Ink blue & F U DG E
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DEAR SISTERMAG READERS, The year is coming to an end – and so we release our last section of 2017. But don’t worry, in January, we continue to bring you many colourful topics from the sisterMAG cosmos. Until then, we pass the last year in review and once more dedicate the final section to two colours – this time it’s INK BLUE AND FUDGE. We follow the history of the fountain pen as an important writing tool and dive into the world of colours in series. And we continue in blue with a comprehensive article about the traditional musical style of blues. Our fashion shooting we were allowed to realise in the plaster cast collection of the Free University of Berlin provides a special winter atmosphere. Between statues and plaster, a magical feeling arises – and Evi’s newest pieces are stylishly staged. On the culinary field, we probably deal with the most delicious story of all: the one of the caramel bar! Let’s get out of history and into the here and now. We continue with the question what Instastory has changed. If neither Social Media nor CARAMEL BARS nor fashion features can lighten your mood, Dr. Michael Neubauer
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PA R T N E R S
knows the possible reason: Maybe you lack vitamin D. He explains from the medical point of view why we miss sun in winter so much. In order to withstand the winter anyhow, we need warm clothes and WEATHERPROOF SHOES. Together with our partner ara, we present you various shoe models for the cold days. Be it a comfortable slipper or a stylish winter boot – you don’t cool off in these models.
ALEX Vermarktung
MARKETING & ADMIN
One last time this year, we wish you a lot of fun reading and discovering! Thanks a lot for a delightful sisterMAG year with you. We are looking forward to 2018! TONI
YO U R S I S T E R M AG T E A M
Marketing & Finance
ANNI Social Media
SASKIA SISTER-MAG.COM
Administration
O P E R AT I O N S
THEA Chefredaktion & Design
SOPHIE Content Management
FRANZISKA Content Management
VERA Content Management
CHRISTINA Content Management
C R E AT I O N
EVI Fashion
LALE Video & Design
MARIE Design & Creation
SALOMÉ Design
SONGIE Design
PAGE 150 – INK ON PAPER
CONTENT 32 SECTION 02 03 05 08
PAGE 14 –FASHION SHOOTING
EDITORIAL TEAM
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LIST OF CONTRIBUTOR
Selbstporträts in der Kunst
FUDGE
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FASHION SHOOTING
30
CARAMELISED
38
THE TRUE SOUL OF SUGAR
42 66
80 90
In brown & grey
SELFIE The mordern self-portrait LIKE NETFLIX, ONLY MORE EXCITING Why Instagram Stories are much better than their reputation
THE Kitchen Feature
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The story about caramel
HOW-TO INSTAGRAM STORIES & the possibility of telling new stories
108 MIRROR MIRROR, ON THE
COTTAGE MAGIC WITH ARA From slippers to pumps
WALL…
On the art of holding a mirror up
CHRISTMAS SPICE CHOCOLATE CAKE
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VON DER CHRISTUS-KOPIE ZUM SELFIE
to oneself
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#32
PAGE 30 – CARAMELISED
PAG E 42 - COT TAG E M AG I C WITH ARA
INK BLUE
116
PRODUCTCOLLAGE
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LONGING FOR
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JODHPUR - THE BLUE CITY
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LIFE IN THE DISTANCE
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PAG E 156 - B L U E S
Vitamin D during the grey season
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Travel Feature
BLUE IS NOT A WARM COLOUR How the colour mood of series and films affects what we feel
THE Erasmus Plus Program
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INK ON PAPER
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The history of writing tools
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THE HISTORY OF THE BLUES IMPRINT SISTERMAG 32 | 12 / 2017
CONTRIBUTORS
TEXT Robert Eberhardt
roberteberhardt.com Barbara Eichhammer
the-little-wedding-corner.de Lia Haubner
@sexdrugsbords.nlognroll Nuna Hausmann Martina Klaric
@buchberuehrung Alex Kords
kords.net Catrin Linderkamp
maikitten.de
MODEL
PHOTO & VIDEO Michael Bennett
michaelbennett.de Marco di Filippo
marcodifilippo.com Diana Patient
dianapatient.co.uk
Alexandra
siebensonnen.de Anke
@anki_panki_style Cati
notanotherdiet.de Jasmin
Timo Roth
@albmadame
timo-roth.de Cris Santos
cristophersantos.com Trine Marie Skauen
tmstudio.org sisterMAG Team
NIKOLAIKIRCHE, FREIBERG
Christian Näthler
@iamvolta Dr. Michael Neubauer Julia Schattauer
bezirzt.de sisterMAG Team
PROOF Stefanie Kießling
@kiesslingS Alex Kords
kords.net Christian Naethler
@iamvolta Dr. Michael Neubauer
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TRANSLATION Ira Häussler Alex Kords
kords.net Christian Naethler
@iamvolta Tanja Timmer
@tanjastweets
#32 HAIR & MAKEUP Aennikin
aennikin.de Patricia Heck
patriciaheck.de Alana Holmes
alanaholmes.com
ILLUSTRATION Emma Block
emmablock.co.uk Adelinia Lirius
adelinalirius.com sisterMAG Team
Latisha Nicholson
nicholsonmakeup-com
FOOD Ira Häussler Mademoiselle Poirot
STYLING Evi Neubauer
THE COVER
pinterest.com/evin
mademoisellepoirot.com
PHOTOS Lale Tütüncübaşi MAKEUP & HAIR
PART NE R OF THE ISSUE You can recognize our partner features by the logo at the top of the page. We thank our partner ara very cordially, because without them this issue would not be possible!
Aennikin
MODEL Jasmin OUTFIT Evi Neubauer PRODUCTION Sophie Siekmann L O C AT I O N Nikolaikirche
W H AT H A P P E N E D UNTIL NOW
1
SECTI
ON
In Section 1 of our last edition this year everything revolved around the colours »MIDNIGHT
BLUE
AND
COGNAC«. We presented you
great moments of baking and explained in a spices guide the must haves for wintery-tinted food. With »A CHRISTMAS CAROL« we got to know the origin of the world’s most popular holidays.
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DOWNLOADS
CARROTS & RED ONIONS
GREY SUIT
CUDDLING JACKET
CHICKEN WINGS & ASIA STYLE
CHOCOLATE CAKE WITH BLUEBERRY CREAM CHEESE FROSTING
PLEATED SKIRT
BALL GOWN
MINI DRESS WITH FEATHERS
DRAPE BLAZER
VIDEOS
BTS FASHION SHOOTING
CONSTELLATION DIY
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W H E T H E R WE WA N T T H E M O R NOT, T H E N E W Y EAR W I LL BR I N G NEW C H A LLE N G E S ; W H ET H E R WE S E I Z E THE M O R N OT, TH E N E W Y E A R WI L L BR I N G N E W OP PO R T U N I T I E S . «
Mi chael Josephson
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S TA Y I N T O U C H !
FOLLOW US!
Follow allong with our colour stories and daily news from the sisterMAG office easily on Instagram! You can find magazine contents, many behind-the-scenes and snapshots of our contributors. And of course, giveaways, invitations and other exclusive activities can be found on Instagram as well on @SISTER_MAG
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Brown & Grey A perfect duo Photos: Marco di Filippo Fashion: Evi Neubauer Video: Trine Marie Skauen Model: Cati / Not Another Diet Hair and Make-up: Latisha Nicholson SISTER-MAG.COM
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BALL
GOWN
A beautiful back can…
SEWING PATTERN Download ball gown
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BLUE &
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sdfsjkfdksfjkdsfjdksjf
FSDLKJFDKLGJFDKJGDKF
INK FUDGE
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MINI DRESS
Feathers and overknees as a perfect combination SEWING PATTERN Download mini dress with feathers
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P L E AT E D S K I R T
In floor-length and plissée SEWING PATTERN Download pleated skirt THE MOST C O M F O R TA B L E JACKET CUDDLING JACKET
Patchwork in brown and grey SEWING PATTERN Download jacket
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DRAPE BLAZER
DIVIDED SKIRT
Perfect for business & cold days
SEWING PATTERN Download divided skirt
SEWING PATTERN Download jacket
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SUIT
Winter atmosphere in grey & brown SEWING PATTERN Download suit jacket
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BEHIND THE SCENES DIE LOCATION Vielen Dank an die PLASTER CAST COLLECTION BERLIN
WATCH
TEAMWORK We finally got to work with Marco & Trine again. We’ve already done many shootings with the duo from Italy and Norway but it’s not often that the jetsetters are available in Berlin!
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THE VIDEO
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CARAME
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THE KITCHEN-FEATURE
ELISED PHOTOS & RECIPES MADEMOISELLE POIROT
CARAMELISED
CARROTS &
RED ONIONS WITH WHISKY
CARAMELISED & SPICY
CHICKEN WINGS ASIA STYLE
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CARAMELISED
CARROTS &
RED ONIONS WITH WHISKY 6 PERS.
55 MIN.
Blanch the carrots for 3 minutes in a pot of boiling salt water
Let them drain and pat them dry
INGREDIENTS 500g carrots, cleaned
Melt butter and oil in a big pan Add carrots, onions and thyme and roast them at low heat for 30 minutes until golden brown
Stir in sugar, honey and whisky and make them simmer for some minutes to boil off the alcohol
Add
vinegar and continue cooking for about 5 minutes until a syrup forms
8 red onions, peeled and quartered 50g butter 1 tbsp. olive oil 1 tbsp. soft, brown sugar 3 thyme branches 2 tbsp. whisky 1 tbsp. honey 1 tbsp. balsamic vinegar
Remove thyme branches and serve
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CARAMELISED & SPICY
CHICKEN WINGS ASIA STYLE 4 PERS.
INGREDIENTS
Add
all other except chicken garnish
1kg chicken wings 100g light brown sugar 200ml water
1 piece (about 5cm long) of fresh ginger juice of a lime
to half
Add the wings and stir them into the sauce
Add 100ml water Let it simmer for about 30
a handful of fresh coriander
minutes at medium heat and stir occasionally
cooked rice for serving 1 green chilli pepper and some coriander leaves for decoration
ingredients, wings and
Boil up the sauce and reduce it
4 tbsp. light soy sauce 1 green chilli pepper
60 MIN.
If the sauce is too thick, add some water
Reduce the heat and let it simmer with a lid for 15 more minutes until all wings are glazed
Cut one of the chilli peppers and the ginger into fine pieces
Put the sugar into a big pan and
For serving, put the wings and the rice into a bowl, cut the second chilli pepper into thin stripes and season them with the remaining coriander
add 100ml water
Let it boil at low heat until a dark amber caramel forms
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THE TRUE SOUL of sugar Text Catrin Linderkamp Illustrations Songie
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»The Great American Chocolate Bar«, »Comfort in Every Bar«, »Don’t Let Hunger Happen To You« or »Try Both, and Pick a Side« –
If you have a sweet tooth, these slogans probably made your mouth water just now. Many of them have been around since our childhood and while we were in school. They stand not only for a particular brand as a promotionally effective link to a specific light or dark brown candy bar, but rather give you a warm feeling. After all, it has been scientifically proven that eating chocolate activates the reward system in our brain. Thanks to the release of the neurotransmitter DOPAMINE and ENDORPHINS into the body, eating chocolate bars, sweets, and candies puts us in a good mood. In times of crisis or while shedding a few tears, chocolate has often been by our side to give us comfort.
