Collection 4 THE NORTH

www.kaltblut-magazine.com
1
COLLECTION 4
THE NORTH

ISSEVER BAHRI
SPRING|SUMMER 2013

chapeli
Nature
6
-BJÖRK-

Editor-in-Chief
Fashion Editor
Art Director
Art Editors
Movie Editor
Uk Editor
Brazil Editors
Music Editor
2nd Fashion Editor
Sales Manager
Translation /
Proofreading
Marcel Schlutt
mschlutt@kaltblut-magazine.com
Nicolas Simoneau
nsimoneau@kaltblut-magazine.com
Amanda M. Jansson
ajansson@kaltblut-magazine.com
Emma E.K. Jones
ejones@kaltblut-magazine.com
Claudio Alavargonzalez Tera
calvargonzaleztera@kaltblut-magazine.com
Aiden Connor
aidenconnor@kaltblut-magazine.com
Mauricio & Aleesandro Lázaro
brazil@kaltblut-magazine.com
Amy Heaton
amyheaton@kaltblut-magazine.com
Biki John
bikijohn@kaltblut-magazine.com
Alexander Danner
danner@kaltblut-magazine.com
Amanda M.Jansson, Amy Heaton,
Bénédicte Lelong.
KALTBLUT MAGAZINE
Grünbergerstrasse 3
10243 Berlin
Germany
www.kaltblut-magazine.com
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
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8
Helena-Narra Kapidzic / Make Up artist / Singer
www.narra.cc
Helena is a well known name in the fashion world
and this has been that way for over 8 years now. She
worked for a lot of magazines and designers. Based in
New York, she is also a singer.
Fleur Helluin Artist / Writer
www.fleurhelluin.tumblr.com
The French lady is taking care of our „Berlin Faces
Section“. For a couple of years now, she has been
based in Berlin. Music and art are her life. Being part
of different music projects makes her to an expert
when it comes to new faces in town.
Marianne Jacquet Artist / Writer
www.wrangelkiez.org
Marianne has been a friend of our magazine for a long
time now. Music is her life. But she also runs a very
well known Berlin blog, where she is blogging about
her Xberg-Kiez. For the second time she has written
one of her nicest articles for us.
Bernhard Musil / Photographer
www.be-musil.com
Born in Austria. The Berlin based photographer produced
for this issue the „The Echo Vampers“ editorial.
The young photographer has worked for every major
magazine in the fashion world over the last year.
Kevin Junk / Writer
www.wolfauftausendplateaus.blogspot.com
Born in 1989, he lives in Berlin. He studied Japanese
literature in Berlin and Kyoto. His writings on art,
fashion, pop- and subculture try to explore contemporary
discourses along with an analytical and personal
stance towards what matters.
Bénédicte Lelong/ Social Media Manager
benedicte_lelong@kaltblut-magazine.com
A long, long time ago in a galaxy far, far away, a
retarded stork messed up a delivery, resulting in an
innocent tyke being dropped off in the wrong
country... She‘s writting our Music Laden section.
Special thanks to Herr Von Keil, Suzana Holtgrave, Nico
Sutor, ZILLMANN, Pascale Jean Louis, Alexander Danner,
Laura Palm, Dimitri Rigas, Alexandra Vial,
Benjamin Becker, Jana Schulze
COVER
Photography by Ole Kirchmeier
Model: Mats Udd

9
No, just kidding. Welcome to KALTBLUT Collection 4. The North, Ice-Land, Myth, Legends and Nature.
Our initial idea was to create an issue focused on Iceland, but then we got so many mails and work from artists based in
Scandinavia as well as in Iceland, that we had to broaden the theme. Which was a good idea. We are proud to present you
404 pages filled with fashion, art, music and media from artists around the world playing with the theme.
But why is the North so interesting? Let´s be honest: people from the North are the most creative creatures in this world.
Is it because they live in a darker world than the people from the South? What do you do when you live most of the time
in winter? You sleep or create art?
The Scandinavian countries are dominating the pop music world. Nearly each artist works at least once with a producer
from Sweden. The best music videos are done by filmmakers from the North.
The fashion world would be super boring without the designers from Iceland and Scandinavia. Some of the most talented
designers are coming from the North. I am a big fan of movies from the Nordic countries. They are always dark, especially
criminal cinema is so sinister and well produced when it comes from there.
Yet the most beautiful part of the North is nature. Endless forests, the Northern lights, proud animals. The infinite wild
nature is inspiring for so many artists and it always will be. Come with us on a little trip. We wanna show you how creative
the Nordic world is.
Working on Collection 4 has been the most difficult project in our history so far. Not because the artists were stressful..
NO, the hardest part this time was dealing with those PR and advertising people. Arghh.. please don´t waist our time
if you don’t understand us. Please don´t order free copies of our magazine and then in the end you don´t even take a
look inside? If we all worked with an attitude like yours there would be no magazine at all. And just for the record, just
to make this one thing clear: we are not a gay magazine, we are not a straight magazine. We are here for everybody. We
don´t mind if you are young, old, gay, lesbian, straight, tiny, black or white. In KALTBLUT every human being is more
than welcome. We don’t like to squeeze people into boxes. So get over this, advertising world.. If not.. we don’t mind.
KALTBLUT is and always will be open for everybody out there. No rules, no gender problems. It is 2013 wake up world!
Have fun with our new Collection.
Yours Marcel and the team
Hello,
my name
is Anna
Wintour
and I welcome
you to the
latest issue of
Playboy.

p.12 Lurking Innocence
Fashion Story
p.24 Jacky Hijstek
Photo Story + Interview
p.33 Marzena Skubatz
Photo Story
p.40
Berlin Faces
You Should Know
p.46 Ólöf Arnalds
Interview
p.50
Fashion Story
The Rite
p.60 Pat Perry
Portrait
p.66 Dear Bad Beg Bug
p.68 Brunhilde
Fashion Story
p.78 Mats Udd
Interview
p.80
p.84 The Echo Vamper
Portrait + Fashion Story
p.92 Mid Summer
Fashion Story
Music Laden
p.102 Snow Queen
Comic
p.106 Top 5
p.108 Morten Andersen
Interview
p.114
Fashion Story
Dandy of the
Grotestque
p.120 Fjarlægð
Fashion Story
p.128 Edgar Avila
Interview
p.136 Mental Postcards
Interviews with Tim Fite and Lasse Matthiessen
p.138 Saga Úr Sjó
Fashion Story
p.148
Fashion Story + Interview
p.158 Herr von Keil Says
Column
p.160
Fashion Story
p.166
Article
Natures Beauty
p.170 Villtur Sjó
Photo Story
p.176 Valkyrje
Fashion Story
p.182
p.184 Out of
the dark
Fashion Story
Must have
p.188 Adrenolytic Agent
Fashion Story
p.196
Interview
My sounds of
the north
Rough Days
for Diamond Trade
p.200 Lille Santanen
Interview
p.206
Fashion Story
JÖR by Guðmundur
Jörundsson
Princess Of The
Fallen Garden
p.216 Notes on Epic
Article
p.220 Metamorphosis
Fashion Story

p.228 Sóley
Interview
p.234
Fashion Story
Hel The Goddess
Of The Underworld
p.242 Luxury Girl
Fashion Story
p.246 Polly Balitro
Portrait
p.250 Here Comes The Storm
Fashion Story
p.260 Nicole Sabouné
Interview
p.266 Svalbard
Photo Story
p.272 Katrin Berge
Interview
p.278
Fashion Story
p.288
Article
p.292
Article
Between Heaven
And Hearth
How the Nothern Lights
took over the world
A glimpse of
Swedish cinema
p.294 Snow White 2.0
Fashion Story
p.300 Jacob Felländer
Interview
p.306 Berlin‘s Best
p.312 Madame Peripetie
Interview
p.320 Melancholia
Article
p.324 Must wear
11
p.328 Blue Shadows
Beauty
p.334
Interview
Anna Gregory
p.340 Paper Cut
Photo Story
p.344 Ice-Cool
Interview with Nico Sutor and Zillmann
p.348 The X-Insider
Interview with Nina Legnehed
p.350 Fox
Photo Story
p.356 #ThingsWeLove
dot com
p.358
Portrait
p.360
FAshion Story
p.366 Vagabond
Fashion Story
p.367 Trolltours
Photo Story
p.380
Article
Susanne Bier
Allerleirauh
Saami, the
reindeerpeople
p.384 The Outtakes
Fashion Story
p.394 Art Around The World
p.398 CrayZay Giveaway
p.400 Imprint
p.401
(End).itorial
p.402 Label Index

13
Lurking
Innocence
Photographer: Thanos Poulimenos
Styling: Yorgos Mesimeris
Hairstylist: Christos Bairabas
MakeUp: Efi Ramone
Photographer Assistant: Evan Baul
Model: Anna @ X-Ray models
All clothes are from: Konstantinos Melis / by Laskos

Jacky
Hijstek
„A celebration of
handwork.“
Photography by Dudi Hasson

25
Jacky Hijstek is a young artist based in Rotterdam/Netherlands.
When I saw her series „The Boys From School“ for the first time I thought WOW that is super
nice and I want this in our magazine. Jacky is a little paper-handwork-photoshop genius.
She gains her inspiration from photos which she finds on the internet and is transforming
them into new pieces of art. I am 100% sure that in the near future we will see her work in
many galleries cause her motto is: Dream big! We at KALTBLUT, are happy to introduce
you to Jacky Hijstek, a very special artist. Read our interview and enjoy some great pictures.
Max Threlfall and Philip Görs

26
KALTBLUT: Hello Jacky. Welcome to our magazine. Some
months ago when I opened my email and I saw your mail my
first thought was: YESSSS! She is good. So I contacted you
and now here we are. I just love what you do. How do you
describe your art work?
Jacky: Thank you very very much! Stoked to be here. I guess you could
describe my work as manual photoshop. A celebration of handwork but
not effusively girly as you would expect. It has a bit of a dark twist,
strange things happen in my work. It consists of some manual magic and
is built up of many layers. I’m not here to tell narrative stories, I’d like to
keep it a bit mysterious. Pictures do not naturally lend themselves to telling
stories as stories. So I’m not giving into that. It’s not that I just want
to make aesthetically pleasant things to look at but I also want things to
be done the right way, to handle the material the right way. No hiding or
disguising from anything. It is what it is.
KALTBLUT: Your mix of handwork, photography and laser
print is very unique. When did you come up with this idea?
Was there any inspiration before?
Jacky: Well, it all started with the creating of The Haunting Period,
where four prints from a self-portrait were interwoven into a new large
scaled piece during my year of graduation. I wanted to do something
with the traditional art of weaving but not take it back to a couple of
centuries ago. Paper is quite an underrated material and easy to handle
so that came easy to me. I scattered photos from tumblr pages which I
printed out and hung on this massive studio wall I kept staring at, day
after day, until I took some down, cut them up to pieces and started
assembling them back together by hand. A very satisfying job. In the
last month and a half of my studies I worked 12 to 14 hours straight on
this work. That was a madly insane period. I changed the found footage
into photos I shot myself, of myself, but I wanted to break free from that
typical ‘female artist using her own body’ cliche.. It gave me the push to
do what I’m doing now.
KALTBLUT: What does the creative process look like?
Jacky: For me making is thinking. Which means I don’t write or draw
things out specifically. I start doing things and while I‘m doing something
I see how it turns out. I listen preferably hours of hours to dark
house and techno on my headphones. The tempo or bpm in those mixes
sets me into a sort of state in which I can create best. Locking myself in
the studio and switching off my phone usually helps too. Other than that,
I’m traveling the world to see shows at galleries, museums but also have
coffee in cafes and stare at people. I’m a restless seeker and always on a
journey for something new.
KALTBLUT: Do you also shoot all the models or are those
photos from other photographers?
Jacky: Unfortunately not yet, I gain my inspiration from photos which
I find on tumblr. The Boys From School series is completely based on
footage which I found online. The past few weeks, knowing that this entry
was coming I spent many hours tracking back to the original owners.
Which is so hard to do. I might need a detective one day. I do not claim
the ownership to anything I have found on the internet or that I’m using,
only to the techniques I apply to it. I think you could see it as an unofficial
reworking.
KALTBLUT: Your artwork looks like you have to spend
hours to do that. How long do you need for one item? And
how do you do this? It is soooo creative.
Jacky: It depends on the feeling really, sometimes I create a work in 4
or 5 hours, sometimes it’s lying around in my studio for days or weeks
without being touched. There are times when I completely lose track
of time. And then once again it‘s 3am. What I notice in my work is that
things are getting much more complicated to do. I have a passion for manual
labour so that is something I really want to express. It usually starts
off with a very basic idea. It could be something I’d like to do contrast
wise or perhaps a second cigarette that needs to be lit in the print. From
there I start cutting into the paper. There is room for error of course, if
things are not working out the right way, I throw it out and start over.
What helps is a pair of skilled and delicate hands. I’m always looking for
a tension point to challenge myself and keep myself occupied. I set very
high standards for the work I make but all I need is a knife to cut paper.

27
Daniel Kullen by Kristina Soljo

Yuri Pleskun by Damon Baker
28
KALTBLUT: Have you
ever gone to any art
school or something like
that?
Jacky: Oh yeah, I’ve studied
for 8 years at creative schools.
I started at a college for styling
and window-dressing which
wasn’t my forte as I look back
on it, although it gave me the
opportunity to test out all sorts
of things, graphically as well
as sculptural. During that period
I made more installations
than actual window displays
for shops. Instructors weren’t
happy but I was.
As a young kid I had this big
dream of wanting to go to the
Academy Of Arts. I basically
spent all my time preparing
for art school. I tried out loads
of techniques at home and was
basically always busy with
creating something.
Once, I almost lit my carpet
in my room on fire because I
had the idea to do something
with burned paper. Anyway,
I recently graduated at the
Willem de Kooning Academy
in Rotterdam where I took a
course in Fine Art. While my
peers produced very conceptual
work I was always
busy with the craft of things.
I moved for a period of time
to Calgary, Canada, to do a
double major in intermediate
sculpture and glassblowing at
the ACAD institute. I think I
have been challenging myself
in exploring new things and
finally have found something
I like doing best. Funny that
it started off in my first year
with works from cut up paper
and ended with it too.
KALTBLUT: Ice-Land,
legend, myths.. this is our
theme this time. What comes
to your mind when
you hear those words?
Jacky: Mythic creatures,
dark fairly tales, long nights
and deep, rich contrasts. Also
boys with very pale skintones,
beards and red-ish hair. Iceland
is of course an amazing
country which I’d love to visit
one day.
KALTBLUT: Is there any
artist you would say is
your personal icon?
And why?
Jacky: I’m able to find inspiration
in all sorts of things.
There isn’t just one artist in
particular. There is this Italian
writer Alessandro Baricco,

who has written a book named
The Barbarians. It is actually
a collection of articles about
the current way of gaining
information, there is a richness
without getting deeper into the
core of the subject, scattering
bits and pieces to get the info
you really need, as if there are
no deeper studies needed with
books and encyclopedia. He
argues that despite the pressure
of technological innovation,
social mobility and globalisation,
there still is room
for inspiration in the modern
world. Baricco says there is no
collision between civilisation
and barbarians, but that contemporary
culture is in a state
of mutation, moving from an
old to a new culture. Which
set me off to a whole new way
of thinking about art as well
as my own work. While I was
reading his book it got to me
that there’s no wrong way of
gaining inspiration or doing
things. I guess I needed to see
that in black and white.
In general I love artists who
work with their hands. The
exhibition: The Shape of
Things To Come (2011) at the
Saatchi Gallery in London
still gives me loads of inspiration.
They’ve published
an amazing catalog with it.
Folkert de Jong is a great artist
who makes over the top big
ass sculptures. Next to that I
would love to have a talk with
Chuck Close, his story and
work is impeccable. Close has
been a printmaker throughout
his career - he uses the most
intensive labour techniques on
portraits which he then fills in
with paint by hand. So much
layering! I can only take my
hat off for that.
KALTBLUT: 2012 was
a really successful year
for you. You had some
exhibitions. How does it
feel to show your work in
a gallery?
Jacky: I wouldn’t call it
successful yet. Sure, there
have been a couple of exhibitions
and nominations after
graduation and it got off to an
amazing start but I know I can
do so much better. I’m 25, the
best is yet to come. Gallerywise
it’s still a bit weird. It‘s
quite surreal to hang at a gallery
with work you have been
creating. In the studio everything
is safe and sound. Out
there everyone has an opinion.
Ultimately you do it so your
work gets seen, I tend to forget
that sometimes.
29
Yuri Pleskun by Ronald Dick

KALTBLUT: You
were also nominated
for the BLOOOM Art
Award and The Media
Art Friesland Young
Talent Award. Congratulations.
What does it
feel like to get recognized
in the international
art world?
Jacky: When I hear someone
else speaking about
it, it really moves me. I’m
full of pride. They were
both amazing opportunities
to show my work. The
BLOOOM award one especially,
was super special,
my first international show
on such an occasion with
so many people who came
to visit. My work was seen
by powerful curators and
hang at Art.Fair in Cologne
between other established
artists, with Chuck
Close within 10 meters
distance. Surreal.
KALTBLUT: What
are your plans for
2013? Any new exhibitions
coming up?
Jacky: I’m currently negotiating
with a gallery about
something that’s hopefully
going to be a solo show
somewhere near spring or
summer. I’ve been asked
to do a couple of artworks
for music releases. I’d
love to have a bigger and
better studio to work in.
But what I’m really aiming
for is a gallery or agent
who is going to represent
me. I’d love to team up
with a photographer or
some models to shoot my
own material. My ultimate
goal is to live from my art
and not have to work at a
boring job ever again. But
who doesn’t. Dream big
I’d say.
KALTBLUT: Do you
have some advice for
all those young artists
out there to live their
dreams? What would
you tell them?
Jacky: Never stop.
KALTBLUT: Thank
you very much for
the interview and the
stunning story you
have produced for us.
www.jackyhijstek.com
Interview by Marcel Schlutt
30
Max Schubert by Vincenzo Laera

31
Stefan Heinrichs

32
Marzena Skubatz
Documentary
“This is an ongoing project about Dalatnagi /
Iceland. Dalatangi is a small farm run by two
people next to Brekka in Mjöifjördur which is in
the East Fjords of Iceland. I spent a half year
there documenting the everyday life of Billa,
who is one of the farm owners. I got to know
her family, who came by from time to time, and
some of her friends and neighbours.
But most of the time it was just me and her
doing the farmwork and talking about life and
death. I dedicated my heart to this place and
the project. What you see is a small selection of
a body of work.”
www.marzenaskubatz.com

“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 should
better do the same.
40
BERLIN
Faces

41
By Fleur Helluin
Photo by Denny Wiebel
d.wiebel@gmx.de

M a r t i n B a c k e s
KALTBLUT: Your work is at the meeting
point between visual and audio art,
could you tell our readers a little more
about background?
MArTin: i started my career as an
artist in the late 90s focusing mainly on
experimenting with sounds, producing
& composing music and DJ-ing. Later
on, during my studies at the University
of Arts in Berlin, i got myself more into
the field of sound, video, new media,
installation and performance art, and
of course design. Most of my works are
still using sound as a material, but some
don’t. So i am also interested in working
with other materials like graphic,
light, fabric, interactive components, the
use of sculptural materials, media, etc.
Talking about pigeonholes people would
probably put me into categories such as
new media, computational & generative,
video, installation, sculpture, intervention
in public space and sound art. At
the moment my main focus is somewhere
around failure, stability, mimesis,
illusion, simulation and ambiguity i
would say. Beside my artistic career and
42
artin Backes created a sensation
a few month ago with his
pixelhead. There’s something
in his art meets activism
that’s just completely
fashion-forward. But the man
isn’t only the dad of the protective
piece; artist, designer,
director, lecturer, performer,
hacker and composer. Yes,
it’s the XXIst century, let’s
talk about it.
teaching at the University of Applied
Sciences Berlin i am also co-founder of
a company called Aaconica - creative
lab for sound + media which is so to say
a studio for sound & new media design
constantly working on commercial, artistic
and independent projects in the fields
of culture, industry and research. Within
this platform we are currently working
pretty hard on our first software product
which is about to be released very soon.
KALTBLUT: You are living as an artist,
working as a teacher and also being an
entrepreneur. How do you juggle them
all?
MArTin: For me it’s just one hat, but
yes, i know what you mean. Sometimes
i ask myself exactly the same question
(laughing). i am kind of driven. One
could say that i get bored by things
pretty fast, but i would say that i am
getting interested in things pretty fast.
Things which arouse my curiosity and
interest - things i want to know and
understand. At the moment my biggest
concern and problem is really to
concentrate on just one thing, that’s hard
though. When an idea comes into my
mind - i have to do it, no matter whether
i have the expertise in it or not. My
Pixelhead artwork is the best example
for this kind of issue. i really had no idea
about fabrics, sewing, designing a fashion
piece, etc. but i managed to produce
it with some help of good friends. And
now i am very glad and thankful that i
made it, because it attracted world-wide
attention and i found myself in the news
with Justin Bieber (laughing). i really do
love this kind of lifestyle and variation.
Every day is different in the sense of not
getting to the office from nine-to-five
each and every day. if we talk about
professions the combination of learning
new things, teaching, working and trying
to implement my ideas is what gives me
the biggest freedom. But everything i do,
whether commercial or more artistic, is
somehow linked to each other. And we
all know there are more things in life besides
work which are important, but that
was not the question (laughing).
KALTBLUT: What do you have next to
your bed?
MArTin: A medium called air, lots of
space ;)
KALTBLUT: Environment in a broader
sense is an extremely important part of
your work. What would be your ideal
surroundings?
MArTin: Yes, of course. i mean there’s
always some sort of environment - surrounding
or context. it’s very nice to exhibit
artworks in a gallery, but it’s probably
much more interesting to go into
a public space for example - for both,
analyzing and intervention. i mean we
are not living in a clean laboratory roomlike
environment. it could be interesting
from a social, religious or political point
of view or even perception-wise. i am
also interested a lot in how we perceive
things and what this does to us. When
it comes to an outcome, doing works
for more than just two dimensions and
working for more than just one sense is
what interests me the most as an artist. i
think this comes closer to our human nature.
So i am not sure what my personal
ideal surrounding would be and probably
never will, but i am working on it.
KALTBLUT: Where is your favourite
place to listen to music?
MArTin: i don’t listen to music, i am
just listening to the every day soundscape
... i think our acoustic environment is entitled
to be heard. Just kidding! There’s
no special place. i surround myself with
music when i am on the way, at home or
during work (if i am not working with
sound of course). But sometimes i’m
listening to music or more experimental
stuff in total darkness lying in bed and
trying to immerse myself into the sounds
and get fully absorbed by it. Have you
ever heard of transducers, a technique
which converts sound directly into vibration
- you should try it!? Especially when
your full body is connected to the corpus
of a bed for example.
KALTBLUT:is there a mantra or motto
that you repeat to yourself?
MArTin: “i Have nothing to Say and
i Am Saying it”. Surely not by myself,
but i love this quote by John Cage. Pure
Poetry!
KALTBLUT: Who most inspires your
work?

