Online Issue 408 Pages! CLICK HERE TO GET YOUR PRINT COPY: http://kaltblutmagazine.bigcartel.com/product/collection-5-the-male Included: Frankmusik, Erwin Olaf, Sopopular, eBoy, Kiril Bikov, Mark Powell, Moderat, Pierre et Gilles, Marwane Pallas, Philippe Fernandez, Rein Vollenga, Hernan Marina, Alt-J, Planningtorock, Sandro Marzo, Christian Joy, Abel Rubelo, Ango The Meek Dead, Spencer Chalk-Levy and many more.. CLICK HERE TO GET YOUR PRINT COPY: http://kaltblutmagazine.bigcartel.com/ www.kaltblut-magazine.com www.facebook.com/kaltblut.magazine Berlin 2013. All Copyrights at KALTBLUT Media UG and the artists. Enjoy our 5th Collection! Like it? Share it

Online Issue 408 Pages!
CLICK HERE TO GET YOUR PRINT COPY: http://kaltblutmagazine.bigcartel.com/product/collection-5-the-male
Included: Frankmusik, Erwin Olaf, Sopopular, eBoy, Kiril Bikov, Mark Powell, Moderat, Pierre et Gilles, Marwane Pallas, Philippe Fernandez, Rein Vollenga, Hernan Marina, Alt-J, Planningtorock, Sandro Marzo, Christian Joy, Abel Rubelo, Ango The Meek Dead, Spencer Chalk-Levy and many more..
CLICK HERE TO GET YOUR PRINT COPY: http://kaltblutmagazine.bigcartel.com/
www.kaltblut-magazine.com www.facebook.com/kaltblut.magazine Berlin 2013. All Copyrights at KALTBLUT Media UG and the artists. Enjoy our 5th Collection! Like it? Share it


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Fashion Editor

Art Director

Art Editors

Movie Editor

Fashion Assistant

Brazil Editors

Music Editor

Sales Manager

Translation /


Marcel Schlutt


Nicolas Simoneau


Amanda M. Jansson


Emma E.K. Jones


Claudio Alavargonzalez Tera


Nico Sutor


Mauricio & Aleesandro Lázaro


Amy Heaton


Alexander Danner


Amy Heaton, Amanda M.Jansson,

Bénédicte Lelong.


Grünbergerstrasse 3

10243 Berlin



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



Christian Hagemann / Photographer


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


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


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


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


Special thanks to: Fashion PDG, Silk Relations,

Alexander Danner, Marina German, Iris Björk, Bastian Hintze


Photography by Vincenzo Laera

Model: Julius Gerhardt

C/O The Special

Jacket: Sopopular

Hat: Mads Dinesen


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


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


p.28 Einat

Fashion Story

p.38 Music Laden

p.42 Moderat



Fashion Story

Boys of Berlin

p.56 Philippe Fernandez


p.62 Dear Bad Beg Bug

p.64 Forest Spirit

Fashion Story

p.74 Rein Vollenga



Berlin Faces

you should know

p.82 Peter De Potter


p.88 Italian Autumn Style

Fashion Story

p.96 Spencer Chalk-Levy


p.102 Must have

p.104 Assigned Gender





Frank Music

p.120 Boy from Hell

Fashion Story

p.130 Kinetics


p.136 Ango The Meek Dead



Fashion Story

p.150 Red Moon Rising

Fashion Story

p.158 Don't Look Back

Fashion Story





Photo Story

Into Brackets

p.170 Background Noise

p.182 Sopopular

Interview + Fashion Story

p.198 Top 5




Black Cracker

p.180 The X-Insider

Interview with Dan Black



Pierre et Gilles

Boys and

Their Tattoos

p.206 Rubber Coiffure

Fashion Story


Fashion Story

Break Dance

p.220 Hernán Marina



Fashion Story

p.234 Erwin Olaf



Fashion Story

Dude! Dig

The New Suit



p.248 Ladyboys


p.250 London's Future


p.259 The Young Marlon B

Fashion Story

p.266 Fonzie's Happy Days

Fasion Story

p.276 Marwane Pallas


p.284 Skin



Fashion Story


p.292 Must Wear




p.300 Eton Rowing

Fashion Story

p.310 Sandro Marzo

Interview + Fashion Story


p.318 Shag Warriors

Fashion Story

p.332 eBoy


p.338 Easter


p.340 Fool on the Roof

Fashion Story

p.348 Christian Joy



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


Fashion Story



Abel Rubelo


p.396 Art Around The World

p.400 CrayZay Giveaways

p.402 Imprint

p.403 (End).itorial

p.404 Label Index

o oU





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.


