LIMITED EDITION OF
2
ANTONY MILES 10 AND 10 MEN MAGAZINE 12
INES KAAG AND DÉSIRÉE BLESS 22
RICHARD HAINES ‘WHAT I SAY TODAY’ 32
KIRK BEATTIE AND MATTHEW MURPHY OTHER/SHOP 42
GONÇALO VERLOSA HOUSE OF LIZA 52
JAMES RUSSELL AND HANNAH PLUMB JAMESPLUMB 62
NOVO NOVO KOREA WARRIOR 72
SEUNGMIN JUNG TRVR 82
FOR YOUR MIND
ISSUE ONE 2013
FOR YOUR EYES
DIMENSIONAL DISPLAY 94
WEEPING WOMAN BY PICASSO 102
ORGANIC SKIN REMEDIES 108
DÉCOLLAGE 120
STUDIES FOR FIGURES AT THE BASE OF CRUCIFIXION 126
PORTRAITS OF A LADY 136
METAL ON FLESH 146
EDITOR’S LETTER
m of one answer, especially in the real Not everything can be defined in plexity of their plays a significant role in the com creativity. One’s personal opinion ”. Due to it a simple: “yes or no”; “good or bad replies, meaning it is not always art?”, some stion when I asked: “Is fashion an being a familiar and recurring que others took slightly longer. answered without hesitation but
world, rely business but in this modern You might say that fashion is enti works by ged as a form of fine art, much like fashion is often recognised and jud ueen Yohji Yamamoto and Alexander McQ Yves Saint Laurent, Rei Kawakubo, to fine art in museums (a similar treatment which were previously exhibited cepts of there to help readers bridge the con pieces). STUDIO MAGAZINE is YOUR EYES. parts: FOR YOUR MIND and FOR fashion and fine art through two
who will find interviews with creatives For the first; “for your mind”, you pieces, ustry; designers who create artistic work in either the fashion or art ind r shops brands, shop owners who run thei artists who collaborate with fashion tion, s, all of whom employ their imagina like galleries and creative director light. er to portray fashion in an artistic inventiveness and originality in ord
accessories editorials of fashion, beauty and And in part two, “for your eyes”, se editorials connection of art and fashion. The will guide you through the visual Francis from artists such as Pablo Picasso, include artistically-inspired images iosity and more. They work to pique your cur Bacon, George Frederic Watts, and an artistic lyse certain works of fashion from encourage you to receive and ana standpoint.
for its not only for its technicality, but also I hope fashion can be appreciated resemblance to fine art. ingenuity, and its association and
Enjoy. 2013.05
Editor-in-chief Vivienne Hyunjoo Baek
EDITOR IN CHIEF Vivienne Baek CONTRIBUTORS Kwangho Lee Jong Eun Lee Kyungsuk Kang Xander Stege Jamie Chalk Yura Do Luka Watabe ADVISORS Hywel Davies Iain Webb Martin Andersen Kay Baron
WWW.STUDIOMAGAZINE.NET
copyright Š 2013 All rights reserved. No part of this publication may be reproduced in whole or part without permission from the editor.
INTERVIEWS WITH CREATIVES
F
OR
YOU
R M
D IN
ANTONY MILES OF 10 AND 10 MEN MAGAZINE Creative director of 10 and 10 Men magazine, Antony Miles has the second loudest voice and laugh at Ten Tower. But his vocal volume translates just as succinctly to the personality of his magazine, which catches instant attention, standing out from the newsstand. His expedient and exclusive updates from fashion shows and various brands’ press presentations allow his followers to gain an insight into the industry, along with a little laugh from his added comments. Due to his very direct personality, it might not be as easy to address him as you would someone from PR, but he is one of the most true, honest and confident people in the industry.
How do you ensure that the contributors fit with “the house style of 10” ?
14
For me it’s about creating an image or a piece that people either love or hate. I would hate for people to use the word nice or like, for me that means nothing. Magazines should cause a reaction, the reason the magazine and newspaper industries will die is if we as editors and publishers produce a load of bland crap that no one talks about.
What do you choose first when creating the fashion stories for 10? The contributors or clothes? For me it’s all about the contributors and from my experience it is best to choose people you hate personally or love personally. The ones you hate that are a nightmare normally but produce the best results. It’s like a relationship without the anal penetration. Love and hate are very close emotionally and pictures are all about creating an emotion.
Is there any particular moment or experience that stands out from your time at 10? Yes, my male stripper on my 40th birthday. I hate you all tenners. Especially Dan May for booking it. But that stripper had a nice arse. Shame he didn’t put it out.
15
ST UDIO M AGA Z I N E
You always take photos of every invitation from fashion shows. Is there any particular reason why you do this? (and a comment to follow?) Correct. I did take pictures of the invitations for shows at fashion week until one PR, Bella at Gucci, who nearly married Prince William, said they were dull. So I stopped. Enough said.
How do you know when a collection is brilliant? You feel it, you know it. It’s like when you meet a man who you know won’t say no.
