Nov/Dec 2011 English Issue
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NEXT ISSUE January 2012
w ww. super i o r- mag .c o m
Editorial Dear SUPERIOR readers, There’s a popular saying in Germany that all good things come in threes. In this spirit, as well as our home page and print magazine, we are now proud to present SUPERIOR MAGAZINE online. Updated bi-monthly, it will feature photography, film and text in sections titled TALENTS, VIS-AVIS, ART & DESIGN and COMMITMENT. We also wanted to look into what most people think of when they hear the words “green fashion”. Exciting, glamorous design? No? They do! At least, we did, when we put our idea for the Green Fashion editorial to Magdalena Schaffrin of GREENshowroom and Fredericke Winkler of Beyond Berlin.The tenor of the article is that fair and sustainable fashion is becoming increasingly glamorous and luxurious. For it, we chose the very fitting location of the luxury design hotel Das Stue, which is still under construction. And because we think the subject of green fashion merits ongoing attention, we created the SUPERIOR GREEN section of SUPERIOR MAGAZINE online, featuring background information and visuals on this interesting and important subject. Have fun browsing and reading! Best wishes, Tom, Marc and the SUPERIOR team
Content
Day by day Tino Cris贸 p.50
Fashion Victims Katrin Thomas p.72
Common Delusions & Urban Classics Marc Huth p.14
Interview with btk p.60
Ambassador of Luxury Marc Huth & Bastian Achard p.80
Caixa Christoph K枚stlin p.24
Interview with Katrin Thomas p.66 Trapped Spirit Ines Schult p.38
Labels we like p.90
Cover Photographer: Bastian Achard Styling: Agnes Friedrich Make-up & Hair: Agnieszka Schillert Model: Eugen @ SEEDS All clothes: Esther Perbandt
OPENING 2012
Das Stue · Hotel Berlin Tiergarten Drakestrasse 1 · 10787 Berlin · Germany · +49 30 311 722-0 · www.das-stue.com · stay@das-stue.com Pre Opening Office: Genthiner Strasse 48 · 10785 Berlin
Content
Beautiful Johanna Brinckmann p.106 Interview with Esmod p.92
Interview with Victor Clear p.116 Vienna night story Bastian Jung p.94
Interview with Torsten Warmuth p.118 Revolt Esteban p.102
Freddy Reitz p.128
PROTECT! MICHALSKY for WWF p.130
Imprint p.132
Contribution & Submission FREE we tranfser - channel http://www.superior.wetransfer.com We are happy to receive submissions ‘connected to fashion’ by photographers, film-makers, stylists, make-up & hair artists, models, artists and authors.
Common Delusions
& Urban Classics Designers Von Bardonitz and shoemakers ZEHA Berlin both transport historical elements into today’s zeitgeist, resulting in a symbiosis of straightforward stylistic confidence with androgynous looks. The URBAN CLASSIC collection by ZEHA Berlin features traditional men’s styles reinterpreted with modern cuts for either him or her. Similarly, the typical Bardonitz design has a strong element of sexual ambiguity. For the current autumn/fall collection COMMON DELUSIONS, the designer opted for Derby cuts and Chelsea boots from ZEHA Berlin’s URBAN CLASSIC collection. Photographer Marc Huth Assistant Bastian Achard Models Maximilian @ DOPAMIN Christien @ McFit Models Make-up & Hair Nicole Constanze Murek Clothes von Bardonitz Shoes ZEHA Berlin
Clothes: von Bardonitz Shoes: ZEHA Berlin
Clothes: von Bardonitz Shoes: ZEHA Berlin
Clothes: von Bardonitz Shoes: ZEHA Berlin
Clothes: von Bardonitz Shoes: ZEHA Berlin
Clothes: von Bardonitz Shoes: ZEHA Berlin
Clothes: von Bardonitz
Clothes: von Bardonitz Shoes: ZEHA Berlin
Photography by: CHRISTOPH KÖSTLIN
Shirt: el Colmillo de Morsa pants: Burberry Prorsum shoes: Surface to Air
jacket: Henrik Vibskov turtle neck: Bottega Veneta pants: Silent Damir Doma
Total look: DIOR
jacket: Lanvin pants: A.P.C. hat: Dior
jumpsuit: el colmillo de Morsa
jumpsuit el colmillo de Morsa
Shirt: Gori de Palma pants: Burberry Prorsum turtle neck: Bottega Veneta
Photography by: CHRISTOPH KÖSTLIN
Styling by: ivona yvon Hair & Make up by: júnior queirós w/ rituals cosmetics Model: joan @ traffic models Production assistant: sergio arcera
sweater: Surface to Air pants: Hugo Boss sunglasses: Adrian Mustelin Spectacles
Trapped Spirit Ines Schult talks about making the photo series “Trapped Spirit”: “The series was created together with photographer Lukasz Wolejko-Wolejszo, who I already knew from other productions in Berlin. Our first production together was for the Berlin fashion label Mila Miyahara.After those 15 hours’ work together we knew that we made a great team. From that point on we worked on commissions and independent jobs together and we also get on very well outside of work. That is one of the reasons why I made this series with him. To mark my two-year anniversary as an independent make-up artist in October, I showed twelve works from four different series as part of an exhibition. At the same time, I took the opportunity to thank all those who had been there throughout my career, supporting me and encouraging me to achieve my aims.
We met in Berlin so it was important to us to include a part of Berlin in the shoot. Black always has an element of gloom and darkness, which made us think of doomed spirits.Then we came up with the location, which was a former women’s prison in Moabit, Berlin, now a commemorative site. Our series is set in what used to be a cell, where there was so much suffering, portrayed by our model Lena Fishman in the role of a trapped spirit, one of the prison’s inmates. The psychedelic editing of the short film underscored the concept, as do the clothes by f.rau, who is a client and friend of ours. The colours and styles of her designs suited the concept well.”
