXW DUH VLPSO\ JRLQJ WKURXJK WKH PRWLRQV frozen  living  dolls.    We  are  brought  back  to  reality  as  the  rugged  model,  Vladimir  McCrary  strikingly  channels  the  essence  of  his  inner  warrior  for  photographer  Diego  Indraccolo  in  the  ultra-­masculine  â€˜Lost  Warrior’  editorial. Â

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for iPad www.schonmagazine.com

16

Just  in  case  you  weren’t  back  on  Earth  yet,  photographer  Sergi  Pons  splashes  you  with  a  collection  of  sensual  black  and  white  imagery  to  awaken  your  senses  in  the  â€˜Poise’  photo  shoot;Íž  whilst  Olivia  Palermo  stars  as  our  â€˜American  Rose,’  the  epitome  of  a  delicate  veiled  beauty  shot  by  photographer  Christos  Karantzolas  and  styled  by  Kyle  Anderson.

guys & Dolls

David  Gandy by  Dimitris  Theocharis

Kat  Cordts by  Pierre  Dal  Corso  &  Kay  Korsh

wearing  Rick  Owens

wearing  Aquascutum

Dip  behind  the  scenes  and  discover  the  creative  process  behind  theatrical  landscapes  from  interviews  with  acclaimed  set  designer  Derek  McLane  and  celebrated  art  director  Paul  Inglis.   And  if  that  wasn’t  enough,  SchĂśn!  has  managed  to  look  into  the  future  with  the  help  of  visionary  architect  Ma  Yansong  and  delve  into  the  realms  of  the  surreal  and  the  subconscious  with  artists  Anton  Semenov  and  Lorella  Paleni.    And  there  you  have  it,  dear  readers;Íž  we  have  presented  you  with  a  box  of  visual  toys  to  occupy  your  mind.  With  further  secrets  waiting  to  be  divulged  within,  we  feel  that  the  16th  issue  of  SchĂśn!  is  a  treat  for  all  the  senses;Íž  come  inside  and  play!

Raoul  Keil, Editor-­in-­Chief

Eat me

photography / Ellen Von Unwerth

Previous page Earrings / Glynneth B Clear coat / Olima Collar/Bib / Brett Bailey Necklace / Glynneth B Earrings / Glynneth B Clear Coat / Olima Collar/Bib / Brett Bailey Necklace / Glynneth B Clear Pleated Skirt / Bao Tranchi High Waisted Panty / Vintage -­ Le Bra Lingerie

Dress / Falguni & Shane Peacock Collar / Glynneth B Harness / Bao Tranchi Ring / Glynneth B

Mask / Brett Bailey Dress / Bao Tranchi Heels / Miu Miu

Above Mask / Brett Bailey Dress / Bao Tranchi Below Ring / Glynneth B

Dress / Falguni & Shane Peacock Collar / Glynneth B Harness / Bao Tranchi Ring / Glynneth B Tights / Wolford Heels / Finsk

Earrings / Glynneth B Clear Coat / Olima Collar / Brett Bailey Necklace / Glynneth B

Blazer / Lloyd Klein Necklace / Glynneth B Garter Belt / Vintage -­ Le Bra Lingerie Heels / Lauren’s Own

Necklace / Glynneth B Dress / Olima Ostrich Feather Skirt (worn as Boa) / Bao Tranchi Opposite Necklace / Glynneth B Bra / Vintage -­ Le Bra Lingerie

Mask  -­  Brett  Bailey Dress  -­  Bao  Tranchi

LOOKING TO THE SILVER SCREEN A chat with Angeleno Lauren Avery

Through her alter ego ‘Meg Ryan’, Los Angeles-based performance artist Angeleno Lauren Avery is redefining glamour and the modern star. Unleashing her uninhibited attitude toward fame and recognition, she causes us all to question our own reality. The 22-yearold is up to lead the L.A. underground scene out of the dark into its rightfully earned light. Being well received is one thing, being understood is another. +L /DXUHQ \RX DUH FDOOHG D Âľ0LVÂżW / $ &OXE ,FRQÂś GRHV WKLV WLWOH ÂżW" I  think  to  some  perhaps  this  title  suited  me  in  my  character  role  as  â€˜Meg  Ryan’,  although  I  wouldn’t  equate  myself  as  such.  It’s  interesting  to  see  how  people  responded  to  â€˜Meg’  and  it  was  more  that  I  just  embraced  those  who  were  embracing  me  and  the  energy  I  was  giving.  :KHUH GRHV \RXU DOLDV Âľ0HJ 5\DQÂś RULJLQDWH IURP" It  was  about  a  year  ago  when  I  had  met  one  of  my  dearest  friends  and  partners  Niko  The  Ikon.  He  started  calling  me  â€˜Meg’  and  from  there  we  developed  â€˜Meg  Ryan’  together.  It  became  our  vehicle  to  materialise  our  art  as  well  as  a  documented  social  experiment  on  possibility  and  opportunity.  It  was  about  building  something  we  had  always  wanted  to  see,  taking  risks  and  seeing  where  we  would  end  up.  It  was  about  the  formulation  and  creation  of  an  idol,  not  to  say  ZH ZHUH WU\LQJ WR SOD\ JRGV EXW ZH ZHUH GHÂżQLWHO\ playing. 'HVSLWH \RXU KHULWDJH LW LV TXLWH KDUG WR ÂżQG LQIR DERXW \RX LQ WKH LQWHUQHW 'R \RX SXUVXH D VWUDWHJ\ WR NHHS D ORZ SURÂżOH SXEOLF DSSHDUDQFH" I  consider  myself  to  be  much  more  of  a  live  act.  It’s  not  intentional,  it’s  just  how  I  operate.  Charm  can  only  be  portrayed  so  far  over  a  computer  screen.  I  have  also  been  generally  picky  about  interviews,  because  I  felt  there  was  a  lot  of  fascination  surrounding  â€˜Meg  Ryan’  that  I  wanted  to  sustain.  The  internet  is  the  end  of  mystery,  everyone  and  everything  is  far  too  available.  It’s  a  double  edged  sword.  <RX DUH D PRGHO D PXVH DQG QRZ D SRS VLQJHU :KDW LV \RXU IDYRXULWH DFWLYLW\ DQG ZK\" Photography  /  Ellen  Von  Unwerth  Styling  Brett  Bailey  @  Jedroot  www.lovebailey.com Assistant  /  Todd  Pearce Hair  /  Patricia  Morales  @  Jedroot Make  Up  /  Anthony  Nguyen