Luckily, we are spoiled for choice – supermarkets now have almost as many different kinds of chocolate bars as there are cat videos on YouTube. Pure or filled with fruit, marzipan, nougat, waffles, cookies or even liquorice, we only have to decide which kind we want. My favourite is definitely CARAMEL . Covered in savoury chocolate, it brings out the whole spectre of burnt sweetness and caramelises my little sugary heart. For hundreds of years, foodies both young and old, have been enjoying this sweet deliciousness; the first types of caramel date back to the 17TH CENTURY . The settlers in America already boiled up water and sugar to create delicious, jaw-breaking caramel candy. For
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»I don’t just eat chocolate. I give calories a home.«
many years, caramel was the most common candy worldwide because the ingredients were affordable, it was easy to make, and relatively long-lasting. The word caramel derives from the Spanish word »CARAMELO« , which means »BURNT SUGAR« . But it is not quite as simple as it sounds. is basically the removal of water from sugar and browning it. In this process, the whole magic of the chemistry of cooking unfolds. Traditionally, CARAMELISATION
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granulated sugar is heated under continuous stirring in a pan over a strong fire without adding any liquid. When the sugar starts to melt, it only takes a few seconds until the caramel takes on a dark colour. The whole process only takes a few minutes, but not paying attention will get you into trouble right away – if you miss the right moment, the sugar becomes too dark and the sugary delight quickly becomes bitter. If the experiment succeeds, however, sweet enthusiasts will
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The word caramel derives, among others, from the Spanish word »Caramelo«, which means »burnt sugar«.
be delighted by an irresistible taste sensation. Depending on whether the brown delicacy is supposed to be hard, thick, or soft, the precise dosage of ingredients differs. But the main characters of this sweet play are clearly cast: MILK AND SUGAR . If we heat both at high temperatures, the milk helps to make the caramel soft and creamy. By the way, the official Chocolate Caramel Day is MARCH 19TH , but you can also celebrate and enjoy this sweet during the other 364
days of the year. We should not, of course, overdo the feast like BRIDGET JONES and start the day with a candy bar for breakfast. But you can have a small dose of caramel now and then. How does the saying go again? »I don’t just eat chocolate. I give calories a home.« So, it’s really just a matter of the right attitude. And let’s be honest – life without a caramel candy bar would be like Hogwarts without Harry Potter. Somewhat boring and extremely grim. And who wants that?
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PROMO
WITH
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PROMO
Photos: Timo Roth Production: Sophie Siekmann Model: Anke Reichert Hair & Make-up: Patricia Heck
cottage magic
Together with Instagrammer Anke of anki_panki_style
we
created a winter atmosphere in a Swiss wood cabin above the roofs of Berlin!
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Anke
is
the
perfect protagonist for the ara cabin magic because fashion is her speciality. On her Instagram channel
she posts
her outfit every day, inspiring thousands of women with her sartorial savvy.
During our shoot, Anke tried various shoes of ara : slippers for cosy hours, Gore-TexÂŽ models for every weather condition, and pumps for the glamorous moments.
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PROMO
Waterproof and breathable with Gore-Tex® membrane
Non-slip
Flexible outsole
treaded sole
STEELED for cold days with Gore-Tex® St. Antonboots SISTER-MAG.COM
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inside zipper
Upper made of suede
Warm linings
The boots with warm linings and Gore-Tex® membrane are just the thing for cold days – and, at the same time, are stylish. Equipped with a flexible outsole made of Tecno rubber that provides stability and slip-resistance, all is set for the winter season!
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ara has a broad range of shoes equipped with . GoreGore-Tex® Tex® is well known for providing reliable weather protection. Shoes of this kind resist wind and rain and keep your feet warm and dry. Gore-Tex® is the term for a microporous membrane that, thanks to its special quality, is able to keep the moisture out. Thereby, the shoes remain dry inside but still are breathable. When feet sweat and moisture arises, it can escape as steam through the membrane. Gore-Tex® therefore creates a pleasant environment for your feet that allows you get through the day well protected even in bad weather conditions.
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PROMO
FLORENZ – LONG-SHAFT BOOTS Both noble and warmly wrapped – that’s what your feet are in the longshaft »Florenz« boots in G width (normal width). The Gore-Tex® membrane serves its purpose and provides an optimal environment for your feet. The lining keeps the feet warm and the practical zipper makes slipping into the boots easier. Thanks to the 4.5-centimetre high heel, the legs look longer. SISTER-MAG.COM
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durable outsole
Water-tight and breathable with Gore-Tex® membrane
inside zipper
warm linings
Calf width M (ara offers different calf widths in the collection)
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PROMO
MUNICH – ANKLE BOOTS
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Warm linings
Gore-TexÂŽ membrane
water-tight and breathable with
Width H
Flexible outsole
This lined model for cold days is offered in H width. The more spacious shoe widths serve the needs of wider feet. This prevents pressure marks. The Tecno rubber outsoles pave the way for long walks and short stays.
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PROMO
COSY HOURS in slippers
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What’s more beautiful than finally getting home after a long day? Thanks to the slippers collection ara 4Home , your feet even remain warm and protected on wood floors and tiles. The selection is wide – there are slippers with natural felt, lambskin, plush, or special materials. Be it slippers, mules, ballerinas, moccasins or just shoes for home – your feet will always be warmly wrapped and look great at the same time. Anke tested three of these comfortable models.
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PROMO
ll e c ex
e
fle x
ib le
lightweight ou
T
le o ts
THE FELT MULES
du
go
no
m
ic
cus
hion
ara's felt slippers offer your feet an ecologically optimal environment with 100% natural felt. Every model is lovingly designed and processed with the highest quality. Anke’s model, for example, is decorated with a Christmas deer. The natural r e felt offers a natural climate that makes feet sweat less. With the outsole made of durable Tecno rubber and the ergonomic cushion, even lengthy chores can be done in a comfortable way.
ra
bl
eo uts up ole pe rm ade lt of 10 0% natural fe
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n lini ngs mbski
h la
w it
al
rm
THE SLIPPERS fort m o nt c
r
stor age
of leathe
he
The taupe metallic slippers offer warmth from inside and glamour from the outside – and a firm grip on top. The upper made of classical leather in a metallic look appear modern and elegant, while the inside of the shoe is lined with warming lambskin.
Up
pe
ade m r
sue
ar W
m
lam
ki s b
n
de
s g n i lin
THE MULES
The stylish mules with lambskin linings keep the coolest feet warm! The soft upper leather and padded sole provide maximal comfort.
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PROMO
NOBLE AND COMFORTABLE IN PUMPS SISTER-MAG.COM
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ara even offers the right shoes for special occasions in the form of various pump models. They are available in different forms, materials and Anke tested two models and colours. combined the pumps in a stylish way – be it for a party on the counter or while waiting for a loved one.
The plateau pumps are also made of highgrade suede and offer supreme comfort thanks to a supportive cushion and the plateau – the perfect companion for a long night out on New Year’s Eve! TOULOUSE – PUMPS MADE OF SUEDE PADUA – PUMPS WITH RHINESTONES The delicate suede of these pumps is combined with sparkling rhinestones. The complete leather decor makes the inside of the shoes cuddly and provides comfort all day. The outsole made of Tecno rubber is robust and slipresistant.
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PROMO
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Looking at the ara and sisterMAG's winter photo series, you might think the shoot took place in the mountains. That’s how we felt too during the shoot, even though we were in Berlin-Mitte, right next to Hauptbahnhof (»Central Station«). Christa Bramstedt of alfons Original Schweizer Raclette
made
that possible.
In the winter months, she runs a cosy winter cabin on the rooftop of the AMANO Grand Central Hotel in Berlin. You use the elevator to go to the seventh floor and enjoy the view over Berlin – and still feel cosy as if you were in Switzerland, thanks to the rustic atmosphere.
We asked Christa five questions about this special place over the roofs of Berlin.
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5 QUESTIONS TO... ALFONS ORIGINAL SCHWEIZER RACLETTE WHAT IS SPECIAL ABOUT YOUR CABIN? Our alfons raclette cabin has a floor area of 50 square metres and offers space for up to 56 people. It brings alpine cabin magic to the roof of the AMANO Grand Central and is a unique location in Berlin. It's just how you imagine it in the mountains: rustic, one-of-a-kind, and in airy heights with a view over the »metropolis valley« of Berlin.
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With an alpine façade and an interior design made of genuine, more than 100-year-old wood, alfons conjures its guests away into the world of the mountains and gives every event or every evening with family or friends an unforgettable alpine atmosphere. Be it a rustic cosiness for exclusive festivities, a natural shopping atmosphere, or as an original VIP area – the alfons chalet is versatile and the perfect location for every endeavour.
WHAT FOOD AND DRINKS DO YOU OFFER? We welcome our guests with a classical »Apéro« – that’s how the appetizer is called in Switzerland – to their evening of enjoyment. The small delicacies (like Bündnerfleisch and other air-dried specialties
from Switzerland) satisfy your first hunger and herald the start of the evening in a stylish Swiss way. After that, we serve the deliciously spicy raclette cheese our guests scrape off with bread on their table. A delight for all the senses! Our raclette cheese has won multiple awards, the rind is washed and, therefore, edible. It is made from fresh mountain milk from the region of Schwyz and is characterised by its mild and spicy flavour. Its cheese mass is firm and crisp.
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THE CHEESE ITSELF IS: • PURE The dairy stands for the pureness of the cheeses. They are only nursed with salt water without additives.
because it doesn’t contain any milk sugar anymore. • FREE OF GENETIC ENGINEERING This is given by the label Suisse Garantie. Every milk supplier has to sign a contract and must be able to prove at any time that no genetically modified animal feed was used. The processing is guaranteed to happen without genetically modified rennet or microorganisms as well. The whole process meets organic requirements at all times, even with conventional processing. After the Röteli (liqueur made of dried cherries), we serve our »Gipfelstürmer« (»summiteer«), an alfons dessert that is the sweet highlight of enjoyment. The alfons cabin evening ends around 10 pm. If you are interested in booking beyond this timeframe, we can arrange it upon your request.
• GLUTEN-FREE Thanks to the traditional, manual production, we get along without additives and guarantee that our cheeses are gluten-free. • LACTOSE-FREE A big amount of the natural lactose in the milk passes over into the whey while making the cheese. While making hard cheese and cut cheese, the whole milk sugar is converted into lactic acid by microorganisms. The lactose is decomposed during cheese production and the first days of maturation. Hard cheeses and cut cheeses with a maturing time of two months and longer, like our raclette cheese (up to four months), can be enjoyed despite lactose intolerance SISTER-MAG.COM
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WHO CAN BOOK TABLES IN YOUR HOUSE? Everybody can come to our alfons rooftop raclette cabin. Be it a Christmas party, a family celebration, a birthday party, a corporate event or a winter gettogether with your team or just a cosy evening with friends – up to 56 people find a place in our cabin to have an unforgettable evening. Places are assigned in the order of reservations. We accept reservations for four people and more – just write an email to rooftop@alfonsraclette.de.
