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Dear readers,
# Editorial
It’s our last SUPERIOR MAGAZINE issue this year and we really like to say THANK YOU to everybody who made 2015 a very successful year for us – our team, our partners and of course you. As a kind of annual review we present in this issue all 2015 covers and ask you which one shall be your Cover of the Year 2015. Everybody who participates in this voting gets the chance to win a fantastic prize – a MUO Bluetooth speaker by KEF. Sarah Weyer’s column “Let’s Talk About Green” focuses this month on the online platform NOT JUST A LABEL. Sarah spoke to the founder and CEO of NJAL, Stefan Siegel, about the concept of the company and its way to change the fashion industry. In this issue you'll also find an interview with Hong Kongbased architect and interior designer André Fu, whom British Vogue called a “design wunderkind”, and in 2015, Wallpaper* named as one of the “Top 20 Interior Designers” in the world. Of course we present some exciting fashion editorials from around the world. This month's cover story comes from photographer Nadia von Scotti. Most of the time numbers are boring but for these numbers we feel a little bit proud: In 2015 we published more than 300 Fashion Editorials, about 100 in the Digital Magazine, more than 200 Online. Thanks a lot to all the great photographers, stylists, hair & make up artists, models, designers and everybody else who made this happen. Enjoy our final 2015 issue and have wonderful and peaceful holidays … Best, Tom, Marc and the whole SUPERIOR MAGAZINE team
DECEMBER 2015
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FASHION & STYLE
24
Severine Queyras
»una giornata particolare«
38
Nadia Von Scotti
»Kinesthesia«
64
Sarah Storch
»THE REDEMPTION«
Gabriele Fogli
»OPTICAL«
COLUMN: "LET'S TALK ABOUT GREEN"
108 92 122
Lisa Jureczko
92
102 Linda Hanses
»KUROSHIRO«
»ICED VEINS«
134 Nicole Franke
»BLACK ORCHID FERVOR«
#
136
SELECTION
34 #
EDITORIALS NOVEMBER
MUO BLUETOOTH SPEAKER BY KEF
ART & CULTURE
58
INTERVIEW: ANDRÉ FU
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HELSINKI CALLING
jacket & shirt RED Valentino sweater & shoes N째21 pants Essentiel socks Sonia Rykiel
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una giornata particolare photography by Severine Queyras post production by Valentina Larussa styling by Manuela Segimiro hair & make up by Claudio Ferri using Lanc么me hair, Artego set design by Gianna Loffredo model Lois Van Der Velden @ MP management Special thanks to GIBOT
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coat RED Valentino dress Erika Cavallini sunglasses Spektre socks Sonia Rykiel shoes N째21
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dress Tara Jarmon hat & socks Sonia Rykiel
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sweater Don Dup top Tara Jarmon pants Essentiel belt N째21 gloves Fendi vintage hat Burberry vintage glasses Dior vintage
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coat & shoes N째21 shirt Tara Jarmon pants Erika Cavallini headscarf Gucci vintage gloves Fendi vintage socks Sonia Rykiel
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shirt Dou Dou sweater Roberto Cavallini skirt Ainea socks Sonia Rykiel shoes N째21
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headscarf Pucci vintage sweater N째21 -33-
SELECTION
LUXURY DESIGN MEETS CONTEMPORARY AUDIO -34-
text | TOM FELBER photos | © KEF
DECEMBER 2015
For our Cover of the year 2015 voting we have a very special gift for you. One of the participants will win a brand new MUO Bluetooth speaker by KEF. To be honest, we give the MUO speaker to the winner with a laughing and a crying eye … With a laughing eye because it’s a pleasure to make one of our readers happy. And with a crying eye because I had the MUO speaker for a couple of days to test it and I really would love to keep it for myself. It is not an exaggeration to say that with KEF’s MUO Bluetooth speaker luxury design meets contemporary audio. However, for all who know KEF, which are famous for unusual and unconventional speaker engineering, design and material use for over 50 years, this is no big surprise. For MUO’s design KEF again worked with the renowned industrial designer Ross Lovegrove. Under Lovegrove’s direction, the speaker inherits its sculptural aesthetic from the unique visual style of KEF’s legendary high-end luxury Muon loudspeakers. The curved shape of the aluminium shell with soft pads allows an upright or horizontal positioning at the optimum angle for an extraordinary music enjoyment. The colour palette ranges from gold over silver, grey, blue to orange. We have chosen the sunset orange one.
Although design is a very important aspect, in the end the quality of the sound determines how good a speaker is. With its sophisticated technology the MUO Bluetooth speaker delivers the kind of tight, clean and generous bass extension you’d normally expect from a far larger speaker. From the first moment you will love that sound, regardless of whether you listen to classic, rock or pop music. MUO also provides advanced functionalities. You can synchronize a pair of MUOs, to stream stereo sound via Bluetooth. Alternatively, when you want to place them far apart – at a party for example – simply select the ‘Dual Connect’ party mode to replicate the same full-range response in both speakers, so that everybody gets the full benefit of the music you’re playing. MUO also comes with an internal sensor that automatically optimizes its output to suit its orientation. So, whether you place MUO upright or horizontally, inside or outside your home, the unit automatically delivers the same wonderful acoustic depth and definition. So, don’t miss to participate in our ”Cover of the year 2015“ voting and hopefully you enjoy your Xmas songs via your new MUO Bluetooth speaker.