Which do you prefer, Acne Menswear or Prada Menswear? Oh, you little b**** Vivienne. You know I wear Acne in my day life but you also know how much I always love a Prada show. You decide readers. And Vivienne, we all know your favourite is Celine. Come on Phoebe, bring out a menswear collection. You know you want to. 16
17
ST UDIO M AGA Z I N E
18
How would you connect fashion to art? And do you think fashion can be an art form? In my opinion, photographers are frustrated rockstars. They all want a guitar to strum. Fashion designers all think they are artists when really they should realise they are not, they are merchandisers. Our industry is all about sales and money!
What has been your favourite fashion house and artist collaboration? I think art collaborations are a bit crap, a bit token. I like performance art, I like a bit of Michael Clarke and I loved the Louis Vuitton London Store Opening years back with theatre company Punch Drunk. Living art! It was a party more than a collaboration. You know how I love a drink or 10. And for once the guest list wasn’t really about the fashion press it was more about the art world. Most of the fashion press weren’t even invited (hehe) but I was. It’s always a good idea to be mates with the CEO. IT WAS THE BEST FASHION PARTY IN LONDON EVER.
20
How important is failure? You can’t succeed until you have failed. Everyone I know has been fired from at least one job. I have only ever been fired, I have never quit.
ST UDIO M AGA Z I N E
21
INES KAAG AND DÉSIRÉE OF BLESS
24
Unlike presentations on a runway, the conceptual designer duo, Ines Kaag and Désirée Heiss of BLESS, host and display their newest collections at their friend’s rented apartment where everyone can talk to designers directly. To satisfy the unique tastes of their clients, they approach each design individually and carefully based on these custom-made orders. Known for their famous design from BLESS N°00,the fur wig for Maison Martin Margiela and the duo fringe glasses from BLESS N°36, BLESS continue to create abstract pieces that entice many fashion enthusiasts. These conceptual items may need directions to wear but their avant-garde ideas never fail to arouse curiosity and amaze the customers. Rather than following a current trend, they perpetually strive to innovate.
Are you an artist or designer? We are two designers.
Where does fashion end and art begin? We don’t know. It is also irrelevant for us as we do what we want to do without needing to categorize it.
25
ST UDIO M AGA Z I N E
How important is failure?
26
On average days, failure happens although we could live very well without. However, looking back afterwards, it has been always good for something and probably it is even unavoidable to progress in life and to stay humble.
28
What is your weirdest hair-related experience? We participated on an IDN (an international publication introducing creative designs and ideas for designers) conference and spoke in front 5000 spectators. Ines was wearing BLESS n°20 coiffure, a headband shield where hair was fixed around. The piece she put on was the same colour of her actual hair. The lecture was meant to be 15 minutes. After 10 minutes, Ines took off the piece casually from her head while she was still talking, and the whole conference hall echoed, “ohhhh.” We didn’t expect such a reaction from crowds.
30
31
Where does the association between fashion and art come from? And how do you involve art influence into designing? When we started BLESS, we began with a very personal approach and our working process was intrigued and interested by the world of art. Besides this, we have no special aims to connect both fields—it rather interferes naturally without noticing.
ST UDIO M AGA Z I N E
RICHARD HAINES OF ‘WHAT I SAY TODAY’ The New York-based fashion illustrator, Richard Haines, is an artist, blogger and fashion designer. He captures men’s street fashion in his sketchbook within 2 minutes. His exceptional eye for detail and ability to capture the feel and texture of fabric in a simple drawing is gaining the attention of many fashion presses, including GQ, Sunday Times Style and even the mega fashion house, Prada. He shares his experience as a tailor, as well as his collaborative work with Prada, at Il Palazzo.
What influenced you to become an illustrator from a tailor?
34
My first love was always drawing, so making the transition from fashion design to drawing was pretty seamless (no pun intended). I moved to New York to be a fashion illustrator and the demand was shrinking so I switched into design, so to go back to illustration felt completely natural.
From being used to work with mannequins, how was the transition to sketchbook? Was it difficult to transmit garments onto flat surface? I never studied fashion design (or fashion illustration) but what I lacked technically (and I had a real learning curve there) I made up for in my appreciation of style and good design. I always knew how a jacket should look, or how the pants should fall, so going from 2D to 3D and back wasn’t that difficult.
When you sketch the looks straight from runway, do you have an image in your head first then draw or do you just begin to draw and see where it leads? I really just begin drawing. Something needs to inspire me, and that becomes the catalyst for me to pick up the pencil Whether it’s the line of some one’s neck, the profile etc. If I see something exciting and i want to capture it, then I’m motivated to draw. I was explaining to a friend that ‘that every line is a decision’ (I was joking that that will be the name of my memoirs!) and that’s true, but most of them are reactions, or subconscious.
35
ST UDIO M AGA Z I N E
Tell us about your experience working with Prada. It was pretty amazing in the sense that it was a real collaboration. They gave me free reign as an artist to explore the concept of the collection, which was very exciting for me. I really wasn’t involved in the digital production, which was fine with me. James Lima, the producer of the project, took my work and put it in a digital environment. It was so exciting to see how my work was reconfigured in the virtual ‘Il Palazzo.’
Was it difficult to transform loose sketch to detailed illustration for designing the garment? I worked with pretty old school pattern makers. They could interpret a drawing as loose as what as I do now and create a garment from it. They were artists in their own right in their ability to make something beautiful from a drawing.
