COLLECTION 5 THE MALE - A FASHION SPECIAL!

www.kaltblut-magazine.com 

1 

COLLECTION 5

oulezar.com

Editor-in-Chief 

Fashion Editor 

Art Director 

Art Editors 

Movie Editor 

Fashion Assistant 

Brazil Editors 

Music Editor 

Sales Manager 

Translation / 

Proofreading 

Marcel Schlutt 

mschlutt@kaltblut-magazine.com 

Nicolas Simoneau 

nsimoneau@kaltblut-magazine.com 

Amanda M. Jansson 

ajansson@kaltblut-magazine.com 

Emma E.K. Jones 

ejones@kaltblut-magazine.com 

Claudio Alavargonzalez Tera 

calvargonzaleztera@kaltblut-magazine.com 

Nico Sutor 

nsutor@kaltblut-magazine.com 

Mauricio & Aleesandro Lázaro 

brazil@kaltblut-magazine.com 

Amy Heaton 

amyheaton@kaltblut-magazine.com 

Alexander Danner 

danner@kaltblut-magazine.com 

Amy Heaton, Amanda M.Jansson, 

Bénédicte Lelong. 

KALTBLUT MAGAZINE 

Grünbergerstrasse 3 

10243 Berlin 

Germany 


KALTBLUT Magazine is published by KALTBLUT Media UG 

Nicolas Simoneau & Marcel Schlutt 

All Copyrights at KALTBLUT Media UG 

All of KALTBLUT´s contributors are responsible and retain the 

reproduction rights of their own words and images. 

Reproductions of any kid are prohibited without the express permission of 

the magazine, editor and each contributor. 

KALTBLUT Magazine is printed in Germany 

AZ Druck und Datentechnik GmbH 

Sportfliegerstrasse 6 | 12487 Berlin 

www.az-druck.de 

8 

Christian Hagemann / Photographer 

www.christian-hagemann.com 

After working for the likes of L’Officiel Hommes, 

Fräulein Magazine, Zeitmagazine, Sepai Cosmetcis 

and many more this German stills photographer is a 

well-known artist. 

Hermano Silva / Menswear Connaisseur 

www.thegentleman.com.br 

When it comes to menswear Hermano Silva is an 

expert. He runs the blog: The Gentleman and he is 

welcome at every fashion show in the world. For our 

Male Issue he is kindly presenting his favourite Berlinbased 

menswear designers. 

Kiril Bikov / Artist 

Berlin-based photographer Kiril is one of our favourite 

artists when it comes to dark and morbid art. For 

this issue he has submitted one of his dark, intense 

series and we had the pleasure to interview him to 

discover more. 

Pascale Jean Louis / Photographer & 

Make up Artist 

Having been a part of our project from the very beginning 

Pascale Jean Louis is quite simply—an icon. She 

was a famous model in the 80's and 90's and nowadays 

a well-booked photographer and make up queen. 

Yanneth Albornoz / Designer / Illustrator 

www.shk-studio.blogspot.com 

Born in Panama, with an over-exposure of sun, 

topicality and enchanting experiences across countries 

she never imagined to live in, Yanneth is an artist who 

cultivates the art of mistakes, and kindly created all the 

colourful quotation art intermissions in this issue. 

Bénédicte Lelong / Social Media Manager 

benedicte_lelong@kaltblut-magazine.com 

A long, long time ago in a galaxy far, far away, a retarded 

stork messed up a delivery, resulting in an innocent tyke 

being dropped off in the wrong country. Lucky for us! 

As her quirky outlook embellishes our Music Laden 

[music you don't want to miss this season] and for this 

issue she's shared her Top 5 Men In Music for your 

delectation. 

Special thanks to: Fashion PDG, Silk Relations, 

Alexander Danner, Marina German, Iris Björk, Bastian Hintze 

COVER 

Photography by Vincenzo Laera 

Model: Julius Gerhardt 

C/O The Special 

Jacket: Sopopular 

Hat: Mads Dinesen

9 

Hello dear cold-blooded friends, lovers and readers. Welcome to the new issue of 

KALTBLUT Magazine. Yes, right, this Collection is all about Men! And so far it 

is one of our most colorful issues. Filled with some very special artists, musicians, 

models and fashion designers. It was not that easy to decide in which direction 

we really wanted to go with the male issue. But as you will see: the focus is on 

fashion. There are not that many men magazines out there showing you all hot 

fashion trends for the upcoming autumn/winter season. I hope you enjoy our 

work. 

Let’s talk about being a man. What the fuck is wrong with us? Let’s be honest, 

wouldn’t the world be a better place without us? Be it in religion, politics, sports 

and so on. Men are cheating, hurting others and we are responsible for all the 

worst stuff in the world. Don’t get me wrong. I am a proud man! But I am also 

ashamed of my own species. Look at Russia. You can see what men can do to 

other men. And let's not even talk about the fanatic Islamic freaks out there. The 

Pope? The Church? Or the financial crisis nowadays. It is all men's fault. So what 

is really going wrong with us? 

For sure I am not a saint myself. I have got my flaws. I pee and I will never ever 

sit down to. I watch stupid TV shows without a meaning. And so on.. Yes I am 

a man. So guys! Let’s think about our attitude, our acting, our way of life. It is in 

man’s hands to change something in the world. Stand up! Grow some balls and 

be a real man. Do what you are supposed to do: Stand up for the helpless and the 

poor. Respect every human being out there. Be strong but also sensitive. Protect 

your wife, man, children, friends. It is time to be the strong one and not the weak 

link in the chain that is humanity. 

Thanks again to each person who worked with us on this issue. There are just too 

many people from all over the world, so I can’t name all of you. 

THANKS from me and the team. 

And now: Enjoy our Male Issue. 

Marcel Schlutt 

Photo: Guille Chipironet I www.chipironet.com

p.12 Colour Therapy 

Fashion Story 

p.22 Mark Powell 

Interview 

p.28 Einat 

Fashion Story 

p.38 Music Laden 

p.42 Moderat 

Interview 

p.46 

Fashion Story 

Boys of Berlin 

p.56 Philippe Fernandez 

Interview 

p.62 Dear Bad Beg Bug 

p.64 Forest Spirit 

Fashion Story 

p.74 Rein Vollenga 

Interview 

p.78 

Berlin Faces 

you should know 

p.82 Peter De Potter 

Interview 

p.88 Italian Autumn Style 

Fashion Story 

p.96 Spencer Chalk-Levy 

Illustrations 

p.102 Must have 

p.104 Assigned Gender 

Photography 

10 

p.114 

Interview 

Frank Music 

p.120 Boy from Hell 

Fashion Story 

p.130 Kinetics 

Accessoires 

p.136 Ango The Meek Dead 

Interview 

p.142 

Fashion Story 

p.150 Red Moon Rising 

Fashion Story 

p.158 Don't Look Back 

Fashion Story 

p.166 

Interviews 

p.168 

Poem 

Photo Story 

Into Brackets 

p.170 Background Noise 

p.182 Sopopular 

Interview + Fashion Story 

p.198 Top 5 

p.200 

Article 

Gigo 

Black Cracker 

p.180 The X-Insider 

Interview with Dan Black 

p.192 

Portrait 

Pierre et Gilles 

Boys and 

Their Tattoos 

p.206 Rubber Coiffure 

Fashion Story

p.212 

Fashion Story 

Break Dance 

p.220 Hernán Marina 

Interview 

p.226 

Fashion Story 

p.234 Erwin Olaf 

Interview 

p.240 

Fashion Story 

Dude! Dig 

The New Suit 

Mordern 

Folklore 

p.248 Ladyboys 

Article 

p.250 London's Future 

Article 

p.259 The Young Marlon B 

Fashion Story 

p.266 Fonzie's Happy Days 

Fasion Story 

p.276 Marwane Pallas 

Interview 

p.284 Skin 

Article 

p.286 

Fashion Story 

Kieran 

p.292 Must Wear 

p.296 

Interview 

Alt-J 

p.300 Eton Rowing 

Fashion Story 

p.310 Sandro Marzo 

Interview + Fashion Story 

11 

p.318 Shag Warriors 

Fashion Story 

p.332 eBoy 

Interview 

p.338 Easter 

Interview 

p.340 Fool on the Roof 

Fashion Story 

p.348 Christian Joy 

Interview 

p.352 

Fashion Story 

The Gang 

p.360 Kiril Bikov 

Photo Story + Interview 

p.366 Made In Berlin 

Fashion Article 

p.370 Collision 

Fashion Story 

p.382 #ThingsWeLove 

dot com 

p.384 

Fashion Story 

p.394 

Interview 

Abel Rubelo 

Planningtorock 

p.396 Art Around The World 

p.400 CrayZay Giveaways 

p.402 Imprint 

p.403 (End).itorial 

p.404 Label Index

o oU 

12 

C R 

L 

Therapy 

Photographer: Florian Renner Fashion Editor: Zadrian Smith Creative Director: Digby Howard Model: Christian von Pfefer @SELECT 

Casting by Stephen Conway @Conway Casting Hair Stylist: Sven Bayerbach- using Bumble and Bumble 

Make-up Artist: Isabell Boettcher- using BareMinerals Set Designer: Yevgeny Zurna Photographer Assistants: Tean Roberts, Justin Van Vliet 

Fashion Assistants: Raeann Hayden, Muna Abu-Qaoud, Brillant Nyansago Set Designer Assistant: Aleksander Evterv 

Christian wears: Oversized Jumper by Wei Yu Chen. Earpiece by Bjork.

13 

Shirt by Lanvin. Jumper by Kristian Steinberg. Trousers by Vivienne Westwood. Gloves by Sibling. 

Shoes from Birkenstock. Socks stylists own. Visor from Beyond Retro. Bowler Hat by Lock and Co. Hatters.

Green Jumper from American Apparel. Orange Jacket from Topman. 

Fur by My Mink. Trousers by Orlebar Brown. 

14

15 

Knitted Jumper from American Apparel. Grey Trousers by Meadham Kirchhoff. White Trousers by Vivienne Westwood. 

Green Jacket by Agnes B. Red Jacket by Xander Zhou. Heart Broach stylists own. Belt from Beyond Retro.

White Shirt by Vivienne Westwood. Yellow Jumper from Topman. Mustard Yellow Jumper by Hackett. Coat by Agi and Sam. 

Hat by Lock and Co. Hatters. Shoes by Vivienne Westwood. Socks stylists own. Earpiece by Bjork. Heart Broach stylists own. 

16

17 White Shirt by Vivienne Westwood. Mustard Embroidered Jacket by Meadham Kirchhoff. 

Burgundy Trousers by Martine Rose. Shoes from Birkenstock. Socks stylists own. Earpiece by Bjork.

19 

Top from Issey Miyake. Burgundy Trousers by Martine Rose. Shoes from Birkenstock. 

Socks stylists own. Earpiece by Bjork.

Mink Bomber Jacket by My Mink. Gloves by Jylle Navarro. 

20

21 

Sliver Jacket by Issey Miyake. Gold Jacket by Issey Miyake. 

Fur Shorts by Charles Jeffrey. Shoes from Birkenstock. Socks stylists own.

23 

Mark Powell 

This is the kind of art that cannot and will not leave stoic. 

When you first see one of Mark Powell’s drawings, something happens. Is it the beauty of his lines? 

Is it the fact that you quickly realise that everything was created using a simple Biro pen or is it the 

strange relation between the drawing and its medium? Whatever it is, somehow your brain is melting. 

That is the reason why I thought KALTBLUT should go further in its exploration of Powell’s 

world and try to get some answers. 

Interview by Nicolas Simoneau 

www.markpowellartist.com

KALTBLUT: Most of your 

drawings are portraits, why? 

MARK: I like to build a relationship 

with my chosen canvas which 

can in some cases be over 250 

years old. 

By choosing portraits, particularly 

the elderly, they offer a story, a 

history that hints at so much more. 

24 

KALTBLUT: It is pretty 

obvious that you have a very 

special relationship with Biro 

pens. Can you tell us a little 

bit more? 

MARK: I have always sketched 

with a Biro pen. I wanted to choose 

the most basic tool and show what 

can be created with it. I hope that 

it will encourage others that may 

not feel themselves to be artistic to 

have a go too. 

KALTBLUT: One of the 

characteristics of the Biro 

pen is that you can’t really 

afford to make mistakes, 

because you cannot erase 

anything or even go back…

So does it mean that you never 

make mistakes when you 

are drawing? What happens if 

you do? 

MARK: This is the challenge that 

I enjoy. The plan is to never make 

a mistake but unfortunately I have 

made 3 mistakes so far. They have 

to be discarded. 

25 

KALTBLUT: The medium you 

are using is also very specific. 

Why these letters and where 

do you find them? 

MARK: Like the portrait they have 

a history and a story to tell. 

I find the documents in various 

antique shops. 

“ 

I wanted to 

choose the 

most 

basic 

tool and 

show what can 

be 

created 

with it. I hope 

that it will 

encourage 

others that 

may not feel 

themselves to 

be artistic 

to have a go 

too. 

” 

KALTBLUT: What is the 

relation between the faces 

that you draw and the 

medium itself? 

How close are you to your 

characters / subjects? 

MARK: I choose the Biro as it is 

one of the most common tools to 

hand and try and show that

something can be created that is an individual 

like each person that I draw. I try to keep 

a distance from knowing much about the 

subject, I want to retain that mystery. 

KALTBLUT: Do you consider yourself 

as an outside observer? How involved 

are you with each of your drawings? 

MARK: I would. I become very involved 

with the drawings, I would be sat for hours 

working with one particular face so it is very 

hard to avoid. 

KALTBLUT: The people you draw 

always seem to be of a certain age. 

Why is that? 

MARK: I choose the elderly because like the 

antique canvas I use they have a story and 

history to tell. 

KALTBLUT: How long is the whole 

process, between the moment when 

you find the letter and the moment 

when you make your character come 

26 

to life on paper? 

MARK: Once I start a drawing I will aim to 

finish it within a day or two. But for the larger 

map drawings it will take 12-hour days for a 

month to complete. 

KALTBLUT: How did you start 

drawing and what is your background 

as an artist? 

MARK: I would always sketch out paintings 

that I would do with a Biro and this just became 

the next step. 

KALTBLUT: Do you sometimes try to 

work using other types of media? 

How do you see your art evolving in 

the future or do you even see it 

evolving at all? 

MARK: When I had time I would paint but 

this work has now taken over all my time. I 

do see it as evolving in the future. However 

at the moment I still have work to do with 

this.

29 

PHOTOGRAPHER: Ben Asif benasif.tumblr.com 

COSTUME DESIGNER: Franklin Tavares Praxedes 

MAKE-UP & CONCEPT: Einat Dan 

MAKE-UP PRODUCTS: M.A.C Cosmetics 

MODEL: Stav Strashko 

MODEL AGENCY: www.elinorshahar.com 

www.einatdan.com

3030

38 

MUSIC 

Album preview by Bénédicte Lelong 

Iconic American guru of pop Dick Clark once said “Music is the soundtrack of our lives”. Music IS everywhere. 

We eat it for breakfast, breathe it on the dance floors and live it 24/7, MP3 players firmly glued to our ears. An 

eclectic listener‘s paradise, our Musik Laden‘s motto is simple: “Open ears, open mind”. Satisfaction guaranteed. 

Artist: Château Marmont 

Album: The Maze 

Genre: Electro-Pop, Synthpop 

Label: Chambre404 

Origin: France 

Release Date: May 2013 

Members: Raphael Vialla, Julien Galinier, 

Guillaume De Maria 

At a time when the French electronic/synthpop scene 

needed to take a serious break from all the pseudo and 

oftentimes overrated “big names” (not usually my thing to 

point fingers but… Phoenix, Daft Punk, anyone??), Château 

Marmont’s timing appeared to be quite perfect. 

The Maze is Château Marmont’s debut album. Its fresh 

70’s synthpop sound will seduce you from the start with their 

“Ouverture”. Contrary to what you might think, these guys 

are no newbies. They’ve been around since 2005, remixing 

artists like LaRoux. By the way, make yourself a huge favour 

and go listen to their version of Quicksand. 

Pre-tty sweet, if you ask me. 

I’ll confess that I didn’t know these 

guys from Adam. At first I didn’t even 

know they were French, much less what 

kind of music they were making. They got 

me at their band’s name, “Château Marmont”. 

I mean, come on, even if you’ve 

never set foot in this WeHo institution, 

you have to have at least heard of it. From 

John Belushi to Sofia Coppola and more 

recently Lindsay Lohan, you know damn 

well what Château Marmont brings to 

mind: Hollywood, baby! Images started 

rushing through my head… So yeah, that 

was enough for me give this French trio a 

chance. 

Proof that sometimes you just need to go 

with your gut. Oh and a band’s name isn’t 

to be taken lightly, as it can go a long way 

to attract listeners into your net (I plead 

guilty). From now on, I have my eyes on 

them. Can’t wait to hear what they’ll do 

next! 

Must-hear tracks: The Fall & Decline 

of the Human Empire, The Maze, Receive 

And Follow

Artist: David Lynch 

Album: The Big Dream 

Genre: Electronica, Experimental Rock 

Labels: Sacred Bones (US), Sunday Best (EU) 

Origin: USA 

Release Date: July 2013 

Members: David Lynch 

Coyotes… babies… shotguns… dreams… the moon… 

heartbreak… Right off the bat, I had a feeling. The Big 

Dream, David Lynch’s second studio album was gonna 

be a bit strange (in the best way possible). Scratch that, it 

was going to be 100% Lynchian… well, almost like a big 

dream. 

Knowing some of his work as a director (I H.A.T.E.D. 

Eraserhead but L.O.V.E.D. Twin Peaks and Mulholland 

Drive, the latter for reasons I still can’t to this day fully 

comprehend much less explain), I wasn’t exactly taken by 

surprise. If you’re not familiar with Lynch’s films, chances 

are The Big Dream will be a bit off-putting. Even though 

you might not “get” everything that is said on this almost 

spoken word record, you’ll appreciate how it sounds after 

a few listens. And if you happen to have a sweet spot for 

experimental rock/electronica, it’s an absolute must-have. 

Lynch’s nasal delivery makes the whole thing sound 

even weirder than it already is. Not gonna lie though: this 

man’s got skills. It’s simple: from track 1 The Big Dream 

feels like you’re stuck inside a David Lynch movie (or 

David Lynch’s head). Lynch can be obscure, his work often 

crazy, unsettling, profoundly enigmatic yet disturbing(ly 

beautiful). What dreams are made of… 

In order for you to ease into The Big Dream, first go 

watch the minimalist video clip for “I’m waiting here” a bonus 

track featuring Lykke Li. A road, one of Lynch’s most 

prominent symbols throughout his films (Lost Highway 

comes to mind), spreads before our eyes, an infinite strip of 

asphalt running through dry and deserted lands, probably 

somewhere in the Mojave Desert. If this doesn’t do the trick 

and prep you for the Lynch Dimension that is this album, 

I honestly don’t know what will… 

Must-hear tracks: The Big Dream, The Line It Curves, 

I’m Waiting Here 

39 

You know what they say: your body is a temple, treat 

it accordingly? Well, when it comes to worshipping your 

body and treating it like a temple, you should listen to what 

Voltaire has to say (wut?). I’m dead serious, though. Start 

with your ear, which is, according to this wise gentleman 

“the avenue to the heart”. You honestly can’t go wrong treating 

your ears with AlunaGeorge’s debut album. Its soulful 

goodness is ear candy. Period. George Reid R’n’B infused 

beats are addictive, and Aluna Francis’ sweet vocals are 

the cherry on top. If you are into that kind of sound and 

were desperately looking for something that would not 

sound like processed-cheese, sorry, I meant manufacturedand-unoriginal-noise-with-a-lot-of-attitude-but-not-muchelse, 

don’t look any further. 

FYI, AlunaGeorge made it to #2 on the shortlist of the 

“Sound of 2013” BBC poll, right behind the Haim sisters. 

In the end, luck’s got nothing to do with AlunaGeorge’s 

popular success. Talent does. Proof that the duo’s rapid 

breakthrough is not a coincidence. They’re here to stay. All 

I know is, this record is what my body had been craving for 

all these years. Sure hits the spot. 

Damn, these Brits sure know how to make good music, 

don’t they? (Watch your backs, Canadians!) Body music 

was my jam this summer –as it was, I suspect, for many 

other music lovers out there. And although winter is (almost) 

right around the corner, it’s no reason to put that kind 

of sound on the back burner and start flooding your ears 

with Xmas tunes just yet! 

Some say Aluna Francis is Aaliyah’s rightful successor, 

or rather what Aaliyah would have sounded like if she 

hadn’t left us so prematurely. You be the judge of that. 

Must-hear tracks: Lost & Found, Just a Touch, You 

Know You Like It 

Artist: AlunaGeorge 

Album: Body Music 

Genre: Electronic, Pop, R’n’B 

Label: Island 

Origin: UK 


Members: Aluna Francis, George Reid

Artist: aMinus 

Album: Options 

Genre: Electro-Pop, Synthpop 

Label: Neopren 

Origin: Germany 

Release Date: October 2013 

Member: Valentin Plessy 

aMinus is Valentin Plessy, one third of Berlin-based 

French electro act Plateau Repas. I’ve never had the pleasure 

of meeting aMinus face-to-face, but I’m gonna go out 

on a limb here and say that this guy is sex on legs. 

I can’t usually control (much less change) the way I’m 

first going to respond to a particular artist or album, and 

maybe it’s because I’m a girl, maybe not, but damn it if I 

don’t like to get my (musical) kicks listening to a guy who 

obviously knows how to use his organ (pun DEFINITELY 

intended). A friend of mine introduced me to him recently 

and I honestly couldn’t get past his voice. It just drew me 

in. Sometimes when you’re new to an artist, a genre, an 

album or even just a song, you need some time to get in the 

zone, some sort of a guiding light, a je-ne-sais-quoi that’s 

gonna warn your brain that this is it, The Stuff. Good Stuff. 

Plessy’s voice does take center stage on Options, his 

sophomore record. Not that I’m complaining. Why? It just 

oozes self-confidence. It’s strong, sexy, powerful and yes, 

ultimately you just can’t get enough. Like the album itself, 

it’s grounded and relatable (special mention to “Sick Twisted 

Fuck” for its raw, in-your-face honesty). aMinus kinda 

reminds me of Diamond Rings on his latest album, Free 

Dimensional. There’s much worse, if you ask me. 

The lyrics are pretty straightforward: love, relationships, 

life… who can’t identify with that? As for the music, if 

you’re a fan of electro and synthpop, it will be love at first 

listen, as they say. Nothing too fancy, but it sure as hell 

gets the job done. Satisfaction guaranteed. Bottom line: 

aMinus deserves a nice big A+ for Options (you must have 

seen that one coming from a mile away, so for once I’m not 

apologizing). 

Must-hear tracks: Cool Down, Don’t Mind Me Now, 

I Can Try 

40 

HUSH and listen up! 

The first time I saw The Limousines live was quite some 

time ago in Paris. The best part? For the life of me I can’t 

seem to remember what band they were opening for… 

that’s how good this Bay Area duo truly is! OK so the megaphone 

they used and their radiating (and madly contagious) 

energy on stage might have something to do with my not so 

temporary lapse in memory… 

Hush is The Limousines’ second LP. It’s also a labelfree, 

self-produced (in part thanks to a hella successful 

Kickstarter campaign) little gem of an indietronic rock 

record. 

Whatever you do, be sure to watch the video for Love Is 

a Dog From Hell, their first single. Whether you like boys 

or girls (or both!), you’ll be able to relate: love is a b*tch. 

Hush is solid from beginning to end. It acts like a 

catharsis, exploring the ups and downs of relationships 

with great beats and an addictive flow, forcing you to confront 

your feelings head on –preferably while dancing like 

a mad man/woman. Yes, Hush will make you wanna move 

your body. I tested that part for you as well. I’m usually not 

a dancer, but even I couldn’t help it. Yeah, picture me in 

the heart of a summer heat wave, writing this review while 

dancing my *ss off… F.U.N. I swear!) 

Last but not least, Victorino and Giusti are so dedicated 

to their fanbase that if you go to their website right now, 

you can (almost) order yourself some Limousines to go. 

For real. So bring them to your town, why don’t you? Video 

clips and digital albums are just fine, but you haven’t really 

had the full Limousines experience until you’ve been to 

one of their shows. Trust me. 

Must-hear tracks: Bedbugs, Wrecking Ball, Hush 

Artist: The Limousines 

Album: Hush 

Genre: Indietronica, Electronic Rock 

Label: Self-produced 

Origin: USA 

Release Date: June 2013 

Members: Eric Victorino, Giovanni Giusti

Never heard of boy-girl synthpop duo Soft Lenses? 

Curious to know what they sound like? My advice: “forget” 

(but not really) about the title track and go straight to song 

#8, Interobserver. The close-to-8-minutes instrumental 

track off of the band’s second LP, is a thing of beauty and it 

plays like an endless rêverie. The kind that 1) seems never 

ending (duh) and that 2) you, as music freaks, don’t EVER 

want to end. 

Surely you’re familiar with South L.A.’s very busy freeway 

interchange, the one that looks like a gigantic knot? Well, 

press play, close your eyes and picture it at night from up 

above: the relentless comings and goings of cars, the sleeplessness 

of the city as a whole. Yes, sometimes I do like to 

let my mind wander. The awesome news is, this record lends 

itself quite perfectly to musings of all sorts. The reason I’m 

talking about the City of Angels is because Lenses was born 

after Soft Metals relocated from Portland to L.A. 

If you like to abandon yourself to the music, to let go of 

all control, to let your imagination roam free, Lenses was 

made for you. Besides it’s basically how Hicks and Hall 

(a couple both on and off stage) came up with the album 

in the first place: jam sessions and improvisation. And 

that’s exactly why I have this almost physical attraction to 

70’s and 80’s inspired synthpop, down tempo and electronic 

music in general: all you ever need to do is close your 

eyes and let yourself go. Completely. I’m so obsessed with 

Interobserver I could have written a whole spiel about how 

it makes me feel deep inside. Lucky for you I didn’t. 

Needless to say that if you like Portishead or The Chromatics, 

giving Lenses a listen won’t take you too far out of 

your comfort zone. Au contraire, you’ll feel right at home. 

Must-hear tracks: Interobserver, No Turning Point, 

On a Cloud 

Artist: Soft Metals 

Album: Lenses 

Genre: Electronic 

Label: Captured Tracks 

Origin: USA 


Members: Patricia Hall, Ian Hicks 

41 

Artist: CFCF 

Album: Music For Objects 

Genre: Electronic 

Label: Paper Bag Records 

Origin: Canada 


Members: Michael Silver 

Let’s skip the chitchat and begin at the beginning i.e. 

the title of this album: “Music For Objects”. Yes, each of 

the 8 tracks that comprise CFCF’s 6th EP is named after 

an object. Nope, CFCF, aka Michael Silver (yet another 

Canadian), probably didn’t make this record while having 

breakfast (a BOWL of cereals and a GLASS of milk, thank 

you), his KEYS in his pocket, a CAMERA strapped around 

his neck, a LAMP shining in the background, PERFUME 

permeating the air… 

Silver is another one of these über-talented artists whose 

multi-layered and incredibly cinematic creations have an 

almost immediate effect on me (and hopefully very soon on 

you too). His music, for some possibly quite obscure reason, 

never fails to make me feel closer to my surroundings. 

Nature… my desk, my mug, my pen, my notebook even. 

Somehow you feel connected, in tune with your world. It’s 

a weird sensation, a whole body experience. It just makes 

you feel things, you know? 

The piano? The sax? You can’t always pinpoint exactly 

what you love about a particular track, but you just do. 

Ever had that feeling? It’s like a chemical reaction that 

happens when a given sound travels from your ears to your 

brain. Not exactly something that can easily be explained 

or described. 

If this experimental, part house-y (Keys) part jazzy (Camera) 

EP is any indication –and if it was ultimately up to 

me- I’d put Silver on a pedestal next to composers of Philip 

Glass’ caliber. Also, I secretly want him to, someday, record 

the entire soundtrack to a film, any film. Sooner rather 

than later. I’m pretty sure that even if the movie turns out to 

be a monumental crapfest, in the end it won’t be, but only 

because CFCF made the music. 

Must-hear tracks: Bowl, Keys, Ring

KALTBLUT: To people who are unfamiliar, what or 

who is Moderat? 

MODERAT: Hey, here’s silent Szary who’s answering 

these questions as best he can on behalf of us all. Moderat 

is a project that combines MODE-SELECTOR and 

APPA-RAT but it is not so simple as just both bands 

simply teaming up. It is much more that that, it is related 

to the common background of our experience with 

electronic music, which goes all the way back to the early 

90’s. 

KALTBLUT: How would you describe your sound? 

MODERAT: Dearest Ant Hickman, sorry, but we no longer 

answer this question. For one simple reason, you should 

just listen to the record and then you will answer this 

question for yourself within an hour, for sure. But if you 

still have something left unanswered, the sound of 

Moderat is the perfect symbiosis of 3 people: Gernot, Szary 

and Sascha, and maybe it can also be described as a techno 

soundtrack—but that’s already giving away too much. 

42 

MODERAT 

“II” 

our years ago, Berlin-based electronic trio Moderat released 

their debut album, which was widely regarded as 

one of the most ground breaking records in recent times. 

After unleashing their first single "Bad Kingdom" with a 

beautifully illustrated and mesmerising video for it, they 

are set to follow up with the release of their highly anticipated 

second offering. Inspired by the work of these three 

artists both individually and collectively, and to be given 

the opportunity to interview them was a real pleasure. 

F 

KALTBLUT: Have their been any significant artists 

or changes within the music scene that have 

inspired you since the first full length album? 

MODERAT: That could be a long list, but we‘ll resist. 

Basically between the three of us we listen to lots of different 

kinds of musical drones from techno to pop, R’n’B 

with auto-tune and an overdose of vocals all the way up to 

really good techno. It goes on with metal followed by folk 

and country, and so on and so forth. There are well-known 

artists and lesser-known artists all combined. 

KALTBLUT: What‘s the track/s you’re most proud 

with on “II”? 

MODERAT: I believe we are proud of the album as a 

whole, it was a hard way to go, factors such as the long 

winter with us and also different views that each of us 

had and still has. But at the end you have to agree, and of 

course discuss, back and forth. To be concrete, “Bad Kingdom” 

was already a very big draft, for what has arisen as 

“II” at the end.

43 

Interview written by Manchester-based music producer and DJ Ant Hickman 

www.mixcloud.com/mediatemusic

KALTBLUT: When writing as a 

trio, is the writing process as fluid 

as when you’re working on say 

a Modeselektor or Apparat 

album? 

MODERAT: I can only describe the 

view from the Modeselektor side right 

now. But it depends how you take it, I 

guess making some of the tracks went 

fluidly – sometimes others didn’t. It 

was the fact that there was always 

nuts to crack and that there was often 

long discussions about each track. As 

Moderat lives within its own 

democracy, and everything has to be 

fine-tuned. Which can take a very 

long time sometimes, but it also went 

by very quickly and everyone was 

happy with the outcome. 

KALTBLUT: Did you guys set out 

with a specific idea of what you 

wanted the album to sound like or 

did it just come naturally? 

MODERAT: When we started the 

production for the album “II” we 

wanted to somehow tie in the first 

album, so to speak. Ultimately it is the 

signature sound that we have developed 

with Moderat that was a major 

factor for us. We handled the process 

similarly to the way in which we did 

the first album and exchanged files 

from Modeselektor and Apparat, then 

arranged the tracks with the three of 

us working together. A lot of sketches 

emerged in the first half of the 

production, but we managed to 

discard them very quickly. Then 

sometimes we started our equipment 

(drum machines, analog effects pedal 

stuff, plastic-toy-keyboards) in the 

studio to re-arrange and re-structure. 

We had a kind of reset button where 

we could take things back virtually to 

zero, and then we could make sessions 

in this new environment and 

always include that kind of experimental 

stuff at the end. We found the 

magic loop patch from 8 or 16 bars… 

it came to us naturally. 

45 

KALTBLUT: For producer nerds 

like myself, what were your 

favourite go-to pieces of 

equipment used to build this 

record? 

MODERAT: Here’s the list: Teenage 

Engineering OP1, Roland MC202, 

Korg MS10 and MS50, Roland Juno 

60, Persophone Ribbonsynth, Yamaha 

PSS-570 and Yamaha VSS-30…then 

come the soft-synths from reactors - 

especially Razor and Monark - and 

the spectral-sampler “IRIS”. Is that 

enough for now? 

KALTBLUT: Analogue or digital? 

MODERAT: BOTH—analogue and 

digital!! 

KALTBLUT: Obviously with the 

album being a blend of both 

electronic and acoustic sources, 

how will you perform when you 

go on the road this year? 

MODERAT: We have decided to only 

stage three live Moderat shows. There 

was plenty of consideration about 

having guest musicians (drums, 

symphonic orchestra, etc.) play with 

us on stage. But I think we have 

enough with us 3 [laughs] but we are 

scouting together to built a completely 

new platform for future Moderat live 

performances. 

KALTBLUT: Have you added 

anything new to the experience of 

one of your amazing live/visual 

shows? 

MODERAT: As already mentioned, it 

is re-developed, and could be interesting 

to re-create the new songs from 

the first album in this new setup. 

For audio, like for visual, well at least 

one thing is certain—we will have a 

massive fire and a pyro show in its 

darkest, most exotic sense—then two 

helicopters will fly in on the stage… 

one from the right, one from the left… 

[laughs] nah, it’s a joke, but it will be 

good. 

KALTBLUT: What have you got 

planned for the rest of the year 

after the album drops? 

From the 2nd August 2013 we’ll be 

known mainly as Moderat. Not that 

we won’t consider playing a few DJ 

sets as Modeselektor or as Apparat 

here and there. We are always hungry 

for additional employment [laughs] 

but for now the main course of action 

is to call ourselves Moderat and then 

we’ll see. Plenty of smoke burning up 

from new ideas in our head… keep 

watching … so long for now.. Szary. 

NEW ALBUM “II” 

OUT AUGUST 2013 

WWW.MODERAT.fM

46 

Photography: Suzana Holtgrave 

Styling: Suzana Holtgrave and Paula Diaz Raap 

Hair and Make up: Anna Obendiek @Basics 

Models are: 

Marc @Seedsmanagement 

Dennis @Kult Modelagency 

Jan, Luca, Nico and Georg 

Jan wears 

Stiffneck by Marina Hoermanseder, Trousers by Hugo Boss.

47 

Luca wears Shirt by Bill Blass Vintage, Blouson by Adidas Originals.

48 

Georg wears 

Shirt by Marc Stone, Trousers by Tiger of Sweden Men, Leather Jacket by Matthew Williamson, Shoes by Dr. Martens.

Georg wears Suit by Zara, Sweater by Ethel Vaugn. 

49

50 

Dennis wears Shirt by Ben Sherman, BELOW: Dennis wears Jeans by Levis, Shoes by Sisley.

51 

Marc wears Trousers by Sopopular, Shoes by Tiger of Sweden.

52 

Jan wears Leather Helmet and Leather Cuffs by Marina Hoermanseder.

53 

Nico wears Suit by Tiger of Sweden Men, Shoes by Marc Stone, Sweater by Sopopular.

54 

Jan and Dennis wear Leather Helmet by Marina Hoermanseder, Shirts by Ben Sherman.

55 

Dennis wears Pullover by Julian Zigerli.

56 

PhilliPe 

FeRNANDeZ 

Philippe is a young tattoo Artist who has been working for almost 2 years now. it is a short 

time in the industry but the man is so passionate and devoted to his art that he is being 

weighed down with appointments. Before getting into tattooing, Philippe was a graphic 

designer. Somehow, the transition from one passion to the other makes perfect sense. And 

that‘s one thing that i particulary like about philippe: he is constantly trying to surpass 

himself. Nowadays the art of tattooing has obviously become a “hyped” phenomenon but 

not necessarily in a bad way. This evolution pushed tattoo artists to dig deeper and to get 

“better” graphically: they have to create a distinct and very personal universe to stand out 

and appeal to each and every customer. Philippe fully embraced this hard-working trend, 

which is why i decided to featured him on this issue. 

Text and Interview by Nicolas Simoneau 

Picture by Marcel Schlutt

KALTBLUT: How did you get into tattooing? 

PhiliPPe: i guess it was sort of a process, i’ve always been 

drawing and interested in art, as well as looking for new ways to 

express myself. i have studied design and was working as a graphic 

designer but i felt i couldn’t express myself properly. At the 

same time what happened was that i got a tattoo machine and had 

the opportunity to start working at AKA, so i decided to quit my 

job and give it a try. i started hanging out in the front room with 

the customers and taking care of the shop and during my free 

time i tried to watch and learn as much as i could from the artists 

working at the studio. After a few months they started giving me 

assignments. it was a step by step process. And now here i am. 

KALTBLUT: How was your apprenticeship experience? 

PhiliPPe: i didn’t have a traditional apprenticeship, i didn’t 

learn under a specific tattoo artist who taught me everything I 

know, as it normally happens, but i learned from all the tattooers 

working at the studio. i had the chance to learn at AKA in Berlin, 

where there are artists with very different styles and techniques. 

Curiosity and determination are key when you learn this way. 

57 

KALTBLUT: You have a graphic design background, did 

it help you become a tattoo artist, and if so in what way? 

PhiliPPe: Actually my studies and then my further experience 

as a graphic designer more than just helped me become a tattoo 

artist, they helped me build a creative process in order to make 

my designs. 

KALTBLUT: When people come to you do they always 

have a clear idea of what they want or do they leave it entirely 

to you and always trust your creative input? 

PhiliPPe: Most of them contact me with a clear idea of what 

they want and where they wanna get it but they are always open 

to suggestions about possible variations from my personal point 

of view. This is why they choose me for their project. 

KALTBLUT: What do you do when someone comes to you 

with a specific picture of what they want and you hate it? 

PhiliPPe: i need to feel the project to give my best. For me a

tattoo is more than just a design on their skin, it has to be an 

exchange between their idea and my personal vision of the 

tattoo, so i always try to understand what they have in mind to 

be able to translate their ideas in a way in which we will both 

be satisfied. 

KAlTBlUT: How would you define your style? What 

inspires you? 

PhiliPPe: It’s always difficult for me to define my style. 

i’m still in a learning and experimenting phase. But i can say 

that i like to work with black, i like to use bold lines, different 

textures and to give contrast to the designs. i’m always looking 

for new inspirations, which can come from everything, at 

anytime. You just have to be receptive. 

KALTBLUT: Do you have any role models in the business? 

PhiliPPe: Most of my colleagues, the ones i learned from, 

are big points of reference for me. But lately the tattoo scene 

in eastern europe has been inspiring me a lot. 

KALTBLUT: What do you think of the graphic evolution 

of tattoo design nowadays (as opposed to old school 

tattoos)? 