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For more information visit our website:
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Choose your favorite cover of 2015 and get the chance to win a
MUO Bluetooth speaker by KEF
photography by Nadia Von Scotti styling by Jennifer Lascheit hair & make up by Christian Olivier @ Bigoudi using Balmain Paris Hair Couture & M.A.C. Cosmetics assistant Alexander Fenske film & edit by CRYPTIC CHILD music by Liam Back models Miha, Lucas, Sina, Gabriel @ PMA & Luca @ Place Models
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suit The Kooples
sweater Filippa K coat Whyred
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Kinesthesia
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sweater s.Oliver
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sweater By Malene Birger pants Filippa K shoes Whyred
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sweater Barbour pants Closed
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sweater Closed coat Edited the label pants By Malene Birger
suit The Kooples -44-
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dress & blazer Whyred -47-
cardigan Stills
sweater Closed -48-
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sweater s.Oliver pants Closed
sweater & pants Closed
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sweater By Malene Birger pants Filippa K shoes Whyred
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sweater Barbour
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suit The Kooples -52-
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sweater Acne -53-
suit The Kooples
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sweater Filippa K coat Whyred
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sweater s.Oliver
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DECEMBER 2015
Watch the fashion film "Kinesthesia"
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#architecture
André Fu
INTERVIEW WITH THE Architect and interior designer
André Fu was born in Hong Kong, studied in the United Kingdom and went back to his home town. He and his practice AFSO’s distinctive approach to interior architecture combines the rigorous pursuit of new Asian sensitivities, with clarity in space planning and keen attention to the details of everyday life. It has applied its vision of design to the fundamental qualities of space, proportion, light, and opulent materials. Tom Felber from SUPERIOR MAGAZINE met André Fu in Sydney.
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interview & text | TOM FELBER photos | © AFSO
DECEMBER 2015
# André Fu, you are born in Hong Kong, grew up in Hong Kong and the United Kingdom and graduated from the University of Cambridge. Where do you feel more at home, in Asia or in Europe? I am usually at ease in both cultures, be it the East or the West. I believe my upcoming empowers me with a global mindset, yet I do appreciate the diversity of cultures. From a design perspective, I am particularly keen to draw from a city’s heritage and potentially to embrace its sense of place with a twist.
# Is it possible to describe your design in general? Which material do you especially like to use? Or does that always depend on the respective project? I would describe myself as an approachdriven designer, with a design language that embraces modern Asian sensibilities. Wood and stone are two materials that are close to my heart. Tactility of materials is a strong aspect of my design language. The choice of material would be project specific and more importantly to reflect a sense of place.
# Was it always your dream to become a designer? I decided to be a designer when I was a teenager – at the time, I was already hugely fascinated with the impact of design, in the way a spatial environment could emotional influence people's behavior. The emotional quality of space has since been a key to my works.
# A lot of your projects are related to hotels. But you also design retail spaces, like the installation for the Swedish fashion brand COS, as well as private houses. How do you select your projects? Do you have favorite spaces or places which you especially like to design? My main focus in terms of project selection would be in the fields of hospitality designs. I particularly enjoy the way hotel or restaurant environments could interact with different people on a daily basis. Project wise, it is typically selected with locations or sites that I admire, or with collaborators that share a similar mindset.
# Where do you get your inspiration from? Do you have other designers or artists you especially like? My inspirations are drawn from mostly from indepth conversations that I typically engage myself with my clients at the beginning of each project. I have always described my role as a designer is to translate their visions into a physical experience. I have always admired the works of artists mark Rothko, Antony Gormley and Urwin; as well as designer Gio Ponti and Kengo Kuma.
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COS Urban Landscape, Hong Kong
# Could you describe some of projects you have recently done? Motif restaurant and bar is a unique project with views overlooking the mezmerising Tokyo Train Station - a neighborhood that has been revitalised significantly in recent years. The qualify space embraces a sense of relaxed luxury with a strong tactile.
# This month the Four Seasons in Seoul opened. You have designed two of the seven restaurants. Could you please tell us a little bit more about that project, about the design of the restaurants? Kioku, the hotel's signature Japanese restaurant, is 'a modern bamboo theatre' - completed with a 7m double height space and an intriguing series of lacquered leaf installations. Yu Yuan is the Chinese restaurant that is poetic and calm. It is a contemporary interpretation of the traditional Chinese rock garden, done in a palette of emerald green and brushed champagne gold.
Motif, Four Seasons Marunouchi Hotel, Tokyo -60-
DECEMBER 2015
Yu Yuan, Four Seasons Hotel, Seoul ‘Re-interpreting Suzhou Rock Garden’
Kioku, Four Seasons Hotel, Seoul ‘A Modernist Bamboo Theatre' -61-
# Can you tell us about projects you are currently working on? Is there a space or a place which would be a dream for you to design? Very soon I am launching André Fu Living - a brand that shall focus on design collaboration on lifestyle products. To mark the occasion, we released a limited edition unisex scent – FARGESIA - specially created by cult perfumer Julian Bedel of Fueguia, Patagonia 1833. The name comes from a genus of Asian Fountain Bamboo, which is also the keynote. The 100ml scent is presented in a beautifully crafted bamboo box, engraved with our logo. My wish list of project-to-do would be interested to design a space for the performing arts.
# In 2004 you went back to Hong Kong. What makes Hong Kong so attractive for you? The energy and dynamics of Hong Kong is also a key factor for my return.
# Are there any places you would especially recommend to somebody who visits Hong Kong? The Upper House Hotel, one of my most holistic hotel projects to date, and a hotel that has positioned myself in the international design scene.
