Vulture Magazine Issue 04: Garden

Vulture Magazine / Mar 2013

Issue 04: Garden

THE HUMANIST CONCEIT W. Cindy Sherman Jeremy Langmead Michele Lamy Prada & The Great Gatsby Rose Robson Zhang Huan Gao Brothers Levi Van Veluw

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Editor-in-Chief Nabil Aliffi Managing Editor Clifford Loh Managing Associate Vanessa Fong Art Director Russell Seah Designer Andraditya Dhanu Respati Contributing Editors Melanie Chua Lune Kuipers Press/ Editorial Assistant Muhammad Sadikin Sean Tay Fashion Assistant Kelly Yeunh Business & Marketing Assistant Zhang Qianwen VULTURE Digital Byan Teo Lionel Bobo Deng Interns Hadi Jalal Lesley Chee Contributors Stefano Viti, Daryl Feril, Lim Jaehann, Skye Tan, Rayne Wong, Maarten Alexander, Mandy Rep, Jasmine Jones, NoĂŤma Kosuth, Kelly Hu, Iga Drobisz, Greg Adamski, Jill Tan, Christopher Madsen, Aurelian Richard, Lester Lai, CK Koo, Ken Hong, Dan Takada, Sokkuan Tye, Shawn Chua FRONT COVER by Lester Lai featuring Sokkuan Tye in Burberry Styling by CK Koo, Hair Styling by Ken Hong and Floral Design by Dan Takeda

Editorial Enquiries For advertising and sales, please email us at contact@vulture-magazine.com VULTURE Magazine Pte Ltd 113 Somerset Road Singapore 238165 Published & Distributed by Allscript Pte Ltd MCI (P) 159/12/2012 With Special Thanks to Ryan Wong from Vue Photography Studios & Ave Management

Š 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without permission from the publishers.

The views expressed in VULTURE Magazine are those of the respective contributors, and are not necessarily shared by the magazine or staff.

VULTURE welcomes unsolicited contributors, but cannot accept responsibility for any possible loss of damage of the submitted material.

InAisce S/S 2013 6

EDITOR’S NOTE The Garden is a motif that has recurred constantly throughout human history. It set the scene in Genesis and served as the conceit to the lineage of great Humanists from Rousseau to Montaigne. Even today, cities could be said to be a modern manifestation of the garden, an artificial construct of natural elements appropriated.

In this issue, we present the many facets of The Garden. Christiane Löhr’s intricate dandelion structures depict the fragility of this microcosmic ecosystem. ‘Leaf Man’ by Japanese artist Azuma Makoto conversely presents its seething wrath in response to destructive human intervention. In our main story, we interviewed artist Rose Robson in her studio to talk about her experience of dealing with decay and possibly subverting The Great Chain of Being.

This issue is all but an homage to this deeply rooted tradition that has affected fashion profoundly. Monsieur Christian Dior was after all an avid gardener who spent much time growing a bed of roses in Jardin de Granville in Normandy. It is also no secret that some of the most influential designers today like Stella McCartney and Oscar de la Renta pride themselves on having green fingers. If we were to take heed from the recently concluded Haute Couture SS13 – notably at Chanel, Christian Dior and Valentino – The Garden is indeed a central theme this season. It leaves us to acknowledge the pronounced rebirth of this ritual and we hope that this issue would spur it to blossom.

Nabil Aliffi

CONTENTS

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10

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Editor’s Note

Vulture’s Manifesto

Surrender Shortlist

Spring Beauty Essentials

FEATURE

FEATURE

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English Garden

Key Summer Essentials

Space Oddity

Medieval Princesses In Virtual Spaces

INTERVIEW

FEATURE

FEATURE

FEATURE

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Vincent Gallo

Trainspotting

FEATURE

FEATURE

A Glittering Dream

The Man In The Hat: Jeremy Langmead

FEATURE

INTERVIEW

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Michele Lamy

A Trip To Second Life

The Fetishisation Of ‘Vintage’

The Bird’s Keeper

COLUMN

COLUMN

INTERVIEW

FEATURE

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Never Ending Construction

Family/Origin Of The Begining

Leaf Man

Making Faces

FEATURE

FEATURE

FEATURE

FEATURE

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Brands In Full Bloom

Aligning Petal & Wing

Insectopedia

Sadako’s Secret Garden

EDITORIAL

INTERVIEW

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108

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122

House Style

Black Widow

Self Portrait

Scarecrow

EDITORIAL

EDITORIAL

EDITORIAL

EDITORIAL

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136

138

142

Colors Of S/S 2013

The Dual Paradise

Fragile

Die Verwindung

FEATURE

INTERVIEW

EDITORIAL

COLUMN

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151

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A Quiet Taste

March - May Highlights

On Our Moodboard

Stockist

FEATURE

EDITORIAL

EDITORIAL

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Vulture’s Manifesto COUNTING BLESSINGS AND MOVING ONWARD

VULTURE magazine enters its fourth issue this June. Since its conception, the magazine has had the privilege to work with some of the most talented individuals across the globe. It has served as a platform for many artists to showcase their work and to enter a dialogue with those who are like-minded. From the seeds of an idea inscribed at the back of countless table napkins, to a book that draws an ever-growing creative community rich with talent, passion and honest dedication, VULTURE is well en route to becoming the magazine that advocates artistic integrity and meaningful consumption. This marks an opportune moment to give thanks for just how far our readers and collaborators have brought us.

while. We are committed to bringing stories that champion the independent mind and complement them only with the most moving visuals. Our hope for our readers is for them to galvanise their personal convictions as we celebrate individualism and personal style. Ultimately, VULTURE stands for quality, craft and the rise of the individual.

The magazine is quickly becoming a platform that is taking a life of its own. Its steady momentum notwithstanding, the challenges to work through commercial pressures are ever present. The team is committed to see VULTURE through and we need your continuous support evermore. VULTURE is open to benefactors who would like to make a contribution.

VULTURE started as a response to the chaos of modern day consumerism. Quality and craftsmanship often become collateral damage in perpetual price wars and in the rush to have more. The promise of the fantasies played out in advertisements becomes increasingly polarised from the reality of the actual good. Above all, in the midst of this consumerist blitz, individuality gets obscured.

To ensure the quality of the magazine, VULTURE will also be moving to publishing quarterly. We believe that there are many out there who share this vision for otherwise the magazine would not have come this far. Our deepest gratitude goes out to you and we return your trust in servitude with every issue.

VULTURE is a step back towards austerity and discernment, paring it down and showing only what we believe is truly worth-

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Surrender Shortlist TOP PICKS FROM A CONCEPT STORE Photography – Jae Hann L. Styling – Lesley C.

01. Shoes BRITISH REMAINS

09. Belt MAISON KITSUNE

02. Necklace MAISON MARTIN MARGIELA

10. Wallet HEAD PORTER

03. iPad case WANT LES ESSENTIELS DE LA VIE

11. Laptop bag WANT LES ESSENTIELS DE LA VIE

04. Rope belt ORLEBEAR BROWN

12. Card case IL BUSSETTO

05. Card case WANT LES ESSENTIELS DE LA VIE

13. Card case NEIGHBORHOOD

06. Wallet MAISON MARTIN MARGIELA

14. Opticals OLIVER PEOPLES

07. Bracelet WANT LES ESSENTIELS DE LA VIE Surrender Store: Raffles Hotel Arcade #02-31, 32B North Bridge Road, Singapore 188719

08. Sunglasses THOM BROWNE

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On Skin Rich Liquid Foundation ILLAMASQUA HD Micro Powder MAKE UP FOR EVER On Eyes Powder Blush #Exhibit A, Larger then Life Mascara NARS On Lips Lipstick #Liable ILLAMASQUA Makeup by Sha Shamsi Styling by Randolph Tan

spring beauty essentials MUST-HAVES FOR YOUR BEAUTY KIT THIS SPRING Text – Qianwen Z.

From Left: SHISEIDO Luminising Satin Eye Colour Trio #OR 302 Fire: This classic eyeshadow trio is buttery and it blends without fallout. The vivid colour pays off even without a primer. The orange adds just enough interest without veering into being loud. The other quads in the line range from neutrals to brights – certainly worth a look.

DIPTYQUE Hourglass Diffuser #34 Boulevard Saint Germain: A state-of-the-art diffuser and an eclectic scent to match the discerning taste of the privileged few. This equipment does not utilise any heat, relying on osmotic action and gravity instead.

NARS Soft Touch Shadow Pencil #Corcovado: An eyeshadow in pencil form: 24 Karat gold in a creamy base, it adds a dash of interesting shimmer when used on the lower lash line.

BECCA Shimmering Skin Perfector #Opal: The Skin Perfector is a glowy, non-glittery, highlighting liquid. It can be blended into your bases for all over radiance, or selectively applied to catch the light for a healthy bronzy glow. It’s like having flattering beauty lighting with you at any time of day.

CHRISTIAN DIOR Vernis #306 Gris Trianon: This nail polish comes with exceptional formula and brush. It is comparable to esteemed professional salon brands. The warm grey tone is rather distinguishable in a crowd and would definitely earn double takes.

CLÉ DE PEAU BEAUTÉ Rouge Eclat Comfort #223 Raspberry: More than just a token of comfort as the name suggests, this lip care product comes with all the skincare benefits of a serum. We often neglect the fact that our lips is -- in fact -- skin. This product leaves a sheen of protection with a mauvy-pink tint of colour.

SHU UEMURA Tsuya UV Under-Base Youthful Radiance Mousse SPF 30: This mousse preps your skin for powder or foundation. It offers a decent amount of sun protection and Rhamnose for skincare benefits, all in a fluffy, uber light texture that makes its application just as key as the product itself.

BY TERRY Touche Veloutee Concealer: This is a unique hybrid of concealer and illuminator packed in a lightweight formula. It also blends seamlessly into your under-eyes making them appear well-rested from a 10-hour beauty sleep.

