The The Youth Youth Issue Issue
No. No.122
Harry Cooke // Editor-in-Chief harry@sighjournal.com
Sophie Cull-Candy // Fashion Editor sophie@sighjournal.com
Information info@sighjournal.com
Submissions
submit@sighjournal.com
with a special thank you to Marianne Villamin, Daniel Cramer, Arthur Comely, Benjamin Cooper, Katy Thomas, Olivia Morgan and Megan Winstone who helped to create SIGH Journal come together.
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A quick note from the Editor-in-Chief To start, thank you to the patience of the contributors who have helped to make this second issue so incredible. The images that you have allowed us to showcase, work beautifully alongside each other, and highlight SIGH Journal as a definite publication to watch. I’m extremely sorry for the wait that both you and our audience have had to take on, but hopefully it was worth it. Now, please start to flick through the digital pages and share with the world what you find. I really hope you enjoy the Youth Issue.
Harry
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contents
Arthur Comely (4-13)
In Conversation With: Brendan Barry (14-31)
Arnaud Ele (32-43)
In Conversation With: Jess Tillet (44-53) 2
In Conversation With: Corey Moranis (64-69)
Nina Raasch (54-63)
In Conversation With: Enki Allan (82-89)
Charlotte O’Shea (70-81)
Fee-Gloria Groenemeyer (90-101)
In Conversation With: Matthew Broadhead (102-115) 3
By Arthur J Comely 4
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in conversation with brendan barry broken roads
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“Think of anything, of cowboys, of movies, of detective stories, of anybody who goes anywhere or stays at home and is an American and you will realise that it is something strictly American to conceive a space that is filled with moving.� - Gertrude Stein
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“Between 2011 and 2012 I hitchhiked, drove and walked 22,000 miles back and forth across the USA. Each day I got up at dawn and drove until dusk. I stopped only to eat, fill up with gas, swim, climb, look, and photograph. When the light of the day was gone, I drove on until I found a motel to sleep for the night. The first time I went to The States I had planned to hitchhike from Washington DC on the East Coast to San Fransisco on the West and make photographs, I figured I’d work out of what on the way. I made it to New Orleans after about two weeks but things weren’t going to well, I was always looking out the window of someone else vehicle, unable to stop when I wanted. After a series of random and bizarre events I ended up buying a highly illegal, battered old car off an Australian girl I met in the street for $300. I set off West the next day and suddenly I had the freedom and the opportunities I had been aching for. In the weeks that followed I chased a lightning storm across Texas, had my palm read in Louisianna, got high
with hobos in Mobile, Alabama. Trekked 3 miles underground in Carlsbad, hiked up waterfalls in Yosemite, walked across the White Sand Deserts in New Mexico, drove through a petrified forest in Arizona. Watched the sun set over The Grand Canyon, saw a double rainbow arch over Monument Valley, climbed rocks at Joshua Tree, floated down the Colorado River, and across the Mississippi. I even doubled my money at Caesar’s Palace, then lost it all back at The Belaggio, in Vegas. Had multiple run ins with various law enforcement agencies due to the lack of legality of my car - Mexican border patrol, American Indian reservation conservation officer, park rangers, over zealous cops among others (it’s amazing what putting on a very posh and charming English ascent can get you out of!)... managed to see live bluegrass in Charlottesville, Virginia, Jazz in New Orleans,Punk Rock in Austin, Texas, went to a place called Pie Town! Fuck, I even met Elvis! That country may be fractured, divided and riddled with flaws, but it really is the land of opportunity!”
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“The work I made there became about the road itself. The open road. A mass of distant, broken factions of society joined together; a continent connected by a concrete life-vein, pumping oil like blood. The road is a place of its own, a separate entity, though it is everywhere. Its pulse is continuous and constant.� 23
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“The vehicle must rest and refuel, and the driver also. The road persists though, with wildness too. With all the safety offered by signs and signals, danger is abundant. A risk of imminent death lies round every corner. With an arsenal of loaded weapons and itchy trigger fingers all aiming at each other, it’s only a matter of who shoots first.”