# Thank you very much for the interview!
Julian Bedel & André Fu -62-
DECEMBER 2015
Fargesia, AndrĂŠ Fu Living
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photography by Sarah Storch styling by Hercules Terres styling assistant Camila Vieira hair & make up by Stefanie Mellin model Angelina @ PEARL MANAGEMENT
The Redemption
location assistant Thomas Muller
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total look Michalsky socks Falke hat Giuseppe Tella
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total look Michalsky socks Falke hat Giuseppe Tella
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shoes Hien Le socks Formylon dress Antonia Goy hat Giuseppe Tella
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skirt Marina Hoermanseder shirt Tim Labenda hat Giuseppe Tella shoes Cheap Monday socks Formylon
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skirt Camila Vieira shirt Tim Labenda coat Antonia Goy hat Giuseppe Tella shoes Cheap Monday socks Formylon
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coat Antonia Goy hat Giuseppe Tella
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coat Antonia Goy hat Giuseppe Tella
#art
Helsinki Calling Tom Molloy Protest, 2012 Hand-cut photographs, 35 x 1000 cm Photo: © Finnish National Gallery / Pirje Mykkänen
new exhibition spaces for the art world Instead of London, Paris or New York calling, it’s the far northern city of Helsinki. An art city that has much more to offer than you might expect!
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text | Victoria Trunova
DECEMBER 2015
Instead of London, Paris or New York calling, it’s the far northern city of Helsinki. An art city that has much more to offer than you might expect! For a long time Finland felt excluded from all the Scandinavia hype that has permeated Europe over the last ten years. In strictly etymologically terms, Finland does not even belong to Scandinavia—a fact underscored by the country’s unique language. Now it seems as if someone has flipped the switch in terms of Finnish self-perception, causing a shift from feeling excluded into being exclusive, different, and special. It seems as if Finland has found the confidence to present its cultural treasures. This new-found spirit might explain the major cultural activity that can be felt in the capital. In 2017 Finland will celebrate its centennial as an independent nation. Now is the perfect time to rearrange, extend, and build new exhibition spaces for the art world. Looking at Helsinki’s museum landscape, one could easily spend days just visiting the city’s established institutions. I set my sights on just a few of them, and this is what I found.
ATENEUM Visit the Ateneum, the Finnish National Gallery, to learn more about the history of Finnish art and enjoy some beautiful symbolist paintings. Housing collections of Finnish art from the 18th to 20th centuries, it also was the first museum in the world to own a van Gogh painting. But attitude of the museum’s staff that makes it an exciting place for visitors. According to museum director, Dr. Susanna Pettersson, the Ateneum is about valuing tradition while questioning convention. This open-minded perspective welcomes alternative representations and respects the needs of the audience. Upcoming exhibitions on August Rodin and Japonism in Nordic Art reflect this approach.
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Akseli Gallen-Kallela Aino Myth, Triptych, 1891 Ateneum Art Museum, Central Art Archives / Hannu Aaltonen Photo: © Finnish National Gallery
Akseli Gallen-Kallela Lemminkäinen's Mother, 1897 Ateneum Art Museum, Antell collections. Photo: © Finnish National Gallery / Jouko Könönen
HAM The next place to visit is HAM (Helsinki Art Museum), which just reopened, doubling its exhibition space after a year of renovations. Located in a former tennis hall from the nineteen-thirties, it offers a wide variety of exciting works. The HAM collection encompasses over 9000 works from the 20th and 21st centuries. The focus is on Finnish Art, but works by internationally known artists are included in the presentation. HAM also acquires works by young artists to cultivate a new generation of artists. Next to big names, including the current Ai Weiwei exhibition and an upcoming Yayoi Kusama show, HAM also features thematic exhibitions like 100 years of taidesalonki—a retrospective of Finland’s oldest art gallery. The probably most exciting venue in the museum, however, is HAM Gallery, a space dedicated to “experiments” as described by enthusiastic museum director Maija Tanninen. Young artists can apply to show their works in this exhibition space. One of the current experiments on view is an impressive installation and video work by Reja Merilainen. Entitled En Garde, the installation creates an overwhelming tension between viewer and work through its underlying participatory concept, trapping the viewer in its very own digital futuristic universe. Reja Merilainen is an artist to watch!
Reija Meriläinen En garde, 2015 © Reija Meriläinen
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Reija Meriläinen En garde, 2015 © Reija Meriläinen
Ai Weiwei Tree, 2010 © Ai Weiwei, Photo: HAM / Maija Toivanen
DECEMBER 2015
AMOS ANDERSON MUSEUM One of the biggest projects underway is the construction of the new Amos Anderson Museum in the heart of Helsinki. This is a private museum, which will be located right under the popular Lasipalatsi (Glas Palace) in Kamppi. The architectural plans recall a space ship more than an ordinary museum, and the building promises to serve as a center for all sorts of activities centered on art and culture. The projected opening is for early 2018. The Amos Anderson Collection is specialized on Finnish Modernism, and with some 6000 works, it is one of Finland’s biggest private collections. Paul Signac Seine, Grenelle © Stella Ojala Oil on canvas, 62 x 78,5 cm Owner: Amos Anderson Art Museum The Sigurd Frosterus Collection
Théo van Rysselberghe Marine, 1887 © Stella Ojala Oil on canvas, 66 x 54,5 cm Owner: Amos Anderson Art Museum The Sigurd Frosterus Collection
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Tyko Sallinen Barn Dance, 1917-1923 © Tuija Vertanen, Riihimäki Art Museum Oil on canvas, 97 x 120 cm Owner: Riihimäki Art Museum, The Tatjana and Pentti Wähäjärvi Collection
KIASMA Kiasma is probably the best-known museum in Finland apart from the Nordics. The museum houses a collection dating from 1960 until today with an emphasis on Finnish artists and artists from neighboring countries. It houses over 8500 works, and each year the collection is expanded with some 150 acquisitions. Kiasma offers high-quality curated exhibitions. One of them is Demonstrating Minds—a show that confronts viewers head on with contemporary politics by deconstructing the “facts” created by the contemporary data produced by western democracies. Running counter to the dynamics of political radicalization, the work suggests a space for all kinds of different opinions, whether we like or dislike them, in order to create a discourse capable of overcoming ideological borders. The works of the artists presented, such as Sylvie Blocher, Vadim Fishkin, Tom Molloy, Cristina Lucas, and Ama Kenway, underscore the necessity of an open-minded society. With exhibitions like Demonstrating Minds and School of Disobedience by Finnish artist Jani Leinonen (the enfant terrible of the Helsinki art scene), Kiasma takes a clear stand in the museum’s impact and educational mission within society.