These last two years I have worked in fashion and beauty. That’s why I wanted to show specifically those subjects in my exhibition: from Fashion to Beauty - from bright to black. That’s where the name of the event came from: “kunterbunt bis schwarz” (“multi-coloured to black”). It was a very personal exhibition for me, which is why I wanted to do it with the other photographers Camilla Camaglia, Florian Schmidt and Lukasz Wolejko-Wolejszo. Because I think very highly of their work, the way they work and above all of them personally. I knew I wanted to produce the fashion series with Lukasz because he is well established in the fashion world. Together we came up with the “black” theme.
Make-up & Hair: Ines Schult Photographer: Lukasz Wolejko-Wolejszo Model: Lena Fishmann at M4 Designer: f.rau Hair Assistant: Caroline Smoch
Day by day
Photographer: Tino Cris贸 Styling: Leonard Engel Assistance: Fito Cano Model: Chris Kightley
Shirt: Scotch&Soda Ring: Tiffany Trousers: Moschino Shoes: Zara Men
Shirt: Lanvin Scarf: Dries van Noten
Shirt: Suite Watch: Vintage Trousers: ck Braces: Robert Geller
Shirt: Scotch & Soda Ring: Tiffany Belt: Gucci Trousers: Moschino
Shirt: Strenesse Tie: Boss Belt: Ludwig Reiter Trousers: Givenchy Shoes: Budapester Sun glasses: Ray Ban
Shirt: Strenesse Tie: Boss Belt: Ludwig Reiter Trousers: Givenchy
Bow-tie: Herr von Eden Shirt: Eterna Jacket: D&G
Shirt: Diesel Shorts: Armani
Photo: Marc Huth
„Most applicants want to become artists, travel photographers or fashion photographers.“ Interview with Berliner Technische Kunsthochschule (btk) University of applied sciences
The use of digital media has profoundly changed the way photographers work today. All sorts of technical possibilities exist to make the life and work of professional photographers easier. But these go hand in hand with more pressure to perform and greater competition. It is, then, all the more important to have completed a sound, practice-oriented, broad course of training in order to make it in the profession. The private applied arts college Berliner Technische Kunsthochschule (btk) has proven to be a good springboard into a career in photography. An offshoot of the design academy Berliner Technische Kunstschule, it was founded in spring 2006 on Potsdamer Platz and is part of the association of applied art colleges Verbund Technischer Kunstschulen, one of the largest and oldest private education networks for design in Germany.
With courses comprising Motion Design, Interaction Design, Photography, Communication Design, Illustration and Communication Management, the btk is devoted entirely to the fields of media and communication. All courses work towards the Bachelor of Arts. Graduates are well-equipped to apply for a broad range of design positions such as Art Director, Motion Designer, 3D Artist,TV Designer, Interface Designer,Web Designer, Picture Editor, Multimedia Designer and Advertising Director, to name just some. The school’s most recently launched course, the Bachelor of Arts in Photography, is only a year old and hugely popular. To find out more about the Photography course at the btk, Superior Magazine talked to college principal Prof. Matthias Leupold, lecturers Prof. Andrej Glusgold and Prof. Katrin Thomas and Carsten Bäumler, head of course guidance.
Photo: Marc Huth
Why did you start your own B.A. in Photography? Leupold: We began the course explicitly for Photography (B.A.) in October 2010. But photography has been an important feature here – in six classes of the Motion Design course – since 2006.A B.A. in Photography may not be strictly necessary but its usefulness is growing with the Bologna Process and it helps students to have an internationally compatible qualification. Glusgold: Compatibility and openness are certainly important, especially for foreign students – we have students from 26 countries. But there are also disadvantages. Compared to my own studies, the current Bachelor system is much more school-ish and the students have less space to work in their own time on finding their own pictures and on larger-scale series.There are no tutorials any more so the students don’t benefit from the long-term guidance of one lecturer, which would be best for their development. What is special about the Photography course at the btk? Leupold: Both artistic and theoretical principles are strongly represented in the course. We offer classes in Philosophy, Design and Media Theory, His-
tory of Photography and Film Sciences. In our studio, students can explore the artistic foundations of photography – painting and illustration. A broad education is very important to us. People studying Photography at the btk are studying it combined with the other aspects of Design, so to speak, such as Communication Design, Motion Design and Interactive Design. Every student has to take two modules from parallel Design courses. That is important in our view for the student’s later career. Because there are droves of photographers out there and it is very likely that they will have to earn their money in other fields. Sound specialist training is one pillar, work experience abroad is another. Is this a priority at the btk? Leupold: The btk has existed for five years; it takes longer than that to develop the partnerships you need for international cooperation. But we do have a cooperation agreement with Bezazel, the best known design school in Israel, for example. However, it’s not that simple to send the students there because you need to speak Hebrew.The other way round is easier; we regularly have students coming here from over there. Then we have agreements with a school in Istanbul, the Mimar Sinan Güzel Sanatlar Üniversitesi, with the Novia University of Applied Sciences in Vaasa, Finland, and a new co-
operation agreement is just being developed with the University of Fine Arts in Hanoi. The latter is particularly interesting for our students because the culture there is so different. Last but not least, we always have guests from other schools here.
forehand. A Masters course would be especially interesting for students from other colleges in Germany and abroad because it is a definite advantage to have visited various colleges in the course of one’s training.
Glusgold: In May 2011 we went to Moscow to visit the Rodchenko Moscow School of Photography and Multimedia with an eye to establishing ongoing exchange and cooperation.The success of partnerships like this, however, depends very much on the commitment of the cooperating institution and the personal effort of the people who teach there.