for  me.  I’m  so  fascinated  by  the  idea  change  and  personal  evolution  in  all  aspects.  I  never  went  to  college,  and  I  never  felt  I  needed  to.  Everything  I  wanted  to  learn  I  am  learning  and  I  get  to  do  it  hands  on  every  day. +RZ ZRXOG \RX GHVFULEH WKH XQGHUJURXQG IDVKLRQ VFHQH LQ /RV $QJHOHV" There  aren’t  very  many  kids  who  go  out  that  know  how  to  dress  without  looking  like  they’re  dressing  â€œto  go  outâ€?  or  â€œto  be  seenâ€?.  There’s  a  group  of  people,  I’d  say  a  rather  small  group  of  people,  on  the  forefront  of  fashion  right  now  in  LA.  However  I’ve  also  found  that  it’s  the  people  who  don’t  consider  themselves  to  be  stylish  to  be  the  best  dressed.  People  who  dress  according  to  their  lifestyle,  and  the  ones  who  live  it  are  best  dressed.  I  think  it’s  an  attitude  rather  than  a  certain  attire  that’s  making  things  relevant  in  LA.  <RX PDGH WKLV DPD]LQJ VKRRW ZLWK (OOHQ YRQ 8QZHUWK IRU RXU PDJD]LQH +RZ ZDV LW WR ZRUN ZLWK KHU" Ellen’s  photos  are  always  so  amazing  because  she  knows  how  to  capture  exactly  what  you’re  evoking.  She  makes  women  look  and  feel  powerful  and  desirable  at  the  same  time.  There  was  never  a  moment  of  hesitation  during  the  entire  shoot,  it  was  very  easy  to  trust  her.  We  were  playing  around  the  whole  time,  creating  scenarios  and  roles,  which  I  loved.  I  feel  very  lucky  to  have  worked  with  her.  She’s  a  gem! +RZ DQG ZKHUH FDQ ZH VHH PRUH RI \RX" :KDW DUH \RXU FUHDWLYH SODQV IRU WKH IXWXUH" +RQH\ MXVW ORRN WR WKH VLOYHU VFUHHQ \RXÂśOO VRRQ ÂżQG me  there.

Any  creative  outlet  that  allows  me  to  reconstruct,  transform  and  exploit  being  a  human  is  good  enough Â

Interview  /  Saskia  Reis

ON THE PHONE WITH...

Ma Yansong It’s not just the number of awards he’s won, and there have been many, that demonstrate that Beijing-born architect Ma Yansong is one of the most important voices in a new generation of architects. Since founding his architecture office MAD in Beijing in 2004, the 36-year-old’s works in architecture and art have been published and exhibited around the world. Ma Yansong gained international recognition after winning the bid to design a residential tower near Toronto, which is expected to be completed this summer. In 2008 he was selected as one of the twenty most influential Young Architects in the world and two years later he became the first architect from China to receive a fellowship of the Royal Institute of British Architects (RIBA). His story reads like an almost intimidating sequence of continuous success. You might think this guy is quite over the top, but when the interview time was up, Mr Ma wanted to keep going because he liked our questions. Join SchĂśn! into a conversation about architecture and art at the interface of Mr Ma’s very own “MADnessâ€?, an intellectual reflection of independence, feelings and dreams. - Mr Ma, you are an architect, and you are an artist. Do you define architecture and art individually, or do these two terms go together for you?

(Laughs).  He  said  I  should  do  architecture,  I  don’t  know  why.  That’s  how  I  started  architecture.  At  that  time  I  had  no  idea  what  architecture  was.  I  did  not  see  any  new  architecture  at  that  time,  so  I  thought  architects  just  did  traditional  buildings,  I  had  no  idea.

And  that’s  how  I  saw  the  similarity  between  an  DUFKLWHFW DQG D ÂżOP GLUHFWRU <RX KDYH WR KDYH your  own  personal  point  of  view  and  express  that  through  your  work.  And  that  made  me  interested  in  architecture.

- Then you applied at Beijing Institute of Civil Engineering and Architecture and you went from there.

