Hypebeast Magazine Issue 06

THE RHAPSODY ISSUE

USD $12 GBP £7.50

G-DRAGON

PUBLIC SCHOOL

THOM BROWNE

TAKASHI MURAKAMI

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E D I TO R I N C H I E F Kevin Ma P U BL I C AT I O N M A NAG I NG E D I TO R Alexander Lendrum C O N T R I BU T I NG E D I TO R S Eugene Kan Petar Kujundzic Ambrose Leung Alex Maeland Iveet Shiau James Shorrock E D I TO R I A L A S S I S TA N T S Arthur Bray Josh Davis Cody Horne Zahra Jamshed C O P Y E D I TO R Peter Suh C O N T R I BU TO R S Mark Smith Jonathan Poh Adam Sherrett A DV E RT I S I NG Stefanos Constantinou Gems Ip Tiff Shum Trung Le Thanh Stephen Yu DESIGN Tiffany Chan SPECI AL TH A NKS Brett Anderson, Wilf Cho, Peter Chun, Alyssa Jones, Corey Kamenoff, Glenn Kitson, Marguerite Lauras, Silas Lee, Heiman Ng, Michelle Ng, Cheuk Yin To, Izabelle Wilson, Peggy Yeung C O N TAC T magazine@hypebeast.com advertise@hypebeast.com 12th Floor, 10-16 Kwai Ting Road, Kwai Chung, Hong Kong Printing in Hong Kong by Asia One Printing Limited All Rights Reserved.

ISSN 2304-1250

W W W. H Y P E B E A S T.C OM

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THE RHAPSODY ISSUE SPRING 2014

E DIT O R ’S L E T T E R

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HIGHL IGHT S 14 NE W S

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F E AT UR E S Public School

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Thom Browne

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G-Dragon 46 LOOKS Alexander McQueen and Kitsuné

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Matthew Miller and Monochrome Furs

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Our Legacy and Raf Simons

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Rochambeau and Stone Island Shadow Project

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IN T E RV IE W S Dirk Schönberger 100 En Noir

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Mick Rock

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M US IC Snoh Aalegra

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Ta-ku 174 A RT S Takashi Murakami

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IN S IGHT Creating an Icon

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DIR E C T O RY 191

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EDITOR’S LETTER

This past year was an important one for fashion and music. You only need to look at G-Dragon’s rising influence to recognise that times are changing.

Therefore, we thought it would be appropriate to dedicate our sixth issue to both categories. The personalities featured in this issue epitomize creatives that push the boundaries of their respective discipline. Spearheading this issue is South Korean superstar G-Dragon, an artist that encapsulates the intertwining dynamic between music and fashion with his avant-garde approach.

Each generation undoubtedly has musical influences that instigate fashion movements. The stripped down instrumentation of ‘70s punk rock led to an explosion of anarchic sights and sounds. While the “golden age” of hip-hop in the ‘80s grabbed our attention with bold colors that reflected the music style.

Underpinned by the information sharing capabilities of the Internet, the current dynamic between music and fashion has brought a vast number of brands to our attention via the global reach of mainstream music artists.

The “Rhapsody” issue delves into this fast-paced landscape and looks at how the aforementioned areas influence each other. We called upon legendary music photographer Mick Rock to share his unique perspective on the influence that music artists have on modern fashion. Designer Thom Browne and Public School founders Dao-Yi Chow and Maxwell Osborne, on the other hand, provide a different angle and further insight into this symbiotic relationship.

Featuring other exciting names for an all-encompassing snapshot, it gives us great pleasure to present to you Issue 6.

Kevin Ma Editor in Chief

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N E IGH BOR HOOD for A DI DA S STAN SMITH SNEAKER To celebrate the 50th anniversary of the iconic STAN SMITH silhouette, NEIGHBORHOOD has partnered with adidas for this special release. The time-足tested model has been reworked to feature a brown base足color for a mature and versatile aesthetic, appropriate for a variety of looks. The sneaker sees unorthodox branding on the toebox, t足ongue and heel, where the iconic NEIGHBORHOOD cross足bone and text branding are incorporated.

Available at NEIGHBORHOOD stores as of January 2014. $160 USD

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K I T H for FO C USE D SPAC E LEATHER HOLSTER BACKPACK, IPHONE 5/5S AND LEATHER IPAD MINI JOURNAL Offering a lineup of minimalist backpack and case designs, Ronnie Fieg’s KITH has joined forces with accessory label Focused Space to present a collection of pieces for 2014. Featuring an all-black genuine leather aesthetic, each item sees a slim profile that is constructed with premium materials and quality craftsmanship. Each item is capped off with subtle coin and embossed branding from the respective brands to denote the collaboration.

Backpack $300 USD, iPhone 5/5s Case $40 USD, iPad Case $80 USD

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PALLADIUM BOOTS ENGINEERED FOR CITY TERRAIN

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L EV I’ S M A DE & C R A F T E D BOMBER JACKET AND REGULAR TEE Maintaining a classic indigo color palette, Levi’s Made & Crafted has released the following bomber jacket in an imperial blue suede and T-shirt in a fresh Blue Dash print. Featuring a quilted satin lining alongside the crisp blue goat suede exterior, the jacket features a classic sport finish with ribbed detailing at the cuff, collar and hem.

Maintaining the classic fit of the Regular Tee, the short-sleeved shirt is composed using slubby cotton jacquard knitted in with jersey, creating a well-fitted stretch across the shoulder and back. The “Blue Dash” concept itself adopts a print inspired by water ripples. Jacket $950 USD, Regular Tee $85 USD 18

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H Y PE BE A ST for M A ST E R- PI EC E EXPEDITION POUCH HYPEBEAST has partnered up with Japanese bag and accessory expert master-piece for a reworked iteration of the Expedition pouch. Featuring a high-polymer ballistic nylon shell that is strong, durable and lightweight, this updated version incorporates nubuck accents at the front flap and branding label of the pouch, and a matte black spring-loaded carabiner. Measuring H 80mm x W 120mm x L 30mm, this compact clip-on accessory offers adequate space to free up your pockets, while maintaining a slim profile. Limited to 25 pieces, the pouch is available exclusively at the HYPEBEAST Store. $120 USD 20

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I N V I NC I BL E for R E E BOK INSTAPUMP FURY OG Continuing with its endeavours in reworking classic sneaker silhouettes, Taiwanese streetwear retailer Invincible has turned its attention to the Instapump Fury OG sneaker. As part of Reebok’s Certified Network - an exclusive roster of Reebok retail partners - the streetwear purveyor is celebrating the iconic sneaker’s 20th anniversary with this unique colorway. The upper features a tropical motif with gravel and duffle green neoprene overlays, alongside a victory pink inner lining and a brown suede patch at the toebox. Available April 2014. $170 USD

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C A R H A RT T for R ET ROSU PE R F U T U R E W.I.P. SUNGLASSES COLLECTION Carhartt has teamed up with eyewear specialist RETROSUPERFUTURE for a special capsule collection release. Featuring three timeless silhouettes - the Stokely, Brightmoor and Hampton - each profile is distinct and encapsulates the classy and stylish elements of both brands. Each model is available in a slick black Italian acetate finish, alongside a bevy of vibrant patterns and combinations, all of which are fitted with a selection of CR39 Carl Zeiss lenses. To mark this collaborative effort, Carhartt’s “C” logo is set firmly on the inside of each frame. Available February 2014. Stokely $159 USD, Brightmoor $149 USD, Hampton $159 USD 24

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NEWS A selected ensemble of spring/summer products

Soulland Stewart Reversible Jacket

Stussy Deluxe x master-piece

Y-3 Sunset FS Graphic Backpack

Garden Camo Pouch

Danish fashion label Soulland has released a reversible jacket for the tail end of winter. The jacket features a navy cotton face on one side, and a two-tone beige striped face in a wool blend on the other. Difference in the details can be found on either side’s unique pocket configuration that helps to truly separate the looks. $700 USD

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Like the Garden Camo Duffle, this pouch from Stussy Deluxe and master-piece features this season’s “Garden Camo” print.

Standout elements include a high-quality, all-white metal buckle clip and spring-loaded carabiner, which complement the contrasting zippers.

Available in two colors – black and brown – these pouches will be available starting March 15. $130 USD

Perfect for the coming seasons, Y-3’s packable Sunset FS Graphic Backpack is composed of lightweight nylon fabric and features a California sunset print

by Peter Saville. The bag includes a number of pockets both inside and out, making it as practical as it is stylish. $165 USD

Burberry

Converse

Soulland

Bottle Green All Over Leather Large Duffle

Chuck Taylor All-Star Woven

Bomholt Pants W. Drawstring

Showcasing a fresh take on its signature silhouette, Converse presents the Chuck Taylor All-Star Woven. Featuring a woven burgundy denim upper, this special release also includes a leather toe box, piping and lining, and is rounded out with tonal laces. $110 USD

Known for its detail-oriented approach to design, Copenhagenbased Soulland has released a pair of blue pants for the spring season. Made from cotton and crafted in 260g heavy twill, the pants have a napped finish for a soft touch. The relaxed cut pants is fitted with a contrasting white drawstring around the waist, as well as cuffed bottoms to ensure a secure hold. $160 USD

Iconic British brand Burberry has reworked the practical drawstring bag, offering a luxurious design in leather.

Using premium materials and quality workmanship, the bag is crafted with full-grain Nappa leather, and dyed a rich green.

Inside are two compartments – a slip pouch and zipper pocket – making this a great combination of style and function. $950 USD

Stussy Deluxe x master-piece Garden Camo Duffle

Stussy Deluxe and masterpiece have partnered again for a stylish iteration of the duffle bag. Featuring a distinct all-over “Garden Camo” motif, the bag is made using quality materials, and has an organic cotton body, suede side panels, corners and edging, and nylon reinforced handles. Coming in two colors – black and brown –this bag will be available from March 15. $180 USD 27

NEWS A selected ensemble of fall/winter products

Billionaire Boys Club, Black Collection “Sleeveless” Varsity

Always looking to remix streetwear staples, BBC presents its “Sleeveless” Varsity jacket from the label’s Black line.

The clean white leather body is complemented by black and white varsity ribbing at the waist and collar. The outerwear garment is fitted with white snap buttons along the front, as well as an angled front pocket with gold zipper embellishment. $550 USD 28

Dr. Martens

IISE

1461 Hieronymus Bosch “Heaven” Print

Buffalo Minimal Tech Backpack Black

Dr. Martens has re-worked its classic 1461 silhouette for a release that sees an all-over “Garden of Earthly Delights” print from the early paintings of Hieronymus Bosch. Known for his vivid and imaginative take on religious understandings, the durable Quilon leather upper takes on Bosch’s moral and religious narratives for an alternative footwear display. $130 USD

NEIGHBORHOOD x Schott NYC One Star Jacket

As part of its “Black Buffalo” collection, Korean bag and accessories label IISE has launched a utilitarian backpack that incorporates premium Argentinian buffalo leather. Produced by hand in limited quantities, each leather panel and detail is cut from different sections of hide, making each piece unique. $375 USD

Japanese streetwear label NEIGHBORHOOD has teamed up with leather apparel expert Schott for a reworked iteration of the One Star jacket. The jacket maintains an off-center closure and metal star embellishments.

NEIGHBORHOOD branding has been added to the front pockets.

