#41 / 02 / 2014
FA S H I O N C A R N I VA L
Impressum: Publisher and Management: VANGARDIST MEDIEN GmbH Carlos Gómez & Julian Wiehl
The articles are the reponsibilty of the author and do not necessarily represent the views of the VANGARDIST.
Editor-In-Chief: Carlos Gómez & Julian Wiehl Production Manager: Carlos Gómez Copy Editor: Klemens Gindl Fashion Editor: Mirza Sprecakovic Music Editor: Juán Danilo Zamora Editorial Staff: Andrew Ütt, Klemens Gindl, Dennis Stephan, Juán Danilo Zamora,Mario Kollinger, Mirza Sprecakovic, Enelyn Höllrigl Photo Editor: Carlos Gómez Online Assistance: María José Villamil Rodríguez Photography: Natalia Madejska, Kidizin Sane Correctors: Jay Bannmuller, Andrew Ütt Translation: Lisa Voigt Fashion Assistance: Kevin Morocutti Production and Styling: Mirza Sprecakovic Graphics and Layout: Magdalena Weyrer Video Editing / Video Operator: Cristóbal Hornito Making of: Tamara Pichler, Cristóbal Hornito Sincere thanks to all who, through their tireless efforts, have helped to produce this edition of the VANGARDIST. VANGARDIST MEDIEN GmbH Mariahilferstraße 49 Top 15 - 1060 Vienna
Editorial Dear Vangardists! Welcome to our fashion carnival issue. The colourful action on the world’s runways has only just begun, so we can unabashedly dedicate our whole attention to the wicked game of appearances and masquerades. A masked façade doesn’t just hide what’s behind it, though; it can also provide insights into someone’s character and show us what he or she feels. In that sense, fashion works like a game of show and tell that everyone’s free to join in and define the rules for themselves. ‘Cause one thing’s for sure: Carnival is the perfect time for breaking free from old conventions. Our fashion curiosity was piqued by the Vienna-based label Demelrave. Newcomers Markus and Emil not only impressed us with their collection, but also with the top-notch presentation of their work. In a very personal interview, they spilled the beans on certain intimate facts. Another very talkative conversation partner was U.S. musician Ethan White from Tortured Soul who – matching our carnival topic – introduced us to his own personal New Orleans. Carnival there is called Mardi Gras and is one of the cultural highlights of the most multi-cultural of all American cities. So if you like wild street parties, great food and groovy tunes, you will definitely fit right in here. Hoping you’ll enjoy our fashion carnival issue are
Julian Wiehl and his well-dressed VANGARDIST-team
SHOOTINGS
Topics facade
washing day
COVERY STOR
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radar facade
on the run
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Men’s fashion in times of carnival
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galanty show
Change your suit for a dunce cap
fashion shows 14/15 114
INDEX EDITORIAL
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Editor's Choice
48
Style tip facade
Shopzone
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balance
Beauty S.O.S. he is in disguise
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She comes in a thousand guises
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Cindy Sherman photography
on tour
how to survive in New Orleans
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the city of jazz and barbecues on tour
THE Places
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Circus worlds vangART
listen to this!
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Recommendations for good listeners
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DEMELRAVE coffeehouse culture meets rave
celebration
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Upcoming What‘s on in...?
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radar
Change your suit for a dunce cap Men’s fashion in times of carnival
Text: Klemens Gindl illustration: Ruth Moosbrugger
The music’s horrible, the amount of intoxicants consumed is off the chart, the overall behaviour's abominable, sex partners are chosen at random, and nobody spares a thought for the possible consequences – the carnival season’s here! Once a year, all commonly accepted social rules are temporarily suspended, a fact that’s made most visible by the outrageous costumes donned everywhere. The general order of the day during this time of anti-order is “the more grotesque, the better.” One thing we often fail to realise though is that string tangas, wigs and dunce caps can actually tell us more about the nature of fashion than an Armani suit or a Hermès tie.
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The male body
as object (of desire)
At first glance, the costumes we put on to celebrate carnival – in whatever form or shape tickles our individual fancy – seem to be everything men's high fashion is not. Because during this anarchic merrymaking, instead of highlighting our individual character traits in a subtle, tasteful and stylish manner like we usually do, it becomes acceptable to indulge in uninhibited and utterly superficial exhibitionism. We dress up as things we’re very clearly not, turn our gender identity on its head, show off our physical attributes with hyper-sexualised outfits and uninhibitedly convert ourselves into a heavily adorned object of pure lust. Needless to say, things like personality and inner values have to take a backseat during this orgiastic masquerade.
Ritualised orgies
Carnival in all its regional variations isn’t just an ordinary festivity, it’s an ancient
ritual that exists in all regulated societies in one form or another and as such fulfils a very specific function. Carnival is an annually recurring time of socially accepted chaos during which we can collectively let our hair down, which, in turn, somehow raises our awareness for and legitimises the social order that we normally have to abide by. Apart from giving us the chance to blow off some steam, its purpose is basically to hold up the moral mirror to society and tell people: Look how many STDs, paternity disputes, missed homework deadlines, vomit inside public transport, etc. you’d be dealing with if you didn’t live in a well-behaved and well-regulated society! L i b e r at i n g
cross-dressing
It’s pretty obvious which social constraints we’re rebelling against by all this binge drinking, vandalism and random copulating and that, living in a achievement-oriented capitalist world of self-control, this type of behaviour,
if practiced on a regular basis, wouldn’t contribute much to the GDP. A much more fascinating area to be examined here is the whole dressing-up issue and the question of what common order we’re rebelling against by donning such clothing. Certain costumes that generally represent common archetypical professions and occupations, like those of a nurse, pirate or prostitute, obviously fulfil the simple purpose of allowing their wearers to temporarily take on a different identity. A lot of people, however, prefer to just deck themselves out in attire that is as colourful and bizarre as possible, often enthusiastically playing around with clichéd cross-dressing elements. Could it be that this enthusiasm actually says something about our fashion ideas? And didn’t we actually leave the rigid dress codes behind, thus making it acceptable to freely express ourselves through fashion, back when everyone started to wear post-modern unisex clothes?