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An Interview With Hermione de Paula:

ENGLISH GARDEN “YOUR MIND IS A BEAUTIFUL GARDEN THAT SHOULD BE GROWN WITH BEAUTIFUL THINGS.” Text – Kelly Y.

I’d like to know a bit more about how you select what flowers to incorporate into your prints each season. Could you tell me more about that process? Does the language of flowers come into play at all? The idea is always unconventional florals - unique flowers with hidden elements, the language of flowers is also fascinating to me; I love the meanings and perceived power that different natural elements harness. I’m also inspired by powerful women around me, this collection is about female adventurers, every collection is named after a female flower that embodies the spirit of my female muse.

Growing up in a family of artists in Devon nurtured Hermione de Paula’s love for illustration and craft. She graduated with first class honours from Central Saint Martins, launching her own brand in 2010.

Abstract floral prints inspired by their traditional English counterparts, and dynamic, feminine silhouettes are heavy Hermione de Paula design signatures. Aesthetically, her clothes are modern and tongue-in-cheek; nothing is quite what it seems. Thoroughly exuberant in its maximalist sensibility, it keeps a purposeful restraint in both craft and shape, attracting a quirky clientele who are unapologetically in touch with their femininity. She shares her inspiration and thoughts with VULTURE.

Do you think your previous work experience with John Galliano and the late Alexander McQueen has influenced your work very much? How so? Working for such incredible brands really helped shape my passion for print, and also the exquisite craftsmanship and luxury that I founded my label with, as I have developed my signature I have introduced more embellishments and embroideries, something that I greatly admire in both houses.

I also dream one day of having the capacity to show my designs with the incredible production values they have for the shows!

When did you decide you wanted to become a designer? I studied art and textiles at college and then went on to study print and womenswear at Central St Martins. During my course, I gained experience at luxury labels such as Dior Couture, Galliano and Alexander McQueen, which encouraged me to follow my own creative path. Many of my family were artists so I loved painting.

Therefore I think becoming a designer was a natural progression, having a passion for dressing up and a creative, dreamy outlook.

Who or what would you say is the biggest influence on your work? All kinds of things - everyday observation, nature, adventures, my friends and loved ones.

Why is the floral print so prevalent in your work? I grew up in the countryside and have always had a passion for nature and wildlife. I’m attracted to the huge variety of flowers and also their symbolism. My label is very much focussed on English craftsmanship and heritage so I like the idea of English eccentrics, florals with a twist, the floral designs that have dual aspects...so a flower is never just a flower.

Who is your dream collaborator and why? Too many to mention! I’d love to work with Karl Lagerfeld though!

Apparently, you were in China recently. Any plans to expand in Asia? We’ve been fortunate to visit Asia several times, and we are launching at Tribeca in Singapore for Spring/Summer 2013.

Your latest collection is notably on the boyish side, a distinctive change from your previous collections. Was this a conscious decision? I wanted to introduce some new sportier shapes. It’s interesting to contrast the feminine prints and fabrics with more tailored silhouettes. Our model Sadie helped to bring the collection to life and give the pieces a real edge.

What motifs does the word “Garden” conjure up in your mind? Well, my mother always said, “Your mind is a beautiful garden that should be grown with beautiful things, keeping out the weeds.”

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Shoes JIMMY CHOO (Net-a-Porter.com)

iPad Case BURBERRY

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Key Summer Accessories Photography – Jaehann L. Styling – Lesley C.

Clutch GUCCI

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Bag KENZO

Sunglasses YVES SAINT LAURENT (Net-a-Porter.com)

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Jacket PETER PILOTTO (Net-a-Porter.com)

Necklace GUCCI

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SPACE ODDITY

Fashion Direction – Lune Kuipers Art Direction – Mandy Rep

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bathing suit LISA MARIE FERNANDEZ 23

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(Above) dress ANTIPODIUM (Left) backpack DAMIR DOMA 25

(Above) sandals PRADA (Right) sandals CAMILLA SKOVGAARD 26

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(Above) sunglasses MYKITA & ALEXANDRE HERCHCOVITCH (Left) trench coat BURBERRY PRORSUM 29

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Rodarte Spring/Summer 2013

Medieval Princesses In Virtual Spaces ROMANTICISING THE FANTASY WORLD OF ROLE PLAYING GAMES Text – Sean T.

Romanticism is one word to describe the stream of consciousness running through the Mulleavy sisters’ work every season. For Spring/Summer 2013, the Rodarte girl has received a ‘power-up’: transforming her from the hopeful pioneer last season into a cyber-punk warrior princess. There is an emphasis on ‘princess’, as this is what the thread of romanticism rests on this season.

The sisters are, after all, still girls at heart.

show some leg, and yet be able to carry herself elegantly. Two looks especially encapsulated the entire mood of the collection: looks number 29, the salmon pink drop-waist halter dress with a lime green corset to match; and look number 12, a sea blue gown with t-shirt sleeves with gold metal embroidery emphasising the strong, cinched waist. They are both a perfect mix of hard and soft, referencing independent and resilient female figures, like Joan of Arc, that exists throughout history. This is something that grounds the fantastical collection, making it more relatable to their female audience, whom one would assume, aren’t the most well acquainted with the fantasy world of RPGs.

Classic fantasy role playing games (RPGs), like Dungeons and Dragons and Defense of the Ancients (DotA), were first came to mind. References to the fantasy gaming genre can be seen in the colour palette of the collection. Copper hues, pastel blues, hot reds, and a strong shiny black are the dominant colours seen in the pieces. The print, embroideries, hard cinched waist and chest on the other hand, emphasised the medieval element of the inspiration, bringing to mind articulated pieces of gothic plate armour from the 15th Century. Dungeons and Dragons and DotA after all have much of their character and environment design based on late medieval and gothic aesthetics. The cuts of the skirts contributed largely to the ‘princess’ persona. Consisting of mostly high slits and fish-tailed shapes, the Rodarte girl is not afraid to

Playing up with people’s desires by offering them an escape from the mundane, is a tried-and-tested formula that Kate and Laura have used countless of times. Rodarte conjures a different facet of their customer, but when you strip the fantasy away, the Rodarte girl is still the hopeful ingénue that remains the primary source of inspiration.

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The Last Bohemian: Vincent Gallo AN AESTHETE’S STYLE SHEET Illustration – Skye T. Text – Kelly Y.

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03. TASCHEN Norman Mailer and Bert Stern: Marilyn Monroe Signed Hardcover Book

Art for art’s sake is not only a rarity in our consumerism-obsessed world at present, but is often controversial to the point of comedy. Vincent Gallo is a man of many an occupation: actor, musician, filmmaker, and performance artist among them. Unapologetically embracing controversy throughout his career, his work invites a reaction as they address issues with procreation, ego, social agenda, religion, race and sexuality.

04. GUCCI Brera Slim-Fit Fine-Corduroy Blazer 05. ALEXANDER MCQUEEN Large Printed Modal Scarf 06. MAISON MARTIN MARGIELA Concealed-Lace Up Leather Boots

Gallo’s sartorial choices are often stoically sane to the point of compulsion, punctuated with brief adventures into the world of cross-dressing. Courage is in the ability to confront oneself, which Gallo has in spades.

07. THOM BROWNE Round-Frame Flip-Lens Optical Glasses 08. PAUL SMITH Printed Leather Card Holder

01. BORSALINO Rabbit-Felt Trilby Hat

09. J.CREW Porter Striped Cotton-Jersey T-Shirt

02. LEVI'S VINTAGE 1930s Distressed-Leather Jacket All available at www.net-a-porter.com

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Trainspotting:

The Transportative Art of Cindy Sherman HER SEMINAL WORK CALLS THE OBSERVER INTO QUESTION Text – Jill T.

Cindy Sherman plays with the construction of identity like no other. The iconic American photographer is also her own model, makeup artist, hairdresser, and stylist, creating a representation that is meticulously cultivated through her own vision.

that serves as a worthy commentary on feminism and gender performativity, her craft in itself is focused more intentionally on something else - the creation and representation of identity.

The tension between photographer and subject present in every photograph is drawn to a head by the fact that it is Sherman both in front of and behind the lens. She said, “I feel I’m anonymous in my work. When I look at the pictures, I never see myself; they aren’t self-portraits. Sometimes I disappear.” Why does Sherman choose to put herself in focus if disappearance occurs anyway?

Her self-inclusion directly reflects empathy and perception in the act of observation.

Sherman’s personas depicted in her photographs run the gamut from a Real Housewife (Untitled #463, Society Portraits, 2007 2008) — her embodiment of the women that the media fixates on — to a riff on Caravaggio’s Sick Bacchus (Untitled #224, 1990). In the latter, Sherman is a female artist impersonating a male artist impersonating a pagan divinity, the Roman God of wine. Each one creates an intentional distance and dissonance between the subject and the photographer, despite our knowing that they are one and the same.

Anonymity on public transport is one of the unspoken pleasures of life. It allows one to be alone in thought, and if that proves unsatisfactory, it is a prime opportunity to people-watch. One of Sherman’s earliest series that has only recently been exhibited, Bus Riders (1976) speaks well to this. Produced shortly after her graduation from the State University College at Buffalo, New York, Bus Riders is a series of fifteen black and white photographs inspired by Sherman’s rides on public transport and her observations of fellow passengers. To look at each image is to get a glimpse into the life narrative of that commuter - the whippersnapper engrossed in a book, the agitated businessman impatient to get off the bus, or the young girl whose age belies the boredom and bleakness in her eyes.

When Sherman photographs herself as a man, she suggests that gender is performative, rather than corresponding to biological sex. Much of Sherman’s work also deals with the idealised portrayals of the innocent ingénue. In her series Complete Untitled Film Stills (1977-1980), she plays a range of actress, from B-movie, foreign film to film noir. Thus, feminists have also been keen to claim Sherman’s work as a cultural touchstone.