Sylvie Blocher A More Perfect Revolution (Detail), 2012 From the video series 2009-2012 HD video, 3:50 min, Ed.1/3 © Sylvie Blocher -80-
Cristina Lucas La liberté raisonnée, 2009, video installation, 4:29 min Courtesy of the artist and Galería Juana de Aizpuru, Madrid Photo: © Fernando Sánchez Castillo
DECEMBER 2015
Tanja Boukal / Melilla Project Ode to Joy, 2014 Photo: © Tanja Boukal
Why Helsinki? Helsinki might not yet be an art market hotspot, but it clearly posses a very unique public and private museum landscape. Maybe it is precisely the lack of influence from art market structures that allows the people working in the Finnish art world to be so enthusiastic and passionate. This electric feeling and an excitement for change and departures from the status quo are in the air, making Finland an exciting place for art. Finnish art institutions’ and individuals in the art scene have a drive to become important players in the education of future generations—providing an extraordinary foundation for an equal and self-determined society. From today’s perspective, it looks as if we can expect a great deal from future Finland. -81-
#art
Timo Miettinen Photo: @ DONE STUDIO - Ulf Saupe
BRIDGES BETWEEN FINLAND AND GERMANY Timo Miettinen is one of Finland’s most enthusiastic private art collectors. In 2010 his family acquired a building in Berlin, which he turned into an exhibition space.
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text | UTE WEINGARTEN photos | Nick ASH & DONE STUDIO – Ulf Saupe
DECEMBER 2015
Named after Hildegard Dahlmann, the last owner of the house, the venue was conceived by Miettinen not only as a space for presenting of his own family collection, but also for building cultural bridges between the Finnish and German art scenes. Since then the collection has been featuring artists such as Georg Baselitz, Helene Schjerfbeck, Matti Kujasalo, Marianna Uutinen, Secundino Hernández, Jacob Hashimoto, and William Copley. Salon Dahlmann also presents concerts and lectures and invites external guests and curators to present their projects. # Timo, we have known each other since 2012. Back then you had just opened Salon Dahlmann here at Marburgerstraße 3 in BerlinCharlottenburg. Meanwhile you have launched some 20 projects. Right now we are sitting at a beautifully set table where I can see the traces of a dinner. Tell me what happened here yesterday? The Finnish artist Nina Backman organized a “Silence Dinner,” which is a good example of her artistic practice. A circle of art lovers is invited and great food is served, but no one is allowed to talk. So everyone sits there for three hours, and no one may say a word. The participants start to behave in the most odd manner, and different character traits come out in this kind of unusual situation.
# Don't you burst into laughter after a while? Some do, yes. But others really enjoyed this sort of silence. After the rather busy and hectic opening of the Art Berlin Contemporary (abc) art fair and a lot of events, I found it to be a very calming experience. You start to go beyond the surface, but as soon people start laughing, you return to reality and come back to the surface. Some guests started to write little notes and pass them around as a kind of communication. -83-
Timo Miettinen Photo: @ DONE STUDIO - Ulf Saupe
# Did the people know each other before coming to the dinner? Speaking for myself, at least half of the audience was unknown to me before the event.
# Did the artist give any introduction to the work before the event? She only presented her ideas after the event. One becomes part of the performance. The dinner table is photographed immediately before and right after the event.
# In the sixties Daniel Spoerri was inspired by the ideas of the Fluxus movement (rejecting the division between art and life) when he nailed the remains of a meal onto a canvas and put it on a wall. Today, we still can see his works in the collection of the biggest museums. Do you think these “Silence Dinners” borrow and enhance this idea, or are they rather some sort of “Eat Arts,” like the events organized by the daughter of the Rubell collector family for Miami Art Basel? Big events and the way the food is prepared are a consistent theme of different types of artistic practice. Of course Nina’s work can be placed into the first context, but I think she has developed these ideas further. She has staged this performance over twenty times, and each time the result was different. The idea has spread, and other artists have adopted it, but Nina’s presence alone is what guarantees the originality of her work.
# Great ideas are always being copied—so this could be a compliment. Yes, it is that old principal of copying and forgery. At Salon Dahlmann, we take a very clear position. We either want the original or nothing at all.