M e n ’ s fa s h i o n i s
u n i f o r m fa s h i o n
Except during carnival that is. Because what all the dunce caps, wigs and string tangas donned on numerous streets from Rio to Cologne during this time of year can also be interpreted as is the merry and burlesque act of reversing the typical white, western, middleclass understanding of men’s fashion that still boils down to mainly one thing: uniformity. Western menswear – which for as long as one can remember has had to be conven-
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tional and display a reserved taste and thorough understanding of the term understatement – isn’t actually fashion at all but, as the German journalist and literary scholar Barbara Vinken accurately writes in her recently published book Dressed, it is "anti-fashion." The most pervasive representative of this type of uniformity is certainly the suit, almost unchanged for the past 150 years. In sober colours ranging somewhere between navy blue and grey, and with the help of shoulder pads and trousers that loosely envelope the legs, a suit subtly shapes the contours of the ideal male shape without actually highlighting or let alone exposing any singular physical attribute. Legs, biceps, arse and sex – that is to say, everything physical, masculine and sexual – have to retreat to the background and leave the limelight to the one part of the male body that everyone associates with such noble things as intellect and character, and thus, with the masculine identity: the face.
No flesh, pure intellect
Of course, you could argue that the world of menswear doesn’t solely consist of suits and ties. But even classic streetwear with its jeans and T-shirts or – as a more adolescent example – the baggy basketball style, at the end of the day is nothing but a variation of a uniform that hasn’t really changed all that much over the course of time, namely that of the working-class boy. High fashion is on the other end of the spectrum, and it can almost be ignored because no one actually dresses like that.
So you could certainly say that, while the times when some law told us how to dress are safely behind us, the fashion playground is still strictly governed by unwritten rules of style and so-called good taste. So yeah, we might wear our trousers skinnier one season and a bit wider the next, our jumpers can suddenly become slightly more vivid before they go back to boring old solid colours, and our suit jackets may some-
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times vary between fitted and straight, but the idea of really tarting ourselves up, putting on some high heels and form-fitting tights, highlighting our sexual characteristics with jewellery and embellishing our faces with makeup would be unthinkable for anyone with even a remotely mainstream vision of acceptable male styles – at least since the French revolution removed the heads of Louis XVI and his wife Marie Antoinette and everything baroque in the world along with them. Off with its head!
Actually, all the stylistic limitations in men’s fashion, the never-ending reign of authenticity that we’ve written about previously (see “The Tyranny of Authenticity," issue 37), and fashion's literal uniformity that we’re only allowed to heartily turn upside down and inside out once a year for carnival, were an invention of early modernity, or more specifically, a result of the fundamental and drastic changes in the wake of what’s generally referred to as the Bourgeois revolutions. These fin-
ished once and for all (and often in a rather bloody fashion) the whole “divinely ordained” old order that had assigned everyone, from the king to the nobleman, the ordinary citizen to the beggarly margin-dweller, their place in society for so long. It did so immutably, once and for all. With a new bourgeois worldview that we’re still infused with to this day, the ideas of the supremacy of the spirit, willingness to perform, self-discipline, and industriousness, became firmly established in Western society. One visible manifestation of this new way of thinking was a more humble attire, which was in strong contrast to the fashion escapades of the old aristocracy who had found nothing unmanly in donning silk stockings, high heels and fake beauty spots.
It ’ s w h a t ’ s i n s i d e
t h at c o u n t s
Since the elites of yesteryear believed that they owed their status to God, they had no qualms about showing it off quite pompously and extravagantly
– one could say that aristocracy was an ornament of the eternal order. The new ruling classes, in contrast, found their legitimisation in personal achievements and considered any form of stylistic excess obscene, tasteless and vain. People were no longer regarded as the embodiment of their social status, but as authentic individuals who dedicated their mental and physical abilities to serving the new civil society and thus, no longer in need of flamboyant beautification. Welcome to the republic, capitalism and the free-market economy.
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Apart from the new focus on our inner values, this new trend in male fashion also fulfilled the function of creating visual uniformity. While before, the sole representatives of society and the state had been emperors, kings and highranking members of the aristocracy, and no one found a statement like the Sun King’s “I am the state” in any way ridiculous, the new civil order was now represented by a governing collective and the individual had to dis-
appear into the ranks and files of the common good. The perfect attire for this task was – and still is – the simple suit, the perfect manifestation of anti-fashion. The times they are (not) a changing
So what about the women? Well, after the old order had come to an end, the majority of them were limited to a private family existence. Politics, administration, economy and culture were all in the hands of men, and not until well into the 20th century did that situation change. That’s why different standards have applied to women’s fashion all the way into the present and, in a society predominantly ruled by the gentlemen of creation, real fashion is still the preserve of women.
Everything that influences what today’s men consider stylish or of good taste and that keeps us from throw-
ing on some skin-tight leggings or promenading around in diamond-studded high-heels dates back to those spoilsports during the period of the Bourgeois revolution. And even though over the last couple of decades the codes of fashion conduct have softened somewhat and designers are doing their utmost to undermine them even further, in our regulated everyday lives we still need carnivals or other forms of bacchanalia to really liberate ourselves from all the male fashion constraints. The next day at the office we might be daring enough to leave away the tie (if there’s nothing important on the day's agenda that is), but we wouldn’t go so far as to substitute the shirt and jacket. So is that a bad thing? Of course not, and most men probably don’t care one way or the other, either because there’s a dress code at their workplace or they simply don’t give a toss about fashion. If you are one of those who do place importance on clothing though, you could use this historical knowledge as a background against which you can play around with all kinds of progressive fashion experiments. Because if there’s one thing that fashion is certainly not, it’s not a random combination of pieces of fabric. Barbara Vinken’s book Dressed quoted from in this article was published by Klett-Cotta.
