THE NEW ORDER ISSUE - FEBRUARY 2012 by U_MAG

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Spicy Apocalipse by Jackson Araujo / Futu Torre and the future of haute-couture by Ra A conversation with Facundo Guerra by Ze ce from Estudio Xingu, a conversation with Bernadie James by Rafael Nascimento Car conversarion with Prada girl Nadine Ponce cela Jacobina | Art file #2 The light painting o MASTHEAD |

Creative director/Founder: ROMEU SILVEIRA Editor-in-chief: ANDRÉ RODRIGUES Fashion director: LUIGI TORRE Art director: ROMEU SILVEIRA Editorial assistant: RAFAEL CARVALHO

Editorial contributors: Jackson Araujo Zeca Gerace @ Estudio Xingu Photography contributors: Pablo Saborido Fernando Mazza Hugo Toni Yuri Sardenberg Christopher Hall Ge Prado Mariana Colombo Romulo Soares PH Almeida Eudes Santana Ben & Zie Alexandra Waespi David K. Shields

Fashion contributos: Igi Ayedun Ben Brouillet Marcela Jacobina Candince Nelson Rogerio S. Omar Campbell Akemah C. Imogen Wilson Evelin Hernandez Special thanks to: Way Model Alpha Group Ford Models

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Typeface: Futura

Summary

Truss photographed by PH Almeida Tom Boy photographed by Fernando Mazza THE LONDON RISE by Rafael Carvalho U+MAG is an independent brazilian digital magazine that has been active since 2004. A place dedicated to creative people, rising talents, thinkers and a modern view on what’s past, what’s happening and what’s next. 06/02/12

REWIND/FORWARD. A CONTEMPORARY REMIX.

ure Reflections: brazilian fashion by Luigi afael Nascimento Carvalho (...) | eca Gerah Romain rvalho, a e by Mar-

of Mariana Colombo | yle file #1 / Angelica Erthal photographed by Eudes Santana / Ashton photo graphed by Ben & Zie / Berthold Rothas photographed by Christopher Hall / New Generation Maurício Somenzari and Adriana Tristão by Gê Prado / Pedro Nobrega & Cris Herrmann by Pablo Saborido / Paloma Dreher in Janaina Osada collection by Hugo Toni / Berthold Rothas by Christopher Hall / Nihilist Youth by Alexandra Waespi / VISUAL EXTASIS: Wu Lyf 3

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O APOCALIPSE É APIMENTADO Para os que teimam em insistir que tudo vai acabar em 2012, vale lembrar que a velha ideia de mundo concebida com a Revolução Industrial foi literalmente por terra desde a queda das Torres Gêmeas, em setembro de 2001. A esperada minimalista odisseia no espaço não veio do caso amoroso de uma nave inteligente e seu computador autoritário e egocêntrico, mas foi concebida com todos os pecados numa retrógrada cerimônia tribalreligiosa, disparando homens como mísseis em aviões tradicionais, derrubando bastiões capitalistas feitos castelos de areia e fumaça. Naquela imagem sensacional e chocante se desenhava aquilo que em outras matas já era de conhecimento público do homem comum, cidadão da floresta: o poder, assim como o dinheiro, mudou de mão e a comunicação boca-a-boca, livremente, ganhava status de revolução.

Dava-se o parto do novo Ser Tropical, o Macunaíma das mídias alternativas, o Canalha Global, antropofágico em suas vontades de compartilhar livremente a criatividade como verdadeira arma de transformação possível para um mundo sequelado por sua própria Natureza. Com sua metralhadora de LED, a nova forma de vida Tropicanalha surge atenta a dois poderosos drivers, lampejos de criatividade na compreensão de uma transformação cultural miscigenada, irreversível e democrática. O primeiro: “O mundo será uma grande cidade”. Segundo dados da ONU, estima-se que até o ano de 2050, quase 80% da população da Terra residirá em centros urbanos. Aplicando as estimativas mais conservadoras às atuais tendências demográficas, a população humana vai aumentar em cerca de 3 bilhões de pessoas, o que, em última análise nos faz crer que o mundo será mesmo uma grande cidade, incorporando o campo e as periferias, assim como seu modo de vida, linguagens estéticas e expressões comportamentais. O segundo: “O mundo está ficando cada vez mais quente”. A organização “The Climate Reality Project” (que sucedeu a “Alliance for Climate Protection”), lançou em setembro de 2011, a megacampanha mundial “24 Hours of Reality”, para transmitir a realidade da crise

