GREY & YELLOW »Gray skies are just clouds passing over« Frank Gifford
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We are back with our second section in yellow and grey and this time, we are focusing - in colours and contents - on an exciting contrast: foggy grey and saffron yellow. Especially in February, but also in March many days in Germany are still marked by foggy grey weather, rain and maybe even some last snowflakes. How to best cope with these days? That is one of the questions we asked actress Iris Berben in our interview for the German film festival, Berlinale! Here is one option: Let the fog be fog and go out anyway. Making a hike a success whether it is foggy or sunny and creating beautiful pictures at the same time is something that Sina from the instagram account ÂťOut of BerlinÂŤ is a true expert in and she shared some tips with us. Or do you prefer to stay indoors when it gets cold outside? How about bringing some sun into your apartment then? Albertine from Studio Nahili offers great inspiration for that with her table of the month that she set for us as well as a sunny lemon tarte to go with it. And of course you can never go wrong with a great read on a grey day, so why not snuggle up with our new issue and read some more about grey and yellow in the arts and history or get some inspiration for the best scary stories from different centuries.
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But of course, we did not want this issue to drown in gloomy grey which is why - inspired by »saffron yellow« - we take you to colourful India, try Tricky Tine’s delicious saffron recipes and bring some pops of colour to our lives with creative turbans and DIY umbrella ideas. To us, dreaming of warmer days and summer is still the best remedy for grey days! Another big topic for this issue was »handmade«: Our video series of the same name started a couple of weeks ago with DIY tutorials and will be published every Friday on our social media channels with lots of inspiration for you! In this section, we will also tell you more about our Coca-Cola Zero Sugar event for which we transformed our office into a bar and mixed delicious cocktails with barkeeper Arnd Henning Heißen. We are much looking forward to seeing your results, when you cook some of the recipes, try the DIYs that are featured in this issue or embark on a journey yourself and we hope that in the meantime you will enjoy our »Foggy Grey and Saffron Yellow« section!
Euer sisterMAG Team SISTER-MAG.COM
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Table of contents 10
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#SISTERMAGHANDMADE Our DIY videos for you
Hiking in the Fog
94 COCA COLA ZERO
5 QUESTIONS FOR... IRIS BERBEN
SUGAR
#tastethefeeling Event
From the magic of fog to having a clear vision
GREY - AN ART HISTORY Why grey has been anything but colourless for centuries
162 START-UP SPOTLIGHT
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WOLFGANG THOMECZEK
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SCOTLAND
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How horror connects centuries
Coffee Setting in Grey and Yellow
JOHANN WOLFGANG VON GOETHE Theory of Colours
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140 THE JOY OF SCARE 150 TABLE OF THE MONTH
80 OUT OF BERLIN
Rays of Light
Indecorate – Interior Design on a Budget
170 TRAVEL JOURNAL
Through a lense
Spirituality in the North of India
GREY CLOUDS, GREY MOOD
180 SAFFRON
The most expensive spice in the world
Bad weather and its impact on us
186 SAFFRON FROM SAXONY
UMBRELLA DIYS Spots of Colour on Rainy Days
Precious Spice made in Germany
SMOKESTACKS OF ALL SIZES
192 A TOUCH OF ORIENT
The history of the chimney
204 TURBAN STORIES
Recipes with Saffron
Where they come from and how to wear them
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TEAM MARKETING
TONI Marketing & Finance
PA R T N E R S
ALEX Vermarktung
C R E AT I O N
THE COVER PHOTOS Zoë Noble MAKEUP & HAIR Aennikin
MODEL
MARIE Design & Kreation
LALE Design
Jeanette Mokosch DRESS Evi Neubauer I L L U S T R AT I O N Designed by alice
EVI Fashion
SONGIE Design
IRA SISTER-MAG.COM
Design
O P E R AT I O N S
THEA Chefredaktion & Design
CONTRIBUTORS
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TEXT Robert Eberhardt roberteberhardt.com
Dr. Sven Titz jouralistenbuero-berlin.de/sven-titz
Alistair Horne instagram.com/ali.horne
Franziska Schnelle xing.com/profile/Franziska_Schnelle
Alex Kords kords.net
Julia Schattauer bezirzt.de
Julia Laukert julialaukert.com
CHRISTINA
Dr. Michael Neubauer
Content Management
sisterMAG Team
PROOF Alex Kords kords.net
SOPHIE Content Management
Christian Naethler @iamvolta Antje Ritter das-korrektiv.de Dr. Michael Neubauer
FRANZISKA Content Management
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PHOTOGRAFY
VIDEO
ILLUSTRATION & LAYOUT
ZoĂŤ Noble zoenoble.com
Timo Roth
Timo Roth timo-roth.de
sisterMAG Team
Jennifer Burtchen jenniferburtchen.com Nastia Sleptsova nastia-sleptsova.tumblr.com
Julia Laukert julialaukert.com
Songie Yoon instagram.com/_sy.92
Sina Schwarz instagram.com/raus.aus.berlin Albertine Baronius albertine-baronius.com Diana Patient dianapatient.co.uk Jules Villbrandt herzundblut.de EyeCandy Berlin
eyecandyberlin.com
TRANSLATION Tanja Timmer @tanjastweets
HAIR & MAKEUP
STYLING
Aennikin aennikin.de
Evi Neubauer pinterest.com/evin Cesco Spadaro cescospadaro.com
Alex Kords kords.net Christian Naethler @iamvolta
PARTNER We couldn't work on our issues and publish sisterMAG without our partners who we want to thank very much. This time you'll see our features with following partners. Click to jump directly into the pages!
Franziska Winterling @franziefliegt Sabrina Bäcker
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#28 DOWNLOADS DIY
sisterMAG-DIY Turban
Umbrella DIY
Saffron recipes
Cocktails with Coke zero sugar
RECIPES
Cakes
WAS WAR BISHER? Marmorgrau & Aschblond 2017 will be colourful! At least for sisterMAG. This year, we chose to dedicate each issue to a certain colour combination. This is why our first section is all about »Marble Grey and Ash Blonde«. We will take a look at ancient marble art and learn all about blond hair and life as a blonde. Do they really have more fun? We also looked into the future of our kitchens and foods with our partner, SCHOTT CERAN®. SISTERMAG 9
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MARBLEPAPER
MINI-BOOKLET
WATCH THE VIDEO »sisterMAG loves handmade« – this concept has been really important to us during shoots, events and productions for a long time and now we want to share it with all of you! This is why we will be publishing a DIY video for you to recreate every Friday on our Facebook, Instagram and Youtube channels. How about a marble notebook to begin with? We hope that you will get inspired to craft and create as well and are looking forward to seeing your creations with the hashtag #sisterMAGhandmade!
EVERY FRIDAY ON OUR CHANNELS!
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QUESTIONS FOR
Iris Berben Interview: Sophie Siekmann Photos: Jules Villbrandt SISTER-MAG.COM
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From the magic of fog to having a clear vision Artist, style icon, grande dame – all this embodies actress Iris Berben (66). sisterMAG met the beauty ambassador in the Berlinale studio of L'OrÊal Paris in Charlottenburg and learned where fog is most beautiful, what makes cold water so beneficial to the skin, and why listening to your intuition is never wrong.
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1.
Dear Mrs. Berben, whether we’re out for a walk or inside at the sisterMAG office, we can’t escape this foggy gray atmosphere. In which city can one endure these dark days the best? Iris Berben: Lisbon, easily. The city has a great melancholy, a feeling defined locally as ›Saudade.‹ Fog has a strong connection to Portugal but the fog of Lisbon is very special – it spurs something new and is a stimulus for young, creative people who want fresh ideas and to promote their country. It envelopes everything but is not overwhelming. I really like how it creates a sort of togetherness in the city. One can especially enjoy the mist in Sintra, a small, old town about half an hour from Lisbon that is truly magical and often very heavily coated in fog. Over the town, a castle towers on a mountain whose feet lie at the Atlantic. The rushing sea and quiet mist is an unspeakably beautiful combination.
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What does the perfect gray day at home look like for you? I need to take a step back on such days. The day would begin with a very strong espresso, and then I would read – a lot. Books are important to me. I am someone who likes to read and loves to dive into other peoples’ stories and lifestyles. In between, I would eat something delicious, followed by an afternoon tea. That would, of course, turn into some red wine come evening. This comes very close to the perfect gray weather day.
Do you have a favourite book that’s especially fitting for cloudy days? Recently, I've been reading a book that really spoke to me: ›Elephant‹ by Martin Suter. It is about a very small pink elephant which appears before people miraculously. But it’s not just a hallucination – the author of the book provides insights into topics such as homelessness and research on genetics as well as themes like logic and value. He explains how the elephant draws people in its spell and enchants. I can really recommend everyone to read this book. You’ll find it impossible to put down. 17
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What is your beauty secret for radiant skin even with little sun? I prefer to use cold, clear water early in the morning after getting up. Two or three splashes in the face, and your skin immediately looks pink and fresh. I also love the ›Age Perfect Golden Age‹ cream from L'Oréal Paris. I like to use it as a foundation and it always supplies my skin with sufficient moisture even in cold weather or during a strenuous day on set. But a really beautiful complexion begins in your eyes and comes from the inside – no envy, no wickedness. This has an effect on external beauty.
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What would you tell your 20-year-old self? This is a great question. I would love to speak with my 20-year-old self. Believe it or not, I can only tell a young Iris that she has mastered everything well and made the right decisions. I see that very clearly today. At that time, I was incredibly young, curious and open, and ultimately, it opened doors for me. I had my son, Oliver, at the age of 20 – that was the right decision. Today, he is 45 years old and everything is wonderful; I regret nothing. I am 66 years old and can only advise young women, and women of any generation, to listen to themselves and trust their instincts, no matter how difficult the path may seem at times. There are so many external influences and so many people who want to explain the world to you but in the end, the best advice is usually your own intuition. I have always trusted it and am very happy about it. And while it wasn’t always easy – since it never is, after all – everything has eventually turned out for the good.
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Text: Robert Eberhardt
Gray is nothing but dirty and colorless? Not at all! We explain how popular this underrated color is in the world of art – and how many centuries it's been playing a colorful role for artists.
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Gray is considered to be a »color of dirt,« and already in painting lessons in school, we got the information that this mishmash of white and black isn’t a real color or, if it was, it’s an unclean one. That’s why gray isn’t immediately in our focus when we think of the colors of art history. But far wrong: Long before our eyes got used to the enraptured style of black-and-white photography, painters used this color very deliberately to depict certain topics and subjects or to obtain an optical impact. Gray often has the function of demonstrating the lack of colors. And of course, the long tradition of pencil drawings lives on the limited character of gray. Gray pictures draw the attention to forms and structures and eliminate feelings and sentiments that are connected to different colors from the perception of an artwork. According to Pliny the Elder (1st century), »monochromata« were the beginning of painting, i.e. paintings that got along with SISTER-MAG.COM
few color tones or were painted with only one color. But there are almost no image records of that time so that an »art history of gray« can only be written from the 14th century on because then, striking examples appeared in book illumination, glass windows or on fiber cloth. Sources from these early centuries often refer to »painting in black and white« or »stone colored painting« without mentioning the color gray. Over time, language created many names for gray tones, like dove gray, ash-gray, field gray, mousegray or smoke gray. The most famous usage and independence is given to gray by the image type of »grisaille« that it even gave its name to. Those are pictures that are only executed with black, white and gray and that only live on the effect of forms and shadows of the painted objects. This technique applied especially in medieval panel paintings. With monochrome painting, sculptures should be imitated. In altars of Matthias Grünewald and Albrecht
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The most famous usage and independence is given to gray by the image type of
Grisaille
Acht grau, Gerhard Richter, 2002
that it even gave its name to.