Available in three colors – black, brown and blue. ¥123,900 JPY (approximately $1,185 USD)

AMBUSH x Maison Kitsuné Real Fox Fur Key Chains

VERBAL and YOON’s design agency, AMBUSH, has paired with Parisian fashion house Maison Kitsuné for a luxurious offering of key chains. Made with real fox fur, these accessories pays homage to Kitsuné’s brand identity. Each piece features a gold key ring and comes with three gold charms to mark the collaborative effort. The chic key chain is available in three colors – blue/white, red/white and arctic fox. $350 USD

AM Eyewear CAPT Jonny

AM Eyewear has unveiled a retro style pair of sunglasses for the spring season. The old school blue frame has been paired with classic tortoise temples for a stylish design.

The well-constructed frames are made from Italian Mazzucchelli Acetate and fitted with Italian Tecno hinges and Carl Zeiss AR lenses. Standout details include metal embellishments at the hinges, as well as logo branding positioned at the temples. $270 USD

Stussy Deluxe x Baxter of California Candle

Stussy Deluxe has partnered with West Coast grooming specialist Baxter of California for another scented candle release. This particular fragrance features top notes of lime and chamomile that give way to a cedarwood and clove base, followed by finishing notes of vanilla. The scented candle will be in stores March 15. $50 USD

Soulland Maskes Sock

Breaking away from its usual subtle designs, Soulland offers up an interestingly bold pair of socks. Made from a breathable cotton blend, these jacquard socks feature an unusual pattern of white masks and angular shapes atop a black base. $20 USD

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PUBLIC SCHOOL WO R D S BY E U G E N E K A N P H O T O G R A P H Y BY J U S T I N B R I D G E S

There’s much to be said about the high level of connectivity that exists within fashion and music. Despite the unique dispositions of each creative form, they’ve enjoyed a powerful symbiotic relationship. At the very root, both embody a form of communication and it’s perhaps the fact that one occupies a visual spectrum, w hile the other, an aural one that allows the two to work so seamlessly together. For New York City’s Public School (which recently won the 2013 CFDA/Vogue Fashion Fund award), its founders Dao-Yi Chow and Maxwell Osborne have lived through a lifestyle of both these mediums.

Growing up as a byproduct of New York’s public school system, this cultural mecca has been pioneering in both fashion and music. Both Chow and Maxwell grew up under a heavy influence of ‘90s hip-hop, but the overall influence of music in as a whole is used as a major creative force for the duo. For Chow, two years spent as a contributing writer at hip-hop institution VIBE might have been his last professional foray into music, but the inspirations from it carry forth to this day.

The overall aesthetic of Public School is undoubtedly dark and minimalist. But stop yourself for a second. Creativity in style should know no boundaries or be subjected to any preconceived borders. Now more than ever, fashion and music have no preset notions. The dogmatic view that fashion and music require a certain alignment are long gone and undoubtedly for the better. To help reinforce this thought, we spoke with the duo behind Public School about the current and past intersection between music and fashion. Furthermore, we asked them to style four looks based on hip-hop, new wave, rock & soul and pop music.

How relevant is fashion and music now versus when you first entered the industry?

It seems like there's even more synergy between the two now. Creatively we think designers have always been drawn to musicians and artists when looking for a creative muse. At the same time, artists seem to be collaborating more with designers to help them create and augment their aesthetic. It’s totally a symbiotic relationship now while in the past it has felt more one-sided. The ongoing decline of the music industry has helped change the relationship as well, where labels and artists are now trying interesting new partnerships to help offset lost record sales.

Do you feel a lack of cohesion (not necessarily in a negative way) between a certain genre and style?

Hip-hop is having an interesting moment with high fashion now. There's always been the Puffs and Kanyes who've had access but it seems like the tables are turning where music and culture are inspiring the designers more now. It’s always a bit unnerving when things like this happen so suddenly because you know it will eventually fall off really hard.

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Is there an instance where a musical artist is rocking Public School that is most memorable to you?

We dressed James Murphy for the CFDA Awards (Council of Fashion Designers of America) last year in a white tuxedo and some people were like ‘okayyy’ who is he? He might've been an unexpected choice but he's probably the coolest, funniest guy alive. LCD Soundsystem is on constant repeat at our offices and it was a dream come true to hang out with him. He also DJ’d our after-party which was pretty rad. Oh yeah and we won the Swarovski Award that night, which also made it memorable.

Genres and Looks When you think of this type of music, immediately what comes to mind? What about stylistically?

Hip-Hop – Strict rules, new and first is always better, and more is best.

New Wave – Dark eye shadow and extra long shirts. Rick Owens before Rick Owens.

Rock/Soul – Cigarettes, headbands and big cuffs.

Pop – Strategic disheveled-ness.

What is something you'd like to avoid when it comes to each of the respected music genres?

Hip-Hop – Over-coordinating and sunglasses at night (Maxwell's are prescription).

New Wave – Over emo-ing...

Rock/Soul – We like chips but keep the ruffles. And collars are meant to be worn inside your jacket.

Pop – Black is the only color of leather that should exist...

Does anything from each of the genres inspire you in design and creation?

Hip-Hop – An innate sense of self-awareness and an unyielding bravado.

New Wave – Romance and heartache.

Rock/Soul – You have no voice without authenticity and originality.

Pop – A secret desire to make it really big and affect a lot of people.

What were you thinking when you styled this particular look?

Hip-Hop – Trying to capture the minimalism and pure rawness of NWA. All black everything (except the sneakers).

New Wave – Going back in time to dress Robert Smith. We feel like we lived our parallel lives in black.

Rock/Soul – Way before Prince was on Apollonia he was on long suit coats and silky headbands. Make it purple rain...

Pop – A tribute to the King of Pop. Often imitated, never duplicated.

Sidebar – funny how three of the four genres we choose all incorporated eye shadow as part of their styling...

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Photographer JUSTIN BRIDGES Makeup Artist / Grooming ASHLEY REBECCA Styling DAO-YI CHOW a n d MAXWELL OSBORNE Retouching DIGITAL EVOLUTION NYC Models ADONIS BASSO a n d SUNG JIN PARK

Washed lamb moto jacket, white agora T-shirt, PS 13 torn denim and PS trainers by PUBLIC SCHOOL

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Black apple WNL snapback, nylon reversible bomber, black agora T-shirt and PS 13 denim by PUBLIC SCHOOL

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Wool/cashmere over coat, cotton poly coated button down and PS 13 black stretch denim by PUBLIC SCHOOL

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Black apple “we lived our lives in black� T-shirt, cotton rib 3 button henley, jersey back mesh tank top, cotton poplin drop crotch elastic waist band long short and stirrup bottom by PUBLIC SCHOOL

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THOM BROWNE WO R D S BY A L E X A N D E R L E N D RU M A N D Z A H R A J A M S H E D P H O T O G R A P H Y BY S I L A S L E E

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The Core As the seasons change, so do the looks for Thom Browne’s collections, but within these changes there remains a core design ethos: the simple need for a well-tailored suit. When we asked Mr. Browne to define what a ‘Thom Browne man’ is, and to explain what a good tailored suit should be, he didn’t come back with extravagant and unnecessarily complex concepts, but rather something straightforward. “[A Thom Browne suit is for] anyone who understands the importance of good tailoring and well-made clothes, anyone who will appreciate that, and someone who doesn’t need overt fashion and prefers something that is simple, easy, beautifully made and fits.” Although the notion of seasons in fashion depict a changing of style which Mr. Browne adheres to, it is the simplicity of appreciating a basic grey suit that allows anyone to understand Thom Browne, the label. “That’s essentially who the Thom Browne 42

man is, that’s where it started and it’s what will always be at the core of what I do. I think sometimes people get stuck on what I do in collections every season but really, I make each collection [with the core purpose of making] that classic wellmade suit more interesting for every season.”

The Change Once you gain an appreciation for a Thom Browne suit, the label then sets its goals on introducing new ideas and approaches to fashion with the hopes of educating its audience.

“What is most interesting for me is to have someone come away from my work and see something that they haven’t thought of or seen before. Every season I try and hope to put ideas in front of people that make them think and, in turn, move things forward.” We wanted to ask Mr. Browne what he thinks defines innovation in fashion and design, and whether

his presentations of new and out of the box theatrics play a part in his own form of innovation. “Each collection that I put in front of people is for the purpose of making them look at things differently and it also introduces them to the ideas that are in my head for that season.” From the appreciation of what’s core with the brand, Thom Browne adds that second layer of education through innovative design that can be seen as the next step in understanding Thom Browne’s fashion.

The Constant

maintaining the original approach to designing – an approach that keeps things new yet still quintessentially ‘Thom Browne.’

“I think my designs evolve every season but I don’t think that they have changed. I approach design in the same way in terms of tailoring clothing for men and women and being as interesting as I can be.” Although the suit itself is reintroduced for each season, it is still, underneath all the changes, a wellfitted suit, as is the crux of what is Thom Browne. “The essence of a well-made, newly fitted tailored suit evolves every season with each of my collections.”

What follows after establishing a core style approach with experimenting and proposing new levels of design? Consistency, especially with a brand name as established as Thom Browne.

When we asked whether the design aesthetic changes in line with his own maturity as a person, Mr. Browne explained that you can still adapt and change for each season while 43

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The Ethos

The Industry

While his pursuit of the perfectly tailored suit is one of complexity, Mr. Browne’s outlook on life remains one of pure simplicity. Highlighting the appeal of organization and a desire for uniformity as a trait that extends from his personal life and into his design ethos, Mr. Browne’s perfection for minimalism starts from the moment the idea is created to its final moments on the catwalk. “It’s in everything. It’s in the way I work, it’s the way I design my collections, [it’s how I] design every look that you see in a show from the beginning moments and it’s something that transcends through almost everything [I do].”

With the minimalist approach of his design house almost as a reflection of his own identity, the charm of Thom Browne is evident in everything from the clean appeal of its apparel to the fuss-free characteristics of Mr. Browne himself.

“I prefer to keep it simple and it’s really just as simple as that.”

As a personality so dedicated to avoiding clutter, one begins to wonder how Thom Browne maintains a focused outlook on the fashion industry – especially one that is constantly in flux. This unwavering design ethos of Thom Browne and its consistently clean structure is a product of Mr. Browne’s stringent approach to his own production process rather than the distractions of surrounding trends. “I love making clothes and it’s something I will always want to do, but I like to make well made clothing and I think that there will always be room for that. Fashion is something in-house and something that’s ‘made,’ and [essentially] the most fashionable clothing is clothing that’s well-made.” The secret to finding a cohesive balance between this desire for the “well-made,” while simultaneously staying innovative through seasonal changes is all in his mental approach to life itself. “The way

I approach design is to balance sharing my ideas with making things well. Every season there should be a reason behind your work, and if there is an idea that’s put in front of everyone that makes them really think then that’s what makes fashion move forward.”

workout routine as essential components in maintaining a clear and creative mind, the notably repetitive and crisp composition of Mr. Browne’s designs are meant to highlight one’s own individual confidence and identity.

The Identity As someone whose brand stands so boldly as a reflection of his own persona, it’s a wonder how Mr. Browne maintains his own identity separate from his namesake label and the industry he’s so intimately grown to define. But one’s comfort with their unique identity is all part of the Thom Browne charm. “You have to figure out what you are most comfortable in [and you have to] be true to yourself. I never understand when people look to someone else to tell them how they should be. Just stay true to yourself.” Citing everything from sports to his daily 45

G-DRAGON’S GLOBAL COUP WO R D S BY A L E X M A E L A N D P H O T O G R A P H Y BY H O N G J A N G H Y U N

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Background How do you begin to describe someone like G-Dragon?