Yet, Sherman herself insists that while her work is drawn upon her particular experience of womanhood, she is not a feminist and has no political agenda. Given that Sherman adamantly eschews “espousing theoretical bullshit about feminist stuff”, how do we grapple with the feminist issues that undeniably surface in her work? While Sherman’s work captures the female experience

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“I feel I’m anonymous in my work.

When I look at the pictures, I never see myself; they aren’t self-portraits.

Sometimes I disappear.”

In the hands of another artist, this series might have emerged in different form - perhaps snapshots of people deep in thought, oblivious to the fact that they were being photographed. But of course, it is Sherman’s work, and she went to thrift shops and flea markets to find props and clothes appropriate to the people she had seen, and then photographed herself acting as them in her spartan studio. In Sherman’s body of work, Bus Riders contains personas that may stray furthest from her own identity: one of them is male; three are androgynous in appearance; five of them are black.

The staging is made plain by the cables and markings on the studio floor; the use of blackface is intentionally slapdash in its application and conceptualisation. Sherman is in no way trying to recreate the people she has observed on the bus, but is instead capturing the process of how we look at others, and for a moment, place ourselves in their shoes (or at least fancy that we can do so). This is a striking critique for the observer, the artist, and the writer. Every detail that catches our eye about a bus rider on any given day only strikes us as significant because we map it onto our own concepts. Arguably, Sherman’s works and her method draw attention to the gaze of the perceiver, continually prompting awareness of the assumptions we hold even as we look at the work of art before our eyes. Still, this is hardly cause for universal self-castigation - the act of reflection in itself is a start.

Sherman’s photography notably resembles fashion over naturalistic photographers, due to her use of props, makeup, costumes and sets to create an image. It is not merely about capturing a particular moment, but creating it from the ground up. Sherman herself has had several forays into fashion photography, memorably collaborating with Juergen Teller and Marc Jacobs on a series of photographs for the latter’s namesake brand.

While the commercial nature of fashion photography precludes it from achieving the same level of social commentary that pervades Sherman’s work, a greater awareness of what is being represented on our glossy pages is always welcome. The next time our eyes are riveted to a particularly sumptuous Tim Walker spread, or the inimitable stylings of Grace Coddington, maybe we will go back and think about why a particular detail is so compelling to us, and why the story leaps off the page the way it does.

Cindy Sherman: Early Works’ presented by Gucci Museo in Florence, Italy runs 11th January – 9th June 2013.

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A Glittering Dream PRADA’S SKETCHES FOR LUHRMANN’S THE GREAT GATSBY Text – Kelly H.

A film adaptation of Fitzgerald’s classic tale of the American Dream, The Great Gatsby, premiering May 2013, will see the collaboration between Baz Luhrmann (Moulin Rouge) and Miuccia Prada. The film is poised to be a cultural treat as the two visionaries look to contemporary methods to release classic and historical references from the baggage of the past.

with an aerial view of the Upper East Side, and a soundtrack by Kanye West to boot, it encapsulates the excesses depicted in the story beautifully in a contemporary way. Likewise, the wardrobe bears a similar semblance to the fashion zeitgeist featuring some of Miuccia Prada’s most iconic looks from recent seasons.

VULTURE goes behind the scenes through the sketches by Mrs. Prada to get a taste of one of the most anticipated films of the summer.

Drawing on the European excesses that were fashionable among the high society in New York in the 20s, Prada and Luhrmann create an environment that the audience will be familiar with yet separated from – a key element for satire. Opening the trailer

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The Man In The Hat:

JEREMY LANGMEAD AN INTERVIEW WITH EDITOR-IN-CHIEF OF THE DEFINITIVE ONLINE STORE FOR MEN, MR. PORTER Text – Kelly H.

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“An Interview with Editor-inChief of the definitive online store for men, Mr. Porter” Based on your past two years at MR PORTER, what would you say is an inherently male shopping habit? Do you think it is a departure from shopping patterns you may have observed / catered to during your time at Esquire? Men tend to want more information and are less seduced by one product or item. Men are shopping a lot more: we know that it’s important to look good in the job market; to look good to attract sexual partners, and to look good in order to feel good about ourselves.

Men are dressing up more now, becoming a lot more knowledgeable about brands and style, and they less feel the necessity - or urge - to have to brave the bricks and mortar stores. They want to be able to shop more conveniently from the office or home.

men who are interested in style – whether it’s out of choice or necessity. You have to talk, and sell to men in a very different way than you do to women. Most online retailers are dedicated and focused on women’s fashion, with a small tab for menswear as an afterthought. MR PORTER is an entire new brand/site entirely dedicated to men; the aim is to make men feel more comfortable, entertained, inspired and empowered by providing them a variety of content that depicts more than just style, but a lifestyle.

Having been in the fashion industry for some time, do you feel nostalgic or optimistic about fashion's current direction? Optimistic - after 20 years of working in print, I was ready for a change. At MR PORTER, there are three elements that excite me the most: a digital platform, a possibility for great content and the possibility of merging this with commerce. The timing just felt right as digital publishing and retail were the future for me. I love the fact that with this business, not only do you have a conversation with your reader, but you can see whether you’ve connected with them very quickly: you know what they’ve read, and subsequently what they’ve bought. It’s very rewarding.

Whose work did you find exciting this Spring/Summer 2013? Any essential pieces you’d like for yourself and why those in particular? I’m excited about our new brands for next season like Ann Demeulemeester and Simon Miller. I’ll be investing in a printed silk tuxedo jacket by MP by Massimo Piombo.

As Editor-in-Chief, what is it that you look for in the brands and designers who wish to sell on MR PORTER? We like to offer a unique mix, so that MR PORTER has the leading high fashion brands, such as Givenchy or McQueen, but then also traditional luxury brands like Brioni and Loro Piana, more edgy, niche labels like Elder Statesmen and Ami and beautiful little brands that specialise in high-quality, small-quantity crafted products – like Swaine Adeney Brigg and The Hill Side. It’s ideal if the customer can see brands he can identify and feel comfortable with, and discover new ones that he hasn’t seen elsewhere.

Who inspires you to provide inspirational (and aspirational) content to begin with? I got to wherever I am today with luck, hard work, an inquisitive nature, and a hunch about what might happen next, as well as an interest in what happened before. I also work hard on presenting a story – in both words and visuals – in as entertaining and alluring a way as possible.

How important is it to invest in ‘It’ items for the season?

The key to style is to always wear an outfit and not let it wear you.

Sometimes a high fashion outfit or a new trend of the season can be overwhelming. As you grow older, and more confident, you get to know what works best for you. However, I do like to play with some trends and occasionally push the boundary a little. I’ve always found a little mischief goes a long way.

Partially thanks to the magic of social media and the Internet in general, it seems that bespoke culture in menswear is becoming rather popular. How do you think the two very different concepts of bespoke and online shopping can meet? Can they, really? It’s an evolving landscape, that’s for sure. Lines are being blurred and new ideas of business are springing forth – the Internet just happens to be the place where everything not only intersects but interacts. We’re a watering hole of content and commerce, and men and women are flocking to MR PORTER for various reasons, inspiration and take-aways. The changes in the ways people consume content and product is moving forward at breakneck speed.

What makes Mr. Porter the definitive shopping destination?

MR PORTER is for everyone from the cash-rich, time poor professional – whether he’s a banker or a biochemist, the creative set, the fashion insider – and the many women on NET-A-PORTER who will now find it so much easier to shop for the men in their lives. Our customer is global: we deliver anywhere in the world within 48 hours, and in London and Manhattan on the same day.

And we are open 7 days a week, 24 hours a day. We really are the retail site for all men interested in high quality, stylish clothing.

How does the process of even beginning to curate the oversaturated world of fashion right now start for you? How do you make it just right for the MR PORTER customer? Who is the MR PORTER customer, anyway? MR PORTER is for all

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The Black Dahlia: Michele Lamy AN AESTHETE’S STYLE SHEET Illustration – Skye T. Text – Sean T.

The hand behind the businesses of Rick Owens and Gareth Pugh, Michele Lamy, is a living legend. A living muse for her husband, she only exclusively wears Rick’s designs.

different sensory experiences, and lives life to the fullest whenever she can.

She conjures up associations of H.P Lovecraft and of witches of the archaic ages. It is little wonder that Lamy has often been sensationalised in the media for having occult associations.

Once asked about her nail routine (them being the first thing you fix your eyes on due to her multitude of rings and bracelets), she said: “Who said you need to stop at your nails when you are doing your nails?” It could be said that this is emblematic of her philosophy to dressing.

Reflecting Lamy’s style, black takes centre stage. It is more about the play with textures and materials. Minimal, chunky jewellery, some almost amulet like, is the focus of the outfit. The mix creates drama and mystery to incite just the right amount of intrigue.

Lamy quipped, “Belief is a way to express a memory of your genes”, which couldn’t be more true. Sometimes one does certain things that are beyond one’s comprehension. It is an expression of an imprinted memory in the deep subconscious that even we are not aware it exists. And when we like a certain aesthetic of dressing, it partly comes from this deeply imprinted memory. Just like how Lamy said it.

Lamy has had many a change through her life. One could describe it as an epic, made up of several volumes. Studying to be a defense attorney in her twenties, she gave it up to be a stripper in a cabaret. She later moved to Los Angeles, where she opened the famous club, cum cabaret, Les Deux Cafés. It is here in Los Angeles that she met now husband, Rick Owens.

The multitude of life experiences informs the way she dresses.