Quelle: http://db-artmag.de/cms/upload/68/feature/richter/25_richter-i08.jpg
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Guernica, Pablo Picasso, 1937 Quelle: http://db-artmag.de/cms/upload/68/feature/richter/25_richter-i08.jpg
»Gray. It simply has no statement, it neither triggers
Emotions
nor associations, it‘s neither visible nor invisible (...).« -Gerhard Richter SISTER-MAG.COM
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Dürer, for example, we find saints in gray tones that look like sculptures in wall niches. But not every grisaille that is found today was supposed to be one: Painters often executed their first drafts in gray tones and gave their motifs their colored physicality in further steps. They first pursued the forms before – like in a colored copperplate – the colors were added. Famous grisailles of art history are parts of the renowned Giotto fresco in the Cappella degli Scrovegni in Padua (1305), »Johannes der Täufer, predigend« (»John the preacher, praying«) by Rembrandt (around 1634/35) or grisailles of Andrea Mantegna in the National Gallery in London. Gray painting was very popular in the course of the reformed faith in the baroque period because, according to the plainness rule of the Swiss reformer Ulrich Zwingli, every color distracted the eye from the true message. That’s why we find gray ornaments as the only decoration of church buildings in regions that followed the reformed faith
(and not the Lutheran). But also in the Catholic context, the art of grisaille applied – whenever and wherever the conflict of pomp and simplicity, overflowing portrayal and abstract plainness, rational intellect and sensual colors that stretches through the whole art history breaks open, like in the Cistercian Order that, in a special way, counted on reduction and concentration of the spirit and looked skeptically to the colorful image politics of the church. That’s why many monasteries chose a middle course between image wealth and picture criticism and used grisailles in glass painting to depict biblical contents in a reduced way. Examples for these glass windows can be found in the Heiligenkreuz Abbey near Vienna or in the Brandenburg monastery of Lehnin. Considering the motifs, gray is often used for the unexplainable and mystical, like in the depiction of cemeteries, ghosts or the realm of the dead. It symbolizes the pure form, the substance that is cleaned up from blood and living colors, the spiritual that
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has to be shown in a picture – but in gray tones and not in colored ones like it’s reserved for the living. The art of romanticism that undoubtedly tended to the dark, nebulous and mystic, is pervaded with gray complexion. In the work of Caspar David Friedrich, the gray is represented in a prominent way, not only in the blue and foggy gray sky under which his monk wanders by the sea. But also in modern art, artist decidedly picked up gray because its usage is the easiest way of abstraction. In 1937, Picasso painted his most famous picture Guernica in gray scales and created a memorial for the victims of the city that was destroyed in the Spanish Civil War. When it was presented at the world exhibition in Paris in 1937, the picture caught attention because of its dark »colorfulness« while colorful light compositions were supposed to put the exhibition area in a happy and peaceful mood. Even Gerhard Richter, the most famous living German painter, repeatedly created gray pictures.
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In a letter to the curator Edy de Wilde, he wrote in 1975: »Gray. It simply has no statement, it neither triggers emotions nor associations, it’s neither visible nor invisible. The inconspicuousness makes it suitable to convey, to illustrate, namely in an almost illusionistic way, like a photo. And, like no other color, it’s suitable to illustrate ‘nothing.’« In 2002, the Guggenheim Museum/Deutsche Bank in Berlin showed gray works under the title »Acht grau« (»Eight gray«). Today, artists use gray like their colleagues of the preceding centuries did: to distinguish picture and depiction, to differentiate reality and awareness from illusion and symbolism. By the waiver of color, an artist wants to highlight something different, wants to emphasize it and show differences. That’s why today’s artists often choose the aesthetics of black-and-white photos and black-and-white documentary films to underline the special truthfulness of the shown objects rhetorically and to emphasize
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The Monk by the Sea, Caspar David Friedrich, 1808-1810
the form. This way, the popular usage of the non-color gray in art surely influenced the general appreciation of the color in design, furniture and interior as well.
Quelle: http://bit.ly/1kBxdA1
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Text: dr . M icha Phot el N o: L a euba le Tü uer tünc übas i
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Goethe was an observer, fascinated with how the world is perceived through the eyes His desire to understand how we see colours drove him to more than 20 years of experiments and research. The result of his efforts is a 2000-page tome entitled »Theory of Colours« and contradicted Isaac Newton‘s (1643-1727) theory of colour as laid out in his »Opticks, or A Treatise of the Reflections,
Refractions, Inflections & Colours of Light«. Although Goethe engaged in controversial and elaborate discussions, Newton’s work was and is the one that gained acceptance among physicists due to the solid scientific theory on which it is based.
In 1783 Johann Wolfgang von Goethe wrote in his »Tiefurt Journal«:
»Nature! […] She creates new forms without end: what exists now, never was before; what was, comes not again; all is new and yet always the old. She has placed me in this world; (1) she will also lead me out of it...« SISTER-MAG.COM
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(1) Goethe: Aphorisms on Nature http://www.online-literature.com/goethe/4440/
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Not long after that, from 1784 to 1786, he would travel Italy and several years later enthusiastically recall - amongst other things - the botanical highlights of this trip in his extensive report »Italian Journey« (2). The symphonic nature of the colours of the plant world especially in the Sicilian city of Palermo captured his imagination.
»All the plants exhibit tints of green such as we are not used to — more yellow and blue than are found with us...« (3) The trip reignited his interest in colours and their physical and optical properties. Back in Weimar, he originally intended to return an optical instrument he had been lent but never used to its owner, natural scientist Christian Wilhelm Büttner. Due to his newly kindled interest, he decided to put it to use instead. He started by looking at a white wall through a prism. Goethe was amazed – the appearance didn’t match the expectations he had based on Newton’s theory of colour. His scientific curiosity was stirred. Looking through the prism at a white wall, he only perceived colours of varying
levels of brightness towards the edges and nothing but white light in between. Goethe concluded that polarity, the great dichotomy, was making itself known as a primal law of nature even in the creation of colours. He assigned the bright colours created within the light to the »plus« side while the darker hues made up the »minus«. Goethe interpreted colours as a phenomenon on the border between darkness and light and attributed their various shades to the mixing ratio of these opposites; cloudy, semi shades. He defined yellow, orange, minium, and cinnabar as belonging on the plus side while blue, crimson, and purple were assigned to the minus spectrum. The former were deemed to make you feel lively, quick and aspiring; the latter were thought to be connected to feelings of »unrest, weakness and longing« (4).
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(2) https://en.wikipedia.org/wiki/Italian_Journey
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(3) Goethe, Letters from Italy, Part VIII
While Newton’s experiments were conducted on a scientific and mathematical basis, Goethe considered the subjective observer of colours in his deliberations. Goethe writes, »for the creation of colours, a boundary line is necessary,«(5) and that it requires darkness and brightness, a total eclipse and light. The light colour »yellow« and its dark opposite »blue« when blended in equal parts will create »green«. He
Newton In contrast to Goethe, Newton followed a mathematicalquantitative approach in his explanation for the emergence of colours. In a darkened room he admitted a ray of light through a prism and observed that the previously white light split into its spectral colours, which in turn means that white is the sum of all the individual colour components. This explanation should proove to be true. Newton‘s colour circle shows the colour white in the centre as a representation of the sum of its radial colours. (4) http://bit.ly/2mIrg6R SISTER-MAG.COM
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Newton color circle
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proceeds to explain that further density or added darkness can lead to the emergence of new phenomena (colours). Within the third colour created, »red«, the original yellow and blue have become indistinguishable. In the contrast phenomena, Goethe saw the eternal formula of life itself. «This is the eternal systole and diastole, the eternal inspiration and expiration of the world in which we live and move« (6) . »When darkness is presented to the eye, the eye demands light; it demands darkness when light is presented to it« (7). Goethe’s experimental arrangement, i.e. making his observation in daylight, was misguided. The rays of light split inside the prism were neutralized by the same kind of colours that resulted in white light leaving the prism. (5) http://bit.ly/2mchCva (6) Crone, Robert A. "A History of Color: The Evolution of Theories of Light and Color", Springer; 1999) (7) Goethe's Conception: Chapter VIII: The Phenomena of the World of Colour, Rudolf Steiner Archive
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Goethe‘s Theory of Colours was first printed in 1810 and contained three main topic sections
For the rest of his life, however, Goethe was convinced to have described »the truth« in his theory of colours polemicising differing views, especially those of Newton, heavily. Today both theories coexist unrivalled. While physicists applaud Newton’s exact and strictly mathematical-scientific approach, the rest of the world values the psychological components Goethe attributed to the emergence of colours. He described the sensual-moral effect of colours and how they affect the mind in great detail (8). Goethe observed nature and its colours and the people who live in it as a whole. He focused on the cause and effect colours can trigger in an observer, an approach increasingly valued today.
didactic section polemic section historical section
1. In
About the author Before his retirement, Michael Neubauer, M.D. served for many years as chief physician at a surgical hospital in Saxony; he is a specialist in both general and paediatric surgery.
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the first part, the didactic section, he details the results of his experiments and presents the classification of the effects of colour into physiological, psychological and chemical forms. Physiological effects make up the basis of his theory: colours perceived through our healthy eyes. Psychological colours are only observed when their presentation requires tools which do not themselves emit colours and are transparent, dull and translucent. Chemical colours are represented by colours that can be produced by certain bodies (9).
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2. In the polemic section Goethe
confronts opposing theories in great detail while the historical section examines the work done in the field of colour theory up to this point (by which it also reveals how deep Goethe had delved into the field himself).
Goethe, Farbenkreis, 1809
(8) http://bit.ly/2lZbrZo (9) http://bit.ly/2lWQ5gW (10) http://bit.ly/2lv9lia
Debates around the relative merits of both Newton‘s and Goethe‘s Theories of Colour continue well into the present time. While Werner Heisenberg (one of the most important physicists of the 20th century) thought the theories represented a look at different layers of the truth, Carl Friedrich von Weizsäcker (a German 20th century physicist and philosopher) contradicted this view as early as the 1960s (10). One modern time proponent of Goethe’s theory is the Berlin-based science theorist and natural philosopher Olaf L. Müller, who published his defence in a book entitled «More Light!” (»Mehr Licht! Goethe mit Newton im Streit um die Farben« S. Fischer Verlag, Frankfurt am Main 2015).
» Nature! We are surrounded by her and locked in her clasp: powerless to leave her, and powerless to come closer to her.« (1) 35
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ays of light Wolfgang Thomeczek
text: Julia Laukert photos: Veronika Thomeczek & Julia Laukert SISTER-MAG.COM
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»The farther into the day we go, the more a foggy grey takes hold,« says the sharplydressed man who has sat down on a red chair, looking into my eyes without seeing them. Opposite me is art agent Wolfgang Thomeczek . We first met in 2014 when he warned me, even before the actual meeting, not to be surprised should he not recognize me at the Jacqueline Diffring vernissage. He also said to make sure not to take it personally; after all he only had 5% vision. Wolfgang Thomeczek (*1950) suffers from a hereditary eye disease and has been visually impaired since birth. At -18 dioptres he has not been able to see properly for most of his life. In Germany, anyone with 5% vision or less is legally considered blind. But if you looked at him, you wouldn’t think that Thomeczek belonged in that group. His services to both the visual and performing arts, his life’s story and his vitality are remarkable. »It’s giving my ophthalmologist sleepless nights, but he also admires my brain which manages to combine two divergent images without giving me a headache.« Through his left eye he sees as if looking through a long and narrow tunnel. The right one disperses the light and makes everything look blurry, »like turning the soft focus all the way up.« Otherwise he is in good health; excellent health, actually. 37
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Thomeczek’s visual impairment and his trust in modern medicine go hand in hand. In 1998 the retina of his left eye detached irreparably, in 2008 he suffered a detachment on his left eye too. He had to have multiple surgeries without any guarantee of success. From three days of relief to seven years: no specialist has yet been able to achieve full recovery. Between 1990 and 1997, however, one of the surgeries increased his vision to 80%. He vividly remembers the first blink of his eyes after the operation when he could make out the colourful plumage on the ducks in a pond across from the hospital. Until that day, ducks had been a shapeless brown blur without distinct colours to him. These were eventful times in his life. He met his wife Veronika, got a full driver’s license and had a successful career as a designer. He devised the creative concepts for product presentations by companies like BMW, René
Lezard and the like at trade fairs in Düsseldorf, Hannover, Munich, Paris and Florence. Thomeczek’s artistic passions received equal nourishment in areas such as music, sculpture and painting. He had trained his artistic bones from a young age: during his apprenticeship as a window dresser he took every opportunity to get involved in art. His passion lead him from Pfalzgalerie in Kaiserslautern to a whole host of art fairs in Basel and Cologne and numerous exhibitions – no venue was too far to go. No picture he has ever seen has gone from his mind’s eye, and he still visits with many of the artists whose works he has seen to learn more about their oeuvre. He has met painters like Georg Meistermann, Emil Schumacher, K.O. Götz, Hann Trier, Rudolf Schoofs; sculptors like Emil Cimiotti, Franz Bernhard, Robert Schad; and the photographer Barbara Klemm in this endeavour. And
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these are only a few of his circle of artist friends. Robert Schad gave his first exhibition at Wolfgang Thomeczek’s »Augenmusik« (»Music of the Eyes«).
an audio reader would have been a more efficient solution. The one thing you will never see him without: a building light modified to illuminate objects.
»The blind gallerist who sees more than anyone else,« Thomeczek quips. He also enthuses over »Mein Blind Date mit dem Leben «. The recently released film based on the life of a blind man called Saliya Kahawatte has many parallels to Wolfgang Thomeczek’s story and also manages to give sighted people a vague idea of what it is like to see the world through a thick pane of glass. Saliya Kahawatte is definitely a name the arts enthusiast would like to add to his list of conversation partners.