To define him as merely a music artist, producer or performer would be to severely undervalue the South Korean superstar’s influence on multiple levels. It goes beyond just music. It reaches to broader creative spheres, extending into fashion and design. And while the interplay of music and fashion is nothing new, you’d be hard pressed to find an individual who has been generating the same buzz recently across both sectors of pop culture while also pushing the respective creative boundaries of each so heavily. What began as a South Korean K-pop music phenomenon has quickly flooded its own boundaries and exploded into a burgeoning global movement and into the North American market that is being built off of fashion, social media and music, while maintaining authentic elements of South Korean culture.

Otherwise known by his real name, Kwon Ji-Yong, G-Dragon first rose to stardom through his position in the celebrated K-pop group, BIGBANG. Flanked by fellow group mates T.O.P., Taeyang, Daesung and Seungri, BIGBANG started in 2006 amidst the digital golden era of South Korean pop groups. Created by artist management and development powerhouse, YG Entertainment, G-Dragon was one of the frontrunners of the group alongside fellow BIGBANG artist and close friend Taeyang. Both members began their training for the limelight at age 11 – a common trend within the South Korean entertainment industry: start them while they’re young. G-Dragon was among a select batch of rising Korean music stars that were poised for a new surge in pushing K-pop abroad.

Fast forward to 2013, many people in the U.S. and elsewhere outside of Asia may loosely understand the concept of K-pop, which can be attributed to PSY’s phenomenal YouTube hit “Gangnam Style.” While there’s no denying PSY’s stamp on the progression of Korean music abroad, his success was simply a culmination of the groundwork that others before him laid down. It was a breakthrough platform in front of an international audience that legitimized the identity and voice of a South Korean movement that had already been existing for many years. PSY was just a perfect storm of being in the right place at the right time with an amalgam of authenticity, marketability, and a catchy song to capitalize on.

However, South Korean culture and K-pop has only recently started to take a lasting hold in areas outside of Asia. Could it be on account of PSY’s massive hit single? It certainly played a role. Is it the overall shift in the Western entertainment world looking to the Eastern markets for expansion? Most likely. Has social media played a major role? Undoubtedly. But, more so than anything, it’s a combination of all those things: a deeply rooted Asian fanbase that serves as a firm foundation, and the perfect platform and voice provided by the Internet and social media that has led to global recognition for the industry. And it is guys like G-Dragon who are spearheading the stateside invasion by carrying the full weight of South Korean culture and authenticity on their back, but in a way that is better tailored for the Western market.

G-Dragon doesn’t yet hold the same recognition in the U.S. as

the likes of a Kanye West or A$AP Rocky – or even PSY for that matter – but his clout throughout South Korea and Asia is undeniable. Sold out arena shows, millions of fans across Asia – the list goes on. And his followers are loyal – extremely so. A quick glimpse at his Instagram profile and his army of roughly 2 million followers should give you a sense of the magnitude of his influence. He’s most likely the “next big thing” and virtually all the elements have been put into place, it’s just a matter of timing that will determine how receptive the Western world will ultimately be to G-Dragon. But the uncharted territory and uncertainty hasn’t compromised him at all. Instead of trying to change his music and completely recreate himself for the Western market, G-Dragon is forging his North American invasion on his own terms.

G-Dragon and Fashion Perhaps the best part about his rise thus far is the ease and effortlessness in his general approach. Less premeditated and manufactured, he seems innately easy-going, authentic and genuinely inspired. The elements of G-Dragon’s persona that might seem the most contrived or for the purpose of showmanship are actually the ones to which he would adamantly affirm are “just me – the GD style.” It seems that the “GD Style” is more than just the external expressions of music and his sense of style at face value. The GD Style is actually definitive of a core identity and mentality of G-Dragon that has served to legitimize almost every facet of his creative career up to this point. It’s this type of authenticity that is making the growth so fluid and natural, as G-Dragon isn’t caught up in perfecting every detail of himself to fit some expected persona – he’s just focused on being himself.

The cross-industry jump from music and fashion is very possible, but it doesn’t always come without its conflicts. As showcased by his predecessors (think Kanye West), crossing creative fields is often met with resistance because of the need to prove oneself. Ironically enough, the same challenges of being taken seriously that have plagued Kanye in shedding the strictly hip-hop/music artist persona in favor of a broader creative mind or fashion designer are presenting themselves to G-Dragon – only it’s reversed. Despite getting his start as a music icon in South Korea, G-Dragon’s burgeoning international platform is largely rooted in fashion – not music. Some people who might recognize him from Tumblr’s fashion feeds or Instagram might not even know he actually does music.

But he’s not immune to this reality. He’s just decided to take on both worlds.

“Up until now, fashion may have been more influential (and contributed more) in developing my image,” he admits, “The fans and the general public are very interested in my personal fashion and style. However, it’s a goal of mine to have more concentration placed on my music as well so they can listen and hear the artistry I produce, not just see it.”

Music and fashion are two elements of his identity that have become decidedly inseparable. “I believe they’re one in the same,” he says, “Fashion articulates particular emotions that music wishes to express and fashion is much more expressive when presented along with music.”

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From co-designing a capsule collection of goods with Los Angeles-based fashion label Stampd and creating a collection alongside VERBAL and YOON from AMBUSH, G-Dragon has taken substantial strides in establishing his creative expression within the realm of fashion. The process of choosing his collaborators has been less calculated and strategized as it has been based simply off of the individuals and brands that G-Dragon personally holds an affinity for. “I work with brands and people I like to and want to work with, and when I can learn something from the experience.”

It’s the type of mentality that all artists and designers probably wish they had more of, or had more freedom to experience – creative autonomy to do whatever they want, whenever they want, with whoever they want. It’s a refreshing mentality to see in an industry that is so often plagued by peer pressure, expectations and pre-established notions of what is acceptable.

It’s no wonder then that his attitude towards his hustle is, in perhaps the simplest terms, just a cohesive balance between his various passions at the moment: music and fashion. “There’s no such thing as a stronger passion between the two. For me, they are both things that I love most and both are part of my daily routine.”

Stylist Collaboration The same type of unpredictability and dynamics that G-Dragon infuses into his music, he also works into his personal style.

Consistent with the transparency he presents in regards to his musical inspirations and creative influences, he also maintains 50

with the creation of his style identity. One thing that he is very open about is the collaborative nature of his fashion and style.

Working alongside stylist and friend, Gee Eun, G-Dragon has managed to craft a synergy between his music and fashion that have been very definitive of how he’s been perceived throughout his career. Eun, who has been a longtime stylist for BIGBANG, works in tandem with him to create styles that are representative of his music and performances. “GD’s style is like his music,” she says, “Just as his music is unpredictable, his fashion choices are also unpredictable.” Eun takes her role quite seriously too. In many ways, she sees herself as a translator of sorts, correctly translating G-Dragon’s audible message into a visual form as well as communicating particular moods and feelings in his music videos and performances via a wearable medium.

Just as in any relationship or partnership, communication is the key. It has been instrumental to the success of the story that Eun and G-Dragon wish to tell on each project.

“He’ll write the music and I’ll create the style concept,” Eun says, “And even though we may work separately or independently, the merging of fashion and music is possible because we communicate often and share our ideas.” And the communication seems to be working very well. While the exact execution of a visual accompaniment or particular live performance outfits may fluctuate and change, there is a consistent narrative that runs throughout everything the duo put their minds to. The GD Style is more than just a manufactured brand identity – the consistency comes from the fact that in every music video, or editorial or performance,

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G-Dragon is fully himself. “We get inspiration from various types of media and a lot of cultural influences from around the world” explains Eun, “But, I merge that with the knowledge I have gained about G-Dragon over the last 10 years when creating a concept. The outcome is never really off point.”

Western World And while many people have been anxiously keeping their finger on the pulse of G-Dragon and his diversification into the Western market, he and stylist Eun are remaining decidedly true to their roots in South Korean culture and the previous decade of work the two have produced in defining the GD Style. “I’m not sure what ‘Korean Style’ is exactly,” explains G-Dragon, “I believe everyone has his or her own color and that should be respected. I’m just me.” But this doesn’t mean that he and Eun aren’t in tune with the larger South Korean fashion developments over the past few years. It seems that every consecutive season over the past few years has seen an increasing rise in South Korea’s fashion voice with a plethora of burgeoning designers putting forth more and more qualitymade goods. He believes that “Korean people are efficient at working quickly and diligently.” And if there’s anyone who would be the de facto ambassador for Korean fashion to the Western world, the responsibility has largely fallen on the shoulders of G-Dragon. “I personally hope so,” he says while contemplating the potential for Korean fashion to become a global influencer in the future. “I believe that it’s possible and I hope that I am right.”

Focus on Authenticity If there’s one thing that we can learn from G-Dragon it is that the ability to understand oneself and be fully comfortable being one’s self at all times is a wildly infectious idea. Unfortunately, it is also very rare these days. It’s a refreshing mindset that, whether he knows it or not, G-Dragon is helping to teach a new generation to understand. “I don’t really care if ‘swagger jackers’ exist,” he says, “I think they just don’t know any better. But I think through constant trial and error, they will figure it out. Just keep it real.” And it is this very simple “realness” mentality of G-Dragon and Gee Eun’s approach to music, fashion, and South Korean culture that is poised to pave very authentic inroads into the psyche of a greater Western and North American audience. And he’s only 25. If he can amass the level of international traction and regional clout that he has in his relatively concise career, there’s no telling of the potential influence the “GD style” mindset might have on a drastically increasing audience. The lesson to learn here, however clichéd, is to just be yourself, as G-Dragon’s success story shows.

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CHANNEL X Alexander McQueen Photography LINDSAY ARMSTRONG Styling ATIP W Grooming KIM KIEFER at FRANK using DR HAUSCHKA Photographic Assistant CRUSOE WESTON Models J O R DA N B A K E R a n d E D H AY T E R at M O D E L S L Re-touching W W W. R E T O U C H .C O

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CONTEMPLATION Kitsuné Photography LYDIA GARNETT Styling PC WILLIAMS Styling Assistant KARINA LEIGH Grooming THERESA DAVIES u s i n g MAC COSMETICS a n d BUMBLE & BUMBLE Model NIALL UNDERWOOD at FM MODELS

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ELEMENT Shirt, WOOL AND THE GANG Jumper, CP COMPANY Jacket, KITSUNÉ Shorts

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CHRISTOPHER KANE Shirt & trousers, CHRISTOPHER RAEBURN Jacket, Y-3 Shoes

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KITSUNÉ Jumper, WOOL AND THE GANG Beanie, Y-3 Jumpsuit ﹠ shoes

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Y-3 Long sleeved top, KITSUNÉ T-shirt, CHRISTOPHER SHANNON Shorts

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KITSUNÉ Polo shirt, JAMES LONG Long sleeved top, Y-3 Vest

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TOURNE DE TRANSMISSION Baseball jersey, STONE ISLAND Trousers, CAT Shoes

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EBBETS Jacket, HUNTER GATHER Shirt, KITSUNÉ Shorts, Y-3 Shoes

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DIFFICULT TO CURE Matthew Miller

Photography JONATHAN BARON Art Direction STUDIO-BARON Styling MATTHEW HOLROYD Hair & Make Up TAKUYA UCHIYAMA using BUMBLE & BUMBLE Models ARRON and DANNY at AMCK MODELS, HARRIET at IMG MODELS and KLARA for freelance

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MONOCHROME FURS Photography & Post K E N - T O N IO YAM AM O T O Styling BI AN C A F O R PO S IT IVE IN C .

