Rare Issue by Trey Taylor

THIS MAGAZINE IS DEDICATED TO THE GENIUS THAT IS JOLIJN SNIJDERS.

DON’T TELL ME WHAT I CAN AND CAN’T DO. I CAN CHANGE THE WORLD.

SOMETHING rare

Luke Behrndt 16 Henrik Purienne 24 Carson Cartier 32 Lucas Gatsas 40 Lauren Malone 56 John Skelton 62 Bell Soto 66 Richard Bakker 80 Minke Boot 90 AndrĂŠ Pinces 94 Mariano Vivanco 102 Hans Ericksson 116 Trey Taylor 136 Cameron Krone 154 Jacee Juhasz 144

WHAT YOU’LL FIND HIDDEN AMONGST THESE PAGES

CONTRIBUTORS André Pinces Bell Soto Cameron Krone Carson Cartier Hans Ericksson Henrik Purienne Jacee Juhasz John Skelton Lauren Malone Lucas Gatsas Luke Behrndt Mariano Vivanco Minke Boot Richard Bakker Trey Taylor Yorick Nubé SPECIAL THANKS Charlotte Hall Jolene Eeuwes Lindsey Hampton Oki-ni Samuel Dobrolowski Ulla Models Vinzenz Hölzl You

Fashion, to me, means nothing. Fashion, to me, only represents a form of communication. There are many strong forms of communication, but the fact that fashion spreads like wildfire and still manages to stay on the forefront of what’s next to be mass marketed is something I find fascinating. The single undeniable fact that nobody can escape fashion is something people seldom think about but it’s really everywhere. It’s in the pages of this magazine I’ve slaved over these past few months. Some brilliant people at the top of the industry decide what to bring back, what to recycle, and make some tweaks before it trickles down to the brain-dead consumer. Fashion decides what clothes to make, what magazines to print, what movies will be big. I’m going to quote Andy Warhol throughout this because he was the sole influence behind this magazine and my obsession with interviews. “I’ve decided something: Commercial things really do stink. As soon as it becomes commercial for a mass market it really stinks.” — Andy Warhol You can spend all your time trying to discover who the real icon is that we idolize, but you can never argue with what they said. Fashion turns out icons. And a status of icon is beyond that of a fickle celebrity. Albert Einstein was an icon, just as Walt Disney. Icons are merely people who instead of waiting to be told what they ought to do, take initiative to accomplish something. They don’t have to be superstars. Changing one’s thought processes can often be difficult, but there is no time to wait around for and nurture those that have no ambitions. At this moment, there is absolutely no one thing that stands in your way from what you want to accomplish. It’s not safe, however. Don’t be mistaken. Success is rare, and upon receiving success, it becomes far too easy to repeat that success instead of going on to something new. I name this the Rare Issue.

There is really nothing rare about this publication. I merely brought together talent from literally all parts of the globe to create something I hope will be visually inspiring. I want this to be a mystery. Mystery is a large part of what makes things interesting. The less you know, the more something intrigues. It’s an age proven theory. “The most exciting attractions are between two opposites that never meet.” — Andy Warhol The only reason we are interested in something is because we may not fully understand it, so it pulls at us until we understand. You’ll find a similarity between all of the people that made this magazine possible. Each and every person whose name appears here is active in their pursuit of happiness. These days, I find that rare. People who think contrary to all regular conventions is seldom occurrence, and even more rare are those who have enough confidence to break free of all the pressure social conventions impose to achieve something of greater importance. Fashion isn’t about being intellectual, fashion is about being visionary. Vision goes hand in hand with risk-taking, and you’ll never know what your potential is unless you make some mistakes. Nobody does things perfectly from the get-go, and the only way to go about doing something that will be of some value is to follow your gut feeling. I like talking to people. Somebody who has already done what you set out to do is something quite valuable to me. I believe Andy Warhol invented the interview. The interview that flowed like a conversation and gave the reader a short glimpse at another life or a different way of thinking. It was a beautiful way to spread ideas. Andy Warhol was so simple. He never thought of anything. He taught many things without having to teach — another rarity. Andy Warhol was an icon.

Paul Taylor: What’s your role? Andy Warhol: Just interviewing people.

COÛTE QUE COÛTE http://coutequecoute.blogspot.com/

LINKS CONTRIBUTING EDITOR

THE IMAGIST

If, like me, you enjoy one-of-a-kind collaborations that you can’t get anywhere else, this is your pit stop. I swear to God if they post one more editorial by Terry Tsiolis I’m going to… really like it.

I’m really mad for The Imagist. The Imagist is a selfproclaimed visual orgasm and while I don’t agree 100%, it does give me a lot of material that I am looking for.

I’m sorry, that was lackluster, I know. Ryan & Matthew broke off from their work with magazines to create something that had never been seen. They chose the internet for the venue. The Contributing Editor introduces me to my favourite new up-and-comers as well as established artists. The design is flawless and the editorials won’t be found anywhere else. Their web site is currently undergoing a redesign and I can’t wait to see what they will unleash. My jaw could get sore hyping these guys. Just take a look.

“TI [The Imagist] GOES FROM HOTEL TO NIGHTCLUB TO ART GALLERY TO BOUTIQUE TO BAR TO BOOKSTORE TO BEACH TO RECORD SHOP DEVOURING: HUNTING FOR A TREMOR OR A TWITCH THAT COULD CHANGE THINGS.”

http://www.thecontributingeditor.com/

Coûte que Coûte roughly translates as “at any cost”. The name is fitting because I would pay anything just to keep my RSS subscription. Created by Roberto Poropat, Coûte que Coûte is on top of everything fashion. The content is updated more often than I blow my nose in a day which is really saying something. Another plus is how the content can be viewed sans the use of a magnifying glass, which is a major inconvenience and is too often the case for most blogs.

http://www.theimagist.com/

I think hunters are pretty cool. I’m one on the side. You can take that to the bank. TI is closely linked to sites like Frillr [http://frillr.com/] & Homme Star [http://www. hommestar.com/]. So it’s like happening upon triplets. Triple the pleasure.