I  think  they  have  some  similarity.  I  am  not  sure  if  I  am  an  artist  or  an  architect.  I  think  I  am  a  creative  person.  I  deal  with  our  society  and  our  culture.  There  are  two  different  ways  to  express  my  feelings.  If  I  do  installations,  I  try  to  show  some  idea  that  I  have  towards  our  society,  and  when  I  am  doing  a  building  I  am  doing  the  same  thing.  It’s  also  similar  to  a  person  making  music,  a  painting,  or  literature.  They  share  similar  feelings  in  a  different  format.  Architecture,  for  me,  is  also  kind  of  an  art.  It  has  to  do  with  people´s  emotions  and  has  to  respond  to  society,  even  to  politics  and  history.

I  had  no  choice.  (Laughs).  I  wanted  to  study  architecture  and  I  wanted  to  stay  in  Beijing.  After  this  undergraduate  course,  I  decided  to  persue  what  I  am  really  interested  in.  That’s  why  I  went  to  the  States,  I  wanted  to  see  real  beauty  and  I  wanted  to  see  those  buildings  in  person.

- You said media coverage reflects a public interest in what you do. Is there any advantage or disadvantege you gain through media coverage - YOU - Mr Ma and MAD? I  see  it  as  my  duty  to  report  what  I  do,  to  share  my  thinking,  but  I  do  not  think  it  is  my  work.  Discovering  my  personal  thinking  is  my  real  work.  In  other  words,  I  do  not  live  for  the  public.  If  one  day  everyone  criticises  me,  I  can  still  live.  It’s  a  period  when  a  lot  of  people  are  talking  about  us.  We  are  popular  because  there  are  a  lot  of  media  reports  about  our  work.  And  that’s  how  people  know  us  and  more  potential  clients  get  to  know  us  and  give  us  more  work,  more  commissions.  That  applies  to  many  architects.  You  are  being  helped  by  the  media  and  at  the  same  moment  it  might  become  a  trap.  You  might  want  to  please  those  people  who  come  to  you,  you  know,  because  you  are  famous,  you  are  supposed  to  do  what  people  expect  in  order  to  continue  to  get  their  support.  If  you  do  your  work  for  them,  it  is  a  mistake.  Then  you  lose  your  independence.  If  you  ask  for  results:  it  is  a  good  thing  and  a  bad  thing,  it  is  all  happening  at  the  same  time.  For  me,  at  least  I  found  one  way  to  express  my  feelings.  If  I  have  an  idea  about  the  future  of  our  city,  I  can  express  that.  At  some  point  that’s  more  important  than  doing  a  building.  If  you  can  deliver  your  idea  to  a  lot  of  people,  it  is  more  powerful.

Ma  Yansong  /  Image  /  Courtesy  of  MAD  Architects Â

- Your work is an ongoing process of trying to make visions and dreams come true “physically�. Do you ever take a break from “thinking future�?

I  read  a  lot  of  books  and  magazines.  At  that  time  in  China,  there  was  no  new  architecture,  only  very  traditional  buildings  or  post-­war-­modern  buildings.  Through  the  magazines  I  saw  new  images  and  I  read  stories  about  famous  architects,  and  I  saw  that  they  are  so  different.  There  was  no  rule  on  what  made  a  good  architect  or  a  bad  architect,  they  were  all  different.  All  followed  their  own  rules  and  disciplines,  and  they  had  their  own  character. Â

I  think  you  can  not,  because  architecture  is  a  very  strange  profession.  Architects  have  to  see  all  the  problems  around  them,  but  they  always  have  to  be  optimistic,  they  always  have  to  think  â€œthe  future  will  be  betterâ€?.  This  is  an  architect.  You  have  to  have  this  personality.  I  don’t  think  my  goal  is  to  create  something  physical,  I  think  we  see  society  and  we  see  the  problems  in  society,  and  we  imagine  a  society  of  the  future.  And  then  we  help  to  make  this  happen  through  architecture,  through  some  physical  environment.  The  physical  buildings,  they  are  the  tool  to  make  the  dream  reality.  The  dream  is  actually  about  the  human,  it  is  about  people’s  life  in  the  city.

- You have won a breathtaking number of - Is it true that you dreamed of being a high-profile awards and competitions, film director as a child?  - And then you started your research you are lecturing and exhibiting around the world. What does public recognition (Laughs).  Yeah,  that´s  a  similar  discipline,  I  would  about architecture, is that is something mean to you and what does it do to you? VD\ 7KH ¿OP GLUHFWRU WKH ZULWHU DQG WKH DUFKLWHFW you can relate to? are  very  similar  to  each  other.  You  observe  what  happens,  you  have  your  personal  observations  and  \RXU SRLQW RI YLHZ DQG \RX ¿QG D ZD\ WR H[SUHVV your  idea  in  an  appealing  way.  I  think  a  movie  is  one  way,  you  are  telling  a  story  and  you  want  peope  to  feel  something  after  they  have  seen  your  movie.  It  is  a  very  fascinating  way  of  expression.  :KHQ , ZDV DW KLJK VFKRRO RQ P\ ¿UVW DSSOLFDWLRQ IRU FROOHJH , DSSOLHG IRU ¿OP VFKRRO , GLG D WHVW EXW WKH SURIHVVRU LQ WKH ¿OP DFDGHP\ UHIXVHG PH