36
Drawings can be seen as ‘low-art’, by some art theorists and your illustrations have been displayed as a ‘high-art’ like oil paintings with frames around in ‘Il Palazzo’. How do you feel the differences and relationship between high-art and low-art in companies such as Prada and LVMH that help to keep them current and modern? I just saw a show of drawings here at the Morgan Library—works by artists such as Picasso, Max Ernst, Otto Dix and more and they answered my question that drawing is as much ‘high-art’ as other mediums. I also think there’s always been a relationship between art and commerce; sometimes harmonious, sometimes not. Companies like Prada and LVMH, who support the arts and artists, are the good examples of the balance working. I share a studio space with two painters and I used to feel apologetic about my work compared to the ‘high concept’ of theirs. But we’ve talked it over a lot and it seems I was the only one with an issue!
Do you see fashion as an art form? I’ll say sometimes. I used to work on Seventh Avenue-the selection of 24 new seasonal colors for a t-shirt promotion is not art. Is a Maison Martin Margelia garment art? I would have to say it’s the application of art-concept, theory and skill to an article of clothing. The rest is up to the viewer. I saw a presentation by the artist K8 Hardy at the Whitney Museum in New York and that was pure concept and theory. Hands down, it was ‘art’.
37
ST UDIO M AGA Z I N E
38
‘What I saw today’ is your pictorial fashion diary. Do you also keep a diary with words? In a word, no. I have no patience to write. I’ll add a sentence with the images when i post, but I like to tell the story in the drawing. My parents gave me a typewriter when I graduated from high school (this was a long time ago) in the hopes that I become a writer vs a starving artist, but that didn’t work out. And there are certainly no career guarantees in writing either!
Do you see yourself as a journalist through imagery or an artist? 39
I see myself as an observer, a recorder of moments. There’s a French word - flâneur- at times it’s a bit derogatory, a loafer, but it also means an observer, the ‘the urban explorer, the connoisseur of the street.’ I see myself as that. I observe, I record through drawing, and there is an element of editing and selection in what I chose to say, as with a journalist or artist. Cave men were telling their stories with lines, saying ‘I saw this, I was here.’ What I do is no different. And when people ask ‘what do you do’ or I have to put down ‘occupation’ on my tax forms, I always put ‘artist’ so, yeah, I’m an artist.
ST UDIO M AGA Z I N E
40
Do you have plans to publish your own illustration book? Yes, of course. I have been working on that for a year, looking for the right publisher. I have an amazing book designer I’m working with, so it’s just a question of finding the right partner. Certainly, having Prada publish a book of my work is helping me to move this forward.
KIRK BEATTIE AND MATTHEW MURPHY OF OTHER/SHOP In this modern age, shopping isn’t just categorised as an activity to fulfill needs or wants. It can be a cultural experience and can provide great sources of visual inspirations— like visiting an art gallery. The contemporary fashion store, OTHER/shop, offers the customer the experience of both contemporary art and cutting-edge fashion. Every part of the shop feels organic, including its wooden display platform and green (living!) plants, illustrating the close relationship between artists and designers. Recently showcased the t-shirt line in collaboration with Gary Card, a set designer, OTHER/shop presents exciting new projects in addition to their carefully selected clothing, accessories, homeware and books.
Where does the concept, “a shop that’s not all about shopping,” come from? 44
We wanted a space that people could come to and feel free to just look around—a space where you didn’t feel as if you were expected to buy something. That is why it was always important to have the exhibition space.
What do you consider the most important aspect of the shop’s interior? We worked with two very talented designers when we moved to Kingly street store, Tom Finch and Pablo Limon. They have both designed fixtures that can be moved around the store bringing the new changes constantly.
How much do you allow white space in the shop? The interior of the store evolves everyday and more and more white space is taken over as different exhibitions come and go. However, we try and keep a piece from exhibition in the store so it has a nice homely feel.
45
ST UDIO M AGA Z I N E
What are the benefits of involving artists into shop? It brings a different client into the space. Someone that may not have walked into look at the clothes can enter without even noticing that we are in fact an apparel store and in the end can become a customer.
How do you select the artists to work with? 46
We all have a very keen interest in art and luckily all the artists we work with seem to have a very similar taste level. When we started out 11 years ago, it wasn’t as easy as now. We had to go out and find them personally but now we have no shortage of artists contacting us for the space.
Do you see fashion as an art form that can be treated in a same manner as art piece? Art is art and fashion is fashion, but both worlds collide in every direction.
What would be the ideal piece of art piece that you want to display for your own living room? Francis Bacon’s ‘Figure in a Landscape.’
48
49
How much input do you have when designing the collection? We design the OTHER menswear and we work very closely with Chloe Struyk who designs our womenswear. Since launching OTHER, we have brought all of the production back to England so we get to work on it from the first sketch to the final garment.
ST UDIO M AGA Z I N E
50
51
Who was the hardest brand name to pronounce? This season that would be Trine Lindegaard.
Who are the most exciting designers to feature for next season? We are very exited to launch a young Belgium designer named Alice Knackfuss. Her silhouettes and prints are amazing and we will also continue to work exclusively with a piece apart from New York.