galanty show
J a c k e t & c r o w n J o va n S t e va n o v i c , n e c k l a c e AL D O , l e g g i n g s S t y l i s t ’ s o w n
h e : J a c k e t J o va n S t e va n o v i c , p a n t s L e v i ’ s
s h e : s h i r t & e a r r i n g s M a r t h a F o r e m n i a k , p a n t s L e v i ’ s , A c c e ss o r i e s S t y l i s t ’ s o w n
S h i r t J e a n P a u l G a u l t i e r v i n ta g e , d r e ss S t y l i s t ’ s o w n , e a r r i N g s v i n ta g e , S o c k s IT E M m 6 , S h o e s AL D O
S h i r t J o va n S t e va n o v i c , p a n t s L e v i ’ s
S h i r t J o va n S t e va n o v i c
d r e ss & E a r r i N g s M a r t h a F o r e m n i a k , S o c k s ITE M m 6 , b a l l e t s h o e s S t y l i s t ’ s o w n
O u t f i t J o va n S t e va n o v i c , g l o v e s Es k a , g l a ss e s S t y l i s t ’ s o w n
Creative Director & Fashion Editor
Mirza Sprecakovic / mirzasprecakovic.com
Photography
Kidizin Sane / kidizin.com
Hair & Make Up
Shlomit Migay / shlomitmigay.com
Models
Laura M. / tempomodels.com
Laszlo Kocsmaros / bodyandsoul.at
light effects
Margarita Asami
Making Of
Margarita Asami
galanty show making of
photography: Crist贸bal Hornito editing: Crist贸bal Hornito Interpreter/ Track: Had-S / 'Surge'
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VANGART
She comes in a
1000 guises
Cindy Sherman photography
TEXT: Andrew Ăœtt / photos: cindy sherman
She’s dressed up more times than your average person would for a thousand carnivals, and her quirky self-portraits have acquired cult status. Her portraits are symbolic of a generation of women who evolved from the feminist revolution of the 60s and 70s and have, since then, taken on a new vision of the independent woman. With a career spanning more than 35 years, Cindy Sherman can be considered one of the most recognized names in photography worldwide.
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If you’ve ever read or seen an interview with Cindy Sherman, you’ll know she likes to shop. But she’s not your everyday shopper. She doesn’t just walk up and down the streets until she comes upon a Valentino store, popping in to see what’s there. No, she’s looking for something particular – and it won’t end up in her closet, it’ll be stored in her archive. Sherman makes visits to thrift shops, doll shops, wig and mask shops, antique stores and prop shops. One might assume that Cindy Sherman, as the woman with a thousand faces, is diving into her inner world to find every possible wacky character that might deem itself worthy of becoming a work of art. However, Sherman is very clear to point out that she is simply an ingénue, inventing characters in an attempt to “be” someone else. With so many roles developed over the last 35 years, you could say she has hired a cast of hundreds to play in the film of her life.
The
Casting
Director
Cindy Sherman grew up in the 1950s, part of the first generation who watched television all the time, also known as the “picture generation.” So it is no surprise that she would take on this theme as a part of her work. “My inspiration comes from a lot of the media-related influences around me,” she states in the film Nobody’s Here But Me from 1994. Just as any girl would do, the young Cindy dressed up. But she didn’t dress up like a princess or a fairy; she put socks in her shirt to look like an old lady with saggy boobs or would dress as a monster or other creature. It was when Sherman was young that she began “A Cindy Book” where she put family photos into a book, circled herself on the photo, and wrote underneath “That’s me.” She later continued
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the book, progressing with photos of herself growing up, and writing below each one in a script that also seemed to be an evolution of her handwriting. When Sherman was in university, she used dolls to create character studies for a class. She realized she could use photos of herself to be different characters and play different roles, and would cut out the images and place them together to create scenes. Then, when Sherman left university and moved to New York in the 1970s with her then-boyfriend Robert Longo,
she feared walking on the dangerous streets. “Her first few weeks living in New York, she wouldn’t go out. She had this intimacy or privacy of being a woman, locked up in her room sometimes where she had to deal with her imagination,” recalled Robert Longo in Nobody’s Here But Me. Sherman was a solitary woman, avoiding the reality of the street and assuming the roles of those on television and in the movies. The project “Untitled Film Stills,” her first series, came out of
this moment of solitude – it was in direct relation to the photographic stills of films from the 1950s with Cary Grant or Rita Hayworth posing mid-scene (her prints were even made in the same format as the old ones, using warmer chemicals in order to produce a cheap and grainy feel). The images captured a moment in a non-existent film – perhaps one of horror, glamour, lust, peril or determination – and created a completely undetermined story around itself.
sort of trailer that gives away the plot, but in this case, one that draws the line between knowing and not knowing. “I don’t really think in terms of a full narrative,” she describes in Nobody’s Here But Me. “I incorporate a lot of ambiguity and ambivalence in the work. I oftentimes don’t know where I’m going until after it’s shot or I’ve done several shots. Or sometimes I don’t know what I’ve done until somebody’s written about it.”
her own hero
Her theme then progressed to the obliquely sex-ridden Playboy images (also known as the horizontals). Inspired by
In the beginning, Sherman's images created a climax without a story – a
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the spreads of Playboy magazine, Sherman presents herself in sexual poses, but with her clothes on. Consequently, we look instead at her facial expressions and the moment overcomes sexual prowess, turning the model into a character.
Sherman has since adopted numerous themes such as pornography, fairytales, high-class society, Renaissance paintings, clowns, sun tanning, movie stars, and more. Each series becomes a chapter in the development of a lifelong investigation into the images
However, most prevalent when viewing one of Sherman’s portraits is the ability to truly assume the role of an observer. With an adamantly indeterminable quality, her images resolve your own vision, most certainly stereotypical, of the persona and its surroundings. One must be content with self-discovery and without explanation.
The Digital Revolution Sherman’s portraits are not self-portraits in the conventional sense. They are not perfect – they often show seams, anatomically incorrect features, the shutter-release cord, etc. They are never repeated (though she often cuts pieces off from previous costumes and masks).
and personas that surround us daily. With each new presentation, she takes on more complex characters, examining a world engulfed with images of the female identity where billboards, magazines, and movies define who we should be rather than who we are.
Her characters are just that – Sherman assumes their role and displays their complexity through her eyes, smile, pose and bodily features. She is known for not using assistants so that she may explore and develop each character on its own. She is a master of her practice. Within the digital realm, Sherman's methods have expanded and become more fluid and varied. Previously, she would put on her makeup, get dressed
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up, pose, take photos, remove her makeup, change clothes and develop the roll of film – and if she wasn’t pleased, she’d have to do it all over again. Now, she can develop her character as she sees the images appear on her computer screen, turning a fresh young socialite into a plastic surgery-addicted matron of wealth within a day’s work. She has even gone beyond the practice of working with digital photography to manipulating her photos digitally. Previously, Sherman's works were an act of performance, setting herself up in so many forms and capturing each instant. Now, her instant has been transformed into a process of development. Though she still maintains herself as her character, she can now make subtle adjustments to the size and placement of her eyes, the reduction of fat in her cheeks or other bodily forms, or the colour of her hair or skin. Her portraits from 2008 of wealthy society women became her foray into producing large format images, di-
rectly taking on the practice of male artists who fill massive walls with their artwork. She placed her portraits on green screens which then became distorted interior views of wealthy homes or lush outdoor landscapes. Most recently, in her retrospective at New York’s Museum of Modern Art in 2012, eighteen-foot tall portraits floating within black and white landscapes from Central Park became expansive billboards for passersby, achieving a spectacle of independent feminine grandeur in a digitally constructed world. Without doubt, Sherman is an inspiration for many, whether they be artists or not. Her long progression to achieve her established title has not been without its ups and downs, but it has certainly preserved a singular vision that recognizes inventiveness and creativity.