Professor Leupold, the subject you teach is ‘artistic photography and digital visual media’. How important is the subject digital media? Will digital media eventually take the place of analogue photography? Leupold: It’s impossible to say whether it would be such a final thing, like the invention of photography displacing realistically painted portraits. But after an initial period where everybody wanted to convert to digital, now there are lots of young people who are working with analogue media again. In terms of market shares, probably 95% of photos are taken digitally but anyone who is serious about the medium will always have a film in the fridge. Thomas: One of the fundamental changes that digital technology has brought is the direct, immediate visibility of the picture which has just been taken. Because of this, people’s approach has changed and they often break off the process of developing a picture ‘too soon’. We try to encourage students to take photos again and again using digital media in an ‘analogue’ way.That means getting to a picture as part of a process, using digital checks only in the same way as a Polaroid – en route to the final picture. It’s important to firstly gain an understanding of the picture, how a picture is made, how to actually see.
Photo: Madelaine Grambow
Does the btk plan to offer a Masters course in Photography in the future? Leupold: It’s a lot of work, designing and accrediting a Masters course. So we will definitely find out how much demand there actually is for one be-
Leupold: Henri Cartier-Bresson described it aptly as having a presentiment of when a picture is about to arise.Your finger has to move before the actual picture is there; you have to photograph into the picture, so to speak. Photographers only really experience this with analogue films. But of course you have to judge each time which technique is better suited in which situation; you can’t say generally speaking which is better or worse.
Photo: Hannes Albert
Photo: Wiebke Mรถrig
Photo: Karen Steinebronn
Photo: Bastian Achard
Photo: Constantin Gerlach
What role does Fashion Photography play at the btk? Glusgold: Many of our lecturers come from the interface between art and applied photography. We do commissions for the advertising industry and newspapers as well as independent projects for exhibitions. The boundaries between fashion and art photography have become more blurred. You often see fashion photos in galleries as well as fashion shoots by artists such as Alec Soth in fashion magazines.
professionals in fashion photography to the school. You learn most from people who are working and active in the field. We also visit photographers in their studios so that the students can meet people who have really made it; potential role models.That not only broadens their horizons, it is also an incentive. Because photography is now an artistic career; in other words, it has become just as hard to live off it as it is to live off acting or writing. Photography used to be much more associated with craft.You had to be able to master this craft, which put a lot of people off. Today everybody has a digital camera and the technical aspect has become insignificant.That’s why so many people are attracted to photography. But ultimately only a few can succeed, because there is less rather more demand for photographers. For instance, the editorial market is shrinking because more and more happens on the internet. And photographers are paid less because clients spend less on advertising, which also limits the scope for editorials. On top of that, fashion films are gaining importance. Leupold: And that takes us back to the beginning of our conversation. A broad and sound education is the best that we can give our students to launch them into a career. Interviewv :Tom Felber
Photo: Mirko Kraeft
Leupold: There is no particular weighting at the btk as there is at some other colleges. Most applicants want to become either artists, travel photographers or fashion photographers. Glusgold: Yes, fashion is really very popular. Alongside travel and art photography, it’s the no. 1 career choice, at least for new students. We often invite
Photo: Christiane Meyer
Photo: Eric Berg
Photo: Martina Trommer
Photo: Thomas Sch채fer
Photo: Marcel Maffei
Developments in fashion imagery an interview with Katrin Thomas
From winter semester 2011-12, Katrin Thomas is holding classes in “artistic photography, fashion and portrait photography and digital image composition” at the Berlin University of applied sciences Berliner Technische Kunsthochschule (btk). Superior Magazine talked to her about how fashion imagery and its presentation are changing.
How did you get into fashion photography? I’ve always been fascinated by fashion and fashion photography, even as a child and, back then, the way it depicted a beautiful, perfect world. In the ‘80s I started to get interested in how images and scenes are created in the fashion world, and later I developed a critical perspective on it too, which I was able to translate into work in the editorial sphere – via the platform of magazines – as well as in an artistic context. I’m interested in playing with the concept
of beauty and manipulation, in looking critically at the manipulation techniques used in commercial and fashion photography. This is the vein I did the work “NOVIEW” in in 2001, with a hypnotist who tried to cancel out images used by the cosmetics and fashion industries and what they were intended to suggest to the public. You have lived in several fashion cities. Which one has inspired you most in your work?