43
MArTin: i’d rather decline answering that question. i think too many
people categorize us by our influences. So i would say i’m influenced
by everything that surrounds me: education, every day life, culture, politics,
literature, art, design, media, technology, commercialism, history,
reality, the power and strength of nature, etc.
KALTBLUT: To what extent is your work having an impact on your
everyday life?
MArTin: There’s probably not a distinction between my everyday life
and working, at least not mentally. it could be a predominant political
status quo seen in the news which pisses me off or a perfectly synchronized
flight of a bird flock moving slowly through the air which triggers
some ideas. i mean there’s basically no quitting time so to speak.
There’s no definite break like in a nine-to-five job where you go home in
the evening and try to concentrate on the funnier things in life or whatever.
So my head is constantly thinking on something and working on
stuff. Even during the night i sometimes find myself awake while i am
not able to turn off my brain. Which brings us back to your question
“How do you deal with so many hats?” (laughing). But i am working
on that - don’t worry. Asian philosophy and martial arts are good
friends of mine. i am trying to have a well-balanced life and it’s working
better and better nowadays. And talking about procrastination, i
am living in Berlin. i’ve heard that you can have parties here each and
every day (laughing).
KALTBLUT: Would you like to tell us about your current projects?
MArTin: Beside teaching and working also on commercial projects
(please see www.aconica.de) i am working on a bunch of new works.
A new audio-visual installation is nearly finished. Basically it will be a
computer within an installation environment which presumes understanding
human emotions and performance in the context of pop culture.
The machine tries to perform the most emotional songs you can
get unstoppably. if you are familiar with the movie “Terminator” you
get the idea (laughing). So within this installation artificial intelligence/
emotion will rise up and attempt to take over, but more in a poetic and
funny way.
Another audio-visual installation is about expressing the feel of a cos-
mic consciousness experience. Or
in other words - it will be a generative
installation which is about the
poetics of natural sciences working
with materials like sound, wind
and transforming motion graphics.
Yet another work is dealing with
perceptual coding systems, probably
better known in the context
of computation as file formats like
JPEGs or MP3s. There will be also
a follow-up to my Pixelhead work.
it will not be a wearable piece this
time, more like a fully functional
sculpture. That’s all i can say at the
moment.
All in all there are a lot of things
in the pipeline right now. So if you
or your readers would be interested
in those projects, please feel
free to take a look at my websites
below for more information.
www.martinbackes.com
www.aconica.de

K i m H i o r t h o y
44
here are some rare treasures in
life, and sometimes you discover
one by accident. Kim Hiorthoy
might just be one of them. He
works as a graphic designer (for
Rune Grammofon), a visual artist
and a musician. I discovered
his music some years ago with
my bestie Magritte Jaco, and we
were hooked! We’re part of Mr
Hiorthoy’s devoted following.
Maybe you’ll become part of the
club too?
KALTBLUT: Hello Kim, could you
please tell us about what you do?
KiM: i mostly do graphic design for
record sleeves and other printed matter.
i work as a musician and an artist. i’ve
worked as a cinematographer for documentaries
and feature films. Last year i
finished a masters degree in choreography.
KALTBLUT: When you were a teenager
did you imagine you’d be doing what you
are doing now?
KiM: i always made drawings, but what
i was mostly interested in was film and
theatre. When i was very young i wanted
to be an actor.
KALTBLUT: What would you like to say
to the future version of you?
KiM: i don’t know. i thought this was
the future.
KALTBLUT: What are your favourite
smells?
KiM: They’re too many to mention,
some are too personal for me to say. i like
the smell of cut wood and cut grass. But
who doesn’t? Fireworks.
KALTBLUT: Would you rather have
leaves for hair, or stone for skin?
KiM: none.
KALTBLUT: Did you ever have a special
master? Someone who told you something
you’ll never forget, or played a role
in your creative development?
KiM: i had a teacher once who simply
said: if you want to do it you have to do
it. i think he meant that studying something
is all good and well but it’s not the
same as actually doing it, and nothing
will teach you how to do something in
the way that actually doing it will.
KALTBLUT: What kind of music do
you listen to at home?
KiM: radio.
KALTBLUT: Our edition this time is
nordic special. Where’s your favourite
place in norway?
KiM: i don’t have a favourite place.
Hanging out with friends or working.
KALTBLUT: As a big fan there’s a question
burning inside me and i have to drop
it: are you going to release a new album
or E.P soon?
KiM: Yes, a new album is coming in
spring.
KALTBLUT: Finally, can you tell us
what you’re up to at the moment and
your plans for the future?
KiM: i’m working on the new album
and an art show which will open at
Standard (Oslo) in February.
www.smalltownsupersound.com
www.standardoslo.no

KALTBLUT: Hello Jonas! For the readers
that don’t know you yet, could
you please tell us what you’re doing?
JOnAS: i mix, produce, manage bands/
acts and also do all kind of music related
stuff from touring, curating, to playing.
All around craziness.
i call myself a music worker. i run a company
in Berlin called Kaiku Studios with
two other colleagues. i love finding new
acts and developing them, also i love to
work internationally, and travel around.
KALTBLUT: When you were a teenager
did you imagine you’d be doing what you
are doing now?
JOnAS: i always wanted to be a music
producer, somehow i was interested in
how the records sound the way they do,
how they have been made, and how to
create that kind of sound. i was thinking
about that actually last year when i
was traveling somewhere every week. i
was like “aww, again, i’m flying here and
there, booo...” then i remembered that
this is what i always wanted to do, hah. i
always wanted to travel a lot, see shows,
work in the music business. So i guess in
a sense i’m doing exactly what i wanted
to when i was a teenager.
KALTBLUT: What would you like to say
to the future version of you?
JOnAS: Focus. And stick to the plan.
KALTBLUT: You produce a lot of
rhythmic music, is there a special way of
formulating your relationship to rhythm,
beats, groove?
JOnAS: Hmm. i don´t know how i’m
formulating. But i do get inspired by a
lot of ethnic music. And old Hip Hop
and r’n’B of course. i’ve always had a
45
s the thinking head of the Kaiku Studios based in Berlin, Jonas
Verwijnen is bringing Finnish freshness into the productions of LC-
MDF, DENA, or Zebra & Snake. He’s working in the shadows and
on stage as a 4x4 music expert. If you feel a bit lost in the music
world, and don’t know where to turn your ears to, follow this dude.
love for beats. And wanted to create that
perfect groove (haven´t done it yet). if
you have a great song, you just need a
great groove and you’re there. no need
to fix anything or use tricks to make the
record good.
KALTBLUT: How do you know when
your work is going well?
JOnAS: When people like what you
do (now i mean not your mom or your
friends).
it’s really hard for me sometimes to know
this thing. i know when things are ready
in a way. Sometimes i think something is
great and every one is like “noooo”.
i think working well is coming together
with working hard and a lot. i believe
that a big output will lead into well working
things.
KALTBLUT: Would you prefer to have
fur or wings?
JOnAS: Wings!
KALTBLUT: Did you ever have a special
master? Someone who told you something
you’ll never forget, or played a role
in your musical creations?
JOnAS: Yes in music composing/producing,
less is more. it leaves space for
the actual meaning.
Jonas Verwijnen
KALTBLUT: What do you listen to at
home?
JOnAS: nothing! really i don’t even
have speakers at home.
KALTBLUT: Our edition this time is
nordic special. What’s the best Finnish
dish?
JOnAS: Definitely Finnish salmon soup.
KALTBLUT: Finally, could you please
tell us what you’re working on at the moment
and what the future looks like for
you?
JOnAS: D E n A full-length album
(producing, mixing), some songs for
Hidden Cameras (mixing) album, Ballet
School (producing, mixing) and Kakk
Madda Fakka (recording) new album.
Just talking of doing Spencer Krug’smoonface-
(producing, mixing) new solo
piano album. Hmm... There was something
more, can’t remember.
www.soundcloud.com/jonas-kaiku

„We
recorded
it in a
wooden
cabin by the
sea.“
46

Ólöf
Arnalds
Ólöf Arnalds is an Icelandic singer and
multi-instrumentalist whose sound first
captured me when I heard her track “Surrender”
featuring the vocal of Björk. As
a classically trained musician (with the
violin, viola and self-taught on guitar and
charango) I still think that her most distinctive
asset is definitely her voice – it has
the most intriguing ‘otherworldly’ quality
which I feel captures the spirit of her native
Iceland perfectly. We had a little chat
with her this winter to find out the inspirations
behind her brilliant new album,
“Sudden Elevation” due for release this
February. It’s a sensitive, intimate collection
of tracks that take you on a winding
journey through the private and endearing
world Ólöf paints with her songwriting. A
true gem.
www.olofarnalds.com
Interview by Amy Heaton
KALTBLUT: Hey Ólöf! We’re very excited to be featuring you
in our new issue. I’ve been listening avidly to your new record,
“Sudden Elevation”, it is a truly beautiful collection of songs,
are you pleased with how the album has turned out?
ÓLÖF: Hey! I’m very pleased with the outcome. Skúli and I
worked very carefully on every detail and I really feel like I’ve put
all of my heart into the record.
KALTBLUT: So what is your composition process like, are you
writing all the parts yourself or did you work with other musicians
for the album?
ÓLÖF: For this album the majority of the parts are written and in
fact played by me. The producer, Skúli Sverrisson writes and plays
his bass-lines as well as some electric guitars.
KALTBLUT: I can imagine you recording your album somewhere
quiet and out amongst nature, I’m sure this probably
wasn’t the case! How did you actually go about it?
47
ÓLÖF: Actually this was the case, so thumbs up to imagination! We
recorded it in a wooden cabin by the sea in Hvalfjörður and had very
little connection with the outer world. There was a fire place and every
day I had the task of lighting it and maintaining the fire, which was
sort of symbolic for keeping the fire of the creativity alive.
KALTBLUT: Your songs are so simple and patient – do you feel
you are putting a lot of your own personality into your music?
ÓLÖF: I think my music is highly personal. The composition have
often been in my mind for years and when I feel ready, I turn them
into recorded songs. The lyrics are all about very intimate things in my
life as well.
KALTBLUT: There is a kind of melancholic atmosphere through
the album, do you find yourself falling into that kind of wistful
world when you’re composing?
ÓLÖF: Not always. But for this record for sure. I have a feeling that
my next one will be more cheerful.
KALTBLUT: Your vocal style is very unique, have you always had a
similar way to sing or is it something you’ve developed over time?
ÓLÖF: It’s hard to say. The voice is a bit like a living creature. It evolves
with the person. I’ve never been very deliberate in developing my
voice and I like to use it differently in different songs.
KALTBLUT: I’m sure many producers have asked you to collaborate
with them or if they can remix your songs, did you ever think
about going down that road?
ÓLÖF: I’m a bit difficult when it comes to new collaborations, because
I find making music together with someone a very serious and intimate
thing. I like it when new musical relationships are born out of inspiration,
friendship and dedication. Although I’m very open to using all
aspects of my voice and developing further varieties in tone and character,
and doing so with other people‘s compositions is a very good ground
for this kind of work.. I am more sensitive to being truthful to my voice
when I sing my own songs. Therefore I’ve been reluctant to work with
people I don’t know. Especially when it comes to my voice.
KALTBLUT: Do you often relate back to your classical background
when you’re writing music now or do you have other inspirations?
It feels like there is also some folk-lore inspiration running
through your songs?
ÓLÖF: I think that the classical background always sneaks into my
compositions through, for example.. chord structure. I’m drawn to folklore
inspirations but when creating songs I feel that the process is very
intuitive as well as my overall approach to music.
KALTBLUT: So your first instrument is violin (mine too!), did you
find it a natural progression to take up the other instruments you
later pursued?
ÓLÖF: Although the violin is a brutally difficult beginners instrument
(I assume that you have suffered like me!), it is a great instrument for
developing a strong ear for pitch and texture. I think this has probably
made it easier for me to become self taught on another stringed instrument.
KALTBLUT: The Icelandic language really fits to your vocal style,
I think when I hear it spoken it can be like birds singing! What
made you decide to write your lyrics in English for the new album,
as opposed to your native language?

ÓLÖF: English is not that far away from me, because my mother is
born and raised in England and most of my extended family on her
side only speak English, although her parents were from Iceland. I’ve
played in very many different countries and always felt that I could
easily communicate the emotional content of my music without people
understanding the words. This time I strongly felt that I wanted people
to understand the words as well. It’s a different way of communicating
with an audience. Especially live. The challenge of writing in English
was also fun for me.
KALTBLUT: Your song writing is often like story telling. Did you
enjoy tales from your country as a child?
ÓLÖF: I was mad about the Brother Grim fairytales. I knew less
about Icelandic tales.
KALTBLUT: Our latest issue is based all around the theme “ICE-
LANDS” – Do you feel coming from such a cold place changes
the sensitivity in your music making?
ÓLÖF: I prefer cold to heat because I feel like I can think better when
it’s cold. I also tolerate cold very well. The good thing about the cold
in Iceland is the dry air, so you can always dress for it. I actually lived
in Berlin for one winter as I was planning to study there then I took
a different path and went to the Icelandic Art Academy… but that
damp main land cold, that was really something else! No matter how
much clothing you were wearing, it always crept to your bones.
KALTBLUT: That’s true! Well Iceland seems like such amazing
place to visit, even with that cold. What do you like (or dislike!)
most about your native land?
ÓLÖF: I think the water, the air and the natural resources make
Iceland very unique. I also like how the community is very much
about self sufficiency and getting by rather than having the precise
right person do each individual task. It makes every process (especially
creative ones) much more interesting. Poor infrastructure is the only
downside of this arrangement, but people‘s ability to work unselfishly
and extremely hard to get things done fast makes up for it.
KALTBLUT: I was reading an article recently about how governments
in Scandinavia and surrounding countries actively support
art and music. Do you think this could be a reason why so much
unusual new music is being created there? Have you had any experience
of that during your career?
ÓLÖF: When I was more an upcoming artist I had a lot of access
to grants and financial support, which was very helpful. Grants in
Iceland seem to be more aimed to fresh blood though, so usually this is
a luxury that does not last long. It is interesting, because when you are
no longer just starting out but in the period of emerging as an artist
that could potentially become fully established internationally, that is
the time when you need the most support. I think the growth of Scandinavian
music has a lot to do with the life quality, safety and options
that young people in these countries have. Not that I want to undervalue
the purely artistic/cultural aspect of this increased musical activity.
KALTBLUT: So I guess music was a big part of your life growing
up, was your whole family musical?
ÓLÖF: Yes, on both sides.
KALTBLUT: Your cousin Ólafur Arnalds is also a well-known neoclassical
composer, do you ever work with him musically?
ÓLÖF: Not yet, we would both be happy to collaborate, maybe the
difference in style and output might have had an effect of us not getting
to do so yet.
48
KALTBLUT: Even so in your previous two albums you’ve collaborated
with the likes of Björk and Kjartan Sveinsson (Sigur Rós) How did that
come about?
ÓLÖF: It’s all through friendship and inspiration. I’m lucky that those people
have been so supportive and interested in my work.
KALTBLUT: Perhaps this is a silly question considering the facts above..
but if you could work with any other musician in the world who would
it be?
ÓLÖF: I think Skúli Sverrisson and I are just beginning, even though we’ve
worked on each other’s music for 12 years. I’ve only spent one day experimenting
with Cyril Atef and the dynamic between the three of us was quite
extraordinary. Us as a trio is all I can dream about at the moment.
KALTBLUT: I love the music video for “Surrender”, it reflects your
sound perfectly, has your music ever been used in a film before?
ÓLÖF: Only very small, individual films. I would love to do some new
work for film, since my relationship and understanding of music is very
visual.
KALTBLUT: It seems like you prefer to play smaller acoustic sets as
opposed to a big live set up on stage, would you agree?
ÓLÖF: It has been a great practice for me to play so much alone, because it
has made me a lot stronger as a performer. It is very economical as well. For
me it’s becoming lonely and one sided now. So this time around I will be
joined on stage by Skúli Sverrisson and Cyril Atef. Both amazing musicians
that I really look forward creating a new live experience with for my
audience.
KALTBLUT: What about your experience touring with Múm, how did
it compare playing with them as opposed to your solo project?
ÓLÖF: Touring with Múm was a good school. I learned my way around
the stage and the technical things (although that is still a bit of an Achilles
heel for me). I had very free hands when creating my parts and improvised,
which was good practise. It was also just such a great adventure for a young
person to experience all this touring, the friendship, playfulness and fun.
KALTBLUT: How much do you feel your music has progressed since
your first release?
ÓLÖF: I think this new record is my best so far, it somehow feels to me as
a manifestation of my musical language in a resolution that is much higher
than I’ve reached before. The first record was very clear and fragile at the
same time since it was my debut. Somehow I feel that Innundir Skinni (the
one in the middle) suffered a bit from lack of clarity, due to the long period
and various collaborators. Skúli Sverrisson has an exceptional understanding
of my voice as an artist, so to be able to work with him this intensively (that
is non stop for 2 weeks) was life changing for me as a composer and a singer.
KALTBLUT: So what are your plans for the Spring, have you got a tour
planned out already? We hope to see you play live sometime!
ÓLÖF: Everything is in the making, and I can’t wait to get back on the
road. And I will be coming to Germany for sure!
KALTBLUT: To close, can you share with us one of your most treasured
memories of such an intriguing musical career?
ÓLÖF: I’d say singing an Icelandic rhyme off microphone as a “zugabe” in
the Sidney Opera house.
Thank you so much for the lovely interview! We wish you all the best
with your new album and the year ahead.

The Rite
50
Photographer: Iris Bjork
Stylist: Sunna Thorsteinsdottir
Jacket: Rex, Pants: Shireeka Devlin, Shoes: stylist own
Makeup and hair: Amrit Preet
Model: Zoe Laxton @Eclipse

Jumper: Ekaterina Gerasimova
52

Vest, shirt, tights: Ekaterina Gerasimova , Necklace: stylist own
53

Dress and Sleeves: Ekaterina Gerasimova, Hat: Stephanie Ghoussain
54

Jumper: Ekaterina Gerasimova, Leggings: Ekaterina Gerasimova,
Shoes: stylist own
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Leather jacket: Ekaterina Gerasimova, Shirt: Stephanie Ghoussain, Dress: Rex, Bracelet: Ekaterina Gerasimova

Jacket, fur and tights: Ekaterina Gerasimova, Skirt: Elly Cheng
57

Dress: Ekaterina Gerasimova
58

Coat: Ekaterina Gerasimova, Dress: Rex, Shoes: Ekaterina Gerasimova
59

60
P A T P E R R Y As I was looking on the
internet for artists to collaborate
with in the next
Issue I found Pat Perry‘s
page. After coming across
his work on Alaska I knew
from that minute that we
absolutely had to do something
together. His
full „Alsaka“ series is
really beautiful. I love
the way he mixes the
media to create a
story. The blending
of illustrations,
photography and
text give another
dimension to his
work. Pat Perry is
the kind of person
who draws every
single day, he is really
paying attention
to details in the world
around him, and one
of his main hobbies is to
travel : this is maybe the
reason why I was so attracted
to his work
„Alaska“ when I saw it..
you can really feel the
emotions, and kind of live
the journey he made.
www.patperry.net/art/alaska
Instead of doing an
Interview I asked Pat if
he would write
a text to share
the story of his
trip. I thought
it would be interesting
to mix his words with the
work itself. By the way,
we did not publish the full
„Alaska“ series and I really
do encourage you to
have a look at it.
Text by Nicolas Simoneau

I spent July up in
Alaska working
on an art project
with the
National Park
Service. I spent
the month in
Katmai National
Park backpacking,
tagging along
with park rangers,
flying around, and
making art.
It was such a wonderful month! The project was
really challenging because soon after getting there,
I realized that no artwork I’d make would possibly
do justice to that place. I ended up deciding to try to
focus on the human experience of a person being in
the park and what that is like. This helped me be able
to process a little easier, and I did my best to make
something worthwhile.
Katmai is remote and even getting there was a
challenge. I flew to Anchorage, then took a plane to
the small town of King Salmon, just outside of park
limits. There are no roads going into the park, so my
only way in was to fly in a small bush plane that the
National Park Service uses. We flew to the tiny peopled
center of Katmai called Brooks Camp. This is the
only place in the 6,395 square-mile park with structures
and more than a couple people. We landed, and
stayed in the plane while a grizzly bear strolled the
beach by our plane.
I saw at least one grizzly bear almost everyday I
was there. Many times, I‘d be walking alone in the
woods when I‘d spot one and have to get out of the
way. I didn‘t have bear spray or a gun, but would
instead call out at the bear and face it. There was no
use in running or hiding. The bears tend to not engage
you if you stand your ground. Katmai has the most
concentrated grizzly bear population of anywhere
in the world. In July, a large group of bears head to
Brooks Falls where I would often go to observe them.
61

62
If the bears didn‘t make me feel small, the landscape sure did. The vastness of Alaska was perfectly sampled
in Katmai. I made quick friends with some park rangers that became my comrades for several hiking
trips. We summited two mountains, and took small boats far into mazes of glacial lakes. The longest hike
was one through the Valley of Ten Thousand Smokes to Novarupta, a volcano that released 30 times as
much magma as Mt. St. Helens. The Valley on the way there was completely dead and filled with ash.
There was no trail, so we used topo maps and a compass to navigate. There were no trees, only beautiful
crevasses and pumice fields. We would often cross snow sheets, and had to eventually take our pants off
to make a chilly 40 degree river crossing. I‘ve never felt further out and away from everything than when I
was out in that valley.

63
Between daily grizzly encounters, volcanic ash valleys, and miles and miles of hiking, I managed to draw
almost everyday. That was the most hands-on residency I’ve ever heard of. I often picture most artist residencies
as an artist that is quietly painting inside a warm cabin, anchored down in a cozy corner of some
national park. In Katmai, the rules were written a bit differently. My focus, and the park‘s focus was to be
outside as much as possible, taking in wilderness, being humbled by it, and interpreting it. My hiking boots
were dirty and completely destroyed by the end of it.
While I was staying in Brooks Camp, I‘d walk down to the edge of the huge lake each night before I
slept. There would always be light, even if it was midnight. The dusky sky would be pale, and beyond the
lake were snow-capped peaks. I‘d stand just a little ways in the water with my rain boots on checking left and
right down the shore for bears.