“I sleep no more than 4 hours a day, making my research, but even in my sleep I’m haunted by it. When I get involved into a project I become IT. Like when actors have to become that character.” “I don’t like having exhibitions though. In New York it’s more like people standing around with beers and networking, they often don’t know what the show is about. I mean - when it’s “opening night” in Chelsea one may see works of a hundred artists in one evening! And the work that an artist may have put all of their soul/life into becomes a wallpaper in the wall - when it’s out of context. I actually love seeing my photographs on the computer screen, or even when I show it to my friends on the back of my digital camera - a 2.5” screen. Then I can tell stories about each of the images - like an old school, portable slide show, one at a time. I know that in the art world the true way to make money out of your photograph is a print or when it’s published on paper. Then it becomes an object that has monetary value. But I actually hate seeing my pictures on paper. It becomes dead and perishable. I don’t even tell my family to come to my exhibitions. On the other hand I feel that when my photograph is “digitized” - made out of 0’s and 1’s, it becomes what it was in the beginning - light entering your retina and then your brain and turning into information. It becomes free and timeless.”

—Elle Muliarchyk

“I can’t stand authority, only natural authority. Then I was at a loss, what to do if you don’t like anything!” “I spent my whole youth dreaming away, also in school I loved to stare and dream away. Our german teacher had a couple of lovely landscape pictures — they were the gate of escape.”

— Yorick Nubé

PEOPLE

“The main difference that separates the good, great, and elite individuals in their given fields was daily “deliberate practice” spanning a minimum of 10 years, with 20 years of this type of effort being an even better predictor of world-class achievement.

I just did a lot of shoots, learning, mailing, shooting some more. I didn’t intern at photographers or anything like that, I would be very bad as an assistant I think. Then I started getting the hang of it, and the guts to do what I wanted during a shoot. I was trying out new things and really enjoying it, as I was shooting from the heart. That’s when I got good reactions by magazines who were now noticing my work, giving me jobs.

—Jolijn SNijders

“Life is more like a circle than a line. You can’t run away from yourself.”

—Jonathan Waiter

“The best experiments come from taking risks.”

—George Mavrikos

Grit is when you hang in there when no one else believes in you. To pursue your goals in the absence of positive feedback. When Kanye West started to sing, no one believed in him. When J.K Rowling began to write Harry Potter, no one cared. Michael Jordan beat you because he practiced harder. Tiger Woods beat you in that playoff because he is more mentally tough. If you have grit, you can do anything. No joke.”

—Cameron Krone

QUESTIONS TO PONDER

What is work, really? Should we always be working towards something?

What is the best way to spend our time? Is it better to be a jack of all trades, or a master of one? 14

Is there a difference between recognition and fame?

how does one choose to pursue one thing over another?

Should you be humble and not share what you are doing, or is what youâ&#x20AC;&#x2122;re doing only worth it if you share it? Do you do your work for other people or for you?

Is the easiest way to get what we want always the best?

If one wants to be better than everyone else, ought one to think he is better than everyone else? In a similar sense, if one wants to be successful, ought one to think he is a success?

Luke Behrndt

Smoking grizzlies and dancing turkeys are only a small portion of Luke Behrndt. Luke is going somewhere. In a small town it’s difficult to see what’s beyond the limited views of what you can experience there. Luke and I share a similar mind-set — that working hard is the easiest way to escape that trap. His art allows him and his viewers to escape all regular conventions and explore a world where a man doesn’t need a head for business and Ace Ventura animal escape is a reality.

“Once you hit a certain age it seems like nothing is as exciting as it was when you where younger. I think this happens because you sort of figure out the world’s limitations. When I draw I try to recreate that fictional world that you lived in as a kid.” Whatever the reason, Luke Behrndt has discovered one of life’s mysteries and is bound to find success in translating it into art.

Call it creepy, ethereal, or what have you, but this ain’t no pretentious seventeen year old trying to impress the world. Luke has had no previous experience with art courses, or at home videos. This is what you’d call an artist in his salad days. Wherever it takes you, just don’t keep his age in mind when thinking about your own accomplishments, because you’ll quickly find yourself with a one way ticket to self-pity city. “I like to show how connected everything in the world is using animals and people as ways of explaining it,” tells Luke. Upon a deeper look, it truly becomes apparent how his drawings point out how everything works together. “The things I draw all have a story and a reason behind them. I stick with it because I can really focus on it and kind of forget about everything else that’s going on…”

Henrik Purienne

It’s definitely safe to say that everybody is jealous of Henrik Purienne’s day job. And possibly even night job. Interesting private glimpses into a private world entices every dirty mind. Henrik Purienne is a photographer, and his work opens sexual doors (and drawers) to the public. Provocateur? Absolutely. He’s been described as many things, and the winning word seems to always be sexy. It’s quite funny what I’ve found with a quick google: “Purienne is a reluctant film maker and photographer who’s mindless simplicity often gets confused for artistic genius”. As well as, “I love the private-like, full of some kind of spontaneousness and of course sexiness, photos coming from Henrik Purienne. Pure sweetness”. No matter how he is described, we cannot deny that his work creates quite a controversy. Let’s get to the bottom of it.