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Facade
Editor‘S Choice:
style
Sunglasses by Fendi
TIP
Cap by New Era
Cap by New Era
Review Gym Bag by P&C
Scarf by Louis Vuitton
Scarf by Louis Vuitton
Shoes by Jeffrey Campbell
Shoes by ACNE
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Belt by Moschino
Bow Tie von Hugo Boss
Play Shirt by Comme des Garรงons by P&C
PS Shirt by Paul Smith
McNeal Shorts by P&C
Shorts by Bark
stylE
TIP
Pullover by Lyle & Scott
Pants by Turnover
Look by Diesel
DEMEL RAVE
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Facade
coffeehouse culture meets rave
Text: Mirza Sprecakovic/Evelyn Höllrigl / ColleCtion: markus binder & emil beindl photOS: mario kiesenhofer / Models: Karharina, tempo models & Christoffer, mother agency / Hair & make up: anna klobassa
It should come as no surprise that designers Markus Binder and Emil Beindl of Demelrave would suggest a fairly classic locality, namely Café Sperl, for our interview. After all, their deeply felt love for the Viennese coffeehouse culture is already expressed in their name, though Demelrave like to combine traditional Vienna, represented by such places as the Café Demel, with 90s rave music. Markus and Emil are simply a match made in heaven. Together, the fashion they bring to the runways is flashy, colourful and above all lively, and even though they use luxurious shimmering fabrics, their collection always looks expertly young.
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The duo who learned their trade at the University of Applied Arts in Vienna under fashion designers Veronique Branquinho and Bernhard Willhelm, from Belgium and Germany respectively, tell us, they were a regular fixture at their school during their student days. The two years since they created their degree show together in 2012 have been a rather turbulent and unusual time for the two who were the first students in the school's history to, as a pair, go on to produce their final student designs after graduating. A mere 12 months later, Emil and Markus had already raked in various awards for their work, among them the EVOQUE NextGen Award and the RONDO VÜslauer fashion award. One aspect that makes the friends’ creative collaboration so exciting, unique, and fruitful is certainly the combination of their very different characters: While Markus’ specialty lies in getting the details right, Emil can focus on overall concepts. The results are always consistent and befitting, giving the impres-
sion that there’s a perfectly tuned machine at work here that's programmed to succeed. At first glance you might miss the reference, but for all those in the know it’s obvious: As a source of inspiration, the young designers like to turn to American TV series from the 90s like Melrose Place, Beverly Hills 90210 and The Bold and the Beautiful. The fact that the resulting creations look neither kitschy nor artificial is all the more proof of the duo’s subtle skills.
At Café Sperl where we meet Markus and Emil for a Verlängerter (a diluted espresso, perhaps with some milk), the setting might have been quite stiff and conservative, but at our table the conversation about Britney Bitch and dinosaurs, making fashion, and the glory of waking up each morning, flowed freely and easily.
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INTERVIEW:
VANGARDIST: Dear Markus and Emil: What does the name Demelrave stand for? Markus: At first Demelrave was simply the title of our graduate collection, and eventually, it became the name of our label. Emil: Image-wise, our long-term vision for the future is to become a sophisticated but fresh and young luxury brand. We like working with expensive materials. Markus: Because of the patterns and colours we've used, the Demelrave collection has acquired a very young and fresh touch. I feel like as we develop, our collections are going to develop and take shape along with us. And maybe the whole thing will be grown up one day – without becoming boring though.
V: You often mention how important your love of fabrics is. Can designing a new collection be compared to "lovemaking"? Emil: It’s more like a birth and at some point you just have to push it out. It requires a lot of effort and stamina – it’s no C-section. Yeah, developing a collection is like a natural birth: Although you have to suffer through the painful labour for quite some time, you’re still extremely excited about giving birth to this thing. For me, love-making, if it goes well, is more associated with having fun.
Your collection was very much influenced by the 90s. If you were given a time-machine, which decade would you most like to travel back to?
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Emil: Well, off the top of my head, I would say the age of the dinosaurs, especially since our picture of them has changed so much in the last couple of decades. Nowadays, a lot of them are said to have beautiful feathers; I’d quite like to see that for myself. Markus: To the early 90s. According to one friend’s stories, those were really fun times. Especially the parties...
V: Emil, you‘re into Britney Spears, is that right? What would you say to her, if you ever got stuck in a lift together? Markus: "You better work bitch!" Emil: Well, I don’t know. I suppose we’d tell each other about our lives and then have a good cry together... shave our heads, if she has hair at that point ... Or we’d just gaze at each other inside the lift’s mirror.
V: What’s your first thought when you wake up in the morning? Markus: Hmm... I wonder if I can text Emil this early, I wonder if he’s up yet. Emil: Honestly, I always wake up with a morning hardon, and so that’s the first thing on my mind, my first
impulse – there you go, a very exclusive and intimate interview just for you.
V: What’s the most extraordinary piece in your wardrobes? Emil: I own a pair of striped leggings that make me look like a harlequin. I’d love to wear them, but they do make you look quite conspicuous. Markus: Mickey Mouse US Army boots, which I bought a few years ago and used for one of my collections. They look clunky, round and massive. Once, I wanted to wear them – they’re waterproof – but they’re so unbelievably heavy.
V: What do you think of as
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Demelrave-boys?
typically Viennese?
Emil: I’m from Salzburg and have been in Vienna for six years now, and recently I discovered a very special little place: the Aida patisserie. It’s just unbelievably brilliant! You walk in and everything’s so old and pink and amazing. To me Aida and Vienna are a perfect match. Markus: You’ll find the archetypical Viennese person sitting inside the Aida, and that just creates this particular feel. We were there not long ago and totally enjoyed it. I’ll definitely second that vote.