PhiliPPe: evolution is always positive. Certainly subjects, 

styles and reasons to get tattooed have changed. The acceptance 

of tattoos in our society lead to different artists from different 

fields finding with tattooing a new way to express themselves. 

i personally feel part of this evolution even though i’m 

always keeping an eye on the historical tattoo world, the one 

that made me want to start tattooing. 

KALTBLUT: What kind of relationship do you have 

with your customers? 

PhiliPPe: Tattoo sessions are kind of a ritual, during which 

a lot of energy and emotions are received and given. You 

achieve a sort of intimacy with your customer, something that 

makes you closer in a way. Most of the times i will never see 

them again, but when you get to the point where they come 

back to get tattooed, then you can say that in some cases special 

relationships do develop. 

KALTBLUT: What advice would you give to someone 

who wants to become a tattoo artist? 

PhiliPPe: You have two white canvases on your thighs. 

KALTBLUT: And last but not least, what is the most 

painful place to get a tattoo? 

PhiliPPe: Knees, stomach, ribs and head are quite hard. 

From my personal experience, the most painful place was on 

the palm of my hand. 

www.philippefernandez.tumblr.com 

www.akaberlin.com 

www.akalondon.tumblr.com 

60

62 

DEAR BAD BED BUG 

Amanda M. Jansson & Emma E. K. Jones

Forest 

64 

SLEEVELESS JACKET: CHRISTIAN LACROIX / SHIRT: AMERICAN APPAREL / TROUSERS: LACOSTE

65 

Spirit 

Photographer: Yuanyi Zhang and Xavier Ancarno 

Stylist: Edem Dossous 

Make Up/Hair: Juan Romero 

Model: Zélig @Mademoisellle

SHIRT: ADIDAS ORIGINALS X OPENING CEREMONY / BEANIE: CARHARTT 

66

TOP: LACROIX / T-SHIRT: KILIWATCH / TROUSERS: CHRISTOPHE LEMAIRE / SNEAKERS: LACOSTE 

67

SWEATER: CHRISTOPHE LEMAIRE / TROUSERS: CHRISTIAN LACROIX / UNDERPANTS & BEANIE: AMERICAN APPAREL 

68

69 

TANKTOP, SHORTS AND JACKET: KILIWATCH / CAP: MONKI / UNDERPANTS: AMERICAN APPAREL / SHOES: DE FURSAC / SOCKS: NIKE

70 

SLEEVELESS JACKET: CHRISTIAN LACROIX / SHIRT: AMERICAN APPAREL / TROUSERS: LACOSTE / UNDERPANTS: AMERICAN APPAREL

71 

TOP: RAD HOURANI

JACKET: NIKE / COAT: MISSONI / CAP: G STAR 

72

73 

TOP: LACROIX / T-SHIRT: KILIWATCH / TROUSERS: CHRISTOPHE LEMAIRE / SNEAKERS: LACOSTE

75 

REIN 

VOLLENGA 

Rein Vollenga is no new face, but his work is really hard to describe just 

with words. It‘s touching you on another level, evoking emotions, feelings, 

something deep. He already collaborated with Thierry Mugler, Lady Gaga 

and Nicola Formichetti, and his pieces have been showcased in Sang Bleu 

and Harpers Bazaar. I‘m totally fascinated by his wearable sculpture, and I ask 

myself, is this fashion or contemporary art? You just can‘t classify his work in this 

way. Rein is a mystery, and so naturally we wanted to know more about the man 

and his work. Let me welcome you into the mysterious world of Rein Vollenga. 

KALTBLUT: Where do usually look for your inspiration? 

REIN: Mainly I get inspired by everything that draws my 

attention and speaks to my imagination. That can be 

anywhere. Im really fascinated by humans or animals 

and love to observe their features and body language. 

KALTBLUT: There is something really dark in your 

work. Where does it come from? 

REIN: I actually don‘t know....it‘s a mystery...something 

in the depth of my soul. 

KALTBLUT: Technically speaking, how do you create 

and realise the concept for your mask? 

REIN: I collect a lot of objects that are mainly 

organic shapes, functional and mass produced. I love 

the contradiction. The objects come together in my 

studio where I start cutting them up and glueing them 

together into new object. Shapes that are mainly non 

functional and speak to the imagination. The assembled 

object gets coated in epoxy and polished many time 

to create the sleek surface I‘m aiming for. The final 

treatment is applying several layers of paint and a thick 

lacquer coating. My work might look very sleek and 

clean but the process is chemical and really dirty. 

KALTBLUT: How long is the process to create a piece 

such as this? 

REIN: That depends on the project and can vary from a 


Photography by Jonas Lindström 

week till a few months. My work is very time consuming 

and hands on as I make every piece myself. 

KALTBLUT: You have worked for some famous clients, 

in particular you did pieces for Gaga, Mugler, and I 

have a hard time seeing how one would wear one of 

your pieces in a normal day time setting. Do you ever 

think about that being a possibility? 

REIN: Not really. I create my work to escape from reality. 

I can image seeing my work in the context of haute 

couture so I won‘t exclude that there will be Rein 

Vollenga ready-to-wear items in the future. 

KALTBLUT: In this kind of case when you work on 

specific demand. How does the client give you 

direction? 

REIN: I never just produce an idea of a client. Simply 

because its utterly boring and sculpture is my 

profession. Mostly we start with exchanging ideas and 

from there I start to visualise them and translate them 

into images and collages. I hate making drawings and 

sketches and like it to start rough and slowly define to 

an end result. I like to keep all possibilities open. So I 

might surprise myself and the client with a piece that‘s 

new and innovative. 

KALTBLUT: I like the word wearable sculpture. How did 

you come up with this idea? 

REIN: I didn‘t invent the word, but in my opinion eve-

ything you can attach to your body is 

wearable. Then again, of course there‘s a big 

difference between wearable and ready-to-wear. 

KALTBLUT: Why did you originally move to Berlin? 

REIN: I‘m born in The Netherlands that used to be a 

very liberal country in the eighties. Unfortunately 

those times have faded and nowadays the Dutch 

mentality feels, suppressive and conservative to me. 

I feel free in Berlin, it‘s the city of opportunities, a 

city where I don‘t feel judged by my sexual preference, 

the clothes I wear and the life I wanna live. 

Berlin is the city where I can be who I wanna be. 

KALTBLUT: Your wearable pieces are all made as 

masks for the face. Could you also imagine doing 

wearable sculptures for any other body part? 

REIN: I‘ve created several body pieces in collaboration 

with Sebastien Peigné and Nicola Formichetti for 

MUGLER. It varied from shoulder pieces to bracelets. 

But its true I do have a fascination for the head. 

KALTBLUT: There are historical connotations linked 

to the covering the face, like changing the appearance, 

gender, or personality of a person. Do you 

draw on these kinds of ideas with your designs? 

REIN: No I don‘t. For me it‘s about mystery, fantasy 

and illusion. I try to trigger the viewers imagination 

by creating a dialogue between the object and the 

body. The artificial versus the organic. 

KALTBLUT: Do you create your pieces for yourself? 

Like a fantasy character or alter-ego? 

REIN: This depends on the destination of the piece 

or the client. I never make something for myself 

and I don‘t believe in alter-ego‘s thats just an “art“ 

definition to me, anyway isn‘t alter-ego just split 

personality or Schizophrenia?! 

KALTBLUT: Who do you think will wear your pieces? 

Is there a typical “client” profile you consider with 

your designs? 

REIN: There‘s no typical client profile. I‘ve worked 

with pop musicians, Hip Hop artists choreographers, 

K-pop girl groups and underground performers. But 

if I could choose it would be a super human with lots 

sex appeal! 

KALTBLUT: When we look at your work we think 

about fetish and obsessions… maybe because 

of the colour or the way you present your 

work. What is the definition of a fetish for you? 

76 

REIN: Object of desire.....and that can be anything. 

KALTBLUT: Your work is often presented in relation 

to fashion. Is fashion an inspiration for you too? 

REIN: Fashion and pop musicians have always been 

an inspiration to me. The great part of showing my 

work in relation to fashion is that my pieces get seen 

by a wide audience. And not only reaches a selective 

crowd that visits galleries and museums. It makes 

my work available for everyone as art should be! 

KALTBLUT: You‘ve said that you like collecting 

objects and cutting them, re-cutting them, putting 

them together to create new shape, or new object. 

There is here an Idea of like someone playing 

puzzle. Is it the way you see it, doing a puzzle? 

REIN: It‘s very primitive and visceral. I demolish and 

reconstruct and look for shapes that are beyond 

functional and speak to my imagination. 

KALTBLUT: All your pieces are handmade, you 

obviously like the contact with the material. Is it a 

way of making out of theses pieces a continuity of 

yourself? 

REIN: Yes definitely! Well, I just realised how freaky 

that might sound…ha ha! 

KALTBLUT: I personally, related your work to a 

famous sculpture of Auguste Rodin, “La Porte de 

L‘enfer”. Do you know this piece? Am I right to 

see a connection between this art work and your 

wearable sculpture? 

REIN: Yes I know the work “The Gates of Hell”...it‘s 

great! I Understand what you mean, lots of bodies 

and drama melted into bronze. The main connection 

to me is the craftsmen ship of Rodin, but I wouldn‘t 

dare to compare myself to the master! 

KALTBLUT: Is there any exciting news coming up we 

should share with our readers? 

REIN: Hmmm, yes I‘m working on a big project in 

Hong Kong, please check my website I‘ll update you 

soon. 

www.reinvollenga.com 

www.reinvollenga.blogspot.de

78 

BERLIN 

Faces

79 

By Fleur Helluin 

“When it comes to the future, 

there are three kinds of people: 

those who let it happen, those 

who make it happen, and those 

who wonder what happened.” 

John M. Richardson. 

KALTBLUT wants to introduce 

you to some of the kind 

who make it happen. They are 

extraordinary, creative, outstanding, 

special, notable and 

unique and they will change 

the world soon. That’s why we 

have to keep an eye on these 

three people and you'd better 

do the same. 

Photo by Marcel Schlutt

80 

Del / Misfit Models 

Del from Misfits Models, that is, in his words ‘an old fashioned man’ answered a few 

questions for us. We had a meeting in the TrinkTeufel, a real rock‘n’roll bar that calls 

itself “The Gate To Hell”. 

“ 

I’m asking what is beauty? I find attractive personality, people. 

It doesn’t have to be boring. I’ve always lived outside of mainstream 

life, so I just think with my own head. I don’t follow a 

crowd. I don’t care about David Beckham or some other English 

star. Why are people following these idiots? 

KALTBLUT: Could you please present 

yourself to the readers? 

DEL: My name is Del, I come from 

London England originally, I’ve been 

living in Berlin for quite some years now. 

I’m a male model, but not the normal 

model. I’ve been in the game for about 

20 years, and now I’m opening my own 

agency, because I saw there’s a hole in the 

market for unusual models. The style of 

Misfits is about character models, along 

the same line as my London agency Ugly 

Models, which I’ve been working for 

around 20 years as a model. Now I’m 

importing the concept to Germany. We 

look for characters, just like we have now 

around us in this bar. Big, fat, small, old, 

skinny, not your average catwalk model, 

or your average good-looking model. 

We do have some good-looking models 

in my agency, but they’ve also got other 

skills. There’s no agency in Germany of 

character models. 

KALTBLUT: Is there a way that you 

could describe the ideal man? 

DEL: The ideal man for me has to be 

as good looking as me, but comfortable 

with their body, and flexible with their 

work. But not everybody can do this 

work. They might be ashamed of their 

body. It depends on the person. Good 

facial expression and personality. 

KALTBLUT: Are there any special attributes 

that you relate to manliness? 

DEL: Well, just be a fucking man! And 

not a metrosexual. 

KALTBLUT: But what would that be? 

DEL: A man has to look after his friends 

and his family, go out work. And, you 

know, be a man a fucking man! It’s not 

just about buying a face cream or shopping 

for new clothes every week. Just put 

some clothes on that cover up your body 

and you’ll be alright! 

KALTBLUT: Do you have any mentors? 

DEL: Not really, the only mentors that 

I’ve had are just old friends that I’ve 

looked up to. When I was younger I 

read the book “On the Road” by Jack 

Kerouack, and I wanted to be the dude 

and lead this crazy fast life called Neal 

Cassady. But as the moment, it’s just me. 

I’m happy to be me, I don’t follow the 

sheep, and I don’t upset the others unless 

they upset me. 

KALTBLUT: The way to be a man: do 

you think that's changing? 

DEL: Oh yes. Just look back at our 

grandfathers’ days, you’d have to get a 

job, support your family. There was no 

job-center money back then. Manliness 

is changing a lot these days. You’ve got 

these metrosexuals. Everyone is tolerant, 

or they’re meant to be tolerant. What’s 

tolerance? I treat everybody the same. 

If it’s an idiot, it’s an idiot, end of story, 

may he be black, gay or whatever they 

can still be an idiot. But being a man is 

changing. You can have a relationship, 

marry a man, and you don’t have to go to 

the coal mine anymore. 

www.misfitmodels.de 

“

81 

PAULA WINKLER 

Paula Winkler is a German photographer. In her series “Exceptional Encounters”, 

she has found men on internet sex platforms and photographed them in hotel rooms. 

Taking a step in the mysterious world of heterosexual men, she finds out what kind of 

men are really hidden behind the internet profiles discovering touching and quite extraordinary 

images. Ms Winkler was born and raised in East Berlin, and after studying 

in Bielefeld, is now based in Kreuzberg’s Kottbusser Tor. We met her to have a chat 

about this special series. 

KALTBLUT: How did you come up 

with the idea? 

PAULA: I’ve always liked taking nude 

photographs, and was interested in 

gender theories. I was very annoyed that 

there was no real imagery of heterosexual 

men. It’s always women in pictures that 

are photographed to be sexy, and that’s 

boring. Though there is a big homoerotic 

tradition, that I love, but this 

is not my position as an heterosexual 

woman. There are hardly any women 

photographing naked men. I had no role 

models in photography I could relate to, 

so had to find my own way of dealing 

with the subject. 

KALTBLUT: Are there any models who 

you met up with after featuring them in 

your series? 

PAULA: Yes, maybe 2 or 3, to take 

another picture and try something else. 

But there were no long-term friendships 

evolving from that. 

KALTBLUT: Could your work be connected 

to the famous FKK culture of the 

former East Germany? 

PAULA: I have never thought about it, 

but it’s funny as someone else asked me 

the same question a few days ago. I have 

never related to specifically to FKK culture. 

My work is not about a natural kind 

of nudity, there is a different force behind 

it. It has more to do with the relationship 

between the photographer, the model and 

the viewer. I´m very aware of my position 

in this constellation. 

KALTBLUT: Do you always go to the 

same hotel to take your photos? 

PAULA: Unfortunately there aren’t so 

many beautiful hotels in Berlin, or at 

least I didn´t find so many. So I went to 

two different hotels over and over again. 

Of course they didn’t know what I was 

doing there. But I paid and I think that 

was all that mattered to them. 

Top: ‘Encounter #24’ 

Middle: ‘Encounter #13’ 

Bottom: ‘Encounter #18’ 

Taken from her series: “Exceptional Encounters–As Many 

Guys As I Could Get” [2011] 

“ 

I contacted my models via email, or chat, and asked them if I 

could photograph them naked in hotel rooms. It was a real 

adventure. We really only met in the hotel room to take the picture 

there. It lasted for one or two hours, and that was it. There was no 

prior meeting or anything, this way it kept things exciting for 

both sides. 

KALTBLUT: What about the models? 

PAULA: Well, people often tell me that 

they think it’s very brave of me to go 

on a sex platform and meet strangers in 

hotel rooms all by myself. I have to say 

that I rather think of my models as being 

the brave ones because they expose 

themselves much more than I do. When 

they come to the meeting they have no 

idea what to expect, they don’t even 

know if I’m really a woman who wants 

to take their picture because on such 

platforms there are many fake profiles 

as well. I also made them sign a model 

release prior to the shooting that allows 

me to exhibit and publish the images. 

What really striked me was that many of 

the men I photographed were concerned 

to be perceived as gay. Just because they 

were being photographed naked! Pictures 

of naked men are more often linked to 

gay culture then to the female gaze. Just 

as I had no definite concept from the 

photography side, they had no role model 

for poses. And as they were all amateur 

models not used to being infront of a 

camera they took on poses which they 

felt women would like. That really didn’t 

work for me so we decided on classical 

nude poses from the 50’s. 

KALTBLUT: What do you think about 

the future of men? 

PAULA: Well, I really don’t know. 

Most of my friends are women and gay 

men, so heterosexual guys are a bit like 

a foreign community for me…But I feel 

that stereotypes of male and female are 

changing and that makes me feel pretty 

confident. 

www.paulawinkler.com 

“

82 

PETER DE POTTER 

Interview by Amanda M. Jansson and Emma E.K. Jones 

Peter De Potter is a Belgian artist to whom art is not an occupation 

or a hobby, but a way of life and the only way of life. Since 

he never stops noticing things, thinking and perceiving his art 

and imagery is direct, honest and raw managing to create links 

of communication between artist, work, viewer in a way that 

makes it more than alive. We instantly fell in love wit his work 

when we first discovered it, so had to find out more about his 

views on art and how he thinks of his creations, just everything.

KALTBLUT: Where do you come from in terms of art and how did you begin 

working the way you do now? 

Peter De Potter: I’m not the classically trained art student who turned professional 

artist the minute he slammed down the school doors behind him. 

In fact, my itinerary has been more capricious. But at the same time it’s been 

following its own logic – I’ve been doing my art all my life, it’s just the way 

how it got out into the world that was perhaps less conventional. When people 

should ask to see some older work of mine I wouldn’t be delving up some 

battered canvases or half-finished drawings but I’d be pulling out a clothing 

rack with Raf Simons T-shirts and sweatshirts – and to be honest, I think that 

very fact is pretty cool. 

For me, the big shift came with the advent of social network sites, both in 

terms of making my work available as well as being directly influenced by 

them. This particular realm of the internet instantly felt like a natural and 

fitting place to communicate my work. You never impose but you’re never 

invisible either. You’re indelibly present, preserved forever but in a gentle way, 

without making a loud noise and I really like that. It’s an exciting factor that 

the very tool that distributes and showcases contemporary culture actually is 

contemporary culture itself. I don’t think art should be put away in the safe 

haven of white gallery walls and stripped-down environments only. I like the 

fact of randomly throwing artworks into the maelstrom called internet – not 

as a conceptual thing but as a self-evidently gesture. It’s not so different from 

having a collage printed on a T-shirt. In both cases you accept the context and 

let all the subtexts and pre-set references work their way into what you are 

offering. That way, any image, any message, any visual piece becomes layered, 

multi-dimensional, vibrant. Almost by default, not in a contrived, premeditated 

way. This state of non-definition is what makes a lot of visual things exciting 

nowadays. Images don’t come as ‘just’ images anymore. There’s a lot of conscious 

as well as accidental interplay. And it’s breathing new life into age-old 

art techniques as well, like appropriation and cut-up. The methods are still the 

same but the perception of it is very different today because everyone is in on 

the game. This generation ‘reads’ images with such ease. The internet is forcing 

us to accept different interpretations of things like authorship, property, 

privacy, reproduction. We post online, we watch online, we experience images 

and messages taking on a million different meanings in a matter of seconds, 

all before our very eyes. So it’s interesting again to work with collage or 

appropriation, there’s a whole new set of dynamics at play. At the same time 

I have begun showing some of my work in more traditional formats, framed 

pieces, tangible images. It’s the same creative process, a bit more elaborate 

maybe. An actual, framed piece works differently than an online image, it’s 

another kind of one-to-one conversation. You’re more aware it’s an object, so 

the image must be strong enough to overcome that little threshold. 

KALTBLUT: There is a lot of military, fire, darkness, but also majestic nature 

etc in your work. What are your influences and how do you get inspired? 

83 

Peter De Potter: Hmm, I’m not so sure about the fire being so present in 

my work. I’m afraid of fire! The subjects I use in my work are never the real 

subject of the work -if that makes sense. The subject is the work itself, the 

fact that it’s there, appearing to people, that it has been made. The things 

you mention are more like components to me – the same way a painter has 

a colour range at his disposal I have an image range to work with. Of course, 

there are certain elements that keep coming back but that’s not so much a 

subconscious thing on my side, no, it’s because I feel I still haven’t truly fathomed 

those subjects. The thing with selecting elements that already have a 

symbolic or coded aspect about them – a soldier, a fallen tree, a hurricane- is 

that this sort of imagery tends to take the upper hand and leave little room for 

interconnection. So it’s always a kind of a fight to dismantle this kind of laden 

imagery and make it into something more…flexible. 

KALTBLUT: What‘s your creative process? You use a lot of different images. 

How do you look for them? Or do the pictures come first and create a concept 

in your head? 

Peter De Potter: I think that talking about the creative process, or at least the 

behind-the-scenes process, often contaminates the finished work. In that case 

you tend to look at the finished piece as the sum of its parts, which is not 

how it should be. Even when I do pieces with quite distinctive compositions or 

graphic interventions I want the initial view to be very smooth and readable 

– I want the feeling to kick in even before the mind starts to dissect what’s 

actually on view. Too much information can be a hindrance for that I think. I 

don’t make much distinction between the kind of images I work with. There are 

pictures I take of people I meet or objects or scenes I come across but at the 

same time there are downloads and reworked screenshots–I think the actual 

physical act of downloading and making screenshots are forms of photography 

too–and in the end they all come together. Or fight each other off, it depends 

how you look at it. I always say that it’s not so much me that makes the decisions–it’s 

the image itself that decides the way it will work into a piece. 

KALTBLUT: Your art is very modern in the sense of pushing boundaries but has 

some classic elements in it. How do you stand towards more classic forms of 

art? Like or hate them and why? 

Peter De Potter: I could entertain you with all kinds of high-brow theories 

about quoting and recontextualising the old masters of past centuries into 

contemporary art but the simple truth is: don’t knock the classics. There are 

certain standards, certain rules of composition that shouldn’t be questioned 

or be messed with. I like classic, time-tested forms and formats. I like making 

series and grouped pieces. Anything that brings structure and overview, 

because that makes it easier for the viewer to engage with the content and 

the message. A lot of religious art from the past centuries for instance has 

this kind of instructional, story-telling quality to it that is very appealing, even 

though I’m not a religious person.

And on the subject of classic art: my favorite artist is Adriaen Brouwer, 

the 17th century Flemish painter. He predominantly painted scenes 

from local taverns, drunk people, regular, lower class peasants smoking 

and brawling. Not in an analytical way but very empathic, full of life, 

caring even. His choice to look directly at the kind of scenes that most 

people consider vulgar or just too everyday common to be included 

into art was a huge influence on me. I’m not talking about squalor 

or freakiness. That’s already well represented in the art industry. I’m 

more interested in the twilight moments, because they are totally real 

and recognisable yet there is a profoundness and honesty that is very 

essential. The drunken sleep. The sexual haze. The act of bonding. 

84 

The tug of being aroused. The dizzying feeling of a comedown. 

KALTBLUT: The male body is omnipresent in your work. How do you 

explain this? What does it stand for in your eyes? 

Peter De Potter: To me it’s not really an issue, because the male body is 

not the theme of my work, or the reason why I make my art. It’s funny 

how that aspect always attracts the attention, people always seem to 

notice and wonder. While the male body is something perfectly normal. 

Half of the population has a male body so to speak, and no-one ever 

questions that. 

So far, the male body has been the perfect tool for me, like a blank 

canvas to project meaning and emotion onto. I’m not tired of it yet. 

I’m always surprised at how few human bodies and faces crop up in 

contemporary art anyway. There’s a lot of shape and form and material 

and matter and texture but almost no representation or depiction of actual 

human beings anymore. Maybe it’s just my impression. My work is 

populated with hundreds and hundreds of different faces and bodies, all 

lifted straight from the real and present age, from my own life or from 

the image banks people all over the world are making public. All these 

faces and expressions coming together, all these postures and poses 

and actions into a big sprawling, living panorama. But it’s not documentary. 

That would be too one dimensional. What I’m trying to do is take 

all these fragments and snippets and crops and edits of all these faces 

and bodies and contours to a different, more spiritual level. Showing all 

the complexities but in an elevated, iconic way.

KALTBLUT: Young men in a hopeless wasteland. How do you view the 

world? How do you view the future of art in the world? 

Peter De Potter: The ‘hopeless wasteland’ bit is a tad dramatic but I guess 

I can see where that’s coming from. My worldview isn’t particularly gloomy. 

Nor is it über-positive. In my work I’m not imposing my thoughts on 

the world anyway. I guess a recurring theme in my art is conflict, 

which is both a very negative and a very positive force. Any choice you 

have to make in life is born out of conflict. Conflict of interests, conflict 

of possibilities. The act of conflict itself can be very life-affirming, much 

more than the outcome of it. As an artist I want to look at the moral side 

of things. The moral side to any thought and to any image. Even the most 

blatant kind of eye-candy imagery has a deeply moral side. Not that I 

want to ‘expose’ or criticise any moral agenda. But once you acknowledge 

morality as a factor it changes the way you work. 

As for the future of art in the world…one thing’s for sure: art is not 

redundant yet and it won’t be in the foreseeable future. In fact, I think art 

is quickly becoming the staple ingredient as far as entertainment goes. 

There are thousands and thousands of artists working today and they all 

seem to find an audience. Being interested in art, however fleeting that 

interest might be, has become part of a lifestyle, just like fashion and design 

and gastronomy has. People are really flocking in droves to art. A lot 

of museums have blockbuster exhibitions. Not very unlike rock festivals. I 

guess it’s part of the communal ideal that’s being promoted in this current 

day and age. Or maybe people are looking for answers they can’t find 

elsewhere. It’s easy to be a bit cynical about it but in the end it’s a good 

thing that art, or at least the idea of art, has become more widespread. 

85 

If only people could shake off the idea that art has to be ‘understood’. 

It’s the damning result of decades and decades of academics pondering 

and waving their arms about, making the casual viewer feel intellectually 

inferior to an artist. It’s such a waste. Art is not there to be understood. 

It’s there to be accepted into life and give people the opportunity to look 

for themselves. 

KALTBLUT: Do people come to you to discuss your work? Has anyone ever 

said something to you that really stuck to your mind? 

Peter De Potter: Yes, I have a lot of people writing me, from all corners of 

the world. I think it’s really great, really rewarding. Sometimes they ask 

about a specific work or they comment on a certain series. I have guys 

asking to model. I also like the fact that I get quite some messages from 

girls. Not that it surprises me, not at all. But a few years ago I would get 

comments that my work was ‘too male’. As If I would make art for one 

particular gender. That would be very weird. 

I remember this particular message from an American kid saying that he 

had a dream after seeing my images and in that dream his father was 

brutally beating a young Leonardo DiCaprio who had to be picked up and 

put in the backseat of a car. Then Leonardo fell onto the doormat in that 

little space between the seats, with his leg all torn apart. That was a very 

good letter. 

KALTBLUT: Would you ever want to do collaborative work? Why or why not 

and who with (dead or alive)? 

Peter De Potter: I think a single work done by two different minds will 

always look and feel like a work done by two different minds and I can’t 

really see the added value of that- at least not for the viewer. This really 

is the age where every discipline wants to mix and gel with any other 

discipline. Everyone wants to embrace everything, preferably at the same 

time. Pop singers designing shoes, photographers doing furniture, painters 

writing novels, you know, that kind of thing. I don’t doubt the sincerity of 

this new breed of homo-universalize and its marketing department, but 

very often the end result is messy and average. The same goes for the 

wave of collaborative ventures in the creative world nowadays, which is a 

shame because collaboration can be more than feeding off each other’s 

aura. Now we have sponsorship and endorsement disguised as collaboration. 

Personally I’d engage in a collaboration if the technical side of things

would be too much over my head. I’m thinking of architecture 

for instance, I’d be interested in getting together with an 

architect to see how images could be incorporated into a 

building without ending up with a Blade Runner knock-off. It’s 

the kind of idea you just can’t pull off on your own. 

KALTBLUT: What do you do when you don‘t work. Does Peter 

De Potter have a day off? How do you spend that? 

Peter De Potter: No, never a day off. It’s not so much a 

deliberate choice. It’s the way it is, and the way it always has 

been I guess. When your main goal is to make art it would 

almost be some sort of misconduct not to try and be alert and 

perceptive all the time. But maybe there’s a misconception 

about the general way of living of an artist, any artist. As a 

profession it’s a very tough proposition but the work itself is 

not. Because the work itself is the most natural thing in the 

world, even if it might not seem that way to anyone looking 

in. And the kind of things that most consider to be relaxing, I 

find the most stimulating and inspirational anyway. You know, 

drinking, having sex, dreaming. 

KALTBLUT: Often there is text that goes with your images. How 

important is that text? How do you come up with it? 

Peter De Potter: I think words are like images. They exist, 

they are around so they can and should be used. I agree that 

sometimes words in a artwork can come across as being too 

didactic, too weighty. It depends. The words in the Angelic 

Starts series for instance are in fact the most important part 

of the images. Each work spells out a certain virtue. Each 

virtue is written across a body and each body is selected for 

its statuesque outlook. So they’re almost literally carrying 

around a set of virtues. In general the titles of the works are 

very, very important – as a series of words put together they 

are an integral part of the work, even if they’re not tangible 

or visible in the piece. 

KALTBLUT: You use the word “routine” on one of your websites. 

Why routine? What does it mean to you in this specific 

context? 

Peter De Potter: Yeah, one of my pages is called ‘Routine 

Routine’. I have a preoccupation with order and arrangement. 

I think routine is both the biggest burden and the biggest 

blessing. In a way, everything is routine. Everything is a system 

that goes on indefinitely. A day has 24 hours, and it’s like 

that every day. Over and over again. Morning comes, evening 

falls, never missing a beat. All routine. Even our bodies are 

following their biological routine. It’s only our minds that 

want to break out and disrupt the regular. All because we are 

afraid that routine will engulf us, make us docile and boring, 

bring us closer to, well, death. We are conditioned into 

thinking that routine is a bad thing, like it’s the antithesis of 

freedom and adventure. I think it’s almost a controversial idea 

to try and program our minds into a routine as well. Routine 

to keep you company. Routine as an instigator. Doing and 

thinking the same thing over and over–not to numb yourself, 

but to make you focus even more. Maybe treat your emotions 

as routines as well. Something you program into your day. 

Like a must-do. A few hours of anger. Then a dose of desire. 

Then some compassion. And imagination of course, always, 

always. Fantasies are really what keeps us going, we should 

really nurture that, train them and develop them, like a muscle. 

Repetitive fantasising. 

KALTBLUT: What are you working on at the moment? Is there 

something you are engaged with or eager to begin with? 

Peter De Potter: Well, like any other artist I’m waiting to be 

name-checked in a Jay-Z track. OBVIOUSLY! 

www.peterdepotter.com 

86

87 

www.chillbikes.com

88 

Autumn 

Photographer Davide Lantermoz 

Stylist Chiara Ficola 

Grooming Sara Lomurno using Mac Cosmetics 

Model Marcel @Urbanmanagement Milano 

Beaver: Closed 

Shirt: Vans 

Pants: Dockers

Pullover: Closed 

90

Jacket & Denim Jacket: Levi‘s 

T-shirt: Vans 

Pants: Andrea Incontri 

Shoes: Youfootwear 

91

Jacket: Vans 

Beaver: Levi‘s 

hat: Vans 

92

93 

Bomber Jacket: Paul Smith Jeans, Sweater: Reebook, Shirt: Andrea Incontri, Pants: Vans

Sweater: Levi‘s 

T-shirt & Bermuda: Comeforbreakfast 

94

95 

Waistcoat: Vans 

Jacket: Paul Smith Jeans 

Jumper: Comeforbreakfast 

Pants: Paul Smith Jeans 

Socks: Calzedonia 

Shoes : Vans

96 

When Spencer contacted us to submit his work to the magazine, I was literally jumping around. 

I already knew his work since he has been featured on our website before, and so it was almost natural for me 

to give him a little space in this collection. Spencer Chalk-Levy is full of energy and always puts you in a good 

mood when you meet him. Spencer grew up in New York City, and soon after graduating from the School of 

Visual Arts he found his way into the fashion industry. That is when he made the decision to move to Berlin and 

defiantly embrace his artistic career. If you get a chance, I invite you to go and check his website and, whilst you 

are at it, to get yourself a copy of his colouring book “BOYS WITH BEARDS”. 

Please let us introduce: 

Spencer Chalk-Levy

100

101 

www.spencerchalklevy.com

102 

MUST 

You certainly can live without these ITEMS, but life is so much More Beautiful with THEM. 

Selected by Marcel Schlutt & Nicolas Simoneau 

Coin Locker Babies 

by Ryu Murakami 

Your Winter Read 

RAINS: Long Yellow Jacket 

There is no need to present Ryu Murukami: 

"Coin Locker Babies" is one of his first novels 

published in 1980. This masterpiece is the perfect 

book for your Autumn/Winter. It's Unreal. 

It's violent. it's sexy. It's Psychologic. Hashi 

and Kiku were left in a coin locker in a transit 

station in Tokyo by their mother shortly after 

their birth and this is their story. Enjoy. 

available on www.amazone.com 

Tunes To Go 

Come Rain Or Shine 

Aiming to re-create the classic raincoat in an affordable, modern 

form, RAINS created their first jacket design in late 2011. Keeping 

their concept clean and basic they chose a simple, memorable 

name when branding this long yellow jacket: guaranteed to 

brighten up any wet autumn day. 

www.topman.com 

Wood Wood 

Scented 

Candle by 

Calming Park 

Beauty In A Can 

Wood Wood and Calming Park have teamed up to create a 

unique scented candle alongside the Wood Wood A/W 2013 

collection The Club. The candle will be available in all 

Wood Wood stores October 2013. 

www.woodwood.dk White Hike-S Bag 

White As Snow 

Tokyo-based clothing label VAINL ARCHIVE is presenting 

the White Hike-S Bag. For the fashion guy 

who likes it clean, easy but still with effortless style. 

This oversized Tote bag with snap button closure is 

perfect for the everyday. 

www.vainl.jp 

A compact design that conceals 

a big sound and powerful bass 

with wireless streaming via 

Bluetooth. Connect with the 

music from any smartphone: 

this is the perfect accessory for 

any outdoor freak who doesn't 

wanna miss his music on the go. 

www.philips.com 

SPECIAL BOYS 

Philips 

Soundshooter

Heather Grey 

The Rock Well 

Crewneck 

Cozy Times 

Featuring the Dutch artist’s postpop 

art on a wearable canvas, this 

Rockwell Sweater by Parra Tee 

is ideal for those times when you 

wish your girl or boy was a little 

more attentive. Who needs a 

snuggle partner when you've got 

one of these? 

www.rockwellbyparra.com 

Green 

Leaf 3 

Pack 

Notebook 

by WORD. 

For The Budding 

Writer In You 

Can you remember the rush of putting new 

pen to fresh paper instead of all that mindless 

tapping on a keyboard everyday? Made 

in the USA, Word. Notebooks will ease you 

back into handwriting. The sleek 48-lined 

pages and unique bullet point system help 

organise your thoughts and conceal them 

within a veritable forest of design. 

www.wordnotebooks.com 

Bling Bling 

Who said boys don't love 

jewellery? No outfit is complete 

without the right accessories, and 

we don't just mean a belt. If you 

want to outshine the girls this 

winter emblazon yourself with 

The Gold Nut Cross Necklace 

from AMBUSH, 

also available in silver. 

www.ambushdesign.com 

103 

Black/Gold Boy 

London Snapback 

Cap 

You don't wanna grow up? You still feel like a boy? 

Then show it to the world with this new snapback cap 

style. Make a statement, stay young, stay true. 

www.boy-london.com 

Gold 

Nut 

Cross 

Necklace 

Screw You 

The New Ewing Athletics 2013 

Slam Dunkin' Sneakers 

Lomography Belair 

X 6-12 Camera 

Drag Me Up 

Extend Your Vision 

Lomo's new medium format film camera is to die for. The ‘Belair 

X 6-12’–to quote its official title–is a medium-format panoramic 

camera that exposes 120-roll film in a 6 × 12 panoramic format. 

It's a sleek, contemporary take on the classic design. 

www.lomography.com 

Red Lizard 

Illaria Sunglasses 

Launched in 2007, SUPER by RETROSUPERFUTURE ignited a 

phenomenon of coloured-acetate sunglasses. Handmade in Italy by the best 

manufacturers and with the best materials these 

faux lizard-print designs pimp your face. 

www.store.retrosuperfuture.com 

Property Of… 

From Catwalk To Sidewalk 

Continuing the evolution of their classic styles 

Property Of… release the new "Carter Duffle 

Bag" in winter black for this season. Combining 

muted hardwares with multiple pockets 

all you require is a nonchalant slouch to 

complete the look. Their new 

collection will be available 

via their online store and 

in retailers across 

Amsterdam & Singapore 

from the beginning of 

September 2013. 

www.thepropertyof.com 

For all you sneaker fanatics out there here are the hottest new colourways we've 

seen this season: the Ewing Focus from Ewing Athletics. Early 90's inspiration: 

we're thinking Space Jam styling with the platform soles, Velcro fastening and 

vibrant colour palette. Slip on a pair of these kicks and you'll believe you can fly. 

www.ewingathletics.com

Assigned 

104 

Photography by Amanda M. Jansson & Emma Elina Keira Jones 

We are always intruiged by the queer element in photography. 

Men in girls clothing for instance. how does that 

change the whole picture? Does it change the whole 

picture at all? in many ways it does. We decided to meet 

up with some of our friends and then photograph them 

in some of their own clothes and in contrast in some of 

our clothes that they could choose, but they had to just 

be themselves in both cases. The point was to observe 

if it was possible for them to not act the clothes either 

way, and to see to which degree clothes assign gender 

even if you try to not let it happen. 

Models are: Prodromos Emmanouilidis, Manuel Breque @VNModels, Christos Kapralos, Callikrati Oleg Nozdryon

105

106

107

108

109

110

111

112

113

114 

“Its my best work to date” 

FRANKMUSIK, aka Vincent James Turner is one of my favorite male musicians when it comes to pop music 

these days. Talented from head to toe. He is perhaps one of the most underrated pop stars of our time. Born 

1985 in Thornton Heath close to London and gifted with a great voice and this special feeling for music and 

sound which you need to be a true musician. In the early 2000s he started as a beatboxer under the name 

Mr. Mouth. But this was just the first step into an international career. The first album “Complete Me” is still 

one of my favorite albums ever. And also the second LP “Do It in the AM” is a timeless piece of music. I still 

don´t get that this album was not a big commercial success. Now in 2013 he returns with his 3rd album 

“Between” which is out in summer and what can I say? FRANKMUSIK is back!! And yes it is his best work 

so far. I had the pleasure of having a little chat with Vincent about his music and work, life and how it does 

it feels like to live your dream!