SINCE WHEN DOES THIS SPECIAL PLACE EXIST? It’s already our third alfons raclette season on the roof of the AMANO Grand Central and we hope for many more years! HOW DID THE IDEA OF THE CABIN COME UP? Raclette is a favourite food and much more: An evening with raclette is not just a dinner, it’s a communal experience. When we think of raclette, we also think of the Alps, of tradition, of rustic cabins and of nature. And of cosiness. In Berlin, there are neither the Alps nor chalets. So
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PROMO
there is a big longing for these winter joys away from the skiing holidays. From this very personal longing, alfons Original Schweizer Raclette arose. Our flashback starts in 2014 – without a chalet but with a stand at the Charlottenburg Christmas market and at several food markets. Raclette from big loaves from our selected dairies in Schwyz in central Switzerland, fresh farmhouse bread, steaming organic potatoes and, of course, a proper Swiss schnapps for digestion. That’s how we started and made our Christmas wish for our own chalet in Berlin. From there, it went quite fast. When the AMANO Grand Central SISTER-MAG.COM
opened, we had our perfect »summit« – on the roof terrace, we found enough space and the perfect location to build up our chalet with a view over the roofs of Berlin and the government district, well connected to the local and the long-distance traffic. When our guests feel like it, they can check into their booked rooms in the fashionable hotel after the raclette evening. And one more thing has been important to us from the beginning: We are open all winter (from mid-November to the end of January) to have
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WELCOME AND TRY!
enough time for Christmas especially delicious Christmas
IS HAPPY ABOUT YOUR REQUESTS AT rooftop@alfons-raclette.de
present. In summer, alfons
or by telephone at
parties,
a
family
trip,
an
moves back to Switzerland to prepare for the next winter in the Berlin cabin – the cabin itself, however, stays in Germany. It can be rented, both »nude« and fully equipped, furnished and
0172 428 7776. First come, first served… More on www.alfons-raclette.de
decorated, for summer parties, country
outings,
corporate
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a s m s p t s i ice S CW hr
cake
chocol ate
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e W I T H B L U E B E R RYCREAM-CHEESE FROSTING
R E C I P E & P H OTO S I R A H ÄU S S L E R
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chocolatecake
W I T H B L U E B E R R Y- C R E A M - C H E E S E F R O S T I N G SISTER-MAG.COM
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dough recipe
50 g molten
75 ml milk
DOWNLOAD
85 g plain
1 TBSP
1 TSP
1
/2 TSP
flour
cocoa
1 heaped TSP
dark chocolate
baking powder
cinnamon ground ginger
1 pinch
nutmeg
1 pinch
ground cloves
130 g
75 g
light brown sugar
50 g
dark muscovado or coconut sugar
butter – room temperature
1
egg
2
yolks
50 g ground
almonds
blueberry- cream-cheese frosting
75 g
de-frosted blueberries
200 g cream
cheese
to taste: about 40g icing sugar
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preperation 1. Pre-heat the oven to 170°C. Grease a lose-bottom cake tin (about 20cm diameter) and coat the bottom with baking paper.
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2. Mix the flour, cocoa, and spices in a bowl. In a bigger bowl, beat the butter and both sugars until creamy. Then add the egg, yolks, and almonds. Carefully fold in the dry ingredients (flour, cocoa, spices) so the batter keeps its air. Stir in the molten chocolate and milk and pour the batter into the prepared tin. Bake for around 25 minutes or until an inserted knife or skewer comes out clean.
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3. For the cream, beat the cream cheese until it’s fluffy and add icing sugar to taste. Try it every 10g or so to make sure it’s just right for you! Stir in the blueberries for a nice marbled effect and either spread it on the cooled cake (if you plan on eating it all straight away) or keep it in the fridge and serve it with the cake when you’re ready!
recipe
DOWNLOAD
T ip If you don’t want to waste the egg whites beat them until fluffy and then gradually add 50g of caster sugar while mixing. When the mixture is glossy and doesn’t fall out of the bowl when turned upside down, use a piping bag to pipe small blobs onto a baking sheet and bake the mini meringues at the same time as the cake until they’re a very light brown!
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from
imitatio Christi
TEXT: ROBERT EBERHARDT
to the selfie SELF-PORTRAITS IN ART
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We all remember them well: family photos with »self-timer« in which the photographer often came back into the scenery too late, the camera wobbled and the pictures got crooked or one person at the edge slipped out of the picture. Just a few years ago, only some young people in their existentialist phase took pictures of themselves on front of the mirror. Then, the smartphones came up and the young people of today, have already taken more »selfies« than there are self-portraits in art history.
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of that, both the famous selfportraits in the museums and selfies in our clouds are always grasped wishes: »That’s me. That’s how others should see me – and, first of all, that’s how I want to see myself.«
ON THE OBJECT AND PURPOSE OF THE SELF-PORTRAIT The phenomenon of staging oneself is an old one in our western image culture. Everybody knows famous self-portraits from art history, because they always were a tempting task for artists, as they had to think about staging the own person and leave an image of oneself for posterity. And, in the first place, to ask oneself: Who am I? Because
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No self-portraits from ancient times are conserved even though there are sources telling about them. But only with the panel from the outgoing Middle Ages, a portrait art could arise that became important and rapidly spread in the Renaissance. Only when an awareness of the individual and for one’s own distinctive personality took shape, the artistic engagement with their own self gained interest. The
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leonardo da vinci
genre of portrait art accelerated and still today, we are fascinated by the portraits of regents, merchants, and other illustrious people. Even so, the famous selfportraits of the Renaissance, like the ones of Leonardo da Vinci (1452-1519) or Albrecht Dürer (1471-1528) who, through painting, sought self-assertion over the years: a brilliant genius with European consignment. Dürer perceived himself and his role as an artist, contrastingly different to his colleagues in Nuremberg before who were anonymously working painters, considering themselves more craftsmen than »artists«. A first silverpoint painting of himself from 1484 is handed down: With skilful strokes, Dürer captured his 13-year-old self profoundly looking inside himself and pointing his finger outside the
albrecht dürer
painting. Dürer knew who he was and had the ego to boast it: His self-portrait in frontal view from the year 1500 (»Alte Pinakothek« Munich) is virtually an imitatio Christi. Just as radical in its authenticity is a self-portrait in the nude that Dürer kept for himself all his life and which the »Klassik Stiftung« Weimar stores today. No other artist of his time drew such an intimate, uninhibited painting of his entire body. THE ARTIST AS AN OBJECT OF HIS OWN WORKS Rembrandt (1606-1669), too, was absolutely crazy for selfportraits: About 80 times, he depicted himself in different
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roles, emotional states and details. He meticulously recorded his own aging in the paintings or took historical roles when he portrayed himself as Apostle Paul, for example. Also in love with self-portraits was – how else could it be for the most famous German portrait artist of his time – the painter Anton Graff (1736-1813) from Dresden. The number of his self-portraits is also as high as about 80. In one portrait painted in 1806, Graff looks at us with a soft, slightly melancholic look. He wears a grey-green frock coat with velvet collar, a yellow-ochre vest
Rembrandt
and a white shirt collar. The artist seems to be preoccupied with the act of creation; the look over the shoulder to the observer only briefly interrupts the painting. The grey canvas in the background that is important for the image composition, is as empty as the drawing pad on his knees. The artist seems to be at the beginning of his creative process and the finding of the image as an artistic challenge wasn’t mastered yet. The look might imply the effort, the light exhaustion despite the constant buoyancy during work. Also, the fading vision of Anton Graff could be another reason for the tired look. It was important to him to depict the inner self of a person, not to paint too many
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attributes; also, an overemphasis of the clothes was far from him. He concentrated on the face and wanted, according to the science of »physiognomy« that arose back then, recognise and capture the inner spirit of the portrayed person in the exterior – in this case: his own artistry. A WAY TO SELF-KNOWLEDGE? But the self-portrait isn’t always an instrument of external effect but also a sounding work on the self in order to understand it. This should be the way of interpreting the self-portraits of Vincent van Gogh (1853-1890) who didn’t intend to sell.
SELF PORTRAIT SISTER-MAG.COM
In modern art, the self-portrait presented itself as a way of questioning the role of the artist, the portrait and the image in general and to play with expectations. Even though there were painters in the last decade who still used the traditional way of capturing the characteristic exterior of people in paintings. But those artists were rather commissioned by wealthy businessmen instead of being noted by art critics or even exhibited in museums. Some of the more exciting seem to be the self-portraits of the French artist Sophie Calle (*1953) or the German Erwin Wurm (*1954) who didn’t even try to depict the real face. Because what is the »I« in us? Can we be reduced to our face?
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Various positions of contemporary self-portraits were exhibited under the title »I« in the Städel Museum in Frankfurt, in 2016. The diverse artistic strategies of self-staging was shown: how to present or to evade oneself, how to pick up old concepts of portrait art, to abandon them radically or to ironize them. In Frankfurt, Erwin Wurm showed an enlarged pickle as his selfportrait. Since the 1980s, the self-portrait virtually became a trademark of pop culture. We all know the photos Andy Warhol took of himself and used to gain a downright status as a brand.
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SELFIE CULTUR Moreover, the self-portrait became inflationary because of the popular selfie culture: Ai Weiwei (*1957) likes to take photos of himself as much as Stephen Shore (*1947) does. Or as the erotomanic Ryan McGinley (*1977) who photographs himself when kissing – and posts it. When selfie-addicted people like Kim Kardashian (*1980) upload their pictures as an instrument of selfpromotion, they pursue similar goals as the early customers of self-portraits: Presentation, staging and remembrance.
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THE MODERN SELF-PORTRAIT
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Text: Martina Klaric
»But first let me take a selfie« - Facebook, Twitter and Instagram form an online subject that is (un)like the real one and that virtually informs, creates and stages. Especially the image-based self-presentation gets its mightiest embodiment with the modern and popular »selfie«, the digital selfportrait taken by oneself.
An individual act that, nowadays, is done in a radically frequent amount of time so that it takes on a collective and cultural character. In other words: Doing selfies becomes a fundamental body practise of a representative selfexposition and selfmodelling. Thus, it doesn’t surprise that, after the selfie boom some years ago, both science and contemporary art approach this modern phenomenon from a critical angle.
At latest since 2004, does everybody know what a selfie is but also how it is done: Switch on the phone’s camera, strike a pose, (supposedly!) look spontaneous and click!
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The randomly created snapshots that – and one can say this with full neutrality – at times seem to outdo themselves in embarrassment, are becoming an image genre with their own categorical motives. Classics of the digital self-portraits are the mandatory kissing mouth, the so-called »duck face«
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(especially girls enjoy it), eccentric and humorous snapshots in a drunken condition, as well as welltrained, muscled workout characters and lascivious, erotic body depictions that even include nude pictures. Oh, dear!
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mirror selfie
One of the most famous techniques of production is the »mirror selfie« – popular shots in front of mirrors that allow a view into the distance and not into the camera lens. It often is a kind of »fake« portrait that’s supposed to purport a photo not taken by oneself. Obviously, a photographic »realness« and authenticity of the pose is intended. The
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typical »high angle shot«, on the other hand, installs a look at the photographed person »from above«, from a bird’seye view, and supposedly evokes belittling depictions. It’s not uncommon that the subject looks into the camera in a deliberately shy and playful way. But why, as one could ask, are we addicted to selfies? What motives lie behind the urge of producing, viewing, and commenting self-portraits? Do unconscious, narcissistic needs appear or do we have to deal with autobiographic visualisations? These key questions, even research can only answer sparsely.
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shared
directed self-presentation is targeted at various reactions and feeds off recognition and appreciation. One could think that a dictum is born: Long live narcissism!
Likes What’s been digitalised, so it seems, has to be shared necessarily: Because visual self-portraits only become selfies when they are uploaded, shared and liked on social media. Virtually in real time, they communicate which lifestyle the person prefers and recently lives. Especially likes have an enormous meaning to this image culture. For the
Here, if not before, an outcry of protest would be decisive. But why? That the selfie acts as a medium of expression, especially for young people, that doesn’t always get positive responses but can also end in targeted mobbing or in mockery is only the dark side of this popular image culture. That specially posted pictures (often with erotic or ridiculous image content) can be unwantedly shared by other users in order to disgrace is a clear
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Influencer
misuse of personal image property. What remains a subject of psychological analysis is the question of why the latter kind of pictures would be produced by someone and uploaded into the virtual, public space. On the other hand, however, the selfie figures as an autobiographical medium that the photographer not only uses to communicate with the outside world but also visualises
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themselves in a s e l f - co n s t i t u t i n g way. The selfie production turns out to be largely image building! Especially famous people and bloggers, those influencers of the modern consumer world, shape the idea of a specifically determinable, optimised identity through directed ego-portrayal. The displayed selfie whose fundamental function – and that’s the positive side – is founded in the control of the own picture programs how one should be seen and which impression the personal ego should evoke.