TT: What was your childhood like? Was there a certain day in your childhood that you remember vividly? HP: Pretty cool. I vividly remember walking barefoot over a bed of glowing hot coals.. TT: What is an average day like for Henrik Purienne? HP: I wouldn’t know.. I’ve never had an average day. Drum roll? TT: Was it through hard work, or by chance, that you have garnered success and a considerable following? HP: It’s really just a combination of instinct, genetics and indifference. TT: It’s obvious that you’re work is raw, edgy, intimate. How do you create such a feeling on set? Are the vibes tense or relaxed? HP: Hey man, the only ‘set’ I know is in tennis.. TT: Do you develop relationships with these girls? Or strictly business? HP: You see, it’s basically like a mullet.. Business in front. Party in the back. TT: Any scandals come ever come out of your work? Has anybody disproved so far? HP: My lame girlfriend. She just doesn’t ‘get’ art, man. What’s her freakin’ problem? TT: You must have come across a lot of challenges in your rise to success. How do you overcome such challenges? Is there one in particular that was quite the hurdle? HP: Well.. I had asthma as a kid. Berotec 100 saved me. TT: Leave us with something we can whisper in somebody’s ear. HP: Roll the dice. Pay the price. g

Carson Cartier

CAREFULLY CHOSEN

imagery makes for a

powerful image, and

nobody knows that

like carson cartier:

Another youth brim-

ming with potential.

Lucas Gatsas

A young upstart often turns out talent. Promptly alive for the early 80’s and the anti-disco backlash, fashion photographer Lucas Gatsas was born in 1983 in Switzerland. He started taking his first fashion portraits at the tender age of sweet sixteen. His model friends kept urging him to get serious and consider a career in fashion photography — and we all know what happens when you blow on a flame. Lucas Gatsas started to study art in Bern, then London & New York, respectively. However, it was a shoot with male model André Johnson that catapulted Lucas into the world of fashion. His next project? A collaborative photo book.

Trey Taylor: Can you please fill this out? Name: Lucas Gatsas Age: 25 years old Occupation: Fashion/ Photographer Currently Resides: Switzerland/St. Gallen/ Summer 2010 NYC Favourite Song: $165 Million + Interest [Into] The Round Up / David Holmes Trey Taylor: Can you debrief us a bit on your history? How did you come into contact with your first camera? Lucas Gatsas: I first came into contact when my father gave me a camera when I was very small. I think I was 7 or 8 years old. TT: You’ve been doing the whole fashion photography spiel for quite some time now. What did it take for you to reach this point in your career? LG: I used only analog cameras until I was 19 years old. Today, more or less, I photograph all in digital. It’s better quality. I think a good photographer can take good photographs with any camera. TT: What do you hope your photo book will accomplish? LG: Obviously, one day I want to work on a major campaign, produce good editorials. I want to meet talented models that can translate my vision. I’m still very young and I have enough time to make my book even more diverse. I think it will be very well received. TT: Have you already started work on your photo book? What sort of stuff will be in it? LG: I’ve been working a lot on it. I love to take photographs. I prefer to shoot anywhere. Shooting has become a daily activity for me. I couldn’t live without it. I believe some people are just born for photography. I think between the classic, dirty, glamour and a little rock will be the direction it takes. TT: What are your other ambitions? LG: Maybe my views are more goals to

make a film about fashion, with a few special models that are well known. TT: Speaking of ambitions, how did you come to be in the fashion industry? Were you always driven to become a fashion photographer? LG: Yes, I think I work very quickly. This idea also came from my family. I am one who can work quickly and accurately, and can make plans. I like to work. I can be very stubborn, but you have to be stubborn at times to reach certain goals. It [my stubbornness] drives me at each shooting to make more. TT: I read in your biography that it sounded like your model friends gave you a little push to get you out there. How big of a push did it take? LG: They are just friends of mine whom I know very well and often snapped photos of. Each time they were better. I’ve always been more fashion and model photography concentrated. It was a cool time. TT: Would you trade anything you have done in the past for something different? Any regrets? LG: No, not really. I regret nothing. Everything has happened for a reason. TT: What do you find are the key elements to taking a striking photograph? LG: It is important, for me, that it is in good color, contrast and in order to fine tune the image. Of course, the whole image content as it comes over is what I try to focus on. The content is very important to me. The poses of the models must be special: weird, serious, dirty. TT: Why sort of value do relationships in the fashion industry have for you? LG: I attach a very great value on the relationships I’ve made. Working in fashion leads to good relationships. I think it’s key. I have some good connections. There are some who want to push me to keep working, not just myself.

TT: Name us three of your favourite web sites and why you enjoy them. LG: 1. http://www.style.com/ I think this page helps me watch what’s happening in fashion overall. Fashion photography is a big business with many designers and changing styles. 2. http://supermodels.nl/ This page is very important for me as a photographer so I can keep up with new models. Very important. 3. http://www.vogue.de I usually go to see what all the Vogue’s are running. Vogue is a bible. So much information about models, fashion, fashion week, and a lot of other stuff I have to keep up with. Besides these, I alone have about 400 fashion blogs that I follow. They include www. seelike.me. The information is always really good. Thanks Trey! It’s almost come to a point where we are all media junkies. TT: Five films you couldn’t live without are... LG: Pulp Fiction La Haine Fight Club Inglorious Basterds The Devil’s Advocate TT: This is slowly morphing into a facebook quiz. You say the André Johnson shoot was a pivotal moment in your career. What did you find happening after that shoot? LG: I didn’t know André at all in the beginning. I was called to the shoot. I photographed him. Then I’d heard that he was on the cover of French Vogue. This has inspired me even more now to continue to shoot.