think  not  a  lot  of  old  architects  like  to  support  our  LGHDV :H ÂżQG D ORW RI LQWHUHVW WKURXJK WKH PHGLD and  this  shows  that  people  care  about  architecture  and  their  cities.  It  is  a  mistake  of  the  profession;Íž  when  I  was  a  child  I  had  no  idea  about  architecture  â€“  why?  â€“  because  there  was  nobody  talking  about  it.  Not  to  think,  not  to  suggest  and  not  to  complain,  does  not  help  to  form  the  living  environment.  They  did  not  think,  they  did  not  talk  ...  They  did  not  think  that  their  opinion  could  ever  make  a  change.  So  I  think  it  is  good  if  architects  are  in  the  centre  of  discussion,  they  have  to  be  involved  in  the  public  debate  and  the  discussion  about  history,  about  life,  about  politics  â€“  not  only  in  architecture.

I  would  say  today  that  the  media  is  the  hero,  it  is  the  WLPH RI PHGLD 0HGLD LV YHU\ SRZHUIXO ,W UHĂ€HFWV public  interest  and  it  brings  architecture  in  front  of  a  larger  audience.  Before  we  had  more  judgement  from  other  architects  and  professionals,  but  if  the  media  brings  your  ideas  into  a  more  general  public,  more  people  can  build  an  opinion.  I  think  it’s  very  good  to  support  new  ideas  in  architecture.  That’s  how  I  feel  as  a  young  unexperienced  person,  and  I Â

- You graduated at the Beijing Institute of want  to  do  a  building,  and  it  will  be  greatâ€?,  I  would  QRW EHOLHYH LW , GR QRW EHOLHYH WKDW WKH ÂżUVW ZRUN Civil Engineering and Architecture and can  be  outstanding.  I  want  to  spend  more  time  on  received your masters in architecture WKLV VR , FDQ PDNH D JUHDW ÂżOP EXW , KDYH QHYHU done  it  before. at the Yale School of Architecture in 2002. If you had the possibility to do your - Zaha Hadid, was - and most probably education again, would you do the same, still is - your supporter and mentor. How or would you do something different? would you describe your relationship?  , ZRXOG GR ÂżOP VFKRRO \HV

- If you were accepted... Yeah,  I  think  it  was  their  mistake  that  they  did  not  let  me  in.  (Laughs).  That’s  why  there  is  no  good  ¿OP LQ &KLQD QRZ /DXJKV          Â

Absolute  Towers  /  drawing  model  /  Courtesy  of  MAD  Architects

- But with your recognition and what you have achieved so far, don’t you have total financial and creative freedom to do what you want to do? If you want to make a film, you could make a film, no? Yes,  but  I  have  no  time  now.  I  have  all  my  energy  focused  on  my  work,  on  buildings.  I  have  an  idea  IRU D ÂżOP DOUHDG\ , NQRZ ZKDW , DP JRLQJ WR GR , just  need  the  time.

When will this be? I  have  no  idea,  when  I  will  have  the  time  to  do  it.  I  think  I  have  a  little  pressure  to  do  it.  I  am  a  young  architect,  but  I  work  on  designs  and  buildings  for  ten  years  already.  If  some  guy  comes  to  me  today  â€œHey,  I  have  never  done  architecture  before  today,  I Â

She  was  my  teacher.  She  was  my  tutor  at  school.  It  was  a  strange  relationship,  because  we  never  talked  about  architecture.  In  school  I  did  this  â€œFloating  Islandâ€?  project  for  New  York  City.  It  doesn´t  look  like  a  building.  She  liked  it,  so  she  started  to  bring  me  a  lot  of  artwork  and  books,  introducing  me  to  artists.  From  that  time  I  started  to  look  into  contemporary  art.  She  is  my  tutor  in  general,  not  only  architecture.  Later  I  worked  in  her  studio  and  I  heard  a  lot  of  people  saying  â€œShe  is  crazyâ€?,  but  I  thought  she  is  soft.  (Laughs).  I  look  up  to  her,  because  she  is  always  trying  to  be  independent  â€“  and  â€“  emotional.  Any  architect  should  have  this  quality  to  be  independent.

- You work with a huge team of architects, project architects, senior project architects, senior designers and interns. What is your secret for successful “teamdirectionâ€?? There  is  management  work  to  do  when  you  become  bigger  and  architecture  is  team-­work.  You  also  have  a  lot  of  consultants,  clients,  you  deal  with  a  lot  of  people  to  make  a  building  happen.  As  the  GLUHFWRU RI DQ DUFKLWHFWXUH RIÂżFH \RX KDYH WR EH DQ architect  yourself.  If  you  are  an  artist  or  an  architect  you  need  to  have  your  own  idea  and  then  a  lot  of  people  will  help  you  to  make  it  happen.  If  you  don’t  have  an  idea,  you  start  to  focus  on  how  to  manage  SHRSOH DQG WKHQ WKH ZKROH RIÂżFH ZLOO ORVH LWV VRXO I  want  to  focus  on  my  personal  work.  Although  I  am  working  in  this  big  group,  I  try  to  make  time  to  be  alone.  Alone  time  is  very  important.  The  next  level,  after  you  â€œhave  yourselfâ€?  and  your  idea,  the  next  step  is  to  work  closely  with  your  team.  Then  people  will  help  you,  because  they  are  fascinated  by  your  way  of  thinking.  They  want  to  be  part  of  it,  not  because  they  want  to  make  money.  That  was  also  what  I  felt  when  I  was  young.  I  wanted  to  work  for  Peter  Eisenman,  I  didn’t  do  it  for  the  money.  I  was  in  school,  I  had  a  lot  of  debts  to  pay.  But  I  wanted  the  experience  to  learn  from  them  and  be  part  of  those  great  projects,  even  with  low  or  without  salary.  It´s  very  important  for  every  team  that  the  people  like  what  they  are  doing.