»Light is my top priority!« he says gesturing at a painting by Angelika von Schwedes in his gallery alerting me to the bright shade of saffron-yellow it employs.
Thomeczek has devised many aids to escape the visual fog. With the help of his HMO he was able to get a reading device. Yet when he demonstrates this to me in his study, I can’t help but think that
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Wolfgang Thomeczek recognizes artistic quality despite his handicap. He is an arts professional. And his success proves him right: his own art collection which he has curated since the 70s, his tenure as the chair of the Kunstvereins Zweibrücken from 1997 to 2007, his exhibitions in self-governing institutions or the interior design of his private house. His guiding principle is: »Art thrives on the ability to see the world through different eyes, to rediscover.« When I comment on his strikingly sharp dress sense he shares
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»The blind gallerist who sees more than anyone else«
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that selecting the right outfit has always been very important to him - and that quality is a pleasure. In 2008 Thomeczek founded the KunstKabinettImTurm (ArtGalleryInTheTower) which hosted exhibitions until 2014. Since 2016, the parish garden in Tiefenthal and his listed surroundings have been his new space for cultural encounters: KunstKabinettTiefenthal. The modern single-storey building with moveable window frontage employs a light concept designed by Thomeczek himself. The venue hosts exhibitions, events and projects and provides a pleasant contrast to the vintage architecture surrounding it. The actor Mario Adorf sat for a bronze sculpture by Thomas Duttenhoefer at the gallery and felt right at home.
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Between exhibitions, Thomeczek uses the area as his rehearsal space. He plays the drums and his band SoWhat practices here. I am treated to a musical sample and it completely slips my mind that Thomeczek cannot rely on notes when playing.
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»Art thrives on the ability to see the world through different eyes, to rediscover.« 43
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Scotland
through a lens SISTER-MAG.COM
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Text & Photos: Alistair Horne
A photographic journey
A grey and rainy day in Berlin. Cuddled up in a blanket with some hot coco, lit candles, and music playing, we stumbled over the instagram profile of Alistair Horne . His images had us swooning about Scotland, instantly. The richness of green, the vastness of the landscapes, and the mist settling in the Highlands enhance these with an eerie quality. For your future trips, Alistair kindly compiled a list of the best and fotogenic places to go in Scotland. Here's a preview for you to enjoy! 45
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the best & photogenic places to go in
Scotland. Glen Coe
Glen Coe
In the south of the Highlands is one of Scotland’s most famous areas, due to its accessibility and beautiful landscapes as far as the eye can see. Only a two hour drive from the main cities of Glasgow and Edinburgh, the valley with a volcanic history is probably top of your list if you visit our country. Remember to drive down the Glen Etive road, seeing the local deer and visiting the James Bond car scene from »Skyfall« as well as visiting the village of Glen Coe, with its beautiful lochan. Driving through the valley on the A82 itself is a wonderful experience on its own.
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Isle of Skye
Isle of Skye The Isle of Skye is the largest and northernmost of the major islands in the Inner Hebrides. With unique geological formations and the intimidating peaks of the Cuillin mountains, there is a variety on offer to see on the island. Its main attractions include the Old Man of Storr, a strangely shaped rock, or the Trotternish Peninsula, again with land formations that question which planet you are on. Other impressive sights include the lighthouse at Neist Point and the Fairy Pools in Glen Brittle. The islands are quite hard to get to, either from the closest airport at Inverness, or a long bus ride or drive from the central belt. To fully appreciate the beauty on offer here, give yourself at least 3 days to savour it all.
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Trotternish Peninsula (Isle of Skye) 49
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About the author
Alistair Horne is a 24year old freelance photographer from Glasgow, Scotland.
Glenfinnan Viaduct (Highlands) SISTER-MAG.COM
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The Highlands
The northern most area of Scotland spans over 30,000 square kilometres and includes historical castles, a plethora of stunning lochs and huge mountains. This area covers the majority of the country, so it is impossible to see all of it in one visit. Being so close to the main cities, you can drive around this area of Scotland and be stopping all day at sights such as the Glenfinnan viaduct and Kilchurn Castle pictured. Remember to bring your waterproofs, as the weather in Scotland can change at any moment! SISTER-MAG.COM
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The Cairngorms National Park The largest park in Great Britain, the Cairngorms has 5 of the 6 highest mountains in the UK, so it’s a paradise for hill walkers and skiers. The native Scots pine tree is abundant in this area, with wildlife too thriving in this natural environment. With over half of the whisky distilleries of Scotland in this region, this is the perfect place for a dram or two! The national park is the ideal area for a walk, breathing in the fresh air and views. Being in between the central belt and Inverness, this national park is very accessible for drivers and walkers.
Loch Lomond and the Trossachs National Park
Centuries of history with castles and beautiful landscapes right at the door of our central cities, this national park is a treasure to behold. The West Highland Way, Scotland’s most famous long walk, passes through the park near the beginning of the 100 mile trek taking in some of the scenery on offer. The picturesque village of Luss is well worth a visit: remember to take a boat ride out on Loch Lomond to savour the sights. Being only one hour from Glasgow, Loch Lomond is really easy to travel to get away from the busy life and embrace the wonders of nature. If you find yourself equally smitten by his pictures and recommendations, do have a look at his website and facebook page , too! SISTERMAG 28 | 03 / 2017 53
Grey clouds,
grey MOOD
Bad weather and its impact on our mood Text: Dr. Sven Titz
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When it’s stormy and cloudy outside, we don’t want to leave our homes. That’s when we’re talking about »bad weather«. Storm often comes from the west, while fog forms locally. As the clouds deprive us of daylight, our bodies often react with feelings of dullness and melancholy – but there are some cures.
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Raindrops are falling on the windowsill and wind is blowing through the streets. We prefer to cuddle up inside where it’s warm, perhaps with a cup of tea. The weather is »too bad« to go out, that’s what we use to say then. When the sky is dark and covered by thick fog, few people like to leave the comfort of their house. It says a lot about us: for urban dwellers,
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everything that supposedly keeps us from doing things outside is »bad weather«, be it lack of sunshine, cold, wind, or rain. During the fall and winter months, we’ve got plenty of »bad weather«. Where does it come from? And why does it make most people feel a little depressed?
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”
Clouds, my terrible clouds / How the heart beats full of pain and grief. Czesław Miłosz
”
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The origin of bad weather
Winter storms are particularly uncomfortable. This gloomy kind of weather mostly comes from the west, from the Atlantic. Winter storms originate in the sea area between Newfoundland and the British Isles. When masses of warm and cold air collide in a certain way, they start to spin around a centre, creating a low-pressure area moving quickly towards the east. The air spins increasingly stronger and forms a lot of clouds. When the low moves towards Europe, those stormy clouds roll over our heads. Stormy weather is often combined with heavy rain. It may come as a surprise to some that all raindrops were ice crystals SISTER-MAG.COM
once, floating in the clouds several kilometres up. While they fall, the ice crystals melt – at least at temperatures above freezing, which is common for mild westerly wind – and only raindrops reach the ground. Rain clouds let through little daylight. That’s why it’s dark down here. Wind doesn’t always come from the west, but also from other directions. When a strong high-pressure area develops during the winter, mild maritime air is blocked, bringing cold or even freezing temperatures. Dry air brings sunny days for us. With moist air, however, tiny droplets form at night, resulting in fog or
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high fog, which often lasts the whole day. This happens mainly in river valleys such as those of the Danube, the Elbe, or the Rhine. Thick fog can keep the sunlight away for days, sometimes even weeks. The low sun isn’t strong enough to dissolve the fog. And the damp clothing it causes is another factor that makes us feel uncomfortable outside.
Why clouds and fog make us feel depressed
Cloudy weather has a depressing effect on many people’s mood. »Clouds, my terrible clouds / How the heart beats full of pain and grief«, wrote the Polish poet Czesław Miłosz in one of
his works. Only those who are eternally happy can easily project their inner sunshine on the weather. Still, the human reaction to fog or stormy clouds also has other, more prosaic reasons: the human body shows a strong reaction to a lack of light. Light encourages the production of the hormone serotonin, which literally »brightens« the mood. As it’s rather dark throughout the day during bad weather, the hormone melatonin dominates our bodies. It’s the antagonist of serotonin and makes us feel dull and sleepy, or even melancholic. In addition, light is one of the factors responsible for our socalled »body clock«. During the winter months, we wake up later in the morning – at least when we let the natural light wake us up. As a result, we take longer to get going. Weather sensitivity may add to this – when it’s rainy or stormy, for example – causing headaches or aching limbs. Rheumatism can
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do the rest. Nevertheless, weather sensitivity is a phenomenon that’s hard to understand. The reasons seem to vary slightly from person to person. Sometimes it’s caused by high humidity, sometimes by temperature changes. Doctors have been advocating for a long time to brave the »bad« weather and catch some fresh air every day, even when it’s cloudy. It helps to brighten the mood noticeably. If we’re only willing to give it a chance, a dramatic storm or the melancholy of a foggy landscape can be something very pleasant. Luckily, there’s something to look forward to: from the 20th of March, days will be longer than nights again. In spring, fog and storm are less likely to occur – and the grey mood they can cause will be gone, too.
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About the author
Since school, Sven Titz has had a keen interest in meteorology. The meteorologist, whose good temper isn’t affected by any stormy weather, works as a freelance science journalist in Berlin.
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”
Light is one of the factors responsible for our so-called »body clock«. During the winter months, we wake up later in the morning – at least when we let the natural light wake us up.
”
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NrU.M1PBARI NE LT L A
by DESIGN FOR MANKIND
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M AT E R I A L
Drop cloth Waterproof paint (I used Martha Stewart Multi-Surface Satin Paints) Old plate 1.
All-purpose paint brushes (I used a variety of sizes, as well as a toothbrush) Scrap paper Umbrella
INSTRUCTIONS
1. Find your technique. I found it easiest to test out a few splatter techniques before painting my umbrella. To begin, cover your work area with a drop cloth and pour a few dollops of paint onto an old plate. 2. Next, dip your paintbrush into paint and begin flicking the brush at the scrap piece of paper. Experiment with different brushes, distances, and angles. Once you feel comfortable with the technique, it’s time to paint your umbrella.
2.
3 Paint your umbrella. Open your umbrella and rest on its handle. Splatter each colour one at a time, rotating the umbrella in the process. Allow each layer of paint to dry before applying the next. Once all colours are applied, set aside to dry overnight.
3.
Once dry, your new umbrella can be used to shield rain or sunshine!
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UmDbIreYlla
Nr.2C L O U D
UMBRELLA
b y M J f o r PA S R S C A E L I
M AT E R I A L
Clear umbrella (this one is from Totes in a classic design) White vinyl sheets Cricut Explore Gold paper or vinyl Cloud and lining template
DIY D OWN LOA D
INSTRUCTIONS
1. Design your pattern. Of course, I wanted clouds. Using Illustrator I created an .svg file. Based on the size of my umbrella, I made the clouds about three inches wide. I was happily surprised with how many clouds I could fit on one sheet. Using the vinyl setting, feed your mat with vinyl into the machine and carefully remove the cut clouds from your mat when complete. I created another .svg file with the thin lining that rests on the bottom of the clouds. I changed the setting
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Nr.2C l o u d
Umbrella
Fortsetzung
to paper, and fed gold hammered scrapbook paper. These were fragile so removing them from the mats was a careful process. 2. Next I wanted a gold lining for the clouds. I'm joining with a merry group of 10 creatives for this Cricut Design Space Star challenge, and we had decided early on that we wanted our theme to be Gold is the New Black. And, do you know what's even better than finding the silver lining on a cloud? Yes, that's right, finding a gold lining. 3. Press the gold paper lining to the bottom of the white vinyl cloud. 4. Press the clouds to the interior of the umbrella. This will protect your design from the wear of the elements. I kept the clouds to the lower portion of the umbrella, with three on each panel, so that I could still see through the bubble. Decide on how much vinyl coverage you want on yours. We've had a rainy end to the summer, and this umbrella with its gold lining reminders is the perfect way to stay happy and dry in the downpours. SISTER-MAG.COM
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UmDbIreYlla
Nr.3L E M O N
UMBRELLA by STUDIO DIY
H ER E TH E TU TO R I A L
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NrP.O4L K A
DOT UMBRELLA
by DESIGN LOVE FEST
1.
2.
3.
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M AT E R I A L
umbrellas craft paint that is listed for fabric (we like Martha Stewart’s) blue painter’s tape wax paper paint brush circle cutter or circle punch (we like this circle cutter kit) INSTRUCTIONS
1. Tape a section of blue tape on wax paper. 2. Punch or cut a hole in the wax paper to create a circular stencil.
4.
3. Pull tape off of wax paper and transfer onto umbrella in desired place and smooth down. 4. Paint stencil; we recommend applying two coats. 5. Let dry completely, then peel off tape. Voila!