Lamy has a more holistic, spiritual take at living. She fills it with

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01. BROOKE GREGSON Bracelet

07. RICK OWENS Blister brushed-leather jacket

02. JIMMY CHOO Stellina cashmere and silk-blend scarf

08. CAROLINA BUCCI Woven 18-karat white gold and silk cuff

03. RICK OWENS Leather wedge boots

09. VISIONAIRE Movement Issue #27

04. MIU MIU Goat hair stole 05. KAUFMANFRANCO Leather, satin and chiffon top 06. MAISON MARTIN MARGIELA Leather and canvas obi belt

All available at www.net-a-porter.com

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AVAILABLE AT THOROCRAFT.COM 44

the garden issue:

POINT OF VIEW

a trip to second life IS THE PASTURE TRULY GREENER ON THE OTHER SIDE? Text – Noëma K.

Virtual reality, as you most likely already know, is the interactive online experience in an alternate realm. One engages in a shared synthetic environment with other individuals where they live vicariously through their avatars. While portals like Second Life and Habbo Hotel have only emerged in the last decade, the notion of virtual nature is something that has been around since the Architectural Treatises of the Renaissance, if not earlier. For example one thinks of the Hanging Gardens of Babylon that was documented by ancient Roman and Greek writers that never had actual archeological evidence. What stands to reason here is the deeply rooted desire to shapes one’s reality without pre-determined physical limitations.

I made said it is his favorite place as he finds it “mysterious, nice and peaceful” and a good place to think.

The space surrounding me is impressively detailed and intricate.

One can effectively measure the detail of the space based on the length of time it takes for the page to fully load once one is “teleported” there. I kept on walking and saw colossal glittery roses, deep red tulips, and patches of the vastest assortment of flowers. Finally, I found a crystal clear pond with floating water lilies guarded by the crying statue of a mystical creature. I picked this place to rest. At first I was slightly baffled by the slew of avatars standing motionless in my periphery, but then I discovered that everyone was busy messaging each from different locations. I also learnt from talking to a few users that the thing they have been most keen on making me understand is that it is not a game; it is a social gathering - where games are available. The bonus is that one can pretty much do whatever one does in real life, but without the consequences.

Out of all the Social Networking sites out there, I’d have to say virtual reality is the most engaging although equally bizarre. For my journey I picked Second Life, where you get the virtual life you want for $6 a month (or for free – if you don’t mind being homeless and only having one set of clothes). This new sphere allows the user to disengage from reality, release his inhibitions and empowers him to display himself confidently as his alter ego.

I felt positive about the idea so I went online to give it a try.

At this point, I lost control of the keyboard and walked straight into an avatar. The girl’s microphone was on, and she reacted by yelling at me in front of the group of avatars she was speaking to.

She was explaining to them how she is allergic to dairy products but happened to have some creamer in her coffee earlier that morning, hence the reason she was feeling sick. She carried to on to mention her wedding dress was off white and somehow I had the honour of knowing she threw up in her mouth a little.

I soon got lost in the game; I spent a large chunk of my time wandering around “The Garden,” a supernatural and enigmatic forest overflowing with whimsical vegetation, like vibrant mushrooms. This was soon followed by ten minutes of being stuck in a tree and not being able to get out. Nevertheless, I strongly suggest one go there as a starting point. “Gemini1962”, an acquaintance

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- Whereas for me, real life reels me back in so I realise it is time to disconnect. Charming. I determined it was best to be on my way. I called my friend up and asked her to join me on Second Life, and she did. It took her longer then it took me to figure out how to control her avatar as she kept running into things and getting yelled at as well. So we decided to use the flying feature and look around the island from a different perspective.

more complex degree then I had thought previously. All users can effectively contribute to the JavaScript, leaving “everything as you see created by other players (…) but the basic framework”. This helped me realise how the users grow to be so absorbed in this alternative existence.

Most of the users here devote so much time and energy – up to 13 hours a day – to Second Life that a significant part of their existence has been subsumed into virtual reality. While sitting there and controlling a parallel life through your screen is fun for the first hour or so, one needs to be very committed and definitely have a higher level of patience than I do. I can’t help but see Second Life as a social network for those who feel disconnected from real life and look towards constructing a new reality. In some ways it makes this synthetic environment a melancholic space.

Next up was this place called Room 326. I found myself in the continuous pouring rain of the dark streets of a city. Here I found the misfits of Second Life. They are the prostitutes, the werewolves and the junkies. In fact prostitution is actually rather popular, and is how most of the users make their money on Second Life. As I am told it consists of “fulfilling the user’s fantasies with wordplay”.

The anonymity that may have been attractive at first ended up intimidating me. I would click on the user’s profile and see the “Real Life Picture” of the attractive blond in front of me turn out to be a 45 year old bearded man. I talked to this man for a while and found out he was actually very friendly, and more than glad to help out with any doubts on the logistics of the software. After he helped me find a “skin” to change into for the nudist beach we found ourselves in, I asked him a few questions. He specified how “real life must come first, no matter how serious of a gamer you are”. I found it amusing for him to call himself a “gamer” when he had previously insisted, like many others on the site, how Second Life was “not a game”. Nonetheless, I was intrigued to know that Second Life does engage and mirror real life to a

Perhaps this is one of the reasons why social networks came about in the first place: to facilitate interaction without physical limitations – all to satiate the human need to share a common experience, tangible or otherwise. Second Life essentially brings the run-of-the-mill social network to the next level with the freedom to choose one’s own skin and define the perimeters of one’s realm. There is certainly value in this for those who feel the portal would give them a stronger existence than in reality.

Whereas for me, real life reels me back in so I realize it is time to disconnect.

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The Fetishisation of ‘Vintage’ THE RENAISSANCE GROTTO AND OUR OBSESSION WITH “VINTAGE” Text – Jasmine J.

The words ‘vintage’, ‘shabby chic’ and ‘retro’ are increasingly used in our vocabulary as an ideal; we are buying less into the idea of the new and shiny and further into items with history and that are ripe with age. It begs the question: how have we gotten to this point? Is it pure aesthetic value or is it a response to the bleak economic climate, inducing us to adopt the “make do and mend” mindset? From the 60s through to the 90s, new methods of mass production were created to produce clothes faster and cheaper, spurring the meteoric rise of consumption. The penchant for the new was then fueled by the optimism of a better time given the political and social change. Today the reverse is true as people make the concerted effort to hold onto the good ol’ times through tangible tokens from the past in the face of grey and gloom.

This trend for repackaging the old as antiques started in the 16th century when there was a populist revival for antiquity.

In the Renaissance, people looked back to the wisdom of the Greeks and the Romans to revitalise both the sciences and the arts. By extension, any ancient relic

was fetishised with a sense of grandeur and greatness, nobility and truth. An interesting by-product of this was that people wanted something antique in their homes and gardens. Given the widespread popularity of the authentic Roman ruins, architects and landscape artists were commissioned to construct pseudo ruins known as Grottos. A Grotto is a haven that was often incorporated into a house or in a garden; most were built during the Renaissance and the Mannerist eras. In the style of old ruins, these caves featured stalactites, falling facades and even went so far as to employ recluses and prisoners to inhabit these spaces. One particularly ostentatious and beautiful example is the Buontalenti grotto of the Boboli gardens.

Found in Florence, The Buontalenti Grotto was commissioned by Francesco de’ Medici to complete a nursery garden which was left unfinished by Giorgio Vasari. The structure has an impressive façade, which is covered in concretions imitating stalagmites. The front is host to the Medici coat of arms and supported by two mosaic female figures that symbolise peace and justice. Mosaic frames contain-

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ing sea goats and other mythical creatures from antiquity decorate the background of the façade. The walls are decorated with fake stalactites and stalagmites, sponges, stones and shells that are laid out to resemble anthropomorphic figures. The other rooms are also lavishly decorated in a similar style with green marble and ceilings covered in frescoes and mosaic.

A similar fetishisation of past styles may very well apply today, like in the case of the Jack Wills Flagship store that opened in Angel, North London inside the old Antique arcade. This building was not only home to approximately 20 or so authentic antique and vintage shops from the 60s, but used to house great historical significance, namely the only original Metropolitan Transport substation left in London. The take-over incited a 1000man petition in a campaign to preserve historical sites from commercial exploitation. Alas, the protest fell through, leaving a large faux gold Jack Wills sign plastered across the building’s facade complete with museum style glass cases. This phenomenon of fabricating heritage is adopted not just by Jack Wills but a handful of other

Photograph taken by Mark Back

commercial retailers, is symptomatic of our deep desire to own something referencing a distant past, that similarly gave birth to the Grottos.

There is however a clear distinction to be made between the Grottos and the exploitation of vintage for commercial interests.

The former is made in the Mannerist style and appear to be well considered and researched. One feels that the Renaissance designers truly understood the style that they were subverting, reducing the retailers’ attempts at referencing heritage to sheer mimicry.

To understand how our modern society’s approach to vintage has changed in recent times, I spoke to Annie from Annie’s vintage. She has had her shop on Camden Passage in Angel Islington for over 15

years and has seen the changes, for better and for worse, in London’s antique and vintage hotspot over that time. The key observation that interested me was the unprecedented increase in her clientele.

All of a sudden she has seen her customers change from the older woman looking to find some nostalgia, to the young and trendy. She believes that the reason for this change is that “people are now aware of recycling; the constant need for the new has gotten to people’s heads”. Consumers have railed against being forcefed new mass produced items. However, this worthy idea of reusing and recycling clothing is often exploited by certain highstreet retailers such as Topshop and Urban Outfitters. Both shops manufacture clothes in the “vintage” style persuading customers that because it looks vintage, it has a past and a high standard of quality.

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When asked about the difference between “vintage” and secondhand, Annie felt that it was the attributes of aesthetic beauty and the quality of a piece that creates “vintage”. In short, a 50-year-old wellmade garment would be vintage, whereas a badly-made one would just be secondhand. In some ways, she was in fact very accurate with her definition as it is perhaps not the age that makes something vintage but the quality. This is the key; Jack Wills’ attempt at fabricating the past was less unsuccessful because of the lack of quality and understandings of the past.