Graphics DANIE L VO N B E R N S T O R F F Model L E N N ART M Ü L L E R Studio C HÈ R IE B E R L IN Concept & Production T O M GAB R E A / PO S IT IVE IN C .

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NHU DUONG Jacket, PIGALLE Tank, WOOD WOOD Shorts, NIKE Tights, RICK OWENS FOR ADIDAS Shoes, AUSTRIALPIN Ice hammer

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DIRK SCHÖNBERGER I N T E RV I E W BY J O N AT H A N P O H P O RT R A I T BY A N D R E A S M U E H E I M AG E S C O U RT E S Y O F A D I DA S

For Dirk Schönberger, it all started with a pair of shoes. “There is a story that I keep on telling about an adidas basketball shoe called the Top Ten in the early ‘80s. It was an unbelievably expensive shoe; back then it cost 200 mark,” the German-born designer recalls. “I saw those shoes and I wanted to have them.

My parents thought I had a screw loose, so I pestered my grandma until she bought them for me. I still have them. They were awesome, and I wasn’t even someone who wore sport shoes.”

Now, as creative director for the adidas Sport Style division, Schönberger has been tasked with bridging the gap between street fashion and sports – an area that is becoming increasingly blurred. During his three-year stint with adidas, he’s managed to revitalize the Three Stripes with fresh, often unpredictable collaborations in a market saturated with sartorial partnerships and celebrity-endorsed collections. “'I like to bring in unexpected people to work with us to create an interesting new dialogue,” Schönberger explained to The Telegraph earlier this year.

The results have been stellar, though sometimes polarizing for the sportswear giant’s typical consumer base. There’s adidas’s 100

ongoing Y-3 line with Yohji Yamamoto – perhaps the first and most successful partnership of its kind – mind-bending footwear collections with Raf Simons and Rick Owens, and a travel-oriented capsule with Tom Dixon. There’s also, more tellingly, adidas Originals’ endorsement of performance artists like Big Sean and this year’s much talked-about, still mysterious announcement of a collaboration with Kanye West – news that, as expected, has elicited Air Yeezy-like levels of anticipation from a younger, style-savvy audience.

Schönberger is no stranger to the worlds of music and fashion.

As the designer for his eponymous label, he has dressed the likes of Rolling Stones frontman Mick Jagger, with his avantgarde tailored pants, and sent critically-acclaimed menswear collections down the runway. But, as the sartorial influence of rappers and high-fashion designers has eclipsed that of professional athletes, adidas appears to be the perfect canvas for a designer who prefers to see his work on the pavement.

“I wanted to work for a brand that is relevant to people on the street and that has the popularity of adidas,” he explains.

“I didn’t want to be producing in an image bubble. I’d like people to say, ‘I want to have that, I want to wear that.’”

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Can you tell us brief ly about your personal background and history with adidas, as well as your current relationship with the brand?

I studied in Munich and right after I went to work for someone that was at that time one of the most inspiring menswear designers: Dirk Bikkembergs. He encouraged me to start my own line 1995. After 12 years I moved back to Germany to work as creative director at JOOP!. In 2010 I joined adidas as creative director for Sport Style.

When I decided to leave JOOP!, word got around to Herzogenaurach pretty fast. I’ve always been a fan of the brand. I grew up in a time when the choice was between PUMA or adidas, and I always opted for adidas. When my mother bought a pair of PUMAs for me, I would refuse to wear them. And besides, after 12 years of doing my own collections and three years at JOOP!, I was simply tired.

Fashion is a very draining industry. It really wears you down – no pun intended. I wanted to do something that would reach the streets, something people can genuinely afford to buy.

T he l ink bet ween fash ion a nd spor ts has been g row ing increasingly strong in recent years. Similarly, how have the worlds of music, sports, and fashion been merging and redefining each other since you began at adidas?

There was and still is a need for stylish and chic sportswear.

For people who like wearing comfortable, everyday clothes, adidas created its Sport Style Division. Of course adidas understands that there is a huge market beyond sportswear and sneakers. It’s amazing to work for a company that explores new and unchartered territory in fashion. adidas is responsible for some of the more eclectic, yet buzzedabout collaborations within the sports-fashion industry. You’ve partnered with fashion risk-takers like Raf Simons, Jeremy Scott and Rick Owens, along with high-profile artists like A$AP Rocky and Big Sean, as well as designers like Yohji Yamamoto.

Then there’s your recent collaboration with designer Tom Dixon, who is best known for furniture and lighting. What makes the brand so attractive to collaborators and how is it able to appeal to such a wide and varied customer base? adidas has always been a pioneer in bringing sports to a fashion audience. Our collaboration with Yohji Yamamoto was the first of its kind, fusing the two categories together. The appeal of this new look has surely opened doors and influenced other fashion brands to follow suit.

There’s no shortage of brand collaborations on the market these days. What do you look for in a potential collaboration and how do you ensure that you keep the dialogue interesting?

Especially when working on collaborations such as with Raf Simons, Rick Owens or Tom Dixon, the performance and technology side of sportswear is fascinating and it brings something to fashion that hasn´t been seen before. With these kinds of collaborations we bring the fusion of sport, design and fashion to the next level.

It is important that both sides bring something to the table.

For me there has to be a connection. With Raf Simons for example, I know he has been a fan of the adidas Stan Smith and his work always has a lot to do with youth culture. It is always forward-thinking and questions the status quo of 102

fashion. This is important, looking at challenging the status quo of what we do.

Are there particular traits that you look for in a partnership with a designer or artist (distinct viewpoint, etc.)?

When there are two creative minds in the design process, adidas gives complete freedom. I don´t want to intervene at all, it would make a collaboration weaker. The moment I would step in is when an idea is too far off adidas as a brand, but I haven´t experienced that so far.

What is the most recent collaboration adidas has done with a musical artist and how did it come about? What was the process of working with him/her like?

As you know Mr. West has just signed with adidas. This will definitely be an exciting collaboration between a musical artist and a sportswear brand, together venturing into fashion.

How do your own sensibilities/knowledge as a designer play a part in any design partnership?

I love to approach everything as an evolution. A collection and everything that goes with it is like a living organism. It doesn’t change shape quickly. That’s why I like the idea to keep on telling a story with different twists of the storyline – that gives the whole thing much more depth.

What would you consider as the watershed moment in adidas's history with music and how did it impact you? (Run-D.M.C.'s "My Adidas," etc.)

The 'Run-D.M.C. moment' was and still is important for the brand. For me, techno music and the sports look in techno had a big influence on my personal taste. This all started in the late ‘80s, but the minimalism that comes through in this musical genre is still forward-thinking and present in today's fashion.

What can we find on your playlist on any given day?

“Sex Beat” by The Gun Club, “Nummern” by Kraftwerk, “Verstärker” by Blumfeld – these songs sum up a lot of my life.

S/S14 runway low top sneaker by RICK OWENS FOR ADIDAS

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EN NOIR I N T E RV I E W BY J O S H DAV I S P O RT R A I T I M AG E BY J A S O N WO LT E R

Like any good mixtape, a solid inaugural fashion line can make a brand. If any success story underlines this idea, it’s that of Rob Garcia. After leaving his position at Black Scale in 2012, the Los Angeles creative reinvested his ideas into an original venture: En Noir. After impressing audiences with a bold Fall/ Winter 2012 collection, the brand has thrived – blossoming into an inimitable, unique contemporary brand.

Co-signs from music icons like Kanye West and A$AP Rocky have certainly helped, but after a conversation with Garcia it becomes clear that En Noir has quickly built its own genuine hype. For proof, look no further than the packed-out shows at MILK Studios or the new audience lining up at Barneys.

Garcia, along with Brand Manager Curt@!n$ and Creative Director Jason Wolter, have not only created a takeover, but a movement within the burgeoning sphere of street meets high fashion.

During a recent business tour in New York, we found some time to talk with Garcia. Outside of covering his understanding of fashion, how to reinvent the T-shirt, and the brand’s new relationship with Barneys, the following interview underlines why En Noir isn’t getting played out anytime soon.

How would you describe En Noir’s brand focus?

The brand focus for En Noir started out as “monochromatic minimalism.” Blacks, all the hues of blacks, whites, greys – we keep it very simple, which also ties into minimalism. The branding is really in our trims and the details of the pieces, whether it’s the fabrics, the style lines, or seams. [We focus on these things] instead of branding done in traditional ways.

[There’s] an interesting balance between the worlds of luxury and street. We focus on the grey area between those two, and it’s been a natural area that we’ve settled into; it wasn’t a forced thing.

Can you describe how travel affects the En Noir brand and what that can lead to?

I think it’s definitely all about travel. With the trips we take to Paris or Milan, we visit our factories and our tanneries.

We’re very hands-on with the process of [pushing] the boundaries of the fabrics and leathers we use. [This goes] down to the zippers – we’re doing custom RiRi zippers now.

[This] takes time and dedication because it’s not something you can just type on your little MacBook or figure out on Google. You really have to meet these people and build these relationships. At the end of the day, we’re not recreating silhouettes here; menswear is menswear, these silhouettes have

been men’s staples for years. We’re not here to try to change ‘the hoodie’ or ‘the sweatpant.’ [They’re] good where they are. It’s just a matter of figuring out how to change it from the fabric point of view or from the trims.

Is it ever intimidating to try to expand on the brand, given that it has such a distinct and established aesthetic?

I guess the most intimidating part is the constant search for progression. Yeah, [we’re] pushing hard for that ‘next thing,’ but [we] really don’t know if that ‘thing’ is going to be embraced. I think that’s the most intimidating part.

As long as we continue to build a strong foundation and stay close to what we set out with, [we’ll succeed]. Building an honest product will help ensure our longevity. Then, you can always fall back on the foundation of your brand and its aesthetic because it’s real. When brands jump from [between] aesthetics each year, it can be very scary. That’s something we don’t do. I know who we are, I knew what I wanted from En Noir from day one, and that’s what we’ve set out on.

[I’m also] hoping that people embrace the effort and execution that goes with being at the forefront instead of being a “bottom feeder” brand; having all the ideas “trickle down.” That’s why we [travel and search] the world. It gets very technical with the fabrics and the leathers – but we do our homework. That makes [things] a little less intimidating.

The early lines of En Noir were heavily inf luenced by classical and Renaissance art and sculpture, which spawned a big trend moving into 2013. How have you guys differentiated yourselves amid the trend?

What’s crazy is that the stuff that everyone saw from En Noir, those were things that I designed two years prior. I was just sitting on stuff. [Then], It was a matter of money and what I could produce in a nice timeframe. When we released our graphic tees with Baroque- and Renaissance-era artwork, I wasn’t sure how it was going to be received. The same [goes] for the leather sweatpants. When it hit it inspired a “trickledown” effect and it’s cool to know that where my thoughts were two or three years ago is currently being embraced.

With our tees, we’ve been focusing on a lot of textured prints, a lot of stuff that you can touch and feel – almost like a painting on a canvas. We’re using something called ‘photorealistic embroidery’ – I think we’re the first to use it on a grand scale. It was mainly used before on small areas: a patch on a cap or the back of a jean pocket, just because it was so expensive. For us, it builds a nice, intrinsic value that people can touch, feel, see and interact with. [Basically, it’s] 109

Photography & Creative Direction JASON WOLTER Art Director PJ PATRICK Stylist MATTHEW HENSON Designer ROB GARCIA Models WILLY CARTIER and STEPHANIE BERTRAM ROSE

digitally printed graphics with hand-embroidery done over the top, [building] a texture from the fabric up. Barneys New York is the first to have it as an exclusive. [Graphic tees aren’t really] a progressive piece – it’s a tee. But it says a lot of things.