V: A typical day in the lives of the
Emil:It really varies. When I have the day off, I like to spend three hours just sitting somewhere drinking coffee, smoking and reading. I could never give up coffee. Markus: Talking on the phone. It’s funny, we have this – and I don’t mean that in a negative sense – forced marriage. But I enjoy it, I think it’s great.
V: VANGARDIST thanks you both for the nice chat.
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INTERVIEW-VIDEO:
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Facade
Diesel BlacK Gold Uniforms without uniformity
Text: Mirza Sprecakovic/Evelyn Höllrigl / photos: Diesel Black Gold label Bassetti
It’s hard to believe that it was actually Andreas Melbostad’s first time – the first time he tried his luck at men’s fashion that is. Because when it comes to women’s fashion, the Norwegian designer has already completed all the necessary career stages: He’s worked for Nina Ricci, Yves Saint Laurent and Calvin Klein, founded his own label Phi, and since 2009, has consulted for Roberto Cavalli. VANGARDIST met the talented Diesel Black Gold creative director in Florence and talked to him about uniforms, warriors and the progressive man.
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Hot leather
Melbostad has design a saucy, leather-heavy, very rock 'n roll and exceedingly, exceptionally hot collection for Diesel Black Gold.. It was presented at a fittingly grandiose platform: the 85th edition of the Pitti Immagine Uomo in Florence. Twice a year, this fair brings together 1,000 exhibitors of men’s fashion with over 30,000 trade visitors. Shows take place at the Fortezza da Basso fair grounds as well as in the train station halls of the nearby Stazione Leopolda. Although large runway shows have now become routine for Andreas Melbostad, his men’s collection presentation was certainly a first. Since last October, he’s been the Creative Director at Diesel Black Gold, Diesel’s luxury line under the leadership of Renzo Rosso. Since it started in 2007, the label has stood for designs with that certain something that act as actual proof that all that glitters is (black) gold. Its designs are fittingly high-end and sharply distinguish themselves from the traditional Diesel collections in their choice of colours and materials. The label’s name alone speaks volumes: black gold refers to oil, perhaps the most important and valuable resource in our present society, and the colour black stands for all kinds of other luxury accessories like the black Centurion credit card from American Express.
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So it’s no wonder that only true (black-)golden boys will ever be hired into the label’s designer ranks, a job for which potential candidates have to bring extraordinary skills regarding materials, structure and composition to the table.
Eye-catcher
Diesel Black Gold is based in a small town in the north of Italy, and it seems like the region’s hilly cornfields, mysteriously filled with fog and crows, have also influenced Melbostad’s designs. When his models marched his meticulously constructed, carefully conceptualized, and predominantly black creations down the runways to the sounds of Prodigy, you could almost feel the atmosphere of a November day. And although uniforms can clearly be identified as the source of inspiration for this new collection, Diesel Black Gold is clearly aimed at men who are brave, strong and sexy and thus the opposite of uniform. There’s no doubt about it, uniformity is not what we’re shown here, because every piece has an eye-catcher, a certain detail in its construction that inspires us to think and even be amazed. So while you could say that Melbostad’s creations look like uniforms, each of them is utterly unique, enabling us to find and wear the one that’s perfect for us.
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interview//////// VANGARDIST: What is it like working for Diesel Black Gold? Melbostad: I can safely say that it’s been a completely new experience for me. This was the first time that I’ve designed fashion for my own gender. But it’s definitely also been great working with Renzo Rosso. We're two very different personalities, but we do have some common ground, and that’s what makes our working together so exciting and easy. V: Is the image of the 2014 man that of a warrior? After all, the uniform element is quite predominant in your collection. M: You could definitely say that. For me uniforms have always been a source of inspiration, even when I was still designing womenswear. And since this is a subject I’ve already explored in-depth, I thought it would make for a good starting point for my first collection at Diesel Black Gold. Masculinity can be expressed wonderfully
through uniforms, and at the same time, uniforms have enabled me to create pieces that have decorative elements while still being wearable. The possibilities that came with this source of inspiration were almost endless. V: We represent the progressive man. What’s the most progressive element of the current Diesel Black Gold collection? M: The look with the studded leather jackets full of adornments is actually a good example. It’s a combination of a rocker-type, uniform-style leather jacket and of course, denim, which has to be part of every Diesel Black Gold collection. A lot of my pieces are black, so I’d say that the white ones could also be described as progressive, because cutting out colours by only wearing white is something that requires courage. V: Mr. Melbostad, thank you very much for talking to us.
wa s h i n g d ay
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c r e a t i ve
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photography
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models
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BALANCE
Beauty A costume is a fantasy, a way to create a new persona hiding what we don’t like about ourselves, showing only what we want them to see. On our daily life, corrective skincare helps us to improve our looks, a privilege that only women had through makeup. If you don’t like it, don’t show it! Cover imperfections with these revolutionary products that are changing the market, responding to the demand of the self-concerned men.
text: Juán danilo zamora
Menaji Skincare CAMO CONCEALER This brand is the pioneer in developing men cosmetics, and this product was the world’s first concealing agent designed for men. Masculine complexion is totally different from feminine, which is why it’s so important to use the kind of products that are created to last under the hardest conditions. Its applicator is easy for everyone to use and its discreet size (similar to a lip balm) allows you to take it everywhere.
4VOO LIP MAXIMIsING SERUM You don’t have to go under the knife to get full kissable lips. This brand is specialized on men cosmetics, and this singular product is one of their best. With a unique formula, this serum boosts your looks by giving you smoother and plumper lips, stimulating natural collagen. It also leaves a soft wet look that is not sticky. Its applicator has a great design that you can carry everywhere. We recommend this product for those who want to avoid the natural lip shrinking that occurs with aging.
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Marc Jacobs Beauty Remedy Concealer Pen The world famous designer created a makeup line tested on boys and approved by girls. This product is Jacobs’ favourite and it's a solution to the signs of aging and tiredness. Focusing on taking grooming products to another level, Jacobs uses Remedy Complex, a unique formula that hydrates and fights aging at the same time. The palladium applicator reduces puffiness in just one step, covering all the imperfections your complexion may have and leaving a smooth finish. This product is simply flawless.
Clinique Supplies for Men DARK SPOTS CORRECTOR Uneven skin tone is a common problem. The fact is that sun and aging leave marks on our skin, changing the way we look. Specially formulated for men, this formula gives not only covering, but a definite solution to those annoying skin problems such as acne scars and dark spots, leaving a soft and toned texture. After a few weeks its application also helps to reduce ingrown hairs, another problem related to shaving.