The Renaissance and Mannerist architects, however, were successful as they did not want their creations to be solely old, but also have quality and beauty as well.

Something that a lot of modern retailers could learn from.

All Photographs taken by Adam Fussell

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The Birds’ Keeper AN INTERVIEW WITH ARTIST ROSE ROBSON ON WHY HER WORK IS MORE THAN JUST TAXIDERMY Text – Jasmine J.

Rose Robson is a London-based artist who subverts the traditional craft of taxidermy to create elegant and tactile sculptures.

Her work is ethically conscious and beautiful, an attribute which worries the modern art world. The ethereal sculptures made from multiple bird skins have meditative and chaotic qualities. In her work, the beauty of nature meets the interference of mankind to create something wondrous. VULTURE met her in her East London studio to better understand her practice and how she copes with the morbid themes that she works with everyday.

How would you explain your practice to someone who is not familiar with your process? I start from just the basics of getting my birds from gamekeepers and butchers who sell game birds, and I freeze them. They take an hour to defrost; you lay the bird on its back and then make an incision through the chest bone, then

take the skin away from the body and cut away from it. You clean all the bones and detach them, then clean and blow-dry it and suddenly, it becomes something else they transform. I think the weirdest thing for me is when the body is still attached, so it’s still meat but still an animal, it’s such a weird parallel.

Do you think constantly working with death desensitises you towards it? I think probably the opposite: it makes me even more hyper aware of it, when I have big projects like this (points to her graduation piece) there is about 20 or 30 pheasants in there, I was skinning them constantly. I was doing so much and because it is such an intense experience you have to really go there and stare at all the body parts. Afterwards, I would leave my studio feeling totally weird. I would see pigeons and have this strange feeling that is quite hard to articulate. It is such

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a poignant feeling to notice death around you; I would be very worried if I lost that.

Do you feel like you’re playing God in your manipulation of nature? I don't feel like I am playing God. I do not feel powerful; I think it is perverse to feel like that. The birds I choose to use were killed for their meat anyway or they were dead pets from people. Its not like I go out and shoot them and come back and I say "Yes I am going to make you have 5 wings and a horn on your head" you know? I don't agree with that. My work is more poetic and I do a lot of writing, I write how I am feeling when I am doing it and I don't want to feel detached from the process, it is part of it.

Do you feel that writing down your feelings is almost a coping mechanism for your practice? Yes, that is what I

“I don't feel like I am playing God. I do not feel powerful; I think it is perverse to feel like that.�

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did throughout my final degree project. I found it very intense; I didn’t understand what I was feeling. I felt scared that if I was skinning something and I cut myself that I would catch something. So, instead of worrying and stopping myself doing taxidermy, I just started writing about it and talking about it in class and stuff.

That became part of my practice.

What attracted you to taxidermy in the first place? It was a completely subconscious process, I always did bird drawings and I wanted them to become 3D, so I started to stuff them with paper.

Also, in Brighton where I grew up was the Booth museum; a natural history museum and has lots of taxidermy. We would go there on school trips since I was 11. It was just something that we did.

Then there was an exhibition with Walter Potter's taxidermy, he anthropomorphised animals, I was really into that. It is one of those things that you can't really describe but you are totally into it. I had never even thought about doing it myself until I came across the artist Polly Morgan. I went to her show and then got in touch and I did an interview with her, I thought it was amazing so I started to use it in my own practice.

Do you think that for you it was the aesthetic that got you interested in the

taxidermy process? Yeah, but then when I started to do it, it changed. At first I thought I liked the actual stuffed animal, but then when I had a proper tutorial in Scotland and created something standing upright with beady eyes, I thought oh I don’t like this I have moved on. What I do is something completely different.

Do you think that this art form will be continued and developed, or do you think through time like a lot of other craft its popularity will dwindle? I think that there is a craft movement going on as a response to the old times. When I was at university I was in the minority, I was the only one doing a craft; though I am doing a craft, I am subverting it. You do however have to know how to do the process in order to do what you want with it. I think craft is coming back but with a modern twist, I feel to keep craft afloat it needs to have some form of abstraction.

Do you have any conscious references when you create your work? At the moment, my influences are people who do completely different things like Frieda kahlo and Paula Rego. People who make strange stuff, who draw animals and weird creatures, people who use lots of pencil. My work I think has taken on another layer, which is making the base forms, this has become my actual practice.

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Whilst I am making these forms I think about eva Hess' little experiments with stitching and layering and sort of repeating herself.

Are you scared of death? There was a time when I first started doing this that I felt more aware of what was going to happen to me personally, after death but just because I didn't know if I was going to catch anything from the birds.

I didn't really know anything; I was just experimenting in my bedroom with all these dead animals everywhere. The more I talked about it and thought about these things I realised that people actually eat these things, it was just an anxiety thing.

Have you ever had any ethical dilemmas in your work, is there anything you would feel uncomfortable doing? I would never be able to touch pets or animals that I know, people have given me a bird that I have known and that freaks me out a bit. If my mum gave me her dog, I wouldn’t be able to do it!

Is there a specific message in your work that you want to portray or is it more about the process and development? I think it is both, process is such a big part of my work it is naturally going to have prominence. However I also think transforming the skins into something

else, allowing you to look at it and come close and see textures and colours that you can’t normally see is interesting to me. I want to allow people access. The birds that I use are used for their beauty, but the truth is that they are known as stupid birds, a nuisance that can hardly fly. I think that’s quite significant, it is sad that they are thought about in this way but they are beautiful. What I find interesting is (pointing at a pheasant) the print on their tales are supposed to be like eyes, to scare other birds off to make them think that they are being watched.

Why do you go back to birds as a motif through your work? I just can’t imagine using anything else at the moment but never say never! The other day my game dealer said that she had some deer heads that she could give to me, I did say yes In case I wanted to use them in the future or if my work goes in another direction; but at the moment it’s more about the feathers for me, how malleable they are and the shapes and forms that they can create.

I am not really worried about it at the moment I am still exploring what I can do with the skins.

Have you tried experimenting with other skins as well? No just the birds, I bought some rat skins from a fur dealer.

You would be surprised how many hats were made out of rat fur. They are so soft aren’t they? I have had these for a while and people always say “You should do something with them” but somehow they just don’t appeal to me. We are used to touching fur but not the feathers. I am still seeing new colours even though I have worked with them for years. (Picking up one of her pieces) The other day I saw some purple in this one, it changes in the light; it’s beautiful isn’t it.

Have you come across people who think that what you do is ethically unsound? Yeah, hate mail. I get a lot of it, it’s really weird I just didn’t expect it, but I should have! Things happened so quickly. I got comments with a lot of capi-

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tal letters, it is really funny because people can be extremists. Give me a break, what I do is ethical and people eat this stuff! I am only using wasted products. They were all from PETA, they don’t know what they are talking about either. In the comments they were saying “what she doing? She’s making hats! Why is she making hats?” I don’t make hats, It’s art!

What do you feel is the next step in your practice? I think at the moment I’m sort of really concentrating on what I like and what appeals to me. With this (pointing to her graduation piece) it was the first big piece I ever made, it is chaotic and there is a lot going on. Now I am using matching skins, I’m trying to make things more fluid and less chaotic. I just want to keep on going. I am looking for more control, which is quite nice because the process is so messy and smelly that it is then nice to strip it all back.

Never-ending Construction of Building Number 4 THE GAO BROTHERS’ RESPONSE TO COMMUNIST CHINA Text – Sean T.

Drawing parallels from the “Garden of Earthly Delights” by Hieronymus Bosch, Gao Zhen and Gao Qing presented their versions set in rapidly developing China. A social commentary on the country’s recent economic boom, it foretells the downside of the newfound wealth.

Strong political themes have always been the core of the works of the Gao Brothers. This stems from the trauma the brothers suffered as children, witnessing their father, a labourer, being arrested and thrown into jail during the Cultural Revolution, and later hearing that he died while serving his sentence. Their body of work because a personal quest to question the current regime through their work, pushing the boundaries with the current socio-political landscape of China, to tear down the divide between the East and the West.

The brothers employ a desolate industrial backdrop to further strengthen the social context and the timeline of this cautionary narrative. The picture is structured into 3 levels, with heaven, being the goal, symbolised by the crucifix and the sacred heart, and a glimpse into the bright blue sky at the top. At the bottom 2 levels, are scenes of the common people living out the daily grind on the grey concrete platforms. The viewer’s attention is slowly led into the interior of the landscape, where scenes of punishments are meted out. Portraits of political leaders, mainly figures from the Communist Party of China and Worker’s Party of North Korea, are interposed within the same space. The artists here, are commenting on the ‘iron-hand’ policies that are used to rule the countries, pointing out their ineffectiveness, referenced from the fact that the top level of the building is literally empty. Only the small handful who manage to get out of China and go to the western world will ever reach it.

In the “ Never-Ending Construction of Building Number 4”, the brothers have also explored the idea of a journey. Though as depressing the entire scene might have been, one can see it akin to “ The Pilgrim’s Progress”, where the characters in the lower echelons of the building aspire to reach the top, and strive towards it, with the possibility of reaching the top level eventually, thus imbuing hope to a desolation.

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Family/Origin of The Beginning LEVI VAN VELUW’S QUEST FOR CONTROL

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All Photographs taken by Shiinoki

Leaf Man BOTANICAL SCULPTURES BY AZUMA MAKOTO Text – Sean T.

Azuma Makoto has been in the flower business since 2002, and is a owner of the haute-couture floral shop, “JARDINS des FLEURS’ in Minami-Aoyama, Tokyo. Azuma started his career as a flower artist in 2005. For limited 2-year period from April 2007 to March 2009, he ran a private gallery “AMPG” in KiyosumiShirakawa, Tokyo, to exhibit his private works. Later in 2009, he founded an experimental laboratory “Azuma Makoto Kaju Kenkyusho” (Azuma Makoto Botanical Research Institute) where

he has been pushing the limits of his oeuvre whilst exploring the infinite potential of plants.