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.



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.


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.


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.



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

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


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


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.


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.


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



tool and

show what can



with it. I hope

that it will


others that

may not feel

themselves to

be artistic

to have a go


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


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



PHOTOGRAPHER: Ben Asif benasif.tumblr.com

COSTUME DESIGNER: Franklin Tavares Praxedes



MODEL: Stav Strashko

MODEL AGENCY: www.elinorshahar.com





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


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


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


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


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

Release Date: July 2013

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


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

I Can Try


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


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

Release Date: July 2013

Members: Patricia Hall, Ian Hicks


Artist: CFCF

Album: Music For Objects

Genre: Electronic

Label: Paper Bag Records

Origin: Canada

Release Date: July 2013

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


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.




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.


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.


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


KALTBLUT: When writing as a

trio, is the writing process as fluid

as when you’re working on say

a Modeselektor or Apparat


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.


KALTBLUT: For producer nerds

like myself, what were your

favourite go-to pieces of

equipment used to build this


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


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


KALTBLUT: Have you added

anything new to the experience of

one of your amazing live/visual


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


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.





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.


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


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.



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


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


Jan wears Leather Helmet and Leather Cuffs by Marina Hoermanseder.


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


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


Dennis wears Pullover by Julian Zigerli.




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.


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


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.







Amanda M. Jansson & Emma E. K. Jones






Photographer: Yuanyi Zhang and Xavier Ancarno

Stylist: Edem Dossous

Make Up/Hair: Juan Romero

Model: Zélig @Mademoisellle




















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

Interview by Nicolas Simoneau

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


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?


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


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








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


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.




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





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?


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.


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.


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


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!







Photographer Davide Lantermoz

Stylist Chiara Ficola

Grooming Sara Lomurno using Mac Cosmetics

Model Marcel @Urbanmanagement Milano

Beaver: Closed

Shirt: Vans

Pants: Dockers

Pullover: Closed


Jacket & Denim Jacket: Levi‘s

T-shirt: Vans

Pants: Andrea Incontri

Shoes: Youfootwear


Jacket: Vans

Beaver: Levi‘s

hat: Vans



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

Sweater: Levi‘s

T-shirt & Bermuda: Comeforbreakfast



Waistcoat: Vans

Jacket: Paul Smith Jeans

Jumper: Comeforbreakfast

Pants: Paul Smith Jeans

Socks: Calzedonia

Shoes : Vans


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






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.


Wood Wood


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.


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.





Heather Grey

The Rock Well


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?



Leaf 3



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.


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.



Black/Gold Boy

London Snapback


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.






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.


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.


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.


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.




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











“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!


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


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”.


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


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


are the

best thing

to make in order to

really learn

ways to not do


and I am a firm

believer in what



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?


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.


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


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.


Album: Between

Artist: FrankMusic

Genre: Pop, Electronic, Dance


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!




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


Coat – Topman

Overall – Marcelu Ferraz

Shirt – Aramis

Knit Blouse – HBF

Turtleneck Sweater – Fórum

Belt – TVZ

Ring – Otavio Giora

Pants – Gant



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


Blouse – Quicksilver

Shirt – Colcci

Turtleneck – New Captain

Belt – Cholet

Pants – João Pimenta



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


Jacket – HBF

Blazer – Cavalera

Shirt – Aramis

Necklace – Lança Perfume

Pants – Daslu Homem

Ring – Otavio Giora


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


Bag by Tiger of Sweden



Photography by Christian Hagemann


Items Selected by Marcel Schlutt


Pure Black by Mutewatch


Cloth and Gloves by Tiger of Sweden

Shoes by Atheist


R.T.CO Sunglasses


Cufflinks seen at Antique & Vintage Jewellery Oliver Rheinfrank

iPhone Case by AKKESOIR


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


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



The Meek Dead



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,


KALTBLUT: Who is your favourite

Interview by Nicolas Simoneau

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,


(If you really want a name for one

of my “maestri” since I was a kid


ihr werdet sterben

merimiehellä ei de muuta kotia kuin meri



and then you hazed me

du verlässt mich. du verletzt mich


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


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


Ango: Markers and paper. But I also do photography,

videos, installations and music, just not as often as


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,


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.