ST UDIO M AGA Z I N E
GONÇALO VERLOSA OF HOUSE OF LIZA Introducing highly collectable pieces from designers such as Gianni Versace, Jean Paul Gaultier, Yohji Yamamoto and more, House of Liza is a vintage heaven curated in the style of a gallery display. Every garment is hung from a high ceiling using long chains, the white walls greatly accentuating their colours. The founder and owner of the shop, Gonçalo Velosa (a graduate of the London College of Fashion), projects his visions and conveys his zealous passion for carefully selected vintage collections at his shop.
What kinds of people do you get coming into the shop? A mix of fashion conscious clients, trendsetters, musicians and stylists. We also have a few fashion houses as clients.
54
Opening a shop requires a huge planning and hard work. How has your experience been since launching House of Liza? I am a great believer that hard work and staying true to your vision always pays off. The biggest reward is to see my customers incorporating my vintage pieces in their contemporary styling and bringing them back to the street.
The interior of the shop is very minimal. What was the concept behind the minimal interior shop design? The interior of the shop is a collaboration work between myself and product and interior designer, Torsten Neeland. We mixed the style of an art gallery and a commercial showroom. I have stripped down the entire “vintage shop” concept, not just in terms of the personalized service but also in terms of the design of the actual shop and most importantly, how the clothes are displayed. The shop is “curated” almost as a gallery so the emphasis is on the clothes itself.
55
ST UDIO M AGA Z I N E
56
Who is “Liza?” Liza is the “lady” of the House.
57
ST UDIO M AGA Z I N E
Is there a certain theme when you select vintage garments per season? There is no specific theme per collection. I do think about what is desirable but I do only buy something that I love for some reason. It can be the history behind that piece or the historical circumstances of the time when it was made.
What is your favorite piece from the “House of Liza” collection?
58
I really can’t choose a favorite piece in my collection, as there are a few close to my heart… But today I am in love with my circa 1985, Teddy-bears coat by Jean Charles de Castelbajac—just like the one that Madonna was spotted in the late 80’s!
Do you think fashion is an art form? I don’t think of fashion as being an art form. Sometimes it can look very decorative, and we always want it to be creative and desirable, but it is not an art form! Fashion functions with a purpose: clothing and protect the human body. But I also see some people who worked and some others that still work in fashion industry as artists.
59
ST UDIO M AGA Z I N E
What is your favorite clothing or object from childhood that you wish to have now? Yes, my monkey soft toy “The Barber!� I was born in Angola and my sister Xanda had a real monkey but I was only allowed to have a toy monkey and sadly it got lost when I moved to Europe. I do keep looking around at antiques shops and markets to find similar ones, but I was never been able to find the one that I can adopt.
What would you want to do in future? Live on a hot desert beach so I can be naked all the time! 60
61
ST UDIO M AGA Z I N E
JAMES RUSSELL AND HANNAH PLUMB OF JAMESPLUMB To create something completely new from old objects is hard to accomplish. James Russell and Hannah Plumb, jointly known as JAMESPLUMB, are great at infusing life into antique furniture. Their hauntingly beautiful works draw in many overwhelmed fans through their special use of lights cast onto antique materials. The conceptual menswear store at Hostem on Redchurch Street, London, is home to their interior work which has helped to establish their identity. Just as the photographer Bruce Weber loves their “dog lamps”, so too does the fashion industry love all things JAMESPLUMB.
64
How would you describe your style? We try not to describe our style as we don’t want to feel limited to any set way of working.
65
ST UDIO M AGA Z I N E
Why did you start using antique objects in your work and what is the restoration process? There are many reasons that antiques and old objects appeal to us but we love their stories and we empathise with the lives they have lived. Our process is then to respond to each object individually—to respect their history, but also to give it a path to the future.
What is your favourite material to work with?
66
Our favourite materials are the objects we find, so it is always different and always changing.
67
ST UDIO M AGA Z I N E
68
Was there any specific figure or a person in mind whilst designing interior for Hostem? There was no person or character in mind but there was a ‘feeling’ that we wanted to create. We really wanted to create a welcoming and calm atmosphere, where people would be happy to spend time.
Light is an important motif for your design. Is there any specific significant using light?
What were the reasons to choose church pews and hessian walls for Hostem’s interior?
We feel light is extremely important and needs to be treated as a material in itself. Light really has the power to transform spaces and can connect to a very powerful unconscious thought.
The church pew was chosen initially for its beautiful colour—it had been left outside for many years so it had a wonderful weather worn colour palette.
Which piece of lighting from your house is your favourite?
Which of the three rooms from Hostem is your favourite?
It is too difficult to choose one piece because it would be like choosing a favourite family member!
We don’t really have a favourite as we feel they are enjoyable in different ways.
ST UDIO M AGA Z I N E
69
images were provided by Hostem.
70
Do you consider your work an art form? Our work is extremely wide ranging so there is no one answer for all our work. Our own feeling is that we have been as moved by a reflection in a puddle in the street, as by artworks in galleries.
For who or where would you like to design in future? We have already been very lucky to work in some fabulous places, and we’re delighted that our work is currently taking us to New York and Vienna. We would love to spend some time and start a project in Venice.
ST UDIO M AGA Z I N E
71
NOVO OF NOVO KOREA WARRIOR The Korean-based tattoo artist, NOVO, says: “the best working canvas is a human body because of its endless possibilities and varieties.” Disliking the term “tattooist”, he hopes for people to accept him first as a body art or tattoo artist, establishing his unrestrictive ideas for highlighting the diversities of tattoo designs as an art form. His previous collaborative works with fashion designers and brands have enabled him to convey this artistic vision, allowing his audience to appreciate and recognise tattoos as just as integral a part of art culture as works that are illustrated on more conventional canvasses with traditional media.