115

KALTBLUT: A friend of mine introduced me some 

years ago to your debut album “Complete Me” 

and it was love at first sight from my side. It is 

still one of my favourite albums ever. Now during 

summer 2013 you have released your third studio 

album “Between”. Congratulations! Did you 

ever think about it in 2007 when you published 

your first EP that your sound will touch so many 

people? How does it feel to be living your dream? 

FRANKMUSIK: Firstly, thank you for your kind words. 

I never thought at the time that any of my work would 

inspire anybody. I was wrapped up in my own creative 

journey and to some degree I still don‘t really fully 

comprehend my work ever impacting anyone else and 

I probably never will. I wanted to leave a mark on the 

world with my work but I don‘t think the ramifications 

of what that potentially meant ever really struck me 

fully. But I am happy that my work does resonate with 

people and it is now that feeling takes more 

precedence in my creative drive these days. 

KALTBLUT: The new album “Between” is just fresh 

out of the oven! For our readers who don’t know 

your music and the album can you tell them what 

they can expect before they listen to it for the first 

time? 

FRANKMUSIK: It’s my best work to date. I am really 

excited for old Frankmusik fans and new to be blown 

away by the sounds and style. It’s a very unique record 

with broad subject matter and I finally feel I am coming 

into my own as a producer and a songwriter. There was 

no other outside influence on the record apart from my 

friends and family. This album is the first album I feel I 

can say is mine. 

KALTBLUT: To produce your new album you relocated 

to your hometown of Croydon, just outside 

central London. Why was that? And for how long 

did you work on it? 

FRANKMUSIK: I needed to get back to reality. LA was 

fun at first but I lost my way. I started to have false 

hopes and misguided expectations. I came home to 

get back to basics. I realised that I needed to see how 

good I was without any distractions and challenge 

myself to complete this album on my own terms. I 

wanted to see if I was good enough and able enough 

to even complete such a task. I now feel I have, which 

has instilled and reaffirmed a new confidence in my 

work and my visions for my future in the arts. 

KALTBLUT: What does a normal production day 

look like for you? We create our magazine also 

from home and sometimes I have to fight with 

myself not to do some other silly stuff! 

FRANKMUSIK: I make a plan as I am sure you do. I 

practice regular goal reaching and making realistic 

do-able and completable tasks. But always looking for 

new ways to get to those goals swiftly and more creatively 

every time. I also like to find new challenges and 

build upon my previous achievements so everything 

is moving in a firm but steady ascent. Mistakes are 

the best thing to make in order to really learn ways to 

not do things and I am a firm believer in what Albert 

Einstein once said, “Anyone who has never made a 

mistake has never tried anything new”. 

116 

KALTBLUT: Is there a song on the album you 

would name as one of your personal favourites? 

Or do you love them all? 

FRANKMUSIK: I see the entire album as a complete 

song. I never have felt this way before but this album 

is different due to how quickly I made it. I wrote the 

album in a burst of creativity over just 4 months. So I 

feel it is one contained experience and a concise sum 

up to the previous year of my life. 

KALTBLUT: Where do you usually get the inspiration 

and ideas from to start working on a new 

song? 

FRANKMUSIK: Previously I used to write solely about 

the trials and tribulations from personal experience 

such as relationships and daily life with a partner. 

Things have changed in recent times. I have been 

reading up on many subjects from religion to science 

and debating my conclusions and perspectives on new 

interpretations in my music. This has given me much 

more satisfaction as I feel the new subject matter has 

given my music a gravitas that was missing or not 

entirely discovered in previous efforts. 

KALTBLUT: I love your lyrics a lot. The song “Wonder 

Woman” or my all time favourite “Better Off 

as Two” are still in my mind. Do you write each 

song on your own? And do they include personal 

feelings, or situations you have experienced? 

FRANKMUSIK: I feel I accidentally answered this question 

in my previous answer, but each song comes to me 

on an individual basis. I never write songs on mass. 

But I generally have a burst where I write a bunch of 

songs in a very short period of time. Once I am on a roll 

there is not stopping me. My 4th album will actually be 

my first concept album too which will be a brand new 

way for me to write. 

KALTBLUT: Your second studio album “Do it in 

the AM” was produced during your time in Los 

Angeles and for number 3 back to rainy, grey 

England! Can we also hear this in your music? 

FRANKMUSIK: Absolutely not. My mind became clear 

and focused when I came back to the horrible weather 

and I loved it. I was sunny inside for a change instead 

of having LA’s beautiful weather and beautiful people 

glaring me in the face when some times I just wanted 

to have a shitty day but LA is grinning at you smugly 

saying „LA is going to have a great day whether you 

are or not“. I almost started to find it sinister. At least in 

the UK we know it can be a bit shit but we can admit it. 

KALTBLUT: In which music genre would you put 

yourself? Some people say you do synth-pop, 

electro and I can think of many more ways to 

describe your sound. 

FRANKMUSIK: I make Frankmusik. That means what 

ever the listener wants it to mean. 

KALTBLUT: You are also well known for your remixes. 

Just to name a few: Amy Winehouse‘s 

“Rehab” or the ones for Alphabeat, Erasure and I 

“ 

Mistakes 

are the 

best thing 

to make in order to 

really learn 

ways to not do 

things 

and I am a firm 

believer in what 

Albert 

Einstein 

once said, 

“Anyone who has 

never made 

a mistake 

has never tried 

anything new“. 

“ 

could go on and on. Which one is your favourite? 

And is there any artist you would die for if he/she 

would remix one of your songs? 

FRANKMUSIK: My favourite remix would have to be 

my Simon Curtis remix for a song called “Flesh” and I 

would love Todd Edwards to remix one of my songs! 

KALTBLUT: Between 2011 and 2012 you took a 

break from being FRANKMUSIK and surprised us 

with your project Vincent Did It. And some great 

songs. Why that break? And what is the difference 

between those two projects? 

FRANKMUSIK: Vincent Did It was a transitional period 

for me as I walked away from certain music business 

elements and thrust myself into a creative sabbatical to

try and bring some normalcy to my personal life. What I 

ended up realising was that I was positioned wrongly in 

my business life and my rushed and fumbled attempt at 

jumping into leading the “normal” life fell apart within 

the year. If the universe is telling me anything, its that I 

am pretty much here to do music on my terms without 

any distractions. 

KALTBLUT: Your song “Fast as I Can” was released 

independently through digital distribution 

company Tunecore for international release. 

And I like it a lot that you didn’t sell your soul 

and music to the international music business. 

I see you as an independent–free artist. I am 

wrong? And if not how important is that for you 

as an artist to be free? 

117 

FRANKMUSIK: This is an important question as only 

in my last interview I did I finally define myself as a 

“free artist”. I disagree that “independent” is in fact 

the correct term for what I do as I don‘t think that 

anyone is truly independent, as to some degree we 

will all need the help of others along the way. I would 

reserve the word “independent” for the gods. I also no 

longer agree with the “indie” term either as it holds a 

too conscious link to the record label model. I see my 

work to be free of the pressures that coalesce in the 

label system whether it is major of indie. I no longer 

intend to “sell” my music which is my first big change. 

I sell my music of course but that is now only part is a 

much broader structure. Since that is no longer the only 

goal it has freed my mind to see many other avenues 

of where to take my creative ideas and ideals in music 

and business. The goal is to make new ideas and share 

them with people through music, something I feel has 

been lost in music in recent times. If the ideas are good 

then I hope that they will resonate with people enough 

to support me in ways that are still in development. 

Obvious ways are of course extensive touring but in 

more discrete ways I want to strengthen a mind set 

and help enable others to be creative by sharing my 

own experience in a way that allows anyone to engage 

with to reach a similar outcome for themselves, as I 

think anyone is capable of being more creative and I 

think its crucial that more people become creative as 

times are becoming harder to find conventional work. 

Its not a change of attitude that I think will allow people 

to realize more of their own potential but instead what 

is needed is a change in believing what is possible 

and trying to convince someone, or a group of such a 

big, almost cliché statement in an age where free time 

for such thinking is sparse seems like a very large 

undertaking. But it’s an undertaking I intend to embrace

ecause if little old me can crack on doing what I am 

doing then I think anyone can, they just need it explained 

in a way that makes sense to them in the context 

of how they live their own life. Trust me I am not trying 

to tell people how they live their lives, but if there is 

a person who has an interest for furthering personal 

expression then I will be right there as a fierce proponent 

to embrace that sentiment and only encourage the 

belief for that change in someone’s outlook. We need 

people seeing themselves develop skills internally not 

just externally. To have people who feel more able to 

try their hand at more things than they ever thought 

possible is a massive goal that I want to help turn into 

fruition and I hope that my music will offer me the 

platform to expose these new mental processes. 

KALTBLUT: You know very well how to use all the 

social media tools and YouTube to promote your 

sound. How important is the internet world for 

you as a musician? Do you do this all on your 

own? Or is there a team behind you? 

FRANKMUSIK: The internet is like water now. It is part 

of our daily consumption and like water it will be 

managed by those who have the money and power to 

control its massive infrastructure. But just like water it 

can help you live an easier life or you can drown in it. 

118 

It’s all about how you consume and use this commodity 

that will really define what you can gain from it. The 

internet though is only as useful as the people who use 

it either by consuming or contributing to its structure. 

One day the internet will be a new form or layer of 

consciousness that I feel we are all trying to get out 

heads around on a minute by minute basis. New language, 

slang, information and cultures are sprouting 

up everyday from a thing that basically exists within 

the confines of fiberoptic cables and silicone. I myself 

have a massive foothold on my output when it comes to 

social media as I feel these days that it is my opinions 

on subjects that will really engage an audience outside 

of my music. Whether it be in interviews like this or 

in the way I openly ponder on recent events on twitter 

or Facebook. The internet is fast and unforgiving so 

its better to take a long haul approach to it rather than 

fall victim to fads or „viral“ opportune moments as 

just like in reality theses moments are fleeting and 

the ephemeral nature of the internet is something that 

can eat you up and spit you out in no time. I manage 

my internet content for what seems relevant and I try 

not to clog my feeds with a swathe of irrelevance and 

nonsense. But I do like people to have an insight to 

my world but not all of it, as I think that some mystery 

always plays a key role in the human spirits need to 

stay curious; in this case, the fans of what I do. 

KALTBLUT: Let´s go back in time. You are also a 

very good beatboxer. Stage name Mr Mouth. And 

you started performing around 10 years ago. 

Can you tell our readers what you had been doing 

before that? Where is Vincent James Turner 

coming from? 

FRANKMUSIK: Art school and before that boarding 

school. I have a strange life in the schooling system 

being moved from one school to another due to 

“behavior” problems. I see my behavioral problems as 

part of the mechanic that enables me to be able to do 

what I do now. I studied at Central Saint Martins doing 

a foundation in Art & Design, and after a year course I 

went to The London College Of Fashion where I studied 

making women‘s hand bags. I got bored of the daily 

commute from my home town to the university, so I 

gave up. Then music took over full time and has never 

stopped since. 

KALTBLUT: Do you remember your first gig/performance? 

Where was it? And how did the crowd 

welcome you? 

FRANKMUSIK: I have been performing my whole life. 

My mother sent me to poetry recitals from the age of

6 where I have to stand on stage and recite memorised works by famous poets and I 

was judged on my performance, eloquence and diction. Being exposed to ridiculous 

things like that as such an early age I think helped strengthen my ability to perform. 

But for the life of me I cannot tell you when or where I first performed. 

KALTBLUT: Vincent is your real name, but we all know you as FRANKMUSIK. 

Where is the FRANK coming from? And when did you come up with the idea 

or feeling: I wanna make music. I wanna sing!? 

FRANKMUSIK: My grandfather who died in 2004 was called Frank. I named my musical 

act after him. I finished music with the letter “k” as it looked better to me. I slid 

into making music. But I think when I was 17 was when I had the real want to need 

to make music for a living. Singing ion my own work came later as I never thought to 

perform on my own productions. But eventually I came round to the idea and it made 

me realise I could do a whole lot more with my music. I am still learning today the 

craft of singing on my own work. Its a never ending puzzle that always surprises you. 

KALTBLUT: Your home country is England. The mother land of modern pop 

music. Do you have any explanation why you folks are so good at producing 

great pop music? What is your secret? 

FRANKMUSIK: The UK lives in a “fuck you” culture. Or at least we did. Unlike the US, 

the UK has no problem in explaining to you that you are shit or not good enough. The 

US is much more positive and upbeat about people „chasing the dreams“ and all that 

fluffy rubbish. But here in the UK if you manage to survive the criticism and fight your 

way to a place at the top then you have probably had to develop a sound that really 

stood and in a way that pricked the ears of a UK audience that used to be very hard to 

please. These days I feel that attitude is lost due to the never ending supply of talent 

finding TV shows. Everyone feels they know what they want to listen to and everyone 

is a talent judge sitting on their couch. That is not healthy because I feel we had it 

right when we forced the talent of our country to fight against the system and work 

their way to the top by becoming a force to be reckoned with and strive for originality. 

The arts should never be left to „market research“ because art should be showing the 

general public something that challenges their everyday experience. That’s why everyone 

isn‘t artists. The US on the other hand knows how to make a great product as 

the general public are sold the “dream economy”. The UK doesn‘t buy into such drivel 

that’s why during the golden age of the album the UK was producing icons while the 

US was creating great products. 

KALTBLUT: You have worked with some great musicians during the last years. 

Right now with the lovely and talented Cara Salimando. How does this 

happen? And is there one of your personal icons you would love to work 

with? 

FRANKMUSIK: I float through things sometimes. You don’t always need to be out there 

striking deals and hustling. I think if you are putting the right kind of noises out into 

the universe then someday the right kind of noises will be made back to you. Cara 

was one of those noises that chirped back. We were set to work together through an 

old manager connection I had in LA and the rest if history. We worked together for 2 

days and the first day was just spent talking and getting to know each other. The second 

day we wrote our first song together. The experience of her moved me so much 

that I have decided to make my 4th album with her. You see this was jet something 

that came out of the blue and was never planned. But when you meet someone who 

makes you feel like that you are a fool if you don‘t make the most of it. The 4th album 

will be my first concept album and it’s a dream to be able to collaborate with Cara on 

it. Cara is quickly becoming a personal icon for me and she doesn‘t even know it. 

KALTBLUT: I have a wish–yeah I know super silly, but I am a pop music lover: 

Please write a song for Kylie Minogue. I would love to hear her singing 

to your sound. What makes a song into a perfect song? 

FRANKMUSIK: I actually pitched to work on a Kylie record about 4/5 years ago. The 

label said my sound was too edgy. Ah well that’s generally how the cookie crumbles 

with the big acts teams. I am used to it now. Which is fine because I can get my 

hands on the lesser know acts and do what I want with them without having a fearful 

label man breathing down my neck. Awesome. There is no such thing as perfect 

anything though. But the 70‘s band Bread‘s song “If” gets pretty close. 

119 

Album: Between 

Artist: FrankMusic 

Genre: Pop, Electronic, Dance 

Label: VDI USA INC 

Origin: UK 

Out: NOW 

KALTBLUT: Your Top 5 of “The Best Music Albums Of All Time” are: 

FRANKMUSIK: Electric Light Orchestra - Out Of The Blue, Daft Punk - Discovery, Whitney 

Houston - The Bodyguard, The Postal Service - Give Up and Adam F - Circles. 

KALTBLUT: In a few days you will start your US Tour. How are the rehearsals 

going? Are you excited? 

FRANKMUSIK: When it comes to rehearsals we pretty much have been working 

solidly for 3 weeks trying to figure it all out. We got into a live room for a couple of 

days and that really helped join the dots. I am sadly not excited by the prospect of 

the tour yet. I cannot equate what to be excited about as there is so much to take in. 

I know that may sound odd but really I just need to take everyday as it comes. There 

is 145000 miles of driving that my drummer, tech guy and myself are going to have 

to share so that is a daunting thing to asses in itself. I will probably be more excited 

when I have a few shows under my belt but right now I just can‘t even believe it’s 

actually happening. 

KALTBLUT: When and where can we see you live in Berlin? Have you ever 

been here before? 

FRANKMUSIK: I will be planning European dates for later this year and I am sure 

Berlin will be on the list. I have played in Berlin once before but it was a DJ set. I love 

the city as it’s gritty and totally outré. The kind of place I could see myself making an 

album one day entirely inspired by the city itself. 

KALTBLUT: Thanks for taking the time for us and our readers. Good luck with 

the tour and the new album. 

FRANKMUSIK: Many thanks!

oy 

120 

Hell 

Photographer – Fernando Mazza 

Stylists – Mauricio Mariano & Alessandro Lázaro @Abá mgt 

Grooming – Liege Wisniewski @Abá mgt Model – Dieter Truppel @Way Models SP 

Fashion Assistant – Luanda Jabur and Fernanda Fuini Photo Assistant – Leo Mattos 

oy Bfrom Boy B

121 

Coat – Topman 

Overall – Marcelu Ferraz 

Shirt – Aramis

Knit Blouse – HBF 

Turtleneck Sweater – Fórum 

Belt – TVZ 

Ring – Otavio Giora 

Pants – Gant 

122

123 

Coat – Ricardo Almeida 

Shirt – Aramis 

Turtleneck – New Captain 

Leather Pants – João Pimenta 

Rings – Otavio Giora 

Shoes – TNG

Sunglasses – Absurda 

Blouse – Coca-Cola Clothing 

Shirt – Colcci 

Pants – TNG 

124

Blouse – Quicksilver 

Shirt – Colcci 

Turtleneck – New Captain 

Belt – Cholet 

Pants – João Pimenta 

125

126 

Blazer – Daslu Homem 

Shirt – Tommy Hilfiger 

Belt – Lança Perfume 

Skirt – João Pimenta 

Pants – Reserva 

Ring (left hand) – Otavio Giora 

Ring (right hand) – Nádia Gimenes 

Shoes – Christian Louboutin

127 

Jacket – HBF 

Blazer – Cavalera 

Shirt – Aramis 

Necklace – Lança Perfume 

Pants – Daslu Homem 

Ring – Otavio Giora

128 

Trench Coat – VR 

Shirt – Siberian 

Belt worn as a collar – Ferracini 

Tights – Rubinella

Sunglasses – Absurda 

Blouse – Osklen 

Belt – Cholet 

Pants – Coca-Cola Clothing 

Shoes – Christian Louboutin 

129

Bag by Tiger of Sweden 

130 

Kinetics 

Photography by Christian Hagemann 

www.christian-hagemann.com 

Items Selected by Marcel Schlutt

131 

Pure Black by Mutewatch

132 

Cloth and Gloves by Tiger of Sweden

Shoes by Atheist 

133 

R.T.CO Sunglasses

134 

Cufflinks seen at Antique & Vintage Jewellery Oliver Rheinfrank 

iPhone Case by AKKESOIR

135 

iPad Case by AKKESOIR 

R.T.CO Sunglasses

KALTBLUT: Ango The Meek 

Dead...that‘s an unusual name! 

Can you tell us a little more about 

it? 

Ango: I have a strong fascination 

for the dead and the underworld. 

I‘m not a religious person and I 

do not believe in a life after death 

or so… but I do believe that after 

death our beloved ones somehow 

remain with us, somehow. Anyways, 

at the time of the death of 

my grandpa Angelo (I actually 

have his name and surname, 

Angelo Visone), I was in a difficult 

moment of my life…so I had a kind 

of a nervous breakdown. During 

those nights and days I “saw” and 

“heard” my grandpa several times. 

I was not afraid of those visions/ 

dreams/visits. Actually I was happy 

to “have” him still there with 

me. So I started to think about 

our dead as friendly ones. That‘s 

the picture of the meek/friendly/nice 

dead that still are in our 

company. Of course it was “just” 

my mind elaborating the loss, my 

136 

Ango 

The Meek Dead 

www.behance.net/meekdead 

www.meekdead.tumblr.com 

way to deal with the mourning. So 

I keep “The Meek Dead” as acronym. 

“Ango” is a short form for 

“angoscia” (the italian word for 

“anguish”) and “angoscia” is the 

nickname that my best friend Tina 

gave me in 1997…and since then 

I’m Ango. 

KALTBLUT: How did you first get 

into illustration? 

Ango: I’ve always been into illustration, 

character design, underground 

comics, sketchbooks and 

DIY-zines, since art school in my 

teenage years. Making drawings 

has always been “my thing”. I’ve 

been making drawings since forever 

and you will always see me 

doodling around. 

KALTBLUT: If you could describe 

your style in just 3 words... 

Ango: Introspective, disillusioned, 

dirty. 

KALTBLUT: Who is your favourite 


It’s funny how things can happen sometimes. I‘ve known Ango for a couple of years now, we 

even used to work together. I’ve also been familiar with his art since the very beginning. For 

me if was a natural thing to go and ask him to be a part of this very special collection. Just 

look at his drawings and you’ll understand what I mean. What‘s funny is, even if I knew him 

and his artwork, we never really talked about it. Doing this interview with Ango also made 

me discover things about him that I didn‘t know or didn’t expect. Even about his work. And 

that made me appreciate what he does even more. Here’s his story. 

illustrator, your mentor and biggest 

inspiration and why? 

Ango: Woo-hoo babes! This is an 

impossible question to answer. I 

have a huge list. I’ve always been 

into Art and Cinema and Theatre 

and Philosophy. I have a degree 

in Stage Design for Theatre and 

been the personal assistant of my 

Art History teacher at the Univeristy, 

I worked nine years in one 

of the most important art galleries 

in Milano during and after Brera. 

Art is really my “everyday bread” 

as we used to say in italian. My 

list changes every week/month. 

I really have too many names. I 

can only tell you my actual hero 

(which maybe will be defeated by 

someone’s in a few weeks): Osian 

Efnisien. Why? Man have a look 

at his drawings and you will tell 

me! I’m most deeply fond of his 

work. Really I‘m mad for his art. 

He’s fresh, dark, engaging, funny, 

smart… 

(If you really want a name for one 

of my “maestri” since I was a kid

137 

ihr werdet sterben

merimiehellä ei de muuta kotia kuin meri 

138

139 

and then you hazed me

du verlässt mich. du verletzt mich 

140

and still is then I give you Derek Jarman…and Alberto 

Savinio and Peter Greenaway and Giovanni Anselmo 

and Elijah Burgher and Olafur Eliasson and George 

Herriman and…) 

KALTBLUT: The male body and sexuality make up a 

large part of your work as an artist. How and why do 

men inspire you so much? 

Ango: Because I find men (a certain kind of man) sexy 

and they turn me on. If I get excited then I get interested 

and I go deep into studying the matter of my 

interest. Like I do with the male bodies I use in my 

work. 

KALTBLUT: You also added typography to quite a 

number of your drawings. What usually comes first: 

the text or the picture? 

Ango: Not just some of them but in all of them 

[laughs]. Yeah the word is part of the work indeed. 

Always. The text comes within the first three minutes 

I’m holding my pen on the paper. It’s not the first 

thing I put on the paper but it’s there since the beginning 

of the process and appears on the paper early, 

as I told you, within the first three/five minutes. 

KALTBLUT: Speaking of text, you sometimes write in 

English, sometimes in German and even in Finnish 

or in Swedish but never in Italian (your native language). 

Why is that? 

Ango: The text I put in the work is always very intimate 

and personal. I like to use languages that are 

emotional to me, that move me. English is the language 

of my grandpa (he was born and lived in the 

USA in his teenage). German is the language of the 

town that ensconces me, Berlin. Finnish and Swedish 

are the languages of Petri, my husband. Italian is the 

language of a country I hate. I hate some “Italians” 

if you pardon me. There is nothing emotional in that 

language for me, just bitterness and grief. 

KALTBLUT: What is your favourite medium to work 

with? 

Ango: Markers and paper. But I also do photography, 

videos, installations and music, just not as often as 

drawings. 

KALTBLUT: Your work is very colourful, is there any 

meaning behind your use of colour(s)? 

Ango: No. There is no particular meaning. They just 

pop up in my drawings when I started taking 2C-B, 

K and LSD.…and I have a fetish for colour markers, 

[laughs]. 

KALTBLUT: You’ve studied in Milan. And now you 

are living in Berlin. Why did you move to Berlin and 

in what way(s) does the city inspire your work? 

Ango: I ran away from Milano because my life there 

was miserable. I reached a level of spite and sadness 

that was just unbearable for me. So I picked up the 

city where my best friend lives (Tina, yeah that Tina, 

the “ANGOscia” Tina, haha). Berlin gives me a lot of 

free time and ease. My life here is way better than 

there in Milano. 

141 

KALTBLUT: What are, in your opinion, the major 

differences between both cities? 

Ango: Milano is dead, fake, sad, evil and grey. Berlin 

is multiculturally interesting and excites me in so 

many ways. Of course also Berlin has her dark side 

but I can still deal with it and fight it. Milano eats you 

alive. Period. 

KALTBLUT: Your drawings are like stories. Would 

you say that they illustrate experiences that you’ve 

had, or are they more like a fantasy of yours? 

Ango: It’s a mixture of life experiences, desires, 

wishes, assertions, statements, utterances. 

KALTBLUT: What is the message behind your work, 

or the thing that you want to say based on your illustrations? 

Ango: Gimme cock! 

KALTBLUT: You’ve been doing illustrations for quite 

a while now. How would you describe the evolution 

of your work? 

Ango: My drawings now are more colourful. It may 

sound easy and tacky but that’s how it is. My life 

turned better and my drawings turned colourful…and 

drugs here are better then in Milano. 

KALTBLUT: When artwork is related to homosexuality 

it always somehow brings it to a political level. 

Are you an engaged artist? 

Ango: Yes, I am. 

KALTBLUT: How would you describe the queer/gay 

scene in Berlin? 

Ango: I don’t know that much about the gay scene 

here in Berlin. But the queer scene here I like. Queer 

kids here are more radical, and that’s something I 

like. However some queers are very closed-minded 

about some topics (see the Palestinian situation for 

example) but still. Differences are fascinating. 

KALTBLUT: Speaking of the gay scene, do you 

consider yourself as an active member or just as an 

observer? 

Ango: I’m co-founder of the PornFlakes Queer Crew. 

We started in Milano and then continued in the rest 

of the country (with other crews and collectives) in the 

queer scene in the late 90’s! So yeah, I’m an activist 

and I deeply believe in the “queers-bash-back” theory 

and practice. 

KALTBLUT: Based on your extensive experience in 

the field, what piece of advice would you give to budding 

illustrators out there? 

Ango: Draw more. Make more drawings, and more 

and more again. Go around and see art. Visit museums 

and galleries. Go vegan (it’s refreshing for your 

brain and your drawings will be even more beautiful). 

Trade zines. Show your stuff around. Sharing is the 

best way to develop your art. Get involved.

GIGO 

142 

Photography & Art: Irene De La Selva 

Stylist: Fabiana Vardaro @Basics Berlin 

Make up & Hair: Anna Czilinsky using Davines for Wizards 

Model: Max Schubert

143 

Polo / Fred Perry 

Trousers / Wood Wood


Trousers / Wood Wood 

Bomber / Samsøe Samsøe 

144 


Trousers / Wood Wood

145 

This Page: 

Suit / Topman 

Shirt / Ben Sherman 

Handkerchief / Tiger Of Sweden

146 

Shirt / Fred Perry 

Bomber Jacket / Weekday 

Jumper / Lyle & Scott

T Shirt / Adidas SLVR 

Kilt / Stylist‘s own 

Jeans / Cheap Monday 


Trousers / Wood Wood 

147

Jumper / Samsøe Samsøe 

Boxer Short / Sunspel 

Trousers / Cheap Monday 

Boots / Tiger of Sweden 


Jumper / Lyle & Scott 

Trousers / Cheap Monday 

Boots / Tiger of Sweden 

Backpack / Ben Sherman 

148

149 


Jumper / Lyle & Scott

150

151 Ring- Stylist‘s Own

Ring - Marias 

152

153

154

Dress - Stylist‘s Own Customised 

155

Vest - Nicole Van Vuuren 

156

157 

Fin. 

Photographer: Fiona Storey - www.unsignedmanagement.com & www.fistorey.com 

Stylist: Carlos Mangubat - www.unsignedmanagement.com 

Hair & Make Up: Karen Bicchierai - www.unsignedmanagement.com 

Model: Melody - Chadwick Model Management - www.chadwickmodels.com.au 

Beauty Credits: 

Lipstick - Voluptas by Ciccione Cosmetics / Eye Shadow - Metallic Maize by Nars 

with Atlantic Eyeliner Stylo / Sheer Glow Foundation by Nars. 

Hair using Kevin Murphy.

158

159 

This page: Dimitri Spread

TOMMY HILFIGER 

160

161 ETRO

162 

LANVIN 

PRADA

163 LANVIN

DIMITRI SPREAD 

164

165 

GIVENCHY

Into 

166 

Text and illustrations by Marianne Jacquet, www.wrangelkiez.org 

ANY MALE 

but 

& 

How can a human be a male and an animal? 

What distinguishes an animal from a human besides the soul inside of the body? 

A) Language? Dolphins, birds, whales, chimpanzees, they can talk—or at least use a symbolic language. 

What they cannot do is storytelling. In other words they cannot lie! 1 point for the animals! 

B) Art? It might be painful to admit it but chimpanzees can paint quite well, according to zoologist and 

abstract painter Desmond Morris, who trained and observed them in Congo between 1954 and 1964. A 

two-year-old chimpanzee executed more than 400 drawings, his style was described as « Lyrical Abstract 

Impressionism ». Even Pablo Picasso was a fan! 2 points for the animals. 

C) The tools and their use! BURN! Birds and monkeys can use tools too, and on top of which build a roof 

above their heads. 

My answer to « What makes us human or what makes a human a male? » is the fact that WE WEAR 

DESIGNER CLOTHES! 

Starting with the very first piece of fur that primal humans tanned to the VEJA vegetal leather we use 

nowadays (proof of UPDATE) Men get 1 point, finally! Let‘s open an optimistic window from the male 

perspective and combine the different contemporary visions of what makes a man a man and what he or 

she or it shall wear with Mr Bonaparte, Krach der Roboter and Michel Braun.

MR. BONAPARTE 

Also known as Tobias Jundt the hysterical Swiss Berliner lead singer and composer of Bonaparte. 

He is famous for his satirical lyrics and offensive guitar riffs. His last album SORRY WE ARE OPEN has 

lead him on many roads and through different landscapes, aka his long Manana For Ever Tour during 

which he has taken some time to think about human nature for us: 

www.bonaparte.cc 

What makes a man a man? 

The mountain, the desert, the sea and the 

knowledge of the possibility without warranty to have other 

humans by his side. 

What is your man wearing? 

The mountain is wearing a floppy hat of alpine clouds, the desert a sheer 

skirt of simoom, the sea a wooden piercing of an indigo blue rowboat, the 

man/lady is wearing a three-piece suit made of trust. 

MICHEL BRAUN 

167 

KRACH DER ROBOTER 

Also known as Andreas Krach, a half human/half robot noise producer from Berlin who developped a humorous 

mania for foil paper and analog technology. 

www.soundcloud.com/krachderroboter 


Being considerate, reliable and discrete. Honest and peaceful, 

yet capable of offering protection. 


A simple cotton shirt, 1/1 arm, vertical stripes. Top (neck) 

button and wrist buttons left open. 

Philosopher also known as the man who turned Helmut Khol into The Schloß Neuschweinsteiger bar in Neukölln 

(Emser Strasse 122). 


If we start considering the matter of biological sex we have to acknowledge the fact 

that there is respectively strong statistical and empirical evidence of a penis group 

and a vagina group. I personally have to admit that I am somewhat a sucker for 

myths of manliness: often romanticising and glorifying–being a REAL man. In this 

line of reasoning a man doesn‘t have to have a penis, just so that‘s clear. For me a 

man is a very tough and strong rock that nothing can shake unless he allows it to 

shake him. This man is honest and kind, helping and patient and is able and willing 

to take a lot. However, he will not back down if he sees injustice and the strong 

preying on the weak. He will not be a coward and will fight to death if needed. 

That‘s my idea of a man, I guess, quite over the top, I know. This being said, I‘m also 

a bartender and as a bartender my answer is different. What makes a man a man seems 

to be that he consumes more alcohol, that he doesn‘t mind showing up in a bar all by his 

lonesome and that he‘s not always a pleasant customer. Each single person that I threw 

out of the bar was a man. 


I personally suggest suits, I think they‘re manly. More generally speaking I do think that 

a man should dress nicely unless he‘s a warrior who tries to intimidate his enemies. 

I don‘t see any other reason why he would dress like shit...

168 

BLACK CRACKER 

Ellison Renee Glenn aka Black Cracker rocks a swag aesthetic that lies somewhere 

between Dipset and Blackbox. Currently living between Berlin and Lausanne, 

but based professionally out of NYC, he works as a producer, MC and writer 

collaborating with the likes of Cocorosie and Creep, amongst others. But it was a live 

reading of his book of poems: “40oz Elephant”, that really stuck with me. His words 

are filled with passion, clarity and an infectious urgency that reaches deep down 

into the very gut of the human spirit forcing you to take due note and attention and 

question the way you look at the world around you. Read our exclusive publication of his 

works “4th of July” and “Caol lla” to get your first taste of his rich lyrical flavour. 

Travel over to www.blackcracker.tumblr.com/poetry if you're hungry for more.

4th of July 

scars dissolved 

a celebration misinterpret 

blocks of ice become igloo. 

keep staring at the sun 

lilies tiger 

a drop of water within silk. 

169 

diamond buried deep in concrete 

keloid carried 14 carrot 

nothing but sand. 

pigment mirror 

could be constellation 

slants under a ball of dancing light . 

skin is not rubber 

these wall are not brick at all 

spiral whirlwind in a crystalized sky. 

laughter a carousel of broken horse 

a home emmett till 

a tunnel of cigarette carbon. 

taste the steel 

river of savage 

on the tip of tongue. 

styrofoam knees are drug 

twirling zombies designer 

hysterical off steep cliffs. 

separate erosion from wind 

sound from wake 

colide and collapse. 

dissonant tones shatter vein 

although its just conversation 

sip prosecco and smirk. 

a molar bridge 

worms crawling 

skull fractured and cumulous. 

this is the sand 

a cycle of exploding prism in hand 

a celebration of sorts. 

Caol Ila 

don’t know this 

hollow stone 

craved in 

the eyelids 

of diamonds. 

hearts in hand 

broken tongues 

hung 

no longer 

sand. 

timeless 

don’t try this 

at home in the dark 

find shadows 

in drowning smiles . 

laughter surrounding 

inverted eclipses 

clenched fist 

gripping throat 

like bottle. 

broken glass 

broken backs 

broken bodies 

stay stacked 

broken flame. 

refracting flesh 

distracting death 

inside a spiders kiss 

prisms 

and primal. 

gassed up 

pulse 

mashed up 

eyes like pulp 

lies sculpted. 

plaster scratched 

paris burning in lung 

young blood 

hold like bird 

under tongue. 

stay stacked 

a tongue tainted in scotch 

skeleton sing a long 

skull crushed 

just like that.

Photographer: 

Marc Hibbert 

Photographer’s 

Assistant: Liam Prior, 

Morgan Hill-Murphy 

Stylist: Marina German 

Hair: Atsushi Takita 

using Bumble and 

Bumble 

Make Up: 

Julia Wilson 

Models: 

Konan Hanbury 

@Models1 and 

Jazz Jamieson 

@AMCK 

Background Noise 

170 

Konan wears: Trousers KSENIA SCHNAIDER, Top ASSAF REEB, Leather Coat TIM LABENDA Right Page Konan wears: Shirt ALEXIS HOUSDEN

171

172

173 

Left Page Konan wears: Leather Trousers and Jacket ALEXIS HOUSDEN, Leather Hoodie BREAKS Jazz wears: Jacket and Trousers TRINE LINDEGAARD

Jazz wears: Sweatshirt TRINE LINDEGAARD, Trousers ALEXIS HOUSDEN 

174

175 

Konan wears: Coat THE HOUSE OF NINES, Leather Trousers ALEXIS HOUSDEN, Shirt KSENIA SCHNAIDER, Shoes ALEXIS HOUSDEN

176

Left Page Jazz wears: Trousers TIM LABENDA, Jacket and Shoes ALEXIS HOUSDEN 

177 

Konan wears: Outfit ASSAF REEB

178 

Jazz wears: Jacket and Trousers ASSAF REEB, Shirt ALEXIS HOUSDEN

179

TheX 

180 

Insider 

Text and Interview by Maree J Hamilton 

Illustration by Nicolas Simoneau 

Artist and producer Dan Black has 

worked with the likes of Kid Cudi, 

Kanye West, and Mikky Ekko, 

amongst others, and toured 

with Robyn in 2010. His 

highly danceable single, 

“Hearts”, features 

Kelis and comes 

complete with a 

stunning, cinematic 

video that was shot 

over a twentyfour 

hour period. 

KALTBULT 

caught up with 

him to discuss 

songwriting, and 

his much-anticipated 

second solo 

album. 

“This was 

old school, 

two 

people in a 

room, eyeball 

to eyeball, 

writing a song 

together ” 

www.danblacksound.com

KALTBLUT: The first thing I would love to talk about is the song “Hearts” which 

features Kelis. It’s a delightful, bumping track as the kids would say. Dan 

Black: (Laughs) That sounds very street--delightful bumping track. KALT- 

BLUT: How did the collaboration with Kelis come about? Dan Black: I did a 

tour with her and Robyn, but ironically, I met her once for a literal, “Hello!” 

“Hello!” in a corridor. I’m a massive Kelis fan, from her first record really, but 

I didn’t speak to her at all. And then about 6 six months later I got a phone call 

from her management people saying would I like to go and write with her in 

Spain for her album. KALTBLUT: Well, any excuse to go to Spain. Dan Black: 

Well obviously. So I leapt on a plane and went and we wrote an insane 

amount of songs in a very short period of time in her little house she’d rented 

looking out at the sea. And amongst those songs we did was the seed of 

“Hearts.” I particularly liked the song, and I nervously at one point said, 

“Could I maybe keep this for me?” And she said, “Sure! Go for it!” A lot of 

times when people collaborate or have a feature they tend to write a song 

and then send it to an artist and say “Oh, put a verse on it.” But this was old 

school, two people in a room, eyeball to eyeball, writing a song together- 

-which I don’t do a lot, on my own stuff. It’s refreshing. She’s got such a 

distinctive voice, and a lot of times it was just a laptop and a mic and her. 

She’d have the headphones on so I couldn’t hear anything other than her 

singing and it was really like, “Well how did I get here?” It was something 

very special. KALTBLUT: And so your last album was in 2010 in the US and 

2009 in Europe. What’s next? Dan Black: Album two! The last 2 years, since I 

did the first album, I’ve been doing a lot of writing and producing for other 

people which has been quite time consuming. KALTBLUT: Who have you been 

really excited about lately? What’s coming up? Dan Black: I ended up doing a 

bunch of stuff with [Kid] Cudi, and I did a project with Kanye West. I did a 

bunch of stuff with Miky Ekko who’s got a new album coming out. The thing is 

it it keeps making me feel bad about my own talent. I get in these sessions 

with people and when we’re rehearsing there will come a point when they’ll 

be singing and it will just be me listening to them sing without me hearing 

what the music is, which I kinda like. People have got these insane and crazy 

voices. Anyway, all this stuff, but at the same time I’ve been doing my own 

album and that’s been an intense thing. I wrote a lot of it and then scrapped it, 

sort of gradually. KALTBLUT: Kill your darlings. Dan Black: Yeah, kill the ones 

you love. Which is a bit of a nightmare. It’s been an exhaustingly long journey. 