- Most of the time it takes years, sometimes decades, until the work of an architect becomes tangible reality. How important is a long breath for you? I  always  want  to  escape.  The  work  is  very  hard,  but  at  the  same  time  I  can  not  accept  problems.  When Â

you  work  on  a  project  for  many  years,  you  have  so  many  issues,  you  have  to  solve  so  many  problems  during  the  process.  Every  time  there  LV DQ LVVXH , ZDQW WR ¿QG D VROXWLRQ LW QHHGV WR be  perfect.

- This obsession about finding solutions, is it something in your nature or is it something you needed to learn? (Thinks).  I  think  it  is  in  the  nature,  you  can  not  train  this.  A  lot  of  people  they  let  it  go.  If  you  lower  your  standard,  it  is  quite  comfortable.  :KDW PDNHV LW GLIÂżFXOW IRU SHRSOH GXULQJ WKH process,  every  day  you  have  to  take  care.  So  it  must  come  from  nature  â€“  you  want  to  take  care.  In  our  case,  in  China,  architects  are  not  supposed  to  be  responsible  during  the  construction.  Architects  are  not  paid  after  they  have  delivered  the  design.  A  lot  of  time  we  have  already  pushed  the  design  to  a  certain  level  and  then,  after  two  years,  they  cancel  the  project  forever.  A  lot  of  times  we  don´t  get  paid.  When  you  take  the  job  from  the  beginning,  it  starts  with  an  obligation.  I  am  happy  to  see  a  result  in  one  year,  but  if  it  takes  ten  years,  there  is  no  way  out,  you  have  to  follow.

from  large  cities  and  the  mainstream  culture.  They  don’t  have  a  lot  of  options.  Local  culture  was  given  by  the  mainstream.  Local  people  do  not  see  themselves  as  local.  They  look  into  the  future  and  they  do  not  want  to  repeat  what  they  have  done  before,  and  they  don’t  want  to  copy  from  big  cities.  This  kind  of  crisis  happens  in  many  cities,  even  in  the  West.  Globalization  has  become  commercial  globalization.  Architects  are  doing  the  same  thing  everywhere.  So  at  this  kind  of  place,  what  people  are  looking  for,  is  new  identity.  Something  that  brings  them  to  the  future,  but  still  has  some  tie  to  their  tradition.  So  regarding  â€œErdos“,  I  imagined  the  moon.  The  moon  is  something  from  outer  space,  but  if  you  go  into  inner  Mongolia,  the  landscape  looks  like  the  moon. Â

- It was not until 2006, that you received international attention by winning the bid for “Absolute Worldâ€?, a residential twin tower skyscraper located in Mississauga, Canada - currently still under construction. You won a $125,000 prize, did this in any way relate to the costs you had to invest into the project with your team? That  money  was  the  award  for  the  competition.  And  then  we  were  commissioned  to  design  two  buildings  in  the  end.  Usually  you  have  to  invest  a  lot  -­  $1,000,000  is  possible  for  a  project  on  a  scale  like  this.

- You work a lot with surfaces that reflect and fragment the surroundings. How does your work reflect your personality? I  like  my  buildings  to  be  organic,  free  and  open.  I  like  openness.  I  don’t  like  something  that’s  trying  to  be  powerful,  something  memorable,  something  above  people.  I  like  people’s  emotions,  I  respect  that.  I  like  when  you  read  something,  see  a  movie  or  go  to  a  place  that  moves  you,  that  makes  you  think.  So  I  like  my  architecture  to  cause  some  emotional  reaction.  I  like  nature  a  lot.  Nature  connects  with  people’s  life,  too,  as  an  organic  element.  Architecture,  people  and  nature  should  be  one  organic  organisation  in  order  to  think  about  life  and  the  future.

are  always  a  symbol  of  power.  They  try  to  be  VWURQJHU DQG KLJKHU 7KLV V\PEROLVP UHĂ€HFWV D lot  of  problems  in  our  society.  I  wanted  to  do  architecture  beyond  symbolic  politics,  without  political  meaning.  You  can  feel  a  new  energy  and  a  new  life  that  brings  urbanism  to  the  next  level.  Your  architecture  needs  to  serve  the  people,  it  should  tell  them  not  to  concentrate  on  WKH FRQĂ€LFW RU ZKDW KDV KDSSHQHG EHIRUH EXW WR look  forward  and  to  see  what  the  future  city  will  be. Â

- How do architects do that, how is it possible to submit projects to all different kinds of competitions, all the money and effort and you don’t know how it will turn out? Rebuilt  WTC  Floating  Island  /  Courtesy  of  MAD  Architects Â

Since  I  am  a  young  architect,  I  gained  something  from  these  competitions.  I  think  that’s  the  way  for  young  architects,  you  need  to  do  a  lot  of  competitions.  We  lost  some  other  competitions,  too.  People  who  want  to  build  will  judge  your  ability  based  on  your  portfolio.  If  they  like  your  stuff,  they  will  hire  you.  I  did  not  have  a  large  portfolio  at  the  beginning,  so  I  had  to  do  the  competitions.  It  is  not  fair,  you  have  to  invest  a  lot  and  put  in  all  your  energy,  but  I  want  to  tell  young  architects  and  designers  they  should  not  complain  about  this.  (Laughs).  Compared  to  school,  this  is  already  much  better.  That´s  just  the  way.