climática e mobilizar cidadãos para ajudar a solucioná-la. – Sem utopias a longo prazo, por favor. É fato. A crise climática não conhece limites políticos. Tempestades violentas e ondas de calor mortais ocorrem com uma frequência assustadora em todo o mundo, o que leva a crer que o planeta está mesmo ficando mais quente, sugerindo paisagens cada vez mais tropicais para ecossistemas diversos. Nesse apimentado balaio, nada mais apropriado do que saborear a chegada definitiva da cultura artística das periferias aos grandes centros urbanos. Se até os museus se abrem para colecionar artes de muro e questionam o seu papel enquanto acumuladores de objetos num mundo dominado por arquivos – jpeg, png, pdf, tiff, mpeg... –, por que não?! A música, a mais plena das artes por seu caráter impalpável, serve como divisor de águas nessa nova cartografia cataclísmica que se estabelece, reproduzindo de forma espontânea novos sons, ritmos, cruzamentos de culturas, resultado do acúmulo cotidiano de informação e mobilidade. É assim com o Technobrega do Pará, que derruba outros muros estéticos e econômicos e prega a cultura livre da troca e da pirataria como linha mestra de pensamento e produção. Para Hermano Vianna, o Technobrega é “Kraftwerk de palafita”, relacionando a tecnologia industrial alemã com a arquitetura amazônica de sobrevivência; um quebracabeças ao gosto do puxadinho, de tempero bem brasileiro. Nesse igarapé de emoções, Gaby Amarantos é catapultada à categoria de diva, personificando o sonho de tantos youtubers ao se transformar numa estrela pop da periferia, no som da batida crescente da Classe C, pronta pra samplear. O novo apocalipse está de vento em popa, à bordo dos voos, circulando livremente na Internet. Quente, como quer as novas temperaturas. Urbano, como sinaliza a invasão da periferias. – Bota pimenta murupi. Um bocadinho mais. por Jackson Araujo

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Romain Bernardie-James is a 32 years old Paris based photographer and the man behind The Imagers, a company he started with a friend aiming to reveal new talents for the industry. Must make clear that photography is just part of the job for him. Romain started shooting in 2007 and his analog images soon spread among fashion insiders, pleasing publications such as Dazed & Confused and i-D and clients like Puma and Diesel. Point and shoot philosophy provided him great life shots of friends and strangers, as well as travel pictures from around the globe. For the past days Paris Fashion Week had been keeping Romain very busy, but he managed to find time for a quick conversation with us and also shared some photographs of his work. Enjoy.

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by Luigi Torre

FUTURE REFLECTIONS

A few weeks before the beginning of Brazilian AW12 show season, designer Ronaldo Fraga caused quite a steer with the announcement the he would not be showing at this latest edition of São Paulo Fashion Week (SPFW). “Fashion is dead – at least as we know it”, was his explanation. Now, 53 shows later, his statement proves more relevant then ever. 06/02/12

Just as any player in the global fashion industry, local designers are feeling the ever-increasing commercial pressure of this business. This might help understand why, although good and beautiful collections were presented, the feeling after the season was somewhat vague or empty of meaning.

But who could blame him? Fashion is getting so reality, or better, commercial obsessed lately that any hint of spectacle or dreamy image might sound as risky business. Has anyone notices the absence of fashion showmanship after the demise of Galliano and the death of McQueen? At the same time, fashion needs to seek evolution and newness, and good collections keep coming up. Women, and of all ages, will sure find safety and style assurance with the sports inspired collection Sarah Kawasaki showed at Huis Clos (one of her best since taking the helm as creative director). The good mix of light double-wool knit with traditional lace in gilded hues was enhanced by the precision of cut and contemporary proportion on classical items. The trench-coat turned into a sexy dress, or the high waist trousers and the never too short or too long velvet dress all gave a sense of sexiness without compromising the female comfort. Young people with a mindset raised with sustainable ideas in a digital world will definitely find resonance of their principles on the ebrigades army Osklen sent down the runway. With spike decorated platform sneakers, military prints and bright colored fluffy sweaters, the brand evoked a 90â&#x20AC;&#x2122;s rave attitude with a 06/02/12

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One could very well appreciate the studies of pattern cutting and proportion Alexander Herchcovitch showed for his AW12 collection. The mix of light and heavy materials, the structured volumes against the soft and delicate lace, the industrial versus the artisanal, the baroque juxtaposed to the modern all captured the on going mood of fashion towards excess and practical simplicity. But the overall effect was kind of shallow, without the wit sense of humor or the deep interpretations his works always provides.

FUTURE REFLECTIONS

After a Fashion Rio filled with recycled trends, SPFW still left is mark as the creative force in the Brazilian show season. But this times, without any powerful image or intense emotion. Without taking risk or experimenting in any given way, designers showed themselves extremely product driven, leaving the creative part behind.

multi-layred multi-texture look that, with rich and 100% green material updated the sleek urban silhouette the brand may call its own. Reinaldo Lourenço with a neogothic collection approached a new expression of luxury. A true sense of design, highquality materials and exclusive hand finishing touches were responsible for enriching the sexy image of the wool and leather dresses decorated vinyl and velvet panels and finished with fur stoles. With simple shapes, tailoring reference and an obscure and mysterious atmosphere the collection had the right amount of refinement, but with just a hint of the tension and urgency of the street.

At Ellus the intelligent and nonobvious use of lace and leather (two big trends this seaoson) proved also incredible appealing, just as the multi-cultured urban collection Cavalera presented in prefect harmony with the rich cultural scene of São Paulo or the college like look at Triton.

designer Danielle Jensen took us to a trip around north region of Brazil. Taking inspiration from simple life of the local workers she draw practical non-complicated shapes and loose silhouettes. From the rich fauna and floral, then, came the hairy texture of the elongated coats, the fish like fringes, the latex sequins and the fish-shaped lace. But what is most compelling about this collection is that it is at the same time regional and international, and with a global appealing image perfectly in tune with the ongoing mood of a simple practical style. At Amapô the urgency of today youth culture was once again the driving force of the collection. Mixing street references such as the skinhead aesthetic, the 90’s comic book character Tank Girl and drawings (turned into prints) by artist Eli Sudbrack, they gave a much needed shot of energy, remembering us about the importance of true connections with your inspirations and, as the soundtrack suggested, that we’re never gonna survive, unless we get a little crazy.