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


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.



Photography & Art: Irene De La Selva

Stylist: Fabiana Vardaro @Basics Berlin

Make up & Hair: Anna Czilinsky using Davines for Wizards

Model: Max Schubert


Polo / Fred Perry

Trousers / Wood Wood

Polo / Fred Perry

Trousers / Wood Wood

Bomber / Samsøe Samsøe


Polo / Fred Perry

Trousers / Wood Wood


This Page:

Suit / Topman

Shirt / Ben Sherman

Handkerchief / Tiger Of Sweden


Shirt / Fred Perry

Bomber Jacket / Weekday

Jumper / Lyle & Scott

T Shirt / Adidas SLVR

Kilt / Stylist‘s own

Jeans / Cheap Monday

Polo / Fred Perry

Trousers / Wood Wood


Jumper / Samsøe Samsøe

Boxer Short / Sunspel

Trousers / Cheap Monday

Boots / Tiger of Sweden

Bomber Jacket / Weekday

Jumper / Lyle & Scott

Trousers / Cheap Monday

Boots / Tiger of Sweden

Backpack / Ben Sherman



Bomber Jacket / Weekday

Jumper / Lyle & Scott


151 Ring- Stylist‘s Own

Ring - Marias




Dress - Stylist‘s Own Customised


Vest - Nicole Van Vuuren




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.



This page: Dimitri Spread



161 ETRO











Text and illustrations by Marianne Jacquet, www.wrangelkiez.org




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


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.


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:


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.




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.


What makes a man a man?

Being considerate, reliable and discrete. Honest and peaceful,

yet capable of offering protection.

What is your man wearing?

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).

What makes a man a man?

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.

What is your man wearing?

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...



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.


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


no longer



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


and primal.

gassed up


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.


Marc Hibbert


Assistant: Liam Prior,

Morgan Hill-Murphy

Stylist: Marina German

Hair: Atsushi Takita

using Bumble and


Make Up:

Julia Wilson


Konan Hanbury

@Models1 and

Jazz Jamieson


Background Noise


Konan wears: Trousers KSENIA SCHNAIDER, Top ASSAF REEB, Leather Coat TIM LABENDA Right Page Konan wears: Shirt ALEXIS HOUSDEN




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





Left Page Jazz wears: Trousers TIM LABENDA, Jacket and Shoes ALEXIS HOUSDEN


Konan wears: Outfit ASSAF REEB


Jazz wears: Jacket and Trousers ASSAF REEB, Shirt ALEXIS HOUSDEN





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.


caught up with

him to discuss

songwriting, and

his much-anticipated

second solo


“This was

old school,


people in a

room, eyeball

to eyeball,

writing a song

together ”


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


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.





Grooming DIRK NEUHÖFER c/o Nina Klein


Model JULIUS GERHARDT c/o The Special



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


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


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


DANIEL: The perfect guy would be my favourite model Cole Mohr.

KALTBLUT: Which public figures would you most like to wear your


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


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.



For my parents


was not an



I had to

study something

they could

live with.





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?


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


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.












Pierre et Gilles


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



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.


My top


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.



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


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.


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




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.


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



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


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.



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


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





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


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.



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






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.