At the time, New York was a huge inspiration to me. But there was a time in the mid ‘90s when I kept thinking about moving to London. I often had the feeling of being ‘alone’ with my work. It seemed that my photographs were too European for the American market and too American for the Europeans. How has the way fashion is presented changed in recent years? Fashion photography is increasingly placed on a footing with contemporary art, opening up more and more interesting opportunities for creativity. The subjects are changing; intellectual and artistic subjects are becoming more of a priority. Social and cultural issues are dealt with more. Thanks to the growing acceptance of fashion photography in the independent art scene, more artists are wor-
king in this field and the forum of good magazines supports this. Digital image processing and the internet – the immediate exchange of information – create entirely new parameters for different kinds of pictures and stories. And moving pictures are becoming more important. Of course, every era has its major role models; right now the number of artistic photographers working in fashion photography seems to be soaring. Are their differences, in your opinion, in how fashion is presented in different cities? Because fashion is more and more an expression of the international zeitgeist, and becoming more and more homogenous via the internet, the differences are negligible. London used to have a certain look which, if it was shown photographically in
New York, often looked more commercial. France and Italy were often softer and more romantic in approach. Fashion photographers see all fashion photography in the context of its time, and even of TOMORROW, and work internationally. It’s the magazines which have different visual approaches to suit their target groups. But every city is probably an inspiration at different times in its own way. What does the future hold in the field of fashion imagery? Fashion films are becoming more important; magazines invest large sums in their websites and save on editorial fashion stories. Fashion is shifting more and more to the internet, where collections are shown without time lapse and increasingly often as
moving pictures. Nick Knight’s SHOWSTUDIO. COM would be an example but, generally speaking, the fashion film is a relatively new medium and still very open to development. Interview:Tom Felber
Pho
Fashion Victims
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18 . – 2 0 . January 2012 HOTEL ADLON, BERLIN
Showrooms 18. – 20. January 2012 10.00 – 20.00 professionals only
Salonshow 19. January 2012
15:30 Uhr, by invitation only
Shop
18. – 20. January 2012
10.00 – 20.00 open to public
Ambassador of Luxury Photographer: Marc Huth, Bastian Achard Styling: Agnes Friedrich Make-up & Hair: Agnieszka Schillert Model: Eugen @ SEEDS , Nelly Marie Bojahr @ Modelfabrik Special thanks to hotel Das Stue, Berlin
Behind the scenes video
Dress: ASANDRI Bracelet: RoyalBLUSH
Dress: ASANDRI Bracelet: RoyalBLUSH
All clothes: Esther Perbandt
Trench coat:Kaska Hass Trousers: Esther Perbandt Shirt: Esther Perbandt Shoes: ALINASCHUERFELD
All clothes: ASANDRI Belt: RoyalBLUSH Shoes: ALINASCHUERFELD
Dress: Kaska Hass
All clothes: Esther Perbandt Shoes: ALINASCHUERFELD
Dress: ASANDRI
Trench coat: Kaska Hass Shirt: Esther Perbandt
ALINASCHUERFELD
banuq by Atelier Awash
seasons which, interestingly, were often - especially in Japan worn by men as well. The evolution of the brand direction to transform parts of the collection into unisex styles is therefore a natural move, and one expected by buyers and customers alike. [more] HANNA felting
Authentic luxury: shoes and bags of ALINASCHUERFELD stands for luxury discretion that smoothly transition between zeitgeist and timelessness -dandified and salonesque which appeals to both female and male libertines, creative folks, doers, and style lovers. Today’s gentlewomen and gentlemen. - [more] ASANDRI
ASANDRI represents a luxurious and sophisticated lifestyle for a woman who knows who she is and what she wants. The collection includes easy traveller wear, business looks and also outfits for the beach. Our European fabrics and manufacturing guarantee the highest standards of quality, fit and comfort.With a focus on sustainability. - [more]
banuq by Atelier Awash is a limited edition men fashion label, made in Italy, mixing the concepts of timeless and contemporary garments. Inspired by the lifestyle of contemporary travellers and people on the-move each garment demonstrates a relaxed yet elegant approach to fashion. banuq by Atelier Awash‘s philosophy embodies a strong commitment to making a positive impact on environment and society. - [more] ESTHER PERBANDT
HANNA felting supports Slow Fashion and the use of local raw natural fabrics innovatively in design.The freshness and quality of each HANNA felting item is derived from the designer’s unique way of processing Icelandic lamb’s wool, straight from the free-grazing sheep in the mountains and fjords of Iceland. [more] ica watermelon
Esther Perbandt creates clothes for strong personalities, irrespective of their gender. Womenonly collections were designed and produced during past
ica watermelon combines the concept of sustainability with high fashion. The subject of nature and environment plays a central role and is conceptually translated into garments.Traditional handicraft - especially handmade knitting and crochet - is a consistent feature of the collections. - [more]
Since 2006 Jana Keller creates as RoyalBLUSH leather accessories with a conscience.These innovative statement pieces – jewellery and bags – are produced in Germany with vegetable tanned Italian calf leather as well as organic salmon. - [more] STAT
kex-spitzenkultur by Anita Keckeis
Unaffected by short-life trends dictating the world of fashion, the Berlin based label STUDIO ECOCENTRIC creates its timeless „Für immer“ collection. The feminine classics are new interpretations of handpicked originals from the 30s to the 70s, made with special attention to extraordinary details, such as Vintage buttons and buckles. From conviction STUDIO ECOCENTRIC exclusively uses finest eco friendly materials. The garment collection and accessories are made by small German manufactures with focus on high quality. - [more] twosquaremeter
Kex Accessories by Anita Keckeis are textile jewels - after my hand crafted designs - of timeless beauty. Every single scarf, collier and belt is produced in a limited edition of no more than 98 items. No mass product, no clearance sales – kex will keep its exclusiveness and timeless value. - [more] RoyalBLUSH
The story of STAT began in NYC, where designers Lenny Leleu and Ingrid MT Meyer first met during an internship at Daryl K, but takes a leap when they meet again in Antwerp. Both designers felt inclined to create a conscious fashion label that persuades with minimalists cuts and sensuous fabrics. - [more] STUDIO ECOCENTRIC
The aesthetic harmony of twosqaremeter‘s collection is a result of the combination of lovely colors, flattering textiles and great cuts, from the initial design to the exceptional workmanship. twosquaremeter is continuously developing innovative biological yarn from seacell (seaweed) fibers and milk protein fibers as well as new bio-color compositions. And, twosquaremeter only produces in countries that comply with ethical standards. [more]
Masters of sustainability Green fashion is increasingly an important feature of the Berlin fashion scene, represented by projects such as the GREENshowroom at Berlin Fashion Week and agencies like Beyond Berlin, focusing on sustainable and ethical fashion. In October, Berlin took another step towards more sustainability and higher ethical standards in fashion when the international Masters Degree in Sustainability in Fashion was introduced at the ESMOD BERLIN International School of Fashion.To mark the launch of the Masters course,Tom Felber of Superior Magazine met ESMOD BERLIN principal Silvia Kadolsky and head of the Masters course Friederike von Wedel-Parlow. What makes fashion sustainable? Kadolsky: Basically, there are three aspects. It has to be ecologically produced. That means that, for example, the environment and fabrics are protected by the avoidance of pesticides and minimal use of chemicals.The second is the ethical aspect; meeting social standards by, for example, guaranteeing fair wages and humane working conditions. And last but not least, fashion is only really sustainable if it works economically. The crucial thing here, as always in fashion, is good design. von Wedel-Parlow: That is an important point, because good design and durability not only influence buying decisions, they also save resources. Really sustainable fashion has to take the entire textile cycle into account. How the clothes are going to be recycled has to be considered right at the start of the production stage. With an intelligent choice of components and a well-tuned reclaim system, waste can be minimized and the environment protected. The ‘cradle to cradle’ principle is becoming more and more of a priority. How can consumers be sure that they are buying genuinely ecologically and ethically sound clothing? von Wedel-Parlow: There are high-standard certification systems. G.O.T.S., for example, monitors every stage of the clothing production process. Fairtrade is one of the best known certification marks assuring that social standards are met. Consumers can
be sure that garments carrying marks like these are of a high sustainable standard. Kadolsky: The procedure for getting certification, however, is not only positive. The inspection it requires is expensive. Young designers, in particular, who are highly motivated about sustainability and do pioneering work, can hardly afford to get certification.Without the right certification mark, these labels have difficulties with the buyers of certain shops and their customers, because they want to see the certification. A lot still has to be done here. How could this be solved? Kadolsky: There’s no easy answer, I’m sure. But G.O.T.S. could, for example, create a subsidiary for young companies which work sustainably and offer them certification at a reduced fee. von Wedel-Parlow: I think that would be a good thing too. And major companies which produce occasional sustainable collections should get them certified. They don’t have to worry so much about the cost. That way the big and small companies could share the costs. But apart from the finance argument, a lot of large companies are still dragging their feet because they don’t want people looking over their shoulders, although customers actually want more transparency.