But fashion shows are in essence spectacles, and as so, it must be somewhat theatrical or at least a bit alluring and imaginative. There’s not to say highly conceptual and out of this world clothes are a must, but an intriguing fresh approach upon any given subject or context, to say the least, should be mandatory. Extremely commercial and product driven collections work well in a showroom or small presentation. In a runway show they almost always fail to communicate any relevant and meaningful message and thus the lack of impact images and emotions. They simply don’t tell any story. That’s why Maria Bonita’s collection stood out this season. With her usual fabric research and minimalist approach,

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by Rafael Carvalho Of all fashion cities, London is known not only for its prestigious colleges but also for the strong support on up-and-coming designers, made possible by initiatives like the British Fashion Council’s talent identification scheme

NewGen. The program was officially created in 1993, putting together all the isolated efforts of the Council towards new talents. Most of these actions came through the fashion journalist Sarah Mower, who is now the master head behind the program. Since its creation NewGen has been key in the raise of designers such as Alexander McQueen, Matthew Williamson, Giles Deacon and Jonathan Saunders. Each season, a selected number of London young talents are picked out to receive the sponsorship, which consists not only in financial assistance given by partner Topshop but also a provided visibility for a whole support network brought together by Sarah herself, including a showroom in Paris. These emerging designers also have the opportunity of presenting their collections on-schedule during London Fashion Week, with an increasing number of editors interested in attending NewGen shows. We profiled the six NewGen designers who will present their collections this February on London Fashion Week catwalks. Three of them – David Koma, Holly Fulton and Michael van der Ham – have already been awarded the catwalk sponsorship before, while J.JS Lee, J.W. Anderson (Women) and Simone Rocha will debut at LFW official runaways. 06/02/12

Michael Van Der Ham “I like to mix elaborate fabrics with other types of materials such as synthetics or plain textures to offset them with each other creating an odd mix”

From: Holland Age: 26 Keywords: mismatching fabrics, collage approach, patchwork, multi-textured looks, clashing colors, asymmetrical dresses Trajectory: Michael went to a small independent fashion school in his home country, where he studied illustration and drawing for three years. When he turned 21 he went to London to work for Alexander McQueen and the Sophia Kokosalaki. After that he got accepted at Central Saint Martin’s Master of Arts (MA) degree. He graduated in 2009 and started showing at London Fashion Week straight away, receiving later the NewGen sponsorship to show on-schedule. At present Michael’s pieces are stocked over 25 stores worldwide and he also designs for special projects such as tour costumes for Bjork and Tori Armos and capsule collections for Topshop. For 2012 he’ll present his collections February and September and there’s a non-confirmed pre-collection for June.

Simone Rocha “It’s about taking something classic and historical and contrasting it with something gritty, creating a fresh look” Age: 25 From: Ireland Keywords: sheer panels, deconstructed tailoring, signature sheer sleeves, feminine shirting, Perspex features on accessories, cut away detailing Trajectory: Daughter of the Ireland based prestigious designer John Rocha, a veteran of LFW, she graduated with a Bachelor of Arts (BA) degree in Fashion from the National College of Art and Design in Dublin. Later she went to London for studying in the acclaimed Central Saint Martin’s College, graduating in 2010 with a MA degree. Simone has debuted at London Fashion Week four seasons ago, although this AW12 will be her first on-schedule show, sponsored by NewGen after the heavy success and press coverage of her previous collections. Simone has also designed a capsule collection for Topshop.

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J. W. Anderson “My menswear always takes inspiration from women’s clothing and vice versa. Think tomboy/ tomgirl rather than unisex” From: Ireland Age: 27 Keywords: boy-girl/girl-boy, streamlined cuts, paisley, modern sportive, fringed military boots, pyjama suits, kilts Trajectory: at a young age Anderson moved from Ireland to US for pursuing an acting career at the Studio Theater in Washington D.C. As it didn’t worked out, Anderson returned to Ireland and worked a while for fashion store Brown Thomas before enrolling at the London College of Fashion, where he met Manuela Pavesi, who offered him a job as visual merchandiser at Prada. After graduating at LCF with a Menswear degree he showed his first collection out-schedule during London Fashion Week, eight seasons ago. From the success of his menswear line, which now shows LFW onschedule, he decided to try womenswear too, having presented some collections before, although it will be the runway debut for his women line.