When did you decide to become a tattoo artist?
74
When I was in college studying sculpture, we had this nude model come in for sketches and she had a tattoo that wasn’t of stereotypical shapes or figures, like an angel, naked woman or Christ— it was a copy of a drawing that someone had made for her. Nowadays, it seems natural to have a tattoo like little doodles, but it was completely new back then. Also, when I first started my work, Korea still had strong, conservative views on tattoos and the public didn’t see it as a work of art. Obviously, because of this, there was no support available to study tattoo work except via online websites. It was a fresh shock to see the different style of tattoos in real life. After this experience, I started to research tattoos, their history and prominent artists. I didn’t have a mentor to teach me so I taught myself the skills and methods.
Why do you prefer yourself to be called a tattoo artist rather than a tattooist? It’s not just because of the look of the final piece but because I consider the process to the result as my artwork. My interaction with the body and my aspiration to express my vision through a customer’s idea is all part of creating art. My customer comes to me to put my creativity into their ideas. After the communication process, these ideas become more solid and unique. When they are satisfied with the outcome, I feel grateful as an artist because they are appreciating my work. If anyone wanted a butterfly on their neck, for example, they can find any tattooist who can draw it, but I wouldn’t just proceed solely with what’s given to me by the customer.
Judging from your illustrative style and drawings, you could have chosen to become an illustrator. Was there any specific reason to choose to work on body rather than on paper? I didn’t choose to for any specific reason. It all started from my interest in the human body. The start of my work process is always to observe the body. It’s maybe because I studied sculpturing at college so the transition from body to tattoo art came naturally. I started to do body painting work for curiosity and fun, ultimately to express something within me, and that’s how all it began. Everyone has a base body figure, but with different types, shapes and skin tones. The body showed me its endless possibilities and mostly, I liked the fact that I was working with a live material.
75
ST UDIO M AGA Z I N E
What’s your signature style in your tattoo works? And what are your rules whilst you operate? I always liked imperfection. When there’s a straight line to draw, I would make it tilted. The intentional mistakes create distinctive but clever outcomes, although it is difficult to reach harmonious shapes. I believe my spontaneous decision-making aids me when drawing such lines and placing the shapes. Unlike body paint, where it’s easily removable, tattoos are permanently recorded jobs that make it all the more precious and therefore difficult to decide upon. But once my lines form balances with the rest of the drawing, I feel thrilled when I see the final result.
So you’re not afraid of making mistakes?
76
There are so many mistakes one can make in tattoos. Anyone can make a massive or small mistake in art. Limiting the area of mistakes only to permanent ink seems to be unfair. However, I don’t deny the fact that tattooists can make mistakes easily so having a sufficient amount of time available to you and a full understanding between yourself and the customer is crucial.
How does the communication help during the work process? The communication between myself and the customer is crucial and entirely necessary for my work. Creating something through communication, an understanding of each other’s style and mind and how this understanding affects the final outcome is a very valuable experience for me. Getting a tattoo is a very intimate process. Observing one’s body, pressing their skin constantly is all part of communication through the body. This can’t be described verbally or depicted in images but I think this is why the job is attractive and artistic.
How much input do you have in the customer’s tattoo design? Do you create unique illustrations for every customer? My tattoo works are 99% my own work. Clients might bring a motif or certain words that they want to start with and this is when the communication begins. I might ask their reasons for wanting this certain tattoo in order to dig into the core and really put more meaning into my work. Of course, you can just have any tattoo because it looks pretty or looks good on certain parts of the body but I want to bring out more than that. Also, since I have a good understanding of the body, I can suggest better places on which I can perform.
77
ST UDIO M AGA Z I N E
Do you see fashion as art? Yes. It is art, but I don’t consider fashion as art by only looking at the clothing. It needs to have a strong focus on its collection. From invitation to shows and the images of lookbook, overall how all presentations communicate its core ideas to the consumer will decide whether the collection is art or just business.
78
79
ST UDIO M AGA Z I N E
Are there any memorable tattoos by others that stood out to you? I was at the tattoo convention in Paris years ago. When I visited one of my favourite tattooist’s booths, I saw this tall, skinny European man with a geographic tattoo on his arm. It wasn’t even the drawing itself but how the artist had calculated to fit the shapes onto him was genius. He would probably have shaved the hair on his arms before applying the tattoo, yet the artist had even calculated it to fit correctly after his hair had grown back! That guy’s gesture, clothing style and his tone of voice seemed to fit together so well with the tattoo. I could feel that these two people truly understood each other and respected the idea. It was then I realised the importance of looking at the entire style not just the tattoo itself.
80
What do you hope for or expect from your customers? I hope my customers bring motifs that can represent themselves in the best way possible. Not to conceal themselves under a strong tattoo design, but something that expresses their own personality. Nobody should allow a tattoo to overcome oneself; they should wear a tattoo, not be worn by a tattoo. If someone is remembered for their tattoo and not because of their personality, then it is a lost battle between the tattoo and oneself.