Every activity of Azuma Makoto focuses on elevating the value of flowers and plants by finding unique and mysterious forms that they posses. Respecting the existence of nature and keeping its dignity, he presents these beautiful elements of plant life with minimal synthetic modifications and with much restraint.

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Making Faces DESPITE RETIRING FROM PERFORMANCE ART IN 2005, ZHANG HUAN REMAINS AS ONE OF THE MOST PROMINENT FACES IN CONTEMPORARY CHINESE ART THROUGH HIS BODY-IDENTITY EXPLORATION. Text – Sean T.

Identity is one of the key motifs to Zhang Huan’s work. Many of the pieces in his oeuvre are self-portraits, be it the photographic suites documenting his performance pieces, or his more recent drawings and prints. This act of documentation often resonates with the audience, and is a device used by the artist to present the major motifs in the work in a confrontational matter, giving the audience a cold hard look at the issues raised, making them think and strike up a dialogue. It is this dialogue between the artist and the audience that keeps the work fresh and relevant. Zhang manages to do this successfully with his examination of identity, and in turn, the human condition.

Chinese parable, “Yu Gong Moves the Mountain” (愚公移山) on his forehead, Zhang dictated texts relating to familial relationships, personal anecdotes and physiognomy on his face. The texts obscured his facial features in a thick layer of black ink as the day went on, camouflaging the artist’s face in the darkness. Zhang later shared that the idea stemmed from a chronic chest pain that he has been experiencing in the past year, which made him feel helpless, knowing that there are things in life that one can never have control over. Drawing on his Chinese heritage, he illustrates the great extent of this inherent helplessness, so much so that, it consumes him. The self-portraits have gone on to become an iconic piece of work that echoes the latent futility of the Chinese working class.

”Family Tree” (2000) is one such example. In the work, Zhang used the face as a starting point, and commissioned three calligraphers to write on his face. Starting with the traditional

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“The body is the only way through which I come to know society and society comes to know me.”

Performance art is also central to Zhang’s work. Though he prefers to work with other mediums since 2005, his performance pieces remain as the most resonant in his body of work. When speaking about his decision to engage in performance art, Zhang stated that it was made purely based on personal experience. He recounted going through many conflicts given the tough circumstances, most of which are rather physical. He discovered that the frequent physicality led him to view “the body is the only way through which I come to know society and society comes to know me.” With the body as the medium, it is much easier and authentic to re-enact the confrontational physicality that Zhang experienced from muscle memory. And this can be seen from many of his performance pieces like “3006 Cubic Meters/65 Kilograms” (1997) and “Skin” (1997).

Identity is a peculiar thing, and Zhang Huan understands its nuances. Born in 1965, and having lived through the Cultural Revolution, the Tiananmen Incidents and Deng Xiaoping’s reforms, Zhang has recoiled from the trauma with a distinct voice of change. But this need to question the status quo seems to have mellowed over the years. However, this does not mean that he has necessarily lost his edge. Zhang proves his staying power through the ingenuity of his ideas such as in “Era When I Was Born” and “ Forgetting Sorrow” where the drawings are made entirely from incense ashes.

Over the years, Zhang has gained an international platform and established himself globally, working and living between New York and Shanghai. As with many successful artists, Zhang has already surpassed the point in his career where he -- the artist -- has become as crucial as his work. Although the Chinese contemporary art scene has undergone a lot of change since the time Zhang commenced, he is still regarded as one of the most important artists China has to offer.

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brands in full bloom

Illustrations by Daryl Feril Exclusively for Vulture Magazine

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Aligning Petal & Wing Pitting luxuriance against stark white in his latest work, Sebastian-Mary Tay catalogues life in death. With it, he brings us on a canvas flight into our sense of humanity.

Text – Melanie C.

Photographer Sebastian-Mary Tay’s newest work, Of Flowers, Beauteousness and Death (2012), is an exercise in precision.

Rearrangement could be a more valid word — except there’s also a fundamental de-arrangement that comes not before or after, but concurrently in his aesthetic process.

Lest one thinks this another post-mod effort to snub the subjective, Tay’s painstaking organisation of life as he finds it (flowers rescued from church altars and insects curated from every pocket of the world) saturates the photographs with a strongly personal tone. The series’ take on life and death is a balm to the other postmod tendency: the cynicism at crafting something essential and enduring. Giving up that search leaves little more than surfaces. That’d be a cop-out, and Tay knuckles down to it.

Curiously, these dissections using nature motifs work both on the micro level as well as in the literal big picture. Each carefully articulated placement and position descend like many pin pricks of consciousness until your brain is left simultaneously numbed and alive by the resulting

vibrato. It’s a lesson in stripping away. Of pretty much everything.

The final incredible composition makes no pretense at ease. Anyone hankering after carthasis would find there wasn’t a need for it. Any equanimity comes in the overview. Flamboyance and flourish becomes as matter of fact as the vivid colours and lines. Each photographic shot is a symphony of interconnected individuals, likening each series to an orchestra.

Tay has done this before, in his first solo exhibition Absence of Flesh (2012) and in Imprints (2010) where he re-members objects of nostalgia. This tri-factor of introspection using twin lenses of reason and structure ekes out Tay as a kind of scientific artist. It also places him as a kind of anomaly among his contemporaries.

Fundamental to his work is the shift towards contemplation. The one-in-60 rule used by pilots give a convenient analogy here. Eventually, we emerge far left of normal field, perhaps with our own definition, perhaps not. But inevitably slightly shaky and a little fresh. As if something died before it lived again.

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Based in Glasgow where he is furthering his education at The Glasgow School of Art, Sebastian-Mary ponders with us in a unique interview.

What is the work (Of Flowers, Beauteousness and Death) about? It was driven by the desire to seek juxtaposition between life and death, with the justification of employing the documentative authority of the photographic medium.

Early last year, before the concept was conceived, I suggested the idea of “common space” to my lecturer (at the Glasgow School of Art’s Fine Art Photography department). Let’s draw a simple analogy to understand this idea — think of the making of a stew where different ingredients are chopped up, stock prepared, then placed into a cooking pot under medium fire. The cooking pot as mentioned here is the analytical suggestion of the common space, where different materials meet and become a new and single compound.

Similarly in this body of work, the common space is distinctively recognised as the white background. The flowers used in this body of work is not such that would

be commonly seen to be growing together in the field or in the same garden. And the insects employed are of such vast variety that they would not easily be found living amongst one another. They are, therefore, deliberately placed in spatial relation to each other — the common space. Most importantly, it provides a platform for the spatial existence between life and death.

It is the reality of death recognised within the fancifulness of life.

The colours of the flowers may look vivid, but one cannot draw the attention away from the signs of withering upon closer inspection. By the very act of placing them together, it is an extension determining de-rooted flowers and that which also refer to the end of their lives. The insects too, as real and as alive as they may look like, are actually dead specimens.

The photographs therefore coincides the brutality of death and the vitality of life in a single space.

The “fancifulness of life” — I’m guessing you don’t mean this superficially.

Do you see this as a matter of fact though, or a kind of position people tend to take and play up in life? A kind of position indeed, not intended by the will of an individual as an action (to be

taken up) but by an unavoidable experience that is universal. ‘Joy’, for example, is a universal sign manifesting the similar emotion. On a side note...I find such overwhelming fanciful moments in my life after a day of making prints in the darkroom for five hours and two lectures and finally sitting down to watch an episode of Big Bang Theory, enjoying a super big bowl of homemade curry noodles for dinner.

Which other artists or designers do you identify with? A kind of position indeed, not intended by the will of an individual as an action (to be taken up) but by an unavoidable experience that is universal. ‘Joy’, for example, is a universal sign manifesting the similar emotion. On a side note...I find such overwhelming fanciful moments in my life after a day of making prints in the darkroom for five hours and two lectures and finally sitting down to watch an episode of Big Bang Theory, enjoying a super big bowl of homemade curry noodles for dinner.

What was the toughest thing about putting the work together? To obtain the perfect, ideal specimens — the flowers and the insects. A wide variety of them was available to me and the most difficult 81

part was to look through, analyse each individual characteristic and then select the ones that would suit each other to work as a body of work.

Please explain what are some of these flowers and insects that you chose then. The flowers were collected from churches, after they have played their roles at the Shrines or Altars. The flowers have therefore been placed with high importance and regard, contrary to mundane flowers popping up in the park. And to a certain extent, even at a supernatural level, elevate the relationship of life and death in their context. The insects were chosen based on their native region...Asia, Africa, etc. I needed a selection of creatures from —ideally — everywhere around the world, just like death is a universal reality.

Were there any intrinsic criteria for ‘perfection’ in sorting out these? There were no criteria for “perfection”. There was, however, the emphasis that the completed construction of each image should complement the others in the series, and not compromise the importance of my concept with the “prettiness” of the work.

Any personal favourites? #7 is my personal favourite. The relationship of the

“Anyone hankering after carthasis would find there wasn’t a need for it. Any equanimity comes in the overview.”

subjects in placement is much harmonised and if I may say, gentle and humble. It reduces with integrity and allows “bolder” pictures to exhibit their strength. The dominant colour in this picture is white, which of course is the colour of mourning in the Chinese culture and therefore, appropriately related to my heritage and identity.

It seems you’ve tended to explore people in terms of their families, backgrounds and histories, and now insects against a broader landscape. How do you view this connection between individual and context? As intriguing as the themes revolving about families, backgrounds and histories are, there was only a single project which I carried out in relevance to that. My core interest remains within the organic and natural.

There is a very keen eye for the organic in your works. Could you talk more about this corporeality? My interest in the organic came upon realisation only most naturally. I prefer to work on objective organic qualities of matters that sometimes seem most mundane to us. An example would be “The Absence of Flesh”.