But I write on my own, I do everything on my own. When I’ve been writing 

with all these other people, I suddenly realize how things are so much faster 

because it’s more than one idea, more than one brain. I have to collaborate 

with myself. I do something, I write a melody or a beat or whatever, and I’ll be 

like, “This is really good but I haven’t got the same inspiration for the lyrics or 

all the bits that are missing.” I have to kind of wait ‘till I’m somebody else, and 

then I return to it as this new person and go, “Oh, of course.” Whereas when 

you’re in a room with people, there’s a bunch of different ideas. KALTBLUT: 

Your bio says that you’re an art school drop out--I was curious what the 

transition was like, going from something presumably visual to something 

completely different, like music. Dan Black: I was always doing music at the 

same time, I didn’t stop. I loved art, but by the time it came to, “Well what are 

you gonna do after school age?” I wanted to do music. But I lived in a tiny 

village and I had no money and I knew I needed to move to London to meet 

other musicians and blah blah blah. So I was like, “What can I do that my 

mum and dad would keep financing me living in London for a year?” and then 

I thought, “Art school!” And at first I really liked art school, I was really into it. 

But I always felt a lot of it had to do with how you talked up pieces. I was 

quite good at doing that, I’d come in with objects I’d find walking to the 

college, discarded tires and things, and then invent something, because 

everything’s valid in a way. KALTBLUT: You can baffle them with bullshit. Dan 

Black: I did a lot of that. Anyway, it got to the point where I hadn’t been there 

in like 6 months because at that time I was just in loads and loads and loads 

of bands. KALTBLUT: You’ve spoken towards the differences between 

collaborating with other people and your solo work. Is there anything that you 

miss from your old bands, like The Servant? Dan Black: When I finished The 

Servant I never wanted to work with anyone else again ever. But then by the 

181 

time I’d done my solo album I missed collaborating with people. I want both. I 

work with people when I want to and at the same time, get to be super selfish 

and sit in a room and do whatever I want to. I’m lucky I get to. KALTBLUT: 

Going back to Hearts, the video is quite a visual experience to watch. It felt 

very stop-motion. Dan Black: It was a twenty-four hour shoot using timelapse 

photography. I remember when I was first writing “Hearts” with Kelis it 

made us think of the city sped-up, just in general. That was our leaping off 

point for the lyrics. The anonymous city with people running around, being 

disappointed and giving up, but part of not giving up is the heart going, “No, 

come on, we can still go on,” essentially. To actually get my mouth to synch 

up with the lyrics for the video, I had to sing the song to a camera. We filmed 

that, and then I had a laptop that would show back to me the original footage 

of me singing the song frame by frame. So I’d look at what my mouth was 

doing in frame ten and reproduce it, and then in eleven, and twelve, and so 

on. In the chorus I hold the word “heart” and at that point my mouth is very 

wide. I had to stand there, for like, 10 minutes with my mouth open. It was a 

long, arduous day. But it was much worse for the directors, and one of the 

directors is actually my wife, which may be a clue as to why there is an 

element of suffering in the all the videos. KALTBLUT: Some sort of karma? 

Dan Black: Some sort of subconscious wish on my wife’s part that I should 

suffer to make a video, maybe? But I really like things when you feel you’ve 

earned it, put in work, and then there’s this object at the end. KALTBLUT: Did 

the concept come from the directors or from you? Dan Black: They’d had the 

idea before of doing a human time-lapse thing, but we didn’t really have a 

song that made sense for it. When I wrote this, I said, “We should do that idea 

for this, on a roof, like, in Paris.” I wasn’t deeply involved in the production 

side. I’d say, “I’d love it if it had this in it,” and then they’d have to go off and 

worry about it. Most of the things I do end up being quite protracted. I wrote 

this song with Kelis, and originally there was a sample in there. I approached 

the band when the song was mixed, and they refused us the sample, or it 

could have been their label. So I had to create something that was like the 

sample but not the sample. I spoke to a forensic musicologist, who’s basically 

a legal expert on samples and who can say, “This is too close or this is close.” 

I came up with options and he said which was furthest away and legal, but I 

had to then re-record that and re-mix it. It was a crazy journey. KALTBLUT: 

Are there any music videos that stand out in your mind as something that’s 

really impressed you? Dan Black: The most recent one I thought was just 

brilliant is the MIA “Bad Girls” video. Obviously there’s a massive wow factor 

just from, how the hell are they doing that? But also, it’s an Arabic country 

and it’s got Arabic women, and a mixing of urban culture. It’s just really 

layered and clever and thought-provoking. KALTBLUT: What kind of music do 

you like to listen to get you really pumped up, like for a workout? Dan Black: 

The thing is, I work all day every day on music so it’s really rare, now, that in 

a “recreational” context I’ll put some music on, ‘cause I spend all day 

listening to music. That’s just the nature of the beast. But it depends on my 

mood really. I just absolutely love the new Kanye album, it’s just crazy good. 

It would be kind of a dark workout, but it would certainly be intense. 

KALTBLUT: What are you really excited about that's coming up for you? What 

are you excited to show the world? Dan Black: Finishing this record, that’s 

kind of my main obsession. I always have a stupidly labyrinthine business 

deal in terms of how I put out a record. Some days I’ve got my bowler hat on 

and my briefcase, and I’m trying to be business-headed. Other times I’ve got 

my beret on and my easel up and my palette, and I’m trying to get the 

paintings done. I get why it’s good to have an engineer, a producer, the artist, 

maybe a writer. On the other hand, I let other people do bits, I’m like “No, 

that’s not how I want it.” So I have to sort of bite the bullet and leap off the 

cliff and do it, but it’s fun. It seems like the only way to sort of pull what I do 

out of mediocrity and into something that’s reasonably interesting--that 

super attention to detail, and being amazingly thorough about it. KALTBLUT: 

Expected release date for the new album? Dan Black: Autumn. There’s a 

bunch of red tape to be disentangled. But I think autumn. The fall. KALTBLUT: 

Good things happen in the fall. Dan Black: Yeah I like the fall. I’m gonna get 

that sucker out.

Jacket SOPOPULAR 

182 

Photographer VINCENZO LAERA 

Stylist DENNIS BLYS 

Grooming DIRK NEUHÖFER c/o Nina Klein 

Photo Assistant ANDREAS PALHAG, MICHAEL MOSER 

Model JULIUS GERHARDT c/o The Special 

SOPOPULAR

183 

When we had the idea to do a Male Issue with a focus on menswear I knew immediately which Berlin-based 

fashion brand I would like to introduce you to. SOPOPULAR! Head of design Daniel Blechmann founded his 

label in 2008. 5 years later the menswear label is on the way to be Germany’s most important fashion house 

for menswear. Wearing SOPOPULAR means: classic designs mixed with modern shapes and materials. 

Each collection is offering so many items to wear. When it comes to fashion, I don’t like it too crazy. I love to 

be dressed like a real man. That’s why I always go back to SOPOPULAR. I had a chat with Daniel Blechmann 

about his brand, fashion in Berlin and his autumn/winter collection for 2013-14. Any yes I am a SOPOPULAR 

man. You should be to! 

KALTBLUT: Hello Daniel! Welcome to KALTBLUT and our Male Issue. 

You know I am a big fan of your designs and I own some pieces 

from your collections. What I would like to know first is: what are 

you wearing? Your own designs? Which menswear labels can we 

find in your wardrobe? 

DANIEL: I Like to mix a lot. Of course I wear a lot of my own designs 

but I love to mix them with other brands. When it comes to jeans I 

love ACNE, shoes and accessories I choose Saint Laurent and for 

basics I love COS. 

KALTBLUT: “SOPOPULAR” is the name of your brand. It is a statement, 

I think! What does the name mean to you and why did you 

choose it? 

DANIEL: Honestly it came by accident. I was watching MTV’s 

masters about Nirvana and Kurt Cobain said something like: 

It’s tough to be so popular. I knew immediately that was gonna be 

the name of my brand. 

KALTBLUT: This issue is focused on autumn/winter menswear for 

2013-14. Your collection for this season is offering lots of great 

pieces. How long have you worked on it for? And what was your 

inspiration? 

DANIEL: We worked on it about 3–5 months from the moodboard to 

the samples. For FW13 , SOPOPULAR further embraces its pivotal 

desire to present a crafted sartorial lifestyle , enabling bearers to 

move freely and step into new territories. Imagine a group of urban 

rebels. Loosely inspired by Marlon Brando “The Wild One” and Walter 

Hills “The Warriors” a true “Greaser” film. SOPOPULAR explores 

such social subcultures as an expression of sartorial rebellion. 

The collection is structured around blazers, fitted pants, lush tees, 

crafted and layered shirts. The line fosters a muted colour palette 

of blacks, greys different greens combined with lace and prints 

detailing, in tune with the rough yet eclectic embodiment of urban 

styles. 

KALTBLUT: “The Wild One” is the name for this collection. But to be 

honest I don’t see you and your collection as wild. For me you are 

transporting classic menswear into modern times. How do you 

describe your own style? 

DANIEL: Very eclectic! I like to mix different styles. Right now I love 

jeans with a jacket a T-shirt and some high fashion shoes. 

Interview by Marcel Schlutt 

KALTBLUT: What kind of materials did you use for this 

collection? And what is your favourite fabric to work with? 

DANIEL: My favourite material is cotton, I also like leather and 

jersey and merino wool for knitted garments. 

KALTBLUT: Looking at your look books or presentations during 

fashion week we can see you have a great taste when it comes 

to your models. What does the perfect man for your designs look 

like? 

DANIEL: The perfect guy would be my favourite model Cole Mohr. 

KALTBLUT: Which public figures would you most like to wear your 

clothes? 

DANIEL: Jared Leto from “30 Seconds To Mars” and the bands Muse 

and Arctic Monkeys. 

KALTBLUT: Why menswear and not for the girls? Are there any 

plans to do womenswear one day? 

DANIEL: Never say never, but for now it is definitely not planned. I 

think you have to be perfect in that segment before you can start 

with something else. 

KALTBLUT: You are based in Berlin. And when it comes down to 

menswear you have a leading part here in town. The typical Berlin 

style, what is this for you? 

DANIEL: That’s hard to grasp. I think Berlin is totally influenced by 

Scandinavian Fashion. The good thing is that in Berlin there are so 

many different styles like London 10 years ago which makes it so 

cool. 

KALTBLUT: A lot of fashion labels are leaving Berlin or Germany to 

become successful with their work. Why do you stay here? 

DANIEL: I didn’t realise that, I understood that a lot of designers 

come to Berlin as here you have the chance to develop yourself in 

a good way. Berlin is still growing and has a lot of potential so it’s a 

good time to be involved in the movement. 

Of course I would love to be in London with my brand but it would 

be 10 times more expensive which for a small brand like us is just 

not possible.

Pants SOPOPULAR, Boots GIVENCHY 

184 

„ 

For my parents 

fashion 

was not an 

option 

so 

I had to 

study something 

they could 

live with. 

“

Coat SOPOPULAR, Shirt 5PREVIEW, Belt SOPOPULAR, 

Pants SOPOPULAR, Boots GIVENCHY 

185

186 

KALTBLUT: What we miss in Germany is young, 

talented fashion designers getting 

government support or pushed forward by 

major magazines. What's your experiences in 

that field? 

DANIEL: Yes it is hard but also this is changing: 

we just made the second place at the 

SYFB award which is one of the biggest in 

Germany but unfortunately only for Berlin 

designers, I think. Also we had to compete 

against womenswear labels which is strange 

because it is compelety different. I think the 

bigger problem is not the magazines it is 

about the buyers they rather buy a safe Scandinavian 

brand than to push a local brand. 

KALTBLUT: Do you think the Berlin Fashion 

Week is on an exciting path or is it more a 

boring event that no one really needs? You 

show your collections each year. Is it helping 

you to sell more? 

DANIEL: To sell more you need also the attention 

of the press. I think the Berlin Fashion 

Week is at least a good way to start promoting 

your brand. 

KALTBLUT: Where can we buy your clothes? 

I know you have an online store. In which city 

and stores is SOPOPULAR available? 

DANIEL: SOPOPULAR is available in Paris, 

London, Hong Kong, Germany, Austria and so 

on. I don’t wanna mention shops here cause 

then I would have to mention all of them 

otherwise somebody would feel left out. 

KALTBLUT: Let’s go back in time a little bit. You 

were born in the 1970’s in Israel but you grew 

up in Berlin. And during the 1990’s you moved 

to London, where you graduated from 

Richmond University, with a bachelor in Interior 

Design. How was it growing up in West 

Berlin in the 1980’s? 

DANIEL: It was really good . The 80’s were 

really cool–by the end of the decade there 

was a new street culture in Germany and my 

friend and I were fixed on Hip Hop, graffiti, 

skateboards, breakdancing and so on. Also 

the fashion which came with it was great. 

KALTBLUT: Then you moved during the 90’s 

to London, one of my favourite cities in the 

world, to study Interior Design. I am confused. 

Fashion was not your first passion? 

www.sopopular.net 

DANIEL: London is also my favourite city in 

the world besides Berlin. No, for my parents 

fashion was not an option so I had to study 

something they could live with. 

KALTBLUT: When did you find out that fashion 

was your thing? Was in London or in Berlin? 

Was there a special moment which pushed 

you in this direction? 

DANIEL: I think I already knew fashion was 

my thing when I was really young. Probably 

at the age of 10. My mother always loved fashion 

and she loved to dress me up. The first 

fashion thing which stuck in my mind was a 

shirt with a John Wayne colour, that’s how it 

was called back than. 

KALTBLUT: In 2000 you worked as a stylist for 

a couple of years. How has that time impacted 

on you as a fashion designer? 

DANIEL: It is really helpful in terms of putting 

an outfit together. I love to design in a way that 

mostly everything within a collection can be 

mixed. 

KALTBLUT: Can you remember the first piece 

you ever designed? What was it? And who 

was the lucky person you made it for? 

DANIEL: It was a pair of dip-dyed jeans and I 

made them for myself. 

KALTBLUT: Some weeks ago I saw your collection 

for spring/summer 2014. The name is 

”Black Hole Sun“ and I am in love with it. What 

can our readers expect from you for the next 

summer season? 

DANIEL: It depends, I really can’t tell yet 

because all my concentration will be on the 

next winter collection AW 14/15 . 

KALTBLUT: Can you name 3 "must have" items 

for a young city guy for this winter season? 

DANIEL: A nice bomber or college jacket. 

Brogue boots and a nice pair of jeans. 

KALTBLUT: Thanks for the interview and letting 

us produce a great editorial with your winter 

collection. All the best for the future: I will 

always be a SOPOPULAR man! 

DANIEL: Thanks for your support and keep up 

the good work with your magazine.

187 

Jacket SOPOPULAR, Underwear MODELS OWN

188

189 

Hat MADS DINESEN, Jacket SOPOPULAR, Belt SOPOPULAR

Jacket SOPOPULAR, Belt SOPOPULAR, Pants SOPOPULAR, Boots STYLIST OWN 

190

191 

Jacket SOPOPULAR, Shirt SOPOPULAR, Pants SADAK, Boots GIVENCHY

192

193 

Pierre et Gilles

194 

Everyone knows or at least should know Pierre et Gilles. And that is because 

it’s not possible that you never came across one of their magical 

pictures and also because once you see one it will stick in your mind and 

unconscious for good. Photographing and painting, they have worked 

with names such as Marilyn Manson, CocoRosie, Catherine Deneuve, Andy Warhol, 

and of course Jean Paul Gaultier, Thierry Mugler, Mikado and even Absolut 

Vodka. Whoever has had the luck of posing for them is transformed into a work of 

art with life of its own. Working together for over 30 years now, they still remain 

breathtaking and bold, while constantly reinventing their signature art that has become 

a major source of inspiration for all sorts of artists and creatives in cinema, 

photography, painting and fashion. Much has been written about them and much 

more is still to be written. 

Pierre, the photographer, was born in La-Roche-sur-Yon. Gilles, the painter, was 

born in Le Havre, where he also got his degree in Fine Arts, while Pierre was studying 

in Geneva. In 1976, they had both already moved to Paris and finally met. 

Before this crucial point, Pierre was taking fashion photographs for magazines and 

Gilles was working on illustration. And then, the two talented and visionary artists 

became lovers and also started working together, as Pierre et Gilles: Pierre shot 

and Gilles painted on. And remember all this was long before Photoshop. Some 

of their first work was done for Façade Magazine, an underground magazine that 

grew to some cult status eventually and launched the couple’s careers. High profile 

models (such as Iggy Pop and Mick Jagger) and campaigns followed, and in 1982 

came there first group show, to be followed by a solo show in 1983. Pierre et Gilles 

was a name in its own right. A name that survived the magazine explosion of the 

90’s, and the internet era of today. They stand as strong as ever. 

If you have been wondering on how they work, because we have, here is a little 

insight, which surely isn’t enough to explain the brilliance of their finished pieces, 

but still interesting. First they come up with a draft together, a premature sketch 

of the idea they want to work on. Then comes all the set designing, which they do 

by themselves, what backgrounds they will need, props, accessories. Keep in mind 

that many of the items used come from their own collection, from trips they have 

been on, like a very inspiring trip to India in their earlier days. The models eventual 

look, including hair–make up–costumes, is also all their ideas, sometimes brought 

to life with the help of the best in the field. Then Pierre shoots the photograph and 

next Gilles comes in to paint layers upon layers to create the unique Pierre et Gilles 

effect that no Photoshop genius can come even close to. Finally, even the frame is 

selected by the artists themselves to really complete this little strange world every 

picture represents. 

Naturally, not only the process and the co-operation is what sets this duo apart. 

It’s their themes, their aesthetics, the realisation of their world that’s inimitable. In 

their work everything melts together to create a new cosmos. The camp, the kitch, 

pop culture, all sorts of different cultures actually, classic art elements, nudity, fame, 

homoeroticism, grace, glamour, darkness, mysticism, religion, myths, commercialism, 

high art, incredible skills. All this, creating one image, it can be nothing but 

a Pierre et Gilles image. An image from another star yet so strongly speaking to us 

humans, creating new icons, very surreal and very wrong, yet so seductive and so 

right at the same time. 

If you want more of Pierre et Gilles, and you surely do, you will surely appreciate 

their latest book: “Derrière l’objectif de Pierre et Gilles” published by Hoebeke 

editions. Apart from the magic you expect, you also get some insight regarding the 

backstage and creation of some of their photographs. 

Text By Amanda M. Jansson and Emma Elina Keira Jones

195

196 

Opening Page: © Pierre et Gilles: Ganymède , tryptique part 3, 2000. Second Page: © Pierre et Gilles: Le garçon attaché. 

This Page Left: © Pierre et Gilles: Les amoureux , 1998. This Page Right: © Pierre et Gilles: Le petit communiste, 1990.

197

My top 

5 

These New Yorkers are sort of the odd ones out in this Top 

5, because they’re not ‘men’ per-se, they’re just “people who 

make [great] music”. And failing to mention MEN in an issue 

dedicated to men would have been a major crime as well as 

gross misconduct (I would have had to fire myself). 

I fell in love with JD Samson (of Le Tigre) and MEN a couple 

of years ago. Their insanely danceable tracks would be hard to 

miss anyway (Simultaneously? Credit Card Babie$? Anyone??) 

Plus, they stand for something (really!) which is more than 

most can say nowadays. 

Love, sex, freedom, identity…they always tell it like it is, no labels, 

no judgments and that’s what I like most about them. This 

and the fact they’re not afraid to take a stand when it comes to 

the LGBTQ community and to everyone’s God given right to be 

who they want to be and do whatever the hell they want with 

their life. If you have 5 minutes and 27 seconds to spare, be 

sure to watch “Let Them Out Or Let Me In” a music video they 

made to show their support to the Pussy Riot movement. 

So “Pick your head up don’t look back / Cuz today the world 

has changed”… MEN are here! 

Selected by Bénédicte Lelong 

Who usually comes to mind? Bowie, Hendrix, MJ, Lennon and Freddie Mercury amongst others…right? 

Legends–built into our collective memory and indisputable makers of classics. But releasing a Top 5 with these men 

would be playing it safe. And here at KALTBLUT we don’t like to play it safe. Besides, it would be way too easy and, 

let’s be honest, BORING AS HELL (for us, and for you). 

In the end, with male composers, musicians, singers or DJs it isn’t about the chiseled jaw, the tight abs, the physique 

or even the designer clothes. In the end it’s all about the ability to push you to the edge with just one note, one beat, 

one arrangement, one track. It’s all about the build-up, those chills down your spine on your way to (musical) 7th 

heaven when you connect to a particular piece of music, whether it be physically or emotionally. 

Ain’t no point in being a man in music if you can’t give your audience (male, female or otherwise) a mind-blowing, 

earth-shattering eargasm… am I right or am I right? That’s what the male touch in music is all about, isn’t it? We want 

strength, power, intensity, beauty. 

If and when it’s done right, the reaction is almost immediate and organic: it’s that moment when you close your eyes 

and you forget who you are, where you are or why you are. You get lost. Thirty seconds is all it takes. Thirty seconds 

of carefully arranged bass and drums, with no lyrics at all, can easily do the trick. 

Ever played the island game? You know the one where someone asks you what you’d bring if you were stuck for the 

rest of eternity on a deserted island somewhere? Well, these guys are IT for me. All I need is an MP3 player chock 

full of their music and I’m good to go. So without further ado, here it is. The List. My Top 5. My Men. 

1. 2. 

Men 

MIAMI NIGHTS 1984 

At the risk of sounding like a broken record, Canadians do indeed do 

it better. Miami Nights 1984 is, surprisingly enough, Mike Glover, a 

Canadian. Think cheesy Miami Vice era postcard, complete with palm 

trees, bikini-clad bodies, bright orange sun, high powered cars with bold 

paint and gleaming chrome. Synth-pop heavy soundtrack NOT AN 

OPTION. 

Let’s put it that way: Glover filled a void in my existence. I always knew 

I was born with a missing piece that alone accounts for my weird 70’s 

and 80’s nostalgia. I have been obsessed for many, many years with 

American TV shows like Hunter and Miami Vice. The general aesthetics, 

the pants, the cars, the ‘dos, the hairy chests, the ‘staches... Sometimes I 

just wish I had been born a decade earlier. 

And so each and every time I listen to one of Glover’s tracks, magic 

happens. I feel utter love for this guy’s ability to take me back to this particular 

time and place. And that in itself is a beautiful thing. His music 

is like a drug to me, only without the brutal comedown. 

I’ll go ahead and assume that you’ve seen Drive. AND that you’ve loved 

the soundtrack. Miami Nights 1984 is like…a never ending Nightcall. 

Mind-blowing musical epicness.

3. BOMBS & 

If ‘sexual’ music was a genre, surely Bombs 

& Bottlesm—the nom de scène of Harrison 

Zafrin—a 23-year-old electronic music producer 

and DJ from Brooklyn, would be right 

up there with Marvin Gaye and Phil Collins. 

BOTTLES 

Bombs & Bottles will get you all hot and 

bothered in a matter of seconds, ready to hit 

the clubs, party all night long and much 

more. Let’s say it will put you in the mood. 

Zafrin formed Bombs & Bottles while still in 

college and dropped his first LP, Pop & Roll, 

in 2010. He produces and sings vocals on all 

his tracks, which is, for me at least, a small 

detail that makes a big a difference. He’s 

confident enough (as he should be) not to use 

and abuse samples. I say bravo. 

As far as DJ-ing is concerned, I got fed up 

with Guetta and Tiesto pretty early on. I was 

looking for something different, less commercial 

but with a little more heart (and spunk). 

A couple of personal favorites that I suspect 

will make a B&B convert out of you: Klub, 

When The Lights Go Out and I Will Take You 

There. A word of warning: ladies, I won’t be 

held responsible in case of accidental ovary 

implosion. 

199 

4. PHILIP GLASS 

Even though you might not be familiar 

with his entire body of work (which 

is, no lying, as long as my arm), you 

have to have heard of Philip Glass at 

least once–especially if you go to the 

movies or watch TV fairly regularly. 

If not, well… I’ll have to assume that 

you’re either a Martian or a cave(wo) 

man (sh*t happens). 

However, it’s never too late to catch 

up. The Hours, House MD, The 

Watchmen to name a few…With the 

Philip Glass Ensemble which he 

founded or on his own, Glass, a selfdescribed 

‘classicist’, is basically our 

generation’s Mozart. This madly prolific, 

music-maker of genius was nominated 

for several Academy Awards 

and his pieces will make your mind go 

to places you never even knew existed. 

Some of them might even make 

you cry uncontrollably. Don’t believe 

me? Try “The Poet Acts” off his score 

for The Hours. Sob fest. 

So sure, Glass might not move like 

Jagger but his creations will tug at 

your heart strings in just the right 

amount. As far as men in music go, 

he’s one of the most influential contemporary 

composers we have. 

5. 

Music is, in many ways, just like film. Ultimately, 

what you’re looking for in a song, 

an album or an artist is an escape route. 

You’re looking to escape from your daily 

routine, the stress, the noise, life’s many 

uncertainties and inevitable disappointments. 

The beautiful thing with Bonobo’s 

ambient/downtempo music is that it can 

so easily become the soundtrack to your 

existence. 

BONOBO 

Listening to Bonobo, a Britrish music 

producer and DJ, opened me up to a whole 

new world of musical experiences. Like his 

remix of Amon Tobin’s Easy Muffin (who by 

the way missed my Top 5 by a hair), a track 

which I could be listening to for hours on 

end. 

Music is an experiment, whether you’re the 

artist or the listener. It’s also like a window. 

All you ever have to do is open it. Terrapin, 

Silver, Flutter, his tracks featuring Bajka… 

once you get a taste of Bonobo’s chilled 

beats, there will be NO turning back. Musically 

he is one of the best things that’s ever 

happened to me. Bar none.

Boys+ 

200 

In recent years, the trend of 

getting tattoos has become 

more and more popular among 

young people. At least in my 

native city (Nikolaev, Ukraine). 

As lots of young people don’t 

have enough money, a lot of 

Text 

them practice getting their 

tattoos at a friend – master’s 

home at a low price. I get the 

feeling that now every second 

person has got a tattoo. It’s 

possible that soon those who 

don’t have patterns or inscriptions 

on their body will stand 

out from the crowd more than 

those who have them. When 

my close friends started to 

show me their first, and then 

the next tattoos that they have 

gotten “at the apartment of the 

dude”, I realised that I couldn’t 

leave it just like that. But at 

once I knew that I wasn’t going 

to photograph guys with welldone 

and high quality tattoos 

- it’s not for me. I decided that 

I would do a project about the 

cheap, funny and trash ones. 

With the help of my friends, I 

started finding different guys, 

taking pictures of their tattoos 

and short interviews. I was 

interested in finding out what 

influenced the choice of the 

sketch, how did they make a 

decision and in what conditions 

it was happening. Their 

stories have surpassed all 

expectations. 

Their 

Tattoos 

Boy#1 

My name is Anikey. I am 19 years old. I am a student 

–financier. I work as an assistant of cashier 

at a local fast-food restaurant. I want to talk about 

the tattoo “Woman-swimmer” on my left hand. It all 

started when I got money for an article written for a 

city magazine. At once I bought “Jägermeister” and 

went to a tattoo-master. He already had a client. Basically, 

the three of us drank this bottle, but it was not 

enough for us and we went to buy some beer. We 

drank more and being already drunk I decided to get 

a tattoo. I was choosing for a long time and settled 

on this one. It seems to look stylish and cool, the 

woman with impressive tits and her legs are really 

nice. Most importantly–I sobered up immediately, as 

it was done. In total, I have 14 tattoos: three on the 

feet, two on the hips and nine on the hands. Half of 

them I did being drunk, but before, I was 100% sure 

of the sketch I wanted. 

and Photos by Sergey Melnitchenko

201 

My name is Andrew. I’m 24 years old. I studied as the assistant to 

the machinist, but I earn a living doing tattoos. On my body there 

is a total of around 15 tattoos, but I want to tell you about one 

particularly. A long time ago I made myself a profile of a woman 

on the leg, which wasn’t dedicated to anybody. This winter I met 

a girl from St. Petersburg and started to communicate with her 

via Skype. I liked her very much so I decided to devote a tattoo 

to her. I signed a picture of that girl with her name - Marina. Soon 

after, I came to her to Russia. Marina was very pleased that I got 

myself her name tattooed. We began a relationship, and I really 

want to move in with her. All my tattoos I do not deliberately, I 

don’t like to bear any ideas. I don’t take it with special seriousness. 

For me it‘s just a memory of some moments of life. Most of 

my tattoos I did by myself, only some small of them were made 

by my drunk friends. 

Boy#3 

Boy#2 

My name is Ruslan. I‘m 19. I graduated from the Medical 

College, currently working in a bacteriological 

laboratory. A year ago, I got my first tattoo (the inscription 

«SS» on the hands). The idea to do it came to me 

under the influence of light drugs. We were sitting with 

friends in an abandoned school and being stoned I 

felt as if the Nazis bombed the school, which we were 

in. After a while, when I came back to normal state, I 

called the master, and three hours later this inscription 

was made. The sketch of a second tattoo (Satan on the chest) I also came up with 

being under the influence of drugs. I wanted to have such a tattoo immediately, but 

did it more consciously, on a bright mind. For a while I doubted the correctness of my 

choice, but honestly, right now I have no regrets at all.

My name is Daniel, I’m 22. I work as 

a call-center operator in a company 

which provides Internet services 

and digital television. My first tattoo 

I decided to get while being under 

strong alcoholic intoxication, after a 

corporate party at work. I and several 

of my friends came to the tattoomaster’s 

home. I didn’t know what 

I wanted, I just wanted a tattoo. I 

started watching different sketches 

on the internet but I felt very bad, I 

felt sick, so I chose almost the first 

available image and told the master 

to do it. At that moment I didn’t 

care. I began to follow such a principle 

and all following tattoos I get 

only when I’m absolutely shit drunk. 

I come in drunk and pick any random 

sketch. For now I have 9 tattoos, 

but it’s just a start. I like this 

style, I think it’s right for me. The 

first tattoos looked like prison ones, 

such as crosses, heads, cut off fingers. 

I thought it was too vulgar, so 

I decided to add some love: bears, 

Batman in gases of happiness and 

other. 

202 

Boy#4

203 

Boy#5 

My name is Semyon. I’m 18 years old. I work as a sales representative 

in a company that sells household products. There are 

68 tattoos on my body at the moment. A lot of tattoos on my left 

leg from the knee to the ankle were made when I was drunk. 

Some of them were made by tattoo-masters, some by me, and 

there are even some tattoos that my friends did, holding a homemade 

machine for the first time in their lives. A few masters have 

trained on me, when they were starting their careers. I dedicate 

my tattoos to nothing and nobody except the one on the right 

foot - the cat and the number “13”. I dedicated it to my relationship 

with my girlfriend. It symbolises the day we met, and it’s our pair 

tattoo, she has the same one. In most cases, it’s just the memory 

about some parties, hangouts, movements. The whole left foot is 

covered in small tattoos. I made them myself, being under strong 

alcoholic intoxication, at the time of a stressful situation. On the 

left hand, between the tattoos, I have 1020 dots. I remembered 

this number very well, because after three hours of work over my 

sleeve tattoo, dots were really painful, so every time the needle 

touched me I shouted the number of the dot. By the way, it was 

two in the morning. How do my relatives accept such a hobby? 

My mother got used to it, sometimes she even asks me if I got 

something new, and asks to show her. Father doesn’t live with us, 

he doesn’t even know.

204

205

206

207 

Rubber 

Coiffure 

Photography by Bernhard Musil 

www.be-musil.com 

Latex Wigs & Headpieces by Silvio Hauke 

Jewellery by Perlensäue 

Models are Martin @himself 

Fritz @Mega Model Agency 

Make up by Tania Henning 

www.tanja-henning.de

208

209

210

211

212 

Photography - Angela Raab - www.angelaraab.de 

Styling - Rinat Welsing - www.rinatwelsing.com 

Hair & Make up - Kristina Wagener @ Agentur Nina Klein 

www.ninaklein.com 

Models: Anabelle @ IZAIO Management - www.izaio.de 

Wiktor @ HORE Models - www.horemodels.com 

Ilya @ HORE Models - www.horemodels.com 

Him: 

Sweatpants - Julian Zigerli 

Longsleeve - Minimum 

Sneakers - Adidas 

Her: 

T-shirt - Julian Zigerli 

Bomber jacket - Alpha Industries 

Leggings - Maison Scotch 

Boots - Buffalo

T-shirt - Julian Zigerli 

Bomber jacket - Alpha Industries 

213

214 

Cap - Skulls Brooklyn 

Shirt - Nike 

Jacket - Rocawear 

Pants - Levi´s 

Shoes - Dockers

215 

Jacket - Levi´s 

Sweater - Obey 

Pants - Lee

216 

Him: 

Coat - Julian Zigerli 

Pants - Lee 

Her: 

Cap - KR3W 

Blouse - Acne 

Skirt - Patrizia Pepe

217 

Cap - Skulls Brooklyn 

T-shirt - Rocawear

Jacket - Gaastra 

Galaxy Leggings - Even & Odd 

Shoes - Dockers 

218

219 

Jacket - Julian Zigerli 

Sweatpants - Julian Zigerli 

Shirt - Joop 

Backpack - Julian Zigerli

220

221 

Hernán Marina is an accomplished artist. I discovered his work, or should I say 

part of his work, on the web. And I was so excited when I saw the rest of it. 

This Argentinian contemporary artist loves to play with materials and is always 

willing to look for new things, constantly challenging himself without ever being 

afraid of exploring the unknown. From illustrations to sculpture or neon work, 

Hernán always finds a way to express his vision the way he wants to. The results 

can be suprising: a book or a gigantic construction, you never know what he is 

going to do next. He is passionate about what he does, and you can totally feel it 

when you talk to him. Without further ado, I present you the artist. 

KALTBLUT: Can you start off by telling us a little 

bit about yourself? 

HERNáN: Just a 45 year old guy. Visual artist, born 

and raised in Buenos Aires, Argentina. Southern 

Cone. My academic background doesn’t come from 

visual arts but from social sciences. I studied arts in 

different studios. Actually, I am a sociologist. I became 

a professional visual artist in my early thirties. 

KALTBLUT: How do you realise these male silhouettes 

and sculptures? (the white ones in particular, 

is there a special name for them?) 

HERNáN: They are made in carved wood. Then they 

are painted with white lacquer. I draw them, then 

they are carved. I like the idea of the outline. The silhouette 

is a metaphor about how body becomes an 

abstraction. I use aluminium or iron for large scale 

pieces, or for projects in the open spaces. 

In general, they call them “divers” or “gymnasts”. 

Their names are quite common: “diver number 1”, 

“exercise with balls”, etc.. 

KALTBLUT: Do you consider yourself more of a 

sculptor or more of a product designer? 

HERNáN: I consider myself a visual artist. That is 

the field where I feel I belong. I work in my studio, I 

have people who work with me, I work and show my 

work in galleries, art museums, open studios, etc.. 

As many other artists, in some projects I use neon, 

prints, MDF, I work with my computer. But I also 

make ink drawings on cotton paper. It depends on 

the project. Even if I define myself as an artist with 

a quite conceptual approach, I am very interested in 

sculpture. As a matter of fact, some of my largest 

projects have been related to figurative sculpture. 

KALTBLUT: Sometime ago you had your work exposed 

in the MALBA museum in Buenos Aires for 

the exhibition “Colossus” and the piece really was 

huge. How did you go about creating it? What was 

the dimension of it in the end? 

HERNáN: It was a very interesting process from 

the beginning. I had had a previous show at Museo 

de Arte Moderno in Buenos Aires (Men’s Health). 

That show was my first experience with large scale 

pieces. I had been working with gymnasts and men 

developing physical activities, also about health 


care. They asked me to make an intervention at 

Malba, and I came up with this idea of the Colossus. 

In Ancient Greece, Colossuses were used to represents 

gods: Immortal, incorruptible, extraordinary 

people. This new Colossus was just the opposite: an 

ordinary guy making push ups. He is just wearing a 

jogging suite, with no recognisable gestures or characteristics 

on his face. He is just doing lots of effort 

to stay there. If he can’t stand in that position, he 

falls. I also liked the idea of putting it in its definite 

location. It was an ode to the Colossus of Rhodes: 

all the ships had to enter the port by passing under 

the golden giant. Now you had to walk below the 

Colossus in order to enter the museum galleries. The 

Colossus finally was 5.6 meters high and 10 meters 

long. The process of making and hanging it was very 

difficult. I had the opportunity to work with engineers, 

architects, industrial designers…There was a 

huge amount of people involved in that project. 

KALTBLUT: You have published a book called “Die 

Deutsche Reihe”. Why did you choose to write it 

in German? and what was the purpose behind the 

project? 

HERNáN: I like using language in different series. 

I believe language is strongly linked to the conceptual 

framework that makes some ideas and ways 

of seeing things possible. My early work, based on 

corporate culture, was called “Beyond Standard”. 

A film I made about opera was called “Le Partenaire”. 

I had a French speaker talking and telling 

the story of a fake concert at Opera Garnier in 1958, 

where I sing duets with Callas. It was like a game 

about high and low culture, recapturing old fashioned 

codes taken from the operatic conventions. 

And then it came “Die Deutsche Reihe”. 

Between 2009 and 2010 I was living in Berlin for 

a few months. I got quite impressed by sadomasochism 

and the violent forms sexuality may assume. 

The aesthetics, the overarching theme of domination 

and submission, etc. It was quite shocking for 

me seeing that, and also seeing people wearing 

military uniforms, boots, and talking in German. I 

made a series of drawings based on my memories 

and representations of that sexual culture. I chose a 

kind of ink drawing that somehow corresponded with 

engravings from the XIX Century, a modulated line 

you can generate only by using an old pen or a delicate 

or calligraphic brush. That fit with the second 

element: typography.

I found the many layers of culture that are somehow still 

present in Berlin nowadays interesting (the German Empire, the 

national socialist period, the division of the city, the union and 

reconstruction). I liked all the old Gothic German typography 

(Fruktur), that still appears in many train and subway stations 

and even old signs. I had preconception that all the German past 

before the war had gone, and it wasn’t that way. 

The third element of this work was the text. The sentences that 

appear in the book talk about following a master, becoming greater 

through humiliation, etc... They were literally taken from old 

spiritual eastern traditions (mainly Taoism). 