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There is something intrinsically lonely about a life on the road. There are intermittent signs of life; cars, houses, shops, service stations, but often no people to be seen. The driver is locked in, tinted windows up, air con pumping. Pull in, refuel with gas, and drive on. Pull in, refuel with food, and drive on. Pull in, refuel with sleep, and drive on. Only when the destination is reached does life take back on its familiar joys and woes, until the next journey. But for some the journey is the destination.
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MARGOT
By Arnaud Ele
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in conversation with jess tillet Interview by Milly Cooke Photography by Harry Cooke Designs by Jess Tillet Modelled by Georgia Hayes at Linden Staub Make Up by Chloe Rebekah
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Jessica Leney Tillett’s graduate collection holds onto romanticised depictions of old and new Paris through contrasting imagery of Parisian showgirls compared to the cityscape of Paris as one of the fashion capitals of the world. The clashing patterns, colours and views of Parisian culture come together as one in a fun, insightful view of a French evening. In our interview with Tillett, she explains what designers influenced her graduate collection, and her other collections more generally, as well as the thought behind the overall theme and certain accessories included that not many designers use. What was the main inspiration for creating this collection? My collection was inspired by the concept of Paris at night. I looked at the two sides that a night in Paris can promise - the madness and raunchiness of the Parisian showgirl dancers, and the romance and glamour in the city of love looking at 50s French designers like Jacques Fath and Christian Dior. The collection’s theme developed after visiting Musee Christian Dior when I was younger, the pink mansion and overwhelming smell of Dior perfume couldn’t help but inspire. Why did you decide to focus your designs so heavily upon floral patterns? I’ve never designed floral prints before so wanted to quite literally branch out! I was aware that floral prints aren’t original so used orchids and sunflowers as my main focus within my screen prints as they are less common. I spent every summer as a child camping in France exploring the French countryside with my family and sunflowers remind me of those times. Through my concept research I discovered Frank Horvat, a French photographer, who
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projects floral images onto women. This also lead me to the work of John French, who became the main inspiration for my floral prints due to his exploratory work with flower projections. With the clashing shades of red, pink and purple, what influenced your decision on the colour palette? My colour palette originated from looking at old French advertisement posters, from perfume and champagne to film and theatre productions, all using bright, bold colours often clashing in palette to attract the eye. Why did you choose to layer contrasting patterns in a number of your looks? I love print design as it allows me to have complete ownership over the fabric and therefore the garment I have created. By layering one print over another it gave my whole look and collection my identity. This, I feel, is what makes a collection so unique to a designer, deciding every aspect and meticulously poring over every detail and shade of colour so that it’s my idea of perfect, so that it’s mine. I love the aesthetic that comes with combining colours and prints that don’t completely go together, forcing colour and print into juxtapositions.
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A lot of people might say that the long gloves are quite old-fashioned. Why did you decide upon such a traditional accessory in a modern collection? The use of gloves in my collection stems from my concept research as 50s French style included long gloves worn by the most glamourous and the raunchiest. I felt it important to be true to my research and make obvious indications to my concept. I have used elements of streetwear to modernise my collection, designing hoodies with gloves attached to them to demonstrate this clash of my 50s research while still aiming for a modern, new and exciting collection. Was it important that you got the backdrop right in the shoot for your collection? Yes, I wanted the dramatic impact that the red draped fabric created. Keeping the same coloured backdrop for all looks created new colour-clashing combinations.
Noten are two designers that I am in complete awe of. Very different in styles, their work – no matter what concept I am researching – will always appear in my image collections. For me, Balenciaga creates such a fresh and exciting take on modern fashion that I find so fascinating. Dries Van Noten in my opinion, always creates collections so beautiful yet still approachable, his use of colour and print is what inspires me most. What is your favourite piece from your collection? My favourite piece from my collection is probably the red foil screen printed coat from look 5. It is the piece that I designed last, pattern cut last and sewed last. I really enjoyed the whole production of it, from screen printing to hand sewing the lining, which in turn has had a great effect on my love for it. If a garment was a nightmare to make I can say for sure all those “for fuck sake” screams will stay with your thoughts towards the actual piece!