Is the sustainability issue also a question of marketing? Kadolsky: Definitely. Lots of consumers still have all sorts of clichés in their heads and think of the notorious jute sack when they hear the words sustainable fashion.The fact that this no longer has to be the case is proven by designers like Stella McCartney and Peter Ingwersen of Noir and shown at the increasing number of trade fairs such as GREENshowroom and the Ethical Fashion Show. Where are consumers most likely to buy sustainable fashion? von Wedel-Parlow: Germany is ahead of the rest here because we have a tradition of ecology that goes back quite a way. Developments like this often take place from inside outwards, so to speak. It started with food and now it’s fashion’s turn. But in California, New York and London too, and even in France, sustainability is increasingly treated as a fashionable issue. The more people know about it, the greater their ecological and ethical awareness. The new Masters Course in Sustainability in Fashion here at ESMOD BERLIN will help convey this information. What are the main features of the course? von Wedel-Parlow: Sustainability and ethical standards were previously considered at ESMOD BERLIN too, take for example the Collection of Hope and the annual St. Catherine Show. The international Masters course in Sustainability in Fashion is a one-year course in which all points along the textiles chain are considered in the context of sustainable fashion. This holistic approach includes for example workshops on subjects such as ‘cradle to cradle’, fabric selection, communication and marketing strategies, reclaim systems and a lot more. An important element for us is the guest lectures by renowned experts such as Francine Pairon (Institut Français de la Mode), Shelley Fox (Parsons New School for Design, New York) and François Girbaud.
Kadolsky: Internationalism is a defining feature of our Masters course, not only where the lecturers are concerned. The twelve students come from nine countries; they’re a colourful mix of different cultures. So the language of instruction is of course English. Another characteristic is the practical relevance. The one-year Masters course is a unique programme in Europe which can be particularly well combined with practical work because it is relatively short. The students’ backgrounds are proof of that. Some of them have come straight from the industry to gain specialist training in the field of sustainability and take this knowledge back to their companies. The Masters theses are also practically oriented and completed in cooperation with different companies. Von Wedel-Parlow: This amount of professionalism and internationalism is really exciting, naturally for the students, but also for the guest lecturers and us. And at the end of the course we are a step closer to ‘green’ fashion, because our Master graduates of Sustainability in Fashion are ambassadors for sustainable and ethical quality in fashion.
Interview:Tom Felber
Vienna night story Photographer: Bastian Jung Models: Philipp Bierbaum & Hannah Richter Hair & Make-up: Maria Messner Assistants: Nico Elzer & Peter Richter Menswear: Tim Labenda Womenswear: Charlotte Ernst
INTERVIEW
with Esteban, Photographer / Filmmaker How did the Revolt project come about?
What is the film intended to convey?
How did you start out in photography?
I had the concept for Revolt on my desk for a long time but wanted to have very expressive looks for it. Then I met Tom Rebl and really liked his designs, so I sent him my concept and hoped he would be interested. Fortunately he liked my concept and, after a period of preparation, we made the film together.
It’s about following your inner destiny and revolting against the given situation.To be what you want to be and not what you have to be. Looking for your real personality (fireworks) and fighting against an imposed personality (black scenes).
I developed my passion for fashion photography late. I didn’t seriously start taking photos of fashion until I was 18, although I’ve always been interested in fashion. But I didn’t get into photography before then, I don’t know why. But when I finally got my own camera at 18 and started using it in a fashion context, and had the opportunity to photograph a model, I knew that that is what I want to do. From then on I got more and more involved in the fashion scene.
Are you more interested in photography or film? The crucial turning point for me was the introduction of the 5D Mark II, with which I came into contact with moving images for the first time. When I was then given the chance to get my first film processed by a professional post-production team, who still support me today, I went the next leg and soon noticed how much film moves me emotionally. Since then my main interest has definitely been film, though I still take photos for every film too, because photography still means a lot to me.
What is special about fashion film compared to photography? Fashion films are special because they give you the chance to try and grip the viewer and touch them emotionally within a very short space of time. The music, especially, lends the films a more personal note than would be possible with photos. Plus there is the editing and your story behind the images.That all makes it a composition of different influences, which is what makes it so special and individual in my view.