I‘d breathe in the
clean air and
remember that I
wouldn‘t always
be able to see that
sight. I relished in
it while I could,
and even though its
been months since
I stood there, I can
still imagine it
perfectly.
www.patperry.net
64

66
DEAR BAD BED BUG
Amanda M. Jansson & Emma E. K. Jones

68
PHOTOGRAPHER: SCARLETT WERTH
FASHION STYLIST: JULIA QUANTE & DANNY SCHNEIDER
MODEL: LINA (MEGA MODELS)
Brunhilde
HAAR & MAKE-UP STYLIST: PATRICIA PIATKE
Dress: Won Hundred, Coat: Michael Sontag, Top: Dominic Knecht, Arm/Shoulder Piece: Moga e Mago

Coat: Michael Sontag,
Top: Sammler Berlin,
Dress: Malaika Raiss,
Trousers: Y-3,
Socks: Falke,
Shoes: Reality Studio,
Shoulder Piece: An!mal,
Earring: Perlensäue
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Dress: Won Hundred, Dress: Malaika Raiss, Jacket: Dawid Tomaszewski, Necklace: Mango, Headpiece: Perlensäue

Blouse: Chloé Vintage,
Shoes & Skirt: Won Hundred,
Socks: Falke,
Vest: Moga e Mago,
lace Handkerchief (as belt): Stylist‘s own,
Necklace headpiece: Rita in Palma,
Necklace: In Odd We Trust,
Leather bracelet: An!mal
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Dress & Cape: In Odd We Trust

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Dress: Vladimir Karaleev, Skirt: Dawid Tomaszewski, Jacket: Elisabetta Franchi, Necklace: An!mal, Shoulder Piece: Moga e Mago, Bag: seen at TK MAXX

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Dress: Adidas SLVR, Lacetop: Sammler Berlin, Vest: Isabell de Hillerin, Kette: Maria Black, Shoulder piece: An!mal, Fingertip: In Odd We Trust, Belt: Dominik Knecht

Top: Dominic Knecht,
Dress: In Odd We Trust,
Jacket: An!mal,
Necklace: Weekday,
Bracelet: BjØrg,
Hat: Reality Studio,
Shoes: United Nude x Iris Van Herpen
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Dress: Won Hundred, Dress: Y-3, Blouse: Dominic Knecht, Vest: Guess, Belt: An!mal, Shoes: Adidas SLVR, Socks: Falke, Ring: BjØrg

MATS UDD Mats Udd is a really special young director
from Sweden. There is no way you
haven‘t come across one of his really
breathtaking music videos that are
taking youtube by storm. Coming from
a small town in the heart of Sweden he
has been traveling and filming in all
possible continents creating a world
full of mysticism and wonder, full of
blood and magic, strange shapes
and all things surreal. A man with a vision, that is all
his own, he talks to us about what he really wants to
create and how it is coming from Sweden.
79
Photo by Ole Kirchmeier
Interview by
Amanda M Jansson and Emma E K Jones
www.vimeo.com/matsudd
KALTBLUT: You make lots of different videos. What kind of
video do you really prefer making though?
Mats: I‘ve always been a fan of storytelling, and I can do funny videos
and videos with no point at all and even though it‘s great to do different things
I really prefer to find my self in some sureallistic world where everything is possible. To put
characters in strange situations, play with animal masks, make something different. The Susanne Sundfør
video White Foxes is a good example of a video of a combination of a somehow beautiful and un-natural world where
you actually can have a brain tumor shaped as a foster of a fox. That‘s the kind of world I belong in.
KALTBLUT: Are there any places in Sweden that you really love shooting at? Why is that so? What opportunities does Sweden offer in terms of
location?
Mats: Every year I find Sweden more and more exotic. We have great nature and it‘s probably where I get most of my inspiration from. We also have a
long time of tradition where you can find the soul of Sweden. There is something very sad about these good years now turning into bad times. People
moving away from small towns. Shops closing down etc. I won‘t say I like it but I find something in it which is very sad, but also touching and beautiful.
The countryside of Sweden will always be in my heart.
KALTBLUT: Where does your fascination with blood and the macabre come from?
Mats: Don‘t know where it started but during my teenage years I always looked after the most extreme stuff on videos that you could get. I always had
a great interest in serial killers, occult stuff and just very bizarre kind of movies. I guess I‘m fascinated to experience how much stuff I could handle,
and also to lose the limit of what you could show to an audience. If there is someone saying „oh you can‘t show so much blood“ that won‘t be me. I
guess I also have a feeling for showing things that the audience didn‘t know that they wanted to see.
KALTBLUT: What was your toughest, bad luck situation that happened to you while filming, and how did you deal with it?
Mats: One time we did this video which was all about the artist on a delivery trike, the problem was just that the trike‘s breaks stopped working during
the shot and we were driving so fast down a hill and I was so glad he didn‘t drive off the road or into another car. I‘m sure he would have died. I‘m
sure the video would had some more views on youtube… but still.
KALTBLUT: Have you ever worked with an artist you always admired? How was it?
Mats: Yeah, I actually have worked a few times with bands and artists I really admired years before I got the opportunity to make their videos. Joel
Alme is a great example of that. I loved his first album and on his second album I got to do the video. It‘s a bit surreal but fun.
KALTBLUT: You are traveling a lot. How does this change your perspective of things, how do you see the world differently, and how does Sweden and
Stockholm change in your eyes?
Mats: I‘ve been visiting the biggest cities in the world, but I also visited very poor areas in Asia and India which gives me a perspective and I can see
how good Sweden really is. Therefore I try to take every opportunity I can to fight the rascism in Sweden. Most people in Sweden live a very healthy
and rich life and and they should obviously be helping other people.

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MUSIC
Album preview by Bénédicte Lelong
Iconic American guru of pop Dick Clark once said „Music is the soundtrack of our lives“.
Music IS everywhere. We eat it for breakfast, breathe it on the dance floors and live it 24/7,
MP3 players firmly glued to our ears.
An eclectic listener‘s paradise, our Musik Laden‘s motto is simple: „Open ears, open mind“.
Satisfaction guaranteed.
Interpret: Bastille
Album: Bad Blood
Genre: Alternative, Indie rock
Label: Virgin / EMI Records
Origin: UK
Released: March 2013
Members: Dan Smith, Chris ‚Woody‘ Wood,
Will Farquarson, Kyle Simmons
There is in all honesty nothing I can say that will do Bad
Blood, Bastille’s debut album, proper justice. These Brits
have what it takes both sonically and lyrically to make it big,
very big. Truth be told, Bad Blood is a thing of beauty.
Bastille will be touring Europe in the spring and so I would
advise you to get tickets to one of their gigs as soon as you
can since they’re already selling out shows and headlining
festivals. You wouldn’t want to be the one who missed these
up-and-comers, now would you?
Beautiful arrangements and spellbinding melodies, coupled
with Dan Smith’s, the band’s founder
and lead singer, equally spellbinding vocals
make for an absolute gem of a record.
Not so bad for a “first”, if you ask me.
Bad Blood is nothing short of grandiose
and epic. The title track itself should be
enough to convince you that if there’s one
album that you shouldn’t miss in 2013,
it’s most definitely this one. That way in
a couple of years you’ll be able to say not
without a certain sense of pride, that you
knew them before they were famous.
So first, get your hands on their amazing
first album, then buy a ticket to see them
live. Chop-chop! Get on it!
Must-hear tracks: Pompeii, Things We
Lost In The Fire, Bad Blood, Laura Palmer

Interpret: Theodore Paul & Gabriel
Album: Please Her Please Him
Genre: Folk rock
Label: Belleville Music
Origin: France
Released: October 2012
Members: Théodora De Lilez, Pauline Thomson,
Clémence Gabriel
I will admit that the only reason I gave Theodore Paul &
Gabriel a listen is the cover of their album. Androgynous
looking girls wearing ties and a tux sounded like my kind
of thing.
As it turns out, there’s more than meets the eye with this
trio.
With Please Her Please Him the band is paying homage
to The Beatles debut album Please Please Me. And just as
the Brits took over the world in the 1960’s, it seems that a
French Invasion is in the works.
As a matter of fact a new breed of talented artists, who
are part of the French Touch, appears to be more than willing
to revive folk rock. The genre quite literally exploded
in the sixties and seventies before reaching a climax during
the Vietnam War, and then taking sort of a backseat in the
music world.
The magic of Theodore, Paul and Gabriel is that you
don’t even have to be into folk rock to fall in love with the
band.
The voice of lead singer Clémence Gabriel, powerful,
brazen and gritty, is one of a kind. It’s different enough
from everything we hear right now that it will make you
want to lend an attentive ear.
Every time I listen to „Chasing The Sea“, I see Simon &
Garfunkel. The record’s true beauty lies in the fact that it’s
a time machine, pure and simple. With Please Her Please
Him there’s a very distinct air of 1960 nostalgia and melancholia,
when music still felt rooted somewhere, meaningful.
When music had a purpose, when it was telling a story.
And that’s why this record is a definite must-have.
Must-hear tracks: Bad Mood, The Silent Veil, Chasing
The Seat
81
Mainstream is to music what Instagram is to photography.
It‘s become such a terrifying word. Especially when
Tegan & Sara, a band that has been touring (successfully
so) the indie circuit forever, or so it seems, decides to take
that dreaded leap. It’s an even harder pill to swallow when
they admit that this risky move will most likely cost them a
portion of their most loyal (and oldest) fans... and that it‘s
basically OK.
The first problem I had with Heartthrob was its title.
And if Tegan’s new haircut was any indication, the thirty
something twin duo had gone all out and caught Bieber
Fever, earning a well-deserved spot on the Lesbians That
Look Like Justin Bieber tumblelog.
In the end Heartthrob, their 7th record, isn’t their
best but it isn’t as bad as some detractors had predicted.
And when you lend a closer ear, you’ll realize that things
haven’t changed that much. Sara’s tracks are still a bit
more edgy, deep and angsty than her sister’s catchier tunes
-a sister who by the way sounds more and more like a prepubescent
teenage boy.
Besides, change isn’t always all that bad. And in Tegan
& Sara’s case, as long as they keep reinventing themselves
on stage and offering their audience stripped down acoustic
versions of old hits, chances are the world isn’t coming to
an end anytime soon. Their sound might have taken a turn
for the best or the worst, depending on where you stand,
but if you manage to look past the surface, the old Tegan &
Sara are still there somewhere.
So maybe you won’t like Heartthrob and maybe you’ll
think that the sisters have really gone off the deep end this
time. We‘ll always have The Con then... won’t we?
Must-hear tracks: How Come You Don’t Want Me, Now
I’m All Messed Up, Shock To Your System
Interpret: Tegan & Sara
Album: Heartthrob
Genre: Indie rock, Synthpop
Label: Warner Bros. Records
Origin: Canada
Released: February 2013
Members: Tegan Quin, Sara Quin

Interpret: Merz
Album: No Compass Will Find Home
Genre: Alternative
Label: Accidental Records
Origin: UK
Released: February 2013
Member: Conrad Lambert
It‘s very hard to label Merz‘s sound, first of all because
when you listen to No Compass Will Find Home (his third
full length) you realize very early on that it doesn‘t fit any
pre-defined category. This record is its own thing.
Saying that it is a bit different from all the crap that
floods our ears on a daily basis is the understatement
of the year. And as such of course it probably won‘t be
everybody‘s cup of tea.
But don’t get me wrong, No Compass Will Find Home is
different in the best possible way. Come to think of it, this
record is so out of this world sonically, maybe Merz should
have his own genre. I wasn’t that surprised to learn that
one of the rooms where the album was recorded used to be
Einstein‘s laboratory... in the end, it all kinda feels like the
work of a mad (albeit incredibly talented) scientist.
Agreeing to listen to this record is agreeing to embark
on a wild and unpredictable journey. Forget everything you
know (or think you know) about music, No Compass Will
Find Home is bigger and better, and it will reach deeper
than anything you’ve ever heard before.
It’s true artists like Merz who completely redefine the
way we consume music, experimenting and constantly reinventing
the medium along the way, offering listeners this
incredibly emotional patchwork of instruments and sounds.
Authentic, pure and disarmingly bare at times, No Compass
Will Find Home forces you to reconsider your relationship
to music. It is an adventure that will put listeners on
the path to a musical (re)awakening: Merz‘s album might
be the most honest work I‘ve had the pleasure to sample in
a while. THIS is what real music is supposed to sound like.
Must-hear tracks: Arrows, Judge, Goodbye My Chimera,
No Compass Will Find Home
82
No need to be a rocket scientist to understand how
the masked Los Angelenos of rap-rock band Hollywood
Undead have managed to develop some kind of a cult
following over the years. It’s not just the masks, it’s this
hybrid sound that makes them an even more intriguing
and interesting band to listen to. As such they shouldn’t be
taken lightly as they might well be Linkin Park’s rightful
successors.
Hollywood Undead likes to mix and match genres and
influences and that’s a huge plus for any eclectic music
lover. Their unique sound perfectly mirrors our generation’s
relationship to music: it’s all about diversity. If like most
children of the 80’s your musical tastes were influenced
by a whole bunch of currents, from metal to rap, hip hop,
dance or pop, then this band is right up your alley. And if
like me you simply like to live dangerously, mixing things
up a little when it comes to music (able to go from Metallica
to Britney Spears in the blink of an eye), you won’t be
disappointed either.
Notes From The Underground, the band’s third LP,
manages to deftly switch from one genre to another in an
almost seamless manner. Don’t let power ballads like Rain,
From The Ground and Believe fool you: Notes From The
Underground is nothing but poppy, sensitive lyrics in an
ocean of metal-fueled choruses.
Last but not least, Another Way Out is almost too good to
be true. It stands out hands down as THE most danceable
track. Electric guitars, dance beats, hip hop vocals... an
explosive combination, just like the rest of this record, not
to be missed.
Must-hear tracks: Another Way Out, We Are, Rain,
Believe
Interpret: Hollywood Undead
Album: Notes From The Underground
Genre: Rap-rock, Rap-metal
Label:Universal Music Group
Origin: USA
Released: January 2013
Members: harlie Scene, Da Kurlzz, Danny,
Funny Man, J-Dog, Johnny 3 Tears

In France, a new wave of musicians is finally coming to
terms with the fact that yes, singing in English will most
definitely open doors in the music industry. Better late than
never. Lilly Wood & The Prick is no stranger to that trend.
They’re one of these up and coming French artists who
along with Christine & The Queens, Pamela Hute or Theodore
Paul & Gabriel seem to “get it”.
Lilly Wood & The Prick have been around for some time
now with influences ranging from Johnny Cash to The Kills
or Patti Smith.
The Fight, their second album, is so good you’ll most
likely feel the need to sing along on every single track. The
choruses are catchy. To be perfectly honest there’s so many
good things about this record that I’m not even sure where
to start. The bass line in Le Mas, for one. Eargasm-inducing
as one would say today.
With Where I Want To Be, the first track and one of the
first singles off The Fight, you’ll find yourself longing for
California.
Also the way the album is arranged gives Hadida’s voice
plenty of room to entice listeners, especially as there’s no
overbearing instruments.
To quote No Mark (track 10): “You know how crazy it is
when you meet someone and you feel like you’ve known
them forever?” Well that’s kind of how I felt with The Fight.
Like I’ve known them forever. Familiar and comfortable.
It’s very apropos that these guys appear on the album
cover wearing boxing gloves. The music industry sort of
feels like a ring sometimes. Lilly Wood & The Prick have
been playing the indie scene for a couple of years, from
small venues to festivals, and this album feels like it is
“It”. They’re here. And they’re ready to fight their way to
stardom.
Interpret: Lilly Wood & The Prick
Album: The Fight
Genre: Electro pop folk
Label: Cinq 7
Origin: France
Released: November 2012
Members: Nili Hadida, Benjamin Cotto
83
Interpret: Marybell Katastrophy
Album: Amygdala
Genre: Alternative, Electro-pop, Avant-garde pop
Label: Snowhite
Origin: Denmark
Released: March 2013
Members: Marie Højlund, Emil Thomsen, Jakob
Schweppenhäuser, Q
Marybell Katastrophy, an alternative, avant-garde synthpop
act from Denmark has been around for a while, touring
most of Europe and being dubbed ‘best new band from
Denmark’ in the process.
Their first LP, The More, was released in December
2008 and was almost immediately lauded by the press.
So much so that it soon became ‘album of the year’ in
Denmark. And you know what they say, there’s no smoke
without fire. So of course I decided to get on the Marybell
Katastrophy’s bandwagon and give it a good listen. As it
turns out, it’s every bit as good as I expected it to be.
From Björk to The Knife, Steed Lord, Flunk or The
Legends if you’re a little bit familiar with bands and artists
from the North of Europe (Sweden, Norway, Denmark, Iceland...)
you must have asked yourself the following question
at least once: is there something in the water up there?
I mean, how is it even possible to give birth to so many
awesome bands, amirite?
Hard not to draw the comparison with Björk when you
hear Marie Højlund’s ethereal and crystalline voice. But if
the influences are obvious, the originality is undeniable.
Also don’t miss the video clip for the album’s single Somewhere
Behind My Lips: the dancing skeletons and neon
pink visuals are quite a sight.
All in all, Amygdala, Marybell Katastrophy’s second full
length, is a wonderful, eargasm-inducing musical experiment
that’s bound to please even the pickiest of listeners.
You’ve been warned!
Must-hear tracks: Heavy Industry, Wake Up, Dexter II

85
The Echo
Vamper
Photography: Bernhard Musil - www.be-musil.com
Stylist: Biki John - www.bikijohn.com
Styled looks in collaboration with The Echo Vamper
Hair & Make-up: Theo Schnürer @ Blossom Management
The Echo Vamper: Iza Mortag Freund & James Brook
James wears : All outfit-James‘s own. Blue shoulder pieces: wings Moga E Mago.
Iza wears: All outfit-Iza‘s own

Iza wears: Nude Playsuit - epanoui by Eva Poleschinski,
Black Pumps - RENO,
Black latex heel pieces & Black latex gloves - Très Bonjour,
Harness - Moga E Mago,
Tights - Iza‘s own
86
The Echo Vamper
are dynamic duo
James Brook (UK)
and Iza Mortag
Freund (Denmark)
who recently brought
their charismatic
music, artistic charms
and theatrical
creations down to
Berlin. The city will
never be the same
again…

James wears : All outfit - James‘s own.
Iza wears: All outfit - Iza‘s own.
Black harness: Moga E Mago.
87

James wears : All outfit- James‘s own.
Black shoulder pieces, wings - Moga E Mago.
Iza wears: Black hat and tights - Iza‘s own
Black lace body - Stylist‘s own
Latex hot pants & Black latex gloves - Très Bonjour.
89
Since exploding onto the scene a year ago the Berlin-based band’s
music has received a sizeable positive response. It has been described
as, ‘early electro rock’, ‘synths meets rockabilly’ and ‘DIY Rock n
Roll’ mixed with a ‘Cabaret Voltaire Feel’. Visually, the pair make
an arresting couple both on and off the stage, thanks to their love of
retro and vintage statement pieces.
Last year, the girl/boyfriend duo independently released and financed
their EP, ‘It’s The Echo Vamper’ which went to number 1
on iTunes in Scandinavia knocking Noel Gallagher off the top spot.
The band are particularly proud of this record as it was a
labour of love which they wrote, recorded, mixed, mastered,
and even went so far as designing the cover themselves. Both
Iza and James agree that this was, ‘a strong statement’
of who they are and what they stand for, ‘both artistically
and musically’.
This year, James and Iza are particularly excited about making
the music for Lars Eidinger’s, ‘Romeo and Juliet’, which
will be shown on the Main Stage of Schaubühne’s Theater, Berlin.
Apart from this project, the band is in the process of writing their
first album which will be released next year. For this they intend to
release a couple of singles as fore-runners. With regards to the singles,
they promise to have some, ‘very exciting videos and conceptual
works’ which they ‘can’t wait to release’.
When asked to share their thoughts on KALTBLuT’s current theme-
Ice. Land, Myths, Legends and Nature, this is what they had
to say-‘Myths and Legends play an important part in all societies,
as they are a way of communicating important social issues. They
also reflect the inner life of all human beings, the conflicts and the
feelings that we all share between us. Especially in rock, there is an
old theatrical & Mythical tradition that we find highly fascinating,
and is something we always strive to channel our music through.
In terms of Scandinavian Culture, the natural world has always
been used as a way of mirroring the complexities and conflicts of
human nature. The elements are represented strongly, as are the
nature of men and women through strong archetypical characters
and symbols that re-enforce the duality in all.
Because we have both been surrounded by Scandinavian culture for
so long, we now carry those myths and understandings with us’.
After receiving phenomenal reception from their live shows in Berlin
and a warm welcome from the community at large, the pair decided
to move to Berlin. Now based out of here, they both agree that,
‘life in the big city affords you a snapshot view of life; concentrated,
for good and for bad.’ They also observed that being, ‘surrounded
by a very different culture and atmosphere challenges and broadens’
them in a different way. Being relatively new residents to the city,
Iza and James both feel that they, ‘connect very strongly with the
seriousness, poetry and theatrical foundation of the ‘German Way’.
If the stir they‘ve caused in their home city of Copenhagen is
anything to go by then Berliners have a lot to be excited about with
the arrival of this memorable pair.
Text by Biki John
www.theechovamper.com

91
Opposite Page: James wears : Black latex mask - Très Bonjour.
Iza weras : All outfit-Iza‘s own
James wears : All outfit-James‘s own.
The
End.

92
MID
SUMMER
Long Embroidered Dress: Claudine Ivari
Pearls: Vintage
Photography: Vivienne Mok
Model: Anne Claire Ameslon
Styling: Sarah Cazeneuve
Make-Up: Guilaine Frichot
Hair: Sandra Yazoue

Halter White Lace Dress: Claudine Ivari
94

Silk Chiffon Dress: Etienne Jeanson
Flower Crown: Vintage
95

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Dress: Claudine Ivari
Necklace: PP from Longwy
Stay Ups: Vintage

Pleated Lace Dress: Etienne Jeanson
Bracelet & Ring: PP from Longwy
97

Long Embroidered Dress: Claudine Ivari
Pearls & Umbrella: Vintage
98

Dress: Joseph Font
Ring and Necklace (worn in hair): PP from Longwy
99

Pleated Top & Embroidered Tulle Skirt: Claudine Ivari
Vintage Ballet Shoes: Sansha
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102

103

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TOP5Facing
North: This should be the real name of this
Selected by Claudio Alvargonzález Tera
Just before becoming an international star after Lars von Trier‘s Breaking the
Waves and Gus Van Sant‘s Good Will Hunting, Stellan Skarsgard played an experienced
Swedish police detective in this Norwegian film investigating the murder
of a teenage girl in a small town above the Arctic Circle. But the investigation goes
as bad as it can get when he shoots his partner by mistake and tries to cover up
his bungle and continues the investigation by trying to connect his partner‘s death
with the teenage girl‘s killer.
Insomnia refers to Skarsgard‘s inability to sleep due to his guilt and the Arctic
midnight sun. The film became a hit and opened Hollywood gates to Stellan Skarsgard.
But Hollywood also saw the possibilities of the story and hired Christopher
Nolan in 2002 (who was Hollywood‘s most wanted those days after filming Memento)
to direct the American remake relocated to Alaska with Al Pacino (playing
the detective), Robin Williams and Hilary Swank. The result was a global
hit too, mainly because of Al Pacino‘s talent but we still prefer the original one
and Skarsgard‘s performance. We can see Stellan Skarsgard in some of the best
Lars von Trier movies and most of the blockbusters of the last decade including
Pirates of the Caribbean, Thor or The Avengers. At the moment he‘s shooting a
new version of William Shakespeare‘s Romeo and Juliet with Paul Giamatti and
Homeland‘s new star British Damian Lewis.
2.
EASY MONEY
(Daniel Espinosa, 2010)
Easy money (Snabba Cash in Swedish) is a thriller film directed by Daniel Espinosa.
Again, like many of the Scandinavian films, it is based on a novel of the same name by
Jens Lapidus. It‘s the story of Johan „JW“ Westlund, a poor man who leads a double
life in the upper class areas of Stockholm, but after meeting a wealthy girl, he falls into
the world of organized crime and begins to sell cocaine to afford his expensive lifestyle.
Easy Money was an instant hit in Sweden with more than 100,000 tickets sold during
the film‘s first weekend in theaters.The film has become a trilogy with the third part
right now in production. Joel Kinnaman stars in the lead role. Kinnaman was very
well known in Sweden until he became famous worldwide after staring in the American
TV series „The Killing“ that opened Hollywood gates. You could see him in the
American remake of The Girl With The Dragon Tattoo directed by David Fincher and
he just signed for the main role in a new remake of the iconic Robocop together with
Gary Oldman and Samuel L. Jackson in the cast. He keeps working on both sides of
the Atlantic so we will hear a lot from him in the future.
TOP 5. There‘s a boom in Scandinavian cinema, we all
know that. In the last years northern European cinema
has gone global the same way French new wave or Korean
horror did before. Hollywood‘s hunger leads to all
sorts of remakes and some of the most popular Scandinavian
actors have a solid career in the American
film industry these days. Max von Sydow, Lena Olin,
Mads Mikkelsen, Ulrich Thomsen, Joel Kinnaman
and especially Stellan Skarsgard and Noomi Rapace
are some of the faces you can see in American cinema
these days.But why is it we love Scandinavian movies?
It could come from the combination of beautiful scenery,
good acting, smart screenwriting and a stunningly
dark sense of humor. But it could also come from Stieg
Larsson and Jo Nesbo‘s dark novels. In fact thanks to
Larsson‘s literature we discovered a whole world full of crimes, death, moral corruption and stark landscapes.
All blended with a touch of a certain kind of realism and a sense of humor which makes it much more intriguing.
And you always thought they are not having fun up there!!
Here are our favorite 5 crime movies we have selected for you.
1.
INSOMNIA
(Erik Skjoldbaerg, 1997)

3.
107
HEADHUNTERS (Morten Tyldum, 2011)
The second Norwegian film of this Top 5 is an action
thriller about an accomplished headhunter who seems to
have a perfect life with his wife, but in reality he‘s living
far beyond his means so in order to keep that expensive lifestyle he
steals pieces of art. Until one day he risks everything to obtain a
valuable painting owned by a former mercenary and problems start
showing up. Headhunters is based on a novel by Norwegian crime fiction
sensation Jo Nesbo, whose Harry Hole books have sold incredibly
well in Norway and abroad. The film directed by Morten Tyldum is in
fact the first big screen adaptation of Nesbo‘s work.
We can‘t say the film is a masterpiece but the beginning is brilliant and
cinical and some parts are a bit tricky but at the end it‘s fast and
really easy to enjoy. One of the main highlights is the strong and
charismatic interpretations of the two main actors, Aksel Hennie and
Nikolaj Coster-Waldau (that Danish actor who plays the despicable
4.
Jamie Lannister in the acclaimed TV series Game of Thrones).
JAR CITY (Baltasar Kormákur, 2006)
Yes, we know that Iceland isn‘t in Scandinavia , but Jar
City (Mýrin in Icelandic) is definitely a Scandinavian
crime film or what some critics call Nordic Noir, and it
really deserves a place on this list. Once again a thriller
based on the best-seller novel Tainted Blood by Icelandic
writer Arnaldur Indridason about a never solved crime that
took place in a small town in 1974 and an exhausted detective
(Ingvar E. Sigurdsson) in the present day who begins to investigate
a link between that notorious unsolved crime and the homicide of a
local thug. But soon the investigation opens up a bleak trail of long
buried secrets and corruption for the detective and his squad.
The film was a big national hit, becoming the highest grossing domestic
title in Iceland to date (although Iceland‘s population is around
320,000). Internationally it wasn‘t a hit but garnered enough attention
in festivals and some other countries to get the remake rights by
one of the American majors. Kormákur is also working as a
producer in the English-language remake.
5.
THE GIRL WITH THE DRAGON TATTO
(Niels Arden Oplev, 2009)
Definitely not our favorite. But if we are writing about Nordic Noir
and its boom worldwide it‘s because of Stieg Larsson‘s novels. He has
had his trilogy of Millennium novels adapted into three feature films
- The Girl With the Dragon Tattoo, The Girl Who Played With Fire and The Girl
Who Kicked The Hornet‘s Nest. In all the three films starred now international star
Noomi Rapace (Prometheus) as Lisbeth Salander, a computer hacker with a troubled
past and Michael Nyqvist as journalist Mikael Blomkvist.
But why have we listed only the first one on this Top 5? Because it‘s the only one
of some interest. Firstly, of all, it‘s based on the best novel, the one with the best
plot. Secondly, because the producers thought of how much money they could get
and decided to film the other two as a TV mini series changing the director (Daniel
Alfredson directed the last two).
The result is like two kinds of cinema making, the first one is darker that the rest,
the other two filmed with too much footage, some for the last films showed in theaters
and the rest of the extra scenes for the mini series. But also the image quality
and photography is worse, as it‘s not the same to use a cinema camera than a TV
one.
Despite all that, the trilogy (the first one being the most successful one) earned
hundreds of millions worldwide and having its American remake in 2011 directed
by David Fincher which wasn‘t as good as everyone expected.