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Holly Fulton “I always aim to capture the attention to detail of couture within a simple, modern silhouette and add my signature embellishments with a variety of unexpected materials.” From: Scotland Age: 34 Keywords: jewelry, maximalism, layered patterns, art-deco, trompe l’oeil, graphic digital prints, swimmingwear, Versace and Pucci influences, luxurious look Trajectory: Holly graduated with a BA in fashion from Edinburgh College of Art in 1999. In 2005, after some jobs, she moved definitely to London for a MA at the Royal College of Art. Just after the graduation she worked a while for Lanvin and launched her own brand of fashion and accessories in 2009, debuting at London Fashion Week. She won the British Fashion Award for jewelry, the Elle Style Award 2010 for new designer and the Young Design of the Year at Scottish Fashion Awards. Holly has recently designed a collection for asos.com. 27

David Koma “I have been obsessed with fashion for a long time. I started drawing when I was eight and by thirteen I had already done my first collection” From: Georgia Age: 26 Keywords: heavy embellishment, curve lines, geometries, sculptural shapes, colorful spots, strict silhouette, asymmetry Trajectory: even when a child David knew he wanted to be a designer. When he finished school he was not old enough to get into Central Saint Martin’s, although he wanted to study there. So he attended Saint-Petersburg Fine Art school until he turned 18 and moved to London. In 2007 he completed his BA (Best Womenswear Collection award of the school) and in 2009 he completed his MA (Harrods Design Award for the graduate collection), both at CSM. He presents ever since his

collections at London Fashion Week, achieving later the NewGen sponsorship and garnering lots of celebrity fans. Last year he designed a premium capsule collection for Topshop.

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J JS Lee “London opened up so many opportunities for me. It’s great that they look after foreign independent designers” From: South Korea Age: 32 Keywords: androgyny, minimalism, asymmetry, clean lines, boyish shapes, diagonal lines, tailoring techniques, 20’s Trajectory: Jackie was born and raised in Seoul, where she worked for five years as a senior Pattern Cutter. Then she moved to London in order to work at KISA, where she stayed for two years before enrolling Central Saint Martin’s Post Graduate Pattern Course and later an MA degree at the same college. She graduated and launched her own label in 2010, awarding Harrods Design Prize. Last season she presented her collection indoor during London Fashion Week through NewGen presentation sponsorship, and the compliments on her designs have now promoted her to a catwalk sponsorship, which means AW12 will be her first runaway show.

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Fashion edition by Luigi Torre presenting Cris Herrman & Pedro Nobrega

by Pablo Saborido

photographed

A change in the weather is sufficient to recreate the world and ourselves. 30

All clothes by AlĂŞ Britto Bracelet by Ivan Ribeiro 06/02/12

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Clothes by Danilo Costa

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Clothes by Danilo Costa

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Dress by Walerio Araujo Trousers and shirt by Der Metropol

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All clothes by Der Metropol

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All clothes by Jacinto

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Maurício Somenzari and Adriana Tristão

Photography by Gê Prado / Fashion edition by Luigi Torre

are two Brazilian designers on the making. Studying fashion design at FAAP fashion course, both have already gained some notoriety through several fashion contests (which they have always been placed between the 3 contestants). He is focused on a heavy charcter-esque menswear, filled with historical references but attached to current demands, while she is a true enthusiast of the minimal aesthetic, with a queen inclination to new-classics. Here we present you their latest creations.

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Adriana Trist達o

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MaurĂcio Somenzari

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Adriana Trist達o

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Adriana Trist達o

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MaurĂcio Somenzari

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MaurĂcio Somenzari

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by Rafael Nascimento de Carvalho

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These have been confused years for haute couture and the demise of this very specific branch of fashion has been tossed around for some time. November last year, Daphne Guinness told The Telegraph haute-couture is a dying art form as we were losing all the manpower able to do it. Ms. Guinness may not be the most rightly guru for the industry, but the (sorrowful) coincidence is that, couple weeks later, Mr. François Lesage – the key artist behind most of couturiers embroideries – died at the age of 82. Another man down for the business of fashion.

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Truth is industry has not become aware of a crisis just now. Back in the 80’s, Gianni Versace was invited to take part on the haute couture schedule in order to bring oxygen to this already agonizing sector. Versace debut show took place on the Ritz Hotel and its spectacle features (as well as the VIP guests) brought huge media attention to the haute couture week – by that time, it was refreshing. In the 90’s, McQueen at Givenchy and Galliano at Dior made sure to follow up with the spectacle. Two decades after, economy landscape had changed and most of the names in couture had become part of luxury conglomerates eager to make p profit, not just creative experiences. The calendar that once held dozens of designers had been reduced to a three day or so left, with recent departures of Lacroix, Saint -Laurent, Versace and Ungaro.

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Curiously, there’s not much to complain about if we look at the 62 potential numbers, as wealthy individuals in Middle East get ever wealthier and new couture markets arise in India, China and Russia. Supply and Demand graphic says couture should stay. But not necessarily stay the same. If the world is supposed to end in 2012, for haute couture it might be quite the opposite. After a while of anachronistic feeling, Paris couture week, which happened this January, sounds relevant again; at least more than it has done for the past years. Designers proved the ability of catching the attention of a new generation of couture clientele by offering more contemporary pieces, including a lot of daywear, and talking about couture demise sounds more like speculation than expectation now. When Chambre Syndicale presented, last year, a Haute Couture like fashion week in Singapore (mainly with past collection pieces), this wise move gained a lot of front rows for this season. And after an extremely profitable collection for H&M, guess what, Versace gets back for couture. We have to admit, though: blame most of that (necessary) freshness on the increasing number of new designers showing its collections on the week. In an impressively short span of time these newcomers have went from anonymous intern positions to Paris catwalks. Here we profiled three couture young designers that promise to hold our attention in the coming years.