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In this decoding, a body language with visual selfexpansion interlocks with a controllable construction of identity. Photographic fabrications of the selfconsciousness come into effect, often also tests of humorous, ironic manifestations of an ego. It’s no surprise when the new selfie trend intentionally circulates unadorned, funny, even disfigured self-portraits.
spontaneous The renowned art critic Jerry Saltz defines the selfie in its spontaneous, fast production as a central occasional picture, as a genre of the presence that he strictly separates from the traditional art-historical self-portrait of fine arts. The self-portrait in painting or sculptures, for example, marks a long development process
of the artist, it therefore differs from »composition and technique« to the modern selfie. This again is – due to digitality – a quickly produced, infinitely repeating mass product of the general society.
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Art portrait
Nevertheless, or maybe for that reason, modern art took a stand to the digital self-portrait: What starts as a spontaneous, individual process of ego-illustration, develops into a photographic art portrait.
Cologne and Bonn gathered different image exhibits of (inter-)national artists and retrospectively designed a »history of the individual image«. And the Schirn Kunsthalle in Frankfurt presented under the catchy title »I« (2016) contemporary, ironic counter positions to the selfie culture. But that’s not all: The Saatchi Gallery in London presented the enormous show »From Selfie to SelfExpression« (2017) including a competition in which the best of various selfies that were sent in beforehand was awarded and exhibited.
At least two large-scale exhibitions in Germany dealt with the contemporary selfportrait. The exhibition »With other eyes« (2016) in
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Global
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You can think of it what you want: The selfie image culture is global! The famous computer scientist Lev Manovich – better known as the selfie-professor – succeeded in his works on digital media in realising the tremendous project Selfiecity. Using an indefinite image corpus, the selfie behaviour in five different metropolises of the world – Bangkok, Berlin, Moscow, New York und São Paolo – was analysed with regards to their respective specific behaviour patterns concerning selfies. Does that work? Of course!
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as experienced, ephemeral events and moments are caught on camera that can be used to decipher preferences and tendencies. It remains uncertain if we will roll our eyes when faced with many more embarrassing self-portraits or if the selfie is a question of style, or rather of fashion. But: The stars do it, we do it, Mrs Merkel and even His Holiness the Pope do it: taking selfies. Because of narcissistic selfishness? I don’t think so!
The amazing result of this large-scale work should still astonish: According to Manovich, selfies are no selfportraits in a classical, arthistorical sense but »windows to society«. It’s less about visual self-representations that are isolated from the environment as art history postulates it with Dürer, Renoir or van Gogh. In fact, personal activities as well
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Author is a Martina Klaric literary and religious studies scholar. She loves books, black-andwhite photography and exceptional topics. And selfies are okay!
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LIKE NETFLIX, ONLY MORE EXCITING TEXT LIA HAUBNER
m a r g a t s n I Why h c u m e r a s e i r o t S r i e h t n a h t r e t t e b . n o i t a t u p e r I N S TA G R A M S TO R I E S H A S R E P L A C E D S N A P C H AT. F O R MANY USERS, HOWEVER, IT IS O N L Y A M AT T E R O F T I M E U N T I L A U T H E N T I C I T Y I S L O S T. I S T H AT REALLY TRUE? WE EXPLORE WHY S TA G I N G I S N O T O N L Y O K AY , B U T EXCITING – AND WHICH WOMEN YOU SHOULD FOLLOW NOW
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» S P O N TA N E O U S P O S T I N G IS NOT A PROBLEM – AFTER ALL, IT'S NOT F O R E V E R . T H AT ' S W H AT M A K E S I N S TA G R A M STORIES SO SPECIAL.«
A photo of a café window is followed by a lunch filmed in great detail. Then nothing for a while. Suddenly, a smoothie is zoomed in with dramatic sound. Who wants to see this? All of us. Instagram Stories are a favourite pastime of more than 15 million users – in Germany alone. Instead of Netflix, we spend our days watching 15-second episodes of the lives of people we find exciting. It doesn't matter if we know them in real life. We follow friends and complete strangers into their favourite cafés, living rooms, and meetings. Through excerpts from their lives, we are as close to the protagonists of these stories as we are to the stars of our favourite shows. After 24 hours, the photos and videos disappear. Spontaneous posting is not a problem – after all, it's not forever. That's what makes Instagram Stories so special.
ONE’S
LIFE
SHOULD
BE
A
SEQUENCE OF MOMENTS THAT ARE
EXCITING
BECAUSE
THEY
ARE NOT PERFECT
Stories function as a carefully curated gallery. They reflect one's real life. But a November update of Instagram that lifted the 24-hour limit seems to put that very much at risk. How much authenticity is left when every picture and video can be uploaded regardless of when it was photographed or filmed? On closer look, however, the consequences are only half as dramatic. There already were ways and means of uploading an older image into the 24-hour window – with a screenshot, for example. On the other hand, a perfectly curated collection of excerpts might be typical of Instagram, but
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no longer a »story.«
by stories that show us a user's It's about telling stories. One's particular perspective. It's like a favourite show where the season never ends. The IT'S ABOUT TELLING STORIES. ONE'S LIFE possibilities of the stories SHOULD BE A STRING are more varied than ever: O F M O M E N T S T H AT A R E They can be a relaxed EXCITING BECAUSE version of a YouTube tutorial T H E Y A R E N O T P E R F E C T. because the time limit helps S TA G I N G I S P E R F E C T L Y us focus. They inspire. They OKAY. raise awareness. We learn, we laugh, we feel them. life should be a string of moments Politics, pop culture, fashion, that are exciting because they are interior design, food, photography, not perfect. Staging is perfectly and activism now coexist in realokay. Sometimes it is even time. These women are leading necessary. We are still fascinated the way:
BUSRAQADIR GROSCHENPHILOSOPHIN FRAUPASSMANN SVENJA_TRIERSCHEID KIRAAURELIE
ABOU T LIA HAUBNER Lia works as an editor and videographer in Berlin. In 2009, she launched her blog sexdrugsblognroll. Today, she writes freelance about pop culture, feminism, and tech. SISTER-MAG.COM
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BETTER LIVING BÜSRA QADIR, HAMBURG
busraqadir
got the ball rolling. More than 20,000 euros in seed capital were collected. NINDYAA is a highquality bed-linen that was born when Büsra and her husband moved in together and found no bed linen that combined sustainability and an anti-kitsch aesthetic.
Büsra Qadir is an entrepreneur and has created her own bed linen label, NINDYAA . Prior to that, she spent five years working for Facebook and Twitter in the fields of advertising, marketing and sales. Among other things, a KICKSTARTER CAMPAIGN
HER STORIES: Büsra shows her everyday life and serves up plenty of inspiration for your home. Next weekend, we look forward to being inspired by CREATIVE SUNDAY!
ESPECIALLY EXCITING FOR: Creative people, interior fans, and all those who dream of turning their passion into a business.
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BEHIND THE MEDIA SCENES BIANCA JANKOVSKA, BERLIN
groschenphilosophin
BIANCA JANKOVSKA quit her full-
time job as an editor at bento in November 2016. She then wrote an article titled »Honestly? A 40hour week is nothing more than human torture« that collected hundreds of likes and shares, and suddenly held a book contract
from Rowohlt in her hand. She writes and talks about FEMINISM, MEDIA, AND POWER STRUCTURES
– how does one get to where they are? And what has to change in the German-speaking media industry?
HER STORIES: Thoughts and opinions that turn into articles and invite to CONVERSATIONS VIA DMS.
ESPECIALLY EXCITING FOR: All those who want to collect SUNDAY LONGREAD INSPIRATION
and either discuss passionately or nod with approval when Bianca expresses strong opinions.
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F o l l ow u s o n Instagram S t or i e s @s is t e r_ mag
THE WILD EVERYDAY LIFE SOPHIE PASSMANN, KÖLN
fraupassmann
The host and stand-up comedian is smart, funny, shows sexists the middle finger, and all of us that
show »Neo Magazin Royale« in which Sophie starred recently understood.
POLITICS AND ENTERTAINMENT
are not mutually exclusive. That's something the producers of the
HER STORIES: Whether she's diving into exploratory conversations with various personalities in her own apartment, taking us to the radio studio, or showing us how it feels on the set of a shooting for »Jolie,« 15 seconds of Sophie's everyday life is better than half of the content on Netflix. ESPECIALLY EXCITING FOR: Everyone who loves opinions and entertainment.
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FANTASTIC PHOTOS & NEW MUSIC SVENJA TRIERSCHEID, BERLIN
svenja_trierscheid
The photographer and cinematographer relies primarily on analogue portraits. Artists, models, and politicians have all stood before her lens. Whether she is photographing in the
United States for I-D MAGAZINE or directing the Berlin edition of the feminist photo series »UNITY IN COLOR« , Svenja provides a fresh feminist perspective in creating a unique aesthetic style.
HER STORIES: Besides her travels to sets ranging from Berlin to the Camp Flog Gnaw Carnival in Los Angeles, there are lots of GREAT PLAYLIST RECOMMENDATIONS,
thanks to her FOCUS ON MUSICIANS. Svenja also has excellent taste in memes. ESPECIALLY EXCITING FOR: Fans of travel, self-irony, good music, and the stories behind the big pictures.
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LIFESTYLE & FASHION INSPIRATION KIRA STACHOWITSCH, BERLIN
kiraaurelie
Anyone who's founded their own magazine when blogs were still a dream of the future and still don't have a collection of it-bag is likeable from the start. The founder of Indie and Material
Girl, Kira Stachowitsch, takes us behind the scenes of everyday magazine life on her account in an approachable way.
HER STORIES: Editorial offices really do receive an incredible number of packages. The advantage is to be able to follow the exciting discoveries live. Kira also wears combinations that actually work in everyday life, which is why they inspire. ESPECIALLY EXCITING FOR: Fashion lovers without »The Devil Wears Prada« ambitions.
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How-to
Instagram-stories & the possibility of telling new stories
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THE
INTRODUCTION
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OF
INSTAGRAM STORIES IN AUGUST 2016 DID NOT ONLY PROVOKE A SMALL OUTCRY IN THE SOCIAL MEDIA
WORLD,
BUT
ALSO
CHANGED THE USE BEHAVIOUR OF THE APP IMMENSELY. BEFORE THAT, IT WAS ONLY POSSIBLE TO UPLOAD PICTURES AND SHORT MOVIE SEQUENCES, BUT FROM THEN ON, YOU COULD POST AN ENDLESS NUMBER OF VIDEOS AND PICTURES ON INSTAGRAM, WHICH
DISAPPEARED
AFTER
24 HOURS. NOWADAYS, IT JUST FEELS LIKE THE STORIES HAVE ALWAYS BEEN THERE. BUT NO… HOW WAS IT THE BEGINNING AND HOW IS IT TODAY?
TEXT: ANNI GNÖRICH
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When Stories were introduced, the functions were new ground for many – except for some Snapchat users – so that many people just randomly posted everything. Suddenly, we weren’t limited anymore but instead, the motto applied: »The more the better.« We saw – and unfortunately still see – recordings of brushing teeth, spreading butter on bread and so on. But a little bit of uncertainty joined in: Are the followers even interested in the shown sequence? Do we show insides of ourselves that could destroy the illusion of the feed? And what is it about talking in front of the camera? By adding new features, Instagram Stories became more versatile over time and offered new possibilities for creative users. Next to the usual filters and emojis, we can now work with various fonts, stickers and recording functions.
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Creative Styles
1. Cinematic with Cut
when I just sit on the computer for 12 hours. Then, I still try to find contents my followers can identify with or like to see.
ILENIA MARTINI
HOW DO YOU CREATE YOUR STORIES?
@ILEMARTINI
When I’m on the road, I normally cut my film sequences on the phone with iMovie. When I have more time, I use Premier Pro
SINCE WHEN DO YOU USE INSTAGRAM STORIES?