What are your future plans? I have recently published a photo book called Novo & You with my wife, You. I hope to publish more photo books of portraitures with the tattoos naturally fitting into the image as a whole, rather than focusing strictly on the tattoo. Also, when I reach 50, I hope to open my studio space as a research centre for tattoo work, gathering all the art books and research of mine and make them open to people who are willing to accept tattoos as a part of culture.
81
ST UDIO M AGA Z I N E
SEUNGMIN JUNG OF TRVR Established in 2010, the Korean professional biker brand, TRVR, is getting noticed by American bloggers for its “Gentleman’s Apron”. This brown leather apron is of minimalistic design but cleverly made with highly detailed parts. From initial sketches to final development, the praoducts are 90 percent hand-made by creative director, Seungmin Jung. The finished products more closely resemble art work; a demonstration of their great craftsmanship. Unlike modern products from mass production, TRVR items are classic in style and become more attractive as they age. Jung updates his blog (www.jungseungmin.com) daily, introducing his most recent work processes as well as including pictures of beautiful scenery from his personal bike trip. From the birth of the brand until now, STUDIO magazine has recorded Jung’s lifestyle journey.
You are a blogger, film director, photographer and designer. Tell us about yourself in detail.
84
Officially, I am the director and designer of TRVR, but also work as a freelance design consultant. I am an outgoing person who has a lot of interest in various areas of study and don’t just rely on one in specific. But on the other hand, I just like to hang out with various types of people and share different thoughts. I also like to travel around without planning which makes me a slightly disorientated but very spontaneous man.
What does “TRVR” mean? I had the word “traveller” in mind when I first created the brand. More specifically, something that would symbolise and embody the heart and mind of the traveller.
How was TRVR started? In 2007, I began to ride a bike. Of course, I had already learnt how to ride a bike when I was a child, but in 2007, during my second year in college, it was the first time I really began to ride a bike. I saw interesting works related to bikes on the internet which inspired me to create something similar. I had met people with kindred interests whilst travelling in Europe, and when a friend in London bought me a cycling cap as a gift, it gave me the idea to create a brand for cyclers. I tried on the cap but it didn’t fit properly (and that’s not because I have a bigger-sized head than Western people!). From analysing this, I thought I could make a much better cap than that. It was that over-confident mind that brought me to create the brand.
85
ST UDIO M AGA Z I N E
86
Just like the philosophy of TRVR; “to exist as a brand that creates and proposes culture instead of just clothing” all the products are classical pieces with a detailed touch. It seems like you are creating artwork rather than just a fashion accessory. Is there a background story to this? Stable, firm and good history is built upon stable, firm and good, little stories. Therefore every work should have its own individual story. Those stories work to create the brand and eventually become a sort-of heritage. And since these processes were created by consumers themselves, it is therefore my hope that it will not be just a brand that flashes for a while and then blacks out like a light bulb, but one that becomes one of the best and lasting collections in the consumers’ closets. A brand that lasts just like those memories and stories.
Tell us about your work procedures. From start to end—how does your design come alive? Actually, there is no fixed order. There’s either a sudden epiphany to create something or I’ll have to wait to become inspired. Inspirations or ideas come up anytime; during travel, whilst having a meal, or in the middle of conversation with people. From these personal experiences, I record them in words or even sketch the scene. And when these sketches are produced into a 3-D module, I amend them for improvements. Most of the items are completely handmade by me. Sometimes, however, other technicians (who also taught me to use specific tools) help me to produce certain parts.
You studied industrial design at college but now you are more into the fashion industry. Is there any specific reason why you decided to pursue that instead? I don’t think the world of design can be distinguished by one word or view. There are many great designers who are experts in many fields, without boundaries. I’m still working in the area of industrial design, but also in design planning, furniture and product design, brand consulting and more. I believe that my work can be applied to any of these categories, because although I hadn’t studied fashion professionally, the core ideology of design is based on “creative thinking” not “skill”.
ST UDIO M AGA Z I N E
87
88
You prefer to use materials that fade naturally and are long-lasting such as leather and jade sandalwood. Do you also own any objects that had faded or been kept since you were young? Yes! I have a Paul Smith oil-coated coat that I bought 8 years ago in Japan, a wool/tweed mixed jacket, a 60/40 mountain parka and leather boots. All of these items are very old but as time passes, they seem to fit more perfectly and look more stylish. Do you believe in eternity? Yes, of course. No matter how long, the memories won’t fade away. I still have all my childhood photographs. For example, my childhood home will be preserved forever in my mind even if it is demolished. Your blog records many of your travel journeys and films from your road trips. Is it important to consider bike roads when you choose your next travel destination? The whole purpose of travel is the experience, so having a bike road isn’t really the important matter to me. However, when there are places that I know I would like to look around in carefully and with time, I bring my bike and ride, even if there’s no bike road. Where is your dream destination? I would love to visit Brazil or any other places in South America. I don’t like travelling like a tourist even if it’s my first visit. I much prefer to see local markets rather than historical places. I’ve heard Brazilian people spend their savings on days during Carnival season! I would also love to experience its culture and energy.