Photography by Bernhard Musil


Latex Wigs & Headpieces by Silvio Hauke

Jewellery by Perlensäue

Models are Martin @himself

Fritz @Mega Model Agency

Make up by Tania Henning







Photography - Angela Raab - www.angelaraab.de

Styling - Rinat Welsing - www.rinatwelsing.com

Hair & Make up - Kristina Wagener @ Agentur Nina Klein


Models: Anabelle @ IZAIO Management - www.izaio.de

Wiktor @ HORE Models - www.horemodels.com

Ilya @ HORE Models - www.horemodels.com


Sweatpants - Julian Zigerli

Longsleeve - Minimum

Sneakers - Adidas


T-shirt - Julian Zigerli

Bomber jacket - Alpha Industries

Leggings - Maison Scotch

Boots - Buffalo

T-shirt - Julian Zigerli

Bomber jacket - Alpha Industries



Cap - Skulls Brooklyn

Shirt - Nike

Jacket - Rocawear

Pants - Levi´s

Shoes - Dockers


Jacket - Levi´s

Sweater - Obey

Pants - Lee



Coat - Julian Zigerli

Pants - Lee


Cap - KR3W

Blouse - Acne

Skirt - Patrizia Pepe


Cap - Skulls Brooklyn

T-shirt - Rocawear

Jacket - Gaastra

Galaxy Leggings - Even & Odd

Shoes - Dockers



Jacket - Julian Zigerli

Sweatpants - Julian Zigerli

Shirt - Joop

Backpack - Julian Zigerli



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

Interview by Nicolas Simoneau

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


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


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.


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.









and different





present in

my work.“


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


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


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.


“I don’t want to

guide the audience.

It is just about

playing with

elements I

find and trying

to make them


“Clavadistas” (divers). Painted wood. Dimensions variable. 2007.





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


Trousers: JOOP

Shirt: GUESS






Bow Tie: HUGO BY HUGO BOSS seen at www.stylebop.com



Jacket and Shirt: JOOP, Bow Tie: DRYKORN.


Suit, Coat, Shirt: HUGO BY HUGO BOSS



Suit and Shirt: JOOP


Bow Tie: JOOP









Shirt: DAKS




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


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!


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


Erwin Olaf - Freimaurer Loge Dahlem - 22nd of April, 2012 - Copyright Erwin Olaf

Courtesy of WAGNER + PARTNER - Berlin


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?


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!


Erwin Olaf - Berlin, Porträt 05 - 9th of July, 2012 - Copyright Erwin Olaf

Courtesy of WAGNER + PARTNER - Berlin


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!






Stylist’s Assistant:


Photographer’s Assistants:


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



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



T-shirt - Alan Taylor

Kilt - Alan Taylor

Tights - Stylist’s Own

Suit - Dent de Man

Shirt - T.lipop





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


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.


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.



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.



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.


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



Omari wears T Lipop



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 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.


Omari wears Oscar Quiroz - Blue and Maroon T-shirt, Navy Mac, Navy Trousers.

Luke wears Domingo Rodriguez - Knitted Navy Roundneck and Joggers.





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!



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.


George wears Peter Bailey - Metallic Shirt, Blue Trousers, Rhinestone Denim Jacket.




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.





Black Sweatshirt with Sequin Skull Embroidery by RELIGION


Black Denim Shirt(worn underneath) by KSUSI

Black Fingerless Leather Gloves stylist‘s own

Photographer: Sam Wilson

Styling: Sylvester Yiu


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


Black Sleeveless Leather Jacket by ALL SAINTS

Black jumper by RELIGION

Black Trousers by SILENT BY DAMIR DOMA


Black Knitted Jumper by RELIGION

White Shirt by ALL SAINTS

Black Fingerless Leather Gloves stylist‘s own

Black Sunglasses by RETROSUPERFUTURE


White Shirt by ALL SAINTS

Felt Jacket by ALL SAINTS

Black Trousers by SILENT BY DAMIR DOMA


White Boxer Brief by BJÖRN BORG

Black Leather Jacket by ALL SAINTS


Waxed Denim Jean by ASOS

White Leather Snakeskin Effect Shoes by PURIFIED

Black Leather Biker Gloves stylist’s own


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


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


Jacket and Relax Suit Pants: Soulland, Polo Shirt: Eton, Shirt: Sopopular, Socks: COS, Shoes: Mc Neal


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



Jacket and Pants: Denham, Vest: Closed, Shoes: Jimmy Choo

Jacket and Pants: Denham, Top: Smog, Belt: Petrol Industries



Jacket and Pants: Franziska Michael, Socks: Falke, Shoes: G-Star Raw

Jacket and Pants: Kilian Kerner, Loop Scarf: Kilian Kerner, Shoes: HUGO



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.





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.


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


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


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


KALTBLUT: Of all places you use

in your work, do you have some


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.


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?


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.


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


KALTBLUT: Which historical era

would you like to live in and why?