Is there a particular artist or designer who influences your work? The work of 50s designers such as Dior and Jacques Fath hugely influenced my research and my collection. I also looked at modern designers’ work to ensure my collection didn’t become too literal and costume-like. Balenciaga and Dries Van
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Interviewed by Milly Cooke Photographed by Harry Cooke
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By Nina Raasch
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in conversation with corey moranis Written by Molly Gilroy Interview by Sophie Cull-Candy
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Finding inspiration from colours, textiles, art, fashion and even food, Corey Moranis designs, creates and manages her own business specializing in Lucite (acrylic glass) Jewerly. It can be challenging to balance creativity with a business ethic, yet Corey seems to have made her own niche in the fashion textile sphere. Corey studies Textiles at the Onatrio College of Art and Design in Toronto and commented that “while I was there I got really interested in plastic fabrication and I took a couple of classes where I got to learn the basics”. Corey then spent the rest of her time at school playing around in the plastics studio pursuing independent projects and teaching herself new techniques through trial and error. Corey’s tactile inspiration came early, reminiscing that when she was younger, she used to draw over all the walls consistently. Yet, as she grew up she became increasingly interested in science and began to study this into further education. “I actually have a science degree where I specialized in psychology and neuroscience. While I was doing that, I was still pursuing art projects, I even took a ceramics class outside of school, but I never imagined I would be an artist.” She finds it strange where all this took her; “I never thought I would be specializing in jewellery! It’s sort of strange and funny how I ended up doing this.” Within the collection, the multifaceted tactile dimensions of the Lucite jewellery is beautifully crafted. “I’ve always loved creating 3D pieces. When I applied to art school, I was thinking of studying graphic design. I put my portfolio together and realized everything was 3D. I switched to textiles. My hands are very connected to my brain... so 3D is how I can work through ideas.”
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Indeed, Corey‘s passion runs transparent through her work, continually ensuring it is handmade and ethical. “I’ve always loved fashion and plastic so much! I never wore too much jewellery myself, but being so attracted to the material, I just wanted to have it near me. It has magical qualities, like a prism, in how it can bend and project light. I’ve always been mesmerized by things that are magic.” As well as having an aura of mesmerising qualities, Corey‘s business ethic is also wonderfully pure and relaxed: “Personally, I love small businesses so I think I’d like to remain small-ish. But at the moment, I am growing, and I find it very difficult to focus on all aspects of the business, including planning for the future, while I am the only one producing it. It’s also hard to have a balanced life when it’s just one person running the business. Even if I grow a bunch more, I don’t think I would ever pass off the designing aspects of my job.” Corey reflects that the business aspect of her work is both a lot of fun and hard work. “It’s hard to be decisive and know all of the answers though! I am not good at everything but am put in the position of trying to do everything myself. I feel like I never really decided to work alone, it just happened. I get super focussed and obsessed with making things happen and I guess that has led me to working independently. I’m lucky though that through my work, I get to collaborate with a lot of friends and interesting artists along the way. I love that part of the job. “
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With such beautiful imagery with Corey‘s work, the future holds immense potential. She reflects on her school experience with regards to what to watch out for within her work: “I had the opportunity to make my own Lucite from scratch, which is pretty uncommon. Right before I left, I made a couple large blocks of marbled Lucite that I have finally decided to cut up and make into a limited edition jewellery collection for the fall. When I was making the Lucite, I joked to myself that they were for the colour deprived, because each block has about 20 colours in them. So that’s coming up! And some more colourful variations of existing pieces.” Spontaneous experimentation and fun is at the heart of her work. For aspiring creators and artists she recommends just ‘play around’ and find inspiration everywhere. “Find some alone time and go from one idea to the next. Ride the subway or find some way to zone out in between sessions of playing. It’s good to think and then to not think at all and then see what pops up in your brain. Make something, figure out the problem with it, and then go to the next iteration. On and on until you feel satisfied!” Her work space physically reflects this creative chaos and spontaneity, both “new and not completed. It’s a work in progress. One room is like an office with jewellery inventory, packaging supplies, storage, computer, samples, etc.. And then I have a small room where I do all of my polishing, which has lots of natural light, since it’s very important to see all of the details. And then in the basement I have a saw, sanding machine, drill press, etc. And finally, there’s the oven where I heat all of the lucite before bending. I use cool air to help lock some of the shapes in place, while other shapes require more time to arrive at their shape and in those cases, I blow on them myself to control how much cooling they get. Sometimes, I get really light headed from blowing on the pieces so much! I don’t have any art work up at the moment, since I just moved in, but soon enough, the place will be covered in inspirational imagery and text!”