ST UDIO M AGA Z I N E
89
90
Do you think fashion can be seen as an art form? I believe not just fashion but everything that has been produced by humans can be seen as an art. Also, ordinary objects in daily life can be seen as an art form. You have recently moved your showroom and redecorated. What are your next plans for TRVR? I would like to launch different content for TRVR including fashion collection, photographs and films. I hope the brand introduces a complete lifestyle to the customer. I’m also planning to use my showroom as a gallery, and to communicate with various people for collaboration in creating different works. I am hoping to design more biker-fashion wears than the stereotypical tight bodysuits; something that everyone can wear and relate to.
91
ST UDIO M AGA Z I N E
FASHION BEAUTY ACCESSORIES
F
OR
YOU
R EY
S E
94
DIMENSIONAL DISPLAY DISPLAYING ODD ACCESSORIES ON GRIDS
Shoes ANN DEMEULEMEESTER
96
Bag JIL SANDER
97
Top MAISON MARTIN MARGIELA
ST UDIO M AGA Z I N E
Bag MIHARAYASUHIRO
98
100
101
Convertable vest BLESS
ST UDIO M AGA Z I N E
102
WEEPING WOMAN BY PICASSO HOMMAGE OF DORA MAAR, WEEPING WOMAN BY PABLO PICASSO
Eyeliner M.A.C. Yellow and silver face paint SCREEN FACE
Eyelashes SHU UEMURA Black eyeliner M.A.C. White face paint SCREEN FACE
105
Eyeshadows, eyeliners, lipstick M.A.C. Silver and red face paint SCREEN FACE ST UDIO M AGA Z I N E
Black eyeliner M.A.C. Red face paint SCREEN FACE
All make-up M.A.C.
108
ORGANIC SKIN REMEDIES SKIN SPA TREATMENTS AT HOME
Green tea leaves have high levels of catechins, a subtype of polyphenols, which help to soothe and slows the darkening of the skin. With its five times higher level of vitamin C than lemon, Green tea works great on skin for firming and brightening the skin condition. It also contains high amounts of anti-oxidants, which fight free radicals—harmful particles in the body that contribute to aging and diseases. 109
GREEN TEA 40ml of plain yogurt 4 teaspoons of green tea powder 1/2 or 1 tablespoon of flour
1.
Mix all the ingredients together.
2.
Using brush, spread out the mixture onto the face.
3.
Leave in for 15 minutes and rinse off with lukewarm water.
ST UDIO M AGA Z I N E
Cucumber consists about 95% of water and each cucumber contains 13mg of vitamin C. Suitable for organic moisturizing, the cucumber mask will leave the skin feeling soft and supple. It also helps to lower the temperature of skin and cleanses naturally, so it’s great to use after sunbath to calm irritated skin. This mask will leave the skin feeling instantly refreshed and revitalized.
110
CUCUMBER 1/2 washed and peeled cucumber (best to use cold) 1/2 or 1 tablespoons of oat flour 1 or 2 tablespoons of honey
1.
Slice cucumber into chunks and use blender or grater to make puree.
2.
Mix cucumber puree with flour. Add small amount at a time.
3.
Add honey and mix thoroughly.
4.
Use immediately using a brush or finger to spread the mask onto the skin.
tip - Drape a towel over the shoulders to catch any drips. 5.
Leave in for 15-20 minutes and rinse off with lukewarm water.
111
ST UDIO M AGA Z I N E
112
Honey is a very effective moisturizer for skin. It retains moisture making your skin radiant, soft and supple. Works perfect on sensitive skin for gentle cleanser. When mixed with water, honey releases peroxide properties, which helps heal acne and impede bacterial growth causing more acne. Raw honey also contains gluconic acid, a mild alpha hydroxyl acid that brightens the complexion, evens out skin tone, and lightens scars and age spots. Depending on where the types of honey, it contains many nutrients and minerals excellent for skin health such as vitamin B, iron, manganese, copper, potassium and calcium.
1 tablespoon of honey
HONEY
1/2 tablespoon of oatmeal flour 1/2 tablespoon of flour
1.
Pour honey into a bowl.
2.
Mix oatmeal flour with honey then add flour slowly.
3.
Make sure to mix thoroughly.
4.
Apply mask using face brush.
5.
Leave in for 10-15 minutes and rinse off with lukewarm water.
ST UDIO M AGA Z I N E
113
RICE Rice is used to reach flawless porcelain skin over decades in Asia. Rice contains a high concentration of PABA (para aminobenzoic acid), that works great to avoid blemish and pigmentation. Rice helps to sooth and softens skin, reduces the appearance of fine lines and wrinkles, and evens out skin tone. It is also good for brightening the skin tone, which is widely used in many facial products for Asian women. 114
Handful of rice 1 teaspoon of honey 2 teaspoons of yogurt
1.
Rinse rice and drains water.
2.
Using blender or grinder, blend rice to make rice flour.
tip - the finer the grain, the better it will work. 3.
Mix the rice flour with honey and yogurt.
4.
Apply mask using face brush.
5.
Leave in for 15 minutes and rinse off with lukewarm water.
115
ST UDIO M AGA Z I N E
A carrot facial mask is very effective for skin restoration, firm and revives the skin immediately after use. Carrot contains very high vitamin A and Betacarotene, which is an excellent ingredient for anti-aging. Also, the carrot seed oil has been proven to help cleanse the skin of impurities and bacteria causing acne so this treatment will help to moisturize the skin without causing break out or feeling greasy and heal any skin troubles.