TT: I really think information ought to be passed down to those who can utilize it to better themselves. So in an effort to help out some aspiring creatives, what would you suggest to anyone trying to make it into the world of fashion photography? LG: I would say bring your own style. You must be creative, inspired, diplomatic, curious and kind. And you’ve gotta love it. TT: Do you plan for the future? LG: Yes, I plan to go to NYC in Summer 2010. Everyone (including me) thinks it’s good for my career as a fashion photographer. I spent one to two years in New York for my Art studies, and I’d love to return. Who knows maybe I’ll stay forever. Before I’m going to London meet some good models, stylists and make-up artists. I’ll make a lot of test/shot/editorials for good magazines there. I’m also planning a book with some 50 young fashion photographers from all over the world. I think I’ll have a good time. I’ll always love to produce new shots. TT: Leave us with something that should be repeated. LG: The shoot on the roof in NYC gave me a true, unbelievable feeling. The light, ambience, mood, the location was perfect… which needs to be repeated, now I think about it. For example with another model. Kate Moss, perhaps. We just want to rock up til the last day. g

Lauren Malone

hello, these are some words -- parts of the alphabet mixed together. i like run-on sentences and thoughts that are messy. my stories are protected by my masked sentences -- just try to figure me out. if you do so, inspire me, tell me, touch me, love me, hate me. but first, you’ll have to catch me. drifting across oceans and seas, laureli. i’m here. not there. and if you’re all the way over in the corner of this page, or in the middle of this sentence, then i am very afraid that we are too far apart, and that my hair will grow far too long, and that my stringing along words and phrases, thanks to my dear friend the comma, will not be enough to keep us together. get used to distance. (like this ink, it’s not goin’ anywhere -- but you are, gyspy girl). accidents happen your own tragedy just brought down the moon. it landed in the ocean. you are on the pavement. and they just continued on, like they didn’t even miss the stars. a series of unfortunate events. i woke up, spit you out, washed you off, and wondered – -- where the fuck is all the devastation?

a foreign affair. CIRCLE, SPHERE, WORLD YOUR 360 DEGREES AND MY 21 YEARS COULD BE SO DREAMY

dear june, it is sometime in july. i cannot remember the days, nor the time, nor the last time i washed this shirt. i witnessed bones that were crushed and hearts that half beat some time ago. the Pacific whispered to me a secret, that its salty shores and sticky waves are your lack of tears and soul. it offered me the Aegean sea as a place to leave my salty cries. so i left. moved on. goodbye.

love is an affair. fondly, i think of the moments that i pulled your hair and tattooed myself into your bed sheets. a gypsy and her past (returns). your mouth was making scrambled egg words. letters were whisking everywhere, around my mind, onto the floor, in and out of your bed. sentences were torn apart, fragments were splattering the walls, and i am fairly certain that half a truth, two lies, and three syllables (i love you), slipped out the door. * in Greece, i was a goddess. in Bali, i am everything.

We’d forget who we were, changing our words and erasing our pasts, simply because Bali would allow for such beauty to enter our lives. Putting her laughter inside our pockets, she’d sing a little ha ha ha to our hearts; we’d fall in love with her and her

ndos

Oh Forever Ones, the damage we could do, the hearts we could break here. Arriving as the girls with the alabaster skin, the yet-to-be wanderers, we would search for something like love (and yet, something far from it), and a change inside our hearts. Captivated, we’d soon long to stay a part of Bali’s intrinsic hold forever. Spinning our entire existence into a knitted love song, Bali could change us completely. We’d each become a Lorelei – temptress of the sea. Luring ships and their sailors across oceans and through storm clouds both ferocious and vast, we’d enchant all eyes that fell upon us. With the ocean’s treasures of pearls and seashells found in our long tresses, and the sound of our siren song, we could entrance anyone.

. This is the charm of cresce Bali and her ways, as to travel here would be to simply loosen our entire existence, letting the layers of conformity and structure melt away in the hot and sticky air. You see Forever Ones, Bali is beautiful, so to be in her presence would make us beautiful too. Upon arrival to this island, the smell of incense and flora in the air, we’d fall, simply, into the eloquent pace of Bali’s constant summer haze. The traces of a feverish chill would be left behind on boats and planes; the curse of the North no longer piercing our hearts. The sea salts changing our browns blonde and our blondes blonder, we’d begin to see our outer aesthetic change. The sun kissing our cheeks, freckles sparkling like gold dust on our cheeks, our new personas would be those of Greek Goddesses -- striking and effortless, and known by all. Our soon to be bronzed skin would glow a mixture of sun beams and humidity seeping through our pores. Our hearts would feel light, and our days would be easy. At night the stars would begin to crackle, lighting a fire inside our girlish hearts. It would be so easy to become completely intoxicated on an overdose of one too many drinks and the lingering aphrodisiacs hanging in the air, like prisms of a crystal chandelier. Venturing through the night with pretty ladies side by side, we’d feel our inhibitions begin to disappear. We’d be the essence of Love, Bali defining us. Our curls chasing our collarbones, we’d find lingering glances stalking our necks and spines, as we’d be the envied, doing anything and everything because we