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By Charlotte O’Shea 70
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in conversation with enki allan Interview by Milly Cooke Photography by Harry Cooke Designs by Enki Allan Styled by Johanna Lillie Make Up by Wilma Stigson Assisted by Lizzie Wilson
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Enki Allan, a student graduating this year from Kingston University, has crafted an impeccably raw collection that not only transports one into the natural world, but also pays homage to sustainable fashion. This politically driven collection floats from past to contemporary style both in look and in the challenges that face us in our everchanging political world. Allan’s androgynous style may predominantly be drawn from her specialising in menswear, however the genderfluidity of the looks resonates with a modern audience in our aim to break down gender stereotypes, and therefore give Allan’s overall collection a unique and tender quality. We had the opportunity to speak to Allan about her inspirations for her graduate collection, and what she attempted to convey through her use of styling, material, colour and design. What inspired you in creating this collection? I hold a close relationship with Dartmoor and more specifically the ancient oak forest Wistmans Wood. I drew from these spaces to create inspiration for colour, silhouette and structure as a way to bring back natural influences into such an urban world. A massive influence for me is sustainability, I wanted my collection to fight back against the destructive nature of the fast fashion industry. To achieve this, I searched through local army surplus’ that led me to working with old parachutes, harnesses and militaria. The militaria influenced my collection through the process of upcycling and adaption of designs as well as its historical background with Dartmoor and the uncertainty of conflict in the world today.
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Can you explain your idea about the inclusion of the flag? The flags represent the conflicts within the world: The wars, political upset and the destructive tendencies of man over nature - the way that they pull at the garments and how their colours split through the minimalist pallet. There is added interest in the make-up on the models in this collection. What inspired your decision for that particular look, and why do you think it adds to your collection? The makeup reflects the playful seams of the parachute and the movement of the collection, I definitely feel it adds to the overall look of the collection in this way. The subtlety of the white lines seems to blend into the models’ presence and the energy of the collection. What influenced the androgynous look in your designs? I specialised in menswear, however, we are living in an age that has shattered gender stereotypes and I feel that fashion should be open to us as a person, as a style and something that shares an individual’s ideologies – to not be aimed at a gender but toward an individual.
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Would you say your collection is split into ‘male’ and ‘female’ designs, or have you not given them a label? My collection was designed as a menswear collection, but garments react in many different and wonderful ways on different genders and people. I don’t think a collection should be labelled for one or the other and I wanted to encourage this through my collection and photoshoot. What determined your choosing of the muted colour palette in the collection? I wanted to leave the parachutes and harnesses in their natural state, eliminating an unsustainable dying approach and to celebrate the concept of upcycling. I chose the grey through my colour research and influences from Dartmoor to sit harmoniously with the green of the parachutes and to avoid losing the silhouettes of the garments in a mass of colour. Is there a particular feeling you’ve tried to evoke to the public in your designs? Through this collection I’ve tried to demonstrate ideas of a need to change, to become more sustainably conscious, to unite people across borders against conflict and to seek comfort in more natural and tactile objects and spaces. Is there a specific artist or designer who has inspired your work as a designer? There are many artists and designers that inspire me as a designer; Yohji Yamamoto, Gareth Pugh, Ai Weiwei and Christopher Raeburn are a few examples, but I feel that my inspirations are always changing and that I usually find them through objects, spaces and emotions. What is your favourite piece from your collection? If I have to choose a favourite it would be the parachute bomber jacket .