Morten AndersenInterview
108
by Oryanne Dufour

109
Meeting Morten Andersen and his stunning collection of visual art on a icy cold day was quite something.
In the studio his textured canvases jumped towards me, flashing colours like the Northern Lights. Contrasted with all
the soft white snow falling outside it seems like winter is the best time to experience his extraordinary work.

KALTBLUT: What made you decide to
leave your native Denmark and move to
Berlin? Didn’t you feel you’d already had
enough of snow for a while…?
MORTEN ANDERSEN: I wanted to
change my life. I was not fulfilled with what
I had and what I was doing... everything was
going quite well actually, I had a good job as
a social worker, nice place to live, nice friends
around, doing mad shows on the side, starting
to sell well in fact. So you would think, why
leave that?? Fact is I needed a change, more
challenge. I wasn‘t pushing myself to the next
level I somehow had in mind.
I also wanted to be with other like-minded
individuals. Not just running around in my
hometown with a few guys doing what at
that time was for a very small crowd and not
something that more established international
galleries would really pay any attention to. I
was in contact with a Berlin gallery that had
already offered me some good and exciting
shows so I decided to move down and give it a
try to live exclusively as an artist. I have been
here for almost 4 years now, on and off...
KALTBLUT: Working as a full-time artist
is not always easy though… where do you
look for your daily inspiration?
MORTEN ANDERSEN: I simply open my
eyes: the people living here, the underground,
the different scenes, art, music, design etc.,
there’s just so much going on, such diversity.
Something totally random can inspire me in
the painting process…like, you see a crazy
odd man in the streets of Berlin, dressed like
whaaat.. no way! and you might laugh a bit
to yourself… then when you’re back in the
studio, you use the brush like what you felt for
that moment, out of norm, because you just
witnessed something - according to me - quite
extreme!
You allow yourself to override boundaries
because what you have around you is more
vivid and extreme. My paintings have got so
much closer to where I really want them to be
the last years. Considering how I would imagine
them sitting back home in Aalborg - my
hometown in Denmark - and not having been
able to actually realise that kind of progression,
this move was definitely important!
KALTBLUT: Can you remember any
moments of intense revelation that opened
your eyes as a budding artist?
MORTEN ANDERSEN: There is one
moment, before I got into painting graffiti
in 1994. I used to go as a teenager to this
infamous abandoned school hall, it was an
amphitheater in a small valley in the middle of
the woods. I went there one day to check for
new pieces, it was winter time and mega cold.
There was these three walls and there in
the middle, the longest of them, was totally
painted by Swet: a crazy colorful burner piece.
With the snow all over, there was this totally
white backdrop. I stood there amazed... for
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like an hour I think! I was so stoked about
this piece, a whole new world opened to me
that one winter day. It must’ve been 92-93 I
think…I still have the photo at home, me 15
years old posing in front of this Sweet burner!
[laughs]
It was definitely an eye opener artistically.
There was a line drawn straight in front of me.
And I thought „Okay dude, get into this graffiti
thing and see what you can do with it.“ Graffiti
had my attention for 10 years before going
over to canvas work, new techniques and new
medias.
KALTBLUT: Do you feel it’s important
to have a balance between painting in the
street and your gallery work?
MORTEN ANDERSEN: People ask me
quite often to paint some huge walls and do
collabs with other street artists but I can‘t
paint huge walls... I‘m super afraid of heights!
Maybe it’s a challenge for me to overcome
in the near future! [laughs] In general I don’t
paint too many walls as I have not yet seen it
possible to totally convey my canvas techniques
onto a wall surface.. so the final wall
piece would lack what I would really want it to
be like! I can use many great tools, techniques
and different styles when working on canvas.
Having these kinds of effects coming out
looking the same way on a wall is very difficult
so I‘m searching for new methods to convey
my canvas style to standing surfaces. I’m not
proud of that many walls I’ve done, a few in
2012 I’m happy with, like the facade of my
main gallery in Denmark, Galerie Wolfsen. I
have one wall running in downtown Glasgow
that I like. That was painted in 2011 during the
„Rudimentary Perfection“ show which was
focusing on post-graffiti and modern abstract
melting together. Great show! But I’ve been
an old graffiti writer for 10 years, so surely
messing around on a wall from time to time is
super fun.
KALTBLUT: So do you have everything
already planned out in your mind before
you start on a new painting?
MORTEN ANDERSEN: I freestyle everything
when I paint, so no, nothing is planed
and I have no sketches. It‘s straight out of my
head! I build up a small repertoire of designs
and techniques for a new series. I like to play
with the materials, see how they act, how they
appear under different lights. The process is
very exciting to me and I can always come up
with something new to spice it all up.
KALTBLUT: How did you come up with
this transparent and geometrical styling
that runs through your work?
MORTEN ANDERSEN: I like how all different
tools act out and look on the canvas: spray,
acrylics, markers, inks etc... All these different
media have their own unique utility and
outlook, and I get different forms and surfaces
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working with them. So at some point it‘s kind
of hard to paint some of it over again because
they all look cool in some way! I guess that‘s
why I came up with this transparency style, to
see all the different layers at one time. In the
beginning, years ago, I was not really aware
of it, but now it’s something I try to pursue
and have as my fingerprint in my paintings.
Transparency, shadows and dimension are my
keywords.
All the geometrical work is a direct extension
of my background in graffiti which was
based on outlines. I like sharp and correct
lines. It gives energy to an empty area. Contrasts
are very important in my paintings too. A
very drippy wet area may be held together by
straight lines to give a good contrast. I play a
lot with dimension to have the canvas appearing
more like a room where I put in elements,
rather than a flat piece of linen.
KALTBLUT: Your studio is full of artwork.
Are you working on all of them at
the same time?
MORTEN ANDERSEN: I need to keep an
eye on all canvasses at once, to be able to push
an idea to the extreme, to utilize it the best, to
twist all out of the idea and to use it in different
ways in different compositions. When a new
idea doesn‘t fit with the current series then I
keep it for the next one. I often see something
new or some changes when I have this long
distance view on my paintings. You need to get
real close and very far away to see the complete
effect of the abstraction and to correct it well
you need distance. iPhone is good for that! I
make small notes where to adjust and so on…
watching and analyzing is a huge part of my
work.
KALTBLUT: If we give you 20 million
Euros but in return you have to stop painting,
would you do it!?
MORTEN ANDERSEN: Hell no! 20 is not
enough... I work step by step, always with a
goal in my mind to reach. So stopping right
now would be so frustrating. I would have the
feeling that I never achieved my dreams and
my goals. If you’re a creative person, you’ll
always be messing around with different
materials that can be manipulated or styled into
something new, something artistic, because
you can’t help it. I guess Pele still kicks a ball
around when he sees one, that’s still fun for
him to see if he can nail a trick or two… It’s in
you, it’s not something you learn at the academy
or try to get into, you either have it or you
don’t. You can process skills and techniques,
but all these great things are nothing if you’re
not able to do something unique and original
with them. You need an artistic mind for that,
see the unseen and go for your feelings. So I’ll
always be doing something creative, I have a
quite strong feeling about that. Maybe not to
the same extend as now when I’m young and
have much energy and power. I could see my
abstract work going in a more physical form
like sculptures.

Opening Page: Volatile, 130x200 cm, February 2013
Double page: Morten in his studio
This page: Stand still and ricochet off the wall, 160x190 cm, July 2012
Right page Top: The Ultra, 200x200 cm, September 2012
Right page Bottom: Poly Cubo, 140x170 cm, Januar 2013
All photos of paintings are by Morten Andersen
All photos of the studio are by Alison Tara
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Exhibition: „Extent Immeasurable“
Artist: Morten Andersen
Location: Liebkranz Galerie
Augustrasse 62
10117 Berlin - Mitte
Open: March 1st 2013
Running: 6 weeks
www.liebkranz.de
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KALTBLUT: I’ve followed your work for 6 years
now, and I love your unique and abstract style..
but how about if you had to paint a realistic face
or portrait of someone, could you?
MORTEN ANDERSEN: Not at all! I can’t really
draw and I don’t practice it anymore like back in the
days when I was writing and needed a sketch with
letters to start. Abstract is an art form that is built on
something different. Surely you need to be in control of
the brush, marker etc... but abstract is nothing actually.
It’s forms, shapes, elements working together like a
giant puzzle. People are often astonished by their own
lack of knowledge to „tell what it is“, but when I tell
them: „you’re absolutely right - it’s hard to understand
because it is nothing! It’s like instrumental music,
you’re not supposed to understand, there’s no lyrics, it’s
about feelings!“ Then they’re feeling relaxed again.
KALTBLUT: What do you feel makes a good
piece of abstract work? What makes abstraction
special for you?
MORTEN ANDERSEN: It‘s when you can’t tell, but
it hits you in the stomach and you get that feeling like,
yeah it’s right on spot, have no idea why, but it’s there,
I feel it! That’s what my work is about, I’m not telling
you anything specific, anything political, pointing
fingers or something. I’m trying to convey to you an
experience through senses, something different, out of
the ordinary. I once named a solo show „I see colors
like you hear jet planes” - maybe this gives you an idea
about how to try to attack abstraction for a better understanding.
Don‘t try to understand it with a specific goal
in mind or a special optic, because then you‘ll loose.
Feel free... open your mind and let loose.
KALTBLUT: So, the most important question saved
till last, where can we actually see your work
on show?
MORTEN ANDERSEN: „Pieces of the Sky“. February.
Galerie Wolfsen. Aalborg, Denmark 2013
Soloshow. March 1st. Galerie Liebkranz. Berlin, Germany
2013
Museum groupshow. March 24th. Saarbrücken, Germany
2013 35 urban artists groupshow.
Amongst them: (Futura, Rammellzee, Quik, Retna,
Dare, Reso, Invader, Doze Green, Shepard Fairey ...)
Best of BSA (Berlin Selected Artists). Galerie Wolfsen.
June. Aalborg, Denmark 2013
Soloshow. November. Galerie Wolfsen. Aalborg, Denmark
2013
KALTBLUT: Great Morten. Thanks so much for
sharing that insight with us at Kaltblut! Any last
words??
MORTEN ANDERSEN: Thanks to you, Oryanne,
for inviting me to do this interview, always a pleasure
to work with you. High-fives and much respect to my
Danish curator Rasmus Ejaas Fischer from Galerie
Wolfsen and Kent Wolfsen who runs the gallery, these
guys I owe a lot for believing in me and taking my art
to new heights! My Berlin curator Uwe Goldenstein for
pushing me down here. Any one who follows my art
and have been watching over the years, keep following,
I’m only just getting started.
www.m-andersen.com

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Dandy of the Grotesque
Photography: Ole Westermann - www.olewestermann.de
Fashion Styling: Timo Bloom - Nude Agency
Model: Sasha Marini - Joy Model Management
Hair/MakeUp: Timo Bloom - Nude Agency
Location: Berlin - Studio Stockholm
all Garments are made in Berlin by - Dandy of the Grotesque
www.dandyofthegrotesque.com
Slim Jacket: Dandy of the Grotesque
Ring: models own

Bowler Hat: Dandy of the Grotesque
Shirt: Zara
Slim Jacket and Trousers: Dandy of the Grotesque
Belt: Zara
Ring: models own
Shoes: H&M
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Vest, Bolero Jacket and slim Trousers: Dandy of the Grotesque
Shirt: Zara
Shoes: H&M

Wool Kimono: Dandy of the Grotesque
Hoody: Dandy of the Grotesque
Nosering: Naked Steel
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issue 10
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paint sound film flesh us
meet the artists we love
roomsmagazine.com

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Fjarlægð
Photography by Sebastian Donath | www.neoncolour.com
Assistant Pascal Flor
Colour Photos
Styling: Janetta Benner | www.janettabenner.com
Hair & Make up: Maria Ehrlich | www.maria-ehrlich.tumblr.com
Model: Sophie Labowsky @ IZAIO models
B/W Photos
Styling: Lina Saleem & Isolde Richly | www.linasaleem.com & www.isolderichly.com
Hair & Make up: Selina Reimann | www.selinareimann.com
Model: Steffen Dietz @ IZAIO models

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Hairpiece by Zofie Angelic

Necklace by Heubel Collection Provence
Fur Coat by Butterfly Soulfire
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Coat by JULIAANDBEN, Glasses and Bag by Lina Saleem

Coat by JULIAANDBEN, Glasses and Bag by Lina Saleem
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Coat by JULIAANDBEN, Glasses and Bag by Lina Saleem

Edgar
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Avila
A quiet street in Paris 10th arrondissement,
a typical Parisian building, climbing a wooden
staircase, a door opening onto a vast kitchen and
here I am in Mr. Edgar Avila’s apartment, also
doubling as his atelier at the moment. A nice cup
of tea is awaiting me as we discuss his artistic path,
sharing insight into his works and constant search
of the perfect scenery for his inspiration.
Edgar is a Parisian Argentinian who was
adopted by the city of lights 20 years ago.
He studied architecture in Argentina and
followed a path into fashion in Paris, studying at
the Studio Bercot and working as a set and costume
designer. His dreams came true as he went from
studio intern at Lacroix, Chloé, Véronique Leroy to
fashion editor for more than 10 years, but in 2009
he made the strong decision to dedicate himself to
his art. As a polymorphous artist he is constantly
exploring every medium and creating new ones,
remaining open-minded and working closely with
his environment, passions and his Iphone (yes!) His
art is simultaneously nostalgic and unique, and he
perfects his creations and discovers new techniques
using everyday objects.
A Barbie doll, the sign of our childhood, becomes
his heroine, a plastic mask now appears to him as a
faun, he never stops morphing objects into his own
wonders, and our own.
These days he is working with light. Light as a medium,
an object, an assistant or a colour. Through
one of the most familiar office tools: a simple scanner,
he is playing with artefacts, wrapping papers,
metallic foils and the edges of the unknown, he
creates dreamy countrysides, a vague souvenir of a
past, or scary volcanoes ready to burst...
Interview by Ya-Shi Emilie
Photography by Nicolas Le Moal
whyaintyoucreative.tumblr.com

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KALTBLUT: Hi Edgar, let’s talk about
you, who are you?
EDgAR AVILA: I am an Argentinian
who studied architecture.
KALTBLUT : Why architecture?
EDgAR AVILA: It was the closest to
what I wanted to do which was theatrical
sets and costumes a cross between fashion
and theatre. I did that for a while in Argentina
and then I discovered the Studio
Bercot in Paris. I came to Paris 20 years ago
to study at Berçot for a two year course.
I then interned everywhere you had to
intern: Christian Lacroix, Chloé, Véronique
Leroy… But like a lot of foreigners I did
not have the requested papers to work, so
I wasn’t able to get a steady job. It was a
tough time. Luckily, I started to assist a
fashion director from a magazine and ended
up being a fashion editor for 10 years.
KALTBLUT: Fashion editor for ten
years.. but then why did you stop?
EDgAR AVILA: So for 10 years till 2009,
I work in fashion as a stylist, an editor.
Since then it is a world that I am no longer
interested in. There is a lot of pressure from
the advertisers and the current (fashion)
environment. As a fashion editor in a magazine,
you are unable to produce interesting
work. I quit in 2009 in order to pursue my
dreams. Since then, I have dedicated myself
to my works.
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KALTBLUT: That’s a brave decision.
So how is it going so far?
EDgAR AVILA: It is picking up. I did an
exhibition in Los Angeles and Milan, and
Vienna might be around the corner; I need
to visit the place first. I am also now part of
a company catalog, which installs wallpapers
and carpets in hotels and specific places
around the world. They either do printed
carpets or propose hand knotted carpets.
KALTBLUT : Your work has been
featured as part of a catalog which is
more product focused, is it okay with
you that your work is more accessible to
the public?
EDgAR AVILA: I think it is very good as
the company is very focused. They bought
the flower series and landscapes, it is meant
to be a big installation project. When I imagined
these projects I really thought about
the medium and knew that it should be in
big proportion. You create a picture on a
software medium, how do you want it to be
exhibited? You can project it on a wall, paint
it or print it out from its software version.
I don’t see it like a betrayal to my original
work. You can do whatever you want with it.
I like it this way.
KALTBLUT: Indeed, but a lot of artists
would feel that like was a betrayal of
some kind…
EDgAR AVILA: Maybe the work is
becoming more material and tangible. But
it is a way of reaching everyone. After all it
will be part of your everyday life. As part of
everyday, I am currently making pictures
with my Iphone and transforming them
into a polaroids thanks to a mini software.
I snapshot things, it is very interesting, it
can be printed in big format or very small
ones like a polaroids... (he shows me some
works on his Iphone). For the carpets I did
a porno series, but as I have captured just
fragments of it so it doesn’t look like porno,
you cannot see or guess what it is.
KALTBLUT: So how did you start to
use digital processes?
EDgAR AVILA: I started in 1997, I prepared
a series of works for a designer that
I loved and wish to work for. The original
work was photocopies on paper and tracing
paper, with addition of nailpolish for color
hints. That is how I discover that working
on photocopies was really interesting. I also
started to touch different media then such
as ceramic. I worked in little neighborhood
ateliers but then moved on as it was mainly
full of women wanting to do little cute pots
or gifts. I wanted to explore the ceramic
medium with protean shapes. And then I
started to work with fabric, to create these
forms….(sculptures of fabric are picked up
from his shelves of collections). I have also
touched on embroidery. Looking for a way
to do it not so neatly.
KALTBLUT: You currently work with
a scanner, isn’t it a bit ‘flat’ as a medium?
Don’t you still need to touch and
feel the materials?
EDgAR AVILA: Nowadays I am really
into sculpture. I am nurturing myself with
exhibitions, statues in garden, looking
around... with the scanner I am working on
creating volumes with the light. It is capturing
a moment in one shot. I like that it is
ephemeral. I hate to be too neat. I am very
meticulous when it comes to tiny details, I
see everything even the smallest details but
when I produce it and do it, it is immediate.
It is hard to fix it. Like in my landscapes, I
do it like I feel it. It is my own perception,
If I mean horizontal it is horizontal. It is
organic, it moves sometimes it doesn’t stay
as I want.

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KALTBLUT: Do you like the idea of it
being ‘alive’?
EDgAR AVILA: Yes that’s exactly what I
like about these researches. When you work
with a scanner you have to work upside
down, backwards, picturing the result. In
Morocco there is a technique called ‘Zellige’
for the mosaic art. The designs are done upside
down; so they don’t really picture what
they do, they see the final result when they
return it. My work is twice unexpected. You
don’t know how the light is going to come
out nor how the objects will be reacting. I
happened to try and buy expensive material,
in the end no result. Now I only work with
the things that I find left alones, such as the
hair pieces that I bought in flea markets. I
understand why photographers are obsessed
with the casting, the perfect fit and person.
Sometimes some models are not convincing.
Now I am also casting objects and dolls.
KALTBLUT: Let’s talk about “VUL-
CANOES” the work that is featured in
this issue, how did you realise it?
EDgAR AVILA: I did a first work on
landscape a few years ago and then moved to
other things. When my tastes and techniques
had evolved, I wanted to do a new
series of landscapes with a volcano base. I
became obsessed with it following a trip to
Sicilia. I also come from a place where there
are a lot of volcanoes.
KALTBLUT: Are you missing Argentina?
(He is showing us some volcano
landscapes)
EDgAR AVILA: This is where I come
from. This is called the Six Thousands, it is
a small space full of volcanoes, they are all
extinguished. I am not missing Argentina, I
have been living in Paris for 20 years, I have
it in me.
KALTBLUT: What are your future
projects?
EDgAR AVILA: I am looking for an
atelier. I need to have my own separate space
to work. I can no longer work in my home.
I am working on the Vienna project and
developing the wallpaper project. And…at
one point I even thought of cooking, Most
of my friends are telling me that I should
be a home chef, but it is already another
universe. I have tried to put it aside but it is
part of me. I make snapshots of my cuisine
and food setting with my Iphone. I do my
own market. You have to snap shot it quickly
before your guests eat it or it gets cold. Although
I am not sure of the Iphone reliability
as a serious medium. When I was a fashion
editor I was using it a lot to snap pictures in
the showroom of interesting things. But it
is part of the new communication tools, you
cannot be closed to new tools, well at least
my new tool.
edgaravila545@gmail.com

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Into
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MENTAL
CARDS
TIM FITE
Time Fite is an independent, ultra creative musician and
visual artist from New York. He opened for Bonaparte during
the last tour in Europe before going back to his various
projects. He is currently rapping with GRANT$, an unconventional
duet we should definitely keep an eye on!
To see some of his videos, prints and hear some free
spirited music jump onto his website
here : www.timfite.com
Tim, close your eyes and picture a deserted
landscape:
It is very crowded in the front of the frame
and open in the back. The land is red and
the sky is a purplish-grey, the trees have
ants running on the bark and there is a
fence that breaks the crowded part of the
land from the empty part.
There is a cube do you see it?
The cube in the landscape is green and it
is glowing, filled with children.
Do you see the horse near the cube?
The horse near the cube is a little bit
angry, I think he stepped on a nail.
What about that door there, a little bit
further?
I can see it but it won‘t open, it is locked.
Perhaps I can knock on it and someone
else could open it for me.
You don‘ t have the key?
No!
Text and illustrations by Marianne Jacquet, www.wrangelkiez.org
from Tim Fite and Lasse Matthiessen.