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Maxime Simoens_ The 27 years old French born designer has joined the Haute Couture calendar three seasons ago with a début collection inspired by Marie Antoinette – ‘This, Madame, is Versailles’. His childhood dream, actually, was to be film-maker, and it took a Madonna performance costume by Jean-Paul Gaultier to make him change his mind. He was introduced to the Chambre Syndicale by Jean Charles de Castelbajac and became the first designer to take part on CTR fashion week without having shown on runway before. Until then he had developed very good selling ‘couture like’ ready-to-wear collections (also ready-to-wear priced) for his label Maxime Simoens, founded in 2009 in the middle of recession, although no catwalk was involved. Even though pieces are not made by measure, they are entirely handmade and his atelier offers some custom-made services for the clients – as Maxime puts it, the border between couture and luxury ready-to-wear is becoming thinner and he does a ‘living in the moment’ kind of work, whose quality stands out for why he has acquainted so much at such young age. In his front row we may find not only an increasing number of influential fashion editors and usual buyers, but an increasing presence of pop-culture icons, such as singer Beth Ditto and actress Rachel McAdams, who the designer dressed for Cannes Festival. That and the fact he also dressed Beyónce for the cover of her latest album awarded him the nickname of “Hollywood couturier” in the industry circles. His relationship with pop culture happens to be a two way street, as it’s also a customary source of inspiration for the designer; his first line was a tribute to Michael Jackson and his Marie Antoinette had clear rocker undertones in a Sofia Coppola style, not to mention the F. W Murnau’s movie Nosferatu as the starting point for his second CTR collection and, now, Gaspard Noé’s Enter the Void for SS12.

Bouchra Jahrar She was born in Cannes, France, but the Moroccan origin makes her another Arab talent embraced by the Parisienne couture, following the steps of Elie Saab, Zuhair Murad, Georges Chakra and Rabih Kayrouz. Her trajectory reminds in a way the fairy tale in which a little girl watches her older sisters sew their own clothes and fall in love for the technique. Bouchra was hired by Balenciaga still under Joseph Thimister, but soon after Nicolas Guèsquiere assumed as creative director and she worked side by side with him. After ten years of Balenciaga she worked eighteen months for Christian Lacroix and witnessed the maison collapses. It was this sad collapse that, on the other hand, pushed Bouchra to create her own brand. It may be hard to believe, but this former Lacroix employee happens to be a very minimalist couturier. Just like Maxime, she stands in the grey area be-

tween couture and luxe ready-to-wear. As she does most of the work herself (from sketching

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to sewing), that basically means she can do outfits by order and also design pieces to be stored in retailers – you’ll find a lot of her at London Browns boutique. Miles away from the red carpet trends, she epitomizes the very calm spirit of modern women tailoring. We haven’t seen a talented French female designer emerge in a while, and couture missed it. Because Bouchra is a forty-something woman who therefore may know better what forty-something women need for their wardrobes. There’s no ostentation or pointless details; she doesn’t want to overload the lines. The forte in Bouchra’s pieces lies exactly on their simple and precise cuts. Still she manages to play creatively with lapels and V-necks within an asymmetric tailoring. “Timeless” has been tossed around to describe some designs that are nothing but seasonal. In her case, though, the term just might apply.

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The designer graduated from the prestigious ArtEZ Academy for the Arts in her native Holland. Once with her degrees she carried out an internship with Alexander McQueen, whose style influences pervade her designs, and launched her own first collection in 2007. She presented under her label both in London and Amsterdam Fashion Weeks before Paris and won a slew of Dutch design awards. As her counterparts, Iris has a personal taste for the aesthetic drama and the ability to create visually stunning designs. Through the architecture exercises on her outfits and the experimental work with new materials she has attracted the attention not only of the press but also of art curators. Digital Revolution effects can be clearly felt on her technique, which comprises the use of 3D print technology that allows a previous digital designed piece to be carved on any material. For her couture debut, three seasons ago, she partnered with architect Daniel Widrig and rapid prototyping production company MGX by

Materialise. As couture goes high-tech, her precise craftsmanship also denotes a designer who wants to preserve the old techniques. Although she develops a very body-conscious design, wearability is not her prime concern. At first sight, she may sound opposed ways to the other newcomer couturiers. Thing is that fashion is not a one way art neither a one way industry. Couture will always have place for someone to push the envelope a little further – something that will amaze the editors and prove France still have its savoir-faire. Unlikely other brands, Iris’s spectacle features lie exclusively on her design. Besides, she seems to know how to balance it in order to survive as a brand. Even with we cannot imagine real clients for some of her runaway pieces other than Lady Gaga or maybe Björk, her footwear collection designed for United Nude turned out to be very good selling. She also designs ready-to-wear pieces in the futuristic line presented on the catwalk; the same high quality work, but lower priced and more wearable. You may even find it online.

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Paloma Dreher photographed by Hugo Toni, styling Igi Ayedun, photography assistant Bruno Geraldi, all clothes by Janaina Osada

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Light painting by Mariana Colombo New Generation

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Light painting is a photographic technique in which exposures are made by moving a hand-held light source or by moving the camera. The term light painting also encompasses images lit from outside the frame with hand-held light sources. Light Painting Photography can be traced back to the year 1914 when Frank Gilbreth, along with his wife Lillian Moller Gilbreth, used small lights and the open shutter of a camera to track the motion of manufacturing and clerical workers. Man Ray, in his 1935 series â&#x20AC;&#x153;Space Writing,â&#x20AC;? was the first known art photographer to use the technique.