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By Fee-Gloria Groenemeyer
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don’t worry there’s more
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in conversation with matthew broadhead a space for humans
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Matthew states: “An interaction with geology, astronomy and photography as critical subjects developed to encompass history, mythology, religion and technology in Iceland. The story of Heimr (A Space for Humans) started in 2016, between the fiftieth anniversariesof scientific fieldtrips organized by NASA and the U.S. Geological Survey.Groups of U.S. astronauts and personnel from both government agenciesarrived in Iceland in 1965 and 1967. NASA considered Iceland to be “Probablythe most moon-like of the field areas” in a document that functioned as a field-training schedule, and it’s clear that they were allies in human exploration. This relationship was made tangible in an address printed in the Morgunblaðið newspaper on June 30th 1967 from the Icelandic president at that time Ásgeir Ásgeirsson. In writing he gave the astronauts a warm welcome to Iceland shortly before their rendezvous at Keflavík International Airport where the U.S. military had a base from World War II until 2006 as the U.S. Navy and NATO. Professor Sigurður Þórarinsson and professor Guðmundur Sigvaldason were experts in Icelandic geology who provided guidance during both field explorations in key locations including Askja caldera, Lake Myvatn and Reykjanes Peninsula. To prepare for the prospect of landing on the moon, analogue terrestrial sites were identified and the ‘Moon Game’ was practiced as an assessment to determine if each astronaut could successfully deploy experiments in desolate settings and collect samples the way they expected to on the moon. ‘Space analogue’ is a technical term used by NASA to describe places on Earth with assumed past or present geological, environmental or biological conditions of celestial bodies including the moon and Mars. Heimr is a manifestly contemporary project that reflects on varied hypotheses ranging from the world of science fiction into empirical discourse before the Apollo 11 moon landing and the shifting sands of debates into current times. NASA continues to monitor the moon, empirically gathering and analyzing data to permanently transform humanity’s relationship from one of romantic longing of the earth’s only satellite to a lucid lunar mapping accessible on the Internet. The moon still holds interest into current times but in the media especially there’s a notable shift towards the imminent exploration and colonization of Mars that’s made it a popular topic for conversation. A prevailing belief about the state of the moon was that it was largely considered a dead planet, and this view is largely ascribed to the celebrated astronomer Mädler, who in his book ‘Der Mond’ published in 1837 made a statement about the differences and contrasts between the condition of the moon and the earth. He pointed out that the view at the time of the moon being a copy of the earth was impossible. Mädler’s views crept into astronomical textbooks and gradually led to the conviction that the moon is a defunct planet destitute of air and life and exists as a mass of rocks and cinders, cold, lifeless, and unchangeable. Despite this geologic activity on the moon has been monitored by selenographers who are optimistic in the existence of activity, and recently scientists in this field have revealed their findings that the planet is in fact expanding and contracting. The genesis of Heimr took place during my first phone call to Iceland, when I spoke with Örlygur Hnefill Örlygsson, owner of ‘The Exploration Museum’ and manager at ‘The Cape Hotel’ in Husavik. I had a longstanding interest in travelling north for a future project, I had the timeframe and the budget to be ambitious and I already knew what subject areas I was interested in, so after coming across his website and becoming fascinated by the potential of the story I contacted him. I told Örlygur about my intention to do a photo-essay about the heritage of Iceland’s involvement in space exploration with a particular interest in museology and interaction with public archive facilities to dig deeper into what took place during both trips. This included: Where did the astronauts arrive? Where did they stay? What was the extent of the group? What did they do? These questions led to answers that influenced the types of material I generated when I was there in person. 104