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# When you presented your first exhibition in 2012 with young galleries from Berlin, your intention as a collector was quite clear—to build bridges between the art scene in Helsinki and Berlin. Do you still see yourself working in this vein, or has your role changed? Of course, I want to continue on this path, but my thinking is not limited to these two regions. I like to see myself as a person who thinks on a European—if not global—scope. I don’t want to stick to one frame of reference, but I want to engage on a cosmopolitan level. This is why we have worked with Ulay and presented an exhibition on Viennese Actionism. Nevertheless, Finland is a small country, and my love for my native country makes me feel obliged to cultivate Finnish art at Salon Dahlmann.
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Finland is a small country, and my love for my native country makes me feel obliged to cultivate Finnish art at Salon Dahlmann
“
DECEMBER 2015
Timo Miettinen & Ute Weingarten at Salon Dahlmann Presented exhibition: Matti Kujasalo Between Order and Entropy Photo: @ DONE STUDIO - Ulf Saupe
Henning Strassburger (cat.) What this does Exhibition view Salon Dahlmann, 2014, Berlin Photo: © Nick Ash
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Anselm Reyle & Marianna Uutinen (cat.) Last Supper Exhibition view Salon Dahlmann 2013, Berlin Photo: © Nick Ash
# Which exhibition are you presenting right now? Currently we are showing an exhibition by Matti Kujasalo, who is a very established artist from Finland known for his puristic geometrical style. Kujasalo has been influenced by the French artist Victor Vasarely, who he maintained contact with in the sixties and seventies. A couple of years ago there was a huge Vasarely exhibition in Helsinki. One of Matti Kujasalo’s large works was presented there as well. He belongs to the internationally recognized Finnish art scene, and his works can be found in museums and collections all over the world.
# This also means that you often show artists and works that you personally appreciate, have in your collection, and wish to support and publicize. Of course I also want to experience new things and widen my personal thinking and experience. This is why I am open to suggestions that my team
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or friends make. For example, I am a painting enthusiast, but not long ago we mounted an exhibition on “Poetic Minimalism.” I remember finding the topic a bit difficult, since it wasn’t something I would have collected myself. But in hindsight it turned out to be an experience of absolute discovery, not only for me, but also for other visitors. Our show on Viennese Actionism was a similar experience.
# For the exhibition on Viennese Actionism you cooperated with Miryam and Daniel Charim. Is this dialogue and exchange with other private collectors another focus of your program? Absolutely. Two of our most important exhibitions were based on such exchange. For instance, The moment when I became a collector, organized by you Ute, Heike Fuhlbruegge and Joelle Romba, was a kind of introduction to the Berlin art scene for me. We invited sixteen private collectors from Berlin to show a key work from their collections. I, and of course the public, got to know the most interesting people and their views on contemporary art.
DECEMBER 2015
# You were part of an exhibition organized by private collectors at the Art Berlin Contemporary this year. How did this idea develop and which reactions did you receive as a result? The initiative goes back to different private collectors from Berlin. I remember how Axel Haubrok and Thomas Olbricht were talking about this idea at Salon Dahlmann, way back. I initially found the idea very appealing myself, and we were thinking about different locations that might be appropriate for such a show, when suddenly someone suggested using the banana hall. This was a fantastic idea. A separate exhibition that is still connected to the art fair! We received purely positive feedback and some relevant media coverage. Many found it to be a good example of the Berlin art scene.
# Would you like to continue this? Yes, I if it were up to me, I would love to continue this work, but of course there is a team behind all this, and many other parties must agree as well.
# I could imagine that you now receive a tremendous amount of proposals for events, exhibitions, and other suggestions. How do you handle and organize incoming requests and filter them? The amount of suggestions is indeed overwhelming. Today I will meet with my team, and we will discuss the upcoming program for 2016. Generally speaking, I don’t produce projects that do not convince my team as well. My team consists of young and enthusiastic people, who are art historians. They are much more familiar with the art world and it’s background than I could ever be. By working with such a team, we are able to maintain the desired level of quality at the Salon.
# Can you give us a few insights into coming exhibitions? My daughter will be curating an exhibition entitled Against at Salon Dahlmann. The show will present a series of artists who address the relationship between the individual and the contemporary world of politics. The exhibition includes unique perspectives from four artists, whose works comprise video, installation, and photography: Noora Geagea, Terike Haapoja, Julian Röder, and Maaria Wirkkala. Again, this is a topic that I probably wouldn’t have come up with myself. In addition, I am focusing on realizing annual exhibitions entitled Selected Works from the Miettinen Collection. The collection now owns over 600 works—dating from the late nineteenth century to the present. More works are being acquired on a regular basis. Many of them haven’t been shown yet here, and I am looking forward to developing the planning for the project with my team.
Marburger Straße 3 -87-
Jani Leinonen
#art
Disobedience in Helsinki
Jani Leinonen School of Disobedience, 2015 Installation, In possession of the artist Technical design and realisation in collaboration with Mirek Träskman & Antti Yli-Tepsa Photo: © Finnish National Gallery / Pirje Mykkänen
Jani Leinonen is an extraordinary artist by any standards and no stranger to righteous causes. The visual artist from Finland is known for broaching issues of social injustice.
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text | Victoria Trunova
DECEMBER 2015
His works are currently being shown in an exhibition entitled School of Disobedience at Kiasma Museum in Helsinki. A successful mixture of art and education, the exhibition exemplifies the line of thought behind Jani’s concepts. Based on the idea that the worst crimes committed in human history were caused by common and public obedience, it raises the awareness for the responsibility of the individual to participate in political decisions, as well as every day injustice. Jani Leinonen invited Finland’s most important thinkers to teach at a school he has built within a museum. Workshops with Li Andersson, Riku Rantala, Tuomas Milonoff, Paleface, and Sampsa deal with media critique, music, and social media as a tool for finding ways to fight social injustice and capitalism.