were beautiful. We’d start progressing from little girls with plain features, into women with an abundance of striking and beautiful characteristics. Our movements would become melodies, and everything about us would glisten in the foreign air. Of course, we’d soon crave for more than just a physical progression; we’d want self love and confidence to show in the sway of our curves. So, we’d turn to the island that would have given us our freckles, and melted away any imperfections we had in the sun, and we’d begin to work our way into the heart of her. We’d be her muse, a Lagerfeld’s Irina. Our hearts would begin to awaken, craving love and passion. Before long we’d find ourselves dancing on tables, on the tips of our toes, under a rain washed sky. Wearing our bones (a most alluring accessory) and swaying freely in loose fitting cottons, not even the monsoon effect could harbour our hearts. Forever ones, we’d begin to live inside the music, live inside our laughter. Inside of singing songs and novel chapters, we’d find ourselves -- the star of our own lives. We’d start loving ourselves and you and him and her, over and over and over again. Mesmerized by swaying hips, shocked at how we were both mysterious and divine, others, new arrivals and old friends of this place, would also begin their journey into the essence of their souls. We’d lay under moons bright, and let songbirds speak their secret poetry to our hearts. There would be no thoughts of frozen river banks, or the snowflake cover of home, and especially no thoughts

of farewell. Enchanted by the presence of all the beautifuls in the hallucinatory heat of the night, we’d grab hold of someone we desired. No longer modest, or conforming to some sort of polite mould, we’d make love until exhausted, afterwards sprawling like runon sentences across the floor. Limbs entangled across the Balinese style bed, we’d write tiny haikus in place of tomorrow’s schedule. Somewhere between the unmasked sentences, and the now sweat stained bed sheets, we’d lose ourselves until tomorrow (and every day after that). We’d wake, only to slip into last night’s dress and to kiss the still bewitched boy laying next to us goodbye. We’d leave nothing behind but the lingering smell of soft scent perfume, and a few simple tools of intoxication: eyelashes (now filled with last night’s secrets), and a flower that would have been pinned in our hair (now wilted in the morning sun). Logic wouldn’t be necessary, for we would have given up on that a long time ago. Sometimes our encounters would be based simply on appearances alone (let’s be shallow together, loving each other because of what we look like), and others would be based on true and deep connections. But, we’d never apologize. We’d never forget who we were: beauties from the North, with Swedish, Canadian, and Scandinavian blood rushing through our veins. And we’d never forget who we would become -- warm hearted mermaid women, forever connected to this island cushioned by the sea. We wouldn’t speak in so many words, just in glances and whispers. And all

our so called ‘good plans’ of the structured world we’d left behind would drown themselves in the sea, so that the sun and the stars and Bali could intervene, and we’d get closer to where we were supposed to be. We’d become lyricists and poets, scribbling lines about lovers we’d find while dancing to the sound of chimes, and we’d paint adjectives to describe cigarette smoke that would stain the air soft shades of white and ivory. We’d do anything with our lives in Bali, and this would always be okay. This feeling of freedom, and sense of knowing ourselves so deeply, would allow for our lives to be about dreams and love and the acceptance of our beauty. We wouldn’t have any cares, as we’d all be lost in our own secret worlds of bodies giving way to ferocious feeling, and the beauty in the curve of one’s spine. Don’t you see Forever Ones, if we weren’t to invite Bali into our lives we’d be absolute fools, simply being but not living, or perhaps simply living but not loving. Bali would be able to get to the heart of us, giving us lovers found deep inside our bone marrow, and friendships woven through our heartstrings. The very structure of our DNA would change, becoming strands of poetry, exoticism, love and beauty. We’d be completely new. And, in the simple bat of our lashes, would be the words of an island so brilliantly blue, “welcome to my paradise.”

John Skelton for Oki-ni

Ever wonder about the Skelton in your closet? If not, you should. John Skelton, creative director and buyer for Okini, is the main man in charge of hand-picking each and every designer to be featured on the fashion conglomerate that is Oki-ni. In three short years he has completely transformed Oki-ni and has taken it in a new direction. It’s concept has completely changed from what it was before John became a stakeholder. He has been overseeing Oki-ni’s branding for these past years and has been responsible for shedding light on even the most obscure designers; Alongside with the main players in the fashion industry, his keen eye for fashion has allowed many a young designer’s work exposure among the elite. That in itself sounds like a job only some could handle, which is strange that it is a passion for John. I quickly caught up with John in his extremely busy schedule to talk all things menswear. Trey Taylor: Can you please fill this out? Name: John Skelton Age: 28 Occupation: Creative Director Currently Resides: London Favourite Song: Impossible to choose one. Have a listen to Era / Randall Meyers

be carved, it just usually takes a younger mind to carve it and an older mind to give them the chance too. That’s exactly what’s happened here. An intelligent company giving an enthused youngster a chance to make something happen. Simple when you think about it.

TT: For those who’ve missed the train, can you give us a quick description of what Okini is and what you do there? JS: Of course. Oki-ni is basically an expression and a vision. The expression comes from all of the extremely talented individuals that we are fortunate enough to have involved right across our business, and the vision is to be the best concept store in the world. I say concept because we are not just a retail platform but a portal that contains so much in depth information and research content that we pride ourselves on giving consumers. Not just the finished product, but the whole story of where it’s come from and where it’s going. Everything we do is for the love of it and is done with a completely non-compromise attitude. If we wouldn’t wear it or listen to it then we don’t buy it.

TT: Do you know all those people who design lines for big box department stores and would never be caught dead in it themselves? How much of this stuff do you actually wear? JS: Oki-ni is basically what my wardrobe would look like if I had unlimited funds. Since I was around 15 I have been obsessed with the likes of Raf and Dries but have always had a very sporty/street style. Since then I have been wearing mainline product in this way which has always felt very natural to me. That has now become the Oki-ni style.