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Ice-covered land, wild open field, fierce freezing wind, and extravagant, almost extinct
animals.. I invite you to join my experiMENTAL trip into the imagination of two Nordic
artists Tim Fite and Lasse Matthiessen! Both have opened their minds to embark on this
creative journey driven by the sound of a narrators voice. Please read carefully and then
close your eyes to picture this unique postcard of the mind, a place called imagination.
LASSE MATTHIESSEN
Lasse Matthiessen is a singer song writer from Copenhagen. He recently released a new album with the Icelandic
artist Halla Nördfjörd and Ian Fisher (US).The trio will be performing in Berlin at the Nordic
Embassy on the 16th of May.
www.lassematthiessen.com
When you close your eyes what do you see?
I see a red wooden cabin on the other side of the frozen lake. We are in the „Fjell“
(mountains). The sky is clear and the sun is turning red and yellow and distant over
the mountain tops.
If this place is a sound, what is it like?
It‘s the Norwegian Hardanger Fehle - Hardanger violin with the four drone strings
ringing underneath the normal violin strings...and with the
volume going
slowly
up the
Fender
Telecaster
with
a touch of
overdrive,
reverb and
delay. The
sound scape is
of the wide open
space and the
reverb from the
mountains.
An animal
is coming
towards you
do you see
it?
No…but
I hear a
moose in the
distance…and
I think of how I love moose with potatoes and…oh..ok so I
hear the moose coming closer. It has this strange call and when
you hear it you‘re not sure whether to laugh or cry that huge ani-
mal has been given this strange sound. It sounds a bit like a horny cow‘s
„muuh“.
The sound is leading you to a house, can you describe it?
Yes, to the red cabin. It‘s small but because of the
colour it stands out in the snowy white landscape. I
cross the deep frozen lake and hope it really is
frozen.
Do you enter the house?
It doesn‘t take long to cross the lake and as I stand
there in front of the massive oak tree door I turn the door
handle and go in.
Right in front of you there are some instruments… which one
do you pick or which song are you singing?
I think it‘s my left hand Martin acoustic guitar in the corner. I
pick it up and play a song that I recorded in a red wooden house
in Norway February 2012 called „Oh, Ulysses“.

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Saga Úr Sjó Concept/
WHITE OVERALL: TANJA HULD LEVY GUDMUNDSDÓTTIR
GOLD OVERALL: BJÖRG SKARPHÉDINSDÓTTIR
Production/Art Direction:
Nicolas Simoneau & Rut Sigurðardóttir
Photographer:
Rut Sigurðardóttir
www.rutsigurdardottir.com
Stylist:
Erna Hreinsdóttir
www.ernahreinsdottir.com
Make up:
Jamal Musa @ Nude Agency
Hair:
Persona Non Grata, Berlin Headquarters
www.facebook.com/slutnongrata
Hair assistant:
Katie Jacques Foolsgold
Models:
anh & Lex @ Seeds Management
Special Thanks:
Swarovski

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DRESS, DENIm JACKET, JEANS: EYGLO

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VEST: Hildur Yeoman, SHORTS: ZISKA

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DRESS: HILDUR YEOMAN

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SWEATERS, KNIT PIECE: EVA BRá BARKARDÓTTIR

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HOOD: ZISKA, BRA: HILDUR YEOMAN

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SWEATER, TROuSERS: EVA BRá BARKARDÓTTIR, SHOuLDER PIECE: HILDUR YEOMAN

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SWEATER: HILDUR YEOMAN, TOP, SHORTS: EVA BRá BARKARDÓTTIR, BRA, TROuSERS, RING: HILDUR YEOMAN

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NECKLACE: SwAROVSKI, SWImSuIT: EYGLO, KNIT PIECE: HILDUR YEOMAN

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JÖR
by
Guðmundur
Jörundsson
Interview by Marcel Schlutt
Photography: Íris Björk
Styling: Sunna Þorsteinsdóttir
Makeup and hair: Harpa Finns
Models: Emil Þór Guðmundsson
& Ómar Þór Ómarsson
Iceland, this little but extraordinary country in the North of Europe, with a population of just 320.000 human
beings is one of the most creative places in the world. The fashion scene is very small but some of the most
exciting young fashion labels are coming from this island. One of our favorite labels from Iceland is contemporary
menswear label JÖR by Guðmundur Jörundsson, founded by menswear designer Guðmundur
Jörundsson in 2012. The designer knows how to bring back men glamour and true gent’s style. The Spring/
Summer Collection is entitled Jewlia and I am in love with every single piece of it. Photographer Iris Björk
produced this editorial starring Emil Þór Guðmundsson and Ómar Þór Ómarsson just for our issue. And I
had the pleasure of talking to Guðmundur Jörundsson about his new label and the fashion scene in Iceland.

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KALTBLUT: Congratulations for the successful launch of
your very first collection and the label JÖR by Gudmundur
Jörundsson. I love every single piece of your collection. Tell
us what is your vision with your design?
GUDMUNDUR: Thank you Marcel, that‘s great to hear. I guess my vision
for design runs on different obsessions, which makes every collection and
the label in general a sort of concept label and concept collections. I like
creating a different world for each collection.
KALTBLUT: What I like most looking at your designs is the
mix of classic menswear with this special touch of futuristic
style. Where do you get your inspiration from?
GUDMUNDUR: Inspiration comes from all directions I guess, most
frequently from conversations, movies, photography and even dreams.
KALTBLUT: Ice-Land, Myths, Legends and Nature is the
theme of this issue. How much has Iceland influenced your
work?
GUDMUNDUR: Probably more then I suspect myself. I spend a lot of time
in nature, but it would be a cliché to say I‘m inspired by Icelandic nature.
Maybe I am a cliché after all. Nevertheless, living in an almost non-existent
Icelandic fashion scene is fun. It‘s our time.
KALTBLUT: What kind of material do you work with? And do
you work with fabrics from your home country?
GUDMUNDUR: I am a lot into natural fabrics, and slowly adding more
and more of organic fabrics. I have been best described as a „linen pervert“.
Guilty as charged on that subject. From Icelandic fabrics, I have only
used leather -- There are not so many options when it comes to Icelandic
fabrics, of course you have the Icelandic wool for knitting. It‘s rough and
itchy, good for herding but nothing more. What I have used in the leather
area? Icelandic lamb, reindeer and cod for example.
KALTBLUT: Looking at your first fashion show for JÖR I have
to say: I love the type of guys you have booked for the show.
What does the perfect man look like for your garment?
GUDMUNDUR: The guys play an important role in the making of a
collection and a lot of time goes into researching models. As to the perfect
guy for my garments I have to say that it ranges also, depending on each
collection. For example this collection is more ‚sud de france‘ than before,
more delicate.
KALTBLUT: Can you explain: Why menswear and not fashion
for women? What is the reason?
GUDMUNDUR: Well, to tell you the truth I have just as much interest
nowadays in womenswear. And we will be adding womenswear to the JÖR
collection soon. But at first I was more interested in menswear. There are
so many rules in menswear to break, you don‘t have that in womenswear.
KALTBLUT: You graduated from Iceland Academy of Arts last
year. And we can see that you are very talented in what you
do. Have you always wanted to be a fashion designer?
GUDMUNDUR: No, I guess not. I’m not sure I was aware of the existence
of fashion design until later in my life. I figured it out around 17 or 18. Then
a little later I started working for Kormákur & Skjöldur at their shop. A
little later I was studying fashion design; I had just dropped out of school
and was kind of lost. When I started working at the Kormákur & Skjöldur
store I withheld my focus on fashion or menswear. At first the K&S store
was focusing on second hand formal menswear. I stayed back in the
stock where all the Savile Row tailored suits were. They were from the old
Bertie Wooster store in London. I remember I used to smell the Savile Row
garments. Kind of sick when you think about it.
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KALTBLUT: What was the first piece you ever designed? And
what was it for?
GUDMUNDUR: It was some ridiculous jacket with a Dracula collar and
orange buttons. I made it for my application to the Icelandic Academy of
the Arts. Unnsteinn, who is now the lead singer of Icelandic band Retro
Stefson modeled for me. Good times.
KALTBLUT: How did you grow up in Iceland? Did you get the
support from your family and friends?
GUDMUNDUR: My childhood is pretty basic. Sports, fishing, skiing. I
grew up in Reykjavik. I was a pretty hyperactive child, although my mother
says I was just an „active“ child with an „active imagination“.
KALTBLUT: The fashion scene in Reykjavik is growing a lot
these days. The international fashion world is looking at your
country. Why is Iceland the place to be for you?
GUDMUNDUR: Iceland is the best and Iceland is the worst. I like the
contrast and I need the over exaggerated contrast.
KALTBLUT: Are there any menswear designers you look up
to? And if so, why?
GUDMUNDUR: Alexander McQueen - He was a damn good designer and
did a lot for modern menswear.
KALTBLUT: Can you name 3 must have items for a modern
man?
GUDMUNDUR: Linen jacket, linen shirt, linen trousers.
KALTBLUT: There is so much good work from music to art to
fashion coming from Iceland. It is always a big inspiration.
Can you explain why your folk is one of the most creative
ones in the world? What is the secret of Icelandic artists?
GUDMUNDUR: There is a nice concoction between creative fields in
Iceland. The music scene in Iceland is the best example of how to do good
- Everybody helps each other out. The competition is built on good terms
and that‘s how it should be with every scene. Nearly all of my friends are
musicians, it‘s kind of funny.
KALTBLUT: Which are your favourite artists from Iceland?
And why?
GUDMUNDUR: This might be the most difficult question I have been
asked… My all-time favourite is Prins Póló. The new Retro Stefson record
is also brilliant -- And at this exact moment I am listening to the new
Hjaltalín album and it is really, really good. Ragnar Kjartansson, Apfelsin
Bros - Sindri Sin Fang & Örvar Múm. FM-Belfast. Inga Birgis. I could go on
and on.
KALTBLUT: Have you ever been to Berlin? Or Germany in general?
And what do you know about our fashion scene here?
GUDMUNDUR: Yes, I have been to Berlin. I spent 3 weeks there once. It‘s
a tremendous city and I hope to live there one day. Actually I love Germany,
I support the German football team and I love German language. I am sort
of a Germanophile.
KALTBLUT: Thank you very much for the interview. And good
luck on your way with the label.

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„Maybe
I am
a
cliché.
“

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COLUMN: HERR VON KEIL SAYS
“Please mind the prat between the train and the platform.”
“Step back please!”, the loudspeaker voice of tin is yelling at me.
Well I would, if I could.
I am standing in the U5 towards Hönow, it is shortly after 9pm and the metro is so packed that
I can barely move. Doesn’t seem to be bothering the man behind me who is breathing happily
down my neck, his deepest rotten breath.
Text by Magnus Von Keil www.vonkeil.com
Same goes for the completely intoxicated group of
tourists from Southern Germany right next to me,
all the pushing isn‘t getting to them at all: shouting
out lame jokes across the wagon, while the snow
melting off the umbrella of the bloke in front of me is
soaking my shoes.
Even though I feel the urge to free exponential
aggression rising, I attempt to escape this merciless
scenario, at least in thought. As I note a particularly
smeary grease impression on the battered windowpane,
I stare out into the darkness of the underground.
How you wish yourself far, far away at moments
like this! Away from street dirt, shit on the pavements
and drunk, partying tourists. Further away
than the U5 could ever take you...to a place where
you regain space, peace and finally a perspective; a
view free of ugly concrete blocks and oversized Fastfood
billboards. But as it is, I live in Berlin – a city
in which you are never alone.
This is basically the reason why you live here: after
all. It is filled with people of progressive thoughts,
people who want to move things, even if only from
the pub next door. It is filled with people who are
gladly playing music for free, sometimes during
the night or right by your bedroom window. But it
seems, there are also those people who apparently
purely exist here just to get on all the other people‘s
nerves.
Anyone who has ever played “Super
Mario Bros” will surely remember
the Thwomps. The Thwomps
are big, spiky boulders, apparently
just pointlessly hanging from the
ceiling but falling just at the right
moment when Mario stands directly
underneath one. And this is exactly the type
of people who can turn anybody‘s life into living
hell: Boulderpeople.
Boulderpeople are those who during rush hour,
push their dirty bikes or kids buggy into the hope-

lessly stuffed S-
Bahn so they can
then unpack their
file folders and
study for an upcoming
business
studies exam.
Boulderpeople
are also those
who will push
their way through
a concert only to
stop still right in
front of you and
then not move
an inch until the
show is over. Who
in public spaces
will always come
a few centimetres
too close, and violate
your privacy.
Boulderpeople
prefer to
carry around
particularly
bulky
objects such
as hiking
backpacks,
violas,
or partly
wrapped
IKEA furniture
in order
to drag them
around
carelessly
taking no
notice of
anything in
their path.
If you have to
walk around in
urban spaces a
lot, you will come
to recognise these
Boulderpeople
from afar. Like a
sharp-eyed hunter
who scans the
rocky wastelands
of the Siberian
tundra for ptarmigan
and arctic
hare, the savvy
urbanite scans
his territory for
hostile obstacles.
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Illustration: Tim Brackmann
His trained eye instantly spots Boulderpeople based
on their square stature, their practical polyester
anorak and the large blank face whose emptiness
is optionally amplified by a tasteless cash register
frame.
There are no real sex or age differences between them -Boulderkids
do obviously exist as well. Baby-Thwomps. This species
is most commonly encountered occupying and often hampering
public spaces: in the corridors of shopping centres, for example,
or on the 30cm wide sidewalks of East Berlin – just at precisely
those places where it is extremely inappropriate for newborns
to learn how to
walk…
Although all
of these obstacles
do not go
by unnoticed
by the experiencedmetropolist,
no matter
how hard
you try -you
can‘t escape
them. If you do
it Super Mario
style and just
run, you could
survive.. but
although this plan
works out pretty
well in theory
–there is a tiny
hindrance: since
we in fact don‘t
live in the areal
clarity of the
Siberian tundra,
but in a big city
instead, the long
distance visibility
is somehow always
impaired by
a Starbucks sign
or a „Cirque du
soleil“ advertising
placard - and before
you know it,
behind the next
corner a fresh idiot
will be waiting
to stand eagerly
in the way.
Let’s face it, you
can either despair,
or take your
destiny for granted
and embrace
it. In the end, it is
a cosmic law that
on the grand escalator
of life there
will always be one
arsehole that is
blocking the natural
organic flow of
things.
And this is
something
that even the
Siberian hunter
himself
can confirm.

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NATURES
BEAUTY
Photography by Victoria Bolkina
Style by Diana Bogach
Accessories by POSH
Hair: Zina Morino
Make up: Anna Kuzminykh
Models: Marie Orlova @MSS, Luba Varga and Daria Savchenko @Star System

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165

MY SOUNDS
OF THE
NORTH
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This is one part of the theme “ICE-LAND” that we
can’t possibly ignore. That magical spark of creativity
that runs through Scandinavian waters and
surrounds.. flows into its musicians, out through their
fingers and into our ears…
From the first moment I heard The Knife’s “Silent
Shout” album it changed the way I listened to
music forever.. and after wracking my brains for
the last months I still can’t put my finger on it.. what
makes music from the North so special?
Maybe it’s the cold atmospheres, the all-encompassing darkness, the inspiration from such unforgiving
nature, the eccentricity, a heightened sensitivity… or maybe a collection of these combined
that draws it out somehow.. either way, this shared intensity undoubtedly makes for some of the most
eccentric artists and perfect sounds that I’ve ever heard…
It has been a massive task having to narrow it down to just these few of many, many more worthy of
a place in this list, but for now here it is, a definitive guide to my favourite artists from the North..
Iamwhoiamwhoami
Epic Escapism
Text by Amy Heaton
This strange title is the pseudonym for the
mesmerising audio-visual experiment of
Jonna Lee (with co-producer Claes Björklund).
I first discovered her epic videos via
YouTube, well that’s the way that she intended
it, and was totally grabbed by her
weirdness. It’s tasteful, full of details and
each video runs into the next, featuring
more and more strange and wonderful
costumes, characters and locations tinged
with that Scandinavian backdrop….
woodlands, washed out colours.. it’s really
well worked. But the project is not only
on this list for the art that she creates (as
brilliant as it is), I’m also really intrigued
by the way that Jonna went from humble
unknown singer-songwriter to all out viral
video hype machine. She really manipulated
the press, sending links to videos
featuring her blonde (unidentified) image
and had them all head scratching, but
then as the releases continued they seemed
to catch on that the artist, whoever
it was, was speaking directly with the audience.
I love this level of secrecy she creates,
keeps people thinking and waiting,
she’s really thought about how to present
herself and play with her image, a whole
new way to expose her music that’s entirely
her own in a way that is only possible
through the internet. Love it!
Editor’s Pick
With Jonna it’s not enough to just
hear her sounds, if you want the
full experience go and watch them
alongside her videos on her YouTube
channel. The first one I watched was
“;John”, think it’s still my favourite.
www.youtube.com/user/iamamiwhoami

Björk
Our favourite Icelandic icon
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Her extroverted character and unique vocals have been leading audiences to either love her or hate her for decades,
but either way, you can’t deny her originality for one second. Trying to sum her up in a paragraph is impossible.
She flits around the genres like a musical butterfly, from experimental electronica, rock, trip-hop and jazz to alternative
dance, industrial and rave… and from musician to songwriter and producer she moved into film with her memorable
performance in Lars Von Trier’s “Dancer in the Dark” (2000) and has made it onto every magazine’s fashion
pages with her outlandish style and designs. Her unconventional approach to the music industry and her anarchistic
affinity with nature has kept her firmly in the public eye but it’s her music that deserves the real press coverage.
Playful, intelligent, innovative compositions. True works of art. In 2011 her latest project “Biophilia” (One Little Indian)
was released which aimed to combine music with technological innovation, science and nature, and an „app
album“ was also released which made it highly interactive. With every new release she challenges us, and remains
a current and relevant artist. Reported to be working on a book release and playing intense live shows in Paris in
February of this year she shows no signs of slowing down, wherever will she take us to next!?
Sigur Rós
The music that dreams are made of…
Whenever I listen to this band I’m totally overcome with a wash of complete awe. It’s surely some of the most beautiful
music created in modern times. It sparkles through your mind, delicate and fragile, but builds up into moments that
fill your soul and leave goose bumps rippling across your skin… frontman Jónsi Birgisson’s vocals ride high over the
uplifting waves of noise in his native Icelandic tongue and if you close your eyes, you feel like you’re no longer listening
to music from this world. Last year they released their sixth album, “Valtari” (2012) and experimented with various films
to attach to their sound that you absolutely have to search for. They are currently on a world tour with an all new live
show which includes an 11-piece band and claim to be taking their sound in a whole new direction with yet more
new material due out this year, every concert ticket comes with a 3-track E.P of previously unreleased tracks, if you can
get hold of one that is…
Editor’s Pick
It’s got to be her 1995
album “Post”: that dark
heavy energy of “Army
of Me” and the visceral
driving “Hyperballad”
which both have classic
music videos from her
long time friend and collaborator
Michel Gondry
plus her all time hit, Betty
Hutton cover, “Oh It’s Oh
So Quiet” with the Spike
Jonze-directed music video
clip.
www.bjork.com
Editor’s Pick
The bands fourth album
“Takk…” (2005) features
their better known
tracks “Sæglópur” and
“Hoppípolla”, and you
can hear why, but for
me their latest offering
“Valtari” (2012) is my
favourite album of all,
especially the track
Varúð (Caution, in English),
and the films that
accompany the album,
to be released on their
own exclusive DVD collection
this year.
www.sigur-ros.co.uk

I had her album “These Things Take
Time” (2009) on constant repeat for
about one month solid and I can still
listen to it now from start to finish, it’s
not very often I find a new record like
that. I think it’s her frank, simple and
witty lyrics that you can so easily
relate to, themes of broken love, everyday
observations and emotions.
It’s an endearing melancholy that
pulses through her stripped back
and unpretentious instrumentation:
simple drum claps, melodic synth
lines, repetitive and dreamy supporting
her voice, she’s almost speaking
her words to you and just doing
her thing in a completely honest
and unapologetic way, it couldn’t
be more effective. Based out of Berlin
she also has a collection of equally
quirky makeshift music videos online
and proved that first album wasn’t
just a fluke when she released her
brilliant second full length, “History”
(2011) the same way she puts out
all her music, on her own label ‘Dark
Skies Association’.
The mysterious Swedish born siblings Karin Dreijer Andersson
and Olof Dreijer are cited by millions of electronic
acts across the world as a source of inspiration and
arguably sparked off a whole sub-culture of our time...
but no matter how many poor imitations I’ve searched
through never have I come across anything else quite
like it. Nobody really knows much about them, they keep
themselves and their influences
extremely private, but
at the end of the day who
cares. Their self titled debut
was a gentle introduction to
the pair who later unleashed
the full fury of their electoneon
nightmare corridors
in “Deep Cuts” (2004) and
“Silent Shout” (2007) that
twist before you in ways that
would make even the great
David Lynch’s toes curl. It’s
unsettling for sure, but just as
playful as it is horrible. For me
it’s their intuitive mix of samples,
patience, a shed load
of good taste and of course
those distinctive vocals that
make their sound so impossible
to replicate (and as if
anyone would even dare..)
Every note seems to have
its place, and you couldn’t
rewrite it any other way. It’s
been nearly a decade since
their last release, and staying
true to their own habits
(despite the album title) their
new album has been kept
close to their chests until a
teaser video was posted on
their website late last year.
We can now confirm that
they are releasing “Shaking
The Habitual” in April 2013...
You have no idea how
happy this makes me.
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Molly Nilsson
Vintage Pop Perfection
The Knife
Masterminds of electronica
Editor’s Pick
Listen to it all, from start to finish, then go
back and start again… If I HAVE to pick
one, it’s maybe either… “Forest Families”
(Silent Shout) or “A Lung” but please,
don’t make me choose!
www.theknife.net
Editor’s Pick
I think there’s not a
soul in Berlin who
can’t relate to the
words of “(Won’t
Somebody) Take
Me Out Tonight”…
feel free to prove me
wrong. “You always
hurt the one you
love” from “History” is
a brilliant track too.
www.darkskiesassociation.org