It was a big deal to see En Noir forge a relationship with Barneys.

Would you mind elaborating on that relationship and what it means?

To be honest, it was a big deal to us. It was a big deal to me. All of us had been Barneys shoppers for so long: going in there, imagining our brand on the plaque. [This] was something that I had envisioned for quite a while, but never thought it would become a reality – especially coming from streetwear. It just hasn’t been done. You only 110

get one shot. When the opportunity rises, you definitely have to be ready. That was really a huge opportunity for us, so it was something we didn’t want to squander away.

I couldn’t say that we were “prepared” for it, because it was surprising. When it came though, we wanted to knock it out of the park. They’ve definitely taken care of us, and we try to make everything special for them. They get a lot of exclusives.

They included us in the Shawn Carter Collection, which was an amazing project. We’re very thankful because if you look at the list of brands, it’s a “who’s who” of the fashion industry. It’s Balmain, it’s Rick Owens, it’s Lanvin – it’s insane to be in that kind of company considering where we’re from. When you get

Coal wasteland sweats, coal wasteland varsity and suede sleeveless hoodie by EN NOIR

those kinds of opportunities, the best way to show that you’re thankful is to execute and deliver.

Streetwear is arguably more accessible than it has ever been.

How does exclusiv it y play into En Noir’s designs or even marketing?

We’re not trying to make it super exclusive or limited, it’s just a matter of our capabilities… Due to our manufacturing processes, we can’t just pump out thousands of things to feed a demand. It’s kind of a good thing for us. It keeps us in check to make sure we’re still executing at a high level in terms of manufacturing the best pieces possible. The whole process of us traveling and sourcing the best leathers and fabrics in the world – it all takes time. Those things don’t come in volume.

The people we go to for [our materials] are the same that Hermès, Balmain and Balenciaga go to. They’re not really operating in volume either. [This] keeps our product limited and focused. Once you start trying to produce in volume to feed a demand, that’s when you lose quality control, or even brand aesthetic. We’re trying to put more money into it.

I think people fail to realize that adding an extra five dollars into a piece, the consumer will be able to feel, see and understand [the difference]. When you’re focused on money and driven to feed a demand, you’re only looking at dollars and the customer ends up getting hurt.

You can’t really pull anything over people’s eyes anymore. The consumer is very educated these days, especially the younger 111

generation. We’re getting educated as well; it’s like [the brand and the consumer] are running parallel.

I wanted to talk about the women’s line for Spring/Summer 2014.

There were about 30 pieces; what kind of mood were you after?

[The women’s line] really developed organically from so many well-dressed women wearing the men’s stuff. The way they were wearing it fed a [certain] demand. It was never in my mind [to do] a women’s line this year. I just kind of let it happen organically, because ultimately, doing women’s is way harder than doing menswear.

The female consumer is extremely knowledgeable – down to fits and silhouettes. [I wanted to] deliver the right product 112

and execute it on a level that a woman would respect. We were excited to show the collection, and it got great reviews. We’re excited for it to come out and to keep expanding each season.

It will definitely be limited – we’re [only] making it available to our top accounts and we’re already working on Fall/Winter 2014 for women. It builds off of the same aesthetic as the men’s [line] – it’s still monochromatic minimalism. We’re keeping it very simple. [Other brands] are obviously executing on a high level, like [Azzedine] Alaïa, but we’re just trying to stay at a basic, organic level first; like crawling before we’re walking.

The women’s arena is tough, and we’re not going to come into it and act like we’re the best ever. We’re still learning and that’s part of the process.

Half moon crop top and half moon varsity by EN NOIR

Can we switch gears and talk about En Noir’s process for sourcing its premium materials?

It’s all about timing. It’s extremely important to do your homework and be prepared for sourcing. We visit Paris and Italy multiple times a year. [We’re always] developing those relationships, seeing what fits into our line versus what doesn’t.

We consider all of the swatches we’ve seen, then the interesting part starts to happen: applying them to silhouettes. Sometimes I’ll see [a material] and it looks amazing on a swatch, but once you see it on a sample, it takes a whole new look. Some things that you see in Fashion Week don’t make it to the store.

I’ll build a sample and it’ll look good hanging, but it has to stand the test [on the body]. It’s like collecting – scouring anywhere and everywhere to find vintage pieces. It can’t be

Googled. People these days think it’s easy to start a brand like [they’re] just going to Google where to print a T-shirt or get some leathers. You’re not going to just go down to Michael’s (craft store), get some upholstery leather, and throw it on some sweatpants. That’s not gonna work.

It’s definitely like putting a puzzle together. What I can tell you is: the best tanneries are in Italy, but the best leathers don’t [come from there]. It’s like I said, everyone’s puzzle is put together differently – it’s just a matter of what pieces you have.

Who are your favorite labels across the realms of streetwear and high fashion?

I’ll start with streetwear because that’s where I come from. I’ve 113

definitely been very fortunate to see the streetwear culture grow from a small subculture into something so big and influential that high fashion [pulls from it]. Now, it’s really nice to see streetwear getting the glory that it deserves, because a lot of things start from the street.

One of the brands that I always looked up to was Gourmet – what they were doing with clothing before the shoes.

[Greg] Lucci and [Jon] Buscemi are definitely mentors of mine. Another one of my favorites is Black Scale. [The way they’ve] stayed true to their aesthetic is amazing. Hall of Fame [is another one]. I think streetwear is definitely getting overcrowded with newcomers that have not put in the work to experience longevity.

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As far as high-end brands go, I’ve always been a huge fan of Hedi Slimane during the Dior days. What he did there was amazing, and he [contributed] a lot to men’s fashion.

To be honest, that was when I got into high fashion and got the inspiration to design concepts in that realm. He was dominating. Rick Owens is another one. He’s someone who’s done [the same thing] from early on, and I’ve seen other brands pop up and maybe not bite, but be heavily inspired by what he’s done. He’s never wavered. When you stick to your guns, there’s a lot of promise at the end of the road.

What can we expect from the brand moving into next year?

We’ve had so much and we’re still so young – we haven’t even had a chance to look back at all that we’ve done. We’re only

Willy: White rock leather moto jacket, waxed tank top and denimtech & canaletta tech moto pant by EN NOIR Stephanie: White rock leather cropped moto & python skirt and leather sports bra by EN NOIR

looking forward, which is cool because it keeps us humble and focused on what’s next. [We’re not] reflecting on our work like it’s some grand thing, because it really isn’t.

Spring/Summer 2014 is set to drop [starting] in January.

With men’s, the most important thing for us is to keep telling the full story. [This goes] down to new fabrics and technical performance fabrics. We’re known to do a lot with our leathers, but having leather doesn’t mean having the softest kind or [a different] color – those things can be duplicated by so many who try to. We’re focusing on things that aren’t easy to duplicate – that’s one of the main focuses.

Paris], and we’re trying to keep pushing the shows. Our Creative Director, Jason, does a really good job. We just want to dominate as far as execution, and get it to a point where you don’t have to like [En Noir], but you should definitely respect what has gone into it. It’s a lot of hard work, but [the future] is definitely bright.

We’re also getting ready for [Fashion Week in New York and 115

Willy: Coal wasteland sweats and laser cut leather tank top by EN NOIR Stephanie: Leather crop top and coal wasteland shorts by EN NOIR

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Willy: Waxed tank and denimtech & canaletta tech moto pant by EN NOIR Stephanie: Leather sports bra, white rock leather cropped moto and white rock leather & python skirt by EN NOIR

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Willy: Laser cut leather tank top and coal wasteland sweats by EN NOIR Stephanie: Leather crop top and coal wasteland shorts by EN NOIR

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MICK ROCK WO R D S BY A DA M S H E R R E T T P H O T O G R A P H Y BY J E R RY B U T T L E S

Mick Rock is the first to admit he has no photographic heroes.

Why should he when he’s been at the forefront of rock 'n' roll for the last four decades? The name Mick Rock alone rolls off the tongue and conjures up images of underground glam and the sweat-soaked decadence of an era that is as much alive today as it was when he first shot Syd Barrett in 1969.

We had the chance to sit down with Mick to chat about the role of fashion and music in his dynamic photographic career. What started with an acid trip, a camera without any film, and a beautiful muse has eventually found himself capturing multiple generations of artists, tastemakers, A-list junkies, B-list antiheroes, and the many faces that defined modern rock. They are the iconic photos that helped in the consumption of his characters and opened the door to the dystopian downtown circus where overdrive and disco run gleefully rampant. From those initial grimey shots of Barrett on the floor of his London flat and Ziggy’s stardusting to the killer Queens at Imperial College, Mick’s work has become the zeitgeist of rock 'n' roll lore and the renegade fashions of modern music. It’s the near-perfect balance of the absurd, the vanguard, and the all-perfect nonsense of grit, grime and posh. And in case you’re wondering, Mick and his camera are still rolling. He preaches with a delicately graveled humor and an ice cold wit that is both genuine and refined.

And yet, despite all this – including a recent quadruple bypass surgery – Mick has the same growling enthusiasm he did over 40 years ago. He’s still Mick, he still doesn’t give a damn, and he’s not going anywhere anytime soon.

Hello Mick, I was hoping we could have a little chat about the role of fashion in music and photography – more specifically its role in your shooting over the years. Would you say your photography and the “Mick Rock” name has sort of inf luenced the modern rock ‘n’ roll persona? And in regards to the subjects of your shoots, how much is based on your involvement?

Well, I think it’s not so much how fashion has influenced artists, but more about how a lot of these artists have influenced modern fashion in general. I mean, in those early days, they were all self-styled. Yes, it’s true; by the time we got to Queen they wore these special outfits designed by Zandra Rhodes. And Freddy had a role as well. But I mean, it wasn’t like the designers were showing up at the shoots with piles of clothes and stylists... not even for David’s Ziggy. They just picked out what they wanted and showed up. “Do you like it Mick?” And, of course, the answer was always yes. Then we got on with the pictures.

But isn’t there a sort of irony that these photos of “self-styled” people end up in high fashion publications and lookbooks?

Well yes. My friend John Varvatos has a new book with many of my pictures, but you know, he’s my friend. He and his clothes 122

are obviously inspired by rock ‘n’ roll, and he certainly won’t tell you it’s the other way around. Like him, without the music, I wouldn’t be a photographer. The clothes just came with the acts.

Would you say rock ‘n’ roll helped put you into the initial places you needed to be to start your career? Or did you seek out the correlation of photography, fashion and music with a focus of knowing you needed to become a part of that scene?

It was a bit less thought out than that. I mean, I just took an acid trip, picked up a camera and shot – well, I thought I was shooting pictures – of this particular young lady. It turns out there was no film in the camera! It was a friend’s camera, of course, but it all just aroused my curiosity. I mean, those were the days when there was a changing of the guard amongst the rebel teenagers and people in their early 20s. It just kind of kept growing. I kept shooting and people started to give me a little bit of money. And it staved off the idea of having to get a real job. It evolved into this... thing, and just kept going like some kind of monster. It crawled all over my life. Being stuck with the name “Mick Rock” didn’t help either. Then the disease got into my soul and I didn’t know any other way of life.