I liked the idea of combining images from this specific sexuality, 

German gothic typography and those “spiritual” texts. In that 

particular case, the relationship between typography, text and 

image is quite complex and unusual. I guess it is what creates a 

specific atmosphere I wanted to stress. 

The book was the result of this combination. I guess art comes 

from the connection of different chains of atoms, like in chemistry. 

When they combine, a new chain arises, and new levels 

of meaning with it. The books started as series of drawings and 

prints. A local editor told me about the idea of a book. He saw 

the first drawings in my studio and he thought they were great 

for a book format; that is how the book started as a project. It is 

the only series of my work that hasn’t still been entirely showed 

in a museum or in a gallery. Nevertheless, I think the book is a 

wonderful way of showing that series. 

KALTBLUT: I actually noticed that your light work of the two 

men hugging is the last picture in the book. Why did you choose 

to create this image as a light work? 

HERNáN: Neon glass is a very delicate but powerful material. 

The tubes are very fragile but the colour interferes depending on 

where you place it. That drawing was very simplistic. There was 

no text, just two men hugging. The light had to come, and it came. 

I should also say that this particular drawing was previous to 

the rest of the series. I wasn’t actually thinking of “Die Deutsche 

Reihe” when I drew it. 

KALTBLUT: What does it take to create such a piece? 

HERNáN: The first moment is the drawing itself. I used to work 

with the computer, I also made sketches by hand. After the original 

version I made it in ink on cotton paper, and also a series of 

prints. Due to the very simple nature of the drawing, I figured out 

that neon would be a good material for it. That was how it came 

about. 

KALTBLUT: Your silhouettes are all of men, can you explain us 

why you choose that? What does the male figure mean for you, 

or how does it inspire your work so much? 

HERNáN: My first works are not all of men. I started working 

with corporate diagrams and then with info-graphics (graphics 

that used to appear in newspapers and printed media) about tragedies 

and accidents in Buenos Aires (“Buenos Aires by Night”). 

It was a project about violence and how media represents it. My 

present works include representations of men and women, and I 

also made a film about the relationship of a man and a woman. I 

also plan to make a kind of biopic film about the relationship between 

a visual artist (me) and a female curator. Having said that, 

I guess my work has a more general approach but also an intimate 

one. Even when I try to involve more people, the work is also 

self referential. The fact of being a gay man is not a minor issue. 

But it is not the only thing that appears, I guess. With sexuality 

comes power, domination, violence, representation, humour, and 

different elements that somehow are present in my work. 

222 

Opening Page: “Abrazo (turquesa)” (Hug, Turquoise). 

Neon tubes (9 mm). 92 x 97 cm. 2012. 

This page Top: “Coloso” (Colossus). Interventions nº 3, 

Malba -Museo de Arte Latinoamericano de Buenos Aires - Colección Costantini, 

2004-2005. Painted iron. 560 x 1000 x 40 cm. 

This page Bottom: “Men‘s Health”. Installation, Museo de Arte Moderno de Buenos 

Aires, 2003. Detail view: left head 300 x 280 x 2 cm, righ head: 285 x 214 x 2 cm. 

Painted wood. Courtesy: Malba Collection.

“With 

sexuality 

comes 

power, 

domination, 

violence, 

representation, 

humour, 

and different 

elements 

that 

somehow 

are 

present in 

my work.“ 

223 

This page Top: „Die Deutsche Reihe“ (The German Series). Book (19 x 27 cm). 

German (trasnlated into Spanish). Arta Ediciones. Buenos Aires, 2011. 

This page Bottom: “Discobolo HM”(Discobolus HM). 

Painted wood. 110 x 70 x 4 cm. 2012.

KALTBLUT: What do you want to say with your 

art? What is your message? 

HERNáN: I don’t like to talk about a specific 

message. I don’t want to guide the audience. It is 

just about playing with elements I find and trying to 

make them work. Elements that are always familiar 

for me and combine themselves generating a new 

project or a new idea. I try to create an image that 

is powerful not only aesthetically but also conceptually. 

As I have pointed out before, sex, power, 

domination and maybe a sociological approach 

tend to appear somehow. Besides, I like how pieces 

sometimes adopt different meanings in different 

contexts. 

KALTBLUT: Can you tell us about any of your 

current or upcoming plans and projects? 

HERNáN: Now I am working on a series of diagrams 

and drawings related to the issue of work 

and how society is reshaping itself after the decay 

of the welfare system. In the late nineties, I had 

began working with Power Point presentations 

and clip-arts, making subtle interventions on those 

graphics. By that time, I created a series of work 

that somehow tried to question the way the “service 

era” showed us the world. After the decline of 

the service and the financial based economy, I find 

there is a kind of recovery of manual activity and 

the actual production of goods. A new focus on the 

connection with the real, that I think can sound old 

fashioned. 

Those ideas make me think about new patterns 

of connection, production of energy, social organisation, 

etc. I am taking images from artistic representations 

of workers, and making linear drawings 

and icons with them. I am justlooking at the first 

results. Actually, I plan to show them in Europe, in 

the galleries that represent my work: Mirta Demare 

in Rotterdam and Ivo Kamm in Zürich. 

Besides, come September I‘ll be living in Berlin. 

I will be working on my shows and attending some 

doctoral seminars that deal with art interventions. 

I would also like to present my book “Die Deutsche 

Reihe” and maybe make a show with that series. 

That would be great. 

KALTBLUT: I travelled to Buenos Aires for the 

first time early this year and I really love the city. 

What are your favourite places there you‘d 

recommend to check out? 

HERNáN: Buenos Aires is a great city, I mean a 

large scale city. It can be very chaotic, but you can 

easily fall in love with it- just as you did. You can 

find lots of interesting places, depending on what 

you’re looking for. I would recommend to immerse 

yourself in the different atmospheres that every 

“barrio” has: Palermo (a city itself), San Telmo, 

Retiro, the Downtown Area. 

Buenos Aires is a city of immigrants. Europeans 

that came in the late XIX Century, and new waves 

of immigrants coming from Latin America and Asia 

that are arriving now. Even people from Africa. 

Those processes are very visible in architecture as 

well as in the people you see on the street. I would 

recommend walking around the city as much as 

possible. I assure you, you will always find a nice 

bar or restaurant open at anytime in any place. 

224 

“I don’t want to 

guide the audience. 

It is just about 

playing with 

elements I 

find and trying 

to make them 

work.“ 

“Clavadistas” (divers). Painted wood. Dimensions variable. 2007.

225 

www.hernanmarina.net

Dude! 

226 

Dig The New Suit 

Photography and Production by Marc Rehbeck 

Photo Assistants: Maren Schabhüser, Inga Palm, Julian Essink 

Styling by Tu Anh Ngo c/o Bigoudi 

Styling Assistant: Nina Noßek 

Hair & Make up by Violetta Kampf c/o Bigoudi 

Model: Stefan Pollmann c/o Modelwerk 

Post-production: Julian Essink

Jacket: STRELLSON 

Trousers: JOOP 

Shirt: GUESS 

Shoes: HUGO BY HUGO BOSS 

Gloves: STRELLSON 

227 

Suit: DRYKORN 

Shirt: STRELLSON 

Bow Tie: HUGO BY HUGO BOSS seen at www.stylebop.com 

Shoes: HUGO BY HUGO BOSS

228 

Jacket and Shirt: JOOP, Bow Tie: DRYKORN.

229 

Suit, Coat, Shirt: HUGO BY HUGO BOSS 

Shoes: SCAROSSO 

Gloves: MARC O´POLO

Suit and Shirt: JOOP 

Coat: DRYKORN 

Bow Tie: JOOP 

Shoes: TIGER OF SWEDEN 

230

231 

Suit and Vest: TIGER OF SWEDEN, Shirt: COS, Tie: TOMMY HILFIGER, Shoes: FILIPPA K.

232 

Suit: TOMMY HILFIGER, Shirt: CARUSO, Hat and Scarf: TIGER OF SWEDEN.

233 

Jacket: HUESS MY MARCIANO 

Shirt: DAKS 

Tie: GUESS

234 

ERWIN OLAF 

Homage to Berlin 

Erwin Olaf is a Dutch artist you should definitely know, and the same goes for his latest series Homage 

to Berlin (September 6th-October 19th, 2013) at the Gallery WAGNER + PARTNER, in Berlin. 

A highly cinematic and skilled photographer, who never loses touch with what he really wants to convey through 

his work, he talks to us about Berlin, his ambiguous Weimar revival portraits, politics and art, the importance of 

freedom, the power children are given today, and even staircases. 

Interview by Amanda M. Jansson 

Exhibition: “Homage to Berlin“ 

Artist: Erwin Olaf 

Location: Gallery WAGNER + PARTNER 

Strausberger Platz 8, 

10243 Berlin - Germany 

Open: September 6th 2013 

Running till: October 19th 2013 

www.galerie-wagner-partner.com

KAlTBlUT: What has made you choose 

Berlin as a theme? And how did you 

choose the locations for the shoot? 

What was the locations background? 

eRWiN OlAF: i have chosen Berlin because 

i’ve been visiting the city regularly since 

1981 and i have seen it changing rapidly the 

last decade. For me since the collapse of The 

Wall, Berlin is changing again into the capital 

of europe, like in the Weimar Republic. it 

feels like the eye of the tornado of our time, 

where everything is possible and freedom is 

celebrated to its limits. More or less the same 

like in the interbellum period, between the 

first and second world war. Although I hardly 

believe we are at the beginning of a new big 

war, i think we are with our modern society in 

a period just before very strong social changes, 

like the period between 1918 and 1939. 

The choice of every location was motivated on 

two grounds: 

A. it should have existed during the Weimar 

Republic, the interbellum to be more precise. 

Because i wanted to make this connection with 

my new work. 

B. Because of personal reasons every location 

should have a staircase. (i suffer from lung 

emphysema and therefore climbing stairs is 

getting more and more difficult. During our 

location scouting there were numerous stairs i 

had to climb to visit the pre-selected locations, 

this gave me the idea to integrate the stairs) 

KAlTBlUT: Many of the people 

portrayed are young, even kids. Was this 

the plan from the very beginning? 

Why did you choose kids? 

eRWiN OlAF: When finalizing my idea for 

the Berlin project i was still looking for a 

leading motive in the series, to connect it with 

our time. When i had a delay with a plane 

flight I had enough time to study the children 

that had the same delay with their parents. 

Watching them I realized that in my lifetime 

children have been given more and more 

power by their parents. And some of these very 

young people do not know what to do with this 

given power and rule more and more the world 

of the grown-ups. So this became the lead 

story: the battle between the generations. 

KAlTBlUT: how was the idea for this 

series born in the first place? 

Do you remember the moment you first 

thought of this? 

eRWiN OlAF: For the theme with the 

children as i already said, at an airport 

somewhere in europe with lots of holiday families. 

For the city of Berlin: i’ve had this idea 

already for years now, but financially it was 

a big risk, when i was rewarded by the Dutch 

government with the state prize for the arts in 

2011 (The Johannes Vermeer Prize) I received 

100.000 euros that have to be spend on a 

project. So now I could realize this idea! 

235 

Opening Page: Photo by Feriet Tunc, Courtesy of Erwin Olaf 

This Page: Erwin Olaf - Berlin, Porträt 01 - 22nd of April, 2012 - Copyright Erwin Olaf 

Courtesy of WAGNER + PARTNER - Berlin

KAlTBlUT: There is a certain darkness 

in the pictures. What does light or its 

absence mean to suggest in these 

portraits? How difficult or easy was it to 

stage them? 

eRWiN OlAF: For me every artistic 

idea goes hand in hand with a technical 

challenge. For the series Berlin 

i knew that the light should be dark 

and communicate that something we 

cannot see is on its way to approach 

the image, just outside the frame of 

the picture. Therefore i used mostly 

a main light that is coming from one 

side and sometimes even more from 

the back then the front. Most of the 

time the staging of the images was a 

search (or quest), and took far more 

time than the actual photography. 

When creating my own work, the last 

few years i feel more and more 

unhappy and with a huge stone in my 

stomach, because i do not know what 

is right or wrong, good or bad. And 

nobody is waiting for my vision or 

opinion. But at a certain point i feel, 

or know that light, point of view of the 

camera, coloring, positioning of the 

actors/models is good and fit to that 

what i want to communicate, although 

i cannot tell in concrete words what i 

want to express exactly. 

KALTBLUT: Many people find the 

pictures to be somewhat ambiguous or 

touching sensitive territory because of the 

pre-World War 2 era feeling. What do you 

feel is the legacy of World War 2? 

eRWiN OlAF: For me the legacy of the 

second world war is in the first place a huge 

warning to the human kind to be incredibly 

careful with our freedom and democracy. That 

personal expression in all of its forms is the 

most valuable one in our modern society and 

that we have to try our utmost to respect other 

thoughts and looks. 

KAlTBlUT: This series is quite different 

from some of your past work. however it 

remains cinematic. What similarities and 

differences do you see when you compare 

it to previous work of yours? 

eRWiN OlAF: i see Berlin as a crossing 

between my very baroque series like Paradise 

(2001), Blacks(1990) and even partly 

Chessmen (1988) and more recent works like 

the series Rain and hope (2004/2005) Grief 

(2007), Dusk (2009). in a way i go back to 

the more surreal elements i used to work with 

in the past and on the other hand i use a more 

cinematographic approach like in my recent 

work. To mix these elements was 

236 

Erwin Olaf - Freimaurer Loge Dahlem - 22nd of April, 2012 - Copyright Erwin Olaf 


237 

probably trigged by the way i was inspired 

by the surreal paintings and the paintings of 

the New Objectivity. Time will decide if the 

mixture has worked out well. 

KAlTBlUT: how important is exhibiting 

your work for you? Do you think about it 

while you are working or not at all? What 

do you hope people get to feel or think 

about coming to an exhibition of yours? 

eRWiN OlAF: During the process of 

making the works i do not think at all about 

exhibiting or who will look at it or what 

people think about it. i do not even think about 

the money i spend, because i have the luxury 

to have my manager thinking about that. 

i cannot think upfront about all these things 

because it will block my mind too much. And 

still after I have finished the works and even at 

the moment i make the exhibition, choose the 

framing, decide about the order of the works 

etc. etc. i do not think about who will come 

to the exhibition. i do it all for some “friends” 

and myself. i do not disrespect anybody, but 

thinking about what people will think makes 

me incredibly insecure and unhappy, so i close 

my mind to that as much as possible. At the 

opening of many of my exhibitions i am present, 

but i have to work very hard to hear what 

people are telling me, good or bad. it simply 

does not get easily into my conscious. After 

the exhibitions, some weeks or months later i 

am far more open to criticism and comments. 

But till that time only some people that are 

very close to me can come close to me. 

KAlTBlUT: When you started out as a 

photographer, did you have some sort of 

goal in mind? What was it? Do you feel 

this goal changes as you change? What 

made you become the artist you are? 

eRWiN OlAF: When i started with photography 

i did not have any concrete goals. i 

just had to do it. it was the only occupation 

that made my heart beat faster. My only goal 

during this time of incredible unemployment 

(1981) was to try to make some money with 

pictures. A few years later when i started 

to discover that one could use photography 

to express his or her feelings, like Robert 

Mapplethorpe, Richard Avedon and Joel Peter 

Witkin, it felt like a huge relief. Now i could 

use the camera to stage my own reality and 

make a world that i was seeing myself but 

nobody else saw. i always used my camera and 

free photography as a diary of my personal 

life. So in the past three decades one can see 

the changes in my way of being and thinking. 

looking back i see a young aggressive artist 

that wants to conquer the whole world with big 

gestures. And nowadays i see somebody that 

is more and more interested in the effect of 

minimal changes in light, body language of the 

models and the effect of printing techniques on 

the whole feeling of an image. 

KAlTBlUT: What made you become the 

artist you are?

238 

eRWiN OlAF: Being part of a society that is as democratic and free 

as possible. Being raised by parents that were not modern at all, but gave 

their children a lot of love and freedom. Growing up as an adolescent in the 

dynamic times of the seventies and eighties. Meeting artists and special men 

and women that guided me throughout my whole life. This all has had a 

great influence on my personality. 

KAlTBlUT: You are not afraid to dare and to push limits. how 

important is it for you as an artist to try out new things? 

eRWiN OlAF: it is part of my life, i cannot make “chit chat”- art. i want 

to talk about subjects that keep me busy at the time i make a project and i 

always want to explore some aspects of the technique. i do not want to hurt 

on purpose, but it sometimes happens. 

KAlTBlUT: What do you want to work on next? 

eRWiN OlAF: At the moment i am in the middle of a thinking process 

about a new project. Photography, film and maybe an installation. It will 

probably involve some Asian influences, I see some contour but not concrete 

details. It sounds vague but at this moment I do not know more! Sorry! 

KALTBLUT: Thank you very much for your time! 

www.erwinolaf.com 

Erwin Olaf - Berlin, Porträt 05 - 9th of July, 2012 - Copyright Erwin Olaf 


www.neo2.es/magazine 

People & ings 

Neo2 for IPad: 

An interactive magazine like you’ve never seen before. 

Now 50% discount for the Kaltblut readers. 

Get two years subscription (more than 20 issues) for only 9,99 euros. 

Just write an email to virginia@neo2.es and enjoy!

240 

Modern 

Photographer: 

Stylist: 

Grooming: 

Stylist’s Assistant: 

Models: 

Photographer’s Assistants: 

olklore 

Dennis Yung 

Maggie Ibiam 

Kyungju Claire Chung 

Jennifer Panaki 

Pace Chen and Tyler Sheekey at AMCK Models 

Sam Travis and Kaho Okazaki

241 Coat - T.lipop 

Shirt - Vidur 

Jeans - Claudia ligari

242

243 

Left Page: 

Jumper - T.lipop 

Sweatpants - T.lipop 

This Page: 

Jumper - Roofless 

Shirt - empire’s Union 

Trousers - Bite by Dent de Man

Coat - Vidur 

Shirt - empire’s Union 

Jeans - love Denim 

244

245 

T-shirt - Alan Taylor 

Kilt - Alan Taylor 

Tights - Stylist’s Own

Suit - Dent de Man 

Shirt - T.lipop 

246

247

ladyboys 

248 

Text and Illustration by Amanda M. Jansson and Emma Elina Keira Jones

Gender identity being a very sensitive issue 

these days, when everything is potentially 

offending and everyone is ready and willing 

to tear you to pieces because they will just 

assume you mean them harm, we were very 

surprised to watch a film from the Philippines 

in which a little boy dressed and acted like a 

“girl” causing his family no surprise at all and 

nobody else any wonder. This made us think and 

look into it. Who are these ladyboys and their 

history? how come Bakla in the Philippines 

and Kathoey in Thailand are so common and 

seemingly accepted as well? What is the origin 

of it all? And what is the political and social 

situation for cross-dressing, gender-bending men 

in countries and cultures very different from ours? 

First of all, to define this Kathoey and Bakla, 

it is important to understand that the term does 

not refer to all gay men. It refers to a specific 

subgroup. And to understand further, the fact 

that the equivalent word for gender is not as 

limiting and inflexible must also be taken into 

account. Kathoey and Bakla are homosexual 

men who are in a male body, but choose to 

dress like a woman whether it is a dress or a pair 

of jeans and identify as women, often referring 

to themselves with a “she”. The terms are not 

derogatory in themselves and are embraced by 

the people they describe, yet can be used in an 

offending way depending on context and situation. 

Cross dressing, “third gender” identifying people 

are not something new or shocking to these 

two countries. The traces of this are to be found 

in pre-Buddhist and Buddhist myths, which both 

countries share since their relations have been 

very friendly ever since the 13th century. 

According to creation myths such as the 

Pathamamulamuli, the creation of humans includes 

the creation of 3 sexes, male, female 

and hermaphrodite what also means the acceptance 

of multiple genders. Then most important 

of all, and even though The Philippines 

are predominantly Catholic now, the Buddhist 

religion of Thailand that has to some extend 

influenced the Filipinos as well, plays a significant 

role in the accepting attitude towards transgenders, 

at least more accepting than in the West. 

We all know that Buddhism is the religion 

of acceptance and tolerance, and that comes 

with no exceptions of accepting only what we 

like. The teachings of impermanence, re-birth, 

karma, transition, it all can encourage a person 

to a act in a certain way that would be 

viewed as part of a gender transition. Souls are 

believed to be transient like everything else and 

249 

what you do in this lifetime is affecting what 

comes in a future life. So reinvention and choice 

of self presenting is never discouraged in this 

present life either. Up to half of the Kathoeys 

explain their situation based on karma and it 

would be very awkward for a person brought 

up in a Buddhist society to question karma. 

Furthermore, certain Buddhist teachers preach 

that everyone in one life must have been born in 

the wrong body and have lived as a cross gender. 

The social situation of Kathoeys and Bakla 

today is not ideal. They have always been 

respected in a way and in the past they have 

enjoyed high prestige, strange as it might seem 

to us Westerners, who want to believe we are 

very forward thinking and liberal. All in all 

trans-gender, cross-dressing ladyboys are more 

accepted than in any european country and that 

is not only the case for big cities but for small 

villages as well. This doesn’t count for all Buddhist 

countries of course, but definitely for 

Thailand and its friendly Philippines. Kathoye 

and Bakla are not seen as something shameful 

and can be models, movie stars, singers, while 

beauty contests are broadcasted on television 

just like female beauty contests. Other jobs they 

usually do are traditionally female oriented jobs: 

in beauty salons, shops, restaurants, and also in 

factories which is very common for Thailand 

in particular. A high number of them 

also work as entertainers in tourist resorts, 

in cabarets and also as sex workers, 

the latter again particularly in Thailand. 

it would be far fetched to claim everything is 

ideal for these individuals. Many of them have to 

deal with the process of coming out, particularly 

those who do not adopt female characteristics 

from childhood. They often get exploited as sex 

workers or have to deal with less tolerant groups 

of people or choose lower status occupations in 

order to be able to live the way they choose in 

the open. even though a part of society, they still 

have lots of legal battles ahead and many elderly 

Kathoey questioned feel that the 20th century and 

the modern world has been a step backwards for 

them. in Thailand transgender people can’t get 

legally married to someone of the same sex and 

can’t change their sex or gender on passports and 

forms of identification. In case of imprisonment 

they have to be placed in a male prison. in The 

Philippines, same sex marriage is also not legal, 

even though the Communist party is supporting 

gay marriage and according legislation has been 

proposed several times and a lGBT party has been 

allowed to participate in the elections of 2010.

Left-Right 

Luke wears Alan Taylor: Tweed kilt and Jacket, Black Shirt / Cat Boots: Models own 

Omari wears T Lipop: Quilted Trouser and Jumper Suit / Shoes: Adidas 

George wears Nicomede Talavera: Black Longsleeve Top, White 3/4-length Trousers, Cloggs. 

250

251 

London's Future! 

London is the capital for young and urban fashion. So many talented designers are based 

in one of the most exciting cities in the world. Everybody who has ever went to London 

is inspired by the style of young men on the streets. But what are they wearing? Who are 

the designers you can see each day on the street? Photographer Vic Lentaigne teamed up 

with stylist Lynsey Coke to present you six menswear designers. Domingo Rodriguez , Alan 

Taylor, Oscar Quiroz, T.Lipop, Peter Bailey and Nicomede Talavera. 

They all know how to dress the young big-city guy! 

Photographer: Vic Lentaigne 

Stylist: Lynsey Coke 

Make up: Claudia Savage using MAC Cosmetics 

Photographers Assistant: Tyrone Logue 

Stylist's Assistant: Lowri Jones 

Text by Marcel Schlutt 

Models: Luke at Next, George at Nevs, Omari at Select. 

Nicomede 

Talavera 

This London-based menswear 

designer graduated from the 

Menswear Design BA at Central Saint 

Martins. Nicomede Talavera is the 

Avant-Gardist under the young fashion 

labels. Simple shapes and a collection 

in black & white for this autumn and 

winter season. “For me, 

inspiration will always come from 

what I see around me. It has to be 

grounded in reality,” the designer says. 

And this is exactly what I get from his 

designs. It is grounded to earth. 

Nicomede Talavera, the most exciting 

menswear designer in the league of all 

those young fashion rebels.

T.Lipop 

If I have to name a fashion label from 

the UK that knows how to design for 

a young generation of men I would say 

directly: T.Lipop. The designer Tom 

Lipop is specialising in progressive, 

technical cutting with a ‘Less is more 

aesthetic.’ The T.Lipop label shatters 

all notions of the mundane fashion 

mould to make masculine garments 

that are truly innovative. Each piece 

from his winter season collection is 

wearable, modern, exciting, fresh and 

yes I wanna own them. Inspired by the 

Historical Lineage of British Fashion, 

T.Lipop’s signature is a seamless blend 

of progressive cutting techniques, 

luxurious fabrics and technology that 

brings minimalism to the fore with 

a considered, yet veiled, complexity 

whilst business partner Eser Aydemir 

advocates the brand moving forwards. 

One of our favourite menswear labels 

ever! 

252 

Omari wears T Lipop

253 

Left-Right 

Luke wears Domingo Rodriguez - Knitted Navy Roundneck and Joggers / Shoes- Adidas 

Omari wears Oscar Quiroz - Blue and Maroon T-shirt, Navy Mac, Navy Trousers / Shoes - Nike 

George wears Peter Bailey - Metallic Shirt, Blue Trousers, Rhinestone Denim Jacket / Shoes- Religion

Oscar 

Quiroz 

Oscar is half-Bolivian, half- 

Colombian but was born and 

raised in London. He studied at 

Central Saint Martins. Before 

starting his label, he worked for 

Ann-Sofie Back in London and 

BLESS in Paris. 

His A/W 13-14 collection is a 

masterpiece of young 

menswear. Sporty with the 

special touch of class. 

We are totally up for the colour 

line. Purple meets blue with 

brown. Wearing Oscar Quiroz 

means you will always be well 

dressed. Whether you go to 

work or just hang around on a 

lazy day in town. Oscar debuted 

his first full collection at 

Fashion East in 2012. We are 

sure that the name Oscar 

Quiroz will one day stand for 

classic menswear. 

Left-Right 

Omari wears Oscar Quiroz - Blue and Maroon T-shirt, Navy Mac, Navy Trousers. 

Luke wears Domingo Rodriguez - Knitted Navy Roundneck and Joggers. 

254

255 

Domingo 

Rodriguez 

London-based menswear 

designer, Domingo Rodriguez 

graduated from Liverpool John 

Moore’s University in 2008 and 

won the Menswear Award at 

Graduate Fashion Week. He then 

went on to secure the Harold 

Tillman Scholarship for his MA 

at London College of Fashion. His 

SS11 collection was 

presented during Paris Fashion 

week June 2010 as one of Esquire 

Magazine’s “7 Brilliant Brits.” 

Domingo cut his teeth interning 

for Kim Jones; Carolyn Massey, 

Roland Muret and has successfully 

collaborated with Asos.com, 

PHI-NOM leather, Kopenhagen 

and Saga Furs. Domingo 

Rodriguez designs are youthful, 

modern and we can see many guys 

in his great pieces!

Peter 

Bailey 

The London-based designer is the 

one with the instinct for colours 

and prints. Peter Baileys designs 

are loud! They shout: HERE I AM! 

And we love it! Wintertime will 

be not just grey if you wear his 

designs. He studied at the Royal 

College of Art. 

“Contemporary Psychedelia” 

could be a great name for his 

collection. As a child of the 1990’s 

I just have to like his style and 

colour madness. Walter van 

Beirendonck watch out the new 

generation is coming. 

256 

George wears Peter Bailey - Metallic Shirt, Blue Trousers, Rhinestone Denim Jacket.

257 

Alan 

Taylor 

Alan Taylor is a Dublin/London 

-based designer. He studied at 

NCAD. His collections are 

produced in Ireland. Alan is 

a graduate of the BA Fashion 

Design in NCAD Dublin. He has 

worked as Assistant Designer to 

Simone Rocha for three seasons 

and has now started his own 

Menswear label. Over the past 3 

years he has worked with several 

other designers including 

Alexander McQueen, Agi&Sam 

and DavidDavid, designing for 

shows in London, Iceland and 

Milan Fashion weeks. 

His designs are outstanding. 

We are in love with his jackets 

and coats. This young fashion 

designer knows how to play with 

different materials. 

Especially in his A/W 13-14 

collection he is offering so many 

well-made items. 

Luke wears Alan Taylor - Tweed Jacket & Black Shirt.

258 

THE 

YOUNG 

MARLON B 

Black Sweatshirt with Sequin Skull Embroidery by RELIGION 

White T-Shirt by TOURNE DE TRANSMISSION 

Black Denim Shirt(worn underneath) by KSUSI 

Black Fingerless Leather Gloves stylist‘s own

Photographer: Sam Wilson 

Styling: Sylvester Yiu 

259 

Model: Jed Texas @ Elite 

Grooming: Salina Thind @ Era Management using Joico & Alpha-H. 

Assistant Photography: Lydia Garde & Matthew Aland 

Assistant styling: James Hampson 

Black Baseball Jacket by ASOS 

Black Parade Grandad Crew by ALL SAINTS 

Black Skinny Jeans by ALL SAINTS

260 

Black Sleeveless Leather Jacket by ALL SAINTS 

Black jumper by RELIGION 

Black Trousers by SILENT BY DAMIR DOMA

261 

Black Knitted Jumper by RELIGION 

White Shirt by ALL SAINTS 

Black Fingerless Leather Gloves stylist‘s own 

Black Sunglasses by RETROSUPERFUTURE

262 

White Shirt by ALL SAINTS 

Felt Jacket by ALL SAINTS 

Black Trousers by SILENT BY DAMIR DOMA

263 

White Boxer Brief by BJÖRN BORG

Black Leather Jacket by ALL SAINTS 

White Print T-shirt by TOURNE DE TRANSMISSION 

Waxed Denim Jean by ASOS 

White Leather Snakeskin Effect Shoes by PURIFIED 

Black Leather Biker Gloves stylist’s own

265 

Black Denim Jacket with Leather Sleeve by ASOS 

Black Skinny Jeans by ALL SAINTS 

White Boxer Briefs by BJÖRN BORG 

Black Fingerless Leather Gloves stylist’s own

266 

Photography by Julie Nagel www.julienagel.de 

Styling by Markus Galic www.markusstyling.de 

Hair & Make up by Birgit Kranzl - Liganord with products from MIO GIO 

Model is Sascha @The Special 

Assistance: Bettina Theuerkauf, Steffen Schulz 

Location: Zinnwerke Wilhelmsburg

267 

Jacket and Relax Suit Pants: Soulland, Polo Shirt: Eton, Shirt: Sopopular, Socks: COS, Shoes: Mc Neal

268 

Jacket and Trousers: Sopopular, Shirt: Closed, Wooden Glasses: Lozza, Hand Accessoires: Sopopular, Shoes: COS

269 Jacket and Trousers: HUGO, Polo Shirt: Paul Smith, Sweater: COS, Shoes: ASOS

Suit: Herr Von Eden, Shirt: Gucci, Necktie: Herr Von Eden 

270

271 

Jacket and Pants: Denham, Vest: Closed, Shoes: Jimmy Choo

Jacket and Pants: Denham, Top: Smog, Belt: Petrol Industries 

272

273 

Jacket and Pants: Franziska Michael, Socks: Falke, Shoes: G-Star Raw

Jacket and Pants: Kilian Kerner, Loop Scarf: Kilian Kerner, Shoes: HUGO 

274

275 

Vest and Trousers: Caruso, Shirt: Ted Baker London, Loop Scarf: Kilian Kerner, Shoes: Napapiri

Marwane Pallas isn’t a new 

name to many of you, since he 

has been featured on our website 

before. This French photographer/artist 

was raised 

in the countryside by multicultural 

parents, Tim Burton 

and the BBC. Sounds already 

promising. Initially, he started 

copying paintings, classic statues, 

renaissance masterpieces 

and soon went on to paint 

and later also shoot. And this 

is when real magic happened. 

Often finding inspiration in 

history, nature, and bright 

colors he explores the human 

condition and creates images 

that are not just poetic and 

candid, but intriguing, powerful, 

challenging and enchanting. 

We needed to find 

out more about him. 

276

277 

MARWANE PALLAS 

HUMANS! 

Interview by Emma E. K. Jones and Amanda M. Jansson

KALTBLUT: How did you start 

taking pictures of yourself? 

How easy is it? 

Marwane Pallas: I’m a relatively introverted 

person so I naturally do most 

things I do on my own, and my photos 

are very subjective. There are perks (a 

shooting can fail without it being too 

much of an issue, I can go out and shoot 

whenever I want...) but also lots of disadvantages. 

sometimes I want to be more of 

a director than a model, keeping a balance 

between those two can be challenging. 

It’s also very hard to renew your recipes 

with the same ingredient. I try to reinvent 

myself once in a while. 

278 

KALTBLUT: Your photos often look 

like paintings, how did you come 

up with this idea? 

Marwane Pallas: I used to draw and 

paint when I was a child. I’ve learned everything 

I know copying paintings (mostly 

from the renaissance) and ancient 

statues. I switched to photography but I 

kept the same inspirations so there is a 

certain continuation. also, painting has 

no borders, no limitations and I was born 

in the age of Photoshop so it speaks to 

me more. 

KALTBLUT: Are there some artists 

that have influenced your work 

and vision? 

Marwane Pallas: not so many artists 

actually. I only visited one photography 

exhibition, and the permanent exhibitions 

of paintings in the main French museums. 

I don’t own any art books. even if 

I don’t have a very wide awareness of the 

artistic world surrounding me, there are 

still some artists whose art I understand, 

even though I haven’t seen much from 

them, I get the concept, the “big picture” 

of their work with the little that I have 

seen. For my series “Here Comes The 

sun”, I took inspiration from the twisted 

poetry of Magritte, and from Hopper and 

his use of flat tint of colours, geometry 

and perspective. 

also, I used to have little esteem for 

norman rockwell, but learned to change

my view on his work. I like his humour, 

and his testimonial on growing up “somewhere” 

and family life. Peter Martensen 

is another less known painter I 

admire. I can draw a parallel between 

his Kafkaian characters and my 

self-portraits. 

also, I re-discovered recently the 

work of filmmaker wes anderson 

and really liked his softly bizarre and 

candid world. In the photography 

field, I admire alex Prager. she has a 

very cinematic body of work, and also 

Martin Parr’s sometimes funny and 

always socially aware photos are very 

interesting to look at. Both of them 

make colorful photos, and colours are 

very important in my own work. For 

my current project, I’m trying to take 

inspirations from 19th century artistic 

movements in painting and poetry. 

KALTBLUT: How do you think 

the human form blends in with 

nature? 

Marwane Pallas: I was afraid nature 

and humans had grown too much 

apart, but it’s surprising how a human 

body can blend with nature. For my 

series, “humans” I tried to be very 

convincing in portraying nature as an 

habitat. I rapidly acquired reflexes I 

didn’t have before and I finally became 

more comfortable walking barefoot 

than with boots on. 

KALTBLUT: So, nature appears a 

lot in your work. How important 

is nature to you in your everyday 

life though? 

Marwane Pallas: I had to move out 

and live near a big city for my studies, 

but I feel like an exile. I do belong to 

the countryside. I have to force myself 

though, there are a lot of interesting 

subjects in a more urban environment 

but it also means giving up part of 

your creative control. nature can a be 

blank page while a street is a colouring 

page. 

KALTBLUT: Of all places you use 

in your work, do you have some 

favorites? 

Marwane Pallas: Definitely a field in 

Germany. Totally flat, no trees, nothing 

in the horizon, an homogeneous grey 

sky, the perfect blank page to imagine 

everything you want and play with the 

only subject that matters: my characters. 

KALTBLUT: Many of your pictures 

look like a fairytale, if you had 

to reenact an existing story with 

self portraits, which one would 

it be? 

Marwane Pallas: well, for my series 

“Humans” many people drew the comparison 

with lord of the Flies. I don’t 

think my pictures look like fairytales. 

Maybe my earliest pictures but I moved 

on since then. I’m fond of History. 

279 

Opening Page: The Bath, This Page Left: Reading The Saints 

This Page Right Top: The Scarecrow, This Page Right Bottom: Passion

ww1 is very interesting and heartbreaking 

for its use of soldiers (who were 

sometimes only 16 year old) as Canon 

Fodder. I once thought about making a 

short story on this subject. Paths of Glory 

is a very interesting and moving movie 

on this subject. 

KALTBLUT: There is a lot of post 

production in your work, how 

many hours do you need for a 

picture? And what do you do? 

280 

Marwane Pallas: It’s a question I’m 

asked very often but I can’t give an exact 

answer. It really depends on the picture, 

whether I’m mixing drawing with it etc.. 

It’s surely a minimum of 2/3hours of 

editing. and some of my first mixed art 

pictures took dozens of hours. 

KALTBLUT: Your photography is 

very dreamlike, what was the 

strangest dream you’ve ever had? 

Marwane Pallas: I was told this very 

often when I started photography, I 

thought it was weird because people 

meant “your photos are candid, poetic 

and sweet like a dream”. I don’t know 

about you, but my dreams have nothing 

sweet, candid or poetic. They are pretty 

much fucked up actually. I think my most 

recent work really fits more the adjective 

“dreamlike” . I try to be bizarre in a noncandid 

way; in a really troubling and disturbing 

way. The most recurrent dream

I have, which troubles me most, is a 

stressful nightmare: I usually end up with 

a dead body I have to hide before getting 

caught. I didn’t murder anyone but I’m 

always at the wrong place at the wrong 

moment. Just the other night it was three 

heads I was trying to bury in a forest in 

the night. But people kept coming and I 

couldn’t dig well enough. It was extremely 

intense, but I suddenly woke up with 

an idea “burn them!”, then I fell asleep 

again and I slept like a baby. 

281 

KALTBLUT: Do you have an upcoming 

project with self portraits? 

What’s the theme of it? 

Marwane Pallas: It’s the series I just 

talked about. I named it “Brothers”. I 

want to deal with group behaviours and 

violence, while paying tribute to 19th 

century poems. I’m inspired by the years 

I spent in a boarding school and what I’m 

experiencing right now in a french elite 

school where groups, clubs and hundred 

This Page: The Clash 

year old traditions of bullying make you. 

The 19th Victorian setting is aimed at 

strengthening the idea of “groups”, as 

clubs and schools were extremely strong 

and being an outcast meant being socially 

dead. 

KALTBLUT: Which historical era 

would you like to live in and why? 

Marwane Pallas: The 60’s never seemed 

to become out-dated.

282

The music, the colours, the cars… 

KALTBLUT: What are the differences 

between paintings and photographs 

for you? 

Marwane Pallas: I’m only familiar with 

representative paintings. I compose my 

photos like I used to compose my pictures. 

Painting will be always superior in terms 

of freedom and abstraction. But the 

human figure in photography is always 

more appealing and more impacting. 

KALTBLUT: What are the advantages 

of being self taught? 

Marwane Pallas: You can brag about 

it? I’m not a self-taught photographer as 

photography isn’t my main activity. I’m 

283 

a postgraduate student with a hobby. 