Will film replace fashion photography one day? I don’t think fashion film and fashion photography can be considered rivals. I think they will complement each other in future. For every print campaign there will be a short fashion film or Making Of, like many designers have already started doing. People don’t want to see just a film or stills, they want both.
What inspires your films? I find inspiration everywhere. I can be inspired by so many things as film combines so many influences. Whether music, videos, photos or interesting places, they can all provide inspiration and ideas for new concepts. Although fashion film is often very artistic and expressive, I try not to forget the commercial touch in my films. I try to walk the thin line between art and commerce in order to appeal to both designers and commercial labels. Story is very important in this respect, so that you don’t just produce nice images but also say something.
What style would you say your films are?
What project would you like to work on next?
Visually, I would say they are very modern with lots of contrast. They tend to have the character of feature films with clear cuts rather than flamboyant effects and overlapping.
So far nearly all my fashion films have been on male fashion, with one more in postproduction at the moment, so I would like to make more films with female models in the future. And I would like to make a new music video.
REVOLT Video
Interview with Johanna Brinckmann
How did your series come about? The “Beautyful” series was shot in Hamburg on one of the last sunny days [this summer].We didn’t have many days like that this summer but then there were a few more which created a real summer atmosphere and I wanted to use them to capture a kind of “street-dirt meets Caribbean feeling” … Hilda comes from Brazil, so that fitted well. It was a spontaneous idea to shoot it at a hot dog stand that I once drove past. Luckily the owners of the stand were very easy-going and didn’t mind us taking photos there. How did you start out as a photographer? I started making films when I was 15 – every free minute I had I wrote things down and tried to turn it into images and set music to it. But I soon noticed that I was more drawn to photography because I can work more independently with it than with film. Where do you draw your inspiration from? It can come from a crushed Pepsi can or a film scene, a greasy burger, a spontaneous street scene, a stroll across the flea market or a bright yellow floor-mop … If my mind is free to wander, I pick up impressions from all over which soon turn into images in my head. Of course I get inspiration from things I see on the internet or in magazines too but I love to create things that I have never seen LIKE THAT before.
What feelings or ‘message’ would you like to convey with your photos?
What is your goal as a photographer? The sky is the limit!
I just want my pictures to be fun. I have such fun doing what I do. I put a lot of myself into my projects. I don’t want to just snap a model and her clothes. The pictures should say something. There are millions of photos but a lot that I see look the same and have no message. Do you have a certain style that you want to show in your pictures? I like to combine lots of things which at first glance maybe don’t go together – that gives me the opportunity to apply my ideas in a vital way. I want to show something beautiful, or witty, ironic or, now and then, sarcastic or daring. In any case the aesthetic of the pictures is most important. I hope I will become even more independent from what others are doing and that my individual style will develop further with time. Has there been a really low point in your career? I can’t think of a time off the cuff or that I ever doubted what I was doing. But that doesn’t mean there won’t be any setbacks in the future, especially seeing as I set myself pretty high standards. … Sure, I have often been dissatisfied with my work – but all you can do in that situation is say c’est la vie and move on to the next project.
Can you reveal anything about your forthcoming projects? I can’t say anything definite yet – but do check my blog (johannabrinckman.tumblr.com) and become fans of my Facebook page (Johanna Brinckman Photography) (laughs).
Model Victor Clear – Straight to Milan What have your biggest successes as a model been so far? One of my biggest successes was definitely my very first Fashion Week in Milan in the summer this year. Because I not only came up against a lot of competition – Asian male models – who were really successful and well-known internationally, but managed to get my first campaign and a show despite all the other more experienced models. At Fashion Week in Berlin after that I got a job at Bread&Butter and five shows. About two months ago I did the new TheCorner campaign for China in Milan. I want to go to the next Fashion Week in New York and hopefully walk off with lots of shows (laughs). Judging by your appearance you must have Asian roots. Where exactly do you come from? Originally I come from Korea but I was born and lived as a child in Usbekistan. We moved to Germany when my mother met my stepfather. I was 8 then. In Germany, we first lived in Essen but then moved to Dortmund for my parents’ work. After I did my Abitur [A-level / high school diploma equivalent] I decided to move to Berlin. How did you get into modeling? A booker from my first agency approached me in the underground.That was about six months ago. What agency are you with now? I am currently with PMA Models, Talents Models Munich, Joy Model Management Milan, Premier Model Management London and Look Models Vienna. But my mother agency is PMA Models.
You are a model with a striking look of your own. Is that an advantage or disadvantage for jobs? I’m afraid I can’t say. I’ve been to castings that have gone really well and castings that have gone badly. It’s just the same for lots of other models too.
Which label or photographers would you especially like to work with in the future, and why? This year I was optioned for Emporio Armani and Giorgio Armani and I would like to turn that into real jobs at the next Fashion Week in Milan in January, because I think I will be able to prove that I am a “New Face” that can keep up with the best guys internationally. To be honest, I was really happy to be optioned for Armani in Milan at all (laughs).
Do you dress up when you aren’t working? What clothes do you prefer off-camera? When I’m not working I look quite inconspicuous; I wear plain, ordinary stuff – perhaps a bit on the elegant side. I’ m a real Zara, H&M type.
From the Real Book, 2011 Artist‘s hand-processed print, gelatin silver paper, toned, 13.4 x 11.8 cm, edition of 10.TW 271
From the Real Book, 2011 Artist‘s hand-processed print, gelatin silver paper, toned, 13.8 x 12.8 cm, edition of 10.TW 272
From the Real Book, 2011 Artist‘s hand-processed print, gelatin silver paper, toned, 12.6 x 19.0 cm, edition of 10.TW 273
Interview with Torsten Warmuth There are some works of art that captivate their viewers from the very first moment, never letting them go. Many people have this experience with Torsten Warmuth’s „Silver Paintings“. Since the beginning of 2011 the artist has been working intensely on the subject of jazz, and a new stylistic approach goes hand in hand with his cycle From the Real Book. SUPERIOR MAGAZINE’s Sabine Felber therefore went to meet the Berlin-based artist in his studio, hoping to find out more about the man and his art: Torsten Warmuth, how do new things evolve in art and photo art?