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SMOKESTACKS
of all sizes The history of the chimney Chimneys atop homes and next to factories are a quintessential sight of every larger city. This article explores how we went from simply putting holes in the ceiling to constructing stone smokestacks that rival tallest structures in the world.
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Imagine the following scenario: As a bitter winter rages outside, you sit fireside indoors. The fire slowly begins to crackle, the warmth spreads throughout the living room. But with it comes a heavy smoke, which rises up to the ceiling of the room and can only escape slowly from an opening in the roof. A coat of black ash collects on your furniture, clothes, and skin – and you also breath it into your lungs. Around the fireplace, the black soot has settled permanently on the walls, floor and ceiling. What sounds like the symptoms of a clogged chimney are the conditions under which one lived in the Middle Ages. Alas, it was a time without chimneys altogether.
Text: Alexander Kords Illustrations: Nastia Sleptsova
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Roman
BATHHOUSES Directing the annoying byproducts of a burning fire from inside a closed space to its exterior is actually something mankind thought of quite early. Bathhouses in the Roman Empire were designed so that smoke from the kiln was used as a heating method. Although the stove was outside the building, the smoke was directed into a boiler room known as a hypocaust. This was found in the basement of a house and led the heat upwards through channels in the wall. Not only was it able to heat water basins, but also the floor and the walls themselves. The smoke eventually funneled out of the house through a chimney. This system was first applied around 350 BC, though it was rarely used in residential buildings because of its relatively high cost. SISTER-MAG.COM
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Medieval
SMOKE VENTILATION While the idea of the chimney had validated itself over centuries, it faded into oblivion with the fall of the Roman Empire. Medieval homes were equipped with simple holes in the roof through which the smoke ventilated, and it wasn’t until the Tenth Century that the chimney experienced a revival. As multi-storey buildings became increasingly popular, it became necessary to develop an alternative solution for ushering out smoke. Thus, a kind of funnel was installed above the fire, which at that time burned openly in a room. The funnel caught the smoke and carried it out through a tube of clay or wood. The name came about quite literally, from the Old High German verb »scorren«, which meant »excellent«, and »stone«, which signified the support structure that erected the chimney upright on the roof.
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Chimneysweepers
AS A SIGN OF LUCK As chimneys soared in popularity, a new profession developed: the chimney sweeper. While at the beginning homeowners concerned themselves with the cleanliness of their smoke extracts, they quickly became discouraged by the chore as working with soot was not only annoying, but also harmful to health. The solution? Hiring artisans to take over the task. Chimneysweepers, who came from northern Italy and wandered into Germany, came in high demand. A superstition arose soon after: it was considered good luck to touch a chimneysweeper’s black clothes, or rub a button on their jacket. And it’s no wonder – fireplaces that burned a lot resinous wood, and created a lot of tar, were a primary source SISTER-MAG.COM
of fires in the Middle Ages. Someone who could alleviate that risk was therefore held in high regard. Even today, chimneysweepers are equipped with a traditional shoulder iron, a tool with a long handle and curved blade that scratches the soot created from a fireplace.
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From wood
TO STONE Starting in the 15th Century, stone was increasingly used as a building material for chimneys. This not only yielded a more stable structure, but also reduced the danger of fires. An enactment by Pfalzgraf Karl IV in 1772 strictly forbade the use of wood chimneys and drastically accelerated the construction of stone on rooftops. This also inspired the imagination of house designers, who discovered the chimney as a style element. Castles, in particular, began to feature roofs adorned with chimneys, some of them purely for decorative purposes to ensure symmetry. Nowadays, the chimneys of many historic buildings are under heritage protection, which makes the demolition of these no longer necessary utilities impossible and the modernization of old buildings more difficult.
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The higher,
THE CLEANER The Industrial Revolution in the 19th century saw more and more chimneys darting into the sky from factories that needed to release smoke from their incinerators. Their initial height was relatively low, which led to ground-level pollution. Factory owners consequently built their factories on the outskirts of the city – or constructed ever higher chimneys. As a result, the exhaust was released as high up as possible, into the wind, which protected air closer to the ground from contamination. The fact that soot and dust particles descended back onto the ground several kilometers away, and that they were
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harming the environment, was of no concern to city dwellers. In London, a catastrophe caused chimneys to be built even higher. In December of 1952, The Great Smog caused an extremely dense wave of air pollution in the city, resulting in severe respiratory illnesses and, ultimately, thousands of deaths. Two legislative initiatives under the title ÂťClean Air ActÂŤ forbade, among other things, coal heating in certain parts of the city, and imposed a minimum height for factory chimneys.
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An aesthetic
ADDITION The Buschhaus power station, in BĂźddenstedt, Lower Saxony, is home to the tallest chimney ever built in Germany at 304 metres in height. It has not been in operation for some months, however, as the coal power plant was shut down in September 2016. At 360 metres in height, the chimney of the Trbovlje thermal power plant in Slovenia is currently the tallest in Europe. The tallest chimney in the world, meanwhile, belongs to the Ekibastuz power station in Kazakhstan, and rises to 419.7 meters. It is 50 meters higher than the Berlin TV tower and is currently ranked 24th among the world's tallest buildings. Chimneys of such stature
are often an important part of the cityscape. Chemnitz, for example, is defined by a 300-meter-high chimney of the dual heat and power station, which is painted in seven colours. The smokestack of the Spittelau waste incinerator in Vienna, designed by the artist Friedensreich Hundertwasser, is one of the most important sights of the Austrian capital. Such embellishments can easily allow one to forget about the poison spewing from the top.
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Hiking
in the fog
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Text & Photos: Sina Schwarz
On her Instagram account
»Getting out of Berlin«
Sina takes us to whole new worlds and magnificent landscapes which are often just a short train ride away from Berlin and some of Sina’s favourite hiking spots. We talked to her about hiking, foggy weather and little discoveries.
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Most people would probably think that the perfect weather for hiking is sunny and not too warm or too cold. What do you think? Does the »perfect hiking weather« exist?
How did you get into hiking?
Of course it does. And I am happy about every weekend with this kind of weather. But wouldn’t it be a shame if we didn’t make use of other days when we don’t have to work, just because the weather is a bit more melancholic or cold like in the winter? That is why I go outside in pretty much any type of weather. Tea and wool help when it’s cold; fog and clouds often offer the most interesting motifs whereas a clear blue sky can become quite boring to photograph. Only continuous rain dampens the »wanderlust« a bit — even the best rain gear doesn’t really help in this case.
I grew up in the countryside between forests, meadows and fruit trees — so nature is like a part of my home and hiking is something I have done since my childhood. My parents and I regularly went hiking in the Swiss mountains or simply close to home in the south of Germany along the Danube. I have many memories from this time — the Matterhorn which already fascinated me as a child, glacier hiking in shorts over snow and ice in the summer, long breaks with snacks …
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»Sometimes small
things and quiet landscapes can be enchanting as well.«
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Your account is called »getting out of Berlin« – what is your favourite spot close to Berlin if you want to get out of the city? I have been living in Berlin for about eight years now and I realised very quickly that spending my weekends in overcrowded parks or by lakes close to the city wouldn’t be enough for me in the long run. And why should it be if getting »out« is so easy with public transportation and you can discover the surroundings on foot. Many people still do not really see Brandenburg as a hiking area. No mountains, flat countryside — can you even call that hiking? I am not saying that the panorama of the Alps isn’t breathtaking but sometimes, small things and quiet landscapes can be enchanting as well. Even though there aren’t any
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mountains in Brandenburg, it still has a lot to offer: ancient beech forests like the Grumsiner Forest (which, by the way, is an UNESCO world heritage site), crystal clear lakes, landscapes full of blooming heath, far meadows and fields … It is hard to say what I like the best. I often go hiking in the Uckermark, a region that makes it easy to grow to love Brandenburg but basically there are diverse areas all over Germany: the Schlaubetal in the southeast, Buckow in the Märkische Schweiz, the Oderbruch, Fläming or the Spreewald … Sometimes you don’t even have to go that far out of the city. Berlin’s green outskirts have a lot to offer as well.
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Which other hiking destinations do you like (international ones as well)? There are so many exciting hiking areas in Germany with their own character: the Harz with its deep green woods, Saxon Switzerland with great views, the breathtaking Kreideküste with its limestones on the island Rügen or my home, the Swabian Jura. There are so many regions that I want to discover through hiking in the next years. My most exciting international hike was actually on the Indonesian island Lombok. My good friend and fellow hiker Theresa and I went on a three-day-hike last year on the volcano Rinjani — it
was truly an adventurous, painful and spectacular experience all at once. We went through the jungle, ate next to monkeys, slept in our tents on the edge of the crater and reached the summit at 3,726 m at one o’clock at night in the icecold dark only with the light of our headlamps. I will never forget what I saw and experienced there — and the pictures I took are certainly part of my most impressive landscape shots. Just FYI — fog and clouds were our constant companions on this trip.
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How long is your average hike and do you plan a route beforehand? Even though I sometimes only have time for day trips, I prefer going hiking for a few days at a time. For me, planning a tour and the anticipation of going are part of hiking and carry me through the week. Since I already know many of the well-known hiking trails in Brandenburg that you find in books, I plan my own routes more and more and preferably the old-fashioned way with a map. That map then also is my trusted companion and point of reference during the tour.
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Climbing the top of the mountain or finding the most beautiful clearing in the forest — do you have clear goals on your hikes and how important is a high altitude to you? I especially value diverse landscapes. I like winding, quiet paths far away from civilisation and unspoiled, old forests. Altitude isn’t that important to me on my regular hikes. Brandenburg’s landscape is just really flat — even though the last ice age left one or two elevations. For me, the most important thing is being outside. Every hike and landscape has something special and that is what is nice about hiking — you don’t really know what awaits you.
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»You just have to
look very closely and change your perspective from time to time.«
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What do you pay attention to when taking a picture? How do you find special motifs? I don’t have a strategy or special approach. I take pictures of what I see on the side of the trail. For me, it is not about taking a spectacular picture but about showing how beautiful simplicity is. You just have to look very closely and change your perspective from time to time: Pay attention to the ground, then to the sky, to something miniscule and again to the big picture. In summer, it is easy — everything is in full bloom, colourful and lush.
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In winter, when nature is more timid, there is still beauty, you just have to change focus. Contrasts and structures are dominant in my pictures during that season. When I look at all of my pictures from a tour, I often notice that every hike has its own colour scheme. Because I am a graphic designer, colours also play a big role in my professional life and nature is definitely a source of inspiration for me.
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Foggy gray and saffron yellow – what part of nature first comes to mind when you think of this colour combination and why? Those two colours make me think of lichen right away. I love these fascinating beings, the symbiotic relationship of fungi, algae and bacteria. They have an impressive colour spectrum and when everything is barren and grey in winter, they shine even more brilliantly. You can also find lichen on rocks, trees or the ground where they form their own miniature landscapes.
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AD
LET US GUIDE YOU OUT OF THE FOG AND INTO …
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… THE BLACK OF OUR SISTERMAG BAR
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AD
What does the new »Coke Zero Sugar« taste like?
WAT CH OUR
Eventf ilm Photos Drinks: CLAUDIA GÖDKE Videos: CLAUS KUHLMANN Photos Event: TIMO ROTH SISTER-MAG.COM
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At the end of January, we invited 17 bloggers from the fields of lifestyle and fashion to our sisterMAG office in Berlin to discover the very answer to this question. Together with Coca-Cola and their new »Coke Zero Sugar«, we had prepared several different stations the contents, recipes and insights of which we’d like to share with you on the following pages.
What you will find THE NEW TASTE Since the beginning of this year, supermarkets, shops and beverage stockists of your confidentiality will be offering the new »Coca-Cola Zero Sugar« (the new inclusion of the word SUGAR signals the right bottle). The change in taste is explained by Coca-Cola.
PAGE 99 FRAGRANCE COCKTAILS The question of how to combine the new »Coke Zero Sugar« best in a cocktails, was answered by the bar manager of »The Ritz Carlton Berlin«: Arnd Henning Heißen created drinks, mixed sirups, and much more. You can find a workshop report on
PAGE 114
THE PERFECT SETTING Our influencers had the rare opportunity to go wild at the barest we built specifically for the event in our office. Including pictures taken by the talented photography team EyeCandy Berlin. You can find all styles and pictures on
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AD
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Yes, exactly. Absolutely zero sugar! And on top of that an improved flavor. That’s what the new Coke Zero Sugar is all about. Thanks to a new recipe, the taste of the new Coke Zero Sugar is now even more similar to the one of the original Coca-Cola than ever before, thus making it the perfect alternative for calorie-conscious people. It’s nothing new that over the past years, consumers have become more conscious about the amount of sugar and calories they ingest in their daily lives. This is exactly the need that the new Coke Zero Sugar is satisfying, therefore offering their consumers the original Coca-Cola taste without any sugar. Moreover, the fact that Coca-Cola is accompanying the launch of their new Coke Zero Sugar
0%
SUGAR
with its biggest marketing campaign of the past 10 years clearly states how important this new product is. Since it’s first launch back in 2006, the first version called Coke Zero enjoyed worldwide success and for ex-ample in Germany, grew with a yearly rate of 17%. The above-mentioned changes in consumers’ consciousness along with these very high success rates are what gave birth to the new Coke Zero Sugar.