Full-time self-taught photographers might 

be more talkative on this subject than me 

as I have no expectations from photography. 

right now, I really envy people in art 

schools (not necessarily photography) as 

they are surrounded by artistic minded 

people and have access to equipment 

and knowledge (I’d love to try films and 

develop them on my own). I don’t think 

schools deprive you of your freedom, 

they give you key advice and opportunity 

you can’t find on your own. 

KALTBLUT: You mention a multi- 

cultural background, how has it 

affected you? 

Marwane Pallas: My mother was born 

and raised in Morocco and my father is 

This Page Left: If a Tree Falls, This Page Right: Le Déjeuner sur l‘herbe 

French but fond of arabian and african 

cultures. My first name is arabian for 

instance. I was not really aware of my 

differences until late. 

I always assumed I was totally French but 

when I compare myself to my classmates 

I do realise they are lacking something I 

have. It’s a theme I explored in my first 

series “Humans”. 

KALTBLUT: You rarely take pictures 

in interior places, why is that? 

Marwane Pallas: I did shoot a series 

in a fake studio (sur/face), for two of my 

series, exterior locations were mandatory 

(Humans, Here comes the sun). I’d love 

to find interior locations for my current 

series but I can’t find any place alas. I’m 

considering it. 

www.marwanepallas.com

Skinheads. What do most people know about them? Some of 

them view them as a fetish group. Others as trouble makers. 

There are people who think skinheads are fascist or racist. 

Let’s face it, most people are completely ignorant when it 

comes to this really vast group identified by shaved heads and 

boots. Most don’t even realise that not all skinheads do actually 

sport a shaved head. We are providing some important 

history lessons behind the movement that has inspired and 

changed contemporary art and fashion so massively. 

The skinhead movement began in Great Britain in the 1960’s, 

particularly in London and then it spread to the rest of England 

and to the whole of Europe and The States and all of the world. 

During the 60’s, London was dominated by two groups. The 

Mods, which speaks for overconsuming–let’s not forget that 

post-50’s was an era of well-being and the youth had lots of 

money to waste, and The Hippies, which is after all not much 

more than a middle class-ruling class pacifist movement, that was 

concerned with theorising and cosmic experiences. 

Obviously there was something missing, no movement had any 

social background and working class appeal. So eventually, 

284 

A history of SKIN. 

The Mods split into subgroups. The Mods with less to spend, of 

working class background, These Hard Mods, adopted a style 

that wanted to clearly state they do not belong to the Hippieinfluenced 

prevailing Mod culture: work boots, straight leg jeans, 

button down shirts, braces, and of course this was also the 

beginning of shaved or short cropped hair, a hairstyle that also 

made a statement since long hair would be quite an obstacle to 

street fights and industrial jobs. 

Around the same time, Britain experienced a huge immigration 

wave from Jamaica. These Jamaican immigrants, frequented the 

same spaces the Hard Mods did, and lived in the same poor 

working class areas. The Jamaican Rudeboys, had brought with 

them what was about to form the Skinheads as they would become 

widely known soon after: their music. Ska, Rocksteady, and Early 

Reggae, which believe it, sounded nothing like the Reggae most 

have in mind. The interest these two groups had for each other 

led them to cultural exchange and to the creation of the Skinhead 

subculture. Even though both black and white skinheads had occasionally 

attacked South Asian immigrants, particularly Pakistani, there 

was nothing political yet, ideology and revolt was there, though for 

the majority of this mixed group it was mostly about the music and

culture and looks, and it all was more like a 

celebration. 

By the early 70’s, Skinheads had fallen 

into several categories and were fading 

from popular culture. Some groups that 

emerged were the Suedeheads (somewhat 

longer hair, somewhat posh clothes, sheepskins, 

more glam), Smoothies (shoulderlength 

hair) and Bootboys (mod-like hairstyles, 

street and football hooliganism). 

Yet only a few years later a new boost was 

given to the Skinhead movement. Punk 

music. You know, punk music wasn’t 

always as commercial as it would come 

to be, and its lyrics and aggression as well 

as its actual roots in Ska, brought back the 

Skinhead style in many variations. The 

more popular, mainstream and exploited 

Punk music became, the stronger the Skinhead 

movement became in an effort to 

differentiate themselves from the softened 

and “rebel without a cause” phenomenon 

that Punk was being turned into. For the 

first time “Oi!” stepped into the scene, and 

in the spirit of the original Punk, the lyrics 

were this time more political. And still no 

racism was attributed to the Skins or if so 

it was just minor cases. 

But then came the 80’s. In the UK the 80’s 

stand for one name: Margaret Thatcher. 

And that brings the highest unemployment 

rates the country has ever known, 

the biggest social injustices, xenophobia, 

everything-phobia, and immense poverty. 

This is when the first fascist/racist groups, 

that had been created a couple of years 

earlier, started recruiting and manipulating. 

Skinheads knew they were being 

exploited and whilst the general suppression 

added to this, so using the situation 

the “National Front” and other similarly 

minded organisations started targeting 

Skinheads and encouraging them to adopt 

white supremacy theories and racist/fascist 

attitudes. As soon as the first “Far Right 

Skinheads” appeared, “Far Left Skinheads” 

united themselves as well, and the 

movement was split. The third of the new 

Skinhead groups, was the one rejecting 

extremism and fascism, yet remaining apolitical 

and true to the original Skinhead 

spirit. 

However, because of the riots after a concert 

in 1981 that included Molotov attacks 

against Pakistani people, the showing 

off of C18 Skinheads (an armed Hitlerinspired 

group), and the creation of Nazist 

networks such as RAC (Rock Against 

Communism) many people concluded 

that all Skinheads are Neo-Nazis, fascists, 

homophobes and racists. Of course, this 

was not the case at all. Being labeled with 

something that was against their beliefs 

many Skinheads and Skinhead musicians 

were quick to declare their Anarchism, 

or to join anti-racist and anti-fascist 

groups. Two notable loud and proud ones 

are SHARP (Skinheads Against Racial 

Prejudice) and RASH (Red Anarchist 

Skinheads). Unfortunately, if you live in 

285 

Britain you will know what the word tabloids actually 

means, and it is easy to imagine what the “journalists” chose to focus on, in order to 

divide, confuse and terrify the people. To some extend this wrong idea about Skinheads 

is still nourished today and has come to be a kind of public opinion, wrong and arbitrary 

as it might be. 

Finally, another group that also emerged at the same time and is very dominant in popular 

culture and arts today is that of Gay Skins fetish. This skinhead fetish is sometimes 

viewed as a branch of sadomasochism, because apart from the skinhead looks it usually 

emphasises on the masculinity the skinhead looks and attitude embody. Also, because of 

the history of skinheads there are many who want to feel the power of a fascist master 

that way, and others who do have a skinhead fetish but view themselves in the role of a 

slave. However, for other skin fetishists there are no master-slave roles and all this is the 

experiencing of masculinity and the adoration of masculinity and roughness, in a bonding 

homosexual relationship. Of course, there are also several gay skinheads who do 

not identify as gayskins and do not wish to be associated with any fetish groups but just 

be gay and belong to the general skinhead movement. 

Naturally, with all this history and fuss about skinheads, there are several artists of all 

forms who have been inspired by the skinhead culture, looks, lifestyle. When it comes to 

painting, the most notable example is Attila Richard Lukacs, a real genius who has used 

gay skinhead and nude skinhead imagery in his work and his famous polaroids (we had 

the pleasure of interviewing him for one of our previous issues). Then, a very important 

photographer who has extensively and most effectively documented skinhead culture in 

various forms is definitely Nick Knight. Fashion has been and still is very influenced by 

skins, not only underground or up coming designers, but the very Alexander McQueen 

has been featuring gay skinheads on his runway. In cinema, there are many many skinhead 

related films. Our personal favourite and most insightful one is Made In Britain starring 

Tim Roth as Trevor, a real little gem of British cinema that everybody has to watch. 

By Amanda M. Jansson and Emma Elina Keira Jones.

286

287 

Kieran 

Photography by Sophia Kahlenberg 

www.sophiakahlenberg.com 

Styling by Elvia Rietveld 

Grooming by Margarida Marinho 

Styling Assistant: Kristal Radjpaul 

Model: Kieran @ Nevs Models London 

Coat and Trousers: From Britten 

Vest: Christian Lacroix

Shirt: Christian Lacroix 

Jersey: Shaun Samson 

Trousers: Topman 

288

289 

Blazer: Hancock 

Shirt: American Apparel 

Shorts: Agi and Sam for Topman 

Trousers: Topman

290 

Jumpsuit: Christian Lacroix 

Shirt: American Apparel 

Plimsolls: Topman

Shirt and Trousers: Christian Lacroix 

Belt: Stylist´s own 

Socks: American Apparel 

Shoes: Dune 

291

292 

MUST 

Damir Doma Astrid Andersen 

Selected by Marcel Schlutt

293 

Walter van Beirendonck Wood Wood Thierry Mugler

294 

Ashish Giles Maison Martin Margiela

295 

Comme des Garçons A Détacher Mary Katrantzou

296 

∆LT – J 

Touring & Tessellating 

An Interview by Amy Heaton

J 

297 

ust a week after they appeared on the Brit Awards I had the pleasure of meeting British 

indie-rock quartet ∆LT–J in Berlin. Gwil [lead vocals], Joe Newman [guitar/vocals], Gus 

Unger-Hamilton [keyboards] and Thom Green [drums] have a trademark sound is hard 

to pin down into any one genre; perhaps down to the fact that they discovered song writing 

together whilst studying at university, mixing their different tastes to create inimitable 

catchy rock-pop with deep electronic undertones inspired by everything from folk to hiphop. 

Although they experienced a sudden rise to fame after winning the 2012 British Mercury 

Music Prize they were lovely, humble lads and answered the all important question for me: are 

triangles really their favourite shape? 

ALT-J: 

KALTBLUT: I was going to ask you if 

like Berlin, but you’ve already 

confirmed that, so you might move 

here then? How would that work? 

ALT-J: Well, as we’re touring so it doesn’t 

really matter where we live! 

KALTBLUT: Ah yeah true so you 

could be based here and then skip out 

to anywhere else. How is it touring all 

the time, isn’t it really surreal? 

ALT-J: We’ve been touring for around a 

year now, and we’ve got used to it, pretty 

much, it’s nice now, we’ve got a good bus, 

a nice crew, can’t complain, it starts off 

being quite tough, but it’s more just the 

issue of not having your own space. 

KALTBLUT: You’re not sick of each 

other by now then? 

ALT-J: Well you learn how to cope with 

sharing your space. Usually you get sick 

of one member at a time and then you just 

don’t spend too much time with them for 

a while and then it passes. 

KALTBLUT: Yeah but that can 

happen even if you’re not stuck in a 

bus, even if you just live together you 

can have those kind of frictions... 

ALT-J: We used to live together as well, 

we went to university together, we lived 

in various permutations over in Leeds and 

then when we moved to Cambridge for 

like a year we lived for 6 months in the 

same house that was a 2 bedroom house: 

that was pretty intense, we were quite 

depressed, we didn’t have any money at 

all, we were on the dole, it was like, there 

were various factors that made it a bit of 

a shit time, but if we look back now it was 

also quite a good time. 

KALTBLUT: I was going to ask about 

how you started out, so you didn’t 

have a music background really? 

No, it was very much like, working out how to do recordings at the same 

time as doing recordings, it was pretty fun doing it like that. 

KALTBLUT: Did you ever have any moments of like, “what are we 

doing?” or did it just happen really naturally. 

ALT-J: We didn’t really think about it, because we were students for a lot of that 

time, there was no pressure to really achieve anything, which was nice. 

KALTBLUT: So you just started making tracks that then sounded like songs 

and then added structures afterwards? 

ALT-J: Erm, suppose so, we’re not really sure if we know how to make structures 

even now! [laughs] We never really thought about structure. We were free to be 

really creative. 

KALTBLUT: Yeah, didn’t you have more an art background? 

ALT-J: Yeah, when we started out we tried to be quite artsy sometimes, put poetry 

samples in all our songs. Or like having one verse and one chorus then just having 

this massive instrumental breakdown and really long songs, copy, paste, and copy 

paste. [laughs] 

KALTBLUT: Copy/paste is always a winner! So you were recently 

nominated on the Brit awards, coming from England I know what a 

massive accolade that is, how was it actually being there? 

ALT-J: It was weird because the biggest people were all there, it’s not like where, 

normally you might be at an event where there’s one really famous person there and 

it was all about them, but with this we didn’t even really know who was going to be 

there and you’re thinking “oh shit they’re here, they’re here, they’re here...” it was 

crazy. And one of the guys from So Solid Crew wanted to come to our afterparty. 

KALTBLUT: Where did you do your after party? 

ALT-J: In Soho in a hotel called the Sanctum, it was like Iron Maiden’s Hotel or 

something… 

KALTBLUT: Very glam! So are you all like super divas now then? 

Asking for ridiculous requests in your rider? 

ALT-J: Our crew is always complaining that our rider is too small actually! But we 

think it’s massive, and we never get through any of it, well we get through the gin. 

KALTBLUT: So you’re still keeping it quite chilled even though you’re 

getting more famous now, do you still feel like normal lads? 

ALT-J: Yeah we feel pretty normal, it’s weird, you do get quite used to having stuff 

done for you, you do become a bit of a baby, you go from like, you know, touring by

298 

yourself and working all that stuff out, like where you’re going to 

be and whether you’re going to sleep in a van or whether you can 

afford a hotel from then going, to what we’re doing now which is 

not necessarily know where you’re going be the next day, and have 

a team of people running around organising everything for you, 

you do become a bit of a baby, we haven’t cleared up after ourselves 

in a really long time—that’s quite worrying—but that’s just the 

way it goes, because you eat out the whole time, and that’s strange, 

and then you’re eating your rider and you just make a mess and 

then someone clears it up for you. It’s terrible when we go back to 

reality at our girlfriends or families and just come home, fling open 

the suitcase and leave it all over the floor, you loose your domesticity. 

KALTBLUT: Sounds like most guys though to be honest! 

I wanted to ask you a bit about the online music industry 

kind of thing, you web presence and imagery is pretty solid, 

is that something that came out of necessity for you or is it 

something you enjoy? 

ALT-J: It’s something that’s necessary, and you know, if you are 

told by the label to be active with that, but we think it’s just, not 

something we’ve thought about that much, it’s just something 

that seems logical, it comes quite naturally, it kind of all started by 

putting the 4 tracks online - Breezeblocks, Matilda, Handmade and 

was it Tessellate…? Yeah it was Tessellate with a different intro, 

anyway, it was like a demo E.P online, we think you can probably 

still download them just on Soundcloud. And we started off things 

in more of an online way, we didn’t start off by doing ’zines and 

NME radar, we started off just by doing things online, so that’s how 

it’s grown up like that. 

KALTBLUT: So it was like more, ground up sort of thing? 

ALT-J: Yeah, and then 2 weeks before the album came out, we 

put a stream of the album on Soundcloud, it wasn‘t downloadable, 

you can just stream it, and we really think that worked wonders, 

especially places like America where our album was released in 

September there instead of May, so going there before we‘d even 

released the album and touring but then people already knew the 

tracks, you could really see the power of just hosting your album 

on a website. 

KALTBLUT: I guess that’s something you have to think 

about as musicians these days. 

ALT-J: Yeah like even the big stations like Radio One are picking 

up tunes from Soundcloud and playing them live on air, and people 

hear it and get it for free and it means that your music travels so 

far, and so quickly. 

KALTBLUT: So really that means, that if things carry on in 

that vein, it’s going to be harder to make money from 

playing music, right? 

ALT-J: I think lot of American bands complain about Spotify, 

moaning about it, they say like, “when they used to release records 

they’d make 4 dollars now where before they would have made a 

few hundred and now if a track has been played on Spotify 50,000 

times in 1989” or whatever, but it’s just a bit like, grow up, people 

come to your shows, you make money that way, things change, 

that’s just the way it is. 

KALTBLUT: But that’s true, I think bands today have to be 

almost constantly on tour if they hope to make any revenue 

from their music making? 

ALT-J: Well, you could constantly tour, or you could just do every 

phone advert going [laughs] you could do one of the other, it doesn’t 

worry us that people don’t buy records 

anymore. We think that listening to our 

music on Spotify is better than people just 

torrenting it. 

KALTBLUT: It just changes the music 

business completely though? So you 

mean it makes more room for different 

new bands, whereas before they 

might have gone unnoticed, like you 

guys? 

ALT-J: Well it makes the whole business 

a bit more of a respectable profession, it 

takes out that wealth gap between musicians, 

if you were really successful back 

in the 80’s or something, you made loads 

of money, really quick, it almost feels like 

people shouldn’t have made that much 

money, now it’s more fair for everyone 

who wants to get into music at least. 

KALTBLUT: I was going to ask you 

what kind of music you listen to, lots 

of bands I speak to listen to totally 

different music from what they make, 

and also I miss the UK a bit, and I miss 

what’s going on... 

ALT-J: So do we! [laughs] we’ve become 

a bit of a non-album listeners, listening to 

tracks, making playlists and collaborative 

playlists with our girlfriends when we’re 

away or whatever, listening to music like 

that. Tom really listens to the most new 

music, loves Soundcloud, new music blogs, 

but it’s hard to really pin down a particular 

genre, but mostly dubstep, any kind of 

electronic bass music with a good beat is 

going down well right now. 

KALTBLUT: What about your remix 

competition on the website, where 

people can download the stems, if 

you were to have the ideal person to 

remix you pop up in your inbox who 

would it be? 

ALT-J: Actually we’ve already had some 

real dream remixes come through! So 

we’ve already had ones that have been 

like, we can’t even believe they’ve even 

heard of us. We’d love a Justice remix 

us, just to hear what it would be like or a 

Thom Yorke remix would be great. 

It would be cool to be remixed by somebody 

who absolutely wouldn’t do it, I think 

you hear a lot of these producers having 

huge price tags, but that’s just for the 

suckers, like “if we remix you it’s going to 

cost a million pounds” but maybe they’ll 

do it for half price if they actually like 

your music. [laughs] 

KALTBLUT: So lastly, I just have to 

ask you about the triangle thing, 

I know you said it represented change 

for you when you started out...

299 

ALT-J: No! We never said that! 

One of the first interviews we 

ever did being called Alt-J, the 

journalist asked us “So what does 

the symbol mean?” and we knew 

that it represented change so we 

just kind of said that, but yes, it 

was a change in our life, because 

we were leaving basically our 

home, but it’s not some sort of life 

philosophy or some manifesto 

that we have behind it, and we 

don’t like triangles that much, and 

we weren’t really aware of this 

whole hipster, triangle culture 

when we first used it. 

KALTBLUT: Yeah but that 

probably came after right? 

Hipsters have just adopted 

that symbol, they don’t own it, 

and it’s been used throughout 

history for lots of different 

things… 

ALT-J: We’re gonna say it did 

[laughs] There’s always been a 

kind of mystique surrounding the 

triangle, trinity…all that kind of 

thing. 

KALTBLUT: So if I had to ask 

you what does it mean to you 

then? 

ALT-J: Well it looks pretty cool! 

Thanks to the boys for a 

nice chat! Their debut album 

“An Awesome Wave” is out 

now on Infectious Music. 

www.altjband.com

Photography: Sebastian Burgold - www.sebastian-burgold.com 

Assistant: Alexander Ullmann 

Styling: Sabine Fischer 

Make up: Karla Neff c/o perfectprops.de 

Hair: Susanne Minckert 

Models: Adom, Johannes, Lukas, Fabian, Ricardo, Zsolt 

@ McFIT MODELS - www.mcfitmodels.com 

Jolt: Polo - Fred Perry, Adam & Lukas: Polo - Sunspel 

300

301 

ETON 

ROWING

302 

Jo: Jacket - Minimum, Pullover - Lacoste, Trousers - Barbour Fabian: Jacket - Strenesse, Shirt - Denham, Trousers - Minimum 

Jolt: Cardigan - Moods of Norway, Shirt & Trousers - Minimum, Hat - Fiona Bennett Ricardo: Pullover - Lacoste, Polo & Trousers - Sunspel, Cap - Barbour 

Sascha: Shirt- Minimum, Trousers - Soulland Lukas: Cardigan - Sunspel, Shirt- Lacoste, Trousers - Minimum, Bow Tie - Edsor, Belt - Fred Perry 

Adam: Jacket - Minimum, Polo - Fred Perry, Trousers - Moods of Norway, Hat - Fiona Bennett

303 

Ricardo: Cap - Barbour

304 

Lukas: Cardigan - Sunspel, Shirt - Lacoste, Hose - Minimum, Bow Tie - Edsor, Belt - Fred Perry Jolt: Cardigan - Moods of Norway, Shirt & Trousers - Minimum, Hat - Fiona Bennett 

Adam: Jacket - Minimum, Shirt - Denham, Trousers - Moods of Norway, Hat - Fiona Bennett 

Sascha: Longsleeve - Lacoste

305 Ricardo: Pullover - Lacoste, Polo & Trousers - Sunspel, Cap - Barbour

306

307

308

309

310 

One To Watch: 

Sandro 

arzo 

In each issue we are presenting you a new and young name from the fashion circus around the world. 

This time we wanna introduce you to one of the biggest talents we have ever seen in fashion. Sandro 

Marzo! Based in Switzerland and ready to rule the world. His designs are outstanding. His aesthetics and 

technical skills are unique. He is not a man who likes compliments a lot. But Mister Sandro Marzo, we are 

in love with your work. We had the pleasure of shooting a great editorial with one of our favourite models 

ever, Jan Burchard. And we have created a different look for each item to show you guys that fashion by 

Sandro Marzo is wearable for each man. Ladies and Gentlemen: Sandro Marzo! 

KALTBLUT: Hello Sandro. First of all thanks that we could 

shoot with your great and unique autumn/winter col- 

lection 13-14. I am in love with every single piece of your 

work. Well done. This is your first menswear collection. Tell 

us what was your inspiration for this collection? 

Sandro: This is the first collection of the “Sandro Marzo” 

label. It was preceded by the birth of an idea, the whole 

preparation, so to speak. The grouping itself. What followed 

was the baptism of this idea with the AW 13/14 

collection. I allowed myself to be inspired by ornaments in 

cathedrals, church robes and rituals of the Church. Visually, 

I wanted to combine these traditional patterns with 

something dynamic. Since I have always been fascinated 

by the clean lines of uniforms, I decided to blend elements 

from the military clothing with the basic concept, but to 

create something strong, progressive mystical and ritualistic. 

KALTBLUT: You have a strong feeling for proportions, 

the cuts of your designs are looking easy and in no way 

dressed. Where do your amazing aesthetics coming from? 

Do you have any explanation for it? 

Sandro: I’ve always been wondering what makes a shirt 

to a shirt, a pair of trousers to a pair of trousers, a sweater 

to a sweater and whether these codes are immutable. 

I love playing with proportions, with these codes. When I 

see the “Uniform”, in which people move every day, this 

inspires me additionally, to question individual parts and 

their relationship to each other. I’m sort of in a constant 

search for new forms. 

KALTBLUT: I was searching for a young talented menswear 

designer for this issue and then found you on the world wide 

web. But I couldn’t find out much about your background. 

So please tell us. Where did you grow up? And is fashion 

something you always wanted to do? 

Sandro: I was born and raised in Basel. When I completed 

the preliminary course in design, I actually had the idea 

to study architecture. But I reoriented myself anyway and 

came across the Basel Institute for Fashion Design (IMD). 

The idea of producing fashion instead of consuming hasn’t 

left me ever since, not once, so I then decided to go ahead 

with these studies. It was a natural choice and when I 

think back now, it seems to me as though there has never 

been real doubt, really. 

KALTBLUT: Your home country Switzerland is not really a 

hot spot for fashion to be honest. But during the last years 

some great designers are coming from there. Like Julian 

Zigerli and now you. Can we see something of you culture in 

your work? 

Sandro: In a way, yes, sure. But I think it is nowadays quite 

difficult to be consciously oriented towards the culture 

of your residence. In times of w.w.w that requires, well to 

put this in over the top terms, to have mounted blinkers 

on. I would not let anything restrict me. I am too interested 

in other foreign cultures. That’s why Basel is the right 

city for me to work in, I feel Basel is a multicultural city. 

All this freedom is probably inspiring me, my designs. The 

fact that I will produce exclusively in Switzerland and 

Italy, also shows that I have strong faith in my home, especially 

in terms of quality. 

KALTBLUT: The design, shape and cuts of your items would 

easily work on a woman. I can see some strong powerful 

girls in it. Did you ever think about doing womenswear? 

Or is menswear just your thing? 

Sandro: I still label it as menswear, because the whole fashion 

market still follows this division. This really decides

311 

Photography and Make up by Pascale Jean Louis 

Styling, Concept and Post-production by Marcel Schlutt 

Set Design by Flo Jean Louis 

Model is Jan Burchard @M4 Models 

Design by Sandro Marzo

312

313

314

315 

where and when I show my collections, 

for example SS 14 collection was shown 

during the men fashion week in Paris. 

But I do not think much of a clear gender 

separation. While creating my designs, 

I expect to dress a man. But as soon as 

my designs are hanging in the store, they 

will go their own way, I have no problem 

with that, on the contrary. I can easily see 

myself designing fashion specifically for 

women as well, but for a while I will certainly 

go out from thinking men‘s fashion, 

when I create my outfits. 

KALTBLUT: Each designer has his own vision 

of the man who is wearing his designs. 

What does the Sandro Marzo role model 

look like? And is there a famous man in the 

world you would love to see in your collection? 

Sandro: My vision is limited to clothes and 

body mass. And with that there is already 

enough selection in my opinion. I do not 

want to decide who should wear my fashion, 

what type of man - or woman also. The people 

who wear Sandro Marzo, I like to watch 

how they combine things, how they think. 

I am happy these people appreciate my 

clothes. Yes, of course there would be some 

famous personalities. For example, Steve 

Buscemi, Asap Rocky or Rick Owens. 

KALTBLUT: Creating your own collection 

takes a long time, good friends who support 

you and so on. How long have you 

worked on your collection? And did you get 

any support as a young designer from the 

state? Or family? 

Sandro: Long. A very long time. Every single 

free minute available. It is actually constantly 

organising and then you must also 

still create. I think of my concepts, details 

and silhouettes consecutively and continuously 

like in some kind of personal Bible. 

I need to design, when my head is clear, and 

take advantage of those moments immediately. 

You cannot do that, when you have to 

organise a lot. Then I often get ideas from 

this Bible of mine and sample them with 

new ideas to turn them into a collection. 

For the most part I am still self-financed. 

I have had the same job since I was about 

14, which helps finance my collections. I 

am very glad and thankful that IKB (creative 

economy initiative Basel) promote me and 

the Christoph Merian Foundation Designers 

help me in many ways. But I am constantly 

in search of financing help, without it it’s 

not easy in the beginning. 

KALTBLUT: Do you have your own studio? 

Or where do you work? 

Sandro: I have pleasant 44m² in a corner of 

Basel that is developing rapidly at the moment. 

Many claim the Dreispitz area will be 

the cultural hotspot of Basel in a few years. 

We’ll see.

316

KALTBLUT: What does a normal work day look like in 

your studio? I need music all day long to work and lots of 

coffee. So what is on your iPod when you work? 

Sandro: I can’t say my day really shows much structure. 

I am currently doing five different jobs. Mails, section 

drawing, sewing, traveling to the production spots. It takes 

up a lot of hours. Music is always there. Shuffled from Erik 

Satie to Balam Acab to Kendrick Lamar to Death in June to 

Articolo31 to Ritchie Hawtin—pretty much everything. Music 

puts me in a certain mood. Coffee also. It is a constant 

companion. 

KALTBLUT: In your autumn/winter collection we can see 

a lot of knit. It is not an easy material to work with. Do you 

like the challenge? And can you knit (as we all know the 

queen of knitwear Sonia Riekel can’t knit herself)? 

Sandro: I love knit. But unfortunately I’ve never taken the 

time to learn how to knit. So I cannot do it myself. But I 

know exactly what kind of quality I want. Most of the time, I 

have a photo of a texture, which is not made of knit. So I’m 

going to Italy and try different things and patterns on the 

knitting machine with Alessandro. Fortunately he has a lot 

of patience with me, the search for the perfect pattern often 

takes several days. 

KALTBLUT: Who are your personal fashion icons? Can you 

name a few? And also why? 

Sandro: Rick Owens for his minimalist design. Yohji Yamamoto 

for his silhouettes. Givenchy for…well because Givenchy 

simply kicks ass. Comme des Garçon for their gender 

play. 

KALTBLUT: One of my personal icons is Diane Pernets. 

I just adore her. What was your first thought when you 

saw “Sandro Marzo is a hot name to watch” on her fashion 

blog? I would have celebrated all day long! 

Sandro: What? Really? Phuu thanks very much. I don’t wanna 

lose touch and neglect everything else, I want to remain 

grounded, so I just don’t take notice of such things simply. 

Fullstop. That’s how it is. I do not celebrate compliments 

that much. But I am pleased when people hear of me. I want 

to go on and get even more attention. 

KALTBLUT: It is not easy for a young designer to jump 

into the fashion circus and to be successful. The way to that 

point is hard. PR, magazines, shootings and so on. Do you 

have a team around you? Or is this all in your hands? 

Sandro: I am never alone. Me and fashion design alone just 

won’t work. It surprises me again and again how many designers 

claim to have set up everything on their own. Without 

317 

“I do not want to decide 

who should wear my fashion” 

interview by Marcel Schlutt & Nico Sutor 

www.sandromarzo.com 

context/environment there would not be ideas or designs. 

The implementation is impossible without assistance. My 

team currently consists of Flavio Crüzer (sales manager), 

Lionel Schuepbach (press manager), my mother and me. 

These are my constant helpers who have been there from 

the beginning. In addition, Nadine Burkhardt and Anais Marti 

have supported me over the period of the SS14 collection. 

I am very grateful to all these people. 

KALTBLUT: You graduated from the Institute for Fashion 

Design Basel. Can you remember your first item you have 

designed for the Institute? And what your teacher had to 

say about it? 

Sandro: It was a pair of “Morph pants”. Something between 

jeans and dungarees. Between leisure and work. Terrible 

and difficult. The properties of these pants. In any case the 

thing was good enough to secure me a place at the Institute. 

KALTBLUT: What do you think of people like Kanye West 

or Victoria Beckham doing fashion and being so successful 

without studying it? Do you think it helps when you learn 

what fashion really is? 

Sandro: They got famous just through music though, right? 

That’s all there is to it. 

KALTBLUT: You really have to tell us your secret: your 

coats are amazing, we adore them! It takes years to make 

a perfect cut and shape for a coat. Also the tailoring is so 

precise. What is your secret, and at such young age? Do you 

have any tailoring experience, besides the fashion institute? 

Did your grandma show you how to do it? 

Sandro: No. Even though my mother is a seamstress, I’ve 

mostly taught myself everything. Analyze and try, try, try. 

This is my recipe. Remain stubborn, do not give up. Eventually 

it works. 

KALTBLUT: Can you already give us a little sneak preview 

of what we can expect from you for the next summer 

season 2014? We are curious what the Sandro Marzo man 

will wear for summer. 

Sandro: SS14 is already online. Have a look on my website. 

AW14 will have two different faces….perhaps. Luxury- contrasting 

with cheap elements…in a way. The two faces of the 

fashion circus maybe. Paris, definitely! 

KALTBLUT: Sandro. Thank you very much for the interview 

and allowing us to shoot the editorial with your 

pieces: we wish you all the best for the future. 

Sandro: Thank you, Marcel and Nico.I wish you the same!

Photographer: Reno Mezger 

www.reno-mezger.de 

Stylist: Leonard Engel 

Models: Collins @Place Models, 

Augusto @m4 models management 

Theodore @Louisa Models 

Hair & Make Up: Sascha Hughes 

Blossom Management 

Styling Assistant: Carolin Neumann 

Hair & Make Up Assistant: Dennis Brandt 

Blossom Management 

Photo Assistant: Anh ‚Duci‘ Nguyen 

318 

Theodore, Macrame Collar: Dawid Tomaszewski 

Shag 

arriors

319 Collins, Bolero Sleeves: Dawid Tomaszewski

320 

Left - Theodore, Hat: Saint Laurent, Coat: Malaikaraiss, Belt: Louis Vuitton, Underwear: stylist’s own, Socks: Falke, Boots: Hugo Boss 

Right - Augusto, Hat: Marc Stone, Pullover: Kilian Kerner, Underwear: Stylist‘s own, Socks: Falke, Boots: G-Star RAW

321 

Augusto, Hat: Rotkaeppchen Designs, Scarf: Hermès, Coat: Marc Stone, Belt: Mexx

322 

Left - Collins, Pullover: French Connection, Underwear: stylist’s own, Socks: Burlington, American Apparel 

Right - Augusto, Pullover: Marc Stone, Socks: Burlington, Falke

323

324 

Collins, Scarf: Levis, Belts: Vivienne Westwood, Tommy Hilfiger, 

Ludwig Reiter, Socks Burlington, Boots: G-Star RAW

325 

Augusto, Pullover: Dawid Tomaszewski, Underwear: stylist’s own

326 

Collins, Hat: Saint Laurent, Scarf: Napapjiri, Coat: Malaikaraiss, Necklace: Dolce & Gabbana

327 Theodore, Coat: Kilian Kerner, Vest: Ralph Lauren, 

Belt: Guuci, Tights: Wolford

Theodore, Jacket: Hugo Boss 

328

329 

Left - Theodore, Top: Dawid Tomaszewski, Underwear: stylist’s own 

Right - Collins, Coat: Dawid Tomaszewski, Underwear: stylist’s own

Left - Collins, Hat: Napapjiri, Pullover: Gucci, Underwear: stylist’s 330 own

331 

Center - Theodore, Cardigan: Tommy Hilfiger, Underwear: stylist’s own 

Right - Augusto, Cardigan: French Connection, Underwear: stylist’s own

332 

Steffen Sauerteig, Svend Smital and Kai Vermehr 

are the three faces behind the Eboy collective: they met in 1996. Svend and 

Steffen knew each other for quite some time, doing parties together in East 

Berlin before the wall came down. Kai and Steffen were working together at 

Metadesign, one of Germany‘s biggest design companies, also based in Berlin. 

They started to do some gaming together and then somehow, the magic happened: 

they decided to create pictures for computer screens, and that‘s how 

Eboy was born. Playing with the limitations of the medium at the time, plus 

a certain appeal for video games aesthetics, you‘ve most likely seen their art 

in advertisements, galleries, illustrations without knowing that it was from 

them. Personally, I am in total awe of their massive and very detailed pixelated 

cityscapes. For all the pixel freaks who are reading us out there, it is said that 

they have been storing every single element in one big database. If anybody 

wants to break in, count me in (contact: operat10n.pixel.rob@kaltblut.de) 

Sure, nowadays everything that is even remotely related to the nineties is totally 

“hyped”. We‘re seeing pixel art everywhere, the proof is, I even personally 

got a tattoo of the famous game “Space Invaders”. So proud. Amazingly 

these three are still working together after all these years. Kai and Steffen live 

and work in Vancouver, while Svend stayed in Berlin. Meeting in the morning 

for a video chat session, they are using surprisingly top-notch communication 

technology for their low-res art. I used what people call “the web” to get in 

touch with the eBoy Team. 

eReady. eSteady. eGO! 

Interview by Nicolas Simoneau

333

KALTBLUT: Eboy or the Godfathers of 

the pixel. How did you come up with 

this name? Is there a secret reference 

attached to it? 

EBOY: The name popped up from word bits we 

liked and combined. No hidden references. 

KALTBLUT: I know that Kai was the 

only one to grow up with a Nintendo, 

and that it played a big role in his love 

for pixel art. Huh sorry Kai, but why a 

Nintendo and not a Sega? I mean seriously, 

doing pixel without playing any 

Sonic The Hedgehog, I don’t buy it … 

EBOY: I owned the GameBoy 1 – but no 

Nintendo console unfortunately. I think the 

first video game I ever played was in Miami 

Beach – in a hotel lobby – it might have been 

Pac Man. At home we had the Pong Console 

and my father shared his Apple II with us kids. 

I never played much Sega, but only because I 

didn't have one. 

So I was socialised in an early computer environment 

but this is not the main reason we 

started to work with pixels. In the mid 90ies I 

wanted to switch from paper to digital – and 

pixels were the obvious way to go. I was 

fascinated by the idea of being able to share 

(endlessly) without having to print each copy, 

and without loss of quality. And wanting to 

create in a fashion true to the digital medium I 

wanted to work with. 

Rocks aus PeecolToyPoster 

334 

KALTBLUT: How did Steffen and 

Svend come to love the virtual world 

of pixel aesthetics without having 

ever played video games? 

EBOY: Before starting eBoy, Steffen and I 

played a lot of video games at home, on our 

LAN – mainly Marathon for Mac but the digital 

age was looming anyway, and the concept of 

square modules is universal, mosaics have 

been around forever. When you have a group 

of similar shaped objects you automatically 

start organizing them. Pixels is just one iteration 

of that concept. And I remember Svend 

was into Macromind Director and doing really 

cool interactive mini animations at his senior 

year at university. 

KALTBLUT: I’m an especially big fan 

of your Pixorama cities. So let’s start 

with these. How come your are doing 

so many big cities? Can we imagine 

that getting older you‘ll be drawing 

more pixel beaches with pixel sunsets 

or pixel countryside landscapes? 

EBOY: Well, maybe! – we're trying to add as 

many cities as possible. But it takes some 

time to finish each city – sometimes years, 

and there are so many other interesting things 

... but countryside sunsets – that's a good 

idea! 

KALTBLUT: How do you pick the elements 

that are gonna be featured on 

a particular poster? I mean for Berlin, 

I can see the Tresor, the Berghain, the 

Daft Punk and even Steven... 

EBOY: We try to include stuff we personally 

love or find interesting – for whatever reason. 

The ideal preperation is to live or visit the 

city in person, otherwise we do a lot of image 

browsing. 

KALTBLUT: I mean clearly you had 

to live in the city to know all of this, 

so does it mean that you’ve lived in 

every city you‘ve made a poster of? 

EBOY: No of course not. And it doesn't need to 

matter how much inside information we have. 

We could do a Pixorama of how we imagine 

a city without having any good idea how it 

really is – it could be totally unrealistic – and 

yet fascinating. 

KALTBLUT: By the way I found you 

on the Berlin poster, are you in every 

one of your cities just like Wally? 

(nb. Where’s Wally?) 

EBOY: No, sometimes we forget it. 

KALTBLUT: Can you tell us about the 

game dimension of your posters, like 

in a Where‘s Wally picture or like 

in a Mighty Max toy? (nb. Amazing 

famous miniature toys of the 90’s = 

Polly Pocket for boys.) 

EBOY: We basically create our toys and play 

with them. If we need more, we make more. 

As many as we like (… and have time for). 

You could say that eBoy is the game we play. 