So what inner necessity led to the process that you call Silver Painting?
If you want to produce something truly new, you have to commit “patricide”. That is absolutely essential. However, all too frequently I sense that such immense effort is lacking in contemporary photo art. Let’s take the Becher School, for instance: at the beginning there was an artist couple working in a highly innovative way.And the couple’s first pupils made something entirely their own from what they had found – without losing any of their admiration for the masters. But most of the work promoted under the label of the Becher School today is just a cheap rehash of the old models. Imitation. Copying.There is no inner necessity for it.As an artist, you have to keep facing the question “why” – it makes no difference whether you work in literature, painting, or of course photography.
I was searching for more freedom. In classical photography there are times when you are very restricted.There, the image that develops is directed by the technology to a great extent: by the aperture, the exposure time, and the choice of lens. What I had in mind were freer constructions and more creative possibilities of composition. I wanted to generate images from my ideas. Ideally, the motif in front of the camera would no longer define the subsequent image; instead, I wanted to decide what the finished image would look like through my interventions into the negative and the working processes in the darkroom. I didn’t want reality to anticipate the result, I wanted to show my own idea of reality; my memory of it; a reflection. After long experimentation, in 2009 all this led to Silver Painting.
Fro Arti 13.6
om the Real Book, 2011 ist‘s hand-processed print, gelatin silver paper, toned, 6 x 16.0 cm, edition of 10.TW 274
From the Real Book, 2011 Artist‘s hand-processed print, gelatin silver paper, toned, 11.2 x 13.8 cm, edition of 10.TW 275
What exactly is a Silver Painting? Well, naturally if you just refer to the word, silver stands for the photographic paper – for the silver gelatin print. This paper has a fairly thick layer of silver on it.That is how the spatial depth of an image develops.And painting refers to the painterly-creative aspect of my work. In this context, firstly it is a matter of the partial application of light, but it is also about painting with fluids that produce colours – with toners and bleachers. Every image goes through a complex birth process. First I mount several negatives over the top of each other. They have often been chemically processed already so that they correspond to my concept of the subsequent image. After this comes the partial application of light onto the photo paper. And finally I prepare each figure, bit by bit, using toners and bleachers. So a huge amount of work and energy goes into each single image.That is another reason why I have turned my back on the classic edition of photographs and now produce very little apart from unique works. A Silver Painting cannot be reproduced.
From the Real Book, 2011 Artist‘s hand-processed print, gelatin silver paper, toned, 13.2 x 14.0 cm, edition of 10.TW 277
But in all its phases, nonetheless, a Silver Painting evolves via an analogue photographic process. Would you describe yourself as an analogue photographer? That’s a very broad subject. Actually, I have never regarded myself as a photographer but always as an artist. Usually, the task of the photographer is to reproduce reality. The emergence of photography in the 19th century meant that painting was liberated from its representational function. From then on, photography took over that task. But it is not the aim of Silver Painting to represent anything. It is free from any function whatsoever. No one needs it. And that means that it is pure art. It is a case of what Kant called “pleasure without interest“. Perhaps this is connected in some way with the “digital turn”. Today, the task of pure reproduction falls to digital photography. So analogue photography has become free.And in a certain sense, I make use of this newly gained freedom. What led you to artistic work with these photographic means in the first place? My father was a photographer. He produced postcards and took documentary photographs for museums and exhibitions. That certainly influenced
Bass Solo, 2008 Artist‘s hand-processed print, gelatin silver paper, multi-toned, 161.5 x 87 cm, edition of 3.TW 234
Closer, 2011 Silver painting, 30 x 21.4 cm, unique.TW 270
La dernière nuit, 2011 Silver painting, 96.5 x 177 cm, unique.TW 268
me. You could almost say that I grew up with the smell of fixing fluid. And I was very young when I got my first camera, a 6x6 Pouva Start. I began to experiment with that when I was still a child. As it was impossible to buy much photographic equipment in East Germany at the time, I tended to concentrate on the photo-technical process. In that respect, my father was able to teach me a lot. But initially, you decided to study mathematics. Are there any links between such a structural, scientific study and photography? Mathematics helped me to develop Silver Painting, there is no doubt about that. Its analytical approach was useful to me in 2002, for example, when I had begun to experiment with the bonding of negatives, applying colours, and the use of toners. At the beginning, I didn’t know where that was taking me at all. For instance, although I had achieved a specific coloration in one image, it was still very difficult for me to repeat the effect again in a new image. It was hard to steer anything in those complex toning
processes. Only slowly, and on the basis of numerous experiments, was I able to determine the rules that lay behind it all. But otherwise, of course, photography and mathematics exist in very separate worlds.When I finally decided to devote myself to photography alone, I was a little frightened at first. Could I succeed in making a living with my art? In analogue photography in particular, you have to acquire a lot of equipment at the start. And on top of that, every image that is produced in my studio is hugely expensive. The initial spark at the time came from photo historian Enno Kaufhold. After he had written a catalogue text for one of my first larger-scale exhibitions, he said to me: “These are wonderful works. But what will you live on?” I was 27. And so my rather cheeky response was: “Well, on these pictures, of course”. And what did your father say to that? He wasn’t exactly delighted about it. As I say, he was a commercial photographer. He found it very hard to understand my decision in favour of fine art.