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AD
1886 1888 1892 1894 1915 1923
1942
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The American apothecary John S. Pemberton creates Coca Cola as a medicine Asa Candler begins to acquire personal control of the Coca-Cola formula and patents
Asa Candler finalizes the purchase and incorporates: »The Coca Cola Company« is born »Coca-Cola« is sold bottled as »The CocaCola Company«
Following a competition call, the bottles undergo a redesign
The »Sixpack«-Box is introduced and marks a radical innovation for the beverage industry
Targeted marketing measures are introduced to convey the message that the two words »Coca-Cola« and »Coke« refer to one and the same product
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1945 1959 1960 1982 1985
0%
2005 2013 2016
»Coke« becomes a registered trademark of »The Coca-Cola Company«
»Coca-Cola« is sold in more than 100 countries
»Coca-Cola« is introduced to be sold in cans
»Diet Coke« is introduced and counts as the brands first expansion of »Coca-Cola« The formula for »Coca-Cola« is changed for the first time in 99 years. However, it is abolished within the same year. »CocaCola« returns to its original formula and is renamed into »Coca-Cola Classic« »Coca-Cola Zero« is introduced - a zerocalorie beverage »Coca-Cola Life« is introduced which uses Stevia as a sweetener »Coca-Cola Zero Sugar« is introduced with an optimized formula and zero sugar
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l i a t Cock s e p i c e R 102
ISKANDAR LIBRE
40ml Plantation 5 years 2 BL Iskandar Tee Mariage Frere 1 Bottle Coke Zero Sugar
Leave the tea to soak in the rum for 2 min. Fill the drink into a long-drink glass and add some ice cubes Fill up with Coke Zero Sugar
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ORANGE BLOSSOM
40ml Botucal 30ml Fresh lemon 60ml Freshly squeezed orange juice 10ml Jasmine Syrup 10ml Vanilla Syrup 1 Bottle Coke Zero Sugar Fill up with Coke Zero Sugar.
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ZERO SUGAR RAY
4cm Fresh ginger 40ml Belmont Coconut Rum 10ml Stählemühle Korianderbrandt (coriander spirit) 30ml Freshly squeezed lemon juice 20ml Lemongrass Syrup 1 Bottle Coke Zero Sugar Fill up with Coke Zero Sugar.
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s t n e Sc
A R E T O B E TA S T E D
EIN WORKSHOPBERICHT VON CHRISTINA RÜCKER It’s Friday morning, and a long week of work is behind me. Tackling the bathroom routine one last time, I gather all my strength: Brushing teeth, check. Showers, check. Make-up, check. This is 8 o’clock-automation at its finest. My hair routine is a breeze, too, but all too soon the lucky streak ends: What perfume shall I wear today? Difficult decision. Like many others, there is more than one perfume sitting on my shelf, each for a different occasion. During the day in the office I go for something rather feminine-
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discreet, while in the evening and on special occasions it may be somewhat sharper and dominant. On this Friday, however, I am lost because this day at work isn’t like the rest. We have invited bloggers from all over Germany to experience the new Coke Zero Sugar. From taste tests, to photoshoots, workshops, and a great after-work party, everything is in our schedule. After some deliberation, I opt for what I call »event perfume« – a decision which, as I will learn later in the day, is guided by my subconscious mind.
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Key figure of the occasion is »Ritz Carlton Berlin’s« bar boss Arnd Henning Heißen. In his long career behind various counters, he has not only created numerous recipes for new drinks, but has also developed a fresh philosophy for them – fragrance cocktails, or »aromatherapy to drink«. Heißen agreed to give a workshop on his fragrance cocktails for our get together. How lucky we were to have him was evinced in the many faces in the room marked by »WOW« expressions.
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But let’s start at the beginning. As an ice breaker, Heißen asked about the bloggers’ respective favourite beverages. A harmless question to warm up, we thought, and chatted cheerfully. Here we learned our first lesson. A wellmade drink consists not only of a high-quality spirit, but the addition of four key components: fruit, citrus, sugar, and bitter.
And since one learns theory best in practice, Heißen mixed us a Cuba Libre. Jackpot! This is my absolute favourite drink and from my own experience I know that the seemingly simple task of
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mixing rum, coke and lime can go catastrophically wrong. But we were in good hands. Heißen is an industry pro and mixed us an outstanding long drink. Alas, rum is not just rum.
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l i a t Cock p o h s k Wor
After the tasting, we progressed to the highlight of the workshop. Asked about our favourite perfumes, the door opened to a cocktail universe completely unfamiliar to those in attendance. With the aid of his smartphone, Heißen sought out individual components of the fragrances in order to concoct them together with the contents of his magical »Botanical Fusion« box. Similar to an interpreter, Heißen translates
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the aromas of fragrances into the aromas of beverages. This portable medicine cabinet, where he picks up small, beautiful vials with the essences of seven aromas, is his most useful accessory. A few drops of an essence on sugar syrup, mixed with quality spirits and the three other key components, et voila: Chanel No. 5 becomes a refreshing cocktail. SISTERMAG 28 | 03 / 2017
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s e c n a F ragr
Together with the perfumery Valeriy Fridman, Heißen produced the various fragrances which as »botanical fusion« can be used to enrich drinks. For him, the capacity and potential of each flavour are at the core. For, aromas are, according to Heißen, not just taste and fragrance. They each also carry a kind of message which taps into our subconscious. Our choice of drink is therefore just as much a statement about us as the choice of our perfume. Knowing this code can be of great use. The choice of our perfume reflects our inner state of mind and our subconscious desire for a specific external perception.
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In turn, we can therefore also be manipulated by fragrances. Nowadays, many shops have their own room fragrance, mostly a sweet vanilla. According to Heißen, this has a relaxing effect on us and heightens our willingness to spend money. Some companies even have a fragrance marketing strategy to attract customers. So, that we fall into a kind of shopping addiction is no coincidence.
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Each one of Heißen’s fragrances has a message: Bergamotte has a soothing effect, sandalwood conveys longing for a sense of home, cedar gives you the feeling of security, jasmine’s sensual touch is ideal for people who value atmosphere, while fir yields a balancing effect. A person who wears patschuli values authenticity, while
vetiver shows a love for structure and is at the same time an aphrodisiac. Sipping our delicious perfume cocktails we equally drank in the insights about the connection between smell, taste and our subconscious, bringing truth to the notion »Tell me your favourite drink, and I’ll tell you who you are.«
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g n i t t e S t c e f r e p e Th Styling: Cesco Spadaro Hair & Make up: Aennikin Photos: EyeCandy Berlin
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Limits of Control
Laura
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My boyfriend and I like to drink a coke very often and with great pleasure. Therefore, we looked forward to the Blind Tasting where we managed to distinguish the »Coca-Cola Classic« from the new »Coke Zero Sugar«, yay.
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Marie
Glitter everywhere
Jacke: Steinrohner Skirt: Ivyrevel
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Jacket: Steinrohner Top: Urban Outfitters Trousers: Paige Sunglasses: Yun
Goldschnee
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Dominique SISTERMAG 28 | 03 / 2017
Eileen
Ein Zimmer voller Bilder
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Jacket: Fred Perry Top: Paige
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Franziska @franziibalzer
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Overall: Lena Voutta
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Eva Jasmin
Eva
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Kira Call me Shopaholic
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»I probably am the biggest Coca-Cola Light and Zero junkie on earth. That’s why I was so excited to receive the invitation for the blind tasting of the new Coke Zero Sugar with sisterMAG in Berlin. We had an awesome day!«
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Vreni Neverever 127
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Ravi Walia
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Lina @linamallon Sunglasses: Vava
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Luise Luiseliebt
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ÂťThe fragrance cocktail workshop was my personal highlight oft he day. It made us aware of how much our senses as well as our first impressions are controlled by our sense of smell and how this can put us in certain moods. Extremely interesting!ÂŤ
Julia Stylingliebe SISTER-MAG.COM
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Missgetaway
Kerstin
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Vicky
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C´est lali
Laura
Jacket: Lena Voutta Pullover: Samsoe Samsoe Shoes: K-Swiss
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Ruth Ruth Garthe Sunglasses: Vava
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»All in all it was a successful event in a wonderful location and with an amazing team. Thanks again to sisterMAG and Coca-Cola for the wonderful day.«
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e r a c S f o y The Jo How horror connects centuries
Text: Franziska Schnelle Illustrations: Jennifer Burtchen
Modern horror literature, as fans of Stephen King know it, is no contemporary phenomenon since it looks back on a history that stretches back more than 200 years. Classics like Frankenstein didn’t lose their topicality at all because, back then as well as today, scary stories represent the antithesis to a completely rationalized society. Here, we present the best and most current horror shockers.
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How the joy of scare connects two centuries
When the British author Mary Shelley wrote »Frankenstein« in 1816 and published it two years later, she – as a woman! In the 19th century! – couldn’t possibly think that, 200 years later, the scary story would still be one of the most famous and wouldn’t lose anything of its actuality. The industrialization that started back then lead to an accelerated and rationalized working environment, and the Age of Enlightenment increasingly disenchanted the life of the people. Because of that, Shelley created her protagonist Viktor Frankenstein, a disrupted character who raised the essential question of that time: Does technical and scientific development mean social progress, or does it trigger these
uncontrollable and emotionless beasts, like the monster that Frankenstein created? Up until today, this thought is current in a society in which individualization, power and profit dominate. Even more since »Frankenstein« is about the attempt to create artificial life – which, at least, fails in Shelley’s novel. Concerning the current debate on clones, artificial intelligence and robot technology, the scary novel seems like a time capsule.
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Scary stories were mass phenomena with an intellectual claim
Shelley’s protest novel, that put the scare of supernatural monsters against a demystified world, consequently refers to the reality of our lives in the 21st century. At the same time, she and her Frankenstein had a finger on the pulse of time: The genre of the so-called gothic novel found its beginning with the eponymous scary story »The Castle of Otranto« by Horace Walpole in 1764 and became a veritable mass phenomenon at the beginning of the 19th century. Even Jane Austen felt obliged to write the scary novel »Northanger Abbey«, a parody on scary literature.
Devil’s Elixirs« in 1815 or »The Sandmann« in 1817. Equally wellknown writers like Joseph von Eichendorff with his novel »The Marble Statue«, published in 1818, discovered the excitement of scary stories. They created the subgenre of dark romanticism. Even today, the relevance of this literary era is shown in the evergreen for German school classes and the most famous work in German literature: Goethe’s »Faust« that deals with the devilish seduction of human existence.
In Germany, the joy of scare was very well received as well. The best-known representative of scary literature at that time surely was E.T.A. Hoffmann with »The
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A second wave of scary literature with literary heavyweights
Pretty soon, publishers realized that they could earn quick money with the most important ingredients of scary novels: fear, disgust, supernatural creatures and dark scenarios. They produced masses of cheap trashy novels, known in England as »Shilling Shockers«. Consequently, the degree of interest in ghoulish entertainment decreased in more intellectual circles, starting around 1820.
phase of scary literature between 1838 and 1900 reads like the Who’s Who of the history of literature: Charles Dickens, Emily and Charlotte Brontë, Oscar Wilde, and Jules Verne are all part of it, as well as Theodor Storm. The big finale of this wave of scare marked a second monster of literary history: »Dracula« by Bram Stoker.
But only 20 years later, scary stories experienced a downright revival, thanks to the restless crime author Edgar Allan Poe and his short story »The Fall of the House of Usher«, published in 1838. The circle of other representatives of the second
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The visual scare dominates the 20th century
After the turn of the century, scary stories were most popular as plays in theatres and, following the rise of cinematography, as screenplays. In 1931, »Dracula« went down in film history as the first US-American horror movie. In the same year, »Frankenstein« followed which united both literary peak phases in the cinemas. The fascination of visual scare was omnipresent in the 20th century, and horror movies were established as a profitable genre within the film industry. Horror literature, on the other hand, remained unpopular.
as one of the most important authors of horror literature in the 20th century. But the big success for stories like »At the Mountains of Madness« (1936) didn’t come before his death. Only late horror authors recognized how high the quality of his work was. References to Lovecraft’s literary universes can be found in many works – like in Stephen King’s.