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photographed by Yuri Sardenberg styling by Marcela Jacobina featuring Paola Ludtke ___

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art direction Yuri Sardenberg and Marcela Jacobina assist. stylist Julia Pitaluga

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silver lame t-shirt Pedro Flutt silver pants Zara black Converse All Star sneakers

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gold sequined t-shirt Talie NK sequined skirt A-TEEN white converse All Star sneakers

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silver sequined tank top and matching shorts Totem black suede Talie NK pumps

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pink skinny jeans Dress To

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19 year old native Nadine Ponce is not your typical small town model. Half Brazilian, half German, the new face superstar spent her childhood crossing the busy streets of São Paulo, climbing tress in Hamburg and the skiing in Zurich. After graduating high-school in Switzerland and adding two solid Brazilian show seasons to her portfolio, Nadine was ready for her international début. Taking fashion directors by storm, the brunette beauty landed an exclusive deal with Prada and was everywhere from Christopher Kane’s fittings to Dolce & Gabbana’s make up chair and the runways of industry giants such as McQueen, Miu Miu, Chanel and YSL. We caught up with Ponce as she made a quick working trip to her native São Paulo. interview by Marcela Jacobina photography by Romulo Soares styling by Rogerio S. 106

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Hey Nadine! Thank you for sitting down with us. First of all, U+MAG readers want to know how you began your career. Hey U+MAG! OK, so when I first moved to Switzerland I was very bored. I thought of contacting an agency to see what could happen, but since I was still in school at the time so I didn’t get to do much. The turning point happened a few years later, when I contacted my current agent, who is an old friend of my family, just asking for advice and stuff. He signed me right away with Alpha Group and here I am! And did you have any interest in fashion before all this happened? I had never thought of being a model before, but I’ve always liked the idea of being in front of the camera. I don’t think I was interested in fashion as much as I just really liked to process of dressing up and wearing costumes. I remember I loved to go through my grandma’s closet and I would spend hour trying everything on and creating characters and stories in my head. My dream, actually, was to be a doctor. I wanted to work at the hospital with my granddad, who is a anaesthetist. Then, I decided I wanted to be a vet because I love animals so much. But I don’t think that would’ve worked out. I feel that working with patients demands a more distant and colder personality, otherwise you get too involved in the cases and it can all become really painful. I also considered studying law, because I like helping people. But I also have a good relationship with the arts. I love drawing, painting, I play the piano… I love to explore my imagination. You should’ve seen me in in school during classes, I was always far far away. Speaking of far far away, tell us about your amazing international season. I had so much fun! I met so many 06/02/12

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And what did you do in London, Milan and Paris when you were off-duty? I have a lot of friends in London, and one of them introduced me to THE BOX, one f the most famous clubs in town. It’s a very bizarre place, but in a good way. It became one of my favorite places in London. In Paris, I spent most of the time alone. I went to the Louvre, Galeries Lafayette for a little shopping spree (I had to, it was on SALE!), I went to the movies. I also did a bus tour and a boat tour around the city. And I became a fan of this little restaurant with a cute waiter called Francoise (laughs).

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amazing people, from stylists to photographers, make up artists and fellow models… I love fashion weeks. I will never forget sitting in front of Russel Marsh’s (casting director for Prada) door in London waiting for the casting to begin while a huge line of girls just got longer and longer behind me. Or being sick backstage at Acne and running to the bathroom! One of the assistants was kind enough to help me holding my hair (laughs). Also trying not to have a heart attack backstage at Prada with some of the other new girls who had made it to the final casting! I had been up until 4am the night before with the beauty team while they discussed the hair for the show. I also loved walking my second runway show for Prada a few months later in Tokyo. This time, we were all relaxed and excited. I caught everything on camera!

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A conversation with Facundo Guerra, the responsible to refresh the S達o Paulo nightlife with clubs like Vegas, Volt, Z Carniceria, Lions Nightclub, Cine Joia and Yatch 110

Interview & artwork by Zeca Gerace from Estudio Xingu 06/02/12

[12:55:01] Xingu: GOOD MORNING! [12:55:10] Facundo Guerra: hi! [12:55:21] Xingu: phew, i arrived in time [12:55:25] Facundo Guerra: ;) [12:55:32] Facundo Guerra: wanna do it over the phone?

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[12:55:36] Xingu: can you?

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[12:55:40] Facundo Guerra: or should we do it over here? [12:55:42] Facundo Guerra: Yes. [12:56:23] Xingu: you see, since the idea is to have a chat, if we make it here it is going to be published without cut [12:56:30] Facundo Guerra: nice.

[13:02:21] Do iMOrales: there are so many things i wanna ask you [13:02:27] Facundo Guerra : from nightclub owner to nightclub owner [13:02:42] Do iMOrales: alright let’s go then [13:03:32] Do iMOrales: as to your first question, i would answer the nightlife has become more professional, which is something fundamental in a city that wants to have that aspect as one of its main attractions [13:03:57] Facundo Guerra : i like trading roles with you, because you have always been some sort of rulebreaker in Sao Paulo, right? [13:04:11] Do iMOrales: might be

[12:56:37] Facundo Guerra: Shoot.