But would you say you were prepared for the journey, whether it actually worked or not?

I don’t really think you could plan what has happened in my life. If I had said back then “I think I’ll go be a rock ‘n’ roll photographer and make a career out of it,” the people would’ve locked me up for insanity! You have to remember it was not a big deal back then. Especially judging by the amount of money people were paying, it was regarded as being something that was very disposable.

And the music was probably quite disposable as well?

The music was certainly regarded as ‘quite disposable’ back then, yes. The idea of applying the word “classic” to rock didn’t come around until the ‘80s. It was actually kind of a jarring combination of words. Rock ‘n’ roll was not meant t o b e “ c l a s s i c ” i n a n y w a y. I t w a s m e a n t t o b e “ o f the moment.”

In those early days “pop” would actually “pop” and then it was gone.

But it didn’t change as the years kept rolling on and on.

I mean, you see early interviews of the Beatles and there’s Ringo saying “oh, you know, when it’s all over I think I’ll open up a hairdressing shop.” Not a salon. A shop. In those early days nothing was meant to stick around this long, that’s for sure.

It seems that nowadays everything is disposable because our society moves so fast.

Well yeah. It’s funny. Everything is disposable and yet everything lasts forever.

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Would you say that’s the magic of fashion, rock ‘n’ roll and photography getting grouped into one artistic element?

I don’t know if it’s the magic, but certainly that synergy has proven to be somehow durable. I think it’s much more timeless now, especially all that older stuff from the ‘60s and ‘70s. The ‘70s definitely saw a bit more fashion awareness with the rise of David Bowie, but it was not by design. Like the famous Iggy “Raw Power” look and the leathery-looking jacket that they call rock ‘n’ roll’s “Shroud of Turin.” You know, the one with the leopard print on the back. Well, it wasn’t actually real leather. But nowadays, there are people that have recreated it in leather, packaged it into a fancy box, and made it into something of fashion and as expensive as possible. But that original jacket, I mean, it made a big statement.

Because it did.

And his look – the jacket, silver trousers, the boots, the silver hair... I mean, that was just Iggy being Iggy. But it was rock ‘n’ roll time back then which meant that anything went. Whatever you felt like doing, you just got on with it. It’s much more conscious and deliberate nowadays.

From a photography standpoint, would you say that’s more positive than negative?

I’m not saying that’s bad or good. Me, I tend to roll with the punches ‘cause I like shooting. If I like it, I’ll shoot it. It’s like the argument about film and digital. Well, you know, I don’t give a damn. I’m glad that all of my early stuff from the ‘70s and ‘80s is on film because then there’s a true master. But now, anybody that shoots anything shoots it thousands of times, so it loses its value in a way. The world changed, and I’m still rolling. That’s all I care about.

Obviously technology has changed so much. How would you say your technique and approach has changed in the last decade?

I think my basic approach is still the same. Let’s be honest – photography is not that complicated. It never was, and it’s even less so now. I mean, my cat could probably take a picture if I really coaxed her into it. Even children have cameras. Back when I got started, it wasn’t exactly a sport that children indulged in. But what I do love about digital is that you can just keep shooting and shooting and shooting. You get a big enough memory card and you can go on endlessly.

But even back in the ‘70s and ‘80s you were probably shooting numerous images of the musicians and burning through rolls of film. Apart from the sheer volume, has digital changed who you shoot and how you shoot them?

True, I could shoot loads of film in the old days, but you’d have loads of interruptions while you changed the chambers and reloaded the film. I mean, I enjoy digital. And digital photos don’t gather dust or have people putting their fingers on the photos. And it’s brought me to shoot more modern people like Snoop Dogg, Deadmau5, and the Black Lips.

And I enjoy working with younger people. You know, I’m a photographer and I like to shoot. To be honest, I like to shoot younger people because they look better, and they taste better. Sometimes I just feel a bit vampiric.

Vampiric? Well, speaking of retaining youth, is there a particular album or artist that constantly sits with you and keeps your excitement alive?

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There’s too many, but it is a fair question. I guess it just depends on the time of year and whether I’m having my period or not – and it can move around. Sometimes I look back at those Syd Barrett pictures that I took right at the beginning.

I hardly knew anything about photography back then. They’re poorly lit and came out quite grainy.

But t hat ’s t he mag ic of t hose photos. Syd’s face in t hat apartment... You can almost taste the grit and feel the grime under your fingernails.

To be honest, I may have equaled those photos a few times, but I don’t know if I’ve done anything better. Sometimes ignorance produces the best art. Whatever art means. But then again, what I shot yesterday could become the best thing I’ve shot in my mind. I just shot the Black Lips for their new album cover, and we had the best time. Especially with all the cursing, the silly schoolboy stuff, and me calling them “motherfuckers” while we’re shooting. With those all-male rock ‘n’ roll bands, things can get completely out of control.

But they all love it!

It’s interesting because so many modern acts have gained attention by wearing certain brand name clothes – especially rock ‘n’ roll acts with their leather jackets and perfectly ruined attire.

The Black Lips, for instance, are known for their pseudo-punk aesthetic. Do you think this has improved music photography for the better or worse?

Well, I mean, I like all the clothes John Varvatos gives me. And he’s always given me clothes. But it doesn’t have to be designer clothes to make a great attire or photograph. It never has and still doesn’t. Certainly, bands are much more aware of what they’re wearing nowadays. I mean, Bowie in ‘72 was pretty ahead of the pack because he was absolutely alert to all these aspects of clothing, music and photography. I think most people just called him a big poof. Me, I thought he was just terrific.

Terrific indeed. But considering all the brilliant artists like Bowie that you’ve worked with, what are you most curious about as a photographer?

Oh, I love to shoot! I love the process. I mean, I’m not the guy dragging a bloody camera around to every party. But for me, the process of shooting is very therapeutic. And I love to choreograph sessions. I find it very releasing and have loads of fun.

Well it seems nowadays as if ever ybody at the party seems to think they’re the next big thing. But for you – a guy who’s arguably seen it all in the rock ‘n’ roll world – what makes for a truly great fashion and music icon?

Well, I guess I would say the persistent and natural uniqueness of their personality and persona. And of course, people have often asked me what photographers have influenced you, and I say none. I don’t give a damn about photography – I just kind of wandered into it. I had no photographic heroes. None. Zero.

Surely somebody had an influence on you?

My heroes were more like French symbolist poets and the English romantics, or Matisse and Picasso. But later on I did sort of fall in love with Man Ray. I believe it’s the unique charisma of my early subjects, whether it was Syd, Iggy, Lou, Freddy, the Ramones or the Pistols... any of those characters that people considered to be on the cutting edge of the ‘70s.

That really shaped my sensibilities of the iconic image.

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SPRUCE Our Legacy Photographer PELLE CREPIN Stylist DAVID HELLQVIST Digital Operator DANIEL SIMM Photographer’s Assistant CICCI FEINSTEIN Make Up LINDA ANDERSSON using DR HAUSCHKA Hair ANTONIO DE LUCA using BUMBLE & BUMBLE Model JEROEN SMITS at ELITE

Jacket, shirt, shorts and shoes by OUR LEGACY

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Jacket, sweater, shirt, short and shoes by OUR LEGACY

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Jacket, sweater, shirt, pants and shoes by OUR LEGACY

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Shirt, T-shirt and shorts by OUR LEGACY

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Sports coat, jacket and shirt by OUR LEGACY

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Robe and shorts by OUR LEGACY

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Coat, pullover, T-shirt, pants and shoes by OUR LEGACY

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Crewneck sweatshirt and pants by OUR LEGACY

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ARCHIVE 2002ï¹£2008 Raf Simons Photographer C HR IS R E AD Stylist N IN A WAL B E C Q Hair JO N ATHAN DE FR AN C E S C O a t B R O O K S AN D B R O O K S Make Up AN DR E A GO M E Z AN Z O L A Digital Operator J O R DAN B U C K Graphic Design C HR IS T O PHE R GR AY Model BEN O N I L O O S a t PR E M IE R

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Cream bomber jacket S/S 2006 and white sweatshirt S/S 2005 by RAF SIMONS

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Technical fabric navy bomber S/S 2007, white layered T-shirt S/S 2008 and navy jeans with integrated tied T-shirt A/W 2004-2005 by RAF SIMONS

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White T-shirt S/S 2008 and white sweatshirt S/S 2005 by RAF SIMONS

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Blue printed sweater A/W 2004-2005 by RAF SIMONS

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Black “some day” hooded sweatshirt S/S 2002, black printed sweater (worn underneath) A/W 2005-2006 and navy jeans with integrated tied T-shirt A/W 2004-2005 by RAF SIMONS Sneakers by VANS

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Cream bomber jacket S/S 2006 and white sweatshirt S/S 2005 by RAF SIMONS

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SEWELL Rochambeau Photographer BEN PIER Stylist NICHOLAS GRASA

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ROCHAMBEAU Roll sleeve jackets in black and white, combo tank tops in black and white, lacing detail sweat shorts in black and white SUPRA White falcons and black skytops

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ROCHAMBEAU Drawstring detail button downs in black and white

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ROCHAMBEAU Combo football shirts in black and white, drawstring detail button downs in black and white & combo running pants in black and white SUPRA Black skytops and white falcons

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ROCHAMBEAU Oversized parkas in black and white, combo tank tops in black and white, white boxing shorts black denim pants and bruise print leggings SUPRA White falcons and black skytops

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ROCHAMBEAU Drawstring detail button downs in black and white, combo running pant in black and white

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ROCHAMBEAU Combo tank top in black and white, lacing detail cropped sweat shorts in black and white, SUPRA White falcons and black skytops

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ROCHAMBEAU Combo football shirts in black and white, drawstring detail button downs in black and white

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ROCHAMBEAU Drawstring detail button downs in black and white , combo running pants in black and white

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ROCHAMBEAU Bruise print button down, white drawstring detail button down, bruise print short sleeve T-shirt, burgundy cuffed boxing shorts, white boxing shorts and bruise print leggings

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DISTORT Stone Island Shadow Project Photographer & Art Direction L E O N N WAR D Photographer’s 1st Assistant SI MO N A S B E R U K S T IS 2nd Assistant L E AN N E J E F F R E Y Set Designer DAN IE L Q U AN S T R O M Stylist LUCI ELLI S Stylist Assistant K IE R A L IB E R AT I Hair Stylist FABI O VIVAN u s i n g B U M B L E & B U M B L E Hair Stylist Assistant CLAI RE BELLI A Make Up T HE R E S A DAVIE S u s i n g M AC C O S M E T IC S Models HARRY RO YDS at N EXT MO DELS , HAR RY C U R R AN S a t AM C K , E DWAR D K AS IS O PA

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Shirt, trousers and trainers by STONE ISLAND SHADOW PROJECT OPPOSITE PAGE

Coat by STONE ISLAND SHADOW PROJECT

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Blazer, T-shirt and trousers by STONE ISLAND SHADOW PROJECT OPPOSITE PAGE

Coat by STONE ISLAND SHADOW PROJECT

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Blazer, T-shirt and trousers by STONE ISLAND SHADOW PROJECT OPPOSITE PAGE

From left to right: Blue coat and shorts by STONE ISLAND SHADOW PROJECT Green coat, shorts and trainers by STONE ISLAND SHADOW PROJECT

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SNOH AALEGRA Words by ALEXANDER LENDRUM Photography YURI HASEGAWA Stylist DIANNE GARCIA Stylist Assistant CYNTHIA SANCHEZ Hair & Makeup Artist DEAN ROYBAL

Certain rare qualities are needed in the making of a star. Singer/songwriter Snoh Aalegra is a perfect concoction of those elements, with ingredients that include a sultry, spellbinding voice; unmistakable beauty; and a large dose of the X-factor – that combination of confidence, attitude and ability to charm at first glance. From her initial burst onto YouTube, Snoh has garnered a solid fan-base thanks to her seductive renditions of Bruno Mars’s “Locked out of Heaven” and Frank Ocean’s “We All Try,” as well as a number of her own pieces. For the past couple of years, Snoh’s sound has been fine tuned under the guidance of Def Jam’s No I.D. who has helped produce her own songs while adding his hip-hop and R&B influence into the mix.