Over to Denmark now with
producer Anders Trentemøller,
his deep ambient electronica
stood out for me amongst a
wall of Berlin minimal, techno,
progressive house.. His debut
album “The Last Resort”
(2006) is one of my all time
favourite electronic records;
intense, driving, powerful, but
washed with a melancholic
resonance. On top of his own
compositions it’s his remixes
that really get me. His 2011
release “Remixed/Reworked”
featuring various other great
artists such as the mighty
Thom Yorke. New and established
acts alike he doesn’t
seem to care which, but they
all have one thing in common,
that he clearly loves
the track he’s rediscovering,
and it’s this appreciation of
the original sound and structure
that so clearly comes
through in the music. He also
remixes a lot of his own work
and I often enjoy the remix
just as much if not more than
the first version. Of course he
also transfers this technique
over into his DJ sets, so if you
can catch a live set by him
at Panorama Bar or wherever
else absolutely do it. He’s
due to release a new record
this year with his own “In My
Room” imprint and lining up
festival dates for this year.
169
Trentemøller
Editor’s Pick
It’s got to be between his own
remix of “Moan” and the Kollektiv
Turmstrasse remix of “Even
Though You’re with Another Girl”.
www.anderstrentemoller.com
Intuitive Techno
„So there you have it!
You can hear all of these artists and more in my mix for our collection at
www.mixcloud.com/amyheaton/ice-lands“

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Villtur Sjó
by Amanda M. Jansson & Emma E.K Jones
www.amandamorganjansson.co.uk
www.emmaelinakeirajones.com

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ValkyrjePhotography by Lesha Lich
Styling: Anna Bugera, Olia Svarga,
Olga Sadovskaya
Make up: Olia Svarga
Hair: Yaroslav Rudakov
Models: Helen Lee @InStars,
Olga Qluckova, Kate Braga
Armor - ArtMaster, Dress - Yana Chervinska, Furcoat - Rybalko, Accessoires - Rybalko

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Furcoat, Rings - Property of stylists, Armor - ArtMaster, Accessoires - Rybalko, Anna Laty

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Accessoires - Rybalko, Elena Romanova, Fur of dear

182
MUST
You certainly can live without these ITEMS, but life is so much More Beautiful with THEM.
Selected by Marcel Schlutt
Phillip Lim
Shark Embossed
Pashli Medium Satchel
If I were a girl I would kill for this
bag. 3.1 Phillip Lim brings some
fresh color in these dark months
with his yellow design masterpiece.
This 3.1 Phillip Lim satchel
features exposed zip gussets at the
front and two rolled top handles
with a push stud secure. Interior
features one exposed zip pocket.
100% cow leather
www.31philliplim.com
Candies from
The North
I just love all the candies
from The North. Wine gums,
liquorice, toffees, hard boiled
candy, lollypops and salty candy.
Hmmm it is so tasty. Yes I know
salty sweets? Have you ever
tried it? If not you should
do so. Favourite brands
are Läkerol, Cloetta,
Jenkki, Kexchoklad,
Malaco, Sportlife,
Saila, Red Band
and Sperlari.
Acne - Ankle Length Cut Out Boots
Chiara Natural could be your favorite boots for spring 2013. Those boots are looking clean, simple but also
stylish. I wanna see big city girls in those great shoes. Acne is one of our favorite fashion labels from Scandinavia.
Have a look in the online shop. I am sure you will find your personal Must Have Item.
www.shop.acnestudios.com
Hasselblad H5D
The next step in the evolution of the world
renowned Hasselblad H System, the
Hasselblad H5D provides a powerful
addition to any photographer’s
toolbox and provides you with
the competitive edge you need in
today’s crowded marketplace.
The H5D features Hasselblad’s
legendary image quality, a new
stylish and more compact design,
an updated lens line, new electronics,
improved AF precision
and speed, increased stability and
performance, and a range of other
new camera functions.
www.hasselblad.co.uk
CURVE BLUETOOTH® iDock
Charge your iPhone and sync it with iTunes. Simultaneous Bluetooth
® wireless connection to 2 devices with volume controls on
the phone and place to leave your iPhone at the base station.
While you are relaxing with the Curve wireless handset phone,
your iPhone is charging permanently on the base station.
You can use it for your iPhone, iPad and Android.
www.nativeunion.com
CK One
Calvin Klein´s perfume
CK One is a classic. The
Unisex Fragrance is
timeless. He represents
exciting purism and
erotic naturalness.
Since we have a 1990s
flash back: CK One
should be on your body
each day.
www.calvinklein.com

eL Masterpiece
for Zumtobel
The eL Masterpiece
was designed by
Polish-born architect
Daniel Libeskind
along with his
astrophysicist son Dr
Noam Libeskind, who
developed an
algorithm for lighting
patterns on the
luminaire that
represents the
development of the
universe. These lights
are stunning and
futuristic. I watched
Star Trek back in the
1990s and with the eL
Masterpiece I will feel a
bit like in the old days.
www.zumtobel.com
Minio Cover Mk2
Do you love your new
iPad? Do you want your
new tool to be safe but still
good looking? Minio Cover
Mk2 is the perfect idea.
Technology and wood together.
Super easy handling with self
aligning magnetic wood hinge.
It can hold your iPad in 3
different ways. And: it
looks sooo good.
www.miniot.com
Eve Fragrance
Body
Shampoo
Founded by Hiroshi Fujiwara
and Murakami, retaW offers
up unique fragrances made in
Japan with Japanese products
and available across a line of
personal care products and
home goods.
www.retaw-tokyo.com
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IGL Jet desk
Pimp up your office. With this orange desktop your office or work
space is turning into a 1970s lounge. The desk is also available
in white and black. The retro limited IGL Jet desk collection is a
multifunctional workspace. Available at Steelcase.
www.steelcase.de
Mickey Crop Top
Yes girls. Comic prints are back and I would
love to see you in this little Mickey Mouse top.
Seen at Topshop. Crop tee with roll
back sleeves.
www.topshop.com
Billionare Boys Club
Partnering with Japanese fashion legend Nigo,
Pharrell Williams and his manager Robert Walker
founded Billionaire Boys Club in 2005, a line of
high-end luxury streetwear. And I like this Burgundy
Plaid Digi Shirt a lot.
www.bbcicecream.com
Chuck Taylor ThunderCats /
Converse
Getting the DC Comics license it was obvious that Converse
had to do something with the Thundercats. The Chuck
Taylor model in its two versions is selected, for surely
this is the tip of the iceberg of this new collection. Lion-
O, Panthro, Cheetara and Tigro appear on one side
of a Chuck Taylor Hi, on the other side you can
see the eye of Thundera. A Chuck Taylor Low
is dedicated to the beautiful Cheetara, and
finally a Chuck Taylor Hi dedicated to the
antagonist, the powerful Egyptian
sorcerer priest and Mum-Ra.
www.converse.com

OUT OF THE DARK
Dress: Danielle Romeril
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Photographer - Adam-Peter Hicks
Collagist - Jordan Lelong
Stylist - Marina German
Styling Assistance - IndyAnna
Hair Stylist - Erika Selvaggio
Make Up Artist - Maddie Austin
Models - Rebecca (Models 1), Juliette (IMG), Dasha (Profile)
Dress: IndyAnna, Jacket: Jayne Pierson

Dresses: IndyAnna & James Hock, Shoes: Cleo B
Snug white fur: James Hock , Top: IndyAnna
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Dress: IndyAnna, Jacket: Jayne Pierson
Dresses: IndyAnna & James Hock

Dress: IndyAnna, Bag: Barbara Boner, Shoes: Chinese Laundry
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Dress: Jayne Pierson
Dress: IndyAnna , Jacket: Jayne Pierson

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Dresses: Gemma Fanning
29.06 — 07.07 2013
ROSKILDE
13
FESTIVAL
9 dAyS oF FESTIVAL
AwESomEnESS!
phoTo: helena lundquisT
Busy FRom 29 June – 7 July? This is one FesTival you don’T wanT To miss ouT
on! Roskilde FesTival is one oF The woRld’s laRgesT and mosT specTaculaR
music FesTivals wiTh 80,000 daily visiToRs FRom all oveR The woRld.
you geT aBouT 200 conceRTs wiTh huge household names as well as The
Rising sTaRs oF TomoRRow.
pack youR TenT, gRaB youR FRiends and Join us in denmaRk This summeR
FoR 9 days oF awesome music, FanTasTic aTmospheRe, impRessive aRT and
FaBulous people!
geT youR TickeT aT: www.BilleTlugen.com
Roskilde-Festival.com

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Adrenolytic Agent
Photography: Julia Blank / www.juliablank.com
Models: Alexa / Miha Model Management & Annika
Make-up&Hair: Kerstin J. Hajdu
Styling: Miriam Lehle

Blouse: Prose. Jacket: Stylists own.
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Jacket: Prose. Right Page, Blouse: Prose. Jacket: Desire.
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Blouse: Peter Hahn. Jacket: Daniela Barros. Bracelet: stylists own. Left Page, Jacket: Prose.

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Jacket: Prose. Right Page, Blouse: Prose. Jacket: Desire.

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Rough Days
for Diamond Trade
On my quest to bring you the very best music coming down from the North I was starting to lose my mind in a sea
of innumerable album releases.. but then I came across the sound of ‘Rough Days For Diamond Trade’. It’s the solo
project of the Copenhagen based musician and award winning filmmaker Frederik Sølberg. For the last 10 years he
has been a key figure on the Danish indie scene as a member of the bands Ghost Society and Lake Placid, making remixes,
directing music videos and live visuals and he is seriously talented in both fields. The debut E.P
“Somehow” was released at the end of last year and it’s stunning.
A perfect blend of his electronic and indie influences contrasting distorted guitars, electronic drum beats and catchy synths
with his moody androgynous vocal.
“The sound of broken hearts on a dance floor”
We talk going solo, music making and Scandinavian melancholia on a cold winter‘s night…
KALTBLUT: Hey Frederik. Thanks for taking some time to chat
to us! Your E.P is out now in Germany! Were you happy with the
response you had here in Berlin?
FREDERIK: Yes, Berlin was totally overwhelming, it was really
much more than I had expected, we played at “Monarch” and it was
full.. I really hadn’t expected it! It was quite amazing to play. Even
if we had played in Copenhagen there wouldn’t have been as many
people.. Maybe the project is more hyped in Germany than I thought
but the whole time was packed with interviews, and meetings and good
response from lots of people and that was really, really nice. I also think
maybe this kind of music fits Berlin…
KALTBLUT: Yeah that’s true I’ve found so many great artists
coming from the North also being based out of here. Why do you
think Scandinavian music is so popular in Berlin?
FREDERIK: I think because Berlin has more this sort of cosmopolitan
feeling, that it seems that people are more interested in these kind
of things, no matter which way you look at it Denmark is much more
conform and so I guess some of the interest in my project could be the
fact that I’m Scandinavian, which of course doesn’t add anything in
Denmark but in Germany could mean something…
KALTBLUT: When did you first get into music, or did the interest
in film making come first?
FREDERIK: I’ve been a music lover since I was very young, I don’t
have parents who are interested in music or anything like that so I think
I got the idea on my own. My mother’s a librarian and I think I was
around 9 or 10 years old asking her to borrow books and articles about
Jimi Hendrix for me, so I had this kind of innocent interest in music
since I was a child but I didn’t start playing until I was say 13, 14, with
guitar, my main instrument... film came later, I was like 12 or something,
but I started wanting to do fiction film and I did that for some
years, I was working as an assistant director doing some short films,
music videos and then I started moving towards documentaries…
KALTBLUT: Which one of the two would you say you put more
of your time and energy into?
FREDERIK: I guess music comes more naturally to me, it’s very
easy, when I work on music I forget about time and space, I forget
about my girlfriend.. I’m just totally immersed… but when I’m making
Interview by Amy Heaton
film, of course it’s still a creative process but it’s also a very rational
process where you have to amplify, you have to develop, you have to
sit in an office etc, so it’s not so instantly creative, so I think for me it’s
two very different creative outputs. I think that’s the reason I made so
many music videos because it’s the two things I know about… I think
when I make films I also put a lot effort in thinking about the music so
it’s interconnected.
KALTBLUT: You’ve been used to playing in bands most of the
time. How does it compare being out on your own now?
FREDERIK: Totally different, it also means that you’re much more
vulnerable, like when we released the E.P in Denmark even though there
we have an much bigger network, it was pretty much myself because
our label and our promotion company are in Berlin so they took care of
the German part, and I remember that there were lots of things I thought
would happen here and then I got a bit disappointed when they didn’t
and I was thinking like, “hey! I’ve been playing music in Denmark for
so many years, I know journalists I know people etc…” and I’m not
sure I would have had that same feeling if I’d have been in a band, you
don’t get that feeling like “we’re all in it together..” and I like that! I’m
a very social person, I enjoy sharing things with people, so when we
played in Berlin last week and had all this great response, it was pretty
overwhelming.. and I tried to call my girlfriend and share that feeling
but it’s totally different when you’re in a band. Of course I have lots of
friends around who are very sweet, and the musicians I play with, but
still it’s not the same..
KALTBLUT: So did you plan out your solo sound from the start
or was it just unfolding as you went along?
FREDERIK: In the beginning I had this idea that I would never
tell anyone that it was me doing it, I could put it out, on myspace or
something, and I would never have to play live or actually release
anything.. but then it just grew somehow, and I got more self-confident
about it at some point, not only the music, but the thing about playing it
live..
I’m so privileged to have a lot of friends who are musicians and I asked
a few of them if they wanted to play with me, we did this show for a
film festival and in the beginning when we started out rehearsing I was
saying, “can we turn you guys up and my voice down..?” because I
didn’t want to hear my own voice, and then I realised after this coup-

le of weeks rehearsing that I couldn’t hear
myself and we had to turn it up and at the end
actually it sounded pretty good! I don’t know
how but I started to quite like my voice, because
I used to hate watching myself on video
or when I’m singing.. and my voice when
I’m singing is pretty different from when I’m
talking… I think the main challenge is playing
live, but I’ve put quite a lot of effort into the
show, visually with the visual expression,
and I planned that but I didn’t plan myself..
I guess that’s the same with the music that, it
just developed somehow..
KALTBLUT: How did you go about making
the project into a live show?
FREDERIK: On stage we’re a live band,
but we keep a lot of the electronic elements,
we have a backing track, and an emphasis
on the visual part.. so normally, I’m standing
further back, with a guitar player to one side
of me and a bass player to the other kind of
in a half circle… and then we have this visual
show which is done by one of my friends. The
concept of it is a laser beam and a diamond
ring and he projects light to the diamond ring
with a combination of pre-filmed material
and live… it depends on where we’re playing
because some places it works better, there’s
no front light, there’s only light from the back
and the visuals… the darker it is the better,
I like it when it’s very dark because I’m not
a traditional sort of lead singer type, I don’t
want to be in front… I’ve been playing music
for a long time and I’ve always been confident
about playing live, but I’ve always been the
guitar player you know, being off-centre and
being a part of the band, now every single key
is decided by me, every single word… and
at the same time I’m not that fond of being
the centre of attention, so, it’s not only about
being shy, it’s about being concerned about a
visual expression that I think supports music
in the right way, and therefore we’ve done this
kind of half circle thing with the diamond in
the middle, so it becomes much more of an
audiovisual experience…
KALTBLUT: Do you get more nervous
performing alone instead of with a band?
FREDERIK: Actually I was quite friendly
on stage in Berlin, I was chatting with the
audience etc, but normally I don’t say much,
and that’s also a bit difficult because I don’t
want people to consider me as being a bit
arrogant…and if you don’t say a single word
people might consider you as being pretentious
or something…like ‘Fever Ray’ live and
I’m not like that at all.. but at the same time
I’m not gonna be this friendly lead singer
who’s saying like “yeah, cheers” etc.. and
winking at the beautiful young girl in the front
or something, I mean that’s not me.
KALTBLUT: What about your musical
inspirations when you’re composing..
what do you usually like listening to?
FREDERIK: I’m almost as inspired by
electronic music as I am by indie pop really,
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for instance most of the songs on the E.P they
have the same groove all the way, I’m playing
in the same key all the time, and you would
never question that on an electronic album, so
I definitely think there’s some clear electronic
inspiration in that way. I’m very fond of British
electronic music, I listen a lot to Burial,
Portishead and stuff like that, I mean I also listen
a lot to O.M.D and The Cure and definitely
wanted it to have that melancholic side, you
know “broken hearts on the dance floor” – it’s
melancholic but you can still dance to it.
I’ve always liked dancing and I’ve always
had a sort of cheerful approach to life but at
the same time I’m also a really melancholic
person, so I like this combination of that
where the rhythm and the body has a beat and
it goes forward but the lyrics are much more
softer, that’s also how you react sometimes
in life, you stress yourself out, you get drunk,
you fuck up… well I dunno, maybe that’s too
much..
KALTBLUT: This project has moved in a
much more electronic direction than your
earlier sound. Was this an easy progression
for you?
FREDERIK: Actually when I started out
in the beginning I wasn’t sure that it was ever
going to be anything that people would want
to listen to.. when I began writing songs for
this project I was working with another electronic
project together with a girl, we didn’t
make that much progress but I was really keen
on moving more into electronic stuff and I
was thinking, that’s what I’m going to do,
somehow, I dunno, I started working on it, and
it took some time, especially for me to realise
this change from being a guitar player to becoming
a songwriter..
I have this very nice friend, who’s also a
musician, I played one of the first songs I did
for him and he was like “It’s really good, you
have to do something about it…” and from
there it took some time before I moved on… I
mean, writing the songs was not the most difficult
part, it was actually working on aesthetically
developing it in a direction and finding
my own expression but when I do music I get
very concentrated and focused on it and it just
leads me somewhere or I lead the music somewhere..
and I made it to here.
KALTBLUT: Do you still start your songwriting
with the guitar though usually?
FREDERIK: I’m working in Ableton live,
I steal a lot… nah… haha.. I mean a lot of the
programming of the drums is like taking samples
and using different sounds from a sound
bank or something like that, but everything
was made on purpose rather than accidentally.
It’s also because I work somewhere in-between
electronic and indie, so it has elements
of indie rock and most of the songs have been
written on a guitar, and most of the beats have
been made on the computer.. though most of
the songs were guitar based.. it sometimes
even started with the beat and then I created
the song from that.
KALTBLUT: Our new collection is based
all around the theme “ICE-LANDS” – Do
you feel coming from a cold climate affects
your music making? Maybe the E.P
would sound differently if you’d recorded
it in L.A..!?
FREDERIK: It’s funny you say that because
the cello was actually recorded in L.A
two years ago.. but not on a conscious level
no. Maybe somewhere subconsciously or
somewhere out in the periphery of your mind
there’s definitely some kind of Scandinavian
melancholia but I think when it comes to my
more specific inspiration I think it’s more a
question of being surrounded by musicians
and a lot of my closest friends play in really
good bands, so most of them have a similar
expression to my own.. except for the fact
that most of the people I know don’t make
anything electronic and they’re all playing in
indie pop bands or indie rock bands.. but I’d
say the general atmosphere of my songs could
be inspired by other Danish bands.
KALTBLUT: Did you collaborate with
many other people whilst making the E.P
then?
FREDERIK: I’ve been totally on my own,
100%, except, I was living together with a
very good friend, also a musician, and I was
recording over and over, and there’s an additional
voice on one of the songs and he did
that, and then I asked my friend Caecille Trier
to play cello on one of the songs like I said
and she did that, then I had some help with
mixing, making the drums a bit bigger, but
when it comes to songwriting and lyrics and
expression and synths and everything like that
I’ve done everything on my own.
KALTBLUT: How about your image.. do
you ever think about experimenting with
that as part of the project or is it more just
about the music for you?
FREDERIK: I don’t know… I could be up
for trying styling but I want to have my right
to refuse something as well, I didn’t think so
much about these things, of course it’s nice
to have a look at what pictures are going out,
and so you know what kind of press is going
around about, but as long as there’s an honest
interest in the music that I’m doing.. I think
for the listener there should be a balance
between having a clear expression which is
thoughtful and thoroughly developed and at
the same time some kind of honesty, not like
with these posers, I mean you just get bored of
that, unless they really write good pop songs,
otherwise people are just posing, wearing
sunglasses all the time and it’s like… errm…I
guess maybe at one point it could be fun to
kind of play with this pop star thing, but it
would only be to play with it, to play a character
or something. I could see that as something
interesting but this plain pop star image I

think is pretty boring and also I’m definitely not the one, if someone
should do that it’s not me! I mean there’s some performers when
you watch them and you can see this is totally natural for them to
play in front of 20,000 people or whatever.. that’s just not me.
KALTBLUT: Do you feel like the concept is best it could
be now or are you still in an experimental mindset about the
whole thing?
FREDERIK: Well I don’t want to say I know everything but I
feel that after so many years making music and then doing a solo
project now, I should be able to create an expression that fits to my
inner aesthetic or something.. of course it definitely helps that I’m
certain about the music, like, if I was doubting the music and the
direction I wanted to go I would be doubting the rest of it.. so in
that sense I’m sure but it’s also continuing to grow, for example regarding
the videos we’re doing, I did one of them myself, but now
we have 3 music videos and the other guys had totally free hands..
well, I had a bit of an input but not so much and the video we just
released for the song “OK” is not at all what I expected, but I like
that, and it’s so far away from what would be my expression. I think
it’s also a question of choosing the right people and trusting the
right people around you when you start to include different people.
KALTBLUT: Yeah I really like the music videos for the E.P!
Really beautiful, sensitive, visceral. In your own experience
do you usually find it works better if you’re making music for
the video or the other way around?
FREDERIK: That depends. Some of the ideas were just random
ideas I already had but other times I got ideas when people approached
me and asked me to make a video for a specific song so you
know it changes, I don’t do that many music videos anymore, I got
tired of it I must admit. I think for me, I started out doing music videos
for indie bands who were really sort of grateful and open-minded
when it came to the idea for the video and I think at the point
where I moved to more major labels I realised that instead of being
around people who were friends in a nice team and did something
really creatively together, enjoyed and had fun doing it, you kind of
start getting trapped at the hands of a machine that is already preprogrammed
so there isn’t really any artistic freedom or anything,
and of course you can’t expect to have 100% artistic freedom when
it comes to a music video that somebody else is paying you to do,
but there’s a difference between when people trust your choices and
your creativity rather than people who say things like, “oh can you
please cut in this bit because it makes us look better” or something
like that. So actually I got a bit disillusioned about it in the end.
KALTBLUT: That’s a shame, well who would you say has
been your most interesting collaboration to date anyway?
FREDERIK: I think the best time was when I convinced a
Danish band that I had to go to Japan and do a video shoot, and we
couldn’t even afford to bring the band, so we did a casting in Japan
and I got these kids to put on the bands clothes and then I went there
with 2 friends and had a really amazing time doing this, like no
pre-assumptions and just casting some kids and then filming around
in Tokyo. It was such a great experience. I couldn’t believe they
paid for that! But I think it’s also one of the best videos that it I’ve
made it really fits with the music etc..
KALTBLUT: You’ve been involved in the Danish indie
music scene for a long time now.. How do you feel things
compare now to when you first started out?
FREDERIK: I would say that for some years we’ve definitely
had a more melancholic vibe for most indie bands. I mean, ten
years ago I played in a band and it was a bit more cheerful that what
was happening on the indie scene back then and so I would say that
within the last couple of years it’s been a bit more shoegazing, melancholic,
not that music style necessarily was shoegazer but all the
expression, the live expression, but I think it’s changing a bit again,
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I mean the bands I know and the friends of mine in really good
Danish indie bands are quite relaxed and feeling good on stage, in a
soulful kind of way, and I really like that, but that’s not part of my
expression, but I’d rather keep it deep melancholic and a bit kind of
dark..
KALTBLUT: What about releasing new music generally.
Does it feel any different for you with this E.P, especially
with how the internet dominates these days?
FREDERIK: I guess things are also much changed in the music
scene generally, for instance going back to the music videos, to
me it seems like today it’s not even enough to have a music video
because there’s just SO many music videos and people have access
to them all the fucking time! So you need to have a very good
music video or a very interesting music video because sometimes I
can just watch half a music video and I’m like, I get bored with it…
It’s also about the consumption of music now, I mean if you’ve got
8 tabs open on your internet browser and you’re on facebook at the
same time, and then you watch a little bit of a music video, they’re
embedded in there and you just scroll down.. it’s endless and you
don’t give everything a proper chance. I remember when I was a
teenager back in the 90’s and I would go the local indie record shop
in Copenhagen, and I’d go to the guy and say “I’d like to listen to
this record” so he’d put it on and then I’d just stand there and listen
to it, maybe even half an hour, maybe the whole album through,
before I made the decision to buy it, and it was like 20 euros or
something and I wanted to be sure.. I mean of course I bought lots
of albums I shouldn’t have bought, but I also got so many great
albums because I waited and found out that song number 6 or song
number 8 was the best, I’m definitely more impatient now.
KALTBLUT: How about the rest of the time… are you living
solely from music now?
FREDERIK: No, at the moment I am currently working in
Copenhagen, on and off, as a freelance TV producer for a TV
company, which… I mean, they’re nice people, they’re sweet, but
they’re also people who are very fond of television, in any kind of
way they like television, and they’re not so, I would say critical as
I am, I mean I don’t even own a TV set, I don’t watch television in
general…not exactly my crowd… I don’t think I’ve ever really had
this pop star dream or dream of living from making music because
I think also making music can be a bit, not when you’re in a band,
but it’s hard to be depending on your own creativity all the time…
KALTBLUT: So what are your plans for the coming months,
will you push forward with your solo project?
FREDERIK: I don’t know if I’m allowed to say exactly when but
we have one date properly confirmed, there’s going to be a small
European tour in March but we don’t know exactly how many dates
yet and then we take it from there, but I’m totally happy with the
E.P release so far, everything’s going in the right direction, it looks
like we’re going to work on a UK release too.
Thanks a lot for the interview. We wish you all the best for
the upcoming tour in Spring!
www.wearelookingforward.de