Marwane Pallas: The 60’s never seemed

to become out-dated.


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


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.


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,


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


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


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


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.




Photography by Sophia Kahlenberg


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



Blazer: Hancock

Shirt: American Apparel

Shorts: Agi and Sam for Topman

Trousers: Topman


Jumpsuit: Christian Lacroix

Shirt: American Apparel

Plimsolls: Topman

Shirt and Trousers: Christian Lacroix

Belt: Stylist´s own

Socks: American Apparel

Shoes: Dune




Damir Doma Astrid Andersen

Selected by Marcel Schlutt


Walter van Beirendonck Wood Wood Thierry Mugler


Ashish Giles Maison Martin Margiela


Comme des Garçons A Détacher Mary Katrantzou


∆LT – J

Touring & Tessellating

An Interview by Amy Heaton



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?


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


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


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


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...


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


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


KALTBLUT: So if I had to ask

you what does it mean to you


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.


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






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


Ricardo: Cap - Barbour


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






One To Watch:



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


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





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.


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


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


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


“I do not want to decide

who should wear my fashion”

interview by Marcel Schlutt & Nico Sutor


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


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


Theodore, Macrame Collar: Dawid Tomaszewski



319 Collins, Bolero Sleeves: Dawid Tomaszewski


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


Augusto, Hat: Rotkaeppchen Designs, Scarf: Hermès, Coat: Marc Stone, Belt: Mexx


Left - Collins, Pullover: French Connection, Underwear: stylist’s own, Socks: Burlington, American Apparel

Right - Augusto, Pullover: Marc Stone, Socks: Burlington, Falke



Collins, Scarf: Levis, Belts: Vivienne Westwood, Tommy Hilfiger,

Ludwig Reiter, Socks Burlington, Boots: G-Star RAW


Augusto, Pullover: Dawid Tomaszewski, Underwear: stylist’s own


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



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


Center - Theodore, Cardigan: Tommy Hilfiger, Underwear: stylist’s own

Right - Augusto, Cardigan: French Connection, Underwear: stylist’s own


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


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


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


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


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


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


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



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


EBOY: Maybe that these are

products that we actually use




KALTBLUT: Getting back

to the real thing : video

games. I just want to test

you and see how geeky you

are … Ready..? Dr ROBOT-


EBOY: Haha – Bowser.

KALTBLUT: Jill Valentine

or Chris Redfield?

EBOY: Jill on even – Chris on odd



Opening Page: EBY Rio Poster

Second Page: ECB PartsPoster

This page: ECB Berlin V3






’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


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


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


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


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?


Interview by

Ange Suprowicz

Photo by

Charlotte Jonsmyr



Necklace: Pinkninja

Coat: Wojtek Haratyk

Blouse: Polygon

Hat: Rózena Grey






PHOTO: KOTY 2 (www.koty2.com)






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



Overall: Anniss

Blouse: Polygon

Blouse: Wojtek Haratyk

Trousers: Maldoror

Shoes: Calvin Klein

Hat: Rózena Grey



Coat: Wojtek Haratyk

Blouse: Polygon

Trousers: Anniss

Shoes: Nike

Glasses: Doubleau Eyewear

Bracelet: Pinkninja

Shirt: Wojtek Haratyk

T-shirt: Mr. Gugu & Miss Go

Trousers: Anniss




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.


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


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


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.


I love



and their sort of

costume, there

is a simplicity

in it, in the

way it is


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


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.