From this fine blend, Snoh has now landed herself a major deal with Sony, and with HYPETRAK backing her up with an exclusive interview, Snoh is ready to shine. Offering her the platform to do so, we styled the Swede in a mix of sport and streetwear for the compelling fashion editorial that follows.

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NIKE Bra and sweatpant, ISAORA Jacket

166 WIL FRY Shirt and jacket, TOPSHOP Pants

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PUMA BLACK LABEL BY HUSSEIN CHALAYAN Jacket, MSFTSREP Sweater and Sweatpant

168 FEAR OF GOD Sweater

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BORNXRAISED Hoodie and shirt, DR. COLLECTORS Pants, NIKE Shoes

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ISAORA Jacket

172 EN NOIR Shirt and vest, TOPSHOP Pants, NIKE Shoes

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ALTAMONT Jacket, LOVE HAUS Teddy

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TA-KU I N T E RV I E W BY P E TA R K U J U N D Z I C P H O T O G R A P H Y BY J U S T I N C A RT E R

In recent years, there has been an increasing number of musicians that have found different channels for their creative fulfillment. Besides making waves within the music scene through his progressive electronic soul music, Regan Matthews, better known to the world as Ta-ku, has found an additional vocation besides crafting sound: the art of barbering. While the recording studio seems to be any musical artist’s natural habitat, Matthews has also cultivated a deep appreciation for barbershop culture that encompasses history, art and music. Far more than just a simple cut-and-comb and grooming experience, the barbershop has long been regarded as a destination for social exchange – a place where client and barber interact, often to a classic playlist synonymous to its shop. In our conversation with the self-proclaimed “genre killer,” we find out where his interest in styling hair originates from, why it is important to him, and what he would recommend to our readers regarding their grooming routine.

Tell us about where your interest in hairstyling stems from. When did you first notice there was more to it than a simple cut-and-comb process?

I’ve always been quite finicky about hair. From a young age I was surrounded by my cousins and his friends, who are form the Filipino side of my family, and were very much about the slicked back "Cholo" finish with the very high fade. However we grew up in Perth, Australia, and at that time there were not many great barbers in my city, so my cousins would all cut it themselves. I use to go to a barber named John until I was 16, and he would always give me the short back and sides and this criminal looking flat top. After high school was when I became very interested with barbering, the art of the cut and the lifestyle itself. That’s when I started cutting my own hair.

What is it about grooming and barbershops that's different from other mediums of style?

With grooming, it’s all about the subtlety. Of course getting your hair cut is quite apparent to others once it’s done, but the art is in the small meticulous things that people may not notice. For instance, styling a pompadour, or even making sure the cut is suitable to your hair type are details often overlooked. When it comes to the barber shops, there really is nothing like it. Men have very little they can do to ''pamper'' themselves, so the right cut from the right hands can make all the difference. If you go to a good barber, the cut should take between 40 minutes to an hour, giving you time to really soak in the full experience.

There's a precise approach to quality cutting and grooming. Is this reflective of your own approach to music making? What are the similarities between both creative mediums?

Music to me, as a listener or a creator, has to always have a strong connection with aesthetics and design. Every release or project I undertake has to have a strong marketing plan and visual rollout. It has to be relevant to who I am as an artist and how I want people to perceive me and my music. I think that’s why I am so passionate about barbering and grooming in general. Like every other element of style, how you look and how you style/cut your hair can make a big statement about your personality and your lifestyle.

Tell us about the culture and art of the barbershop itself, what are your thoughts on the connection between personality and personal grooming?

It’s a culture that was prominent in the early 20th century where visiting a barber was a weekly event, not just to get a shave/cut, but also to socialize and 'chew fat' as it were. To me, the barbershop is a place of continuity – you know who your barber is and he knows what cut you want and what you’ve always had. Given the close quarters, everything turns into an open discussion or 'chin wag' because everyone’s so tightly seated from one another.

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Over time there has been a decrease in men visiting a specialist barber to get their haircut. There are a large number of salons that don’t specialize in using clippers and tend to cut hair haphazardly for cheap. It may look good for a few days but once it grows out it can turn into a mop or bowl. Barbers however, specialize in cutting men’s hair and only men’s hair. The social environment you experience at the barber also enhances the type of cut you get because you can discuss specifically what you need. A good barber will always listen but also recommend something more suitable to your head shape and hair type.

There is a very strong connection with personality and grooming.

The human body is 100% yours for you to style and adjust as you see fit. Every choice you make in every element of grooming speaks leaps and bounds as to what you prefer, what appeals to you, who you associate with, and even what music you listen to.

Have you personally had a hand in styling other people's hair?

How was that? Any interesting stories to share?

I recently started a semi-apprenticeship at my local barber. Life is a bit hectic right now but I try to spend at least 1-2 days a week in the shop to observe or cut. I’m about 12 cuts deep at the moment, with most of my clients being trusting friends and family. I feel like with every cut I’m getting better and more precise. Fades are so much fun and using the clippers is probably my strength, but scissor work is still a challenge.

My first client was my homie, Josh. I managed to fade and cut lines cleanly, and the styling worked well. However, I really struggled with the hair around his crown and kind of hacked at it... Homie walked out looking like Alfalfa. My bad!

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What would the ideal barbershop soundtrack look like and why?

I’m currently working on one. I’m working with anything that has a lot of character and is also very calming. Initially it was very hip-hop-based, but there are so many different kinds of people rolling through the barbershop, so I didn’t want to pigeonhole it. Some of the tracks on it include: Miles Davis – So What D'Angelo – Jonz In My Bonz Knxwledge – NiceOut Slum Village – Untitled Jay Dee – Think Twice Karriem Riggins – Virgo Jose Feliciano – Golden Lady Sergio Mendes – BerimBau Haitus Kyote – Nakkamara Nujabes – Luv Sic (Pt.2) What is your daily grooming routine? And what type of products do you take with you while traveling?

It doesn’t make you less of a man if you look after your skin, hair and personal hygiene. Regardless of what you do and who you are, I feel it’s important to look after yourself. Items that I always travel with include: Uppercut Deluxe Pomade or Suavecito Pomade – both very good firm hair products. For all types.

Denman Styling Brush – I actually don’t use a comb. I use a brush for the perfect pomp. Any size – however, the smaller

the brush, the tighter and higher the wave.

understand it as fully as I can. It’s just the way I am.

Ernest Supplies Matte Moisturizer – travel-friendly moisturizer that specializes in quick absorption.

Tell us about your go-to local barbershop and what makes it so special?

The place is called Uncle Joes in Perth. Those are the homies.

Five really great barbers, two really enthusiastic apprentices and one passionate owner. It’s just where all the fam go to hang out, even when you’re not going to get your haircut. It is nice to just pop in for a chat. You can’t make appointments, which means there is always a line, but they offer you a drink while you wait and chalk you up on the board. Perth is such an isolated town it’s nice to finally have an authentic barbershop that is passionate about hair, but also has an environment that’s so friendly and welcoming. Regardless of who you are, the clothes you wear, what social status you have, it’s all about sitting in that chair and getting cleaned up.

Gatsby Facial Paper – keeps your skin refreshed when on the go. Try and get the Japanese "SUPER REFRESH TYPE," it’s mint-scented and will burn your face off. Pretty awesome.

WAHL Details Clippers – these are a little exy, but worth it if you want a travel-handy clipper that you can use to shape your lines up or even give you a steady shave without going clean. If you want a clean shave, visit the barber!

Cologne – VERSACE / EROS & POUR HOMME – both are legit and have very clean scents, nothing too overpowering.

I suggest both because they are both so different and suitable for all occasions.

Basic Travel Kit – body wash, shampoo, toothbrush, nail clipper, etc. Essentials bruh!

How closely linked is your personality with your grooming routine?

Very much so. I always catch flack for being “pretty and even too effeminate because I’m ‘one hundred’ about grooming, but just smile back. In most areas of my life I’m quite a perfectionist, especially with my music. I’m a very passionate person and when I’m passionate about something, I really immerse myself into that art field or interest and try to excel in it, or at least

Any grooming advice for our readers?

If you are in need for a cut or shave, Google Maps the closest barbershop to you. The culture is slowly coming back but is still in need for a boost. Don’t be shy to tell your barber exactly what you want, you’re actually making his job easier.

If you don’t know what kind of cut you want, type #barberlife into Instagram where you’ll find over 700,000 examples to chose from. The art is real, so try not to front and be afraid to take pride in grooming. Grown men do it.

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TAKASHI MURAKAMI WO R D S BY A M B RO S E L E U N G P H O T O G R A P H Y BY K E I T H AU

The parallels that can be drawn between music and visual art are far from scarce. Both are amazing outlets for expression and can evoke strong emotions – somewhere in that basket of firing synapses, that certain note or that choice of color speaks to you. Although for the most part we're free to appreciate any form of art without having to actually own it, an artist has to make ends meet – it is still a profession, it is still a job. Takashi Murakami realized this early on, and it was out of this realization that a crucial ideology from Murakami’s “Superflat” movement was born. Bringing expensive mediums on to cheaper platforms, merging lowbrow aesthetics in with fine art, and making what is commonly inaccessible to most, accessible to many.

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Upon meeting Mr. Murakami, it was easy to gather why his paintings and sculptures are so playful and colorful, yet full of meaning. Slightly skittish – surprising as this is the man that caught the attention of Marc Jacobs and Kanye West – the interview proceeded with an intense level of patience from him. Most questions posed were met with a strained brow combined with a clasp of the temples; each question was given thorough consideration. The degree of innocence brought on by his appearance and initial mannerisms was soon offset by his concern for not only the social issues in Japan, but the world at large. Steering the attention away from himself, Murakami makes it clear that he is fully aware of just how bleak the world can be, and that his goal is to educate the youth so that they are better prepared for the future and accepting of reality.

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Murakami-san, it seems like you’ve been moving around a lot this year. How have your travels been so far?

This year has been really busy. We’ve been doing the movie Jellyfish Eyes and opening exhibitions in so many different cities.

So pretty much one big blur. Can you recall any noteworthy occurrences as to give our readers a sense of how things have been for you so far?

I can barely remember. I just know that when I was making all these paintings, it was during a very cold time and now that I am in Hong Kong… well it feels like summer… (laughs) the seasons are all over the place… It’s very confusing.

Do you like Hong Kong? It shouldn’t be too big of an adjustment as you’re based in New York and Tokyo, both being pretty busy cities as well.

That’s a pretty good question because I actually don’t like to visit busy cities, but I cannot move out of them because of my profession.

There’s no way to do what you do now, just at a more remote location?

I mean, I am not saying that I entirely hate it. Big cities are key for communicating with the right people in my line of work.