MAC – VELUXE BROW LINER Brows are the frame of our faces and this product is perfect to create a strong look with a simply trick that no one will notice (if you do it right). Cover your imperfections with this matte finish pen that helps to create even brows. To apply it, use the brush first to define the shape you want, and then gently put a bit of colour to create the sexy look you want. It comes in more than 5 colours; just pick the one that blends with your natural tone.
Calvin Klein – OIL FREE FOUNDATION FOR MEN A product created to give even skin tone with a matte finish, specially designed for oily skins. Feel revitalized and give your face a youthful glow with this formula that helps to reduce marks, fine lines and dark spots. To create the perfect blend, be very careful when choosing the colour of the foundation. The secret is to find the perfect shade to combine to your natural skin tone.
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On tour
Š OJO
Text: JuĂĄn D. Zamora photos: Jake Sauerbrey (if not noted otherwise)
New Orleans is a magical place. A backyard party that never ends. A city that overcame one of the biggest natural disasters in history, and kept that unique feeling of a traditional town with a laid back vibe that fascinates everyone who visits. With a mix of European, African and American roots, the city offers not only amazing architecture, but a cultural scenario like no other. VANGARDIST had an exclusive conversation with Ethan White from the quite famous band Tortured Soul, and he gave us an insider look of what the city is really like.
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Ethan White was born in New York and his music has taken him all around the world with his band Tortured Soul, a live act that mixes electronic vibes with the classic sound of important musicians like Kool and the Gang and Prince.New Orleans has always played a part in his life. The first time he went there he was in college. He didn’t know how to get there but made his way with a map, arriving in a city where craziness was everywhere. “Mardi Gras (the carnival season that begins on King's day and ends on Ash Wednesday) was the main reason why I went to New Orleans. I landed in the middle of the Zulu Parade, walked up the parade witnessing fist fights, people throwing necklaces, clothes, shoes, I was covered in beans. I stayed there for two weeks in a van.” This surreal scene was just the beginning of the love story between White and New Orleans. An american city with a french name: La Nouvelle-Orléans Founded in 1718, New Orleans is considered the most unique city in United States. It's combination of multicultural heritages as well as the popularity
of its cuisine and music makes the city a popular destination for those who enjoy diversity. The way Ethan describes the city says a lot about his passion for music and the perfect place New Orleans is for a musician. “New Orleans is a backyard barbecue party that never ends; a street party. For a musician it is a great city to live in. There are gigs, at any time you can find music; it’s a huge part of the identity of the city. It is an essential part of that culture. You have a very big scene for jazz, country, funk, traditional. Classic music scene is strong, but not as present as jazz.” The laid back vibe can be witnessed in the way people interact. “Wherever you go out, people like to talk to you, to meet you. In New York if you say you are a musician they would say ‘See you later’. In New Orleans they say ‘LET’S PLAY’!.” “In New York they talk about money, in New Orleans we talk about food,” Ethan says, noting the importance of gastronomy in a city that has received many different influences. “Food is amazing. The best food in America. It’s a mix of French and Spa-
Š Beadmobile
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nish, African and Caribbean. Italian and German flavours come together in a way you have to taste. Rich. Tasteful. Everybody in the city can cook. When you sit down they are going to talk about two things: the Saints (local football team) or food. Somebody you never met before would invite you to their house to try their recipes.” The magical taste of Gumbo and the power of the Poboys. If there is something you have to try in New Orleans, its Gumbo. That particular name is given to a traditional African dish that has been adopted by the city as a local sample of gastronomy. “For Gumbo there are no rules. It is a stew cooked for several hours. To cook it they use roux, butter oil or you can cook in a dark brown peanut butter. The secret about gumbo is that you can’t stop mixing. During the process you add seafood and something I call ‘The Holy Trinity’: onions, green pepper and celery.” Another characteristic dish from New Orleans comes from a humble background. Poboys is something you can easily find, and its description
sounds so good it makes you hungry right away. “It is a sub sandwich made with French bread (baguette), roast beef or fried fish. Then you add gravy until it drips. It was meant for workers, because it has a lot of calories and proteins.” A new beginning for an old city . The shadow of Hurricane Katrina, one of the deadliest and most destructive tropical cyclones in American history, left nothing but destruction. But it wasn’t enough to erase the strong commitment citizens feel to their city. In fact, it had a positive side effect that made the new New Orleans even stronger than it was. “You see a lot more new people coming to the city and investing, nice urban high end boutiques, markets that weren’t really there before. From what I can tell, people’s mindset changed, they lost everything, they had to leave the city, and then they increased their loyalty to it.” Style: a carnival that never ends. In terms of fashion, New Orleans has a particular style that keeps the Mardi Grass vibe. “One of the things I love fashion-wise is the corkyness: the
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costumes. For any excuse they wear costumes. Is not unusual to see people driving a bicycle while wearing a sequined gown, and we are talking about a man.” The big parades, so popular during Mardi Grass, are also the perfect scenario for the gay community. “As far as events go, Gay Pride Day features a ton of events around the city and a New Orleans-style parade to match. There's also gigantic Southern Decadence in the summer, which takes over Bourbon St (the most visited street in the French Quarter) and turns it into a huge party. And of course there's Mardi Grass! A city of open doors. When we talk about society, New Orleans seems as a traditional city that is opening to a new era of acceptance and equality. People are willing to be more inclusive in terms of race and gender. “While the gay community here doesn't have the same kind of political prominence or over-riding presence as it does in, say, San Francisco or New York City, it is still alive and well. There are a lot of bars, clubs and
events that celebrate LGBT lifestyle and culture in the Big Easy (a euphemism for New Orleans). There are several bars in the French Quarter, including the "oldest continuously running gay bar in America" (Laffitte in Exile). The nearby Marigny neighbourhood is a beautiful historic residential area where rainbow flags abound and arts and alternative culture is generally celebrated. You'll also find a number of chic lounges and nightclubs in the Warehouse District where a fashionable clientele displays a more big-city world view.” Die The future of a Tortured Soul: Ethan’s project, Tortured Soul, will be launching new music this year and we’ll hopefully see them live on their tour. In the meantime, we can enjoy the hits on their website www.torturedsoulmusic.com and on their Facebook page facebook.com/torturedsoul When visiting a new city, there is nothing better than getting the insiders point of view about it. That is why we asked Ethan to give us a review of the best places around town, those places you may miss on a city tour and where you can find the hidden charms of New Orleans.