- “Floating Islandâ€?, a design you made during your school days and is now saved in the Chinese National Gallery, followed the idea of rebuilding the World Trade Center, where people live high above the city. What inspired you - When devising the structure of the to build a “Floating Islandâ€?? acclaimed “Erdos Museumâ€? in the Gobi Desert, you envisioned how it would be This  work  was  a  nightmare  for  me.  I  was  thinking  over  and  over  about  9/11  and  for  a  long  time  I  to live on the moon and how the next age FRXOG QRW ÂżJXUH RXW ZKDW WR GR $FWXDOO\ WKLV - With your “Hutong Bubble 32â€?-project, might feel. How does the contemporary cloud,  this  â€œFloating  Islandâ€?-­idea,  came  out  of  a  dream.  I  had  this  dream,  really.  Maybe  I  gave  you put the spotlight onto the historic age feel to you?  myself  too  much  pressure,  and  that´s  why  I  was  poor neighbourhoods of central Beijing. WKLQNLQJ DERXW VRPHWKLQJ Ă€RDWLQJ DERYH WKHUH I  talk  about  the  contemporary  age  based  on  ...  Above  this  â€œFloating  Islandâ€?,  there  are  parks  What built your interest in social and “Erdosâ€?.  I  think  â€œcontemporaryâ€?  happens  at  DQG SXEOLF JUHHQV Ă€RDWLQJ DERYH 0DQKDWWDQ historical responsibility? different  places.  Different  places  have  their  RZQ GHÂżQLWLRQ IRU ZKDW LV ÂłFRQWHPSRUDU\´ )RU “Erdosâ€?  I  imagined  the  moon,  because  they  have  to  face  a  crisis  of  culture.  They  have  a  traditional  culture,  but  they  faced  globalization,  the  pressure Â

It’s  a  dream,  it  is  not  only  architecture.  When  you  see  it,  you  see  a  new  utopia,  a  new  ambition  DQG FRQÂżGHQFH WR JR EH\RQG RXU PRGHUQ FLW\ When  you  look  at  towers  in  modern  cities,  they Â

I  grew  up  in  this  kind  of  area.  When  I  was  a  kid  I  loved  the  old  city,  old  Beijing  was  beautiful,  like  a  garden.  I  missed  the  neighbourhood  and Â

 Ordos  Museum,  Kang  Ba  Shi  City  Inner  Mongolia,  China  /  Image  by  ShuHe

people’s  relationships.  In  modern  cities  it’s  impossible,  people  are  more  isolated  from  each  other  and  buildings  become  bigger  and  bigger.  I  see  those  people  in  the  courtyard,  they  are  still  poor  and  have  a  bad  living  condition  and  some  of  them  have  to  move  to  the  suburbs  because  some  rich  people  want  to  buy  their  home.  As  a  modern  city  like  Beijing,  we  should  not  only  concentrate  on  big  buildings,  because  it  does  not  show  the  human  side  of  us.  That’s  why  I  felt  the  need  to  do  something  in  this  neighbourhood.  The  bubble  actually  is  a  toilet.  Those  courtyards,  they  don’t  have  a  toilet.  People  have  to  walk  to  the  street  to  use  the  public  toilet. Â

important.  Again  there  is  the  similarity  between  the  artist  and  the  architect.  The  architect  is  hired  by  who?  -­  by  rich  people,  right  -­  by  powerful  people.  Artists  sell  their  artwork  to  rich  people,  foundations,  the  government,  and  so  on.  So  they  deal  with  rich  and  powerful  people.  That’s  why  it  is  important  that  they  have  their  independent  thinking  about  society,  they  have  to  take  care  of  their  real  concern.  They  are  not  business  men.  I  think  he  (Ai  Weiwei)  cares  about  normal  people,  society  and  our  future.  He  was  also  in  the  States  and  decided  to  move  back  to  Beijing  in  order  to  stay  and  work  here.  He  wanted  to  be  here,  showing  his  attitude  towards  society.  It  is  important  to  be  yourself  and  to  express  your  concern. Â