KALTBLUT: You are working with so 

many major companies (MTV, Honda, 

Coca Cola and even more recently 

Adobe) and you also use them quite 

extensively in your cities. How do you 

position yourself between a James 

Bond movie and Logorama (nb. Academy 

Award for Best Animated Short 

Film in 2010)? What are some of the 

limits that you encounter when you 

are using or working with a particular 

brand? 

EBOY: Well, the final product has to work for 

the client. That's a reasonable expectation 

when you work on commercial projects. For 

us this is a limitation and an extension at the 

same time. Many good ideas start out in a 

commercial context. Many good ideas start out 

in unexpected contexts anyway! 

KALTBLUT: Speaking about Adobe 

and software in general, which program 

do you use to pixelate the world? 

EBOY: The pen tool in Photoshop. For preparation 

and research we sometimes use 3D 

applications like SketchUp and Blender. 

KALTBLUT: Since the 90’s and alongside 

your own career, a big pixel art 

scene has been on the rise with websites 

like PixelJoint, grouping artists 

and coming up with a specific set of 

rules (colour limitation, dithering…) 

Are you in touch with the other pixel 

artists and are you playing by those 

rules? 

EBOY: Yes that's a fascinating development 

and the limitations are what makes the genre 

so attractive. We do have some guidelines 

or preferences – I wouldn't call them rules 

though.

335

KALTBLUT: At the beginning 

of your career you 

said you wanted to create 

pictures for computers, but 

now you also do animations 

and gifs. Would you 

consider this a normal shift 

of your initial activity? As 

your next project, can you 

imagine making a featurelength 

animated film? 

EBOY: Our animations and gifs 

are made and consumed on 

computers. And we have created 

animated gifs right from the 

beginning. I don't see a shift. 

You could argue though, that 

everything is coming to the 

computer. A feature-length 

animation film would be 

wonderful to work on. 

KALTBLUT: Speaking 

about development, you 

also make toys, design 

T-shirts and skateboards. 

What do all these things 

have in common, aside 

from their aesthetic 

qualities? 

EBOY: Maybe that these are 

products that we actually use 

ourselves. 

*BONUS 

QUeSTiONS* 

KALTBLUT: Getting back 

to the real thing : video 

games. I just want to test 

you and see how geeky you 

are … Ready..? Dr ROBOT- 

NIK or BOWSER? 

EBOY: Haha – Bowser. 

KALTBLUT: Jill Valentine 

or Chris Redfield? 

EBOY: Jill on even – Chris on odd 

days. 

www.eboy.com 

Opening Page: EBY Rio Poster 

Second Page: ECB PartsPoster 

This page: ECB Berlin V3 

336

337

338 

EASTER 

What 

’05, blowing eggs and penises. First lately it’s been clear to us that 

was it about minimal psychedelic electronic duo Easter that 

tipped us off to their weirdness? Their name, possibly; their Facebook 

page About section, “We’ve spent every Easter together since 

our brothership was intended by the Godlike to bring something bigger to this world” definitely. It’s this brothership that we 

wanted to explore and hear more from. Easter consist of Max Boss and Stine Omar Midtsæter, a Berlin based pop band (their 

label, not ours) who have been living in the city for eight years and creating music for seven. They state that through their 

“music you will, eventually, be able to face the most beautiful ass on the beach.” But don’t think they’re weird for weird’s sake. 

Insanely off-the-wall lyrics are served to us in beautiful experimental elegies stitched together to form an electronic mournful 

rhythm. Each and every stumble over the heady beats is hypnotic. The psychedelic dragging dance beats accompanied with 

Stine’s unique vocal flow come together, drop by drop, in delicious minimalism. We can’t help feel we’re on the edge of fainting; 

the monochromatic lyrics flood the track with a sexy, sensuous glow and act as a prism through which the band’s indelibly 

unique perspective is filtered. Emotionally spell binding, Easter grabs and shakes us from every conceivable angle. 

KALTBLUT: Hello Easter! 

Where did you two meet? 

EASTER: Our paths remained uncrossed until 

late 2005. Then, our separate living had reached 

a point where we had nothing to hold on to. We 

finally faced each other at Plötzensee, Wedding. 

Max in an overly flashy bathrobe, Stine on a 

dysfunctional bike. No friends in common but 

everything else. 

KALTBLUT: How did you decide to start 

creating music together? 

EASTER: Stine had just inherited the drum set 

of her grandfather Omar and took Max to the 

studio to show it off. We trusted natural law. If 

you do, harmony always follows. 

KALTBLUT: Where are you both from? 

EASTER: Oslo Norway and Berlin Germany. 

Or was it the other way around? 

KALTBLUT: And why did you choose the 

name? Is there any particular connotation 

or personal affiliation with the religious 

holiday? 

EASTER: Easter always seems to be a very 

productive time for us, plus there’s a slight 

affiliation with the hanging body of Christ. And 

then also gradually the curious finger of Thomas 

in his wound. 

KALTBLUT: I heard you describe yourself 

as a “pop band” in an interview once. That’s 

interesting; musicians tend to stray away 

from that. Why do you choose that label? 

EASTER: In our book, pop is short for popular 

and that’s what we want be. It is more an act of 

not limiting or trying to explain what we do and 

leaving it to other people. 

KALTBLUT: You were part of the Berlin 

Music Video Awards this year. Can you tell 

us a bit about that? 

EASTER: We thought it sounded fun to be 

part of an award. Then it turned out to be a 

unique opportunity for musicians and labels to 

meet the music video makers face to face in a

cosy and inspiring atmosphere. Networking 

time. We had to skip the ceremony because 

we didn’t have our business cards ready. 

KALTBLUT: The video you put 

forward for that was “Alien Babies” is 

certainly intriguing but the lyrics are 

even more fascinating. The pace of the 

video and your singing match each 

other perfectly. Can you tell us a little 

bit about the video and how the filming 

took place? 

EASTER: The concept for the video 

was built around the central image of one 

particular person dancing. The rest came 

from our then current interest for crystals, 

enhanced by a crystal growing kit, a birthday 

present from the cream cake girls, and 

MDMA. Britta was super professional after 

we got her in the mood with Usher. She 

was immediately hooked by the song and 

improvised the moves on the spot. We shot 

everything in one hour in our former studio 

in Berlin Weissensee with Stine’s new Sony 

and a lot of light equipment provided by 

UDK. The next day we posted it. 

KALTBLUT: Britta’s the girl in it? 

EASTER: Yes, she’s our friend Britta Thie. 

Max knows her back from high school. 

She’s a Berlin artist and surely the city’s 

most important social networker right now. 

KALTBLUT: Did it take place in 

Berlin; you live here right? What draws 

you to Berlin? 

EASTER: It did and we do. You can say a 

lot of nice things about Berlin. The dogs are 

much bigger than in other European cities. 

KALTBLUT: Can you explain what 

inspires your lyrics? Quite simply 

they’re fascinating: sensual, uncanny 

and sexy. 

EASTER: Thank you! Force and deadline 

inspires us. Having to put down our 

immediate feeling under a time pressure 

and making the best of it. For the latest 

album we had to make it before our release 

party, as the date was set and the talk of an 

apocalypse and all. It was November, a dark 

month, and the lyrics just came around that 

darkness and drama. 

KALTBLUT: Although your videos 

are low budget, we think they’re great. 

What’s the creative process there? 

Do you work with the same producer 

every time? 

EASTER: Yes, we do, Easterjesus Productions, 

the big whale that we ride to make 

brains meet and art slide. We sometimes 

recruit friends to help us and go on a twelve 

hour hell ride through indoor tropical 

landscapes and such. Afterwards it’s mostly 

decided by who of the both of us has more 

339 

time or feels more inspired by the material 

to edit it. It’s always a very quick procedure, 

to process everything while it’s warm, 

before we get bored by it and move on. 

Bang bang bang. 

KALTBLUT: How important is the 

visual to Easter? 

EASTER: The visuals are as important to 

us as to any Youtube viewer. Songs always 

get at least twice the amount of attention 

on video platforms. Videos are easy to make 

and fun. Who wants to look at a still of the 

album cover? 

KALTBLUT: The song Heterosexual 

obviously deals with sexuality and 

gender. The lyrics for the song, “I 

believe that love could be my sexual 

orientation/ to love whatever boy or 

girl / I thought that was thing/ Now all 

my friends and lovers wants a clearer 

explanation /sleep around its all okay, 

but you must choose your wing ” are 

bold, impudent and sexy. What do you 

want to convey or promote with these 

lyrics? 

EASTER: Just that, what it says. There’s 

an extreme focus on sexuality and gender 

going on. It’s kind of similar to the music 

genre thing; people have this pressing need 

to label things. Sometimes this is funny, 

most of the time it’s just not interesting. I 

think you can choose to ignore the whole 

thing, and politics being personal anyways, 

just act on what you want. Love is huge. 

Love got space for you. We are educated. 

We’ve learned about western civilization. 

Do you know what the message of western 

civilization is? I am alone. Am I alone 

tonight? I don’t think so. Am I the only one 

in the room with bleeding gums tonight? 

I don’t think so. The question is not what 

kind of sexual desires someone harbours. 

That much is freely admitted by all. The 

question is: could this be used as a way to 

get beyond the stuckness that we feel? 

KALTBLUT: What’s your reception 

been like so far? 

EASTER: We are big in the Ukraine. It’s 

changing. Someone once wrote on our 

Youtube video “How the fuck did I get 

here” which is an interesting indication for 

an expanding audience. Increasing feedback 

always includes hateful comments because 

it’s not only your friends or a certain scene 

any more that passes the link within itself. 

The further you spread your signals the 

more distant you are to the recipient, which 

causes different reactions. When you just 

got back from Europe Somewhere - alienated 

- and people acted as if they know who 

you are; or is it actually nice because yes 

you have done a lot of work and so could 

it be so rad that our passion is beaming 

energy so far? 

KALTBLUT: How would you like 

people to view you as musicians? It’s 

certainly a refreshing removal from 

the overly commercial, over produced 

music we’re hearing these days. 

EASTER: Thank you, refreshing sounds 

good. Refreshing musicians. 

KALTBLUT: How long have you lived 

in Berlin? It’s changed a lot in the last 

few years and I’d like to ask how this 

has realized itself for you. 

EASTER: It’s been about seven years. 

Guess we missed out on the big change, by 

mostly staying in. But we love a passionate 

story on life, city and realization. 

KALTBLUT: How does Berlin 

manifest itself into your music? 

How different do you think your music 

would be if you lived in another city? 

EASTER: We just talked about pasta. It 

says a lot that in Berlin you can eat a lot of 

real nice food for not much money. If we 

were living in Oslo having to stick to the 

cheapest supermarket food to survive, we 

would’ve become depressed a long long 

time ago. That would definitely have a say 

on the music. 

KALTBLUT: What do you think 

Berlin will look like in 1, 2, 5 years? 

EASTER: Bright! Reminiscent of the view 

that from the complete state of the universe 

at one moment of time, as described by 

the positions and velocities of all particles, 

it should be possible to predict all future 

states. 

KALTBLUT: What’s next for Easter? 

Is there an album coming out soon? 

EASTER: We’re going make some more 

videos for the songs already out. There 

should be a new album out by the end of 

this year. 

KALTBLUT: Last but not least, one 

word or sentence that sums up Easter? 

EASTER: BANG BANG BANG! 

Interview by 

Ange Suprowicz 

Photo by 

Charlotte Jonsmyr 

www.easterjesus.com

340 

Necklace: Pinkninja 

Coat: Wojtek Haratyk 

Blouse: Polygon 

Hat: Rózena Grey 

Fool 

on 

the 

Roof 

MODEL: PETE @AMQ 

PHOTO: KOTY 2 (www.koty2.com) 

STYLIST: JUSTYNA MICHALCZAK 

STYLIST ASSISTANT: PAWEL HERMAN 

MAKE UP: MAGDALENA NOSAL (RH-) 

PHOTO ASSISTANT: KLAUDIA KACZUCHA

341 

Chaplet: Pat Guzik 

Blouse: Anniss 

Trousers: Wojtek Haratyk 

Glasses: Stylist own

Glasses: Doubleau Eyewear 

Coat: Mnishkha 

T-shirt: Ueg 

Trousers: Maldoror 

Shoes: Adidas Originals by Jeremy Scott 

342

343 

Overall: Anniss


Blouse: Wojtek Haratyk 

Trousers: Maldoror 

Shoes: Calvin Klein 

Hat: Rózena Grey 

344

345 

Coat: Wojtek Haratyk 


Trousers: Anniss 

Shoes: Nike

Glasses: Doubleau Eyewear 

Bracelet: Pinkninja 

Shirt: Wojtek Haratyk 

T-shirt: Mr. Gugu & Miss Go 

Trousers: Anniss 

346

347

348 

Christian Joy 

The Joy Of Rock N Roll! 

An American rock and roll dream is coming true when entering the workshop of Christian Joy in 

Greenwich Village. New York winter was definitely O.V.E.R to give way to a series of extravagant 

shiny fabrics, epileptic patterns and many backstage stories. Christian Joy has been a fully-fledged 

costume designer since 2000 when she hit the roads of fashion and art in Brooklyn. She is renowned 

for her collaborations with many bands such as The Klaxons, Santigold, Oh Land and her 

long-term partner-in-crime Karen O from the YEAH YEAH YEAHS. Let’s enter her dreamcatcher 

universe inspired by the greatest male figures of rock and roll history. When women rock it like men 

it is always something to behold! 

KALTBLUT: Are you working on a collection or only specific projects? 

ChRisTiAN JOy: I don’ t really do collections anymore, I used to like it but I feel I cannot express myself. I would rather be an 

artist than a fashion designer so I feel the costume is a better way to express what I wanna do. We do costume design 

specifically right now as the Yeah Yeah Yeahs are pulling out an album—Karen is going to need some suits. 

KALTBLUT: Are you bringing back some 1970’s spirit on stage? And do you miss these days? 

ChRisTiAN JOy: Kind of, there is some 70’s spirit and a little bit of Western! For this record, I was thinking of typical 

rock ‘n’ roll costumes like Elvis, Elton John, any of those kind of rock guys like Screamin‘ Jay Hawkins. I really take inspiration 

from that. There's something interesting about these outfits and something specific in it about being a showman and I think the 

way Karen plans on performing is changing a lot so for this costume, we made something a bit like Las Vegas style. 

KALTBLUT: it looks like Elvis mixed with a seagull! Am i right? 

interview by Marianne Jacquet 

ChRisTiAN JOy: Yeah that’s awesome! I want the people to have a look at it and think “ What is that?” or create their own

story behind it. The way I work involves 

so many different things. For instance, 

I am putting some William Blake 

paintings that are kind of religious 

together with the Yeah Yeah Yeahs song 

called Sacrilege so we are making a kind 

of traveling snake-charmer character. 

So there are lots of different things 

going on in my mind and it does not 

specifically come across in the costume. 

In the end, I mean it looks a bit more 

like Liberace. 

KALTBLUT: i have seen some screens in 

your studio, do you make your own 

patterns and fabrics? 

ChRisTiAN JOy: Sometimes I do. 

Making my own fabric is actually my 

favourite thing to do. We did not make it 

this time. 

KALTBLUT: Do you work in the art 

scene? And how do you define your work? 

is it sculpture? 

ChRisTiAN JOy: I have just kind of 

started to do that. I had a show in Tokyo 

where I showed Karen’s costumes, 5 of 

them and posters, prints that you could 

put on the walls. I started to do screen 

prints on canvas that you could put up 

in your house. That was the first time I 

did such a thing. So it got me interested 

in trying new ideas such as things that 

you can sell or put up. But the really 

more interesting part is creating artwork 

rather than creating fashion. 

KALTBLUT: There is something mystical 

in your costumes. Are you building a tribe? 

ChRisTiAN JOy: Yeah maybe. This is 

definitely a big inspiration. I really like 

looking at different traditional costumes, 

tribal, even for this piece now, 

we are looking at Hungarian wedding 

dresses. It is not so much the dress but 

the head piece that they wear, it is really 

beautiful and made out of flowers. I love 

Japanese culture and their sort of costume, 

there is a simplicity in it, in the way 

it is created. I also love the beauty of 

the way it is printed and how the fabrics 

are manipulated. I love this very simple 

form of clothing, it is very radical. Issey 

Miyake is one of my favourite designers, 

his work is like the continuation of the 

idea of a kimono but taken to another 

level. The way he makes the clothing 

move, it is almost like wearing a flag, 

this is almost saying who you are and I 

like this idea. It is incredibly imaginative. 

The way it moves is so beautiful and 

there is such freedom about it. 

KALTBLUT: Did you ever get in touch 

with his studio in Paris? 

ChRisTiAN JOy: No. I’ve just seen it 

from the outside and it’s amazing. I have 

not been in Paris for 7 years. 

349 

KALTBLUT: Do you ever travel with your pieces? 

ChRisTiAN JOy: I have not really. The show in Tokyo was actually one of the first 

times. Actually some of the pieces went to the V&A or Victoria and Albert 

Museum exhibition in London, it was New York Fashion Now, I had 3 pieces in there, 

so it was quite exciting. I think that the culture of what people think about fashion 

and costume has changed a lot, you can see it with the enthusiasm for the artist 

Nick Cave, who made these sound suits. I think he is teaching at the university in 

Chicago. He is very trendy right now, all the kids are after him. 

KALTBLUT: Did you study fashion design? Or how did you start making costumes? 

ChRisTiAN JOy: I studied photography for one year and I did not really enjoy 

school. I moved around a little bit, then I came to New York where I worked in 

different boutiques. I was working in one specific boutique in 2000 and I noticed that 

the sort of clothes that were coming in had a handmade look so I thought “oh yeah 

I could make that kind of stuff”. I always had in the back of my head the idea that 

I wanted to make clothes but I was also thinking of John Galliano and how could 

I compete with something like that? So I thought maybe I will be a stylist. At that 

time, I was living across the street from a thrift store, so I started buying old clothes 

and painting on them or taking some pieces apart. Then I started to buy those 80’s 

prom dresses because they were cheap and at that time I had no money and there is 

a lot of fabric on them. It is funny, I had this huge pile of pop pink! So I was tearing 

them up and getting them back together again. Then one woman asked me to do

some T-shirts for her boutique in the 

Lower East Side and they got sold out 

right away. So I thought I should keep 

advancing. I did not go to school for fashion 

and I felt I really had to learn how 

to do this and learn every single step of 

it, making patterns, sewing. 

I was very serious about it. So I did the 

prom dresses and that is when I started 

to work with Karen O. She was a friend 

for a while before she started the Yeah 

Yeah Yeahs when I started the dresses. 

She saw one of them and asked me to 

do one for their show. I felt I had found 

my collaborator at that moment. It just 

kind of happened, the whole thing was a 

big accident, I became a costume 

designer because her band happened to 

get popular. I try to continue following 

the path I have started. 

KALTBLUT: success often comes out of 

an accident, if you want it too much it is 

less true! Don’t you think? 

ChRisTiAN JOy: Yes, I think so too. 

The energy is different. I remember 

reading articles about young people 

who started costume design for their 

friends because they thought it was a 

great marketing idea. They interviewed 

me for the same thing, I told them 

it was a complete accident the way it 

happened was just a lot of fun, we were 

having a good time. I did go through 

that period where I wanted to be an 

artist and was trying to create. Then I 

realised that if I don’t worry about having 

the perfect thing but just doing it, I 

am going to create with more 

energy. It just happened to work. 

KALTBLUT: if you could do a piece of 

clothing for David Bowie what would you 

do? 

ChRisTiAN JOy: I have heard his last 

album. I think he might be over 

everyone. I keep reading about how he 

did not show up to his own exhibition in 

London. I guess I would give him a nice 

pillow, something to make him relax. 

He probably just wants to be alone so I 

might give him a radar too. 

KALTBLUT: he is a cross-border artist 

and a pure visionary regarding his 

collaborations? 

ChRisTiAN JOy: I think he is a very 

good curator. I think it is one of the 

great things about David Bowie. He is 

great at picking and choosing the best. 

When you look at him on stage on the 

Saturday night live with Klaus Nomi, 

clearly to me Klaus Nomi is a genius 

but David Bowie is more of a natural 

creative. When I think of it, David 

Bowie was clever enough to bring Klaus 

Nomi. The guy is amazing! You want 

to be friends with a guy like that who 

brings up all his amazing friends. 

350 

„ 

I love 

Japanese 

culture 

and their sort of 

costume, there 

is a simplicity 

in it, in the 

way it is 

created. 

Specifically rock stars, it is what makes 

them so special, their ability to pick the 

right person to work with. I think it is 

great when artists refuse to stay put 

into what people are expecting them to 

do. 

KALTBLUT: i guess this is the definition 

of independency! 

ChRisTiAN JOy: It is really tough. 

KALTBLUT: is your studio a silent place 

or do you play some music? 

ChRisTiAN JOy: I do, my husband has 

a band called Bubbles, he has a 

fantastic voice and also I love 80’s music 

(guilty laugh). Sometimes I listen to 

Grimes… Oh! and I love Robyn! 

KALTBLUT: What do you think about 

Robyn´s outfit? 

ChRisTiAN JOy: I think she is so cute! 

She is funny, she is kind of butch and it 

makes it so awesome, she is doing her 

thing. Oh!!! and I love The Knife, and 

Fever Ray! Oh man! They are amazing! 

My husband got the new records, they 

are so good. They keep pushing forward, 

their idea is specific as to who they are. 

They seem to be held down by nothing. 

Some artists you feel they have to follow 

the rules, it sucks. So I really love The 

Knife, they are unique.

351 

KALTBLUT: Did you have the chance to see The Knife live on stage? 

ChRisTiAN JOy: No, I am too lazy. After a while, when you work with a band 

and see them on stage, you become slightly allergic to it. But I am friends with 

Blonde Redhead, they are really great and they toured with The Knife. I should 

have gone at that time! 

KALTBLUT: have you seen the El Anatsui exhibition at Brooklyn Museum? 

ChRisTiAN JOy: I have seen the work before, it is incredible, so beautiful. 

KALTBLUT: Would you like to work with that kind of metallic fabric and caps cloth? 

ChRisTiAN JOy: I would like to have it just hanging on my wall. I have seen his 

work in San Francisco at the MOMA. It is so gorgeous. I really wanna go to see 

his work. I like when people start to work with what comes around. Have you 

been to the Folk Art Museum next to MOMA? They have pieces from the Great 

Depression when people used to make rugs out of plastic bread bags so you would 

find all the different colours and they are so beautiful. I love the idea of recycling 

with new ideas. 

KALTBLUT: Talking about giving a second life and idea to an object. have you ever 

worked with the Chicks On speed Collective? 

ChRisTiAN JOy: No. I love their work. I have seen it. It is really cool. That is 

pretty awesome, they did something recently with shoes made out of guitars. 

KALTBLUT: Thanks for your the interview and the great time i had here in your 

studio. 

www.christianjoy.us.com 

www.thegardenpartynyc.com/christian-joy 

Photography by Ioulex 

www.ioulex.com 

www.ioulex.tumblr.com

352 

The GANG 

Left Suren 

Hoody Kim Hyungtae 

Shirt Levis 

Trousers Na Di 

Socks Topshop 

Shoes Supremebeing 

Middle Robin 

T Shirt American Apparel 

Trousers Kim Hyungtae 

Skirt Kim Hyungtae 

Shoes Quiksilver 

Right Yemi 

Hat Element original 

Shirt Kim Hyungta 

Jacket So Popular 

Jeans Edwin 

Trainers Saucony 

Photographer Hui - Yu Chen 

Stylist Patricia Villirillo 

Art direction by Huy -yu 

Chen and Patricia Villirillo 

Hair Carmen Procopiuc 

Make up Jiyeon Kim 

Models Robin Suren Yemi ( AMCK 

(

Left Yemi 

Shirt and Trousers Kim Hyungtae 

Glasses Cazal 


353 

Middle Suren 

T Shirt 80volte8 

Coat and Trousers Kim Hyungtae 

Shoes Pointer Burgundy 

Right Robin 


Trainers Reebok

Left Yemi 

Shirt Na Di 

Trousers Marco Mak 

Fresh 

Right Robin 

Shirt and Trousers Na Di 

354 

Left Suren 

Jacket Na Di 


Trousers Ben Sherman 


MIAM 

Shirt and Trousers Na Di 

Tic Tac 

Right Robin 

Jacket Na Di 

T Shir Marco Mak 

Jeans Edwin 

Shoes Supremebeing

Left Yemi 

Jacket Ben Sherman 

Long Sleeve T shirt So Popular 

Jeans Edwin 

Shoes Pointer Burgundy 

BOOM 

355 

Middle Robin 

Shirts and Trousers Ben Sherman 


Right Suren 

T Shirt Beyond Retro 

Belt Edwin 

Jeans Edwin 

Watch Quiksilver 

Shoes Supremebeing


Trouser Ben Sherman 

Socks Topshop 


356 

RELAX 


Left Suren 


Shirt Beyond Retro 

Trousers Quiksilver 


Socks Topshop 

Shoes Supremebeing

Middle Robin 

Jacket Beyond Retro 


Jeans Edwin 


Socks Topshop 

Shoes Pointer 

357 

Play 

SAFE 

Right Yemi 

Goggles Surfdome 


Jeans Levis



358 

in your face

Left Suren 

Jacket Beyond Retro 

Shirt Levis 

Middle Suren 

Coat and TrousersKim Hyungtae 

Shoes Quiksilver 

Left Robin 


Socks Topshop 


359 

Middle Yemi 

Shirt Ben Sherman 

Coat Marco Mak 

Right Robin 

Jacket Scotch Soda 

Shirt Xinyu Hu 

Right Yemi 


To be continued

360 

KIRIL BIKOV 

Kiril Bikov is one of my personal icons when it comes to photography. I just adore his wonderful 

work. It is always a bit dark and morbid. He knows how to use nudity to create his own world in 

his work. He was born in Bulgaria and grew up in wired times. With mixed morals, between communism 

and illusions for democracy, full of absurdity, ignorance, naivety, repression and prohibitions, 

he says. I had a chat with Kiril about his life, work, childhood and why Berlin is the best place in the 

world to be an artist, free spirit and a man. Dear readers welcome Mister Kiril Bikov to KALTBLUT! 

Interview by Marcel Schlutt 

Photos by Kiril Bikov

KALTBLUT: Hello Kiril. Welcome to our magazine. How are you? 

How is life going for you at the moment? 

KIRIL BIKOV: Thank you for hosting me. Life is always interesting and 

exciting. 

KALTBLUT: We are super happy that you have produced this great 

story for the new issue. Can you tell us a little about your 

inspiration for the shooting? 

KIRIL BIKOV: The inspiration for this story are thoughts about the concept 

of time that we created and about us being its servants. We measure 

everything with time- life, love, death, until time finally kills us all, 

while we are counting it. 

KALTBLUT: Can you tell us where you produced it? How long do 

you usually need to come up with ideas for stories? 

361 

KIRIL BIKOV: I took the shoots in fields, parks and lakes in and around 

Berlin. I need only a moment to come up with an idea, but until this 

moment comes it could be days, weeks or even months in between. 

KALTBLUT: We’ve known each other now for some years but I still 

feel like I don´t know that much about you. So let´s talk a bit about 

you. You were born in Bulgaria. Where exactly? And how did you 

grow up? 

KIRIL BIKOV: I was born in a town called Burgas which is situated 

on the Black Sea. I grew up in a confused society with mixed morals 

between communism and illusions for democracy, full of absurdity, 

ignorance, naivety, repression and prohibitions. I spent my childhood on 

trees and the constructions of blocks that were in the process of being 

built at that time, with workers coming from the villages around and starting 

a new life with their families in the bigger town. Our games were 

very limited, because of the lack of modern technology, we were looking 

for dead animals on the street to organize them a funeral or throwing 

stones to each other until someone started bleeding.

KALTBLUT: You must have been a young boy when the Cold 

War was gone in Europe. Do you have any memories from that 

time? Growing up in the East of Europe in the middle of a 

changing system. If so, what is the strongest one in your mind? 

KIRIL BIKOV: I was born 3 years before the fall of the dictator. My 

memories from that time are not so many, but a lot of the morals 

that communism left are still exciting in a very big part of the minds 

of the people. Fear, need of security, television, propaganda and money 

is what is guiding everyone to mutual unhappiness in this part of 

Europe. The regime didn’t finish after the end of the Second World 

War, neither after the falling of communism. We are still observed, 

controlled and with no freedom, not only there but all over Europe. 

People are busy fighting the past ignoring the problems of today 

without thinking that tomorrow, today will be the past. 

KALTBLUT: When did you find out that art, and photography 

in particular, is your passion? When did that start? Was there a 

special moment? 

KIRIL BIKOV: I started playing piano at the age of 10, studying music 

in school. Photography came as a passion later. There was nothing 

that exciting in the beginning, since I had to learn much technical 

stuff that was very boring for me. The lack of knowledge about light 

didn’t let me do much. The satisfaction came after I was able to 

operate more freely with the cameras and techniques and bring 

some ideas into paper. 

KALTBLUT: What was the first story you have shot? 

Do you remember what you have lensed? 

KIRIL BIKOV: Like most of the people that start doing photography, 

I took my first shoots of my family and friends, big part of them 

heroin addicts and underaged prostitutes. 

KALTBLUT: You moved to Sofia at the age of seventeen and 

studied Visual Arts in the New Bulgarian University; specialising 

in photography. Do you think that as a young artist you 

have to study in that field? And how do you look back on that 

time nowadays? 

KIRIL BIKOV: I think everybody with an interest in arts and without 

enough discipline should go to university first, instead of buying 

expensive tools, but they shouldn‘t finish it. And that’s because it 

is possible to get out with very tight frames of mind caused by the 

collective work, although university can give you knowledge about 

certain things and examples of a good work that you would not find 

yourself. 

KALTBLUT: Looking at your work I can see you have found 

your own style. Is this something you created during your time 

at the university? It’s something we haven’t really seen before. 

KIRIL BIKOV: Style is something that you are developing all the time 

and during the working process. 

KALTBLUT: How would you describe your style? 

I like how you play with mysticism, eroticism and symbols. 

KIRIL BIKOV: I am not so ambitious to define my style of work. I try 

to be honest with my ideas and create a poetic, beautiful and 

dream-like image using techniques from the past. 

KALTBLUT: Your work looks a bit dark. You use a lot the black 

and white themes. Nudity. And it is always touching. But why 

do you select these kinds of themes? Are you a dark soul?

“People might recognise their 

own darkness in my 

photographs”

KIRIL BIKOV: There is no place for darkness when something is made 

and charged with love. People might recognise their own darkness in 

my photographs or the art work of any other artist, but that is just a 

reflection of their own feelings, thoughts and sensations about taboos. 

Personal events in my life remind me every day and make me think of 

death, life and time left on this world, which I am trying to observe with 

understanding and acceptance and develop this in my work. 

KALTBLUT: There is sometimes a lot of nudity in your work. 

Naked guys. Do you just like nude boys or do you use nudity as a 

stylistic device? 

KIRIL BIKOV: The gender doesn‘t matter for me as soon as the person 

is fitting well into the concept of the shooting. Although most of my models 

are females. Our bodies are temples and our nudity - holy, they have 

nothing to do with styling. 

KALTBLUT: What makes a man a man? 

364 

KIRIL BIKOV: A real man owns a large penis. He likes to penetrate and 

make kids. He fights with another man and he might fight with a woman, 

if she doesn’t follow his wills. He would create a war to prove himself. 

KALTBLUT: Which photographer or artist is your personal icon? 

Is there anybody out there you would like to work with? 

KIRIL BIKOV: I am not following the photography nowadays. I am very 

touched by poetry and literature, folklore and religion. There are many 

artists that I admire for their work, but there is no bigger inspiration 

than the world surrounding me and real events happening in my life. 

KALTBLUT: Berlin is a good place for young artists to create their 

work. But Berlin can be also a super bitch if you are not strong 

enough. How do you see Berlin. From an artist’s point of view? 

KIRIL BIKOV: People should be strong wherever they are, because this 

world is not made for weak people- it doesn’t matter if you are in

Berlin or another spot in the world. Berlin provides a lot of liberty. You 

can decide to be a woman, a man or describe yourself as an animal or 

something in between. You can also tell people to call you with different 

names or change your identity and in all these cases you will be accepted. 

You can lose yourself easily or find yourself. You can cross borders, 

be a pervert or you can be a criminal, you can be a hero who fights 

against Nazis, capitalism or God and you will be still accepted. Here is 

enough space and stage for everyone who have or have not anything to 

say and that’s what makes the city so attractive to many people. 

KALTBLUT: You are not just a photographer. You do performance 

art, videos and you are bound with the amazing artist Jon John 

from AKA London. A lot of great exhibitions are on your list. 

So, who is Kiril Bikov? The artist and then Kiril the private person? 

Or one whole entity. 

365 

KIRIL BIKOV: I think it could be very schizophrenic to think of myself as 

so many persons at same time. 

KALTBLUT: One last question: Where can we see your work again? 

In an exhibition or any art happening soon? 

KIRIL BIKOV: I am working on my newest visual project called Eros 

including photography and video work which will be eventually 

presented in Tokyo first. At the moment I am open for bookings for 

autumn or the upcoming year. 

KALTBLUT: Kiril, thank you very much for the interview and we 

hope to work again with you soon.

What 

366 

about men’s fashion 

made in Berlin? 

By Hermano Silva from The Gentleman Blog 

www.thegentleman.com.br 

The reputation of Berlin as the European capital of electronic 

music always made the world believe that the city is 

one big rave with a fashion sense that follows accordingly. 

Well, who can blame them? Most of the youngsters do 

love partying here. However, the truth is that, as the city 

changes and gentrifies, the Berlin fashion scene is slowly 

getting more consistent and professional as well. Especially 

when it comes to menswear. 

Below you will have the chance to know more about the 

new talents that are helping to shape the future of men’s 

fashion in Germany with their creative, and at the same 

time, relaxed approach to the contemporary man. 

Sissi Goetze, 32, was born in 

Dresden and graduated in 

Fashion Design at the University 

of Applied Sciences, 

HTW, in Berlin in 2008. She 

then moved to London to 

complete her studies with 

a MA in Menswear at the 

prestigious Central Saint 

Martins College in London, 

where she graduated in 

2010. Until she launched her 

own label, she gained some 

experience assisting designers 

like Bruno Pieters and 

even did an internship at the 

Costume Department at the 

Bavarian State Opera. 

One of the characteristics 

of Goetze’s work is to play 

with small details that are 

best seen closely. One of 

SISSI GOETZE www.sissigoetze.com 

Photos by Julia Schoierer 

her main trademarks is the 

‘hybrid sleeve’ in which half 

of it has a raglan cut and 

the other half has a classic 

one. This sleeve is applied 

to all tops, from a simple 

T-shirt to the coats. She 

also loves a neutral color 

palette of blacks, greys 

and whites and also likes 

to give names to each of 

her creations (“Fritz” shirt, 

“Holger” pants or “Max” 

coat). Sissi has a promising 

future with her modern way 

of approaching menswear – 

something that some of the 

Japanese retailers already 

realised. Most of her export 

currently is to Japan. In Europe 

her brand can be found 

on stores in Rome and Berlin. 

IVANMAN www.ivanman.de 

Serbian designer Ivan Mandzukic, 

30, likes to describe his 

work as “traditionally rooted 

in the present”. He graduated 

at Esmod Berlin in 2010, and 

learned about tailoring a bit 

earlier than that whilst doing an 

internship at the costume design 

department of Berlin State Opera. 

His clothes have very clean 

and pure lines and the core of 

his inspiration is classic pieces 

re-worked in an avant-garde 

way. This means, for example, 

that some tops might leave the 

back exposed. Or that a normal 

cashmere jumper might be made 

in a baby pink colour. 

During his debut at BFW last 

July, it was also surprising to 

see a collection that played 

with the idea of genders in such 

a clever way. If women took 

everything they could from their 

boyfriends’ wardrobe in the last 

decades, now the paradigm is: 

how much can man “steal” from 

their girlfriends? The question 

might seem odd, but together 

with Ivan there seems to be 

many other designers thinking 

the same way, be it J.W. Anderson 

or Raf Simons. Currently 

Ivanman clothes can be found in 

several shops in Berlin, and also 

in Paris and Belgrade.

367 

VLADIMIR KARALEEV www.vladimirkaraleev.com 

Photos by Stefan Kraul 

Vladimir Karaleev, 32, is creating some of the most desired dresses amongst the cool girls of 

Berlin. One of his admirers is Karen Boros, entrepreneur and wife of the art collector Christian 

Boros. His story of success with menswear on the other hand is just in its beginnings. Vladimir 

was born and raised in Sofia, Bulgaria, and graduated in Fashion Design at the University 

of Applied Sciences (HTW) in 2004. Although he established his brand two years later, 

it was not until his Fall-Winter collection of 2013 that he adventured into men’s fashion. The 

first pieces had the same unstructured look of his women’s line. It is often that T-shirts and 

jackets give the impression of being unfinished because there are threads of fabrics exposed. 

But actually he likes to state that this is an intentional effect: to celebrate imperfection. 

HIEN LE 

www.hien-le.com 

For Spring-Summer 2014 the 

clothes are a natural evolution 

of the previous collection, 

just pushing even further his 

“grunge-chic” look. Interestingly 

Karaleev clothes seem 

to have a great appeal outside 

Europe, where he has almost 

all of his retail spots. Currently 

he is selling in countries like 

Lebanon, Saudi Arabia, Canada, 

Japan, China and New 

Zealand. 

Hien Le, 34, became known for 

sharp silhouettes and clean lines 

in both womenswear and mens 

wear. This simplicity combined 

with subtle applications of details 

is also the basis for tailoring. So it 

is not by chance that the fashion 

sensibility found in Le’s work 

actually comes from there: his 

grandfather was a tailor. Le was 

born in Laos, Vietnam, but raised 

in Berlin-Kreuzberg. He graduated 

in Fashion Design at the University 

of Applied Sciences, HTW, in 

2008 and few years later started 

to show his collections on Berlin 

Fashion Week. 

Le’s inspirations vary: from fine 

art, like the work of painter 

Mark Rothko, to TV series like 

“Miami Vice”. For his last collection, 

he looked at nature and 

developed a beautiful print made 

out of a digital collage of Cicadas’ 

wings. One of the main aspects of 

his clothes is the high-standard of 

craftsmanship as he – almost by 

principle – has everything produced 

in Germany. If you want a 

key piece of Hien Le men’s wear 

line, then you should go for a shirt 

with a concealed button border. 

Currently his clothes can be found 

in stores all over the world, from 

USA to China and Japan.

368 

KILIAN KERNER www.kiliankerner.de 

Kilian Kerner, 34, was born and raised 

in Cologne. Before becoming a designer, 

Kerner studied to become an actor. That 

explains a lot about his irreverent and 

emotional creations. Kerner is some sort 

of Berlin hero because he has been showing 

his collections at Berlin Fashion Week 

since the beginning and simply because 

he managed to survive all these years as 

an independent designer. 