© OJO
FACTBOX New Orleans
Three Restaurants: Coop’s Place Decatur Street in the French Quarter "This is where I tell people to start. Great Creole food and reasonable prices at an old school locals joint. I recommend their "Taste Plate" where you get to try all their best dishes."
Parkway Bakery and Tavern on Hagan in Bayou St. John "If you want to try a poboy while you're here, you won't be disappointed at Parkway." Atchafalaya on Louisiana in the Irish Channel
" My wife and I love this place for a "nicer" dinner, but it's not uber fancy and the prices are still quite reasonable, and the setting is very homey. The chef here puts modern twists on traditional Creole cuisine, and the results are fantastic. They also do one of the more celebrated brunches in the city with live jazz in front by the bar. Nothing dresses a poached egg like alligator sausage or some popcorn crawfish!"
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Three Clubs: Maple Leaf Bar on Oak St in Carrollton "This is just a real classic old-school New Orleans live music venue with great New Orleans party music every night. I'd call it the best dive club in the world. Rebirth Brass Band plays there weekly, which is a good bet. But on any given night you're likely to walk in and find a local legend playing here. It's worth the trip all the way uptown (plus you'll escape the tourists)." The Spotted Cat on Frenchmen St in the Marigny "This is a little spot on a strip of clubs where live jazz happens all day through any hour of the night, in a crowded room of engaged listeners. Free entry and you can get a preview from the street if you're not sure. It's just one spot on a crowd of music venues with just about any type of local music you could wish for, so you can start there and hop your way down the street."
DJ Soul Sister’s Hustle Saturday currently at HiHo Lounge on St. Claude in St. Roch "This is normally a live music venue, but on Saturday nights DJ Soul Sister takes over and plays awesome rare vinyl selections for a lively eclectic mix of dancers. Her party had to move this year due to venue issues, so I would double check its location when you're in town."
Three Bars: Vaughan’s Lounge on Dauphine in the Bywater "Made famous by Kermit Ruffins' weekly gig, this is a great bar any time of the week. Cheap drinks, warm atmosphere, and a friendly group of locals. Classic New Orleans. Travellers beware: CASH ONLY." Old Point Bar on Patterson in Algiers Point "This is the most filmed bar in the South, and with good reason. It's a historic bar and live music club (local bands play nightly, no cover), but what's really special about it is that it's also just a great local place to hang out. As a bonus you get to take the ferry there (from the foot of Canal St), which is a great ride. On the downside, you'll probably have to take a cab back since they cut ferry service this year."
V Martini and Sushi on Iberville in the French Quarter: " While I personally prefer the little local bars that better match the city's relaxed pace, I feel I should mention at least one spot with a more modern flare. This is a brand new lounge open-ing in the French Quarter literally this month (February), and among other things it will feature the only Funktion One sound system in the city, so the DJs are going to sound DOPE."
Michelli’s on General DeGaulle on the West Bank "Honourable mention - I gotta shout out my local bar, Michelli's, on the very outskirts of town on General DeGaulle on the West Bank. We call it the Algiers Cheers. If you want to go a whole other level of "local", stop by and say hi!"
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Ethan White is a musical soul. His interest in music became evident at age 7, when he started playing piano. He has been part of several projects, being Tortured Soul his latest and most important. With the band he has traveled the world, from Canada to Singapore, taking their unique sound to different audiences. They have shared stages with important names of the music scene as Chaka Khan, Carl Cox and The Wailers. Feel the sound of Tortured Soul on their website www.torturedsoulmusic. com, and get their latest news liking their Facebook page www.facebook. com/torturedsoul
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Facade
shop zone check
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Photos by bShoji Fujii
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Henrik
Vibskov
Photos b y Giovanni Giannoni
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Diesel Black Gold
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Dolce &Gabbana
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Z Zegna
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Givenchy
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John Gallia
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MAD
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Photos by A nn y C k
MAD
On the run Photography: Maximilian Semlinger / maximilian.semlinger.com Model: Alek Zara / tune-models.com Styling: Atelier Lorand Lajos / lorand-lajos.de/styling Hair & Make Up: Victoria Krafft / victoria-krafft.de
Jacket:Madanti
Shoes:Hugo Boss
Tu r t l e n e c k : B a l e n c i a g a
Gloves:Parigi
Suit:Madanti
Pants:Hannibal
Coat:Ann Demeulemeester Hat:Schilling Kolos
Scarf:Jean Paul Gaultier
Gloves:Roeck
Shoes:Jo Ghost
Jacket:Madanti
Shoes:Jo Ghost
Glove:Nina Peter
Gloves:Roeckl
Hat:Lonnet Originals
Scarf:Jean Paul Gaultier
Shoes:Puma x Alexander McQueen
Tu r t l e n e c k : B a l e n c i a g a
Pants:Diesel
Suit:Madanti
Top:Rick Owens
Coat:Ann Demeulemeester
Coat:Helmut Lang
Jacket and Longsleeve:Hannibal
Pants:Cerutti
Shoes:MarsĂŠl
Scarf:Diesel
Hat:Lonnet Originals
circus lds wor
The
Places
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25hours Hotel Wien Vienna, Austria Photos: stephanlemke.com Text: Mario Kollinger
www.25hours-hotels.com/wien
Gymnastics balls, trapeze ropes, old floor and desk lamps and countless other pieces of historical memorabilia make the 25hours Hotel in Vienna’s trendy
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7th district a surreal, astounding and sexy place. It’s hard to miss the circus influences in the hotel’s interior design, for example, in the combination of sawdust and heavy velvet curtains, raw concrete and lush circular carpets and especially
the rooms’ wallpaper where fine illustrations by artist Olaf Hajek will take you on a journey to a place where the boundaries between fantasy and reality, as well as space and time, just melt away.
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Circus London by Tom Dixon London, UK Photo: Leon Chew
www.tomdixon.net/designresearchstudio / www.circus-london.co.uk
Circus is an innovative combination of cocktail bar and cabaret restaurant set in London’s vibrant West End, world-famous for its outstanding theatres and
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musicals. Diners sip heavenly cocktail creations and enjoy the Asia-inspired cuisine while seated in the center of the restaurant at the main dining table, which doubles as a stage, and enjoy charming performances that they themselves can
become part of. The building’s rich history as the Royal Opera House menagerie is also alluded to in small ways through tables with flamingo-shaped legs and furry wall coverings.