- Your book “Mad Dinnerâ€? is a collection of opinions about various topics that - With your work you also show how anyone would discuss at a dinner deeply you care for society... table: politics, fame, the future ... Your “guestsâ€? included people from all I  hope  so.  In  architecture,  when  you  design  a  tower,  you  ask  how  can  a  tower  be  socially  levels of Chinese society: a government related?  Towers  need  a  lot  of  money,  resources  official, a hairdresser, a doctor, and a and  support  from  the  government.  How  can  a  tower  not  become  a  memorial  that  does  not  taxi driver, all share their ideas, also solely  serve  the  rich  and  the  powerful?  How  Ai Weiwei, arguably China’s most famous can  a  tower  become  popular  and  appreciated  by  artist. What do you appreciate in his the  people,  by  the  public?  If  a  tower  expresses  openness,  becomes  friendly  or  even  an  inspiration  for  everyone,  I  think  that’s  success.  character and in his work? I  like  him,  because  he  is  independent  and  he  is  brave.  He  does  what  he  thinks,  and  that’s  very Â

- What is your vision of how society should be? The  future  society  should  express  everyone’s  feeling  towards  society.  If  someone  has  an  imagination,  everyone  should  be  able  to  express  their  independent  feelings  about  it.  The  city  structure  and  architecture  actually  show  if  the  city  can  become  open.  We  did  a  project  for  Beijing  called  â€œBeijing  2050â€?,  an  example  of  future  Beijing.  We  designed  Tiananmen  Square  as  a  forest.  We  turned  this  empty,  political,  hard  surface  into  a  green  space.  That’s  what  I  am  hoping  for,  that  this  place  changes.  A  lot  of  people  think  it  is  a  great  idea,  they  like  it,  but  they  all  say  it  can  not  happen  with  this  symbolic  place  in  China.  But  if  that  can  happen  in  the  future,  that  means  this  country  is  open  and  that  every  indivudual  is  being  respected.  There  is  a  lot  of  hope.

Thank you, Mr Ma, for your independence.

Thank you for feeling. Thank you for dreaming. - Please never stop hoping.

We  try  to  make  buildings  that  feel  more  soft  and  more  natural.  Ma  Yasong  has  been  interview  by  Saskia  Reis

RETROS PECTIVE DE JEAN PAUL GAULTIER

PHOTOGRAPHY / KAREL LOSENICKY

STYLING / SIMONE VALSECCHI

Previous page “ FEMMES ENTRE ELLES” Pinstripe suit and head piece / 1989 collection “ CAVALIÈRES ET AMZONES DES TEMPS MODERNES, MAD MAX” Catsuit / 1995 collection

“ LES INDES GALANTES”

%RG\VXLW DQG WLJKWV ¿UVW FROOHFWLRQ E\ :ROIRUG

Body-­jacket / 2000 HC collection Trompeloeil tights / 2000

“LES CLASSIQUES GAULTIER REVISITÉS” Suspenders extra high trousers / 1993 collection

“BAD GIRLS-­POINT G” Print ensemble / 2010 collection Ring / 2004 collier “giraffe” 2003

“ LA PARISIENNE PUNK” Night dress / 1997 collection Head piece / 1990

“ VOYAGE AUTOUR DU MONDE EN 168 tenues” Cage overall / 1989 Hat / 2001 Corset umbrella / 2003

“ TROIS FOIS RIEN POUR UN BON À RIEN” Satin guepiere / 1987 collection Nose earring / 1994 Hat / 1987

Photography  /  Karel  Losenicky Styling  /  Simone  Valsecchi Make  Up  /  Alessandra  Casoni Hair  /  GG  Make-­Up Nails  /  Giancarlo  Guccione Model  /  Andreea  StancÚ  @  Women Postproduction  /  Petra  Vokjan Assistant  Photograper  /  Olo

THE FASHION WORLD OF JEAN PAUL GAULTIER:

FROM THE SIDEWALK TO THE CATWALK Enthusiasm wins. From June until October 2011, the Montreal Museum of Fine Arts turned the world of fashion upside down with their exhibition ‘The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk’. The team surrounding curator Thierry Loriot and Jean Paul Gaultier himself pushed the boundaries to the limit, exactly what you would expect for the first international Gaultier exposition in history. Currently on displayed at the Dallas Museum of Art before travelling to San Francisco, Europe is excitedly waiting for the show to open across the Atlantic. "He  designed  more  than  150  collections  for  himself,  15  for  Hermès,  countless  collaborations  with  movie  directors  from  Peter  Greenaway  to  Luc  Besson,  dance  choreographers,  pop  stars  and  all  the  videos  he  collaborated  on.   No  other  designer  has  ever  achieved  that  much,"  Thierry  Loriot  raves  about  Gaultier.  The  former  model-­turned-­art  historian  joined  the  Montreal  Museum  RI )LQH $UWV LQ DV D UHVHDUFK DVVLVWDQW DQG ZDV WKH ÂżUVW choice  of  MMFA  Director  and  Chief  Curator  Nathalie  Bondil  to  curate  the  large-­scale-­homage  to  the  enfant  terrible  of  fashion.  ,Q -HDQ 3DXO *DXOWLHU ODXQFKHG KLV ÂżUVW SUrW j SRUWHU collection  and  founded  his  own  couture  house  Gaultier  Paris  in  1997.  His  name  has  been  associated  with  the  term  â€˜avant-­ JDUGHÂś OLNH QR RWKHU FRQWLQXRXVO\ UHĂ€HFWLQJ DQ XQGHUVWDQGLQJ of  a  multicultural  society's  issues  and  preoccupations,  and  always  interpreted  with  humour.  But  the  designer  needed  to  be  convinced  to  give  the  project  a  go.  "I  must  say  that  I  was  GHÂżQLWHO\ VFHSWLFDO )RU PH UHWURVSHFWLYHV ZHUH IRU WKRVH ZKR were  no  longer  with  us‌  But  Nathalie  and  Thierry  won  me  over  with  their  enthusiasm  and  I  have  accepted.  We  agreed  on  a  thematic  approach  and  not  on  a  chronological  retrospective.  That  way,  in  the  same  space  you  can  see  a  dress  from  my  very  ¿UVW FROOHFWLRQ DQG RQH IURP WKH PRVW UHFHQW FRXWXUH *DXOWLHU tells  SchĂśn!. Â