CARROT 116
1 peeled carrot 2 tablespoons of honey 1/4 teaspoon of aloe vera gel 1 tablespoon of oat flour to help thickening the mix
1.
Slice a carrot in half and make it into chunks.
2.
Using blender or food processor to make puree.
3.
Mix honey and aloe vera gel with puree.
4.
Add flour to thicken the mix.
5.
Using brush to put mask onto the face.
6.
Leave in for 15 minutes and rinse off with lukewarm water.
117
ST UDIO M AGA Z I N E
Apple contains vitamins A and C, which is great for skin health. They repair the sun damaged skin cells and improve the general skin condition by softening the skin and lightening the skin. Apple also contains glycolic acid, which helps to exfoliate the dead skin naturally. It also helps to clear the pores and reduce the appearance of fine wrinkles. In fact, apples have been used in many skincare remedies for sunburns and skin brightening cosmetics.
1/2 an apple 1 tablespoon of oatmeal flour 118
1 tablespoon of warm milk 1/2 tablespoon of honey (for dry skin only)
1.
Slice an apple into small chunks.
tip - take all the seeds out before as seeds contains toxin for skin. 2.
Using blender or food processor to make puree.
3.
Add honey and milk.
4.
Gradually add oatmeal flour to thicken the mixture.
5.
Using brush to put mask onto the face.
6.
Leave in for 10-15 minutes and rinse off with lukewarm water.
APPLE
119
ST UDIO M AGA Z I N E
DÉCOLLAGE 120
TEARS, CUTS, DAMAGES
Two-piece suit THIERRY MUGLER Tube top ONE TEASPOON Sleeveless top TOPSHOP
Blazer JEAN PAUL GAULTIER Trench coat VINTAGE CHRISTIAN DIOR Wide trousers STOLEN GIRLFRIENDS CLUB
Blazer HELMUT LANG Leather jacket CHRISTOPHER KANE Trousers HELMUT LANG
124
Blazer JEAN PIERRE BRAGANZA Skirt ISSEY MIYAKE Fishnet tights EMILIO CAVALLINI Ankle boots ANN DEMEULEMEESTER
125
Top JEAN PAUL GAULTIER Blazer VINTAGE THIERRY MUGLER Skirts MAXMARA Shoes ROGER VIVIER ST UDIO M AGA Z I N E
STUDIES FOR FIGURES
AT THE BASE OF
CRUCIFIXION 126
DARK WEATHER COLD LEATHER
128
Harness VINTAGE Trousers CELINE PREVIOUS PAGE/
Rings ASOS Earings DOMINIC JONES Top GEMMA BLACK
129
ST UDIO M AGA Z I N E
130
Tube top AMERICAN APPAREL Skirt AMERICAN APPAREL LEFT PAGE/ Vest VANDALIST Bra top ONETEASPOON Gloves BUTTERFLYSOULFIRE Belt VINTAGE
132
Gloves KOKON TO ZAI Dress MAISON MARTIN MARGIELA
134
Coat JEAN PIERRE BRAGANZA Dress VINTAGE FROM BANG BANG LEFT PAGE/ Coat JEAN MUIR Tights WOLFORD Gloves BUTTERFLYSOULFIRE
Hat, YOHJI YAMAMOTO, turtleneck top, AMERICAN APPAREL, jacket, COS, bronze metal necklace, H&M.
PORTRAITS OF A 136
LADY
WOMEN PORTRAYED IN SYMBOLISTS’ PAINTINGS
137
“WOMAN WITH A MEDALLION”
ST UDIO M AGA Z I N E
Jacket COS Hat YOHJI YAMAMOTO Necklace H&M
138
Sleeveless top YOHJI YAMAMOTO Skirt YOHJI YAMAMOTO Trousers COS Heels ALEXANDER WANG
139
“HOPE”
ST UDIO M AGA Z I N E
140
Jacket TAO BY COMME DES GARÇONS
“DAME ELLEN TERRY”
142
Top YOHJI YAMAMOTO Skirt YOHJI YAMAMOTO Heels PROENZA SCHOULER
143
“TRUTH”
ST UDIO M AGA Z I N E
144
“THRACIAN GIRL CARRYING THE HEAD OF ORPHEUS”
145
“PARSIFAL”
ST UDIO M AGA Z I N E
Fur cape VINTAGE LEFT PAGE / Top JEAN PAUL GAULTIER Vest ZARA Blazer DSQUARED Trousers PRADA Heels JOHN FLUEVOG
METAL ON FLESH “THE HUMAN BODY IS THE BEST PICTURE OF THE HUMAN SOUL.” LUDWIG WITTGENSTEIN
147
Necklace AGATHA Spiral necklace RELIK
ST UDIO M AGA Z I N E
Palm ring ASOS Bangle YVES SAINT LAURENT Necklace HAMKOON
Linked bracelets STEPHEN WEBSTER Chain bracelet HANDMADE Necklace HAMKOON
150
Metal cuff ASOS Silver cuff VINTAGE
Bracelet ALEXANDER MCQUEEN Bangles ASOS
155
Rings on left CHROME HEARTS Rings on right E-AH Harness ASOS LEFT PAGE/ Harness FANNI SCHIAVONI ST UDIO M AGA Z I N E
WWW.STUDIOMAGAZINE.NET