Rober Bloch became well-known when his »Psycho« caught on as both a novel and a horror film. In retrospect, H.P. Lovecraft is seen
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Horror is even bloodier, more brutal and barbaric today
When King entered the world of literature with Carrie, a bigger readership got interested in scary novels again. However, modern horror literature is much more barbaric than its predecessor. Maybe this is because capitalist societies became rougher as well. The connecting element is still the evocation of the readers’ disgust, fear and shock. Another similarity is the satisfaction of the longing for magic and the supernatural.
When Stephen King announced via Twitter that he would stop writing for an indefinite period of time if Donald Trump would be elected President of the United States, one could ask whether the obviously nightmarish thought of the author was overtaken by reality. But don’t worry: Stephen King started tweeting again and seems to have enough ideas for new horror shockers. The stuff that nightmares are made of isn’t depleted at all – even 200 years after Frankenstein.
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»
Begin
1764
«
Horace Walpole »The Castle of Otranto«
FIRST PHASE
«
Scary Stories
1817
E.T.A. Hoffmann »The Sandman«
1818
Mary Shelley »Frankenstein«
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SECOND PHASE Dark Romanticism
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1838 Edgar Allen Poe »The Fall of the House of Usher«
1886
Sir Arthur Conan Doyle »Sherlock Holmes«
Bram Stoker »Dracula« First Screen Adaptation 1931
1897
H.P. Lovecraft »At the Mountains of Madness«
THIRD PHASE
Horror Literature
1936 « 147
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sisterMAG´s recommendations
ps e e r c e h t g in t t for ge
1. THE GUARANTOR STEPHEN KING »THE BAZAAR OF DREAMS« Every King novel is a bestseller and the star author’s well of dark fantasy doesn’t seem to dry up: Through 20 short stories, The Bazaar of Bad Dreams showcases King’s talent for gripping storytelling.
2. THE CLASSIC H.P. LOVECRAFT »THE SELECTED STORIES« The sinister creatures of the underworld, monsters, corpsedevouring demons and bloody rituals all sprang from the fantasy of this horror author. Until today, his stories horrify his readers and send shivers down their spines. This edition collected 12 of his very best stories.
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3. THE HISTORIAN
4. THE BORDER CROSSER
ANDREAS GRUBER »NORTHERN GOTHIC«
THOMAS FINN »DARK WOOD«
In these 13 short stories, Andreas Gruber takes his readers back to the beginnings of horror literature and reinvents the stories by Edgar Allan Poe in a completely new design. Nothing’s for certain in this – except that the book promises the finest of shivers.
Originally from the USA and nowresident by choice in Hamburg, Thomas Finn doesn’t just cross border figuratively, he also does so literally in his novels. In Dark Wood, he chose the deep Norwegian forests, a secret military base from WWII with a science lab and an ancient Vikings grave as the place of action. There, the story circles around the sheer fight to survive.
5. THE HUMORIST DANNY KING »THE MONSTER MAN OF HORROR HOUSES« No, Danny is not related to Stephen King. Monster Man of Horrors is the first novel by Danny King which has been translated into German – about high time, we think. The novel wins through its strong black humour and truly catwalk-ing the Who’s Who of horror novels: werewolves, demons, ghosts, serial killers and manic –depressive vampires. 149
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Table of the Month sM28 Styling & Photos: Albertine Baronius
Text: Franziska Winterling
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The stylist Furniture, Interior, Jewellery, Design and Photography: these are the things that make Albertine's eyes sparkle. For our table of the month, she equipped an ordinary room with a stunning table adorned in grey and yellow. A product designer by trade, she now works as a freelance interior stylist and designer for her own label, studio na.hili  , which includes minimalist art, photography, and jewellery. Her Instagram account, studio_nahili, shows off the best of both her private life and work.
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The Table The main focus of Albertine’s table is the gorgeous fabrics by Dutch label By Mölle . The colour »misty grey« not only matches our issue, but provides a perfect, calming base for her minimalist layout. By Mölle highly values a conscious lifestyle, which is why they produce their entire range in Europe – their linen, for example, is grown on the shores of the Atlantic coast. Tablecloths, napkins, and tea towels are 100% linen, which makes them soft and durable.
Bowl & Glasses: IKEA
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Also matching our focus on fog is the crockery by Danish brand Menu New Norm in the colours Smoke und Ocean . The different shades of grey maintain the monochromatic look while adding interesting effects.
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COOLWEST & Broste Copenhagen
Cutlery
Z est y L emon
Q
r a u
ake c k
A beautiful, fresh splash of colour is brought in by our zesty lemon-quark cake. For those of you who want to recreate this tiny piece of summer, here is Albertine’s recipe:
Recipe downloads SISTER-MAG.COM
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The Cake
Zesty
Lemon - Quark - Cake Ingredients PASTRY BASE
QUARK FILLING
250g Flour
3 eggs
50g Sugar
500g Quark (20% or 40% fat)
100g Soft Butter
50g Sugar
1 pinch of Salt
50g Butter
Grated lemon zest
1 sachet vanilla sugar
1 sachet vanilla sugar
1 sachet vanilla pudding powder
optional: (½ sachet of backing pow-
Juice of 1 lemon
der)
INSTRUCTIONS
GARNISH
1. Zest
Lemon Orange Blueberries Mint Icing sugar
Recipe downloads
the lemon and add it to all of the ingredients for your pastry base. If you want your pastry to be fluffier, add the baking powder. Mix everything. Put the pastry on a lightly floured surface and roll it out. Put it in a greased springformpan and bake it at 180°C for 10 minutes or until it reaches a light golden colour.
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2. For
the filling, separate the eggs and whisk the egg whites until stiff. Mix the yolks and sugar, then add the quark, soft butter, vanilla sugar, pudding powder and lemon juice. Carefully fold in the stiff egg whites. If you’re in a hurry, you can also just mix all the ingredients at once – but separating the eggs makes the filling beautifully light and creamy.
3. Pour the filling on top of the
pre-baked base and carefully knock the tin on a flat surface to get rid of any bubbles. This will prevent the cake from cracking later on. Put it in an oven at 150°C for 70 minutes until golden on the top.
4. For
the shiny glaze, squeeze the lemons and bring the juice to a boil with 100g of sugar. Add the Agar Agar according to the instructions on the package, bring to a boil, and let it cool. Then add the glaze to the top of your cake, and garnish with fruit, fresh mint, and icing sugar. Bon Appetit!
By the way: Personally, I find most cakes to be too sweet, so I added very little sugar to this recipe. If your sweet tooth is not satisfied by the amount I used, feel free to add more!
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Bon tit ! appé
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S TA R T UP SPOTLIGHT INDEC OR ATE
BRANCHE
Interior Design
HEADQUARTERS
Berlin
FOUNDER
Juliane Rรถthig
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Photo: Moodyard
LOGO
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Photo: Juliane Röthig
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www.indecorate.de PRESENTATION
INDECORATE offers custom made interior design for any budget. Whether you’re just looking for the perfect finishing touch for your room or are moving into a completely empty new space – we’re here to help with our personal yet affordable advice and consultation service. For too long, interior design has been thought of as an expensive luxury – we’re here to show that it isn’t and set the record straight. We believe that an environment created with your personal needs and ideas in mind will be beneficial for your wellbeing. We’ll show you that the road to your dream home or office does not have to be long and winding – or expensive.
IDEA
It was conceived by my personal passion for interior design and the business woman in me. After I had finished my studies in business administration, I carefully dangled my feet in the interior design industry and was lucky enough to get some experience in the family business working on several exciting construction projects in South Africa and Croatia. I always kept my eyes open for innovative business concepts within the interior design industry
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as well which is how I came to discover the US-based startup Homepolish which offers interior design consultation services on an hourly basis. I thought this was a really smart concept. Also, it wasn’t available in Germany – thus the idea behind INDECORATE SISTER-MAG.COM
was born. Of course, I had to tweak the concept to suit the market; German customers have a different approach to the idea of interior design. INDECORATE has been operational and making customers happy for just over two years now.
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PARTICUL ARIT Y
The basic idea behind INDECORATE is an affordable consultation on interior design that’s still tailored to each individual client. We want to enable every customer to create their perfect living or working space. We offer very reasonably priced service packages (like our »room makeover«) as well as custom consultations charged by the hour, affording our customers every flexibility. The personal relationship we have with our clients is key which is why every consultation starts with a meeting at the place that has to be decorated. During the process, the designer and the client are in constant contact and can feedback in either direction at any time – ensuring the result at the end of the consultation corresponds to the customer’s wishes and expectations. NAME
It took me quite a while to settle on a name! I wanted a name that hints
at our core service but is still easy to remember. »INDECORATE« is what we do in a nutshell: »INterior Design« and »Decoration«. It was my personal favourite and also the clear winner in surveys of my friends and family. Initially, but before I started doing business, INDECORATE had a different name – but then I realised it was the Italian word for offal! That would have made for some fairly disgusting results in a Google search... CUSTOMERS
Our customer base is made up of both private and business clients. Our private clients tend to be middle-aged people working full-time. Having bought their first property or moving in with a partner, they want a space to match their vision. Many of our clients are couples but we also get single men who rely on our expertise. We also advise startups who consult us in the design of their offices to create a special atmosphere.
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PROJECT
TEAM
After we have received a client’s inquiry, we select a suitable interior designer from our network and introduce them to each other by email. They then meet at the location to be decorated to get to know each other and discuss project details. After this meeting, the client decides whether or not to go forward with the designer and the project. If the client decides to go for it the designer then develops a concept for the space based on the client’s input. After the client has shared his or her inspiration, a style, colour scheme and possible fabrics are settled on. At the end of the process, the client will receive the designer’s finalized concept including mood boards and floor plans along with an individualized shopping list – everything they need to create their perfect space. Thanks to our extensive network of partners, our clients benefit from exclusive special offers when shopping at MADE, Connox, Urbanara, Juniqe and many other renowned brands.
We are a young, international team of 15 interior designers based in five big German cities. We also work with two additional freelance contributors who look after anything administrative as well as our social media and all our happy clients. All of our team members have a wide-ranging knowledge of interior design as well as their individual preference and expertise. This enables us to always match the best-suited designer with any client. We all share a great passion for interior design, the newest trends and innovative products in the field. FAVOURITE ROOM
Any room is fun to decorate but I have a special thing for large living/dining spaces and also storage space furniture. I like the former because a combined living/dining area is where life happens; it’s where friends and family come together. This means that such a room has to tick many different boxes which is an exciting
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Photo: Juliane Röthig
challenge. Storage space is a great thing, too, because it often provides much needed relief – a little more order and functionality can make a big difference to your daily life! Also, planning a storage room is a bit like a giant game of Tetris – and who doesn’t love that? T YPICAL DAY
That depends on whether I am working on an interior design project or looking after INDECORATE and the projects of our other designers. The former makes for a more creative day at work: I look for inspiration SISTER-MAG.COM
(Pinterest), devise concepts (i.e. selecting a colour scheme, possible fabrics and a general style) and do product research (aka online shopping). The latter involves a lot of administrative and strategic tasks like writing emails, optimizing our website, designing marketing campaigns etc. I like that I get a mixture of both extremes! FUTURE
Two years of start-up experience have taught me not to define future goals too precisely. We have built a great creative network of interior designers
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and we are lucky to constantly get new projects and gain many happy clients. INDECORATE has been growing organically from the start without any external investors and that’s the way we would like to keep it. So, if in five years we’ll have grown sustainably year on year, we will have helped even more people create their dream space and we will have had great fun along the way – I’d be very happy with that.
Photo: Juliane Röthig
Photo: Moodyard
WEBSITE
www.indecorate.de FACEBOOK
www.facebook.com/indecorate TWITTER
indecorate INSTAGR AM
@indecorate.de 169
Photo: Nora Bloom
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Travel Journal INDIA Text: Julia Schattauer Photos: Diana Patient
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LOVE GURUS & THE DALAI LAMA – DISCOVERING THE NORTH OF INDIA
The pendant catches my eye right away. It shows a picture of Osho in black and white. When you carry the Osho pendant on your prayer chain, you are part of the exclusive circle of the love guru. Even though Osho, who called himself Bhagwan first, is still controversial today, countless people from the Western hemisphere went on a pilgrimage to India in the 1970s and 80s to find enlightenment with his help. Many of them simply stayed, for others the Osho Mala remains a memory of old times.