I’ve been using Instagram Stories since it was launched. But I also experimented with Snapchat before. HOW WOULD YOU DESCRIBE YOUR STYLE AND WHAT DO WANT TO CONVEY WITH IT?
I try to make my Stories as personal as possible and take my viewers through my day-to-day life. Since I work in the field of design & interior, I travel a lot and like to show impressions of cities like Milan, Stockholm, Venice and of the sets I am at. On the other hand, there are also days SISTER-MAG.COM
or Avid. I recently talked about that in my Stories: Normally, I edit everything to give the Story a focus and doing that, I can work with so many tools.
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HOW DO YOUR FOLLOWERS REACT TO YOUR STORIES?
They react a lot. By now, I’ve established a personal connection to my followers, which wasn’t possible before with the over-curated feeds. I receive a lot of messages in which people ask me questions, share their thoughts or just send me loving and supporting messages. Many of the questions refer to the making of my Stories which is why I created a Tutorial .
Creative Style
2. S tories in vintage look ELISA OF
@PRESS_LIZ
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SINCE WHEN DO YOU USE INSTAGRAM STORIES?
I would consider myself a user of the first hour. Because of my work as a social media manager, I follow Instagram news attentively. HOW WOULD YOU DESCRIBE YOUR STYLE AND WHAT DO WANT TO CONVEY WITH IT?
I would describe my style as a kind of »vintage gallery«. Something between moon illustrations, sometimes a little too much coffee, a lot of nature and loving chaos. I’d like to contaminate people with my art. I want to encourage them to grab a brush and give their own creativity some room. From this idea, my small hashtag project #comeinandfindart occurred one year ago. HOW DO YOU CREATE YOUR STORIES?
I actually like to use the paint function in the Stories – with that, I can put nice little letterings over the pictures. I also like to adjust SISTER-MAG.COM
the text bubble in the single slides with the colour pipette to make it harmonious. When I share videos, I edit them with VSCO Video before so they match the imaginary of the feed. And I also like to share Boomerangs sometimes; they are short and can be so wonderfully amusing. HOW DO YOUR FOLLOWERS REACT TO YOUR STORIES?
I often receive so much kind feedback to my Stories and am always so thankful for an incredibly great, growing and active community. By the way, the absolute Story highlight is never the beautifully staged art post but Pebbles, my little French bulldog lady.
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Creative Style
3. Behind the Scenes of a photo artist JAMIE BECK OF @ANNSTREETSTUDIO
Jamie Beck is a photographer and actually from New York but currently, she lives in the Provence (France). Over the years, she has developed her own imaginary and primarily uses Instagram Stories to show how she works. Absolutely recommendable for people interested in photography!
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Creative Style
4. Sophisticated Fashion
MARIE SCHÖNINGER OF
@GLITTER_EVERYWHERE
Marie blogs full-time on Glitter Everywhere and takes her followers through her day-to-day life in her Instagram Stories. Like the imaginary of her feed, they are very aesthetic and elaborate, with a touch of humour.
Creative Style
5. Creative WITH TANJA OF
@FRAUHOELLE Tanja of Frau Hölle is a wonderful illustrator. In her Stories, she tells a lot about her work, her life and her thoughts – which means that she actually talks to her fans instead of showing lots of photos.
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1. NORMAL
Story Funktions
This function lets you take a photo with tapping and film with holding sustainedly.
2. BOOMERANG Here, you can create Gif-like film sequences.
3. REWIND
Boomerang
just means that your recorded video is played backwards with this. Just try it to have a clearer idea.
Selfie camera
Rewind 4. SELFIE-CAMERA Next to the emoji for the face filter, you find a small circle with arrows that you can tap to activate the selfie camera.
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5. FREEHAND This function lets you record a video with a single tap and without sustained holding.
Freehand 6. STOP-MOTION This function resembles Boomerang because it lets you create Gif-like film sequences but it shoots single photos.
Stop-Motion
LIMITLESS UPLOADS FROM THE ARCHIVE
It’s finally possible to upload contents that are older than 24 hours. When Stories started, we could only upload photos and videos from our archives that were taken within the last 24 hours. As of late, we’ve been able to show contents regardless of their recording date.
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FOR EMBELLISHING
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OTHERS FUNCTIONS
Once a photo / video was shot, you can embellish it with various things.
1. ADD A DIRECT LINK
This function is (not yet) available to all Instagram users. Currently, it’s only available for those who have more than 10,000 followers or are verified.
1. PENS / RUBBER
With the pen, you can write and paint in different colours. There are no limits to your creativity because even the most different colours are possible.
2. STORY-ARCHIVE
Brand-new! With the archive, you can save your own Stories in Instagram without saving them on the smartphone.
2. STICKERS
You find the usual emojis on the stickers as well as changing ones Instagram provides. You also find location, time, temperature, hashtag and, as of late, the survey.
3. STORY-HIGHLIGHTS
3. FONT
The easiest and one of the most popular functions – just write something to it. As much as fits on the picture. 4. FILTERS
Here, you can select Stories that can be embedded to your profile (directly under the profile info) and are visible for a longer time than the usual 24 hours.
Have fun trying out!
By swiping left or right, filters are put on your pictures.
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Text: Nuna Hausmann
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On the art of holding a mirror up to oneself
Holding up the mirror How do others see me? How do I see myself? And how can knowing this be useful for me?
But why should we do the hard work of holding a mirror up to ourselves? Those who know their own abilities and strengths can, for example, present themselves better while looking for a job or finding a more suitable position within the current company. An open personality and the ability to take criticism can develop deep friendships. If we know what makes us happy we can look for activities that make our hearts swing. Therefore, it’s important for a fulfilled life to know oneself well. How can that work without a magic mirror?
The digital world is increasingly holding a mirror to us about the idea of life und existence. The picture we see in it, however, doesn’t reflect the reality. Rather, it is distorted through numerous filters. So it's all the more important that we don’t rely on the artificial images of the social media world but see ourselves in an authentic and realistic light.
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Always learn something new
Get feedback
Those who want to get know themselves better should illuminate corners that are usually in the dark. There is, for example, the »blind spot« of outside perception. This part of one's own personality is only perceived by others. Openness for feedback is necessary to make this area smaller and to grow based on the insights. Only thanks to the spectators do we learn that a presentation might have gone well but that the nervous bobbing of the speaker distracted from the content. When we ask actively, there is a better chance of getting honest feedback that brings us forward in life.
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But there are always areas within us that only we can explore. By being curious and ready to deal with ourselves, we can gain knowledge for life. Many of our actions and behaviour patterns are influenced by education or previous experiences and usually take place subconsciously. So we can improve our selfperception by sufficiently dealing with why we act like we do. Why do we react so fiercely when we are faced with undesirable reactions? With a little distance, it might become clear that it’s not about the reaction or actions, but about violating one's own value. Those who hold up the mirror in these situations and communicate this knowledge solve conflicts faster and gain new scopes.
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INTERVIEW WITH MERIÇ TEMUÇIN Founder of the Herzfeld Akademie . Visionary, therapist, and coach who always establishes an appreciative feedback culture in her education groups and has internalised the methods of self-knowledge. In the Herzfeld Akademie, she educates coaches who deal with themselves intensively during education.
HOW CAN WE IMPROVE OUR SELFPERCEPTION? One of the first things I recommend my coaching clients is listening to the own intern dialogue more intensively. How do I talk to myself? What do I say to myself in which situations? This way, you can take a meta perspective and recognise that you sometimes act like you are »controlled« and do things because of old habits. You can look at these habits and maybe convert them into supporting thoughts.
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WHAT ARE SOME METHODS WE CAN INSTALL INTO OUR EVERYDAY LIFE? In order to be aware of your inner dialogue, it helps to write some morning pages every day. Just allow your thoughts full bent even though they recur. They help seeing where you are right now and in which mood you are. A daily ten-minute meditation practise can also help calming down the system and make room for a clearer view on the own thoughts. Especially Christmas
time and the transition into a new year is a good opportunity to take time for yourself and to think about your own values, wishes and needs. To see where you can change something and want to make something better. Thereof, a gained inner peace arises. The thoughts are a significant factor for our feelings. It’s worth making this own voyage of discovery.
WHICH POSITIVE EFFECTS DOES IMPROVED SELFPERCEPTION YIELD?
But why should we do the hard work of holding a mirror up to ourselves? Those who know their own abilities and strengths can, for example, present themselves better while looking for a job or finding a more suitable position within the current company. An open personality and the ability to take criticism can develop deep friendships. If we know what makes us happy we can look for activities that make our hearts swing. Therefore, it’s important for a fulfilled life to know oneself well. How can that work without a magic mirror?
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HOW CAN YOU GIVE GOOD FEEDBACK? Very efficient and also gentile for unpleasant situations is the sandwich method. At first, you express a compliment, then you address the issue you want to talk about, and end the conversation with another positive thing. This way, the criticism is well embedded in appreciation, is picked up easier, and is recognised as constructive. Feedback is a
skill. When we can manage to speak from our own EGO position without accusing the counterpart, criticism can be used for growth. With accusing criticism, we push the person away. And who wants to be pilloried? It’s more useful to meet our counterpart with appreciation.
HOW SHOULD CONSTRUCTIVE CRITICISM LOOK?
Criticism should address a specific situation and be phrased constructively. I always recommend the NONVIOLENT by COMMUNICATION Marshall Rosenberg, as this is an appreciative tool for good communication. ABOUT THE AUTHOR Nuna Hausmann, coach and content manager, got to know herself anew while doing her coaching education.
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ink blue & fudge sM N°32 December 2017
Int e ns i v e l y a s i n k b lu e an d s w e e t a s c a ra m e l l – y ou c an’t g o w ro ng w i t h t h o s e tw o tren d c o l o ur s . W e ' v e bro u gh t all ou r fav o ur i t s t o ge t h er.
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A ni t a € 149 3 | HAY Ab out a stool €229 4 | KAWECO L i l i p ut Fo unt ai n Pe n € 5 9 5 | MONKI S t re t c h ankle b oots €45 6 | & R.S.V.P. J o y e ux N o ë l – Chr i st m as Card €4 , 9 0 7 | & OTHER STORIES Velv et Chok er €15 8 | & OTHER STORIES Ve l v e t D re ss € 7 9 9 | MANGO C amel w ool coa t €149,99 10 | A.P.C. Card ho l d e r Car t a € 1 4 5 11 | BOBBI BROWN Gold en Amb e r Ey e S had o w € 3 7
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longing for VITAMIN D DURING THE GREY SEASON
TEXT: DR. MICHAEL NEUBAUER
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In winter, we are often lazy and bad tempered, longing for warmth and sunshine. Dr. Michael Neubauer explains how vitamin D, or a lack thereof, plays a role in these moods. He also gives tips and tricks for a balanced vitamin D intake – even in the winter months. The secret? Fill up early.
I hope that all readers, like me, have enjoyed summer to its fullest and revealed their skin to the sun. It is with pleasure that I now listen to the contradiction of dermatologists, who rightly warn against UV radiation. Endocrinologists, however, should have a voice in the conversation, too and speak out to defend the benefit of sun exposure. Why? Without sunbathing, our skin has no way to store vitamin D, which leads to seasonal fatigue as the days get darker. As we all know, this can be a very contagious mood.
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Vitamin D – a magic vitamin? Certainly not, but it is omnipresent in the various metabolic processes of our organism. Vitamin D is not a real vitamin at all, because, by definition, vitamins must always be supplied from outside of the body. By contrast, there is a precursor for Vitamin D in our skin, the epidermis, which is called 7-dehydrocholesterol. As a result of the sun's rays at a certain frequency, this precursor is transformed over several steps into vitamin D3, which, when bound to a protein, is stored in
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fatty tissue and can be retrieved at times when sun exposure is weak. Vitamin D has been scientifically proven to be of great importance for Ca++ intake. It provides a balanced calcium level in our body via reabsorption from primary urine or by extracting Ca++ from the bones. It causes close relationships between the hormones of the parathyroid gland and the thyroid gland, and the parathyroid hormone and calcitonin. Phosphate is also an important partner in this process. Vitamin D intake through food is less important.