“  LES  RAP’PIEUSESâ€? Lurex  catsuit  /  1990  collection Â

With  a  feature  of  140  ensembles  and  numerous  documents,  its  theatrical  mise  en  scène  and  multimedia  approach  via  animated  mannequins,  the  outcome  is  reminiscent  of  a  contemporary  art  installation.  Recalling  35  years  of  creation,  Gaultier  says  he  loved  working  on  the  exhibition,  which,  according  to  him,  was  like  preparing  a  new  fashion  show.  He  admits  there  was  a  lot  of  editing  and  of  course,  old  and  new  ideas  evolved:  "I  had  seen  the  piece  â€˜Les  Aveugles’  (‘The  Blind’)  by  Denis  Marleau  in  Avignon  about  10  years  ago  and  I  loved  it.  It  turned  out  that  he  was  from  Quebec  and  that  he  wanted  to  work  with  me  and  the  museum.  That  is  how  the  animated  mannequins  came  about."  In  total  there  are  32  of  those  mannequins  and  Gaultier  is  one  of  them.  "He  had  WR EH FDVWHG DQG ÂżOPHG VR KH JUHHWV WKH YLVLWRUV ZKHQ WKH\ HQWHU the  galleries,"  shares  Thierry  Loriot.  The  curator  emphasizes,  that  Gaultier´s  work  has  never  been  about  provocation  but  creativity  and  uniqueness.  To  Loriot,  Gaultier  created  a  fashion  that  is  very  inclusive,  that  represents  a  world  we  all  wish  we  could  live  in:  "When  you  discover  Gaultier’s  universe,  you  realize  how  open  and  generous  his  fashion  is.  He  invented  and  surely  broke  taboos  and  barriers  through  gender  bending  with  the  men’s  skirt,  the  idea  of  masculinity  and  femininity  mixed,  but  also  empowered  and  gave  freedom  to  a  liberated  contemporary  woman  in  control  of  her  life  and  her  sexuality."  For  the  exhibition  catalogue,  Loriot  interviewed  Carla  Bruni,  Helen  Mirren  and  Madonna,  to  name  but  a  few.  When  asked  about  what  feature  those  women  have  that  make  them  "Gaultier",  the  designer  states:  "I  think  women Â

are  the  strong  sex,  they  are  stronger  and  more  intelligent  than  men.  I  love  strong  women  and  the  names  you  mention  are  just  that."  Stylist  Simone  Valsecchi,  who  was  responsible  for  the  Gaultier  editorial  in  this  issue  of  SchĂśn!  Magazine,  has  been  a  collector  of  Gaultier  since  he  was  15  years  old  and  once  even  had  the  opportunity  to  assist  Gaultier  for  a  show  in  Milan  in  2002.  "His  approach  is  creative  in  every  point  of  view,  always  tireless  and  positive.  You  can  learn  a  lot  just  watching  him  create.  No  restriction,  pure  creativity,"  the  now  38-­year-­old  shares.  For  the  Gaultier  editorial  in  SchĂśn!  he  found  inspiration  through  the  modernity  of  Gaultier´s  clothes.  Valsecchi  says:  â€œIt  is  a  tribute  to  KLP 7KURXJK WKH SUrW j SRUWHU DQG KDXWH FRXWXUH *DXOWLHU follows  every  season  with  courage  and  dedication  to  his  way  of  expression  -­  teaching  all  of  us  who  do  this  job  that  quality,  craftsmanship  and  research  for  a  language  are  all  viable  roads  that  lead  our  way  to  the  right  places.  In  the  work  of  Gaultier  there's  style,  a  sign,  and  an  unmistakable  consistency.â€?  Above,  beyond  and  through  his  passion,  Gaultier  has  always  been  promoting  the  beauty  of  diversity.  And  that  is  why  we  love  him.

International  tour  dates  for  the  exhibition  "The  Fashion  World  of  Jean  Paul  Gaultier:  From  the  Sidewalk  to  the  Catwalk"  Dallas  Museum  of  Art  November  13,  2011  -­  February  12,  2012  Fine  Arts  Museums  of  San  Francisco,  de  Young  March  24  -­  August  19,  2012  FundaciĂłn  Mapfre  -­  Instituto  de  Cultura,  Madrid  September  26  -­  November  18,  2012  Kunsthal  Rotterdam,  the  Netherlands  February  9  -­  May  12,  2013 Â

Jean  Paul  Gaultier,  thank  you  so  much  for  your  contribution.  Thierry  Loriot,  Jelka  Music,  Catherine  Guex  &  Simone  Valsecchi,  thank  you  as  well  for  your  contribution,  and  for  your  love  for  Jean  Paul  Gaultier.

Words  /  Saskia  Reis

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