Another is the new body of work on fabricated landscapes that, too, is constructed solely with organic materials such like flour, grounded spices and dried herbs.

The exterior-ity of organic substances offers so much dynamism to be explored.

Just like nature never stops changing, progressive even — from a certain perspective, the ideas that can be drawn from it are so vast and extensive. Just like any interest however, it is important to bring these ideas of fascination to consciousness and then projected unto the artistic medium, which is unto the photographic to me. It is doubtless that Art belongs to the practical order, and is in fact, a contemplative, intellectual virtue.

I enjoy employing the methodology of contemplation on my subjects to comprehend them objectively as much as I can. Reasoning — and contemplation — is intrinsic to the human nature and has to be nurtured. Most importantly, there are two folds of organic-ity here that are worth mentioning. Reasoning as the “organic” characteristic of human being and the organic material of the subject being photographed.

Why do you call ‘reasoning’ to be the most organic characteristic of humankind? Doesn’t that go against an intuitive understanding of reason as mechanistic and deconstructionist? Intuitive understanding, or intuition, is based on a vague, obscure impression; reasoning is definitely contradictory to that. Reasoning is the most organic because it is a process that uniquely belongs to human. Animals may be sentient but they cannot reason like we humans could — this can be proved by the process of basic syllogism. Plato

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believed that we are born with this natural process of thinking in us and if truthfully so, how much more so is it organic?

Is contemplation like meditation to you then? If referring to the similar term often used in religious context is not what I meant. I refer to a period of thinking on a subject matter. For example, if I were to be contemplating on cotton candy, I would be thinking of addressing the physical and metaphysical ideas of cotton candy and their associations. And by “objectivity”, I meant the disregard of any subjectivism to human perception and delivering the qualities of a certain subject matter as its being. Plato’s theories on Form or Aristotle’s Formal and Material are beautiful explanations.

Where does your fascination for the natural come from? Do you think our propensity for such fascination is a result --i.e. of upbringing, of context, of urbanisation, of plasticisation, etc.? I regret to say that I am not aware or conscious about where my fascination for the natural is derived from. I humbly think however, that upbringing influences an individual’s interest, although not as an absolute, with my inclination towards the thought that a part of that interest or fascination comes interior in that being.

Last year you explored the “The Absence of Flesh”, which seems to be a switch from your previous works and

“This tri-factor of introspection using twin lenses of reason and structure ekes out Tay as a kind of scientific artist. It also places him as a kind of anomaly among contemporary young artists.”

an inward turn into a more spiritual reflection. Is this a conscious departure from previous themes? The body of work “The Absence of Flesh” is a collection of photographs made through 18 months and is ongoing. The work however is more metaphysical than it is spiritual. As I have mentioned (above) about the contemplative methodology which I implore in my art practice, “The Absence of Flesh” is too, a result of this process. It is in fact a very direct and straightforward translation of the philosophical question “what is that / what is this?” in photographic form.

I aim to stir in the viewer’s mind that question “what is that?” and which would result in the answer “that is a prawn”.

Closer observation, however, would return doubt, and eventually reach upon the answer “that is the shell (exoskeleton) of a prawn”, and later the question “why is it important to photograph the shell (exoskeleton) of a prawn”, and then be accompanied with admiration for the objective beauty of the organic subject photographed. It is therefore not a conscious departure from previous themes (I made photographs of eggs and fruits before this) but a conscious progression from previous ideas.

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What did you do with the live insects after you were done with them? Were these tropical insects let loose in the cold of Glasgow? None of the insects were live. However, they are real dead specimens. Now kept tightly in a box in the warmth of my room in Glasgow.

What are your next upcoming projects? I am working on a 2nd year Fine Art Photography exhibition with my class which will take place in two weeks.

I intend to propose more exhibitions throughout the year if I have the opportunity to do so. Currently, I am finishing up my fabricated landscapes series (framing and so on). I am still very intrigued with constructing subjects to be photographed so I intend to explore further in this methodology.

Okay. Let’s end with a coffee table question. How’s it in Glasgow? I’m finding Glasgow’s art scene to be really great! There are many recipients of the prestigious Turner Prize that are from Glasgow or studied in Glasgow.

insectopedia FEATURING SS13 PRINTS BY LOUIS VUITTON

By Aurelien Richard and Chris Maden

Sadako's Secret Garden ART AND FASHION MEETS FLORAL DESIGN IN THIS ENIGMATIC PHOTOSHOOT FEATURING A SIDE OF SADAKO NEVER SEEN BEFORE Text – Adeline C.

Sadako Yamamura emerged from a well and crawled out of a TV set. Artist Sokkuan Tye watched the villain of Koju Suzuki’s “The Ring” with fear — as well as a genuine sense of curiosity. Over the years, Sokkuan has documented her feelings of tenderness towards this classic horror movie figure, with a series of work called “Sadako’s Unfashionable Fashion Diary”.

other people. In this “Secret Garden” photoshoot, she has roped in photographer Lester Lai, hairstylist Ken Hong, floral artist Dan Takeda and stylist CK Koo. Lester is a self-taught photographer who works mostly in fashion.

His series of work showcase his detached, documentary style that capture the grace and beauty of everyday scenes. Ken, founder of Evolve Salon is an award-winning industry veteran who loves experimentation. His work has been featured in countless commercials, editorials and runway shows. Dan’s intricate floral designs can be found in boutiques such as Gucci and Louis Vuitton. He is challenging himself this time by working with hair. CK has over a decade’s experience as a stylist in fashion, design and publishing.

It started as a series of illustrations showing Sadako’s world, a kind of visual diary of her eccentric fashion choices, her daily activities and her companions, real or imaginary. Gradually this diary expanded to include photography, short animated clips, as well as product collaborations. She has also inspired a collection of coloured tights with Japanese tights maker, Tonoke.

Through this sprawling project, Sadako emerges as a fuller, threedimensional being, romantic at times, sad on others, or simply nuts. The worlds between artist and subject have also blurred — the two have a parasitical relationship, events and feelings from Sokkuan’s daily life feed into Sadako, while Sadako’s eccentricities are also ways for Sokkuan to let her own imagination run wild.

Together, they have created a new series of portraits of Sadako. In them, her ever-present hair is her garden. Whether it is in an explosion of purple blooms on a mossy afro, or bunched-up leaves embedded in knots of hair, her garden serves both as a mask and a mirror to her heart. Sokkuan has called it a kind of “veil” for Sadako, a place of hiding. But these are flowers coloured by her feelings, leaves rooted in her body. Her tears are rain, and her smile is the sun. Take a stroll in her garden.

But recently, Sadako has wandered out of the pages of her Unfashionable Fashion Diary to embark on a new adventure with

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pullover CHANEL

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dress ISSEY MIYAKE

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(Above) ISSEY MIYAKE (Left) MIU MIU

(Right) LOUIS VUITTON (Left) DRIES VAN NOTEN

(Left) MARNI (Right) CHLOÉ

(Right) GUCCI (Left) MARC JACOBS

(Left) HERMÈS (Right) GIVENCHY BY RICCARDO TISCI

KENZO

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Photography – Iga Drobisz & Greg Adamski Styling – Lisa Strannesten Hair & Makeup – Toni Malt Model – Gemma Aicha Refoufi

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(Left) dress ASHISH (Right) dress ROKSANDA ILINCIC (Boutique1.com)

Self-Portrait

Photography – Maarten Alexander | House of Orange Styling – Lune Kuipers Hair – Magdalena Tucholska using UNITE Makeup – Bobana Parojcic using M.A.C. Cosmetics Model – Jude Pinol | Models 1 all items are available on www.net-a-porter.com

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scare crow

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Art by Rayne Wong

BURBERRY 131

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(Above) HERMÈS (Left) CHRISTIAN DIOR

JUNYA WATANABE

MULBERRY

The Dual Paradise THE GARDEN AS A CONTRADICTORY SITE THAT BEARS WITHIN IT MANY PARADOXES BUT FOREMOST A UTOPIA AND A PARADISE LOST. Text – Shawn C.

The Garden of Eden is the biblical prototype of all gardens: an utopia, paradise, and microcosm of a universe where the first man and the first woman were in harmony with nature and with God. However, it is also a paradise lost, an image of utopian yearning, and a space of otherness that Foucault calls a heterotopia.

The Garden is a contradictory site. Within it we may find the tree of life, which offers immortality, next to the tree of the knowledge of good and evil, of which “thou shalt surely die.” I always found it particularly peculiar, if not exceedingly devious, that the design of Paradise should bear within it the very forbidden fruit that would expel humanity from it.

Yet, it is precisely within this paradox that we might glean the wisdom of gardens.

From the primordial Garden of Eden to urban planner Ebenezer Howard’s ambitious Garden Cities of Tomorrow (1902), gardens have had a long intertwining history with paradise. We will find that in the Old Testament, the Hebrew word for paradise, “pardes” is used thrice in contexts where one may interpret it as “orchards” or

“gardens”, while in The Decameron, Boccacio describes a group of young revellers who agree that “if a Paradise might be created upon earth, they could not conceive any form, other than that of this garden, which it might have.” The mutually evocative notions of the garden-paradise have cultivated in our minds an earthly space for our utopian aspirations to be sown.

Gardens are not only abstract ciphers for our imaginations; they also manifest as a physical materiality, rooted in the earth, and cultivated over time. Thus, those involved in the practice of gardening would most intimately understand that the garden is always a utopian construct, for its conception is predicated on the hope that what one has planted would grow to maturity and flourish.

Gardens are humanity’s attempts to carve out an ideal space for itself in the world.