Due to its importance in the metabolism of Ca++, vitamin D has a major influence on the health of our bones and muscles. Deficiency leads to soft bones, muscle weakness, bone pain, and muscle fatigue. Having a healthy dose of it, meanwhile, contributes to better defense against infections (for example, TB patients sunbathing at health resorts as in Thomas Mann’s »Der Zauberberg«), the avoidance of obesity, or the alleviation of annoying symptoms in rare autoimmune diseases (Crohn’s disease).
TO COVER THE MINIMUM DAILY REQUIREMENT OF 400 IU, ONE MUST CONSUME: 12 litres of milk 6-8 eggs or 500g of liver. The most likely source of vitamin D is fish, especially herring and eel. SISTER-MAG.COM
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The following nonspecific symptoms could be but are not necessarily related to Vitamin D deficiency: Inexplicable dull pain in bones, joints, muscles, or back, lack of motivation, depressed mood, abnormal fatigue. Remarkably high susceptibility to infections. The positive effects of the vitamin on cardiovascular health have not yet been scientifically proven, especially in the fight against cancer. Vitamin D deficiency occurs faster than you think. North of the 42nd degree of latitude (Barcelona), we don't have a chance to get an adequate fill for about half of the calendar year. The sun is also less effective for those who spend a lot of time in the office or the elderly, as
sunlight conversion weakens. Sunscreen, darker skin tones, certain diseases (a damaged small intestine) and conditions (obesity), and taking some medications all lead to less Vitamin D intake. All this has led to increased awareness of Vitamin D's benefits over the last few years, resulting in the belief that it is the answer to everything. The Vitamin D-producing pharmaceutical industry is booming, with blood tests revealing that levels of Vitamin D have risen almost fivefold in six years. Vitamin D is important for our body, and deficiencies leading to symptoms must of course be treated. But uncontrolled prophylactic ingestion is definitely not recommended. Vitamin D
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poisonings are possible and carry their own host of unpleasant side effects. The solution lies in a sensible approach. Yes, we should use the summer sun to refuel. Depending on the skin type (light/ dark), our body can produce 10,000 to 20,000 IU of Vitamin D in 30 to 60 minutes, after which regulation mechanisms prevent further
formation. It is recommended to avoid sunscreen for the first 20 to 30 minutes of being in the sun, depending on the intensity of the sun and the skin type. You should also avoid showering immediately after being in the sun. A Vitamin D-rich diet, especially in the winter months, is always advisable.
s d r a tow the sun!
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JODHPUR THE BLUE CITY A quiet humming noise, quickly growing louder. A quick step aside, back towards the wall and the unexpected intruder rushes past on his scooter, gone as swiftly as he appeared. The tiny alleys of the old town may not accommodate cars, but cows, rickshaws, bikes, and pedestrians still invigorate them, running like veins through the city and keeping its heart beating. We make our way past dozing cows, peacefully enjoying their slumber, and step over their various droppings.
Text: Julia Schattauer
& Photos: Diana Patient
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On an old, blue wall, crumbling away at the mercy of time, we find a painted sign indicating the way to the fort. The heat hugs us tightly, like an omnipresent, sticky friend and the desert Thar sends us a greeting via flickering, dusty air to remind us of its presence. Monsoon season and rain are far away. A stairway leads us to the fort of Mehrangarh, which has been overlooking the town majestically since its establishment in 1459. As we pass through the walls
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surrounding the fort, a couple of pigeons fly away, leading our glance past their wings and onto the stunning doors, windows and richly decorated facades of Mehrangarh. Before entering, we want to have a look at the city. Jodhpur, the so-called Blue City.
… » The heat hugs us tightly, like an omnipresent, sticky friend and the desert Thar sends us a greeting via flickering, dusty air to remind us of its presence. «
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Jodhpur
THAR
A sea of blue houses One can best appreciate Jodhpur in its sheer size and full capacity from up the fort of Mehrangarh. About one million inhabitants make this town one of the biggest in the state of Rajasthan, second only to Jaipur. The view resembles a sea of blue houses which contrast the brown desert with their dreamy light blue, gleaming in the sunlight. The Indian Bombay Sapphire Gin comes to mind immediately. Is Jodhpur inspired by its colour? The shades of this city change with the sun. From a luminous
green-blue to a full, deep indigo, the low sun suddenly makes it appear almost ink blue. As the last rays vanish behind the horizon, the town greets the night dressed in midnight blue. The blue of Jodhpur goes back to the Brahmins who painted their homes to represent their high position in a now (officially) obsolete case system. Blue is the colour of positivity, of bravery, strength, and masculinity, representing gods like Krishna. Slowly, more and more people started following
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Âť Blue is the colour of positivity, of bravery, strength, and masculinity, representing gods like Krishna. ÂŤ
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suit and discovered the practical side effects of their beautiful tradition: blue has a cooling effect, is believed to keep mosquitoes and termites away and, more recently attracts tourists. To achieve the typical Jodhpur blue, white colour is mixed with indigo and copper sulphate until it reaches its desired shade. Copper, next to opium, sandalwood and dates, is one of the reasons a clan of Rajput were able to found
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and rapidly grow this city at the crossings of one of India’s most important venerable trading routes. Even though this is all ancient history now, it is still easy to imagine caravans slowly passing the borders of the town, making their way through the flickering desert and past the surreal blue nostalgia that is Jodhpur.
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The Erasmus plus program celebrates its 30th birthday this year. We use this as an opportunity to introduce three inspiring personalities to you, whose year abroad in London, Berlin, and Konstanz influenced their development and career sustainably. Whether as new home or inspiration for the first big film project – our wanderlust is roused.
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berlin Elena PLEASE INTRODUCE YOURSELF TO US BRIEFLY. WHO ARE YOU AND WHAT DO YOU DO?
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My name is Elena Martín and I am an actress and film and theatre director. My first feature film JÚLIA IST is about a catalan girl leaving her home for the first time, going to Berlin for an Erasmus exchange. It has recently been premiered in festivals and cinemas in Spain and now, after the San Sebastian Film Festival we’re starting the European route of festivals.
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WHEN AND WHERE DID YOU PARTICIPATE IN THE ERASMUS+ PROGRAMME? I went to Berlin for my Erasmus and this was the starting point for the movie. I went there in January of 2013 and returned this September.
HOW DID YOU CHOOSE THE COUNTRY OR SCHOOL YOU ATTENDED? I knew I wanted to go to a big city. Barcelona is a crowded and dynamic city, but it’s
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also a small place where you know a lot of people. I felt like living in a big place without knowing anyone and I already spoke German, so I decided to go to Berlin. WHAT WAS THE THING THAT STRUCK YOU MOST AT THE TIME WHEN IT COMES TO CULTURAL DIFFERENCES? Back in Barcelona I used to be a very social and outgoing person. I used to be surrounded by a lot of people
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all the time. I have many friends and in Barcelona I meet them almost by accident in bars, concerts or theatres. At the beginning it felt hard for me to understand the social dynamics of Berlin people. It’s more usual to meet one on one, rather than to meet in big groups. However, I ended up finding the perfect mix in P14, the young theatre group of Volksbühne am RosaLuxemburg-Platz. The friends I made there even ended up being the actors of JÚLIA IST and we’re very close, still. SISTER-MAG.COM
DID YOUR ERASMUS+ EXPERIENCE INSPIRE OR INFLUENCE YOU IN CHOOSING YOUR CAREER PATH? Absolutely. I already knew I wanted to focus my career on cinema and theatre, but I started to materialize it in Berlin. After acting in a play in P14-Volksbühne as a cover of my dearest friend Max Grosse Majench, myself and some other colleges created a very similar group related to a big theatre in Barcelona: ELS MALNASCUTS (The Never Properly Born) at
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»My
first feature film JÚLIA IST is about a catalan girl leaving her home for the first time, going to Berlin for an Erasmus exchange.«
Sala Beckett. Until today, it’s still a unique theatre experimentation platform for young people in Spain. And of course, the movie I directed and protagonized: JÚLIA IST. It came from a mix of the Erasmus experiences of Marta Cruañas, Pol Rebaque, Maria Castellví and me. It started as our Thesis Film in Universitat Pompeu Fabra and it grew and grew until it won at Festival de Málaga and was shown in cinemas for nine weeks in Spain.
WHAT WERE YOUR BIGGEST CHALLENGES WHILE STUDYING ABROAD AND DO YOU THINK THEY ARE REFLECTED IN THE MOVIE? The interesting thing about Erasmus in our case is that the biggest challenges were not what we expected them to be. As it’s usual in Spain, we were living in our parents' places before going on Erasmus, so it was our first time living independently. We are a very well prepared generation, we had travelled a lot before, we
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Berlin
speak different languages… So our expectations were to arrive to the new city and have everything under control. We were sure that we would start enjoying it from the beginning. I thought my duty was to start making an impact there. But the reality was, that I first had to learn the most basic things: how to be alone, how frustrating it was not knowing how to define myself in a new environment, etc. These were the biggest challenges. And yes, I think we reflected all this in the movie, and this raw version of the Erasmus is what made JÚLIA IST grow so much.
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DID YOU LIVE ABROAD SINCE THEN OR HAVE YOU CONSIDERED TO DO SO? I haven’t, but not because I didn’t want to. The movie invaded my life since I came back from Berlin, and now that the movie is almost flying alone, I’m starting to have new projects. And if everything works and I get any of the jobs I’m applying for, I will return to Berlin in a few months to stay there for a while. I’m starting to think about a new movie as well and I’d like to do the research and write from abroad. I’m always more focused outside Barcelona.
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’m always more focused outside Barcelona.«
IF YOU COULD PARTICIPATE IN THE ERASMUS+ PROGRAMME AGAIN – WOULD YOU DO IT AND WHERE WOULD YOU GO? I would recommend it absolutely. Now, I feel like going a step further and trying to live abroad on my own, without the support of the Erasmus+ programme. Just because I already did it. But I have a friend who did an Erasmus+ Traineeship this year and this is something
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new for me that I might find interesting to do. But then I would go to a very different place with a very different culture.
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Georg MMeyer PLEASE INTRODUCE YOURSELF TO US BRIEFLY. WHO ARE YOU AND WHAT DO YOU DO?
My name is Georg MeyerWiel and I work as an artist and as designer for stage and costume for contemporary dance, ballet, and opera. WHEN AND WHERE DID YOU PARTICIPATE IN THE ERASMUS PROGRAMME? I studied at Folkwang University in Essen, Germany, and participated in the Erasmus programme in 2000.
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»Erasmus
is about trying out something new and literally exploring new horizons.«
HOW DID YOU CHOOSE THE COUNTRY OR SCHOOL YOU ATTENDED? I was not sure which school or even country to choose so I asked peers who already had participated in the programme about their experience and then visited the schools in Barcelona and London. I immediately knew that Barcelona was not an option for me as I did not speak the language, whatsoever. So I applied for the space in London and luckily, I got in. WHAT WAS THE THING THAT STRUCK YOU MOST AT THE TIME WHEN IT COMES TO CULTURAL DIFFERENCES? When you move to a different country no one knows you. It's an ideal situation to try something new as no one expects you to be the way you always have been. In my case, I decided to explore the influences that London had on me – the different styles,
cultures. London is a melting pot of global culture and everything seemed new. It had a tremendous impact on my work and my personal style. DID YOUR ERASMUS EXPERIENCE INSPIRE OR INFLUENCE YOU IN CHOOSING YOUR CAREER PATH? Erasmus changed my career path entirely. I studied Communication Design in Germany, in London I tried Fashion Design during the Erasmus experience and I loved it so much that I stuck to it and ended up doing my Master in Fashion. I never ended up doing
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Communication Design.