# What made you decide to build a school in a museum? There was a point in my career where I was doing really well. I didn't have any up and coming exhibitions. I was just making new works, and collectors came to buy them straight from the studio. It was horrible. A nightmare for an artist. I wanted to make art that would be seen. I wanted to create political statements that made people think—but only a handful of people saw what I was doing. I realized would I have to invent a new way of working. That´s when I started planning to kidnap the Ronald McDonald statue in the name of the fictional activist organization Food Liberation Army (FLA). I think that was also the start of the School of Disobedience. What FLA did was an educational project. Of course, their aim was to inform people about the food industry and to offer tools for how one could take part in changing society. What I always dreamed would be the capacity of art at its best is changing people´s behavior and view on reality. What I was hoping to gain from the exhibitions that I saw were not only new ideas but also new ways to solve the problems we are facing in the world. So I figured what place would be better to do -89-
this than a school? At first it was a metaphor, but then I quickly realized that of course I would have to make a real school, where real dissidents and activists teach real things.
# Media education is one part of your exhibition. How do you educate people to use social media as a way of participating in discourses about justice? There are couple of classes, like Sampsa´s video class and Li Andersson´s class about activism, that really teach how we can use social media to get people together and decide to boycott these companies or send tens of thousands of messages to the government to express our dismay. It´s also a good way to start discussions that end up changing opinions. But the big thing is how social media functions as a good place to gather people together in reality as well, to get people organized. Nowadays all these big demos are organized through social media. I don't think we have big hopes in terms of people just clicking on stuff online. There are a lot of illusions about changing things too.
Jani Leinonen Photo: © Finnish National Gallery / Pirje Mykkänen
Jani Leinonen The Most Terrible Things 2015, Acrylic on polystyrene In possession of the artist Photo: © Finnish National Gallery / Pirje Mykkänen
Jani Leinonen Photo: © Vilhelm Sjöström
When we are shown scenes of starving children from catastrophe zones, with a call for us to do something to help them, the underlying ideological message seems to be: “Don’t think, don’t politicize, forget about the true cause of their poverty, just act, contribute money, so that you will not have to think!” Those pictures of subjective violence fool you. They are turning our attention away from the other, more destructive forms of violence, like the anonymous violence of our economic system. We must resist the charm of this graphic and subjective violence, because it drowns us in our emotions, forcing us to hurry and preventing us from seeing the bigger picture. The bigger picture means recognizing that we want to be unaware of the violence, because in the West we benefit from the suffering of millions in the Third World. The developed nations “help” the underdeveloped countries with aid and loans, and this enables us to avoid the crucial fact of how we actually participate in creating the poor conditions of the underdeveloped world. This is the most horrifying form of violence in our system, much more horrifying than anything ever Stalin did, because we cannot blame anyone or any bad intentions, but instead the source is purely objective, systemic, and anonymous. That´s why, whatever we do, we should think hard about what we are doing. Are the things that we do really changing things for the better or just supporting the powers that be?
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It's not radical to fight for human rights, it's totally normal.
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DECEMBER 2015
# You teach how to revolt. Are you broaching this issue of extremism as well? I have realized that what we teach is common sense. There is a lot of talk about extremism, and most of it is total propaganda. In the school I have met so many people who say they don't want to be called radical thinkers. They don't even want to be called activists, because those words are so often used to marginalize and demonize really normal stuff, like defending the weak and opposing racism. We live in a citizen democracy where everyone everywhere has the right to influence society every day. Fighting for social justice is not just a goal for “activists.” It´s a goal that most of us have. It´s not radical to fight for human rights; it´s totally normal. The way common sense is marginalized or inverted to look like something radical is a much bigger problem than extremism. I have met many people who are getting death threats for housing refugees or defending gay rights, and that´s becoming the norm as well.
# How has been your experience so far with the exhibition? What type of audience has been visiting the exhibition? The biggest group is kids and their teachers. Thousands and thousands of them. I just talked to the director about this, and he said that Kiasma is experiencing an influx of more visitors than ever before, so it´s not just the usual suspects, kids and the grannies, It´s a much broader base of people. Before the show they asked me about my target group for the show. I couldn't say, because I couldn't pinpoint a specific age. But as a friend said to me, it´s not about age. It´s about the people who think there can be change. You have to remember this is not just an exhibition. We have classes and workshops there almost every day. People want to learn how to effect change. -91-
# Do you think Finland’s museums are taking the mission of supporting a fair society more seriously than others? I don’t know what has changed, but there is a lot of political art being shown in museums in Helsinki right now, and there are also more people visiting them than ever before. The museums are in no way making political statements as institutions, but by their choices of exhibitions. I think they could fight even more openly against racism and social injustice, but I think it´s just the way they are brought up; their traditions are rooted in providing a seemingly neutral and objective background for art. There is also the public funding that they possibly fear losing if they made more blatant statements.
# What is your advice for future generations? Dear next generation, do not take your obedient place in society and look to become successful cogs in the wheel. Do not let the wheel spin you around as it wants to without taking a look at what it´s doing. Do not become passive receptors of the official doctrine that's handed down to you from the politicians, the media, textbooks, teachers and preachers. Disobedience is not our problem. Our problem is obedience. Historically, the most terrible things — war, genocide, and slavery — have resulted not from disobedience, but from obedience. Please, disobey!