TT: Three short years you have been there. I hear all over about Oki-ni. When you came on was exposure of Oki-ni one of your main goals? JS: I suppose in a roundabout way it was, although it was never a main focus for me. I’m a big believer in that if you create something special enough people will find it and word will spread. There is always room for excellence and always a niche to

TT: Why do you think Oki-ni appeals to such an array of people? JS: Probably because we buy such a diverse array of product. We are very happy for people to come and take whatever they want from the site. If you like 3 brands on there and we have a good selection of them then great. If you like 100 brands on there and want to buy right across them then that’s great too. Even if you just want to come and have a look at our latest archive feature and learn something then we’re completely happy with that. I just want everyone to be happy really.

TT: How did you come upon the position at Oki-ni? What were you doing pre-Oki-ni? JS: The gentlemen who owns Oki-ni has been in the wholesale business in the UK for around 13 years now and I have been buying for around 10 so I met them many years ago, even before they started Okini. At the time I was buying for 2 fantastic stores in the north east, Triads which is still in business now and a wonderful store called Strand in Newcastle. I then moved to London around 8 years ago. I bought for Selfridges contemporary mens for 2 years and then Harrods Designer mens for 2 years. That’s when the oki-ni opportunity came up. It was a no brainer for me really. I really enjoyed my time at Selfridges and Harrods and I learnt a lot (about managing personalities not product) but independent mentality is where I started and definitely where I want to finish up. Product is the most important thing in my world and if you get that right the business will come. TT: Oki-ni features a lot of limited edition and vintage collections from the big fashion houses. Your Maison Martin Margiela archive was quite something. I know that Okini evolved from an online shop based solely upon featuring collabs, but what is it now? And how do you come upon all of these one of a kind pieces? JS: The archive feature was born as a result of us wanting to showcase previous work of the brands that we sell or that we love. The collections shown in the archive feature are actually personal collections of friends of ours who have been collecting their chosen

brands’ work right from the start. The Margiela archive is a very good friends and I don’t think there is a person more knowledgeable or interested in the brand than he is. I think this shows in his collection and this kind of sums up what we are doing at Oki-ni as this is more of a personal relationship with the actual product rather than relying on the brands themselves for content. This is our history in product. TT: I know you must work closely with a lot of designers to bring these clothes to the public. Do you often get contacted by young designers or are you more of a hunter? JS: Bit of both, really. We do spend a lot of time searching out product and are also fortunate enough to travel a lot so we do come across a lot of interesting products and people. At the same time we do get approached a lot and that’s great too. If the products right then it’s right. Simple as that.

TT: Do you believe we must always dress well? If not, what instance would it be acceptable to dress down? JS: I don’t believe in dressing well, dressing up or dressing down. The only thing I believe in is dressing how you feel and in a way that expresses your personality. If you are comfortable in what you are wearing you will look good no matter what you have on. To give you an idea of what I mean and our expression, have a look at our style feature that we have just created. It gives you much more of an insight into how we envisage the clothes being worn and how you can express yourself through clothing and product. [http://www.oki-ni.com/scat/ style] g

TT: Where is Oki-ni headed? What do you hope to accomplish in the upcoming years? JS: We just want to keep doing what we’re doing and hope that we stumble across more and more people who find what we do interesting. It would be nice if we got to spread our philosophy across a few other areas but as long as we stay true to ourselves I believe that we can keep growing by being interesting and new. The aim is still the same, to be the independent store to the entire globe. TT: Do you, personally, feel as though you have a voice in what people wear by providing clothes? Do you feel like online fashion retailers such as Oki-ni contribute to the public fashion domain and what is “in”? JS: No. Not at all. I’ve never really thought about it to be honest. I just look at it as providing an option for the people out there who know what’s what. This is obviously a minority of people so it never really filters into mainstream public channels.

Captive Bell Soto captured Canadian model Andy in the most provocative clothing in existence exclusively for See Like Me

previous spread Stockings & Panties by La Perla; this page Andy wears pattern stockings by Dior; opposite page Andy wears lace mesh bodysuit by Kiki de Montparnasse;

previous spread left to right Andy wears mesh bodysuit by Agent Provocateur; Pattern Stockings by Dior; this page Stockings & Panties by La Perla;

Andy wears stockings by Wolford; Panties by La Perla; following spread Lace mesh bodysuit by Kiki de Montparnasse;

Richard Bakker

Minke wears dress & leggings by People of the Labyrinths; Crown Famke Visser;

Minke wears shirt by Lâ&#x20AC;&#x2122;altra Moda; Butterfly stylistâ&#x20AC;&#x2122;s own; Photography Richard Bakker; Styling Steven Dahlberg / Angelique Hoorn; Hair & Make-up Patricia van Heumen / Angelique Hoorn; Model Minke @ Micha Models; Styling Assistant Famke Visser;

this page Minke wears dress by Angelos Bratis; Leather jacket Mattijs van bergen; Hat & necklace stylistâ&#x20AC;&#x2122;s own; opposite page Blouse by Compagnia Italia; Beige overcoat Mattjis van bergen; Minke sports pants by Mada van Gaans; Hat by Famke Visser; Panty stylistâ&#x20AC;&#x2122;s own

Dress by Compagnia Italia; Hairpiece by Famke Visser;