TAKE-AWAYS FROM THAT EXPERIENCE?
DO YOU THINK THAT LIVING ABROAD HAS HAD AN IMPACT ON YOUR WORK? IF SO, HOW?
Similar to the concept of Folkwang University, the Royal College of Art supports an insight into interdisciplinary processes to help build a greater understanding for the way that creative disciplines are linked. This has since inspired my approach to art and design.
I never returned to Germany. After the exchange I only came back to my home university to give up my apartment. But I never had the feeling that I had wasted time studying something else before as it ultimately was the foundation for these new studies. This is now almost 18 years ago and I have always lived in London since. HOW DO YOU FEEL ABOUT THE COUNTRY WHERE YOU SPENT YOUR ERASMUS+ TODAY? COULD YOU SEE YOURSELF LIVE THERE AGAIN? I cannot imagine anywhere else!
living
WITH THE ROYAL COLLEGE OF ART YOU GRADUATED FROM A HIGHLY PRESTIGIOUS SCHOOL. WHAT WERE YOUR BIGGEST
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IF YOU COULD PARTICIPATE IN THE ERASMUS PROGRAMME+ AGAIN – WOULD YOU DO IT AND WHERE WOULD YOU GO? I would highly recommend this experience and I would do everything the same way again. It has been a wonderful experience and I am still grateful and excited about the path that Erasmus has enabled me to choose. Erasmus is about trying out something new and literally expanding the horizons.
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Tania MHabimana PLEASE INTRODUCE YOURSELF TO US BRIEFLY. WHO ARE YOU AND WHAT DO YOU DO? I’m Tania Habimana, originally from Rwanda but truely European. I’m Belgian by nationality, but was raised in the UK and ended up living in the Netherlands, Germany, and
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Italy. By profession, I’m a TV presenter and an entrepreneur. I present a television series called Tailored Business about entrepreneurship in Africa and I run a marketing agency called NONZeRO which specialises in purpose-driven marketing. I’m also the founder and spokesperson of a ‘Business of Fashion’ accelerator program called Threads Stitched by Standard Bank.
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language. The city was rather a tough choice – I hesitated for a long time between Mannheim and Konstanz and in the end, the lake and the fact my best friend was going to Konstanz, too, won. WHAT WAS THE THING THAT STRUCK YOU MOST AT THE TIME WHEN IT COMES TO CULTURAL DIFFERENCES?
Konstanz WHEN AND WHERE DID YOU PARTICIPATE IN THE ERASMUS+ PROGRAMME? I participated in Erasmus during my 3rd year of University, in 2008/2009 and I went to the beautiful city of Konstanz, in Germany. HOW DID YOU CHOOSE THE COUNTRY OR SCHOOL YOU ATTENDED? Choosing the country was easy for me. I wanted to learn German, I loved and was utterly fascinated by the
When I first moved to Germany, it made me realize how conservative the UK was, I found Germans to be openminded and curious. If I’m entirely honest though, the most interesting thing was that discovering a new culture taught me more about my own. I learnt that the British sense of humour is quite peculiar and full of self-depracation, which I love but had thought that this was common to all cultures for some reason. In Germany, I also learnt what truly being punctual means. In the first few months, I missed so many busses to school, because when it’s says 12.23, in Germany the bus arrives at 12.23, not 12.22 not 12.24. So
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that sharpened my knowledge of time quite well. DID YOUR ERASMUS+ EXPERIENCE INSPIRE OR INFLUENCE YOU IN CHOOSING YOUR CAREER PATH? I wouldn’t say influenced but it »enhanced«. I’d always wanted to have a global career. Having been raised in 2 countries coupled with my Rwandan origins, I was always culturally curious, I always wanted to discover new things and find out how others do things. In terms of the actual field I’m going in, Erasmus+ did influence me. I was able to confirm that I could be entrepreneurial in any country I would live in. And
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moreover that I would be able to use my cultural diversity to my advantage. YOUR WORK IS NOW MAINLY FOCUSED ON AFRICA. WHEN DID YOU BECOME INTERESTED IN THIS? I’d always had it on my plan it was more a question of finding the right opportunity that would enable to do business and build a life in Africa. And fortunately for me, that opportunity came to me whilst working with Suitsupply. In 2013, I was given the role of Africa Business Development Manager and that’s where the journey began.
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» If
I’m entirely honest though, the most interesting thing was that discovering a new culture taught me more about my own. « COULD YOU TELL US A LITTLE MORE ABOUT TAILORED BUSINESSES – WHERE DID THE IDEA COME FROM AND WHAT DO YOU DO THERE? Tailored Business is an innovative television program that discusses and showcases entrepreneurship and doing business in Africa through the lens of a suit tailor. The suit tailor and aspiring entrepreneur interviews top business people and CEOs whilst fitting them for a suit. The interview format is more like a mentor-mentoree discussion whereby the tailor, an aspiring entrepreneur asks for insights and tips on how to grow a panAfrican business from these high profile CEO’s but also personalities that have gained a name within Africa. The show in Season 1 travels to Nigeria,
Kenya, Ghana, South Africa, Mauritius, Rwanda as well as London & Brussels, where it looks at the African Diaspora influence on the Europe as well as Africa. The idea came from reality. As I was setting up the Suitsupply business in Africa, I came across many challenges which where Africa-specific, I wouldn’t say that there were more challenges than when we’d entered the US or SouthEast Asia market for example, but they were different. And our European head office leadership couldn’t really advise on which actions to take, the people that could however advise were my clients, the ones for whom we were making custom suits. Some of these clients were extremely
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konsta knowledgeable about the African market climate and had personal experiences of their own on several markets. I’d always been interested in media and the portrayal of Africa to the western world, for the longest time I’d wanted to showcase African business excellence and one day, I realized the Tailored Business TV show was the answer.
WHAT ARE YOUR FUTURE GOALS FOR THE PROJECT – HOW WOULD YOU LIKE TO SEE IT DEVELOP? Tailored Business has already developed a lot. Whilst filming we realized that the questions we were trying to answer through the interviews and the show about doing business in Africa, were questions that many others had, so we decided to build the platform tailoredbuisnessinafricam which is a collection of interviews, resources, and practical tips & contacts, SISTER-MAG.COM
designed to help SME’s and start-ups in Africa grow into several markets. In addition to this, Tailored Business gave birth to a wider ambition, the creation of a purpose-driven marketing agency, named Nonzēro, based in Johannesburg. The agency has as a goal to drive enterprise development in Africa, by means of several industry specific projects and through working strategically with entities to create an ecosystem of partners within the corporate, governmental, educational, and thought leadership arena. One of the projects we have just launched is Threads Stitched by Standard Bank, which is an enterprise development campaign designed to uplift the fashion industry. By means of an accelerator program and an eLearning platform, the program will teach existing fashion entrepreneurs based
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in South Africa about the business side of fashion. We partnered with the University Cattolica of Milan to construct the curriculum, and joined forces with some of South Africa’s top business minds in the delivery of the program. DO YOU THINK THAT LIVING ABROAD DURING ERASMUS+ HAS HAD AN IMPACT ON YOUR WORK? IF SO, HOW? Absolutely! I am an advocate of career and educational mobility. Erasmus introduced me to so many cultures and different ways of behaving and thinking but more importantly, it made me adaptable. I am now able to sit in any country and build strong rapports with anyone simply by being able to understand and adapt to cultures quickly. In addition, and I believe this to be one of the best tricks I have: My Erasmus location welcomed such a diversity of people that I have friends literally all over
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the world. This means that 9 times out of 10, when I meet a new person from a different country, I can say at least 1 word in their language, I know someone from their country and in worst case scenario, I know something cultural about the region. And people always respond positively when you try to make an effort to get closer to them. IF YOU COULD PARTICIPATE IN THE ERASMUS+ PROGRAMME AGAIN – WOULD YOU DO IT AND WHERE WOULD YOU GO? Yes, I would and I would go to Greece. In the strangest of fashion, in every city that I’ve lived in, somehow a Greek person has come into my life and become my friend. I believe there’s a special connection between Greece and myself. The culture, the food, and the people resonate with me ever so much, I’d just love to live there and try it out properly.
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The history of writing tools
s d r o K r e d n a Text: Alex
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They are omnipresent and forgotten at the same time: The ballpoint pen and the fountain pen lead a rather sad, shadowy existence in times of digitalisation. Let's take a closer look at the history of these pioneering writing tools.
Already in ancient times, humans knew how to write. Of course, they didn’t have any ink or paper. Instead, they used a tool to write letters in soft clay or wax. Depending on the era, the styluses were made of stone, metal or slate. Downright revolutionary was the equipment the ancient Egyptians used to produce their written documents. On papyrus, a precursor of paper made of plant pulp, they wrote with a kind of brush and, later, with reed. The colour they used for writing was made of soot and tree resin (for black) or ochre (for red). When paper started to spread in Europe in the 11th Century, it opened new possibilities to put writing on it. People used feathers of
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geese or ravens that they dipped into a vessel filled with ink. In 1636, the Nuremberg-based mathematician Daniel Schwenter invented the predecessor of today’s fountain pen because he didn’t like to carry his inkpot with him while travelling. Schwenter put three quills of geese feathers together, and one of it served as a reservoir for the ink. When the construction was used for writing, the ink flowed out of a hole and onto the paper. However, this happened erratically and frequently caused stains on the document. It wasn't until 1883 when this problem was widely eliminated. The development of the fountain pen as we know it today started with a funny anecdote. The New York-
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Lewis Edson Waterman
based insurance agent Lewis Edson Waterman closed a deal with a client and wanted the contract to be signed. However, the fountain pen leaked and left an ugly stain on the document. While Waterman got a new pen, the potential client went to the competition. The same evening, Waterman started to develop the fountain pen. Its centrepiece was an ink feeder made of hard rubber that lead the ink from the inside of the pen to the tip in a consistent manner. The operating principle is based on the capillary action that makes a liquid flow up a narrow tube, contrary to gravity. In 1884, Waterman founded his self-titled company that has been producing fountain pens until today. In
Waterman’s invention, as well as in the products of numerous competitors, the ink was in the cavity of the pen. Only in 1927 was the ink cartridge invented, which significantly simplified the filling process. Until 1953, the cartridge was made of glass; then plastic came in use as a material. As practical as the fountain pen might be, its
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supply of ink is quite limited. That’s why researchers and inventors soon started to think about a pen that could store a lot more ink. It took the Hungarian László Bíró 18 years until he came up with his alternative, which was patented in 1938. Translated from Hungarian, his construction was called »paste-like ink and corresponding filling pen«. In the patent application he proposed in the USA some weeks later, Bíró named it »Fountain Pen for Pulpy Ink.« Bíró’s idea was to fill a pen with a special ink mixture. It contained both solid and liquid particles; while the liquid ink was absorbed by the paper, the solid ink remained on the surface. The mixture that was in a long and thin tube was distributed with a small, rotating ball. The ballpoint pen was born. The writing tool owed its breakthrough to the Briton Henry George Martin. He recognised that Bíró’s pen was perfect to
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be used in a plane because the ink didn’t leak or spill at such heights. Martin bought the patent rights from Bíró, and in 1944 he opened the world’s first factory for ballpoint pens in Reading. Although countless other companies started producing the pens as well – the biggest one of them today is the French company
Translated from Hungarian, his construction was called »paste-like ink and corresponding filling pen;« BIC – the product is connected to its inventor until today. In some countries like Great Britain, Italy
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and Australia, the ballpoint pen is commonly called »biro.« In Argentina, where Bíró died in 1985, his birthday – September 29th – is celebrated as »Inventor’s Day.« Today, only a few of us regularly hold a ballpoint pen or even a fountain pen in our hands. Digitalisation has progressed to a point that made keyboards and touchscreens the quintissential tools of writing. Even if we just want to note something quickly, we do it on a smartphone and not a piece of paper. In German schools, pupils still learn how to write with a fountain pen, but the question is: How much longer? In the USA, for example, handwriting is only taught in first grade and then replaced by writing on a keyboard. Maybe we should grab a fountain
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pen every once in a while and conjure some beautiful letters on paper. Just for the fun of it.