When I arrived at Keflavík International Airport I was given a ride to the car rental where I picked up my vehicle, fitted with winter tires and comprehensive gravel insurance I had freedom to roam where I wished. Driving to Keflavík only took minutes and I stayed with a family at no cost three nights during which I explored Reykjanes Peninsula until the time indicated in my itinerary was up. The morning I left, I drove along Route 41 through Reykjavík until I joined onto Route 1 and travelled towards the northeast with the goal of arriving in Husavík and meeting Örlygur for the first time and seeing his museum. Whilst up there thirty miles from the arctic circle I stayed at ‘The Cape Hotel’ where Örlygur is the manager and generously let me stay there at no cost whilst I researched and made photographs. ‘The Cape Hotel’ has a breakfast room on the ground floor of the building with a library of books along the whole length of a long wall. These were books that belonged to Örlygur’s grandfather Jón Hnefill Aðalsteinsson, an Icelandic scholar and folklorist. With the goal of finding a connection between Icelandic mythology and NASA moon exploration I extracted and photographed books from the collection including a copy of Axel Munthe’s ‘The Story of San Michele’ first published in 1929 that had a photograph of a woman who Aðalsteinsson might have known, or it could be a celebrity of that time. It was enclosed between the endpaper and the board at the back and then laid on top by myself. A book titled MYTH: The Icelandic Sagas & Eddas by Russian folklorist M.I. Steblin-Kamenskij that I derived the title ‘Heimr’ for the project though was not photographed. Published posthumously in 1982 as an English translation of his work it contains an introduction, four chapters and an epilogue. Of particular interest was chapter two ‘Space and Time in the Eddic Myths’, which in its title alone contains the type of vernacular that I couldn’t overlook. The text introduced Euclidean geometry, teaching that space is infinite, continuous, and uniform. Steblin noted that it could be abstracted from concrete content and is believed to exist objectively, regardless of whether anyone perceives it or knows of it. The concept of objective space was noted to involve the most consistently exterior view of space, the ultimate opposition of subject to object. This opposition was described as having no place in our sensory perception of space and that our senses do not know the three Euclidean properties of space. As a result of this a gap in the modern mind opens up between the intellectual concept of space and the sensory perception of it. Steblin applied this thought-process to Eddic myth to state there are no gaps, but an objective existence that is neither infinite nor continuous nor uniform due to our sensory perception of it. Eddic myth depicts space only as portions of it are the location of some action or person in an event. Thus, space exists only as concrete bits; it is not continuous. The word ‘concrete’ is derived from the Latin ‘concretus’ to mean ‘compact’ or ‘condensed’. He states that a map of the Eddic myths cannot be constructed because the concrete bits in space have been identified as discontinuous and finite, and that the world within the Eddic myths only shows a piece of space or the totality of these bits. Engaging with a technical breakdown of Norse/Eddic myth reflects on my study of mythology as a whole, where the visual stimuli and evidence I present are concrete bits of space and the project is the totality of these bits, but in the background there is an objective space that exists that’s always there. This will always exist, but it’s like a sea that I’m pulling treasure out of in the form of these metaphorical islands where I know events took place, both historical and otherwise. The content of Heimr constitutes a photo-essay that falls between the imaginative and the factual, similar to differences between mythology and history. Time was the next topic in the chapter and describes how time in the abstract is ‘subjectivized’. The perceiving subject, orientating itself in time, would become isolated in the present as the only reality, in contrast to the unreality of the past and the future. All merges in a sense of the endless, irreversible, fleeting nature of time. In mythic thinking where the sense of abstract time has not developed, time seems as concrete as space. No matter
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how distant from the present, it’s not less real than a distant object is to an observer. The mythic past therefore is much more real than the past we feel is sharply demarcated from the present. The mythmakers thought of mythic figures and their actions as real and present, not past. The past in myth is not cut off from the present or set outside time, but rather co-occurs with it. For ‘Heimr’, there is a clear interaction with historical events that took place and the underlying stories, but the mythology of the place allows me to convey what has equal meaning in the past, present and perhaps the future to humanity. The Old Icelandic word ‘heimr’ stands for ‘world’ and isn’t used in the sense of ‘universe’ in the writing of the Elder or Prose