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DELHI – AN ENCOUNTER ON THE BUS
My boyfriend and I have been travelling through India for four weeks now. Starting in Goa, we travelled across the country. Now the north with the foothills of the Himalayas awaits us. After the masses on buses, in cities and at markets, I am yearning for one thing in particular – quiet. A man sitting next to me on the bus carries the Osho Mala around his neck. He has a white, well-kempt beard, kind eyes and is dressed solely in white and saffron yellow like you often see it in India. Our bus is moving at a crawl and with some daring manoeuvres through Delhi traffic. Between the honking, the throng and the sticky heat, this man exudes a calmness that is almost palpable. I guess that is what we call an »aura«… We get to talking and he tells me the name Osho once gave him – Hari Prem, »divine
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love.« Hari Prem is originally from the Netherlands but he says that was a long time ago. Many years ago, he came to India because of Osho. Today he is a teacher for tantra and meditation and passes on the heritage of Osho, this time in Dharamsala which is where we are going as well. During the bus ride, we literally talk about God and creation. »Are you on the search for enlightenment?,« he asks me with a smirk. Up to this point, my answer
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would have always been »no« right away but now I can’t utter the word. Who knows, maybe India still has something to offer that I couldn’t have imagined. When we say our goodbyes we promise that we will see each other again. I watch him leave until his yellow robe disappears in the crowds of the bus terminal.
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ÂťLITTLE LHASAÂŤ IN THE INDIAN MOUNTAINS Two weeks pass until we cross the border of the state Himachal Pradesh. Up here, where India and Tibet border on each other and the hills slowly rise to the enormous mountain range of the Himalayas, everything is different. Instead of the dusty beige of the sand and a light palm green, we suddenly see vibrant pink blossoms, pine green trees and the colour saffron yellow again and again. Instead of a colourful potpourri, there are more and more warm colours in SISTER-MAG.COM
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the streets now – it is the Tibetan monks in their robes in saffron yellow, orange and different shades of red that dominate the picture now. The reason behind this is that when the Dalai Lama fled into exile in 1959, he came to India. And up here in the north, he received political asylum. In the government-in-exile, he's been welcoming his fans and people of faith from all over the world to this day. There are still Tibetans fleeing to Dharamsala, or »Little Lhasa,« to live out their culture. In the picturesque mountain town McLeod Ganji, a suburb of Dharamsala at a higher altitude, the Dalai Lama is omnipresent, even though he is not actually there. Pictures of him are everywhere, his books are piling up in the shops and the
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flag of Tibet with its yellow border hangs anywhere you look. »Free Tibet« is the slogan in this town. The Namgyal monastery where the Dalai Lama resides is one of many Buddhist monasteries that often line the streets in warm shades of yellow. Whereas India is very noisy, the monasteries are very quiet. You can hear no noise from the streets, no talking, just the monotone singing of the monks who sit crossed-legged in their saffron yellow robes, immersed in prayer. I walk clockwise, performing the Buddhist kora. I follow the worshippers, some of whom devoutly take one step after the other whereas others proudly take selfies. All of us spin the prayer wheels that shimmer yellow and golden in the sun. Every spin recites the same mantra that is repeated on the prayer scroll on the inside: »Om mani padme him.« One spin is equivalent to praying a hundred times. A flat rate, so to speak. Still moved and inspired by the atmosphere inside the monastery, we walk back to the village. And suddenly we are face to face with Hari Prem. His yellow robe is glowing. »There you are. I have been waiting for you.« He smiles wisely and my heart beats faster. Maybe this is how it feels when you find your guru.
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THE MOST EXPENSIVE SPICE IN THE WORLD The fascination of
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Saffron
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A short blooming time, difficult harvest conditions, a characteristic aroma and lots of positive side effects – it’s not without reason that saffron is the most expensive spice in the world, at 7 euros per gram. We tell you what domestic plant it is related to, which diseases it can cure, and why there even was a war over the spice, as well as give all kinds of information about the valuable plant. Every German had a question in their minds when they were children: What does the word »gehl« mean? We heard – and often sang – it in the song »Backe backe Kuchen« (»Bake, bake a cake«) that taught us which ingredients are needed for a delicious cake. And while we had no cognitive problems with eggs and lard, sugar and salt, milk and flour, we wondered at the line »Safran macht den Kuchen gehl« (»saffron makes the cake ‘gehl’«). But the explanation is quite simple: The people of Saxony and Thuringia who created the song wanted to point out that the cake gets a yellow colour when saffron is added. Because none of the other ingredients rhyme with »gelb« (»yellow«), the »b« was omitted – and the rhyme with »Mehl« (»flour«) was done.
Text: Alexander Kords Illustration: Songie Yoon 181
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SMELL &
TASTE OF
Saffron
It says a lot about the importance saffron had some hundred years ago that it was mentioned in a medieval children’s song, next to »normal« cake ingredients like flour and butter. And the song only tells about one of the qualities of the spice: that it can colour food.
COMPLEX
Harvest
Scientifically, saffron belongs to the genus of crocuses. Its corm that looks like an onion sprouts in fall, then its violet blossoms bloom as well. It’s one part of it that is processed into the desired spice. A sprout that grows from the blossom of the saffron f o r m s in three filamentous, about three SISTER-MAG.COM
But neither its aromatic or sweet smell is mentioned, nor its bitter and hot taste that only comes out when a larger quantity of the spice is used. In a normal dose, saffron tastes slightly bitter but sweet, oriental, a little bit like hay. If someone would want to describe the taste they would fail and eventually say, »saffron just tastes like saffron«.
centimeter-long stigmas that have to be harvested by hand. A picker can harvest between 60 and 80 grams per day and has to harvest the stigmas of at least 110,000 blossoms to get a kilogram. This, and the fact that saffron only blooms a few weeks, makes it the world's most expensive spice. You have to pay at least seven euros to get one gram of the dried thread – usually it’s even more, depending on the quality. It’s no wonder that there is even a market for fake saffron, which usually contains curcuma and is sold in powder
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form. So if you want to buy real saffron, you need to get threads. And if you only want the yellow colour for your meal, you can add safflower to your recipe. Its blossoms make almost the same tone of yellow as saffron does they are tasteless, odorless and far less expensive. »SAFFRON JUST TASTES LIKE SAFFRON «
Aphrodisiac
OF GODS
Aside from its distinctive aroma, saffron is associated with a host of side effects: The ancient Egyptians cured their eye and liver diseases with it, the Greek doctor and pharmacologist PEDANIUS DIOSCORIDES used it against rheumatism, and even Hippocrates, the most important physician of the ancient world, was convinced that saffron can lessen the pains of birth and menstruation. Also, the spice is said to be an aphrodisiac, which is why it’s part of Greek mythology that Zeus, the father of all gods, owned a bed made of saffron.
The ancient Romans also took advantage of its revitalizing effect on the libido and spread the spice on the beds of newlyweds. Saffron has another medical use for matters of depression. Modern studies have proven that it has similar benefits as antidepressants – except for the negative side effects of the medication. Saffron has evidentially been used to cure around 90 diseases throughout the history of mankind.
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ANCIENT
cure
Saffron could even be the oldest plant that was ever used for medical purposes. More than 3,500 years ago, humans cultivated the crocus species for the first time, likely in the region around Persia. A fresco that was made between 1,600 and 1,500 BC on the Greek island of Santorini shows the mass production of saffron and a woman who cures her wounded foot with the spice – which is proof that humans recognized the healing effects of the plant early on.
A war
OVER SAFFRON
How enormously popular saffron was at that time is shown by the fact that there was even a war over the spice at the end of SISTER-MAG.COM
But the enthusiasm for saffron drastically decreased after the fall of the Roman Empire, leading to the fact that it wasn’t even cultivated in Europe for a while. The Moors re-introduced saffron when they started conquering the Iberian Peninsula from the 8th century on, which brought back the hype. First, the spice was imported from the Middle East, and from the 10th century on, there were plantations in Spain and France. A dramatic rise in demand was triggered by the Black Death in the middle of the 14th century. Sufferers wanted to cure themselves with had to rely on large quantities to be shipped from Asia since many farmers were killed by the disease.
the 14th century. The trigger for the so-called Saffron War was a conflict between Johann von Vienne, the bishop of Basel, and the Swiss nobleman Henmann von Bechburg. Although the latter helped the churchman several
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times in military conflicts, he unsuccessfully waited for compensation. Because of that, Henmann decided in 1374 to rob some merchants from Basel and take their saffron – an amount that was worth half a million euros today. Henmann’s castle, Neu-Falkenburg, was then besieged by at least 100 soldiers from Basel and Bern. The 16
mercenaries Henmann hired to defend his castle withstood the attacks valiantly but were defeated after 14 weeks. The conquerors destroyed parts of the castle, decapitated the opposing mercenaries, and took some of the saffron for themselves before they gave the rest back to the merchants.
SAFFRON FROM
Germany Nowadays, about 250 tonnes of saffron are produced worldwide every year, whereby Iran cultivates the majority (around 90 percent). Although saffron thrives best in a belt that ranges from Spain to
India, there are small growing regions in Austria, Switzerland and Germany as well. Near the Saxon town of Stolpen, SAXENSAFRAN is obtained, and the Doktorenhof in the Palatine municipality of Venningen offers a balsam made of wine vinegar and HOMEGROWN SAFFRON . If Germans want to refine their food with the most expensive spice in the world, they can even use domestic products.
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Photos: Saxen-Safran Text: Julia Laukert
from Saxony Precious spices made in Germany With both healing and soothing properties, spices are so much more than just an accompaniment to salt and pepper. Curcuma is said to prevent both cancer and Alzheimer’s, cardamom settles the tummy, and vanilla provides intense aromatization. While many spices may remain forever in their packages and untouched on our shelves, some do reveal themselves to us as the unique treasures of unexpected provenance they are.
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The most exclusive spice in the world, saffron, is grown in Germany. This bulbous plant (Latin name Crocus sativus) is more precious than gold and has been a part of more than 3000 years of human history. The vast majority of Saffron, around 90% of the market share, comes from Iran, but the plant has also been reintroduced to Germany.
In 2011 Boris Kunert began a botanical experiment involving the plant. Today he is one of Germany’s few saffron suppliers. With The most exclusive spice in patient and precise the world, saffron, is grown in care, he grows the spices near Dresden Germany. in the state of Saxony. In this interview, he shares the story of his way into the business and explains what makes Saxony's saffron extra special.
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1. What field of business were you in before you decided to grow saffron? I had worked as a radio and TV journalist for about 30 years; mostly abroad starting in Zimbabwe but later also in Belgium and France. In this job I spent most of my time behind a computer. And one fine day I looked past the screen and thought: life is really happening outside. When I met my partner, who works as a shepherdess, I thought that’s what I want, too: feel physically knackered at the end of a day. So from one day to the next, I quit my job. I had encountered saffron in Southern Europe before and when my research revealed that during the Middle Ages these crocus plants were farmed in Saxony, everything else just fell into place from there. I went through a range of experiments involving different seeds and cultivation methods, and five years ago it finally worked.
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2. Your online shop showcases the wide variety of applications for saffron with anything from perfume to pasta and spreads. Do all these items come from your own inhouse production? I could not have imagined when we started out how many hurdles you have to overcome in order to sell your own food or cosmetics. Our saffron perfume is supplied by one of the few remaining German perfumers who actually learned their trade in Grasse, France. The fruit spreads, the Limoncello and the spice blends are made in-house and we source our saffron pasta from a renowned local manufacturer. Collaborating with partners is exciting and important, and it generates new ideas.
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3. How much manpower is involved in Saxony saffron? Currently I am a one-man operation. I do everything myself, from growing the saffron to looking after the website, and from production to marketing.
ONLINE SHOP
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But I have been able to live off the project yields from the start. For one gram of saffron, no fewer than 300 flowers need to be picked and plucked – it takes time to reach that amount. Once you have seen thousands of saffron flowers spread out before you waiting to be plucked, you know why saffron is so expensive. Our operation is fairly agriculturally oriented and we sell our products mainly via organic markets and to true epicureans. This gives the business workload a seasonal component. In other words: winter and summer are quieter, but in spring and autumn we get really busy – during those periods my partner helps out, too.
spice in the world.« On the other hand, there is a great curiosity about the product and that is something on which a producer can capitalize. We only trade regionally. Our annual harvest is less than one kilo, which doesn’t allow for extensive sales strategies. And we are by no means the only ones who grow this most precious of all spices in Germany either. There are experiments involving the exotic bulbs underway in Bavaria, Swabia, and Brandenburg.
4. Is it a challenge to market the product properly, nationally as well as internationally? Saffron has been and always will be a niche product. It’s not easy to sell a spice when all that people know about it is that is the »most expensive
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300 flowers =
1 G Saffron
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5. What are your personal suggestions regarding the use of the spice? From baking and cooking to its use in cocktails or desserts, saffron is very versatile. Classic uses include its addition to Mediterranean rice dishes, with fish and seafood, or in sauces with pasta or venison. Saffron adds a special flavor note to both tea and coffee. Regardless of whether you use it in its crushed form or in threads, it is important to soak saffron for one or two hours in a little water, milk or alcohol BEFORE use. The longer you let it soak, the better the flavours will develop – and the less of the spice you will need. Five or six threads will do. Boil the water in which the saffron is soaking for a few moments while you are cooking and add it to your dish only at the very end. Otherwise the flavours will evaporate. Unfortunately, many people think that saffron possesses only colouring properties and no flavour at all.