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Alexander Kords owns dozens of ballpoint pens and fountain pens but still likes to write with keyboard and touchscreen.
SISTERMAG 32 | 12 / 2017
blue is not a warm colour HOW THE COLOUR MOOD OF SERIES AND FILMS AFFECTS WHAT WE FEEL
Text: Lia Haubner
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Blue creates distance, yellow brings good luck: The colour mood of a story is as important for producers of films and series as the soundtrack. We often only marginally perceive which feelings they trigger. »Dark«, »Stranger Things« and »Grand Budapest Hotel« show how colours tell unspoken things.
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We feel what we see. But that’s not all – it’s about how we see it. Those who watch »DARK«, the first German series on Netflix (released on December 1st), get goosebumps from the first second – even though the world of the small town of Winden is not immediately dark and spooky. Quite the contrary, We are in single-family houses, a normal school, and a forest with the potential to be quite picturesque. But there is one particular detail that’s missing: rich colours. Even the typical yellow of rain jackets is just a weak spot of colour in the greying scenery of »DARK«. We sense from the beginning that something is coming. The ideal world of the first minutes is everything but stable. It’s as if a big »Caution!« would float over the events to warn us that we must be careful.
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Blue creates distance, yellow provides for a positive atmosphere
Colours determine series and films as intensively as the soundtrack. The high proportion of blue and grey in »DARK« that is present in all episodes seems cold. It holds us at a distance. This causes tension because we can feel that something’s going to happen – but not when and, most of all, to whom. If yellow is predominant on the screen, we perceive something completely different: The story is characterised by lightness and positivity. We have this feeling instinctively, even before something happens. If you have watched »UNBREAKABLE KIMMY SCHMIDT« on Netflix, you immediately know that she will smile – despite all circumstances. First of all, this is caused by her
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outfit, as the CULTURE EDITOR TODD VANDERWERFF explains on the YouTube channeL of the magazine Vox. Compared to the other actors in a scene, she is clearly visible with her shocking pink trousers and the yellow cardigan. In contrast to that, her first boss, Jacqueline Voorhees, is dressed in a reserved way and lives in a house full of reserved colours. Her world is supposed to feel like the beige she’s wearing.
Pink? Clearly stands for »Grand Budapest Hotel« Producers of series and films use our environmental perception. To a large extent, society defines which colours stand for which meanings. Red attracts attention and seems unambiguous. It’s obvious what we have to do at a
stop sign and traffic lights. That’s how it’s determined which feelings we associate with which colours. The temperature and intensity of a scene in our favourite films or series can intensify that – or shake it up with calculated contrasts.
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It’s about passion, power, and a journey through time
No one masters this art like the director WES ANDERSON. The well-planned colour schemes of his films not only let us recognize immediately who made them but also which title it is. Pink? »GRAND BUDAPEST HOTEL«. Turquoise and red? »DARJEELING LIMITED«. Yellow inspired by the 70s? »MOONRISE KINGDOM«, obviously. The visual imagery of his films fills Instagram accounts and Tumblr. One of the most well-known ones might be »Wes Anderson Color Palettes«, which precisely breaks down the colours of single scenes of his films. There are also recurring issues that show certain life situations and relations within the
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family. The UAmerican journalist Vaughn Vreeland has analysed the relationship between Wes Anderson’s colour themes and social structure and status . For example, there often is a conflict-laden father-son relationship at the centre. The director emphasises it with the colour red. It plays a recurring role in the lives of all characters who struggle with it: In »THE LIFE AQUATIC WITH STEVE ZISSOU«, the documentary filmmaker Zissou (Bill Murray) and many men from his crew wear red caps. Chas Tenenbaum (Ben Stiller) and his sons Ari and Uzi wear red Adidas tracksuits. And in
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Red is a colour of longing but also of power!
»DARJEELING LIMITED«, a red car is the connecting element between the sons and their deceased father. Here, red is a colour of longing but also of power, Vreeland explains. Colours silently are the leading actors in films and series. They cause feelings – not only in direct comparison to our familiar surroundings, of course – that make the events on the screen so magical. Colour
They cause feelings, and not only in direct comparison to our familiar surroundings.
references to films and series we associate with a certain time work perfectly. Those who watch »STRANGER THINGS« and »MAD MEN« get some free time travel on top. The stories from a bygone time feel real because colours make it happen.
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f t o h y e r to B
lues
They were African slaves that had to toil on the cotton fields in the American South, far from their homeland. To make this torture more bearable, they began to sing work songs which told of their enduring pain, poverty and oppression. These should be the first songs of a new music genre: the Blues. Our little history sketches the development of the melancholic genre.
Illustrations: Adelina Lirius Text: Barbara Eichhammer
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A lead singer gave a verse and a chorus answered or repeated the lines.
ON THE COTTON FILEDS The Blues developed as a mixture of African, European and partly Caribbean music traditions during the 19th century. To make their toil more bearable, the field slaves began to sing field hollers or so-called worksongs, whose rhythm was influenced by the monotonous sequence of identical movements on the cotton fields. Characteristic of these songs was a musical antiphony according to the call and response principle: While one singer was chanting a verse, a choir responded to or repeated the respective lines. With
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these early predecessors of the Blues, the slaves came to terms with their hard fate, which was marked by poverty and privations, even long after the end of the American civil war in 1865 and, thus, slavery. The roots of the Blues date back to old African folk music or Carribean bĂŠlĂŠ dances, which were common at Haitian funeral rites. With these wistful songs, slaves reminded themselves of their old homelands in Africa. It
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is this generally sad mood that also gave the musical genre its telling name: For whoever feels blue in English is depressed or sad. For the field workers, the music was a means of expressing their social experiences and meant a symbolic freedom: While singing, they could escape from their hardship for a short period of time. The Blues songs provided them with a cultural identity, even if or because white landowners despised the wistful music. Interestingly, it was not only sad songs that resulted from the work songs: The rather optimistic negro spiritual and gospel song also developed from those field hollers, which tell of biblical content, faith and hope.
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JUKE JOINTS & WASH BOARDS After the end of the American Civil War in 1865, the standard of living of the former slaves improved only gradually: Even if they did no longer have to work without pay on the cotton fields, they just earned little money. The common Blues instruments still testify to its humble beginnings and the
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fate of the workers, for only few had enough money to purchase a musical instrument. It was rather down to inventive talent: With converted washboards, used harmonicas and empty cigar boxes (which they used as sound boxes for guitars), the Blues musicians created their unforgettable melodies. Based on simple worksongs, they developed popular music. More and more Blues bands came into being. Rural barns served as concert halls. This early blues music
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grew all the more popular at the beginning of the 20th century and became known for its place of origin, the Mississippi delta, as Delta blues. Thus, after the civil war, the former collective musical practice turned into a soloistic form of expression and entertainment music. Many Blues musicians like Robert JOHNSON and CHARLIE PATTON began to move from town to town with their guitar. They played as buskers on the streets or in the popular juke joints, small bars for solely African Americans, where they served alcohol, dance music, food and sometimes even gambling or prostitution. For their performance, they often enough received just a meal.
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THE ROARING TWENTIES & THE COMMERCIAL MUSIC MARKET While the word »BLUES« became part of everyday language use around 1910, the music also became more and more popular. Afro-American musician and composer W. C. HANDY (who even called himself »father of the Blues«) contributed to its popularity to a great extent. His »MEMPHIS BLUES« (1912) is considered to be the first printed Blues piece ever and, together with his legendary »ST. LOUIS BLUES« (1914), introduced the new musical genre to a wider audience. Its popularity soared
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with the commercial marketing by record companies; especially from 1922 onwards, by so-called race records, i.e. Black music records that were solely produced for the AfroAmerican population. It was pianist MAMIE SMITH who lay the foundation of this success when she landed an instant world hit with the first sung Blues title »CRAZY BLUES.« It only took her one month to sell more than 75,000 records and it was this one record by the label OKeh Records that helped to establish a whole new branch of the American music industry: Black Music. From then on, more and more Blues pieces were recorded; at first jazz songs in the Vaudeville
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style, sung by black musicians such as GERTRUDE RAINEY, BESSIE SMITH, and ALBERTA HUNTER. While developing a commercial Blues music industry, it was also the musical form that became standardized with its twelve beats. Interestingly, the Blues served as one of the most significant sources of inspiration for Jazz, which had its pinnacle during the Roaring Twenties with wellknown artists such as LOUIS ARMSTRONG and JIMMY HARRISON. From the 1940s onwards, more and more radio stations aired Blues music, so that a wider audience became acquainted with it.
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CHICAGO BLUES Although the Blues originated from the South of the US, especially the Mississippi Delta, soon new, urban forms of the music genre emerged. In the wake of industrialisation, more and more African American workers moved from the South to the industrial cities of the North, particularly to Detroit and Chicago. The city on Lake Michigan was bursting at its seams, due to the rapid increase in population: With its noise and rush, the hustle and bustle of city life defined the rhythm of urban Blues from now on. BIG BILL BROONZY or LITTLE WALTER rose to be crowd-pleasers in the Chicago Clubs. Black music was gradually accepted by
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a white audience. The years after World War II were the heyday of Chicago Blues: Between 1947 and 1957, Blues musicians such as MUDDY WATERS, HOWLIN' WOLF or WILLIE DIXON discovered the electric guitar. The new electrified sound soon became characteristic of the windy city blues. In 1954, such classics as Willie Dixon‘s »HOOCHIE COOCHIE MAN« were written, which several icons of rock music, like The Rolling Stones or Eric Clapton, interpreted anew. Until today, the Blues has significantly influenced the music world: It was not only forerunner for Soul, Funk and Rock’n’Roll, but also led to R’n’B. Popular musicians and bands like THE DOORS, LED ZEPPELIN, or JIMI HENDRIX were inspired by acoustic and electric Blues. Its distinctive sound, which originated from the distant cotton fields of the South.
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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
Christina Rücker, Vera Schönfeld, Sophie Siekmann, Franziska Winterling
Fashion
Eva-Maria Neubauer (Fashion Dir.)
Design
Theresa Neubauer (Art Dir.), Marie Darme, Salome Dorner, Lale Tütüncübaşı, Songie Yoon
Illustration
Emma Block, Adelinia Lirius, sisterMAG Team
Contributing Editors (Text) Robert Eberhardt, Barbara Eichhammer, Lia Haubner, Nuna Hausmann, Martina Klaric, Alexander Kords, Catrin Linderkamp , Christian Näthler, Dr. Michael Neubauer, Julia Schattauer, sisterMAG Team Contributing Editors (Photo)
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Ira Häussler
Video Translation Final Proof
Lale Tütüncübaşı Sabrina Bäcker, Ira Häussler, Alexander Kords, Christian Naethler, Tanja Timmer Stefanie Kiessling, Alexander Kords, Christian Naethler, Dr. Michael Neubauer
Published 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.), Anna Gnörich
N E X T SE CT I O N
2 0 18 For sisterMAG 2017 was colorful like never before. We headlined all of our favorite colors: sky blue, flamingo pink, canarian yellow or elephant grey. But also 2018 will become a very special year with a new visual and editorial main theme, which is socio-historical, socialcultural and media scientifical helded in highest esteem. What we are talking about? G E T SUR P R ISE D!
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