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




Photography by Ioulex





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

Trainers Saucony


Middle Suren

T Shirt 80volte8

Coat and Trousers Kim Hyungtae

Shoes Pointer Burgundy

Right Robin

Shirt and Trousers Kim Hyungtae

Trainers Reebok

Left Yemi

Shirt Na Di

Trousers Marco Mak


Right Robin

Shirt and Trousers Na Di


Left Suren

Jacket Na Di

T Shirt 80volte8

Trousers Ben Sherman

Shoes Supremebeing


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



Middle Robin

Shirts and Trousers Ben Sherman

Shoes Supremebeing

Right Suren

T Shirt Beyond Retro

Belt Edwin

Jeans Edwin

Watch Quiksilver

Shoes Supremebeing

T Shirt 80volte8

Trouser Ben Sherman

Socks Topshop

Trainers Saucony



Shirt and Trousers Kim Hyungtae

Left Suren

Hat Element original

Shirt Beyond Retro

Trousers Quiksilver

Trousers Ben Sherman

Socks Topshop

Shoes Supremebeing

Middle Robin

Jacket Beyond Retro

T Shirt 80volte8

Jeans Edwin

Trousers Ben Sherman

Socks Topshop

Shoes Pointer




Right Yemi

Goggles Surfdome

Shirt Beyond Retro

Jeans Levis

Hat Element original

Shirt Beyond Retro


in your face

Left Suren

Jacket Beyond Retro

Shirt Levis

Middle Suren

Coat and TrousersKim Hyungtae

Shoes Quiksilver

Left Robin

Shirt and Trousers Kim Hyungtae

Socks Topshop

Trainers Saucony


Middle Yemi

Shirt Ben Sherman

Coat Marco Mak

Right Robin

Jacket Scotch Soda

Shirt Xinyu Hu

Right Yemi

Shirt and Trousers Kim Hyungtae

To be continued



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


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?


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


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


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?


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.


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.



about men’s fashion

made in Berlin?

By Hermano Silva from The Gentleman Blog


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.


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.



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


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.


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, 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.


Jacket: Patrick Um, Shirt: Na Di, Headpiece used as a necklace: Made by stylist


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


Shirt: Patrick Um, Dungarees: Patrick Um, Jacket: Maxxi Lee, Shoes: Maxxi Lee Hat: Stylist own

Shirt: Na Di, Hat: Maxxi Lee Shoes



Jumpsuit: Maxxi Lee, Harness: Topshop

Jumpsuit: Maxxi Lee


Jacket: Adrien Chen, Hat: stylist's own


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



Jacket + Top: Patrick Um, Necklace: Just Acc

Suit: Na Di, Shoes: Dr. Martin, Hat: Diafvine



Matching Suit + Top: Adrien Chen, Harness: Topshop




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:



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 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


Photographer: Denis Pushkin


Model: Abel Rubelo






















Photographer: Goodyn Green ©planningtorock




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


and beyond

bored with







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?


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


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


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


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


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


PTR: How I feel? Back in love with

international feminism and beyond

bored with male dominated actively

discriminating institutions and


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


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



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.


Museum of Fine Arts Ghent

M.K. Ciurlionis ‘Dreaming Lithuania’

21 September–15 December 2013


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


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



Cité de la Musique

’Europunk, Une Révolution Artistique’

15 October–19 January 2014


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


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.


‘Kapoor in Berlin’

Runs–24 November 2013



MOMA Museum of Modern Art

‘Soundings: A contemporary Score’

Runs–3 November 2013


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.


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:













Size 1x32/1x34





Size 1x32/1 x34


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.



And we will pick the winner. Good Luck.

Your Kaltblut Team. Write to : Kaltblut

Magazine, Grünbergerstrasse 3, 10243,



2xAlbum CD "Flux"



3xAlbum Vinyl "Alibi"



2xSkincare line





Photographer: Greco Roberto/ Hair: Alessandro Derosas/ Art Direction: Persona Non Grata Headquarters








Grünbergerstrasse 3

10243 Berlin






KALTBLUT Magazine is published by

KALTBLUT Media UG (haftungsbeschränkt)

CEO: Nicolas Simoneau,

Grünbergerstr. 3, 10243 Berlin,




Steuernummer: 37/216/21621 Amtsgericht Berlin – Charlottenburg HRB 144993




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.


Photo By Pascale Jean-Louis





























































































































































































































































































































































































R.T.CO Sunglasses






































































































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Matt Lambert vs

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A candid perspective on Shannon’s SS14

collection in a Berlin comedown’s aftermath


Donatella Versace vs


Donatella, fashion’s rock’n’roll queen, goes head to

head with J.W.Anderson, its young prince, about

rebellion, reinvention and reviving Versus











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




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















The dA-Zed guide to

porn art

As Cameron’s porn ban becomes policy, we count

26 intersections of radical art and grot


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


Cruising for

a bruising

Lily Rose Thomas’ shiners previewed ahead of her

bruis exhibion Beneath The Streetlight