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#fashion
Let's talk about Green COLUMN: SUSTAINABLE FASHION
In this month's issue of SUPERIOR MAGAZINE we focus on the online platform NOT JUST A LABEL. We spoke to the founder and CEO of NJAL, Stefan Siegel, about the concept of the company and its way to change the fashion industry. Due to the launch of a temporary store in New York City, we introduce you to the event and the concept of events like these and how they could impact consumer buying habits.
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interview & text | SARAH WEYERS photos | NOT JUST A LABEL & Eva Neuzilova
DECEMBER 2015
NOT JUST A LABEL Nervously I arrive at the young and stylish coffee shop in the middle of Shoreditch, in London – loud music, hectic waiters, the smell of coffee and fresh bagels fills the air, soft Jazz tunes play in the background. I meet Stefan Siegel, the founder of Not Just A Label (NJAL), just as if I am going for brunch with an old friend. And even though we have never spoken in person before, the interview – or rather conversation – was just as friendly and easy as that we had known each other for years. Siegel started the preeminent open source platform for designers in 2008. I asked him why create this unique venue for designers and his explanation was just as simple as it was meaningful. While he had worked in Investment Banking for fashion, many of his friends were designers and when asked where he or others could purchase their pieces, the answer was always the same: “We don’t really know.” Using MySpace as a semi-professional platform to connect with other designers, the resources to enforce the visibility of labels as well as enlarging the target group weren’t very efficient. Siegel and his brother wanted to start a network for exactly those designers – one that could compare to professional networks like LinkedIn, the plan was to grow this to the point that it would even allow the designer to present their collections in an online showroom and thereby take away the power of third parties like PR agencies; further empowering the independent designers to be as independent as possible. That way they could cooperate with designers that just getting started in the business and therewith did not have the necessary funding available to participate at the same level as mainstream designers. Not Just A Label has grown to host more than 20.000 designers to date and the one key characteristic that might be most responsible for its success is transparency; and it remains today one of the most important values that Not Just A Label is founded on.
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But back to where Siegel started. When I asked how the project first came to life and how the first designers were approached, he explained that they tested it with around 10 designers – who were mostly friends of the two brothers – and that it was exactly the right time to start the platform, social media was changing in 2007/2008 and rapidly becoming a dominant force in today’s digital society, which is why it grew immensely in a short period of time. In 2013 the marketing director of Vivienne Westwood and Stefan Siegel met in a coffee shop much like this one and discussed the opportunities for the two companies to cooperate. When Siegel recalls the meeting it sounds a lot like the one we have right now in this edgy London place – and yet, one of the most successful corporate cooperations was the result of that meeting: Westwood, who needed expertise in expanding her online exposure, became a strategic investor in the company and received a new open-source website for her brand in return.
Stefan Siegel Photo: © Eva Neuzilova
Working with an open source system allows the designers to create and design their website according to their wishes, which makes NJAL the first platform that helps young labels to gain global exposure and even commercialization – something Westwood benefits from as well. In 2014, Not Just A Label hosted a convention-like event called “Origin Passion and Beliefs” that connected 100 designers with manufacturers in order to maintain craftsmanship from the Northern regions of Italy and ensure quality and sustainability. By working against the fast fashion movement, NJAL took a stand against outsourcing production to South East Asia and focused on pushing and empowering designers, also from non-fashion capitals to produce locally. In May 2016, NJAL will hold the fourth annual Origin Fashion and Beliefs convention. I asked Stefan what the criteria is for designers as well as manufacturers to be partici-104-
© Slowfactory, NOT JUST A LABEL
DECEMBER 2015
pants; I imagine the decision would be quite difficult: Picking from the 20,000 designers world wide that work with the company to choosing the best 100. He explained that out of all the artists, NJAL choses those that work most innovatively with materials and have expertise in a field that would benefit others. For example, if a Mexican designer is specialized in producing with a certain type of cotton, bringing this knowledge to Italy for the event, working with specialists in other fields, developing it, growing it – and bringing the benefits from this process back to Mexico can only be of great benefit for the entire industry. So most of the participating designers have been in the business for a while, although NJAL cooperates a lot with recent fashion graduates, too. 30% of the best designers and manufacturers, chosen by Siegel and his staff, are then able to join the next trade show. The last big offline event that NJAL organized was a cooperation with the Council of Fashion Designers of America, for which Siegel and his team traveled to Los Angeles. Since about 200 designers from the Californian area have already joined the platform, LA has always been an expansion focus of the company and their entre into the US market. Los Angeles seems to allow creative people to actually create – even though the pace is fast here, too – which is why it is such an intriguing place for many young designers unlike the fashion industry in London or New York,. Many designers spoke at the conference hosted by NJAL and the CFDA about their cooperation with garment workers, their community-like lifestyle – which is exactly what NJAL is aiming for. The goal now is to expand these connections even further thereby bringing benefit to garment workers themselves, designers and the economy. With this platform designers can resign from outsourcing their manufacturing and keep it close to where they started the pieces – possibly even in the same building. The original goal of the trip to LA was to give a voice to young designers and listen to their concerns, wishes, fears and hopes for the future of their work -105-
© Ann Daubner, NOT JUST A LABEL