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Lille Santanen
http://kadullesi.blogspot.gr
http://lille-lle.blogspot.gr

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Lille Santanen aka Lille Lle is a Finland based artist,
barely 19, who doesn‘t enjoy talking about herself that much. Lille has been
working on her print/illustration stuff for a couple of years now and you can
surely see why they are becoming so popular. She says she is not interested in
spreading a message through her art, but mainly wants to make nice looking
things, put them on t-shirts and make them walk. Inspired by Nordic animals,
nature, shapes and all things Scandinavian she lets the work speak for itself.
Enjoy this visual feast and if you see through a picture and can come up with
any theory regarding the meaning, this will be pleasing to this young artist, who
believes that the audience‘s imagination is a big part of the picture and should
never be left out!
Interview by Amanda M Jansson and Emma E K Jones

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KALTBLUT: What does geometry mean to you? How much
does it play a role in your everyday life?
LILLE: Nature is all about geometry and numbers. Nothing is
random and I love that thought. Nature‘s geometry is much softer
and more mysterious than the geometry we humans build around
us. Finding that balance between those two is what I do in my work
perhaps. I don‘t really think about it, it comes naturally, as it is.
KALTBLUT: What‘s your favourite animal? Why do you
like drawing animals?
LILLE: My favorite animal is a bear, bears are powerful and
simply designed. Also, the bear as an animal represents the whole
start of my career since it was the first thing I drew and the reason
I ended up in this business. I like drawing animals because their
personality doesn‘t need to be explained the same way as humans‘.
I feel like humans need to have a name and story behind them and
people automatically come up with many questions when they see
a picture of a person, who is he/she? what is she/he doing? where??
and so on...
Animals are just animals and one can construct them as he/she
will. Sure people are animals too, other animals just look cooler
and aren‘t as complex as we are. I‘m not so good at human biology.
That‘s the real truth.
KALTBLUT: Has Scandinavian and Finnish art influenced
you in any way?
LILLE: Yes it does. But more than the art itself, the people and
firms behind it inspire me. Artists, illustrators, designers and such
people inspire me. Also, for example, Finnish textile industry, huge
brands such as marimekko are my main role model. Despite the
creativity in a fabric, cup, happening, music or exhibition there‘s
huuuuuge amount of work behind it, and that‘s what I admire, people
who actually get up and do stuff. The hardest part of working is
getting it started and finishing it.
Nordic design is very timeless. Some prints and designs just last and
survive through this time where nothing really lasts, and I‘m not
talking about being ecological, I‘m talking about creating stuff that
generation after generation can enjoy.
KALTBLUT: Do you prefer black and white or colour?
When do you use one and when the other?
LILLE: I draw the originals using tiny tiny liners and ink. I don‘t
use colors cause I‘m already filling the „empty“ spaces with other
details, there‘s simply no room for colours or it turns into a mess.
Nowadays I‘m adding the colors afterwards on the computer. I‘m
a bit afraid of using colors on the originals cause it‘s so easy to fail
205
with them. Can‘t fail with photoshop, and if you do you always have
the original file.
I think photoshopping is a cool tool but it has also gotten me
further from the actual colors and techniques.
When I draw it‘s just fun how a tiny little wrong line can turn the
whole picture around. But if the bear shouldn‘t be blue there‘s no
fixing it into yellow, unless it‘s photoshop.
KALTBLUT: How is life in Finland? Is there anything
distinct or characteristic that makes it obvious this is Finland
and not germany or UK etc?
LILLE: I love my home town Helsinki. It‘s not like it immediately
loves you back and takes you in its loving arms showing you the
prettiest side of it. But it‘s getting easier to get along with. A year in
Helsinki is cut in longer cycles which are pretty much winter and
summer. Summer is crazy, the city is full of life and happenings,
festivals, block parties, restaurant days, flea markets all over the
park... And then BOOM comes the winter and we either stay and
get cozy and lazy at home or go abroad for the winter. Then comes
the summer again. And it‘s super nice, I believe the long and dark
winter has something to do with it. Even big cities in Finland are
quite small and easy to go around, you can‘t miss the point where
the city ends, it‘s clear and simple.
KALTBLUT: Where do you like to work? Is there a special
spot or place that works best for you?
LILLE: I have a working space in Helsinki which I‘m sharing with
a few other artisans. It‘s been way better after I got the spot. Now
I can have all my stuff there and also leave it there! No matter how
much one loves his/her work I think it‘s important to be able to leave
it there and go home. I love what I‘m doing but there are times
when I‘d rather do my laundry. The most important thing still is
to just sit down where ever you are. That‘s a problem sometimes,
it‘s hard running around the city and drawing at the same time. I
hope one day I will have a bigger and lighter working space where I
could also make big paintings and run a showroom.
KALTBLUT: What was your first drawing that defined your
style? How did it come to life?
LILLE: The Karhu - print! I had some new friends from Stockholm
visiting. They absolutely loved a Finnish beer label „Karhu“
(=Bear, in finnish), not maybe for the taste but for its logo. So after
not drawing or painting for ages I decided to paint them a stylized
version of it. I started sketching some bear illustrations randomly
and everybody kept telling me I should turn the Karhu into a
t-shirt print. So I did and here I am and Karhu is still my
trademark and the bestseller. This was all in January 2011.

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Princess
Of
Fallen
The
Garden Garden
Concept and photography by Suzana Holtgrave
Styling by Jale Kustaloglu - Basics
Hair & Make up by Anna Obendiek - Basics
Model: Monika Hirzin - Colors / Zagreb

Couture Dress: Sasa Obradovic
„Cul De Paris“ Manner Flying Dress: Unrath&Strano
Feathered Headpiece: Rentajalehouse/Stylist own creation
207

Headpiece/Fabric Out Of Cream Coloured Lace:
Pinned Up Designer Dress „Me+Blue“ Los Angeles
Jewellery On The Forehead: Dolce&Gabbana Vintage
Blouse: Dolce&Gabbana Vintage
Black Couture Dress + Corset: Unrath&Strano
Belt: Antique Market Berlin 17th Of Juneon
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Headpiece „Geisha“: Fiona Bennet
White Fur Cape + Integrated Latex Reptile
Print: Butterfly Soulfire
Couture Wedding Dress: Unrath&Strano
Leather Gloves with Jewels: Zara
Faux-Fur Skunkcoat: Stylist own

Headpiece „Geisha“: Fiona Bennet
White Fur Cape + Integrated Latex Reptile
Print: Butterfly Soulfire
Couture Wedding Dress: Unrath&Strano
Leather Gloves with Jewels: Zara
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Red Couture Silkdress: BLAENK
Black Leather Cuffs: Butterfly Soulfire
„Birdy“ Feather Headpiece: Anna Dello Russo For H&M
Black Organza Scarf: Stylist own

Couture Wedding Dress: Unrath&Strano
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Black Italian Lace gloves: Agent Provocateur Vintage
High Heels: Jimmy Choo Vintage
Paillette Embroidered Nipple Jewellery: Sisley
Bunny Head Piece: Fiona Bennett

Head Piece „Geisha“: Fiona Bennett
Dress: unrath & strano
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White and Black Lace Headpiece: Fiona Bennett
Couture Lace Dress: Unrath & Strano

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Notes on
Epic!
Illustration by Apostol Kardamov

217
Whether you’re
browsing
through fashionmagazines,
watching
music videos or TV series, you
no longer have to go to a museum
to see heroic figures, epic tales or
myths, nor is it just a geek‘s business
to deal with fantasy creatures. The
epic seems to be a major narrative
in pop-cultural discourses and has
become state of the art in so many
arenas. The very fact that the epic
has returned as a prevailing modus
of representation says a lot about
the times we are living in.
Okay, admitted: it had never
really gone anywhere. Below the
surface sub-cultures continued to
embrace it, metal shirts always depicted
weird creatures and troubled
teens messed around with magic in
their bedrooms, but now suddenly
these themes are a big thing again
and just by cutting off the sleeves
of something ugly, you have a club
outfit. Or music: does anyone remember
witch house? Yes, it‘s this
music which sounds like “The Knife”
forgot to take their antidepressants.
Talking about club fashion:
since when is gothic back? There
is also a big bunch of online shops
springing up, offering all kinds of
satanic, esoteric and supposedly
magical designs, bloggers encouraging
you to play tarot with your
closet. No matter which intersection
you focus on, there is apparent
resemblance within all kinds of art
and expression when it comes to the
virality of epic images, designs and
narratives.

“Hipster bashing” has become a big thing in
mainstream media lately, they say that our generation
has nothing else to do than curate a retrospective
of fashion on our young bodies. Perhaps a
more considered view on what is actually happening
is slightly more rewarding. In order to create
something new, we need two movements: remembering
what is actually there and what actually
happened. This is what retro styles are about.
By reconfiguring techniques, sounds, ideas and
trends of times passed, something different will be
created. And to boost this creativity, there needs to
be space for dreams and tales. What else, if not the
modus of epic, is giving us space for such irrational
thoughts? The epic, so far, seemed to be a lot
about the past indeed. We all know about Greek
mythology, northern sagas and grew up with fairy
tales. But every era mediates these discourses in
a different way, and this way says more about the
contemporary than about the actual past.
A longing for alternate realities or times is as
old as modernity itself, so art, literature and history
is crammed full of references relating to other
spheres and worlds. From back when rationality
arose, there was always an alternative conglomerate
of thinkers questioning the pureness of
thoughts or challenging the reign of the brain over
the heart. The irrational is the naughty little sister
that the rational wanted to leave at home while
playing with the other kids. It seems like finally,
after (post-)modernity was overcome more than
once, rationality is about to say bye. If you don‘t
know someone is wearing “MMORPG1-“ merchandise
or is on the edge of fashion that clearly
shows that epic is appealing to a broader audience
than ever before.
In times of crisis after crisis, when the future
is no longer sure, safety becomes more and more
of an illusion. We either become as small minded
and conservative as possible to protect ourselves -
or we try to figure out new ways of expression. As
everything fast-forwards in transit there’s a feeling
that systems are about to alternate. It is the fatigue
of never ending watersheds, political struggles
and post-modern coldness, which generates the
lust for something else. We want to be seduced
again, we want to long for something, we want to
dream and go somewhere else. The mythological
and surreal is sexy. Just think about “True Blood”.
Beyond the hotties getting it on all the time, it
is nice to think about the possibility of another
reality. Vampires exist? Raww. Bite me. (and I’m
not even talking about “Twilight”). Our saturated
yet insatiable minds are desperate to believe that
maybe there is something more. Maybe the world
is not what it seems. Maybe there is something
else to discover. Come, let‘s follow the little rabbit
and let‘s see what happens if we go through the
looking glass. The same sexiness that made “The
Matrix” a big success, made parents and children
fight about who is going to be the first one reading
the new “Harry Potter” novel. “Game of Thrones”
was definitely another major step for the epic in
pop culture. No clue how many times I heard the
statement, “Actually I don‘t like fantasy, but…”
218

219
In the worst case, epic fails can turn
into kitsch. But stop, what would be
wrong about kitsch? Kitsch or even
camp is all about exaggeration. As Susan
Sontag said in the late 1960s; camp is
nothing but an aesthetic phenomenon.
According to her, camp is due to its
mere naiveté, something that on the first
glance is neither complex nor serious,
and it just looks simple. At the same
time, by “dethroning the serious”, it
turns into a subversive strategy, setting
free non-hegemonic thoughts. As camp
was arising, and virulent strategy in
mainstream discourses, it seems like the
epic might be an equivalent mode of representation
for our times. The examples
above are my proof and evidence.
Keeping the subversive potential of
camp in mind, may the epic be another
subversive strategy? Something that was
always there, but right now turns into a
distinctive contemporary aesthetic, even
a phenomenon? The modus of choice
for avant-gardes? Epic kitsch might be
the suitable cure for the disease of an
evidently exaggerated life constrained
by rationality.
The paradox is obvious: the epic is
something already told, known and
commonly spread. At the intersection
of things known and unknown, the
epic mediates. As much as we want
to escape, we hope that these images
will affect our lives and our minds.
There is a craving for something new.
The epic is giving us the space for this.
More than escapism, it is guilty and
escapist pleasure. We want something
bigger, something nicer, something
more naive and at the same time more
aggressive. We are longing for realities
far away from things we see in daily life
and media. The appealing aesthetics of
the epic, thought in a more futuristic
manner, feed the hunger in our souls for
something new, non-retro, and nonrecycled.
Thinking epic, living epic, wearing
epic, walking epic, laughing epic, drawing
epic, cooking epic, smoking epic,
dancing epic... There is nothing, which
shall not be epic in our lives anymore.
Even though it is dreamy, irrational and
adolescent – this stance towards the
world will help to reveal hidden boarders
in our realities and can lead to new
ways of seeing things. At the intersection
of known and unknown, cozy and
uncanny, confusing and enlightening,
let the epic dethrone the serious.
Text by Kevin Junk

Photography: Kay Smith / www.kaysmiths.com
Fashion Styling: Gilles Clarisse
Model: Audrey Ruysschaert @ www.muga-model.de
Hair: Antoine Iter
Make up: Lila Guéant @ B4 agency PARIS
Location: PARIS
220
Opposite Page: Necklace: Topshop, Dress: All Saints, Bracelets: Hermès, Vintage, Boots: All Saints, Rings: Gavilane, Vintage

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Necklaces: Zara, Fashionology, Belt: Maison Martin Margiela

223
Shirt: Maje, Panties: Wolford, Necklace: Hardware, Rings: Gavilane, Vintage, Shoes: Zarae

224
Shirt: Eleven, Necklace: Maison Martin Margiela for H&M, Bracelets: Jean Paul Gaultier, Rings: Gavilane, Vintage

Rings: Gavilane, Vintage, Bracelets: Vintages
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226
Opposite Page: Necklace: Maison Martin Margiela for H&M, Leggings: American Apparel, Bracelets: Jean Paul Gaultier, Rings: Gavilane, Vintage

227

228
Sóley Stefánsdóttir, best known as Sóley is perhaps more well known for her collaboration with Icelandic artists Sin
Fang and Seabear, but it’s her solo project that I find most intriguing. Dusky piano chords set out the rhythms rather
than the drum beats of her electronic contemporaries and her dark yet colourful lyrical tales spin out over the
cloudy minor tones. Only discovering her singing voice properly for the first time a few years ago the naivety of her
vocals shines through but the lyrics themselves are a sophisticated narrative of a fantasy world inside her head, her
very own wonderland, that she explores as her ethereal instrumentation unfolds below. We were excited to hear that
she’s setting out to record her new album over the next year, so we got in touch to find out more….

Sóley
Interview by Amy Heaton
Photos by Inga Birgisdóttir
Album: We sink
Artist: Sóley
Out: NOW
KALTBLUT: Hey Sóley! Welcome to KALTBLUT. We’re
big fans of your sound! How did you start your solo project?
SÓLEY: Hey! So my first album Theater Island (EP) came out in
march 2010 on Morr Music. By that time I was touring a lot with
Seabear, another band I play in, and really not planning any solo
career! It all kind of happened, which I’m really happy about! So
after my E.P came out there was no turning back, took a little time
to suddenly be solo and my biggest fear ever was to sing alone on
stage. Times have changed, I sing on stage now though it sometimes
can be a challenge!
KALTBLUT: Going back to the beginning for our readers
who don’t yet know your album, can you tell us a bit about
your musical background, I read that you studied composition,
have you always studied music over other subjects?
229
SÓLEY: Yes kinda. I started in music school when I was four
years old playing this wooden flute that every kid needs to start
practicing on and at the age of 8 I started playing classical piano
which in my teenage years turned into playing more jazz music and
being in bands and stuff. In 2007 I was approved into the art academy
of Iceland studying composition, which helped me to become
who I am today but in a different way.
KALTBLUT: How does working alone as a solo artist compare
to being in the band with Seabear?
SÓLEY: Being solo is being your own boss. Being in a band is
being with a group and everyone has an opinion.
KALTBLUT: Is it a really different experience playing live
on your own then as opposed to with a band behind you?
SÓLEY: Since my project started I have had some people playing
with me so I haven’t really experienced being alone on stage apart
from few times but my main difference between being solo and
with Seabear is that while I’m solo I have to sing and talk between
songs and be the front type. When you’re not that person you can
just relax and play, haha!
KALTBLUT: It’s clear from your tracks that you feel quite
an affinity with the piano, is that your first and main instrument?
SÓLEY: Yubb, as I said I started playing piano when I was 8 and
I have this beautiful piano that my grandmother had and I love
playing it, though I stopped playing classical music I still play and
play and play…
KALTBLUT: Is it true you never really thought you had a
nice singing voice? We find that a bit hard to believe!
SÓLEY: I didn’t know how my voice sounded and I know that
my tone range is not very much but all you gotta do is practice and
that’s on my to do list, learn more singing techniques.
KALTBLUT: How about when you’re writing your lyrics, do
you draw on your own experiences or is it a more imaginative
process for you?
SÓLEY: It’s all something that pops into my head. I tried not to
use anything from my daily life and I think I’ll keep on with that
idea.
KALTBLUT: Where do you usually get the inspiration from
to start working on a new song?
SÓLEY: Some poems or maybe just a sentence that I see or hear.
It’s really random what makes me wanna write about. If I think of
anything nice/weird I try to write everything down so I can come
back to it.
KALTBLUT: It sounds like you create your own little world
inside your music, do you ever feel like that’s the case when
you’re composing?
SÓLEY: I try to think of the whole sound, colors and atmosphere
when I’m writing so if that’s where I’m aiming for I would try to
keep that world “in the making” process also.

KALTBLUT: How about your other
inspirations aside from music, what
would you usually be doing if you’re
not writing or touring?
SÓLEY: Oh, I hang out with my boyfriend,
friends and family. I go swimming
and running, I go dancing, I drink coffee,
make more music, read books and poems,
watch something nice, party a little and
chill a little more!
KALTBLUT: I really loved the track
“Smashed Birds”, and you use the bird
imagery quite a lot, is there a reason for
that?
SÓLEY: I love animals and I like birds,
they can fly!
KALTBLUT: What about recording
and producing your music, do you like
to stick to one special studio or do you
move around?
SÓLEY: I just moved into a new apartment
which has a garage. I am right now
working on making that garage a studio,
takes a while though, but I think I’ll work
my next album’s demos there and then
I’m just gonna see where life takes me!
Of course it would be cool to be in a very
good studio with great mics and instruments
but unfortunately it’s very expensive.
230

KALTBLUT: So would you prefer
to spend time at home writing music in
Iceland or be writing whilst travelling
away on tour?
SÓLEY: Home writing music, I’m not
really good at writing music while I’m on
tour. Well I write poems on tour and then I
come back home with tons of poems that I
can try to fit some music to.
KALTBLUT: You’ve been touring
around North America with Monsters
of Men recently, how’s that been going?
SÓLEY: It was fine. They are great kids
and it was lovely to hang around with
them! Concerts were big and I learned a
lot on this tour.
KALTBLUT: What about the most
amazing gig you’ve ever played?
SÓLEY: Few of my last year’s favorite
gigs were in Stuttgart, at Dockville Festival
in Hamburg and oh also in Brussels
at Palezein 12. And well I had a
great time at Iðnó during iceland
Airwaves!
KALTBLUT: Talking of live shows,
how do you go about playing your music
live (usually), do you prefer to keep
a simple set up?
SÓLEY: I’ve had a simple set up yes,
we are three on stage, me who play
keys, guitar, sing and do some loops,
Jón Óskar who plays drums and Albert
who plays keys and guitar. First it
was only me and the drummer but
I thought we needed a bit more
bass in the set so I added Albert
and I’m really happy with the
set up. It’s easy to travel with
and boys are great! But who
knows if I’ll add one more to
it… who knows…
KALTBLUT: How about
your music videos? They are
beautiful artworks. Are people
usually approaching you to
make them or are you reaching
out to the directors who fit your
taste?
SÓLEY: The video for Smashed
Birds was done by my friend Ingibjörg
Birgisdóttir. She won the “best video”
at the Icelandic Music Awards last year.
231
„I was just too shy to sing.“
Máni my friend did the video for Pretty
Face and a girl who contacted me who lives
in Holland and it was very random that I
answered her (!) came to Iceland and did
I’ll Drown video which was also her final
project in her art school in Holland. And
yes various people contact me about doing
videos or some have already done them
and I think it’s great to see how many people
are doing something with my music.
KALTBLUT: Your imagery surrounding
the album is also the same style,
you’re mixing soft graphics with your
photos, do you work on that yourself?
SÓLEY: I used to draw but I kinda
stopped doing that, don’t know why but
Ingibjörg Birgisdóttir she does the artwork
for me. Sindri my friend and her boyfriend
actually came up first with this idea of the
facepaint. I really like it.
KALTBLUT: What about the Iceland
Airwaves festival next year, it looks like
an amazing line-up! Are you excited?
SÓLEY: Sure, I love Airwaves!
KALTBLUT: Who else would you say
we have to check out there?
SÓLEY: For next year, I don’t think that
any bands have been announced but you
should just go for the Icelandic ones, I
think that is safe!
KALTBLUT: Our latest issue is based
all around the theme “ICE-LANDS”
and we’re all engrossed by the stunning
images of your native land! Do you feel
the icy landscapes inspire your music at
all?
SÓLEY: no… sorry… I don’t think so…
but it’s beautiful!
KALTBLUT: When would you say is
the best time to experience Iceland in all
its glory?
SÓLEY: July if you wanna camp and
travel around. Fall if you like fall. Winter if
you wanna see snow and be cold and dark
all the time… January and February are
hard to survive, so much darkness!
KALTBLUT: We’ve been overwhelmed
with how much beautiful music
comes out of the North in general, any
ideas about why that could be..?
SÓLEY: Probably the darkness… no…
I don’t know. Iceland? We have to do something
that is fun, we are stuck on a damn
island!
KALTBLUT: The image you’ve created
to accompany your music is a humble
one with no gimmicks, it’s great! Did
you ever play with the idea of creating
a character or pseudonym for your solo
project?
SÓLEY: Yes, and I’m still thinking but I
don’t give myself enough time to finish it…
maybe for next album!
KALTBLUT: You use social media in
a really personal way to connect directly
with your fans, do you feel like this is an
important part of being a musician these
days?
SÓLEY: Ya, I like it. It’s nice. If someone
that I like or adore in music would write
something from the heart I would definitely
“like it”! I think it’s an important way of
keeping in touch with fans.
KALTBLUT: What about for the future,
do you see any drastic changes on
the horizon for the second album?
SÓLEY: I don’t know, I’m about to start
and I’m very excited to see what comes
from my mind!
KALTBLUT: When can we hope to
hear it!? We hope not too far away.
SÓLEY: No… now is January, maybe in a
year? Maybe sooner?
KALTBLUT: And finally, will you be
coming to play for us in Berlin any time
soon??
SÓLEY: Nothing planned but I wanna
come at least once this spring! Love Berlin!
Thank you so much for taking the
time to answer these questions for
us and all the best for your coming
year!
www.soleysoley.com

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HEL
The
Goddess
Of
The
Underworld
- Photography -
LAURA PALM
- Model -
JANINE HENKES
- Hair and Make-up -
THEO SCHNÜRER @BLOSSOM
- Styling -
MADLEN UHLEMANN
- Assistant -
SWANTJE NEUBOHN
Fur by FENN WRIGHT
Body by PRINCESSE TAM TAM
Hat by GUIDO MARIA KRETSCHMER
234

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“You cannot light
separate
from its
shadow.”