Edda. The Eddic myths lack any notion of a universe in the sense of a world whole, single, and unique. Heimr in this context of Eddic myths has its original meaning ‘dwelling’ in compound names of places such as ‘Jötunheimr’. The cosmology of Norse mythology is found in the writings of Poetic Edda and consists of ‘nine home worlds’ unified by the world tree Yggdrasil. ‘Nine homeworlds’ is Níu Heimar in Old Norse and relates to the term ‘heima’ which means home and homestead and heimr, ‘a place of abode’ in the sense of a homeland or region or in a larger sense the world. Odin, the ruler of Asgard, passed through Jötunheimr, the home of the Jötnarand and found two beautiful young giants named Sól and Máni, sun and moon. Brother and sister, Odin decreed that they should drive the chariots of the sun and moon across the sky and ensured that their journey was always constant by creating two great wolves named Hati and Sköll to pursue and devour them if caught. The Norse creation myth richly details the origin of the cosmos in the gaping abyss of Ginnungagap between the homeland of elemental fire Muspelheim and the homeland of elemental ice, Niflheim. When those homelands came together, the fire melted the ice and the drops formed Ymir, the first of the godlike giants and was a hermaphrodite that could reproduce asexually when he sweated to birth more giants. It’s apparent to me that Iceland is a fantastically distinct place on earth, the Norse mythology and Christian religion that was introduced later into the landscape changed the way I experienced the land of fire and ice. My primary motive in making reference to Icelandic mythology through the title of the project was to present the shared perspective that our world ‘Earth’ is humanity’s dwelling. I’ve come to realize that sending a man to the moon had complex implications for our species that currently faces many global environmental crises, where conditions are changing quickly and becoming unstable. Hieronymus Bosch’s artwork “The Garden of Earthly Delights” is a long-standing influence on my wider practice; it’s one of my favorite paintings and considered a masterpiece of the Northern Renaissance age. A tantric painting, it depicts a western representation of the intersection of divine energy with earthly life through the use of symbolism. It’s a visual allegory that uses generalized Christian understanding yet displays a paucity of Christian imagery. Showing the descent from the divine into the material, it’s an interior depiction showing the Word of God as it descends to earth into material reality to becoming gradually corrupted and deteriorated by this interaction, solely due to the mind of man that degrades the word of god because of his sin. All that is depicted in the painting takes places in an imaginal realm, a metaphysical territory representing the inner life and inner state of man. It’s an esoteric painting that makes a psychological and spiritual commentary. Heimr is meant to convey a positive message, but as the maker it’s true that I’ve got significant external anxieties about the world we live in.”
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credits
pages 4-13 photographer: Arthur Comely // www.arthurjcomely.com creative director and styling : Emily Hodson make up: Imani Naghten models: Nicole Mather // Eden Hawkes // Asher Penney clothing: Topshop Boutique, Mango, Zara, Leona Kirk, COS and Rachel Pavitt pages 32-43 photographer: Arnaud Ele // @arnaud.ele // www.arnaudele.com creative Direction: Laura Knoops // @knoops // www.knoops.fr model: Margot Davy // @margot_davy // @elite_paris // @womanmanagementnyc make up: Eva Louis // @evalouis clothing: Drône and Aldwin Teva William pages 54-63 photographer - Nina Raasch // @ninaraasch // www.ninaraasch.com make up and hair - Jane Jakobi // @jane_jakobi_ // www.jane-jakobi.de make up credits: MAC // Davines // Chanel model: Veda Pols at Boss Models Capetown // @veda.pols pages 70-81 photography: Charlotte O’Shea // @charlotteosheaphotography // www.charlotteoshea.com styling: Louise Carmel Hall // @louise_carmel_hall // www.louisecarmelhall.com hair: Waka Adachi // @wca13 // www.wakaadachi.com makeup: Luka Watabe // @lukawatabe // www.lukawatabe.com model: Izabelle at Elite // @izabellemitchell clothing: Ganni, Human, Sonia Rykiel, Koche, Nike, Nanushka, Topshop Unique, Isabel Marant Etoile, Burberry and Coach pages 90-100 photographer: Fee-Gloria Groenemeyer // @feeglory // www.feeglory.net art direction: Elina Kaltiainen // @elinakaltiainen // www.elinakaltiainen.com make up and hair: Karolina Traktina // @karoljeromemua // karolmua.com ice artist: Jere Nuppola // @jeremies85 models: Lotta at Paparazzi Models // @hclotta + Fanni at Brand Models // @fannielinaa clothing: Rolf Ekroth, Bik Bok, NA-KD, Theaterkunst, Marimekko, Lahtiset, Heidi Vikar, and Diesel 117
The The End End
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