His clothes stand for creativity, colourfulness 

and wit. The suits have either a slim 

fit or wider cut legs. The fabrics could 

be shiny but also traditional. It doesn’t 

matter: they always have a rock 'n' roll 

quality and are perfect for the 

daring type of man. So it’s not by chance 

that his creations are often spotted in 

local red carpets. On the business side 

Kerner is quite successful actually. It is 

reported that his labels Kilian Kerner and 

Kilian Kerner Senses hit 1 million Euros 

in sales and are currently retailed in 

more than 14 countries. 

JULIAN ZIGERLI 

www.julianzigerli.com 

Julian Zigerli, 29, was born and raised in 

Switzerland. He graduated in Fashion Design 

at the University of Art Berlin (UDK) in 

2010 and on the same year he founded his 

own label. Zigerli has a different approach in comparison to most of his peers that present at Berlin Fashion 

Week: he loves bold and colourful prints going in the opposite direction of the minimalist aesthetic seen 

at other shows. Often he works in collaboration with an artist to develop these prints. For Spring-Summer 

2013 he invited the Berliner artist Fabian Fobbe, and for S/S 2014 he worked together with German painter 

Katharina Grosse – who literally transported her spray-painting technique onto Zigerli’s clothes. 

Another important aspect of his designs 

are the use of high-tech fabrics 

and a certain utilitarian influence–resulting 

in pieces with lots of pockets, 

zippers or Velcro. One of the key pieces 

of the label for example, is a vest 

that is at the same time a backpack. 

When it comes to his presentations, 

Zigerli usually offers to his audience a 

great spectacle. Not only they have 

an amazing casting of male models, 

but also have an underground and 

artsy atmosphere (typically from the 

city). The presentations used to take 

place in the basement of Cruise & 

Callas art gallery in Kreuzberg. This 

however will change, as the building 

will be transformed and developed 

into something else and the gallery 

will soon move to another address.

369

Jacket: Patrick Um, Shirt: Na Di, Headpiece used as a necklace: Made by stylist 

370 

Photographer: Iris Bjork Stylist: Peggy Gould Make up and Hair: Martina Lattanzi Model: Jose @ AMCK Models 

Photography Assistant: Esté Cann Styling Assistant: Camilla Sverdrup-Thygeson

371 

Shirt: Patrick Um, Dungarees: Patrick Um, Jacket: Maxxi Lee, Shoes: Maxxi Lee Hat: Stylist own

Shirt: Na Di, Hat: Maxxi Lee Shoes 

372

373 

Jumpsuit: Maxxi Lee, Harness: Topshop

Jumpsuit: Maxxi Lee 

374

Jacket: Adrien Chen, Hat: stylist's own 

375

Knit: Rachel Choi, Trousers: Patrick Um, Shoes: Dr. Martin, Headpiece: stylist's 376 creation

377 Top: Hildur Mist, Harness: Topshop

Jacket: Patrick Um, Shirt: Na Di, Trousers: Maxxi Lee, Shoes: Dr. Martin Headpiece used as a Necklace: Topshop 

378

379 

Jacket + Top: Patrick Um, Necklace: Just Acc

Suit: Na Di, Shoes: Dr. Martin, Hat: Diafvine 

380

381 

Matching Suit + Top: Adrien Chen, Harness: Topshop

382 

#ThingsWeLove 

dot 

Selected by Nicolas Simoneau 

If we spent as much time being productive as we did surfing the internet, well...LIFE WOULD BE SO BOOOO- 

RIIIIIIING! You know, I have to check my Facebook profile, comment posts on different blogs, re-tweet my friends, 

and watch my Klout score, keeping it from going down #CRAZY. Surfing day and night–we always find things that 

NEED to be shared. And yes, we are so #connected here @Kaltblut-magazine that we want to share with you what 

we find everyday on the world wide web. #ThingsWeLove dot com. 

Yep it’s true, I spend at least 5 hours a day on the internet. Last Gas 

Station [La.Ga.Sta.] is a great website. I found out about it a couple 

of years ago and now I visit it at least once a week. Why? Because 

they always have great music and great mixes to share. The thing about 

La.Ga.Sta. is that you’ll find a lot of mp3 tracks, downloadable for free, 

a lot of new music videos, remixes, and every Sunday La.Ga.Sta. comes 

up with an original mixtape that is available for free download as well! 

Now it’s really easy to understand why their motto is “FILL IT UP!” 

If you want some great tunes and wish to be kept up-to-date about the 

latest from the music scene THIS is definitely the place for you to be. 

One more thing: there’s a lot of electronic music on La.Ga.Sta. You’ve 

been warned. 

You can download La.Ga.Sta.'s exclusive Guest Mix for KALTBLUT Magazine here: 

https://soundcloud.com/kaltblutmagazine/la-ga-sta-s-exclusive-mix-for

383 

KALTBLUT : How did you come up with the concept of La.Ga.Sta. and what’s the story of the name "Last Gas Station"? 

LAGASTA : It all started with a road trip from Athens to Mani, a very special place in Peloponnisos, Greece. Whilst travelling 

through I noticed a sign by the side of the road, which read in English “Last Gas Station“. So the idea came right there and 

then and there, and a few weeks later the blog Last Gas Station, aka La.Ga.Sta., was born. It was also inspired by driving down 

California‘s endless highways, listening to music, losing our way and finding it again. The blog started as a simple idea to share 

good music with my friends. It‘s amazing to have so many vroomers coming daily to our station to fill it up! It‘s even more surprising 

that the blog is more popular in countries like UK, France, Germany, Spain, Mexico, than in Greece where it‘s based. 

KALTBLUT : Let‘s get personal...where are you from, who are you and who is hiding behind the scenes of La.Ga.Sta.? 

LAGASTA : I‘m from Athens, Greece and for the last fifteen years I have worked as a music journalist, doing what I love best: 

discovering new music and writing about it. So it‘s all about music. 

KALTBLUT : Is music a passion of yours or did it come with the website? 

LAGASTA : It has always been my passion. La.Ga.Sta. is a beautiful part of a big journey. 

KALTBLUT : What are you doing apart from managing La.Ga.Sta.? Is music a part of your lives? 

LAGASTA : Apart from La.Ga.Sta., I also play keyboards for K.Bhta‘s electronic band for the last decade. 

KALTBLUT : Considering how much music is released on an average day on the internet, how on earth do you manage 

to select so many great mixes and tunes every single day? 

LAGASTA : That‘s the great thing about running a music site. As hard as it is to choose among thousands of mails and promos, 

it‘s always a pleasure to listen to all the new stuff with the same enthusiasm, until a track catches your attention. 

KALTBLUT: What‘s the secret to keeping your material (and your site) so fresh and original? 

LAGASTA: There‘s no secret. The only way to do great work is to love what you do. 

KALTBLUT: What qualities should a song have in order to be featured on La.Ga.Sta.? 

LAGASTA: It has to sound good on the car stereo. The best ones are those that make you turn up the volume whilst driving. 

KALTBLUT: You also have a live radio show, can you tell us a little bit more about it? 

LAGASTA: La.Ga.Sta.‘s weekly radio show is called ”OFF The Road“ and it‘s a selection of the best tunes of the week. The idea 

behind the radio show is to get people ready for Saturday night. Also, the show is available for free download via the site every 

Monday, so it works as a weekly mixtape. 

KALTBLUT : So far what is, in your expert opinion, the best tune that was released this year? 

LAGASTA : It‘s been a great year for music so far and it‘s quite hard to pick a favorite. We‘ve already heard some great tracks 

from artists such us: Disclosure, Duke Dumont, DJ Koze, Classixx, Touch ”Pizza Guy“ Sensitive, The Black Madonna... 

KALTBLUT : Speaking of 2013...anything really exciting coming our way on La.Ga.Sta.? 

LAGASTA : This fall we‘re celebrating La.Ga.Sta.‘s fifth anniversary with a new free ”Late Summer Compilation“ with lots of 

exclusives tracks, new features on the site and the beginning of La.Ga.Sta.‘s DJ team. We‘re really excited. Vrooom! 

“ 

As hard as it is to choose among thousands of mails 

and promos, it‘s always a pleasure to listen all 

these new stuff with the same enthusiasm, until a track 

caught your attention.

ABEL 

RUB 

Abel Rubelo is an inspired and 

talented artist and model from 

Spain. Abel is inspired by the 

movement. He loves the English 

touch and is especially in favour of 

black and white photography. 

As he says, photography is 

something that has totally changed 

his life. Photographer Denis 

Pushkin lensed Abel for our new 

issue! 

Photographer: Denis Pushkin 

www.denis-pushkin.blogspot.de 

Model: Abel Rubelo

385 

ELO

Total Look ETXEBERRIA 

386

Coat ETXEBERRIA 

387

388

Coat ANA LOCKING 

Trousers LEYRE VALIENTE 

Shoes ETXEBERRIA 

389

Total Look ANA LOCKING 

390 

Coat AMAYA ARZUAGA 

Trousers TOMMY HILFIGUER

391

392

Coat AMAYA ARZUAGA 

Trousers TOMMY HILFIGUER 

393

www.planningtorockofficial.com 

Photographer: Goodyn Green ©planningtorock 

394 

PLANNING 

TOROCK 

I Am Your Man 

Performance artist Janine Rostron has been cajoling and contorting her persona since she moved to 

Berlin in the early ‘90’s. After settling on the moniker Planningtorock she unleashed her eerie a-tonal anthems 

blurring the boundaries of sound, video and performance art in 2002 and has since been developing her 

trademark ambiguous aesthetic and gutsy orchestration that had me hooked me on the first hearing of her 

second and latest full-length album “W”. The pulsating percussion, playful pizzicato strings and saxophone 

jabs that laced her tracks aroused a range of emotional reactions in me—from elation to disgust and reflection 

to confusion, horror or jubilation, but, it was the pitch-shifted lyrical content that really resonated, as 

like the rest of her imagery, it is open to endless interpretation. I talked with her briefly about her more recent 

straight talking slant, her rejection of gender stereotypes and why women still have a tough time breaking 

into the music industry.

„ 

How I feel? 

Back in love 

with international 

feminism 

and beyond 

bored with 

male-dominated 

actively 

discriminating 

institutions 

and 

business. 

„ 

KALTBLUT: I don’t know about you, 

but I always felt suffocated in 

England, in terms of freedom of 

expression at least. Has Berlin 

made a lot of what your project 

now encompasses possible? 

PTR: Sure, living outside of the 

culture I grew up in has been hugely 

liberating on many levels. It enabled 

me to become focused and achieve 

something—operate within the 

unknown—take risks and grow up. 

KALTBLUT: Something that has 

always intrigued me about your 

project. What on earth possessed 

you to shove a load of putty onto 

your face? Was it planned, or just 

on a whim? 

395 

PTR: This is a 6-year-old thought that 

finally formed in time for the track 

“Doorway”. It’s about re-defining any 

so-called female identity from a transgender 

position. I wanted to expand 

my already socially gendered 

features into something new. 

KALTBLUT: So since you altered 

your image to its current “genderless” 

form do you have a different 

kind of presence or persona when 

you perform live on stage? 

PTR: Yeah my gender roles are 

constantly shifting on stage it depends 

on how I’m feeling, sometimes 

I wear wigs and make up, the works: 

other times I wear masks made out of 

cardboard, and other times just a rain 

coat. It just depends. 

KALTBLUT: When people think 

about gender they think about 

“man” and “woman” but many 

would argue there’s far more 

between the lines than that. Do 

you think that your playful gender 

contorting seeks to discover some 

of those indefinable elements that 

break the traditional stereotypes? 

PTR: Yeah I don’t think in terms of 

male, female, binary gender—gender 

is a construct, an identity tool to play 

with. 

KALTBLUT: You released “Misogyny 

Drop Dead” on International 

Women’s Day: a fitting tribute. It 

marks a step away from your more 

introverted lyrical content and 

shifts towards a political type of 

song writing. What inspired that 

change? 

PTR: Well after the release and subsequent 

tour of “W” back in 2011/2012 

I learnt something. That a lot of the 

lyrical intent on that record went 

under on the outside people missed 

the gender political comments I was 

trying to make and this really frustrated 

me. I wasn’t being articulate 

enough, so I decided this time round 

to write more directly which is way 

more rewarding for me. 

KALTBLUT: How do you feel your 

lyric writing has changed with this 

new slant? Do you seek more inspiration 

from outside sources, or from 

questions inside yourself? 

PTR: It’s all about the outside into the 

inside—interactions into the 

intersections. 

KALTBLUT: As regards feminism 

in the music industry I personally 

feel there are still a lot of miserable 

truths masquerading themselves. 

What’s your personal experience of 

that? 

PTR: Like a lot of people (I imagine) 

I‘ve had my fair share of changing 

relationships with feminism and 

yes there’s plenty of discrimination 

against women in the music biz. 

KALTBLUT: Would you say that 

there needs to be a more positive 

focus encouraging women in the 

spotlight to break away from 

typical confines set for them by 

society? 

PTR: How I feel? Back in love with 

international feminism and beyond 

bored with male dominated actively 

discriminating institutions and 

business. 

KALTBLUT: Was there one 

particular recent revelation that 

has caused this new perspective 

for you? 

PTR: Just that I’m not gonna bother 

competing or joining those places, 

or getting involved with people who 

support perpetuate discriminately in 

music and look for the other options 

because why would I want to “join” 

music places that suck? Surely I 

wanna work with organisations that 

don’t suck and create or operate 

within platforms that are against 

sexism? 

KALTBLUT: You commented 

previously that your own label, 

Human Level, will be supporting 

female artists in particular, do you 

think there have been more 

women breaking into the 

electronic music scene in the last 

couple of years? 

PTR: There have always been loads 

of talented female producers, singer 

song writers and DJs, but now it feels 

like the internet has helped to 

dissolve some of the limitations made 

by institutions and record labels 

who‘s selection process is sexist, 

narrow and un-informed about music. 

It’s a new wave of producers doing 

their thing without that antiqued 

gender discriminatory filter, and I 

hope it keeps growing. 

Interview by Amy Heaton

396 

ART 

We have selected 6 events we would kill to go to. We can’t afford travelling the globe but there’s surely 

something near you that you will get excited about. 

GHENT 

Museum of Fine Arts Ghent 

M.K. Ciurlionis ‘Dreaming Lithuania’ 

21 September–15 December 2013 

www.mskgent.be/en/exhibitions 

Photo: M.K. Ciurlionis ‘Sparks III’ 1906 

‹ 

We have a weak spot for Asian art, painting in particular, so this is surely an exhibition we 

would like to recommend for people living in Hong Kong and for all visitors as well. As the 

title suggests, the exhibition selects a hundred paintings by different painters from the Ming 

Dynasty to modern times. It offers the chance to experience this unique kind of art with its 

elusive lines and colours in all its diversity and styles. Hong Kong is known for its special 

historical background, a melting pot for Eastern and Western cultures, so it is the perfect 

place for this particular exhibition—especially in 20th century paintings you can see all 

inherited tradition blending with modern influences from the West or different parts of China 

that interacted in Hong Kong. 

Thoughtfully Selected by Amanda M. Jansson & Emma E.K. Jones 

Hong Kong Museum of Art. 

‘A Hundred Chinese Paintings From The Hong Kong Museum of Art’ 

Runs–30 October 2013 

www.hk.art.museum 

Are you familiar with the term Synesthesia? It is an art philosophy from around 

the year 1900, which advocates the merging of various artistic disciplines into 

some sort of meta-art, a fusion of all senses. Mikolajus Konstantinas Ciurlionis 

is one of those few artists who excelled in both visual arts and music and 

was one of the synesthetes. Born in a Lithuanian village at a time when his 

country only existed in memories, he went through musical training in Warsaw 

and Leipzig and then after 1900 he focused more on painting. Welcomed by 

the elite of St. Petersburg his work never made it big with the general public, 

because it was fragile and small-scale and more atmospheric, intimate and 

abstract than was common. Our favourite Baltic child of the fin de siècle 

is being exhibited in Belgium for the first time with hundreds of paintings, 

drawings and photographs and with his own compositions playing in the 

background.

397 

Cité de la Musique 

’Europunk, Une Révolution Artistique’ 

15 October–19 January 2014 

www.cite-musique.fr 

PHOTO: Sex Pistols: God Save the Queen ©Jamie Reid 

A punk exhibition in a music museum. But why not? After all, punk music and punk art have helped creating the 20th century and its aesthetics like very few other movements have. Punk is all about 

rebelling and crashing the system, but that is exactly what art is supposed to be about as well. Nihilistic, rebellious, avant-guardist and actually revolutionising forms of thinking and viewing things, punk 

has changed Europe, and the whole world in a storm and this is exactly what this exhibition wants to explore. How has Punk of 1976–1980 and the freedom of expression it brought along shaped, affected, 

and still affects popular culture in Europe today. The Sex Pistols, Bazooka, politicised lyrics, fashion, even synthesizers, all included. 

Tate Modern 

’William Egleston’ 

Runs–11 May 2014 

Bankside, London SE1 9TG 

www.tate.org.uk 

Photo: Untitled 1980 from the Lousianna-Project Hot Sauce 

Perhaps you have been busy enjoying 

summer and never noticed, but now you 

will also have plenty of time to enjoy this 

very fine one. Tate Modern is a name 

that stands for some of the best exhibitions 

in London and William Egleston is 

a name that stands for bringing colour 

in fine art photography. In this exhibition 

2 different series are brought together. 

Chromes, which includes photographs 

from 1969-74 using Kodachrome and 

Ektachrome film, and Election Eve 

which is a documentation of life in 

what appears to be an abandoned and 

outmoded corner of the country during 

Jimmy Carter’s campaign in 1976. Both 

series are most characteristic of his 

inimitable work, in the way they depict 

bold colourful interiors, portraits, the 

ordinary and the banal, “Life today” in 

the brightest colours by a true master.

This show has been 

running for a while but 

in case you didn’t have 

the time to catch it yet, 

now is the time to do so. 

Obviously, Anish Kapoor is 

one of the most important 

and most influential 

contemporary artists in 

the world. This exhibition 

is doing his work justice 

and the reinvented 

Martin-Gropius-Bau is 

the ideal space to enjoy 

Kapoor, with some works 

specially designed for 

this venue. The show 

includes about 70 works 

(installations, paintings, 

sculptures) from 1982 to 

the present day. One of 

the representative figures 

when it comes to British 

sculpture, his poetic and 

abstract work is not easily 

categorized as this artistic 

genius keeps reinventing 

himself and pushing 

forward when it comes to 

any form of art. 

Martin-Gropius-Bau. 

‘Kapoor in Berlin’ 

Runs–24 November 2013 

www.gropiusbau.de 

398 

MOMA Museum of Modern Art 

‘Soundings: A contemporary Score’ 

Runs–3 November 2013 

www.moma.org 

Photo Credits: 

Richard Garet. 

“Before Me” 2012. 

Sound installation: 

Dimensions Variable. 

Courtesy of the artist and 

Julian Navarro Projects, New York 

We always love MoMA and this being their first major exhibition of sound art you 

can imagine we are pretty excited. The exhibition will be presenting the work of 16 

of the most innovative sound artists. Sound isn‘t just sound. Sound can be 

approached through visual arts, architecture, computer programming and so on 

and this show includes architectural interventions, visualizations of otherwise 

inaudible sound, field recordings, bats and abandoned buildings from Taiwan to 

Chernobyl. The exhibition is vast and diverse yet with a focus on how the way we 

listen to something determines what we hear. The work isn‘t there just to 

document but to provoke and evoke ways of active listening and to emphasise on 

how sound is also understanding, experiences, realities, and connections.

399 

Alte Nationalgalerie – Museumsinsel Berlin, Bodestraße 1–3, 10178 Berlin, www.smb.museum, www.antongraffinberlin.de 

Anton Graff, Elisabeth Sophie Auguste Graff 

(Detail), um 1771/72, Kunstmuseum Winterthur 

© Schweizerisches Institut für Kunstwissenschaft, 

Zürich / Lutz Hartmann 

Eine Ausstellung der Nationalgalerie – Staatliche Museen zu Berlin – und des Museums Oskar 

Reinhart, Winterthur. Die Ausstellung in Berlin wird ermöglicht durch den Verein der Freunde 

der Nationalgalerie und gefördert durch die Kulturstiftung der Länder und Pro Helvetia. 

Gefördert durch: 

BOROS

CRAY 

Zay 

PHILIPS 

CITISCAPE 

UPTOWN 

K1-FX 

DUNDERDON 

2xChinos/Khaki 

2xChinos/Navy 

2xHeadphones 

www.philips.com 

Size 1x32/1x34 

MCFIT 

www.k1x.com 

www.mcfit.com 

400 

Size 1x32/1 x34 

www.dunderdon.com 

1xHustle Varsity Jacket 

2x3 Month Voucher 

You like it, you get it. Just pick the item you 

would like to have, write a nice-crazy-funny 

letter (ho yes we‘re a bit old-school, we love 

snail post!) with your name, your address, 

and the thing you want. 

JUST ONE ARTICLE PER 

PERSON. 

And we will pick the winner. Good Luck. 

Your Kaltblut Team. Write to : Kaltblut 

Magazine, Grünbergerstrasse 3, 10243, 

Berlin,Germany. 

ALVIN ZEALOT 

2xAlbum CD "Flux" 

www.alvinzealot.com 

GRANNOIR 

3xAlbum Vinyl "Alibi" 

www.grannoir.com 

TWINLUXE 

2xSkincare line 

www.twinluxe.com 

GLOSSYBOX 

10xMen-Beauty-Sets 

www.glossybox.de

Photographer: Greco Roberto/ Hair: Alessandro Derosas/ Art Direction: Persona Non Grata Headquarters 

401

Info 

info@kaltblut-magazine.com 

Press 

press@kaltblut-magazine.com 

402 

KALTBLUT Magazine 

Grünbergerstrasse 3 

10243 Berlin 

Germany 


www.facebook.com/kaltblut.magazine 

www.twitter.com/KALTBLUTMAG 

www.kaltblut-magazine.tumblr.com 

KALTBLUT Magazine is published by 

KALTBLUT Media UG (haftungsbeschränkt) 

CEO: Nicolas Simoneau, 

Grünbergerstr. 3, 10243 Berlin, 

Germany 

Adverstising 

advertising@kaltblut-magazine.com 

Steuernummer: 37/216/21621 Amtsgericht Berlin – Charlottenburg HRB 144993 

Events 

events@kaltblut-magazine.com

403 

What a day… 

A long day. A journey. Of course it all depends on the path you choose. Some people do have an extraordinary 

life, but for the rest of us: it can become routine. We wake up, go to work, come back home, meet 

some friends maybe, have dinner and go to bed. It's funny, I've turned 30 this year, but when I was in my 

teens thinking that 30 was old, like really old, for me life was over after 45. I imagined that at 30 I would 

already be married, have a good job and an apartment, surely a car, and most importantly, be a grown-up. 

By that I mean, you already know everything you need to know, your best years are behind you and there's 

not much left to learn, or to discover, you've been everywhere you wanted to go, and so there you are in your 

little house with a white picket fence, being boring and OH SO uncool. When I was young, that was pretty 

much to me the synonym for being an adult, a parent. 

Of course society changes, and (thankfully) mentalities are in constant evolution. Here I am at 30: and my 

life is far from being over. It may sound cliché, but I would say something more like, "my life just started". 

Yeah, so I don't own a car, I'm not married and I don't have any kids (not even a dog). I haven't got it all 

sorted, and I'm still not sure about the direction of my life, even though I kind of do know where I want to 

go. Sure, I have a job, several actually. One that I really like and hope will be my future, and a couple others 

that help me to pay my rent and fill the fridge. My friends say that I'm too insecure, that I should be able to 

relax, and to enjoy what I have. I'm always scared of tomorrow. Of what it's gonna be. 

I do feel like an adult, but still this notion, of being an adult, is related to being "old" for me. And no I don't 

think that I'm old. Except when I meet someone in a club who tells me that he was born in 1993. Then I 

feel old. I guess now being 45 years old is the next hurdle. I wonder how my perceptions will have changed 

by then? I guess that nowadays people do take more time to really find a path that fits them. We've shaken 

off the shackles of stereotypes, and peer pressure. At least if we choose to, there's always another way. We take 

the time to make mistakes and to start afresh with something new, as many times as we need. 

Pondering all these things I wonder what this means, if I'm just growing up, you know: being a man. Not 

like being a male of the species (with balls and a penis) no, just like being a Man. Meaning being responsible 

and sensitive to what is happening around you, right? Male or female, just as a person and as a human being. 

We all have to make decisions, realize things that we truly want to do and be aware of others: dreaming, 

fighting for the things we love, sharing moments with someone. For me, it's those things that make life 

worth living, whatever age, gender or path of life you are on. 

Nicolas. 

Photo By Pascale Jean-Louis

A 

ABSURDA 

www.absurda.com 

ACNE 

www.acnestudios.com 

ADIDAS 

www.adidas.com 

ADRIEN CHEN 

www.showtime.arts.ac.uk/AdrienChen 

AGI&SAM 

www.agiandsam.com 

AGNES B. RED 

www.usa.agnesb.com 

AKKESOIR 

www.akkesoir.com 

ALAN TAYLOR 

www.alantaylordesign.co.uk 

ALEXIS HOUSDEN 

www.showtime.arts.ac.uk/alexishousden 

ALL SAINTS 

www.allsaints.com 

AMAYA ARZUAGA 

www.amayaarzuaga.com 

AMERICAN APPAREL 

www.americanapparel.net 

ANA LOCKING 

www.analocking.com 

ANDREA INCONTRI 

www.andreaincontri.com 

ANNISS 

www.anniss.eu 

ARAMIS 

www.aramis.com.br 

ASSAF REEB 

ASOS 

www.asos.com 

ASTRID ANDERSEN 

www.astridandersen.com 

ASHISH 

www.ashish.co.uk 

ATHEIST 

www.atheistberlin.com 

AUGUSTO 

www.augusto-schuhe.com 

B 

BARBOUR 

www.barbour.com 

BEN SHERMAN 

www.bensherman.com 

BEYOUND RETRO 

www.beyondretro.com 

BILL BLASS 

www.billblass.com 

BIRKENSTOCK 

www.birkenstock.de 

BITE BY DENT DE MAN 

BJORK 

www.bjorkfashion.dk 

BJÖRN BORG 

www.bjornborg.com 

BOTTEGA VENETA 

www.bottegaveneta.com 

BREAKS 

BURLINGTON 

www.burlington.de 

C 

CALVIN KLEIN 

www.calvinklein.com 

CALZEDONIA 

www.cavalera.com.br 

CARHARTT 

www.carhartt.com 

CARUSO 

www.carusomenswear.com 

CAVALERA 

www.cavalera.com.br 

CHARLES JEFFREY 

www.charlesjeffrey.net 

CHEAP MONDAY 

www.cheapmonday.com 

CHEVIGNON 

www.chevignon.com 

CHRISTIAN LACROIX 

www.christian-lacroix.fr 

CHRISTIAN LOUBOUTIN 

www.christianlouboutin.com 

CHRISTOPHE LEMAIRE 

www.christophelemaire.com 

CHOLET 

www.cholet.com.br 

CLAUDIA LIGARI 

www.claudialigari.com 

CLOSED 

www.closed.com 

COCA-COLA CLOTHING 

www.cokeclothing.com.br 

COCO LATE 

www.cocolatte.com.au 

COLCCI 

www.loja.colcci.com.br 

COLLINS 

www.collins.de 

COMEFORBREAKFAST 

www.comeforbreakfast.it 

COMME DES GARCON 

www.comme-des-garcons.com 

CONVERSE 

www.converse.com 

COS 

www.cosstores.com 

COSE IPANEMA 

www.coseipanema.com 

D 

DAKS 

www.daks.com 

DAMIR DOMA 

www.damirdoma.com 

DASLU HOMEN 

www.daslu.com.br 

404 

DAVID TOMASZEWSKI 

www.dawid-tomaszewski.com 

DE FURSAC 

www.defursac.fr 

DENHAM 

www.denhamthejeanmaker.com 

DENT DE MAN 

www.dentdeman.com 

DIAFVINE 

www.diafvine.com 

DOCKERS 

www.dockers.com 

DOLCE&GABBANA 

www.dolcegabbana.com 

DOMINGO RODRIGUEZ 

www.domingorodriguez.co.uk 

DOUBLEU EYEWEAR 

www.dblu.pl 

DR. MARTENS 

www.drmartens.com 

DRYKORN 

www.drykorn.com 

DUNE 

www.dune.co.uk 

E 

EDSOR 

www.edsor.de 

EMPIRE´S UNION 

www.empiresunion.com 

ETON 

www.etonshirts.com 

ETHEL VAUGN 

www.ethelvaughn.com 

ETRO 

www.etro.com 

ETXEBERRIA 

www.etxeberria.com.es 

F 

FALKE 

www.falke.com 

FERRACINI 

www.ferracini.com.br 

FILIPPA K 

www.filippa-k.com 

FIONA BENNETT 

www.fionabennett.com 

FRANKLIN TAVARES PRAXEDES 

www.frankestillo.com 

FRANZISKA MICHAEL 

www.franziskamichael.com 

FRED PERRY 

www.fredperry.com 

FRENCH CONNECTION 

www.frenchconnection.com 

FORUM 

www.loja.forum.com.br 

G 

GANT 

www.gant.se 

GARETH PUGH 

www.garethpugh.ne 

GILES 

www.giles-deacon.com 

GIVENCHY 

www.givenchy.com 

G-STAR RAW 

www.g-star.com 

GUCCI 

www.gucci.com 

GUESS 

www.guess.com 

GUESS BY MARCIANO 

www.guessbymarciano.it 

H 

HACKETT 

www.hackett.com 

HANCOCK 

hancockfabrics.com 

HBF 

www.hbf.com.br 

HERMES 

www.hermes.com 

HERR VON EDEN 

www.herrvoneden.com 

HIEN LE 

www.hien-le.com 

HILDUR MIST 

HUGO BOSS 

www.hugoboss.com 

I 

ISSEY MIYAKE 

www.isseymiyake.com 

IVANMAN 

www.ivanman.de 

J 

JIMMY CHOO 

www.jimmychoo.com 

JOAO PIMENTA 

www.joaopimenta.com.br 

JOOP 

www.joop.com 

JULIAN ZIGERLI 

www.julianzigerli.com 

JUST ACC 

JYLLE NAVARRO 

www.jyllenavarro.co.uk

K 

KASNALKA 

www.kasnalka.com 

KILIWATCH 

www.kiliwatch.fr 

KILIAN KERNER 

www.kiliankerner.de 

KOKONTOZAI 

www.kokontozai.co.uk 

KRISTIAN STEINBERG 

www.kristiansteinberg.com 

KSENIA SCHNAIDER 

www.kseniaschnaider.com 

KSUBI 

www.ksubi.com 

L 

LACOSTE 

www.lacoste.com 

LANCA PERFUME 

www.lancaperfume.com.br 

LANVIN 

www.lanvin.com 

LEVIS 

www.levi.com 

LEYRE VALIENTE 

www.leyrevaliente.com 

LOCK & CO HATTERS 

www.lockhatters.co.uk 

LOUIS VUITTON 

www.louisvuitton.com 

LOVE DENIM 

www.love-denim.co.u 

LOZZA 

www.lozzaocchiali.it 

LUDWIG REITER 

www.ludwig-reiter.com 

LYLE & SCOTT 

www.lyleandscott.com 

M 

MADS DINESEN 

www.madsdinesen.com 

MAISON MARTIN MARGIELA 

www.maisonmartinmargiela.com 

MALAIKARAISS 

www.malaikaraiss.com 

MALDOROR 

www.maldoror.pl 

MARCELU FERRAZ 

www.marceluferraz.com.br 

MARC O´POLO 

www.marc-o-polo.com 

MARC STONE 

www.marc-stone.ch 

MARIAS 

MARINA HOERMANSEDER 

www.marina-hoermanseder.com 

MARTINE ROSE 

www.martineroselondon.wordpress.com 

MARY KATRANTZOU 

www.marykatrantzou.com 

MATTHEW WILLIAMSON 

www.matthewwilliamson.com 

MAXXI LEE 

MCNEAL 

www.mc-neal.de 

MEADHAM KIRCHHOFF 

www.meadhamkirchhoff.com 

MEXX 

www.mexx.com 

MINIMUM 

www.minimum.dk 

MISSONI 

www.missoni.com 

MNISHKHA 

www.mnishkha.com 

MONKI 

www.monki.com 

MOODS OF NORWAY 

www.moodsofnorway.com 

MR. GUGU & MISS GO 

www.mrgugu.p 

MUTE WATCH 

www.mutewatch.com 

MUGLER 

www.int.mugler.com 

MY MINK 

www.my-mink.com 

N 

NADI 

www.nadistudio.com 

NADIA GIMENES 

www.nadiagimenes.com.br 

NAPAPIRI 

www.napapijri.com 

NEW CAPTAIN 

www.newcaptain.com.br 

NICOLAE VAN VUUREN 

NICOMEDA TALAVERA 

www.nicomedetalavera.com 

NIKE 

www.nike.com 

O 

OPENING CEREMONY 

www.openingceremony.us 

ORLEBAR BROWN 

www.orlebarbrown.com 

OSCAR QUIROZ 

www.oscarquiroz.com 

OSKLEN 

www.osklen.com 

OTAVIO GIORA 

www.otaviogiora.com.br 

P 

PAT GUZIK 

www.patguzik.com 

PATRICK UM 

PAUL SMITH 

www.paulsmith.co.u 

PETER BAILEY 

www.peterbailey.co.uk 

PERLENSÄUE 

www.perlensau.com 

PETROL INDUSTRIES 

www.petrolindustries.com 

PINKNINJA 

POLYGON 

www.polygonmen.com 

PRADA 

www.prada.com 

PURIFIED 

www.purifiedfootwear.com 

405 

Q 

QUICKSILVER 

www.quicksilver.com.br 

R 

RAD HOURANI 

www.radhourani.com 

RACHEL CHOI 

REEBOK 

www.reebok.com 

RELIGION 

www.religionclothing.co.uk 

RESERVA 

www.usereserva.com 

RETROSUPERFUTURE 

www.store.retrosuperfuture.com 

RICARDO ALMEIDA 

www.ricardoalmeida.com.br 

RÓZENA GREY 

ROOFLESS 

www.rooflessclothing.com 

ROTKAEPPCHEN DESIGNS 

www.rotkaeppchen-designs.de 

R.T.CO Sunglasses 

www.r-t-co.com 

RUBINELLA 

www.rubinella.com.br 

S 

SADAK 

www.sadak.de 

SAINT LAURENT 

www.ysl.com 

SAMSØE SAMSØE 

www.samsoe.com 

SCAROSSO 

www.scarosso.com 

SCHIESSER 

www.schiesser.com 

SHAUN SAMSON 

www.shaunsamson.co.uk 

SIBERIAN 

www.siberian.com.br 

SISLEY 

www.sisley.com 

SISSI GOETZE 

www.sissigoetze.com 

SMOG 

SOPOPULAR 

www.sopopular.net 

SOULLAND 

www.soulland.com 

STRELLSON 

www.strellson.com 

STRENESSE 

www.strenesse.com 

SUNSPEL 

www.sunspel.com 

T 

ED BAKER LONDON 

www.tedbaker.com 

THE HOUSE OF NINE 

www.houseofninesdesign.com 

THEODORE 

TIGER OF SWEDEN 

www.tigerofsweden.com 

TIM LABENDA 

www.timlabenda.com 

T.LIPOP 

www.tlipop.com 

TNG 

www.tng.com.br 

TOPMAN 

www.topman.com 

TOPSHOP 

www.topshop.com 

TOMMY HILFIGER 

www.tommy.com 

TOURNE DE TRANSMISSION 

www.tournedetransmission.com 

TRINE LINDEGAARD 

www.trinelindegaard.com 

TVZ 

www.tvz.com.bR 

U 

UEG 

www.ueg.pl 

V 

VANS 

www.vans.com 

VIDUR 

www.vidur-men.com 

VIVIENNE WESTWOOD 

www.viviennewestwood.co.uk 

VLADIMIR KARALEEV 

www.vladimirkaraleev.com 

VR 

www.vrsaopaulo.com.br 

W 

WALTER VAN BEIRENDONCK 

www.waltervanbeirendonck.com 

WEEKDAY 

www.weekday.com 

WEI YU CHEN 

WOJTEK HARATYK 

www.wojtekharatyk.com 

WOOD WOOD 

www.woodwood.dk 

WOOLFORD 

www.wolford.com 

X 

XANDER ZHOU 

www.xanderzhou.com 

Y 

YOUFOOTWEAR 

www.yourownuniverse.it 

Z 

ZAPA 

www.zapa.fr 

ZARA 

www.zara.com

FASHION 

FEATURE 

FEATURE 

GET DAZED & APPROVED AT 

DAZEDDIGITAL.COM 

All Fashion Music Art+Culture Photography Video Blogs 

ELIZABETH OLSEN 

The rise and rise of a Sweet Valley Idol 

Matt Lambert vs 

Christopher Shannon 

A candid perspective on Shannon’s SS14 

collection in a Berlin comedown’s aftermath 


Donatella Versace vs 

J.W.Anderson 

Donatella, fashion’s rock’n’roll queen, goes head to 

head with J.W.Anderson, its young prince, about 

rebellion, reinvention and reviving Versus 

TUNE IN 

NTS X 

DAZED 

EXCLUSIVE 

STREAMS 

FROM 

DALSTON 

MUSIC 

ARTS+CULTURE 

SATELLITE VOICES 

Pirate radio and avant 

art in rural Iceland 

In Seyðisfjörður music fest, elves are real, Björk 

talks funny and everyone knows Sigur Rós 

Film News 

MUSIC 

DAZED & APPROVED 

SELECTS 

Dev Hynes 

selects Tinashe 

Cut & Wrapped: feel-good awkward moments, 

high-drama mentalism and more 

Girl-group veteran Tinashe ain’t shy of 

any large crowds 

CLICK FOR 


WEEKS 

HOTTEST 

SS14 

NOW! 

READ THE 

RAP PACK 

MIXTAPE 

REVIEWS 

HERE 

PHOTOGRAPHY 

MUSIC 

DA-ZED GUIDES 

The dA-Zed guide to 

porn art 

As Cameron’s porn ban becomes policy, we count 

26 intersections of radical art and grot 

FEATURE 

FKA Twigs and the best 

bug-eyes in pop 

An early look at the eye-popping new Twigs video 

and the bug-eyed bangers that predate it 

PHOTOGRAPHY LIGHTBOX 

Cruising for 

a bruising 

Lily Rose Thomas’ shiners previewed ahead of her 

bruis exhibion Beneath The Streetlight

407 

hannesroether.de

408

COLLECTION 5 THE MALE - A FASHION SPECIAL!

Create successful ePaper yourself

Delete template?

Save as template?