A very good example is with my painting staff. The further I go from the city, the more difficult it is to get a hold of these people. I have to set up near the city to find the right people that can help me complete my work.

Well, there’s always two sides to the coin. That last question really stemmed from the presence of nature in a few of your more recent works.

Well I was not really drawing these kinds of things before, but when I was doing the storyboard for the movie, I was adding little elements to it pretty much everyday. Finally, when I was done, I just incorporated these motifs into the paintings.

I guess Jellyfish Eyes has been a pretty defining project for you.

I’ve been looking for a chance to make a film for the past 10 years. I have made a few short films in the past, but never a 90-minute feature film. This time around it was possible because I found a good partner and he was able to assemble a team for me. We’ve already wrapped up Jellyfish Eyes 2 and we’re going to make a TV series. This new experience has been pretty fun and exciting.

Will the characters from the film include old staples like Mr. Pointy, KaiKai, KiKi, Mr. DOB, etc. because Jellyfish Eyes seems to have a deeper meaning that is far from the cutesy impression that these characters portray.

It’s quite a dark film, even after the team edited the film two or three times. However the reaction it got from children was great and they seemed to really enjoy it.

Even after you’ve shown that life does not always have that “happily ever after” ending.

Well I think it’s because they understand my version of reality and therefore they have a connection with the creatures.

I understand that dark imagery is not necessarily suitable for a children’s movie (chuckle) and therefore the cuteness element of the characters plays a more important role.

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But there are already a lot of kids shows and cartoons out there.

My vision is different. I want to focus on kids in the four to eight age bracket. Sometimes there is a simple educational message that underlines the story and this is the sort of thing that I want to achieve. I seldom see a good movie or TV show that targets this age bracket and the Japanese market is saturated with superhero movies that ultimately focus on the sales of action figures. That is why I think children are receptive to my kind of realistic message. My characters aren’t focused on sales because they are dark and gross looking.

For youth growing up in the information age, if they want to find out about something, it’s only a click away.

Well, some people just get exposed to different things at different ages. When I was a child I remember going to galleries with my father and I would see these disgusting paintings of creatures eating children. This graphic imagery scared me, I hated it and all my father would do was laugh at me. This childhood experience had a dramatic impact on me.

I can imagine.

Today, galleries and museums are educational and they target families. Surprisingly, hundreds of families visited my exhibitions in Los Angeles, which surprised the organizers. I have discovered a new target in the world of contemporary art.

No different from going to the theaters, a baseball game or shopping mall with the family, right?

Exactly, these families truly enjoyed my work and everyone was laughing at the animation. Western artists do a great job with “serious” art and therefore I have found a new role, which is equally important.

We took a brief intermission as I could feel that, for Mr. Murakami, the day’s frenzy of interviews and jet lag coupled with his moderate cold was starting to take its toll. Exchanging a few words with his translator, we were assured that the artist would be fine and that he was used to it by now. After two sips of green tea and a fresh new lozenge, Murakami signaled that he was ready to begin again.

How do you feel about your life so far? I know this is quite broad but I noticed that for Death & Rebirth, you chose both red and blue themes.

OK… Well in a way this hinted at Picasso’s Blue and Rose Periods.

Ahh...

Was this reflective of a period going on in your life?

After the March 11, 2011 Japan earthquake disaster you will notice a distinct difference in my work. This is because my philosophy on life changed. Prior to this tragedy my work revolved around capitalism which is something most people focus on. My work was featured alongside Jeff Koons and Damien Hirst in the Gagosian Gallery and we were even referred to as capitalist artists. The destruction and chaos that followed the Fukushima nuclear power plant made me realize that money has no meaning.

An epiphany brought on by catastrophe.

Right, the only thing that matters to me is art. This was a powerful message and it led me to create a children’s movie

“There are a few good assistants that have stayed with our studio but in this line of work patience is important.�

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“It’s just a feeling. Feedback on my characters is so quick these days. I can just create one in my studio and upload it to Instagram and ask if it’s ok or not. Mr. DOB is much more popular than KaiKai and KiKi.” 182

with David Fischer. While it was a Kaiju, monster-style movie it has a strong core message. Even though the world is a tough and depressing place, you still have to write for the future.

The education system in Japan creates a false sense of hope for children but I think it is important to be realistic with them.

At times they may not understand the message but they need to know that it is OK if you don't achieve your dreams because what you have is OK. It’s more devastating when someone finds out they’ve been lied to for most of their upbringing. It creates such disillusionment.

Yes! And it only gets worse! There is so much pressure on children nowadays, particularly in Asia. Historically, my profession is viewed as the lowest level in the Japanese hierarchy, however, as an artist I see it as the highest. Artists in Japan are aware that people look down on them but at least we enjoy our lives and that’s what is important to us.

at history and say what happened in the past was stupid.

So you offer the unfiltered and only the facts, giving the people the choice to come up with their own opinions.

Correct. Similarly, my job is to report the future. I am not a philosopher or an education worker – I am just an artist reporting reality. Goya’s work has had a big influence on my life and my father loved him. I can recall a poster that my father had of the famous naked La Maja Desnuda painting. He loved it but shit, I hated it (laughs). As a child it was quite embarrassing to look at but this image remains imprinted in my mind.

What about in your more recent works, your self-portraits have such a confident look and you are standing on top of the world.

Does this signify a turning point?

Quite the contrary. In each of my recent self-portraits, the tip of my hair is touching the top edge of the painting, which suggests that I have no more room to grow.

I see.

Well I wish it were for the reason you mentioned but this is a depressing sign and the overarching message is that there is no future for me (laughs). But it’s OK because that is life. Now I’ve realized that as an artist it is my job to create a message and the gallery’s job is to focus on the business side.

It’s fascinating to hear that even after several decades of creating art, you’re still figuring things out.

I’m always growing, always learning. When I create I totally throw out the idea of capitalizing on my art – I don’t play that game anymore.

But at the same time you still wish to preserve Japanese culture and promote Japanese art as an end goal.

Correct. My previous work can be seen as an appropriation of Western culture and the way that my work impacts society has shifted toward influencing the future, especially now that Japan is an established nation. The post-war era is extremely confusing but this is reality.

I understand that the appropriation of Western culture and trends was due to the fact that at that time, that was the most logical way to establish yourself and put Japan on the map.

Well yeah, but now it’s about the message. I want to explain this confusion to children so they are aware of what is going on in reality.

Got it. Now that you’ve succeeded in bringing Japanese art to a much higher level globally and you have a wider audience, you can start addressing some issues to the global public.

Sort of. Here’s an example: I love Francisco Goya’s work, particularly the paintings that depict the Spanish government killing many people.

Um. Hold on, let me finish. This imagery allows people to look back 183

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CREATING AN ICON WO R D S BY M A R K S M I T H P H O T O G R A P H Y BY C H R I S R H O D E S

Now in its 25th year, clothing brand Bench looks to the future with creative partner FreshBritain.

FreshBritain’s co-founder Bob Sheard has overseen successful projects involving Arc’teryx, New Balance, Nike ACG, Levi's and much more. FreshBritain’s reputation as brand gurus precedes them. They unearth the truth of a brand and then employ that truth to define the brand’s future. The latest name to enlist their help is British clothing brand Bench.

Founded in Manchester, UK in 1989, Bench could have easily tapped into the rich musical heritage of the North West. Instead, it first made its mark with graphic T-shirts inspired by BMX and skateboarding culture. Making its start as a streetwear label, Bench has evolved into more of a mainstream brand, where they’ve since taken on the guidance of FreshBritain.

"Brands need to have one foot in the present and another in the future. It has to project who we are and what we do, but also who we could be and what we could do," explains Sheard.

"Its job is to understand ‘tomorrow’ and project that into 186

‘today.’ We know in 2020 that 50% of the world's population will live in cities, and 50% of that population will live alone.

This population will lead a 24-hour existence. It is an existence where active meets casual, work meets play, security meets freedom and individualism meets the community.

The logical conclusion is to position Bench at the center of those intersections, an icon of our increasingly 24-hour life.”

How a brand delivers its vision is just as important as the vision itself. While some brands are easily defined by their cultural references, brands like Bench seek to be its own entity with no set allegiance to any scene. Instead, it allows the consumer to define who or what they are.

"Some brands are totems of specific musical genres and you’ll wear that brand to represent that you're part of that genre," states Sheard.

"In the ‘90s you’d choose to wear a pair of Converse All Stars to show you're part of the grunge thing; then in the noughties, you’d wear a pair of neon Doc Martens 1460 to show you're

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part of the nu-rave thing."

"Many brands such as Kickers, Dr. Martens, Lee, Ben Sherman, and adidas try to reflect the musical and cultural choices of their consumers – they are all rushing towards the same door.

If you all rush at the same time you diminish your chances of getting through. In this rush, brands are missing the point.

Music is why we buy music. Music is not exclusively why we buy brands."

"To be a cultural chameleon, a brand cannot ascribe or prescribe a specific cultural allegiance. Of course part of that life is music, but life is also social, artistic, cultural, political, economic and creative."

While brands like Bench have been associated with music in the past, they haven't aggressively pursued it. It was born in Manchester during an era with strong musical and cultural associations, but as a brand, it can't lay claim to those associations. What it can do though is seek out its historic associations and tap into a culture where it sits more at home.

complaining about the jeans not the wearers, much the same as now."

Fame can be a powerful tool for a brand even if that fame is infamy. Once harnessed, infamy can be a resource that can be converted into a positive attribute. Sheard thinks that the hoody can be used by Bench as a kind of Trojan horse.

"At the heart of the brand is multi-purpose city clothing in the shape of the hoody, and this automatically defines the brand’s essence.”

The product is an icon of multi-purpose design and the brand is an icon of 24-hour life.

“Neither message defines the brand culturally. We leave that to the consumer and that is the secret to creating an icon.”

When a brand strives to seek out its strengths, it often finds itself trying to associate with a 'scene' or strand of culture in order to remain relevant but all too often this is a transient, slightly desperate move which inevitably fizzles out. With the best brands though, it's a genuine thing which endures. Brands who seek to coexist with a certain culture are usually the ones who succeed.

"The challenge we face when examining a brand is to unearth its truth. We need to try and strip back all the different layers that have been associated with the brand – rightly or wrongly – over the last 25 years. You have to get back to its fundamentals.

Bench would observe how consumers would wear the big performance brands of the 1990s and re-purpose their products for city living. Bench simply formalized this process and at its heart was the iconic hoody."

The hoody is what Bench does best. While the mainstream media would have it that hoody wearers are pariahs, the reality is it's an everyman product. It crosses social and economic boundaries to provide people of all classes and incomes with a comfortable item of clothing which enhances their life in one way or another.

"The hoody itself has become part of the vernacular of city culture. If worn by someone listening to Eminem, it represents hip-hop. If it’s worn by someone watching Kasabian, it will mean rock. The meaning of the product is ultimately defined by the consumer, not the brand. Undeniably, it is a multi-purpose product and that is where Bench's authority is," explains Sheard.

"You'll see people maligning hoody wearers as a caricature of the underclass. In actual fact, if you go to Notting Hill on a Sunday morning you'll see women going to the gym in their hoodies. This happens in New York, LA, Munich or Montreal."

"The hoody is a much maligned product. You should judge the person not the product. It's much the same as 501s in the ‘50s. Whenever anyone wanted to complain about rebellious teenagers they complained about jean wearers. They're 189

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DI RECTORY

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