and the LA fashion industry itself, as well as finding possible solutions for problems and ways to cooperate. Having held a similar event prior to the convention in Italy, NJAL understands that listening to the concerns of those in the midst – the designers – is the first step to creating something new and worthwhile. Since the cities in which NJAL has held similar events are very different from one another – Dubai, Berlin, LA and others – their strategy to form future visions and plans always depend on the individual needs and traits of each city: the people, the style, the pace, the environment – which is why every one of them has been very successful so far. One example was the event in
which saw the German based company Zalando partnered with NJAL during Berlin Fashion Week in the summer 2015, the two companies hosted movie screenings, workshops and a number of exclusive previews. Writing frantically to note all the information Siegel is sharing, I see him sipping on his decaf cappuccino from the corner of my eye – it still feels odd to sit next to the enormously successful businessman, who is the founder and CEO of one of the most relevant websites today – and still speak to him so amicably. I wonder: “Does Stefan Siegel live a healthy and sustainable lifestyle too?” Because after all, his website aims to make the fashion industry more sustainable and works against the fast fashion movement. Siegel: “I do eat healthy!” He says and I keep in mind that his Cappuccino is, indeed, decaf. “But with the growing transparency in the food industry it has become so easy to know where your coffee comes from, your bread, your meat. Ten or fifteen years ago it was not like this – then nobody cared. However, today it is almost mandatory to be interested in a healthy lifestyle. But I work out a lot too, which is another reason as to why I eat healthily. The idea of the edited life, a life in which responsibility is brought back to the consumer, is what I think is the future in every part of life. We prefer AirBnB’ and boutique hotels over big hotel chains, even McDonalds now offers fair trade meat – and this movement will be applied to fashion soon, too. It gives the consumer his and her responsibility back, which boosts confidence in making their own choice where and what to buy. And this positive influence it has already had on the food industry will be applied to clothing in a very foreseeable period of time, too.” “Fair enough”, I think and ask if he tries to incorporate sustainability in his working life as well. “There is no balance!” Stefan says and laughs charmingly. “My life is very hectic at the moment. I am thankful that we get to do what we do and I love -106-
© Rachel Entwistle, NOT JUST A LABEL
my job, but still there is no balance.” He glances at the phone in his hand and throws a quick look at his wrist watch as well before continuing: “The last two weeks have been extremely busy. We have another event coming up soon so we had much to plan and organize therefore, had meetings in the location, then went off to LA, stayed there, had the conference and more meetings. I usually stay at the office until around midnight on Mondays and Tuesdays because then I know the rest of the week will be less stressful – but that has not been the case lately! Luckily my team is just as eager to change the fashion industry as I am, which is why I get messages over night, because they are still at work too. I actually have a meeting after this too!” he laughs.
Not Just A Label cooperated with Zalando in 2015. Read the article on Siegel’s presentation at the Ethical Fashion Show Berlin HERE
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DECEMBER 2015
NJAL IN NYC With support of NYCEDC, we aim to create an ecosystem that celebrates, supports and sustains entrepreneurship and innovation in fashion as we have done with other partners across the globe.
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After hosting successful offline events in Berlin, Dubai and Venice, Not Just A Label launch their first retail space in New York city this month. As part of the New York City Economic Development Corporation’s “Made in NY” Initiative the company created a point of sales for New York designers that are part of their platform. The “Made in NY” Initiative aims to reinforce the city’s status as the global fashion capital and includes programs intended to strengthen the design and manufacturing sectors of the city, including retail activations, certification programs, promotional campaigns and more. It wants to “teach visitors and residents what “it really means to be in NYC” – which might also be the reason for NJAL to open the temporary store in a space full of history: The Waldorf Astoria. The hotel in the heart of the city has had a long history with fashion related events, hosting shows of French fashion houses like Dior and Balmain and the Couture Fashion Week. Siegel describes the hotel as the perfect setting to celebrate the city’s creative economy. Showcasing a selection of young designers that are based in the city aims to furthermore support the growth of local fashion, manufacturing and the creative industries over all. All products that are available at the store have been designed and -107-
made in New York City’s borrows, including Manhattan, The Bronx, Queens, Brooklyn and Staten Island. NJAL has had a distinct strength in the city even before launching the event, yet reinforcing New York City’s status as the world’s fashion capital will bare great advantages for local designers since the company already provides great experience in bringing designers and manufactures together as they have proven many times. Siegel adds that the cooperation “gives even the youngest of New York designers the opportunity to realise their dreams of showcasing their collections to this incredible city.” He continues: “For decades, New York City has functioned at the centre of the fashion universe, an iconic source of talent, creativity, and international influence, however it is often easy for emerging designers to be forgotten.” The temporary store will open on December 4th and display many different designs and styles.
© NOT JUST A LABEL
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DECEMBER 2015
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styling assistants Stefan Schwarz & Pia Wischerhoff shoes by JUSTFAB hair & make up by Latisha Nicholson models Natalia Vaske @ VIVA Models -109-
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March 2014DIGITAL
SUBMIT
Y O U R EDITORIAL -132-73-
MAY 2015 DIGITAL
ONLINE
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Nicole Franke
»BLACK ORCHID FERVOR« Tane Coffin
»A GEM OF MANY FACETS«
Denis Michaliov
»STAY TRUE«
David Curleigh
»NEVER ENDLESS«
Joanna Kustra
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»A KISS«
Gaetano Cartone
»HOLY GRACE«
DECEMBER 2015
Julie Nagel
»Flanieren à la crème«
Liam Walsh
»SCREAM QUEEN«
Shelby Goldstein
»GOLD FOX«
Samantha Wolov
»BOJANA«
Ryubun Yamashita
»NOBLE«
Willy Villacorta
»BURNING HEART«
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