Spanish gardener Fernando Caruncho describes the garden as a site that “reveals the analogies between man and the universe.” They demonstrate man’s ambivalent relationship with nature: while the French formal garden - jardin à la française - seeks to impose order over

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an unruly nature with its geometrical symmetries, the Japanese rock gardens karesansui - were intended to imitate the intimate essence of nature. In both cases, the garden represents our unavoidable separation from wild nature, while at the same time being intimately related to the natural world.

A garden may be a hermetically defined space created by human intervention, but it is also an object in the world. The etymology of garden refers to enclosure, but the boundary of a garden may be designed to separate as much as it is meant to connect. The walled-in gardens are never fully ‘enclosed’ and it is always related to a larger symbolic, aesthetic or ecological system. Within the gardens we may glean microcosmic symbols of the world. The Japanese rock garden exemplifies this, for its hedges serve not as a barrier but as a connection between the outside and the inside. The translucency of hedges allows gardeners to create the impression that the outside world is afloat within the microcosm-garden. The exterior world of the garden is not denied within the space of the garden, but acknowledged and

Photgraph taken by Shiinoki

absorbed within it as a form of ‘borrowed scenery’. In the backdrop of the Entsu-ji garden of Kyoto, Mt Hiei rises in the east, but its shape is so artfully counterpointed by the contours of the stones placed within the garden that it feels integrated into the garden itself. When there was talk of tall hotel that would blemish this composition, the temple of Entsu-ji strongly objected by saying that the garden could be moved, but the mountain never, and over the centuries, the two have formed a symbiotic relationship. The Japanese garden goes beyond its local boundaries, for what joins the garden to the distant scenery is the overarching sky, and the heavens above becomes part of the garden.

As such, even the formality of the French garden must be open to the informality of the natural world.

Gardens are ‘enclosed’ only so that we may contemplate the nuances within it that redirects us beyond the local boundaries through its complex microcosmic-

macrocosmic dynamic. The human intervention in gardening is not only a willful attempt to triumph nature by imposing order upon it, but it may also be an effort to emphasise the wildness of a terrain by forcing viewers to see it from within an artificially formal garden, as with the Piccolomi Palace. In these examples we begin to see that humanity’s intervention in nature may not necessarily be one of antagonistic dominion, but of humble symbiosis. Instead of imposing our will on nature, or even of perceiving nature as a threat, we might open up a space of unity with nature, precisely through codependence and the intimate relation of care practiced through gardening. Lucretius championed this view by asserting that harmony with the very nature that people had come to consider ‘other’ and remote from the human endeavor is the key to a good life and happiness.

Finally, we return to the paradox in the Garden of Eden. The presence of the

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forbidden fruit is what punctures the ‘enclosure’ of paradise. There is a lesson of humility in this even as we aspire to be architects of our own gardens. Even the most paradisiacal gardens are only truly complete when it admits catas- trophe and acknowledges forces beyond our control. It is also a lesson in grace, as it is easy to forget how even the simplest act of gardening, the planting of a seed for example, is contingent upon the infinite conditions of nature. With the wisdom harvested from decades of gardening, a friend’s grandmother offered the following advice: “You know you can trust people who garden because they have the humility, patience, and grace to adjust to the slower cycles of nature to nurture a plant.”

Fragile PRECIOUS STRUCTURES BY CHRISTAINE LÖHR

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Molded (la fronte difforme) 2012 Oil on wood

Die Verwindung AN INTERVIEW WITH LONG-STANDING ITALIAN ARTIST NICOLA SAMORÌ ABOUT HIS LATEST SOLO SHOW Text – Kelly H.

Tell us about the title of your new exhibition, “Die Verwindung”. Verwindung’ is a German word that cannot be translated into Italian (my first language).

It refers to a form of mild transformation — a convalescence from the idea of savagery — that characterised the AvantGarde. That is exactly how I feel about my artistic career, a betrayal towards tradition — something that distorts without breaking.

How important is this exhibition to you in relation to the ones that you have done in the past? This is my first exhibition in such a legendary gallery in Italy where many of the artists I have loved in the last fifty years have exhibited, from Cucchi to Basquiat, from De Dominicis to Bleckner. To me this means a greater responsibility.

Any particular reason as to why your last solo show was also titled in German? The retrospective at the Tuebingen Kunsthalle was titled in German mainly because it was held in a German museum but also because, as I said about ‘verwindung’, the word’fegefeuer’ is quite different from the Italian word ‘purgatorio’ or the English word ‘purgatory’. The German translation connotes more so like “the flame that makes perfect”. I like words that contain a little story.

I rather forget about the most mechanical aspects and rely on instinct.

How did you first master your craft?

Through fear. I've always found it hard to interact with others. I was – and still am – afraid of others. That is the reason why I've tried to find a private space where I could have control. The rest is the culmination of exercise, obsession and devotion. But that has not led me to master my craft. When can you really master it?

As a matter of fact, I have a kind of lovehate interaction with the Old Masters.

Sometimes I feel that an old image must fade away before a new one is created.

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You reference the Old Masters quite significantly in your work. Is this a satire or an homage? My work has rarely been a satire. In fact, it doesn't match my character which tends to be quite dramatic, I would say. The two get easily mixed up in my work because of my conflicting desire to be emancipated from devotion by means of cruel trials.

You seem to paint with the same degree of catharsis as an equally esteemed painter, Francis Bacon. Is there a lot of pain involved in your

Povero di Sole 2012 | Oil on copper

process? I would say that there is vexation, anxiety and pleasure involved. A work starts with vexation and develops into anxiety, before the coup de grâce which coincides with pleasure. The connection between art and life has been crucial to Bacon and every work of his transforms a catastrophe. My relationship with form is more cynical and, unfortunately, not so extreme. Like Van Gogh, Bacon basically submitted himself to his work. My work to me is more of a mirage, a reflection.

You claim Lucio Fontana and Gino de Dominicis as some of your heroes.

How have their works influenced yours? Fontana is the first artist who has literally made a physical entrance into painting and a large part of my work has been created thanks to such an achievement. It enables the painting to leave the plane and come towards us, by the scratch of my nails or when cut open with a knife. Gino De Dominicis has restored interest in forms by giving an almost inexplicably specific weight to few pencil marks on a poplar board. It is this elusive specificity that I strive for.

How does three-dimensionality heighten your work? Should we look at it as a break away from traditional canvas format? My work continues this “plane spasm”. Painting has broken out of its classical sense and ever since encouraged our commitment to skirt its limits, to analyse its grammar and its contradictions. It is re-examining the art analytic line that started in the West over a century ago and is still in progress.

It is not more liberating to start from scratch than to transform the Old Works? If I started from scratch, I would have nothing to be free of. Even before an apparent blank slate such as the one created by Malevich, we feel and are well aware of the “Russian Icons” tradition.

The “Old Works” are our peers just like a stone or a body -- they contain clues from a different age but they are physically present around us.

Dante’s “Inferno” and the Divine Comedy seem to be a recurrent theme.

Are they important in understanding your work better? They are not essential in understanding my work better, but they

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can certainly be of help. I’ve always been attracted to Dante’s Comedy and his view of the afterworld which is still to many a truth to believe in. To me it is a restless and sublime space where attraction and repulsion have reached a summit and where a number of symbols we subconsciously hold onto still prevail.

Are you religious? I’m not involved in any particular religion but I have inherited, like everybody else in my country, a kind of Catholic heritage. Faith is a matter of hope and shows the importance of our illusions as well as of our certainties. Noone can regard himself as utterly exempt from the centuries-old traces of religion nor the more popular systems coming from the past. Beyond faith, it is actually a matter of history.

Describe your dream Garden. It is an artificial box which contains all of the things that I know were made by man in ecstasy. I can see traces of untamed nature from the entrance; I enjoy the view at a distance but I don’t walk through it.

Mass 2012 | Oil on wood

A Quiet Taste:

YANG LI X LN-CC Text – Kelly Y.

The very idea of a concept store is challenging: the store revolves around an idea—reinforced by in-store products that resonate with a specific niche of customers. At LN-CC, one such designer prestigious roster is Yang Li. Born in Beijing, Yang Li did most of his growing up in Australia.

The young designer made his first steps into the fashion fray via Central Saint Martins in London with a specialisation in menswear.

He interned at Raf Simons, sharpening his skill and focus after graduating, and established his own creative studio in 2010. He hasn’t stopped since.

With his sharp eye for quiet but noteworthy artisanal detail, the brand is a perfect match for LN-CC, whose retail ethos champions a similar silent, highly personalised aesthetic. His initial specialisation in menswear aside, he has since ventured into womenswear.

Both lines currently on racks at LN-CC may carry a quiet air but they sure speak volumes.

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LUCIANO VENTRONE “SUI GENERI/S”: A SOLO EXHIBITION 1st March till 2nd July 2013

Partners & Mucciaccia Gallery Blk 6 Lock Road #02-10 Gillman Barracks Singapore 108934 www.partnersandmucciaccia.com

March – May Highlights LANDMARK EVENTS TO MARK ON YOUR CALENDER

1 Glam! The Performance of Style Exhibition Tate Liverpool Liverpool, UK 8 February to 12 May 2013 5 Shakespeare in the Park – Othello Theatre Fort Canning Park Singapore 24 April to 19 May 2013, 7.30pm

2 Impressionism, Fashion, and Modernity Exhibition The Metropolitan Museum of Art New York, US 26 February to 27 May 2013 3 Luciano Ventrone: Sui Generi/s Exhibition Partners & Mucciaccia Gallery, Gillman Barracks Singapore 1 March to 2 July 2013

6 Art Basel in Hong Kong Art Fair Hong Kong 23 to 26 May 2013 7 Art in Film Festival at DUSK 2013 Tanjong Beach Club Sentosa Singapore 7 March to 16 March 2013

4 F.A.T. GOLD Exhibition Eyebeam Art + Technology Center New York, US 1 to 13 April 2013

8 Zoological by 2902 Gallery 2902 Gallery, 222 Queen Street 02-02 Singapore 4 April 2013 Onwards

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