Factory Girl

Minke Boot is a modern day renaissance woman. Before we get ahead of ourselves, take a look at the artist behind these remarkable drawings in the previous pages. Yes, Minke Boot has it all. The beauty, the talent — and with a lethal mixture as such, she will easily escape the ephemeral artist trap. Looking into the eyes of any of these girls crafted by Boot’s hand, one will soon start to feel something. Even with cutthroat stares such as these, it’s hard not to be mesmerized. Some may be put-off, but I would be surprised if nobody was drawn closer. “Come here. Closer,” says Amy Post. Sasha could be thinking of times gone by. Or could it be a fear of the future? Whatever it is, these dames are certainly in distress, and it’s hard to pull away from their gazes. Minke only came on the scene a little over a year ago, and has already had some shoots with top photographers. It definitely lends to her artwork and posing of models. And with a raw age of only sixteen years, Minke Boot is the fourth teenage prodigy to be featured in the Rare Issue of See Like Me. Minke Boot has dabbled in every form of expression: modeling, drawing, writing and even creating a film. I saw one of her films upon taking a closer look at the all-encompassing Minke, and it made me think about how society treats youth. We are not all the same. It’s really a shame young talent doesn’t get more attention, because young people really have a fresh perspective to offer, with Minke being no exception. The one thing that really gets me, is that these drawings could outsell those in galleries of today with outrageous price tags. Age must be just a number, because I’d be stumped to find a teen with more talent than Nederlander Minke Boot. g

this page from top left: Amy Post @ SPS; Sasha Pivovarova; Anne-Marie van Dijk;

Photos AndrĂŠ Pinces / Nobasura Agency; Hair & Make-up Andrea Tiller / Nobasura Agency; Styling Shiva Shibani / Nobasura Agency; Model Adrienne Ford @ Elite; this page Adrienne wears cropped jacket by Jolene Eeuwes;

AndrĂŠ Pinces

You can find talent in all far flung places of the world. When you find it in your own backyard, however, it becomes something more personal. You feel a sense of pride, perhaps. I first saw André Pinces’ work on the cover of ION, a local fashion staple. It was a shoot with Lissy Trullie. Vancouver has turned out its fair share of talent, and André Pinces is no exception. He has worked with Warhol photographer and Man Ray disciple Christopher Makos, Interview Magazine cover artist Richard Bernstein and aRude’s Iké Udé.

previous spread Adrienne wears bathing suit by Jolene Eeuwes; Crinoline & Canvas skirt by Jolene Eeuwes; this page Vintage pant by Yves St. Laurent; Mask Jolene Eeuwes; next spread left to right Adrienne wears hand-painted bodysuit by Jolene Eeuwes; Skirt by Obakki; Painted jacket by Jolene Eeuwes;

Mariano Vivanco

Mariano Vivanco just shot a fox. Megan Fox, that is, for the cover of Wonderland Magazine. Now, his work goes beyond hunter/gatherer. Mariano’s art exudes passion and beauty. His films and photography make my mouth water and eyes sweat due to the inability to look away. A true artist is somebody that engraves a passion into their artwork, and Mariano does just that. It’s truly unique that we are both on planet earth in the same time frame, so I have come to appreciate his work. This legend needs no explanation, but for all of those who don’t have the time, I’ve stolen a snippet of his bio worthy of a read. Regularly shooting for internationally renowned magazines such as Dazed & Confused, Vogue Nippon, Numéro, Another Magazine, L’Uomo Vogue & 10, Mariano has worked with the biggest and best in the industry from Donatella Versace to David Gandy, Simon Nessman and Reid Prebenda. I think this man has something to say. Trey Taylor: Can you please fill this out? Name: Mariano Vivanco Age: 33 Occupation: Photographer Currently Resides: London / NYC Favourite Song: Way too many… I really love music Trey Taylor: Do you envision your art? And if so, what do you see beforehand? Mariano Vivanco: Mostly yes, like any other artist does (like a composer, film director, designer…) imagine their work beforehand. Sometimes the vision is very nearly fulfilled, yet sometimes it takes a different path with unexpected yet happy outcomes. I leave room and opportunity for spontaneity. TT: You recently shot a gladiator style film for Qasimi featuring Marlon Teixeira. What was it like working with him? Where did you get the idea for the concept? MV: Marlon is great! I shot him for Custo and Dazed one year ago. He has grown up so much! Such a sweet guy! For this job I met the designer and we came up with the concept. He told be about the collection, showed me his mood board (which I loved) and we dreamt up the character. A post-apocalyptic boy walking through the desert of life, learning things about himself along the way. TT: Do you find meaning in your work, or work in your meaning?

MV: Maybe and maybe — sorry I don’t mean to be vague. I remember when I was younger I used to see the work of the great photographers in the pages of the great magazines and immediately be transfixed and taken into another world. There were so many great photographers, models, designers — who worked with real passion, not just for the money or fame — but for what I interpreted as a genuine love for the craft. I do not feel that anymore when I look at magazines. I guess for now the meaning in my work is finding that inner excitement (that I had when I was young and inquisitive about fashion and photography) and applying it to my everyday work. Sometimes people tell me they feel something when they see my work and I find that such a compliment. TT: How do you work? And by that I mean, what is your approach to a shoot or a film? MV: I always say, “The Fashion comes First”. Then I move my pieces carefully after I see the fashion. TT: What’s the difference, according to you, between shooting a film and doing a photo shoot? MV: They are quite similar actually, but in a photo shoot there is a bit more room for spontaneity. Films have to be so much more planned out, because I am just beginning to take it more seriously, the crews are getting larger and larger.