[13:04:50] Do iMOrales: i was thinking about it the other day, that my experience with Xingu has been artistic, like an art installation that took two years to fade away

[12:57:15] Do iMOrales: let me tell you a little of how it works.

[13:05:06] Do iMOrales: nightlife goes beyond that, you know

[12:57:18] Facundo Guerra : do it.

[13:05:14] Facundo Guerra : i think thats a great definition, when we look back at it

[12:56:33] Facundo Guerra: so here we go.

[12:57:40] Do iMOrales: this past year i wrote a text about the nightlife to U+MAG, and there i mentioned [13:05:39] Facundo Guerra : Xingu has been a pioneer in many ways. Like the end you and andre almada of an innocence cycle. [12:58:26] Do iMOrales: so the boys got interested in you, and cine jóia, and everything. [12:59:35] Do iMOrales: but since people have been overtalking about cine jóia, i think we can have a wider conversation about feelings and surprises of your new businesses. What do you say? [13:00:15] Facundo Guerra : that’s classy, let’s do it. [13:00:47] Do iMOrales: you can also ask me anything you want. [13:00:52] Do iMOrales: we can just do whatever we feel like.

[13:06:09] Do iMOrales: i think i got more professional when the studio came by [13:06:20] Do iMOrales: but we share something that i just LOVE: your mind takes the nightlife to places abandoned in the city [13:06:47] Facundo Guerra : wanna know something you have taught me? [13:07:08] Facundo Guerra : the importance of fetish in building up a space [13:07:36] Facundo Guerra : think about it – all the places i have built were built around some sort of fetish

[13:01:38] Facundo Guerra : ok. So here it goes: what do you think is the most importante thing when you are establishing a nightclub? What do you think [13:07:45] Do iMOrales: yes, yes, yes changed in the nightlife in the last decade? [13:01:54] Facundo Guerra : wanna know what? I think i should be making the questions. I will interview [13:07:53] Do iMOrales: can you tell me the story of each one of them? you. Let’s trade roles. [13:01:55] Do iMOrales: fuck!

[13:08:05] Facundo Guerra :

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city fetish. Volt, neon fetish. Z Carniceria, meat fetish. Lions, gentlemen club fetish. Joia, diamond fetish. Yatch, sailor fetish. [13:08:21] Do iMOrales: amazing [13:08:43] Do iMOrales: tell me something: do you sometimes wander around the streets looking for hotspots?

[13:09:00] Facundo Guerra : i ride my motorcycle. [13:09:04] Facundo Guerra : have always done that. [13:09:11] Facundo Guerra : when i see a rental sign, i stop by. [13:09:17] Facundo Guerra : hop off my ride and get in [13:09:19] Do iMOrales: is your mind always focused on the space? [13:09:46] Facundo Guerra: No. It’s focused on the city. SP is made of layers. [13:09:55] Do iMOrales: what do you feel when you first step into those places? [13:10:09] Facundo Guerra : sometimes, awe. [13:10:15] Facundo Guerra : sometimes, pain.

yes, we run away from the ugly things and find pearls

[13:10:16] Do iMOrales:

because some of those places were destroyed, abandoned... they represent another city. When life had more beauty. When people still cared for their surroundings.

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[13:11:27] Facundo Guerra : 06/02/12

today

[13:12:25] Facundo Guerra : I also love it. But that’s not luxury. Wanna know what luxury is, to me? Luxury is a space that is intelligent. See things that have been handmade, and not simply bought in a design store. [13:13:40] Facundo Guerra : Money can be held by any drug dealer. Money doesn’t necessarily become luxury. I would say luxury is actually born from the lack of money. [13:15:41] Do iMOrales: do you see yourself as a foreigner? [13:15:46] Facundo Guerra : no. I think i am more brazilian than many brazilians. Because i chose to be so. [13:19:17] Do iMOrales: tell me of your teenagehood, about your music experience, the first nightclub you went to... [13:19:41] Facundo Guerra : i was never a club kid. First time i actually bought a musical album i was, like, 21. I live in a small apartment with other 7 people, there was no privacy, there was no way i could have developed a music taste. [13:21:59] Facundo Guerra : I had fun on Friday nights, going out on foot in Augusta street to talk to whores and transexuals. I always hated playboys. I still have this rejection towards rich people. This is my only prejudice: rich people. I dont know why, i see them, i run. [13:22:54] Do iMOrales: maybe its not the money, but the surroundin-

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[13:08:58] Facundo Guerra : yes.

[13:12:16] Do iMOrales: YOU KNOW I LOVE LUXURY, RIGHT?

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[13:08:14] Facundo Guerra : Everything came from a certain fetish. Xingu had this primitive thing going on

everything is brutalist. Luxury is easy, cheesy. Including nightclubs. They think luxury is to have more crystal pieces in the room.

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gs... [13:23:14] Facundo Guerra : let me rephrase that. Its not about the rich people. Its about the people that like to show off their wealth by means of easy social mechanisms, like the Merce-

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des car, or the Rolex watch, or the Hermès bag.