The Old Man‘s Song, 2011 Silver painting, 65 x 99.5 cm, unique.TW 269
Have you never worked in the field of applied photography yourself, then? At the beginning I adopted a two-fold strategy and did that, too. Commercial photography guaranteed me an income. At the time, I worked for an architectural photographer for two years. It was an incredibly important phase with respect to my technical photographic skills. I learnt from scratch how to handle a large-format camera and how to organise a studio. Later, I did product photography for various publishers as well. But the time came when I realised that it was all restricting me. After all, no one has two minds. Contract photography is very sterile and clean, and I wanted to create my own iconographic cosmos. A few years ago prices in applied photography began to drop dramatically, but fortunately by then I had reached the point where I could live from my art. Many of your artistic photographs have been produced abroad in recent years – in New York, Naples, Cairo or Paris.
Being on the move is a vital impulse in my life – even within Berlin, where I am actually at home. For example, I once produced a good, successful work after I had checked into a hotel in Berlin for a few days. Perhaps I need such transitional places – the passages that Walter Benjamin once spoke of – in order to be creative. And naturally you find them best when you are on the move. Picasso once said that nothing could emerge without isolation. I would put my name to that. For me, a hotel room is the ideal place to find myself. Isn’t it rather too easy to start seeing like a tourist when you are in a strange place? There is a danger in that, yes. You rapidly end up taking pictures that can be found in any run-of-themill Marco Polo travel guide.That’s why it is best to leave yourself some time before taking photographs. On the first days in a strange city, you should simply equip yourself with a sketchbook. Then the deeper-lying views and stories come to light, after that first phase. In a strange city or country it is often a good idea to search consciously for places
The Listener, 2011 Silver painting, 77.5 x 128 cm, unique.TW 281
that are not frequented by tourists. In Cairo, for example, I was lucky enough to explore with a friend who knew the place. He introduced me to the city’s inhabitants; showed me microcosms that I could immerse myself into for my work.That was extremely fortunate, as a city like Cairo is a monumental challenge. How do you find your motifs in such places? At the beginning I have at least twenty ideas and conceptions of what I would like to do. Some of them go by the board straight away because they are impossible to realise either technically or time is too short. Ultimately, it is always a question of what makes the city into something special for me personally. So usually I end up with two or three major themes. In Cairo, for example, it was a series about orientally dressed people in front of closed shutters, and a series about taxi drivers. The exciting aspect for me in those series was “machismo”. The taxi drivers, for example, have created themselves free spaces in their cars, so that they can appear like “western European macho-types” within a culture shaped by Islam – wearing gold chains, checked shirts and cowboy boots. Otherwise, there are very few places in the city where you can see that sort of thing. Nevertheless, I often ask myself whether your series are primarily about the concrete places where they are made, or a reflection of your personal inner life. It isn’t possible to separate the two fully. Everything that I see is perceived, filtered and inspired by me as a person. For example, the images of taxi drivers only exist because I saw them in that way and captured them.
Despite all these images of foreign places: your home has been in Berlin since 2000. As an artist, what keeps this city so interesting? To me, Berlin feels like New York at the end of the 1980s – although I only know about that time from anecdotes, of course. There is drive in Berlin. And here an artist can still find what he requires most of all for his work: a studio. It won’t stay this way for much longer, but today you can still find good working conditions here.
Interview: Sabine Felber | Editing: Ralf Hanselle
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„US Flag“, Acryl on canvas, 170 x 300 cm
Home, smart home When we visited German-American artist Freddy Reitz in June for an interview in her studio, she was working among packed cases, so to speak, as she was just about to give up her old studio. Now, five months later, she was able to celebrate the opening of her new studio “Freddy Twoo”.The new premises are white and spacious and will serve as a gallery as well as a studio. Home, sweet home! Like her art, Freddy Reitz’s studio-warming party came with a statement. Guests were invited to admire the premiere of her latest art work – the brand new “Freddy Reitz edition” smart fortwo car. Known for her Correspondent Art, Freddy Reitz is a strong supporter of the environment and a professed fan of the smart brand, and drives the electric model, the smart fortwo electric
drive, herself.To create the “Freddy Reitz edition” she painted the prototype by hand with a design in acrylics based on her work “US Flag”. She also designed the entire interior in her favourite colour, red. So if you would like to own a Freddy Reitz art work, you can now choose one to park in the garage as well as one to hang on the wall.
Behind the scenes Video
PROTECT! - MICHALSKY for WWF Nature has always inspired fashion designers. And sometimes the fashion world can give something back, as Berlin-based designer Michael Michalsky is now demonstrating with his exclusive T-shirt collection for the World Wildlife Fund. Under the banner “PROTECT! – MICHALSKY for WWF”, he has designed T-shirts, naturally made of organic cotton, featuring unique animal illustrations. Five Euros from the sale of each T-shirt goes to the WWF.
“Conservation and environmental protection has slipped out of the public view a bit lately.With the “PROTECT!” collection we want to draw attention to WWF Germany’s goals and projects and contribute to conserving nature’s diversity.The collection portrays animals which are threatened with extinction in the wild.They are threatened mainly by human activity: more and more land being used industrially or agriculturally, deforestation, over-fishing etc.With “PROTECT!” we want to contribute towards conserving nature for future generations,” Michael Michalsky explained in an interview with the WWF. The T-shirts are available in MICHALSKY stores, at selected retail outlets and from the online shop www.michalsky.com.
IMPRINT SUPERIOR MAGAZINE Lychener Strasse 76, 10437 Berlin www.superior-mag.com connection@superior-mag.com Publisher Tom Felber Chief Editor V.i.S.d.P. Tom Felber | tom@superior-mag.com Photography Director Marc Huth | marc@superior-mag.com Editorial Department editor@superior-mag.com Advertising advertising@superior-mag.com PR Management press@superior-mag.com Translation by Charlotte Kreutzm端ller Superior Magazine accepts no liability for any unsolicited material whatsoever. Opinions contained in the editorial content are those of the contributors and not necessarily those of the publisher of Superior Magazine. Despite careful control Superior Magazine accepts no liability for the content of external links. Any reproduction in whole or in part without written permission is strictly prohibited.
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