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The Box NY by Hecho Inc. New York, USA
www.hechoinc.com / www.theboxnyc.com
For years, New York’s probably most notorious night club has been making the headlines, not just because of its extremely selective door policy, but especially
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because of its tremendously exotic-erotic Las Vegas and burlesque-inspired shows. Its lavishly appointed interior shines with skillfully combined bordello chic elements, and the antique wallpaper peeling off the wall in places, plus the
specially designed table booths create a beguiling and sexy atmosphere. This is the place where New York’s elite come together to unabashedly celebrate the artists and itself.
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VANGART
LISTEN TO THIS! s n o i t a d n e m m o c e r c i s u M s r e n e t s i l d o for go
Nicolas Tovar REINA DEL CARNAVAL Y 10 DANZAS PATRIMONIALES The Casanova Romantic Players Another carnival from South America is VENICE CARNIVAL the Colombian version that takes place in Barranquilla (do you remember Hips Don’t Lie by Shakira? She was paying The glamour and elegance of this homage to her carnival roots). This incelebration are portrayed on this album. Romantic and refined songs dependent album is rescuing the tradithat are the perfect soundtrack for an tional heritage and typical melodies of escapade. Classic and romantic notes this tradition that will seduce you with that sound like a fairytale. Get in the the sound of drums and gaitas. Indios Farotos, Goleros and Gusanos are venetian vibe with songs like Casanova, some samples of this exotic folklore. After the Ball and Carnaval.
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Text: juán d. zamora
Various MARDI GRAS ESSENTIALS
Carnival In Rio SAMBAS AND MUSIC OF BRAZIL
New Orleans and its carnival have a special vibe that is shown on this album. Trumpets and a jazzy mood are the main characters of this collection of traditional songs that will make you dance. Get the real feeling of the Mardi Grass celebration with songs like Little Liza Jane and Jock – O – Mo that will transport you to this crazy festival.
A collection of the most representative songs of the world’s biggest carnival. Get seduce by the rhythm, and let samba and batucada take you to an exotic destination. This is not only about drums and beats, but about a tradition so colorful and unique that will last forever. Festa Para Um Rei Negro and Alo Alo, Tai Carmen Miranda are two of our favorites in this album.
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CELEBRATION
UP Coming n ... ?! i b a t h e g Was
// BERLIN HOUSE OF SHAME / february 6 Bassy Club Schönhauser Allee 176 A 10119 Berlin, Germany We believe Chantal Lehner must have formaldehyde flowing through her veins, because her weekly Thursday night at Bassy Club has been an indestructible institution for almost fifteen years now. So everyone who feels like some weeknight fun instead of lazing around in front of the TV should come down for a pint or two and enjoy the sexually multifaceted crowd. The House of Shame is generally frequented by queer and gay folk, plus the random brave hetero stray dog. In 2011, out-of-this-world host Chantal and her cult party even made it onto the big screen. Cheers Chantal, and keep up the good work! facebook
// VIENNA GLITTER AND POMADE / february 27 Palais Auersperg, Auerspergstrasse 1 1080 Vienna, Austria Just like every year, the Rosenball is organised as a counter-party to Vienna’s famous, rather conservatively high-brow Opernball, and as usual, it will be nothing like the traditional event. So for all those who wouldn’t dream of missing out on your nightly fix of house and disco, you know where to go. And yes, your outfit should be a bit more glamorous than on your usual night out, but surely a whiff of pomade, some fine leather around your feet and a bit of glitter in your face has never hurt anyone?! www.rosenball.eu
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// HANNOVER OFF TO THE JUNGLE! / february 1 Diskothek Six Raschplatz 6 30161 Hannover, Germany
// REYKJAVÍK WINTER FESTIVAL / january 30 – february 2, Rainbow Reykjavík several locations, Iceland
Where can a man still be a real man? That’s right, in the wilderness. And because it takes a bit more than some potted plants to create a real jungle atmosphere, Hanover’s biggest scene party has packed up and moved to the spacious venue of Diskothek Six. On February 2, the new location will open its doors for the first VOLUME of the year that will undoubtedly be big, noisy and extremely wild. The party’s motto is a twist on the jungle theme with lots of brawny bods, untamed instincts and sexy booty for the hungry predators to prowl around. Three floors provide lots of space for a true jungle feeling. www.volume-party.de
If you’re tired of the same old party hopscotch, then listen up, because coming up is a real change from your average weekend entertainment. Between January 30 and February 2, the Icelandic capital is hosting the Rainbow Festival! This sibling to Gay Pride offers a colourful mix of entertainment, wellness, sightseeing, and breathtaking natural landscapes. Among our personal highlights in the calendar of events on this long weekend are a visit to the thermal waters of the Blue Lagoon and chasing the famous Northern Lights. What seedy basement club in the world could possibly compete with that? www.rainbowreykjavik.com
// SYDNEY HARBOUR PARTY / february 22 Fleet Steps, Royal Botanic Gardens Mrs Macquaries Road, Nsw 2000, Sydney, Australia, So what’s happening Down Under this time of year? Well, eternal sunshine, balmy nights and chilled-out disco beats is what! It’s summer right now on the other side of the globe. Enough of a reason for the organisers of the Harbour Party 2014 to use the Royal Botanic Gardens for an amazing open air event. The perfect place to dance, jump, skip, tussle and revel under Sydney’s open summer skies. Great sounds will be provided by DJs Joey Negro (UK) and Paul Goodyear (US) among others. www.mardigras.org.au/events/ harbour-party/
// ZURICH AHOI, AHOI! / february 1 Kitsch-Party, X-Tra Club Limmatstrasse 118, 8005 Zurich, Switzerland So who’s to decide what’s kitsch and what’s not? Zurich’s biggest party series will be trying to find an answer to this question by making it the theme of its first event at the X-tra Club. In sailors’ uniforms, sleeves rolled up over muscle-bound arms adorned with anchor tattoos (that’s kitsch if you ask us!), DJs Ben Manson and Wollana and their crew will take you on a wild odyssey through musical waters. No doubt, this kitsch party will be heartstoppingly breezy, of seaquake sound dimensions and will sweep you off your feet with tsunami strength. All sailors aboard! www.angels.ch