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[13:24:21] Do iMOrales: I like this in you. I remember when we travelled to Rio and you stayed with some of your relatives in the Rocinha slums. [13:24:51] Facundo Guerra : When i go to Rio, i still stay there [13:25:07] Do iMOrales: i was shitting myself everytime i had to pick you up [13:25:16] Facundo Guerra : i really like the Rocinha slums, i feel better there than i would in the Fasano hotel. Some people think i pretend to be humble. It’s not that... i just dont like the obvious.

i do is based on fetish. Isnt that what people are looking for in a nightclub? Sex. People want to get laid. [14:02:50] Do iMOrales: feed the other’s dreams

thats why this line of fetish turns out to be so effective in a nightclub. You just have to be careful not to trespass the line, unless you want to end up with a swing club in your hands. [14:03:28] Facundo Guerra :

At my clubs, i dont go into the backstage, for example. I dont like [15:53:07] Facundo Guerra : Yatch was deveto hang there stating loped around this gay aesthetics, and I am not talking about the sexual orientation. Because that i am the owner of this doesnt matter anymore. Its not something in our times. I think both gay the club... i stay on the worth discussing and straight are obsolete concepts. floor, with everybody. [16:28:04] Facundo Guerra : Yacht came to be because initially i have been a marine in I hate the VIP area. the past. I always stick to the [16:29:05] Facundo Guerra : simple like that: it’s a fetish, you have your own and you know what im talking about dance floor, because the private areas are [16:29:51] Do iMOrales: thats too much fetish [16:30:06] Facundo Guerra : what? It’s gotta never entirely true. be that way, otherwise we’d both be dead by [13:37:07] Facundo Guerra :

now.

[13:49:07] Do iMOrales: there is something else i have seen in your clubs, its the lighting. You just love lights, dont you?

[16:30:22] Do iMOrales: its about being in love with the life you lead

[16:30:28] Facundo Guerra : of course it is [13:50:29] Facundo Guerra : to me, its the most important aspect of any project. If i cant see the light, i dont know where to start. Everything [16:30:39] Facundo Guerra : the day i dont comes from the light. The light at the Yatch club, love my life anymore, i will just shoot myself in the head. for instance. I just love it! I am so tired of LEDs. [14:02:26] Facundo Guerra : Fetish. Everything 06/02/12

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Masculine Feminine NYC Fashion production by Omar Campbell, Mauricio Mariano and Alessandro Lazaro Make-up by Martha Friedlander @ Mac Cosmetics Leticia Lamb @ ONE MANAGEMENT NY & Caris Tivel @ Supreme Management NY SUN STUDIOS NY Special thanks to: Liliana Gomes , Sonny Domingos and Paulo Santos

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(Viva Model Paris)

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Tru s

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stylist assistant by Charin Chong make up by Jacques Uzzardi

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CAMISETA BRAIN & BEAST

Angelica Erthal photographed by Eudes Santana with styling by Cassia Campos, beauty Gloria Penaranda

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MAURIE AND EVE jumpsuit MANIA MANIA choker

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STOLEN GIRLFRIENDS CLUB DRESSES (one worn on top of another)

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Under the bohemian light Berthold Rothas @ Fusion Models NYC in Photographer Christopher Hall Styling by Candice Nelson

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formed in the summer of 2008 in Rusholme, Manchester and comprises “Jeau” (Joe Manning), “Lung” (Tom McClung), “Elle Jaie” (Ellery Roberts) and “Evnse” (Evans Kati). Having caught the attention of the UK music industry and press after making a series of early recordings available through their website, WU LYF

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vis __ ua __ l e __ xt __as __is, __po __etr __y __a

began a monthly residency, entitled “Play Heavy Pop”,

at Manchester’s An Outlet coffeehouse in December 2009. The band’s first gig outside of Manchester came in July 2010 at the MIDI Festival on the French Riviera. Subsequent shows include France’s Transmusicales Festival, Berlin’s Transmediale festival and sold-out headline shows in Glasgow and London. In July 2010 the band announced the formation of the Lucifer Youth Foundation, giving new members an illustrated bandit mask and a 12” single featuring the tracks “Concrete Gold” and “Heavy Pop”. The

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pport of the recordâ&#x20AC;&#x2122;s release, the band played several dates in the UK to critical acclaim, culminating

band started recording their debut album in November 2010 using the money generated by the L Y F membership scheme. Deciding against the conventional studio set up, they instead took over Saint Peterâ&#x20AC;&#x2122;s church in Ancoats, Manchester, to record their album. The album is self-produced. The band declined all offers from established record labels and released their debut album, entitled Go Tell Fire To The Mountain, themselves on 13 June 2011 through the L Y F recordings imprint. In su-

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in the curation of the Great Bridgwater Street Tunnel as part of the Manchester International Festival.

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tle down Just hear the beat drown over All this lonesome sound Itâ&#x20AC;&#x2122;s a sad song that makes a man put

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Money before life A sad song that puts a man for sale A sad song that make a man put Money before life

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ISSUE #96 January/February 2012 2012

Jackson Araujo

Facundo Guerra Estudio Xingu Igi Ayedun Marcela Jacobina Yuri Sardenberg Imogen Wilson Christopher Hall Fernando Mazza Casa de Criadores Hugo Toni Pina Bausch

David Hockney

Ge Prado

Pablo Saborido

Cris Herrman photographed by Pablo Saborido

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