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Connection

May 2009

PALAZZO 한지혜 피렌체에서 드라마틱한 드레스를 입다

교감신경 촉진제 이하나

A LATECOMER 김주혁

DECEPTION 톱 모델 카르멘 페다루 & 애비 리

EXACTLY 언더그라운드 감성의 게이 & 레즈비언 룩

GLAMOROUS SAFARI 메가트렌드 사파리 룩

LIPSTICK JUNGLE 립스틱의 아찔하고 매혹적인 전쟁

ICONIC PIECE 2009 S/S 이미지 메이킹 선글라스

THANK YOU 크리에이션과 아이덴티티 사이 디자이너 손정완

May 2009 n°10

[누메로 코리아 통권10호] 정가 7,000원

Connection

TT: If there was one thing you could improve about human attitudes through your work, what would it be? MV: A general sense of well-being and inspiration. TT: How do you prefer to spend your free time? MV: With my partner and his new dog! TT: What makes you wake up in the morning? MV: All the things I have to do! TT: Name five of your all time favourite films: MV: 1. Mary Poppins 2. Two Women 3. Rome Open City (Sooooo ahead of its time) 4. Central Station (It makes you feel) 5. The Devil Wears Prada (more fact than fiction) TT: What do you like to see happen with your work? MV: You will see… TT: Leave us with something that we’ll never forget. MV: I aim to do that [leaving us with something we’ll never forget] everyday by creating images that people will hopefully remember! g

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Hans Ericksson

Greetings from the Beautiful Boys of Stockholm Part II Hans Ericksson has stolen the Hedi Slimane esthetic. His photography nabs moments in time that are a rare glimpse. They could be simply ordinary moments, but he transforms them into something magical. Hailing from Sweden, one of the most fashionable countries in the modern age, he truly shows us why life in the north is something to be sought after. He’s just finished a new project documenting young boys in a very raw state. His project teases us with, “Is it sexual? Is it sensual? Is it up to me or the public to decide?” Hans Ericksson is currently showing his project, entitled “Greetings from the Beautiful Boys of Stockholm Part II” at the Almänna gallery in Stockholm. I’m not yet satisfied.

TT: Greetings! I thought it would be cordial to start with why you became so fascinated with shooting young boys? HE: I’m interested in the way you see people. And women you see all the time in magazines, movies and TV. That’s why I chose this time to portrait guys instead. TT: Did you find Hedi Slimane to be an inspiration during the project? I find the style of the photos eerily similar to Hedi. HE: I would be lying to you if I said no. I know it sounds like a cliché, but I’m also very inspired by the old masters like Avedon and Penn. I remember the books that my father had (he was also a photographer), and i loved to look in these books when I was young — long before I ever thought of becoming a photographer. I also did an exhibition back in 2002 that mused on the same theme “Greetings from the Beautiful Boys of Stockholm Part I”. TT: What do you think it is about young skinny men that has made the fashion

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world so interested in them? HE: It’s like rockstars. A young Keith Richard or in these days Pete Doherty is much cooler then Meatloaf or a hunk. TT: What do you hope to accomplish with this project? HE: First of all I would like to show people beautiful pictures and as you write in the text above, it’s up to the public to decide. TT: Do you hope the reactions to your work will stir controversy or drama? HE: It doesn’t matter. The most important thing is that there is a reaction. TT: I really like your work. The black and whites are simply flawless. When do you push the shutter button? HE: That’s the thing about being a photographer, everybody can learn the technical terms. But when to push the button is something your born with. The feeling in a picture is something that’s in your head, nothing you can learn. It’s not a technical thing.

TT: What do you find so magical about the moments that you capture? HE: It’s that you freeze a sudden moment, 1/250 of a sec. Afterwards you can look and it’s fascinating for hours, days, years, even decades. That’s magic. TT: What would you say about Sweden? Is any part of it reflected in your work? HE: I live here and I love it. Of course it’s reflected my work, but I can’t say how. Maybe I have to move away from Sweden for a couple of years to answer that question. I’ll let you know then. TT: How did you come into photography? What was the procession like from child to now? HE: Like I mentioned before, my father was a photographer. I had no plans to be a photographer when I was younger. My father has been a big inspiration for me and he always supported me in this.

TT: Do you feel happy being a photographer? If you could change your career to anything with nothing to stand in your way, would you? If so, what career would you choose? HE: Yes, I am happy being a photographer. When I was a child I always wanted to be a farmer, so I would go for farmer. TT: How cold is too cold? HE: It’s never too cold for me. TT: Do you like photos with movement, or completely frozen in time? HE: I like them both. TT: This is the part where you put down all your cards. What would be the best hand to win in life? HE: I have too give you a boring answer on that one, but I’ve got it already. My son and my lovely girlfriend. g

TT: What other artists, if any, do you find inspiring or stimulating? HE: Pablo Picasso and the photographers that I mentioned above. I love the work of William Eggelstone. TT: If you had to write down three truths on a piece of paper about you that nobody would ever know unless they inquired, what would they be? HE: I’m not a man of secrets, so I can’t come up with anything. TT: Do you find a lot of work in Sweden, or do you feel pressure to move to America? HE: I like it in Sweden, so i don’t think I’m going to move from here and if I did I think I would stay in Europe. But you never know! TT: What is your work good for? HE: I could live on something that was a hobby from the beginning. That’s good and few had that chance. Hopefully I can give people something nice to look at and think about. I love the idea that my pictures can invoke people’s feelings.

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Photography Hans Ericksson; Hair Sophia Ringberger / AgentBauer; Make-up Sophia Eriksen / AgentBauer; Models Linus, Dennis, Oskar @ Nisch Management; Olle, Jacob @ Kid of Tomorrow; Max, Martin, @ Anton; Rickard, Magnus @ Stockholmsgruppen;

Mono chrome

Paul Taylor: If you were start ing out now, would you do anything differ ently? Andy Warhol: I don’t know. I just work ed hard. It’s all fantasy.

NEW YORK

Photo Yorick Nubé

Trey Taylor

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Andy Warhol: He took the words out of my mouth. Paul Taylor: Youâ&#x20AC;&#x2122;re trying to be trans gressive? Andy Warhol: Yes. Paul Taylor: Can you define an artist for me? Andy Warhol: I think an artist is anybody who does something well, like if you cook well. 143

Jacee Juhasz

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Cameron Krone