6. How would you describe the spice to someone who has never smelled, let alone tasted, it? Figurative and even pictorial terms are often used to describe the flavour. Mildly pungent, wooden, and earthy come to mind. 7. What sets your production apart and what are some good reasons to choose Saxony saffron? Well, first and foremost, we offer something that is not available anywhere else – saffron from Saxony. We aim to not just use saffron for colouring purposes but actually give or products a distinct flavour. Many saffron products just use it to add a high-quality item to their label without utilizing its flavour. Every single one of our customers helps revive a centuries-old regional tradition: saffron farmed in South and East Germany.
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A touch of Orient RECIPES AND PHOTOS: TRICKYTINE
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RECIPES WITH SAFFRON
Oriental roasted purple cauliflower with pomegranate, coriander, and blood orange saffron aioli
Sweet potato saffron mash with fried Cornish hen breast, Parma ham chips, fried sage, and saffron lemon sauce
Saffron crème brûlée with rosemary sugar and fresh berries
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Blogger and photographer Christine Garcia Urbina of trickytine creates food for the body and soul, and has really outdone herself with these three saffron creations. Whether in combination with purple cauliflower, fried sage, or fresh berries, a kiss of saffron gives dishes an oriental touch and leads your taste buds on a journey into the world of this royal and holy spice.
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1. Oriental roasted purple cauliflower with pomegranate, coriander, and blood orange saffron aioli F O R 4 P E O P L E A S A S TA R T E R
2 small purple cauliflower
4 knife tips of saffron, ground
4 cloves of garlic
Fleur de Sel
2 tbsp. olive oil
Pinch of sugar
2 tsp. Ras El Hanout (oriental seasoning)
{HOW-TO}
1. Preheat the oven to 180 degrees
Celsius (convection)
garlic, salt, and some sugar 5. Distribute the cauliflower on a
2. Thoroughly rinse the cauliflower
baking sheet and drizzle with the
under cold water, drain, remove
spice oil. Mix well once and place
the outer leaves, and cut the
the sheet in the oven
florets from the stalk
6. Roast the cauliflower for 10
3. Peel the garlic cloves and finely
minutes, then turn once and roast
chop them
for another five minutes
4. In a small bowl, mix the olive oil
with the Ras El Hanout, saffron,
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Oriental roasted purple cauliflower with pomegranate, coriander, and blood orange saffron aioli
&
{BLOOD ORANGE SAFFRON AIOLI}
250 ml neutral-tasting olive oil 1 fresh egg, size M 50 ml blood orange juice 1 tsp. maple syrup 1 tsp. saffron threads 1/2 tsp. salt { P R E PA R AT I O N }
1. Crush the saffron threads with the
Pomegranate seeds from a small pomegranate
salt in a mortar
1 handful of fresh coriander, plucked
2. Place all ingredients in a tall,
narrow mixing beaker, and place a hand mixer all the way down into
the liquid 3. Start the hand mixer and wait until
the liquid emulsifies and solidifies from below, then slowly pull the
Place the roasted cauliflower on a plate, sprinkle the pomegranate kernels and fresh coriander atop, and serve the saffron blood orange aioli
mixer upwards. Briefly mix it again until the aioli is solid and ready to eat
download recipe
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»Variety's the very spice of life, that gives it all its flavour.« William Cowper
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2. Sweet potato saffron mash with fried Cornish hen breast, Parma ham chips, fried sage, and saffron lemon sauce FOR 4 PEOPLE AS A MAIN
4 Cornish hen breasts (200g)
for the saffron lemon sauce
1 tbsp. butter & 1 tbsp. oil for frying
some olive oil
juice and zest of half an organic lemon
4 slices of Parma ham 1 handful fresh sage
1 scallion
Maple syrup
150 ml vegetable stock
Olive oil
200 ml cream 50 g creme fraiche
for the mash
2 tsp. maple syrup
1000 g sweet potatoes
Âź tsp. ground saffron
50 g of butter
50 ml of cream Âź teaspoon saffron, ground
Fleur de Sel and Piment d'Espelette to taste
Fleur de Sel, pepper, nutmeg to taste
{ S AU C E }
1. Peel and finely chop the shallot
5. Season with salt, Piment
d'Espelette and saffron, and let it
2. Heat the olive oil in a frying pan
boil briefly
and fry the shallots
6. Mix the sauce with a hand blender
3. Add the lemon juice and let it
and warm it up again shortly
simmer with the vegetable broth 4. Add the lemon peel, cream, creme
fraiche, maple syrup, saffron, and stir thoroughly
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before serving. Mix until frothy
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Sweet potato saffron mash with fried Cornish hen breast, Parma ham chips, fried sage, and saffron lemon sauce
{FRIED SAGE}
{ S W E E T P O TAT O S A F F R O N M A S H }
1. Heat a pan with plenty of olive oil
1. Peel the sweet potatoes and cut
into small cubes
2. Place the sage leaves in the hot
oil and fry under supervision.
2. Boil in plenty of salt water, then
Turn once, and then place them
pour and allow to evaporate
on crepe paper and drain. The
3. Add the butter, cream, saffron, and
sage leaves shouldn’t be too dark,
spices, and thoroughly squeeze it
otherwise they taste bitter
all together. Taste test and keep it warm
{CORNISH HEN BREAST}
4. Slide the baking tray into the
1. Remove the tendons of the hen
second slot from the bottom of the
and salt well on both sides
oven and cook for 15 to 20 minutes
2. Heat a pan of oil and butter, and
5. When the meat thermometer
preheat the oven to 160 degrees
reads 75 degrees Celsius, the
Celsius (top/bottom heat)
meat is cooked and still juicy. Take
3. First, fry the Cornish hen on the
the hen out of the oven and let it
skin side, then on the meat side
sit, covered, for three minutes.
for two minutes. Then place the breasts on a baking tray with the skin side on top and insert a meat thermometer in the center of one
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download recipe
{ PA R M A H A M C H I P S }
1. Line a baking tray with baking
paper, place the Parma ham on top of it, and drizzle each slice with maple syrup 2. Bake to a crisp in the oven at 170
degrees Celsius for about 4 to 5 minutes, allow to cool, and break apart.
{ P R E PA R AT I O N }
• Preheat the plates • Spread two tablespoons of sweet potato mash onto each plate • Cut open the hen and place on the mash •
Top with the foamed sauce
•
Sprinkle the fried sage and the Parma ham chips
• Enjoy with a glass of cold white wine!
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3. Saffron crème brûlée with rosemary sugar and fresh berries FOR FOR 200 ML SERVI NGS I N FLAMEPROOF DISH ES
350 ml cream
to brûlée
150 ml milk
5 tsp. sugar
75 g fine baking sugar
1 stem rosemary, leaves plucked
5
dressing
fresh egg yolks
½ tsp. saffron, ground
1. Preheat the oven to 120 degrees
fresh berries
4. Add as much water to the baking
Celsius
or dripping pan so that the molds are 2/3 submerged
2. Whisk the cream, milk, sugar,
5. Let the molds sit for 60 minutes in
egg yolk and saffron to a smooth consistency
the water in the oven. Remove and allow to cool. They should then
3. Put four oven-proof molds in a
cool further in the fridge for about
dripping pan or deep baking dish
two hours.
and place in the oven. Carefully pour the cream-egg mixture into the molds
&
{ZUM ANRICHTEN}
{FOR TH E ROSEMARY SUGAR}
• Add a teaspoon of rosemary sugar to the chilled crème brûlée and torch until golden brown.
Mix the 4 tsp. of fine sugar with the rosemary leaves in a food processor to create an herbal sugar. The rosemary should be as fine as possible.
• Serve with fresh berries and some rosemary.
Tip: The remaining egg yolks can be frozen or whisked with sugar for meringue or a pavlova.
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download recipe
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Turban
STORIES
The Turban. Like no other piece of headwear it both captures our imagination, inspires myths, and has been an object of decontextualisation in Western culture. For hundreds of years it has been a religious symbol for Sikhs, Imams and Nomads and as such been carried in the farthest corners of the world.
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Text & Model: Christina Rücker Turbans didn’t make their way into Europe until the crusades and from that time on have always been considered both exotic and foreign. Towards the end of the 18th century, turbans were first thought of as a literal »Headdress« and soon became popular amongst fashion conscious women. At the same time they were also discovered by the early dandies like Lord Byron who afforded the turban an almost avant-garde air. The wider public was exposed to turbans through films from the hay-days of Hollywood in which the divas of their times, like Joan Crawford and Marlene Dietrich, wore them on set at the same time as off set (»The Garden of Allah« being one famous example) making them a musthave glamorous accessory. Simone de Beauvoir selected the turban as her chosen piece
of headwear for its eccentric and fashionable qualities – an item that pushed and crossed boundaries – and made it the »Accessoire de Jour« of the revolutionary female intelligentsia of her time. The buzz around the turban soon calmed done though and while it was still being worn, the qualities generally attributed to it challenged its status as a fashion piece. After 2001, when the world was bound up in the tension caused by the »War on Terrorism« and all its consequences – just remember the issues around the Muhammad cartoons in 2005 – Miuccia Prada decided to send all their models out on the runway wearing turbans: a political statement as much as a fashion one.
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The move restored social acceptance of the turban, however, and it has since become a popular and stylish addition to many outfits. And while some people, especially women, still like to utilize the turban for its potential to make both a stylistic and political statement, they now tend to go about it with a charming congeniality and a distinct sense of style instead of militancy. Paola Mathé turned her mission first into a blog and in 2014 into a shop offering the most colourful scarves and guides on how to tie them. Her Instagram channel is a sure way to get some muchneeded colour into a dreary grey day.
Ascia lives in Kuwait and likes to think of herself as a hybrid. She and her husband make a couple that’s just as hip as it is traditional. Ascia wears a turban every day out of religious conviction. It’s fascinating to see how she managed to perfectly tie it into each of her outfits and make it an essential element of her style. Her creation’s beauty is matched only by her name: Anna Chocola from Brighton manufactures glamorous and stylish headdresses that evoke a charm of days gone by. They are available through her online shop .
s n o i t c u r t s n I n a Turb M AT E R I A L
1 square scarf 50 cm x 50 cm/20” x 20” 1 decorative pin (brooch)
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Instructions
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1.
2.
3.
4.
Fold the scarf into a triangle. Place the scarf on your head with the Fold it onto itself again (10cm/4� ) folded edge at the back of your neck along the folded edge and the two ends at the front.
Tie the two ends together with the Pick and pull the folds until you like tail resting on your forehead. how they fall. Turn up the knot and hide the tails inside the folds.
5.
For a stylish finish, pull the end of the tail up from the folds and pin it to the knot with a brooch or decorative pin.
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CLICK HERE TO WATCH THE VIDEO SISTERMAG 28 | 03 / 2017
IMPRINT SISTERMAG – JOURNAL FOR THE DIGITAL LADY w w w. s i st e r - m a g . co m Chief Editor
Theresa Neubauer
Operations
Nadine Steinmetz (Operations Dir.), Laura Glabbatz, Nuna Hausmann, Christina Rücker, Sophie Siekmann, Franziska Winterling
Fashion
Eva-Maria Neubauer (Fashion Dir.), Cesco Spadaro
Design
Theresa Neubauer (Art Dir.), Marie Darme, Ira Häussler, Lale Tütüncübaşı, Songie Yoon
Illustration
Jennifer Burtchen, Nastia Sleptsova, Songie Yoon
Contributing Editors (Text)
Sophie Siekmann, Christina Rücker, Robert Eberhardt, Sven Titz, Alistair Horne, Franziska Schnelle, Alex Kords, Julia Schattauer, Julia Laukert, Dr. Michael Neubauer
Contributing Editors (Photo) Zoë Noble, Timo Roth, Julia Laukert, Sina Schwarz, Albertine Baronius, Diana Patient, EyeCandy Berlin, Jules Villbrandt Contributing Editors (Food)
Tricky Tine
Video
Lale Tütüncübaşı
Translation
Alexander Kords, Christian Naethler, Tanja Timmer, Franziska Winterling, Sabrina Bäcker
Final Proof
Alexander Kords, Christian Naethler, Dr. Michael Neubauer, Antje Ritter
Published bi-monthly by Carry-On Publishing GmbH, Gustav-Meyer-Allee 25, 13355 Berlin, Germany. Re-use of content is only allowed with written permission of the publisher. There is no liability for unsolicited manuscripts and photographs. The Carry-On Publishing GmbH assumes no liability or guarantee for the accuracy, currency and completeness of the information provided. All information is provided without warranty. Contact: mail@sister-mag.com Management Sales Marketing
Antonia Sutter, Theresa Neubauer, Alex Sutter Alex Sutter (Sales Dir.) Antonia Sutter (Marketing Dir.)
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