Dress by VALENTINO SEEN BY TK MAXX
Skirt by SAVA NALD
Trousers by AUGUSTIN TEBOUL
Fur collar by GUIDO MARIA KRETSCHMER

Dress by GUIDO MARIA KRETSCHMER
Headpiece by STYLISTS OWN
237

Jacket by GUIDO MARIA KRETSCHMER
Dress by ASOS
Skirt by DSTM
Shoes by UNITED NUDES
238

Jacket by GLAW
Skirt by MONKI
Dress by FADE TO W BY WEEKDAY

Leathershirt by MUUBAA
Skirt by OAKWOOD
Long skirt by KILIAN KERNER
Collar by AUGUSTIN TEBOUL

Dress by WAREDROBE
Jacket by GLAW
Headpiece by RITA IN PALMAY
241

LUXURY
242
Photos by Marcel Schlutt
Model: Mimmi Symphony
Hair and Make up by Fleur Heullin
All scarves by Erfurt Luxury Accessories
www.erfurt.dk

243

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Photographer: MARKUS RICO Model: IRINAS d UNO BCN Models

246
Polly
Balitro
Text By
Amanda M Jansson
and
Emma E K Jones
w w w. p o l l y b a l i t r o . c o m

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Polly
Balitro currently lives in
Helsinki, Finland. She’s interested in
analogue image making, traveling, culture and
history and is especially inspired by the natural environment;
her works are mainly photographic series of places
that she visits and finds revealing and registrations of certain
moments and details that she encounters: natural sites are among her
favourite subjects and forests are definitely the places where she likes to
be the most - luckily there are plenty of them in Finland.
Forests are truly unique and special places for her: as soon as she enters them,
she becomes aware of the vegetation growing all around her, which is abundant
and overwhelming with smells and sounds, and she also feels the presence of
other living creatures that inhabit the trees and the bushes; sometimes she hears
these creatures calling and singing and sometimes she even meets them, but most
of the birds and other animals of the forest prefer to keep on hiding.
During her trips to the forest, she usually finds the traces and the signs that its inhabitants
leave around - like footprints in the snow or feathers - and she occasionally
meets some birds, such as coal tits, black birds and even woodpeckers, but
she very rarely has the time to photograph them and she never spots more than
a few at a time.
In her collages, the photographs she takes in the forest become suddenly
populated by various species of birds, which gather together - as
if they were chatting to each other - and don’t seem to be scared
by her presence at all. She likes to think that, every time she
walks deeper into a forest, the clearing she has just
passed immediately fills up with animals looking
at her leaving.

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Storm
Photographer - Mika Ceron - www.mikaceron.com
Styling - Biki John - www.bikijohn.com
Hair and Makeup - Wiebke Olschewski - www.basics-berlin.de
Using for Hair - Kiehls and Makeup - MAC cosmetics
Models - Dalia Günther from Model Mangament, Hamburg and Lukas Ziegele
Post Production - Mika Ceron and Federico De Luca (DIAZO)
Casting Director - Oliver Ress (Artform Group)
Photographer Assistants - Minatha Condé, and Angela Hechtfisch
With very special thanks to
Studio Berlin - www.studioberlin.eu
Props Equipments - Objets Trouvés
Dalia wears
Black lace dress - Fade to W, Black corset belt - Dawid Tomaszewski, Black leather roses headdress - Augustine Teboul,
Blue/Green Necklace - Weekday, Black leather and velvet gloves - Dawid Tomaszewski.

251

252
Lukas wears
Chainlink necklace - Shokay, Blue jeans - Cheap Monday, Navy jumper- Kilian Kerner,
Blue loafers - Levi’s Footwear.

253
Dalia wears
Black dress with metal embellishment, Black and copper shoes , Black Gloves, Black leather Belt - Dawid Tomaszewski,
Earrings - Vintage, Pink rose bracelet - Sabrina Dehoff,

254
Dalia wears
Green dress, Black leather trousers - Dawid Tomaszewski, Black belt and gloves - Dawid Tomaszewski,
Black peep toe patent shoes - RENO, Blue/Green necklace - Sabrina Dehoff.

255
Lukas wears
Beige knit scarf, Chainlink necklace - Shokay, Beige bomber jacket - Soulland,
Blue jeans - Cheap Monday, Blue loafers - Levi’s Footwear.

256
Lukas wears
Chainlink necklace - Shokay, Mustard leather puffer jacket- Kilian Kerner,
Brown jumper, Mustard trousers - Kilian Kerner, Brown loafers - Levi’s Footwear, Bracelets - Model’s own

257
Dalia wears
Necklace - Sabrina Dehoff, Pink rose bracelet - Sabrina Dehoff, Beige sheer top - ep_anoui by Eva Poleschinski,
Beige sheer skirt, Beige Swarovski leggings - Dawid Tomaszewski, Silver and beige shoes and belt - Dawid Tomaszewski,

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Dalia wears
Blue and Green necklace - Weekday, Ring, Spine ring - Bjørg, Pink rose bracelet - Sabrina Dehoff, Lace body - Stylist’s own,
Black transparent dress, Black belt, Black leather jacket - Dawid Tomaszewski, Black gaiters - Augustin Teboul, Black peep toe patent shoes - RENO.
Lukas wears
Grey and pink scarf, Houndstooth jacket, Black jumper - Marc Stone, Black jeans - Weekday, Blue loafers - Levi’s Footwear.

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Nicole Sabouné
We were first captured by emerging Swedish starlet Nicole Sabouné when she released her debut single, “Unseen footage
of a forthcoming funeral” back in the Autumn. Composed by legendary rock vocalist Ola Salo (The Ark) who also mentored
her through “The Voice Sverige”, the track is oozing with feminine post-punk energy which perfectly showcases her
stunningly husky vocal. If that wasn’t enough, when we watched the tasteful music video from talented Swedish director
Mads Udd (also featured in this very issue) we had no doubt that she was on the road to a successful musical career and
had to grab her for an interview. So here she is, let us introduce you to Collection 4’s newcomer, Nicole, as she starts recording
her very first album….
Interview by Amy Heaton
Photos by Viktor Flumé
www.nicolesaboune.se

KALTBLUT: Hey Nicole!
Thanks for taking some time to
talk with us. Can you tell us a
bit about your musical background
first, how long have
you been singing for? Was it
always a dream of yours to
become a musician?
NICOLE: Music has been a big
part of my life since I was a child.
Not only that I sang all the time,
music was a world full of freedom
and a room that I could escape
into whenever I wanted. And it’s
still like that. Music is my best
way to communicate and I feel
that I am understood when I use
music and words. So to be able to
create and work with music today
is a dream come true!
KALTBLUT: So did you already
have a plan for your music
before your success on “The
Voice Sverige”, or was that
really the beginning for you?
NICOLE: The Voice was absolutely
a door into the music industry
but I moved to Stockholm two
years ago to focus on my music
and to find a way to grow within
my writing. So my plan and dream
has always been to be an artist.
KALTBLUT: What about your
experience with the show?
What made you decide to
apply?
NICOLE: My song coach
recommended me to the show.
They called me up and asked me
if I wanted to apply, I checked
who would be in the jury and saw
Ola Salo’s name, and decided to
go for it. He was one of the big
reasons that made me apply. And
I will never regret it! It was a
fantastic experience and I learned
a lot, and I met Ola. It means a
lot to me.
KALTBLUT: How about your
song choices on there, big
challenges like Florence and
he Machine, Robyn or Kate
Bush must have been a bit
nerve-wracking right?
NICOLE: Yes, absolutely! I
always think it’s hard and tricky
to sing other people‘s songs. It’s
interesting to do it, but hard. The
artists have a world they want
to share with their lyrics and
melodies, and it’s hard to get
inside someone else’s head to see
what the song actually is about for
them. So the challenge was to play
around with the idea of the song,
get a story of my own, and do my
best to make that story show. But
nerve-wracking? YES, haha!
KALTBLUT: Your mentor Ola
Salo loves you to bits and has
even composed your first single!
How was it working with
him? Did you learn a lot?
NICOLE: Ola is now a part of
my world and he’s the person I
trust the most in this. To write my
first single with him was wonderful!
I am still working with him on
a few more songs, and it’s great!
We work very well together with a
clear and straightforward communication.
KALTBLUT: Do you ever do
some composing of your own,
or do you prefer to work with
other people making music that
fits your vocal?
NICOLE: Yes, I do! I love to
write and compose. I also love to
write with others. I feel that I need
to be involved in every song and
every story. And if I write with
someone else or by myself doesn’t
matter as long as I can stand
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for every word and every note I
sing. Co-writing with others is
interesting because you get more
perspectives and some songs need
that.
KALTBLUT: What about
singing in English, does it feel
natural? Do you ever think
about making some tracks in
your native Swedish?
NICOLE: I have always imagined
my music in English. It suits
my emotions and my thoughts. So
I never think I decided between
Swedish and English, it just turned
naturally into English. My dad is
French and he spoke English with
me when I was little, so I grew
up with that language too and had
a lot of emotions connected to
English words even then. Languages
are fascinating! And who
knows, maybe I’ll start to write in
Swedish, some time when it feels
right..
KALTBLUT: You have a great
vocal range, must make it
really interesting to record you!
Where do you feel more comfortable
and expressive? Up
with the sopranos or something
in the lower octaves?
Single: Unseen footage from a forthcoming funeral
Artist: Nicole Sabouné
Out: NOW
NICOLE: Oh, Thank you so
much! It’s a good question. It depends
which song I sing, I think. I
love to sing in the lower octaves, I
feel the singing in my whole body
when I hit the low notes and it’s a
cool feeling.
KALTBLUT: We love the
energy coming through in the
single, somewhere between the
lo-fi rock ‘n’ roll of the 1970s
and 80s post punk. Has this
always been the kind of music
you listened to? Who would
you say are the artists from these
eras that most inspire you?
NICOLE: Thank you! It’s hard
to say ‘always’. Just like the clothes,
I’ve had different periods in
music too but rock has been with
me the most and it’s that kind of
music that I started to feel a real
and true connection to. My dad
played Pink Floyd in the car when
I was little so I grew up with rock
as a central piece in my choice of
music. But it was when I heard
David Bowie for the first time
that I realized what music really
felt like and how it affected my
soul and mind. Bowie became my
house god among artist like The
Velvet Underground, Patti Smith,
The Clash, Sex Pistols and The
Doors….not far from that I got
“Transmission” by Joy Division
sent to me by a friend, and since
then; I’m stuck! Ian Curtis has
taken a place among the house
gods too. So it’s a lot of 70’s and
80’s music in my speakers. But I
also listen to new bands like The
Vaccines, The Drums and DIIV.
Music is so much fun! There are
so many different worlds to find a
place in…
KALTBLUT: We posted a
piece on our website about
the music video back when
it was released, how did you
go about creating the concept
with Mats? Did you guys get
on well working together?
Was it fun to make?
NICOLE: Mats is a fabulous
director and we worked very well
together. He really listened to my
idea about the old archive clips
and created a room for it so people
could relate to the song and experience
a journey of weirdness,
hehe. We sat a whole evening just
to pick out what clips we wanted
to use. It was so much fun and we
laughed a lot. He’s really good! I
hope he wants to work with me in
the future too!

KALTBLUT: Do you reckon
your first album will stick to
this sound and image then? Or
do you have any other ideas in
mind?
NICOLE: “Unseen Footage
From a Forthcoming Funeral” is
the best presentation of what you
can expect from the album. I will
stick to the post-punk vibe, with a
mix of 70’s rock n’ roll and some
songs have more melodic melodies.
It’s a mix of what I like the
most in music. So exciting! Hope
you’ll like it!
KALTBLUT: For an emerging
artist it’s always a rollercoaster
ride through the first year..
Which would you say you find
more exhilarating so far…the
pressure of a studio recording
or the adrenaline of a live
show?
NICOLE: The live shows
for sure! I love to be on
stage and see the people
I sing to, and I love my
band. They are great
musicians and
true post-punkers! Hihi!
KALTBLUT: How about connecting
with your new fans?
Does it ever feel strange to be
suddenly in the public eye?
NICOLE: It’s overwhelming
to hear beautiful words from
someone who’s really into what I
do. I never think I will get used to
that. I’m so grateful! But I don’t
think of it as I’m in the public
eye, I think of it as I invite people
to be a part of my world and they
can stay if they want or leave if
they want.
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KALTBLUT: You’ve created
quite a strong dark image, lots
of black! Have you always
had a darker style and taste in
fashion?
NICOLE: It feels like I had
every style in the world before I
really knew what I felt comfortable
in. I think I needed to go
through a lot of different periods
of my life to find what I liked and
how I wanted to present myself.
It comes with age I think. Clothes
for me are a part of my personality
and I see them as a way to
make myself feel safe in my body
and mind. And I love black, it’s a
fascinating colour.
KALTBLUT: Do you enjoy
doing photo-shoots and experimenting
with your image
too? All the make-up, hair,
amazing clothes…lighting,
must be like a dream,
right!?
NICOLE: It’s always
fun to experiment!
I don’t
wear a lot of
makeup in
private, and I
don’t spend
a lot of time
on my hair,
so it’s fun
to work with
creative people
in those kinds
of situations.
But I will never
do something
that doesn’t feel
a hundred percent
me. To be on
stage is my dream,
and everything that
comes with that is a
great bonus.
KALTBLUT: Our
upcoming issue is all
around the theme “ICE-
LANDS” - Do you feel
the cold climate intensifies
the emotion in
your music?
NICOLE: I definitely
think that the environment,
the weather and
the people affect me.
Not only in music. I
like the time of the
year when it gets dark
outside early and I
like to write when
it’s dark. But some
songs have to be
written when the
sun hits my face. Some things
are said in sunlight and some
things are said in the dark. The
challenge is to capture the words
and the feelings when they come
around. That’s why I feel that it’s
important that I get a change of
scenery sometimes so I get some
perspective.
KALTBLUT: If you could live
anywhere other than Sweden,
where do think would suit you
best?
NICOLE: Hard to say. I can
only relate to the places I’ve been
to, but I think London would suit
me. The indie rock culture and the
history over there really inspires
me! Many of my friends tell me
to go to Berlin, and I have to go
because I’ve never been there.
Only seen some beautiful pictures
of art and music. I love to travel
so hope my music takes me all
over the world!
KALTBLUT: You’ve been
getting lots of great feedback
from the media in Sweden and
it’s spreading further afield
now too! What would you say
has been your most surreal or
amazing moment of the year?
NICOLE: To release the single
for sure. It feels like my newborn
child that I have to take care of
now. It’s an amazing feeling.
KALTBLUT: So are you
happy with how things are
working out? What are your
plans for the coming months,
shows/a tour?
NICOLE: I’m super happy! The
plan and vision for these coming
months is to finish my album and
take one day at the time from
there! This is my first album so I
really don’t know what to expect
from this situation but I’ll try to
be a part of this reality and grow
as much as I can.
KALTBLUT: Thanks again for
having a little chat with us. We
wish you all the best for your
bright future ahead and look
forward to the album!
NICOLE: THANK YOU! I’m
so happy that you like my music
and it’s a pleasure to be a part of
your amazing magazine! I wish
you all luck with your work and
hope to meet you in the near
future. All my Love, Nicole

263
„
The artists
have a world
they
want to
share.

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Svalbard
Photography by Christian Aslund
www.christian.se
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Katrin Berge.
Katrin Berge is a true artist and her illustrations
are just pure magic. With a
Bachelor and a Master degree this
young Norwegian surely deserves all
the attention she gets. We made her
tell us all about Northern Mythology
in her work, what it is like drawing
your own home, emotions and how
surrealism is present in every day life.
Interview by
Amanda M. Jansson
and Emma E.K. Jones

273

KALTBLUT: You use a lot of “magical stuff” in your work,
has the northern mythology influenced your art, and if so,
how?
KATRiN: Northern mythology has definitely influenced my art in many
ways, consciously and unconsciously. I grew up with fairytales by Asbjørnsen
& Moe and Theodor Kittelsen which I was fascinated by from
an early age. The surreal elements in my drawings often emerge from
an intuitive state of mind and the things that I especially like to draw at
that time. I can be influenced by music, a trip to the mountain, a really
beautiful book and so on. I rarely know the outcome of the drawings I
make - they emerge bit by bit. I think it‘s difficult to have 100 % control
of what I make, maybe that is what makes it so much fun to work with?
KALTBLUT: What is the shortest and what is the longest time
you ´ve worked on a sketch/drawing?
KATRiN: The shortest amount of time I‘ve used on a drawing (I rarely
make sketches) is perhaps three hours. The longest is maybe 50 hours on
one drawing where I struggled a lot with a complex composition and a
lot of elements. I used the eraser diligently on that drawing, and I did
a good job with covering all of the mistakes. I almost ripped apart this
piece of artwork, but in the end it survived my anger and frustration!
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KALTBLUT: Blank faces, you use this concept quite often,
what does it mean to you?
KATRiN: Facial expressions reveal a lot of our emotions and state of
mind, and when we‘re not able to see a person‘s facial expression in
any given situation we become very curious of what kind of answers the
faces are hiding. Blank or partially blank faces is a way of mystifying the
characters and make the viewer curious and looking for answers in other
elements than the face. We learn to interpret facial expressions from a
very young age, so we rely on them telling us a lot about a situation, but
sometimes you have to look for other ways of expression and answers.
KALTBLUT: How did you start working on this kind of
drawings?
KATRiN: The blank faces appeared more and more in my drawings
a few years ago, and I honestly don‘t quite remember how it started...
I especially remember one drawing where I covered up the faces of five
children around a beetle on a box because I wanted the children to have
a mysterious appearance and force the viewer to look for answers in
other things than facial expressions. I remember that it was so much fun
to just show parts of their faces and put more emphasis on the strange
elements covering the faces. I think it was here it all started with the
indistinct appearance, and it has become a part of my expression up
until today.
KALTBLUT: Most of your works are pretty surreal, surrealism
always hides a secret meaning and tries to state something,
what do you want to say through your art? What would your
sketches/drawings say if they could speak?
KATRiN: Perhaps I want to say that there are not always answers to
everything we want to know. We have to wonder and make up our own
theories in both small things and big things in life. I can‘t and I won‘t
give my viewers all of the answers in my art, it is made for wonder and
mystery, questions and secrets.
KALTBLUT: What kind of equipment do you use? Do you
have some favourite ones? Like some kind of pencil you
prefer the most etc?
KATRiN: I use a lot of mechanical pencils and I have several different
ones besides regular pencils. I use leads with thickness from 0.3
up to 0.7 with different degrees of soft- and hardness. I especially
love the mechanical pencils from KOH-I-NOOR HARDTMUTH.
They have the most wonderful tools for drawing and artwork! I‘m
considering purchasing a mechanical eraser, but I‘m worried I
would never use it anyway, it‘s just a fun geeky thing to have. I
visit every art supplies store when I‘m traveling, like any other
geek would!
KALTBLUT: if you had to draw your city/country,
What would the drawing look like?
KATRiN: The cities would probably be overgrown by wood
and overcrowded by wild animals and birds which represent
Norway. Such as deer, fox, wolf, rabbit, otter, weasel, owl
and eagle – all of them typical animals in the Norwegian
fauna. And since I especially love to draw the wild animals
these would represent Norway in a rich and varied way
where each animal has its own purpose and qualities in nature.
The cities and traffic is slowly taking over areas where
wild animals live and threatens more and more species, so I
guess my drawing would be a protest against this.

275

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Facial expression
reveal a lot of
our
emotions.
“

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KALTBLUT: Do you prefer drawing people, animals or insects and why?
KATRiN: I have to say a mix of these because they are all interesting to draw in different ways. What I love to draw about people is the clothing with
nice textures and interesting patterns that I often create from my mind. I love to make simple and subtle geometrical patterns in clothes that look a bit
old fashioned. I love to draw haircuts that look combed and proper – „hipster haircuts“ is perhaps what one would call them today? But they were hip
in the early 20th century too! Insects are fun to draw because they are so different from humans, a little sci-fi I guess!
www.katrinberge.com

Earring – Camila Klein
Dress – Cholet
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BETWEEN
HEAVEN AND EARTH
PHOTOGRAPHER
FASHION EDITION
BEAUTY
MODEL
PHOTO ASSISTANT
BRUNA CASTANHEIRA @ABA MGT
MAURICIO MARIANO AND ALESSANDRO LÁZARO @ABA MGT
LIEGE WISNIEWSKI USING GUERLAIN
ELLEN PINAFFI @ WAY MODELS
NATÁLIA CANESHIRO

Dress – Casa Juisi
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Cape dress – Cholet
Dress – Daniele Mabe
Rings – Camila Klein
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Cape – Casa Juisi
Dress – Antix
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Earrings – Camila Klein
Dress – Lia Souza
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Blouse – Casa Juisi
Lace blouse – Agatha
Skirt – Pat Bo
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Necklace worn as a craw – Camila Klein
Dress – Tigresse
Bra - Darling
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Necklace – Camila Klein
Dress – Saad
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Blouse – Casa Juisi
Shorts – Tigresse
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How the Northern Lights
took over the world.
Text & Illustration By Amanda M. Jansson and Emma Elina Keira Jones
As it is today Icelandic, Scandinavian
and Northern Art is literally everywhere
to be found and with it
goes all the culture and the spirit
of the North, because in one way or another
Scandinavian art and design is deeply
rooted in magic and mysticism and the
special aspects of the country itself, no
matter how clean or modern it might
seem at times. If you think that all the
geometry and innovation coming your
way has nothing to do with Valhala and
Thor and fairy tales of old, frozen land and
endless woods and all that, think twice.
If you‘ve ever been to one of
these Nordic countries, however,
you will know that the
true spirit and heart of the
North are still alive and
breathing and this is probably
what makes their
art so popular.

289

First of all we need to look into the background of all
these countries who differ widely yet do have enough
in common to be considered a bunch. What makes
Scandinavian art Scandinavian art? First of all, geographically
speaking, we are talking about vast fields and mountains
and woods, surely not densely populated and pretty much
cut off of the rest of the world. We are talking about endless
winter nights and midsummer nights, ice and wild seas, strange
lights and strange colours. Then, culturally speaking, there are
goblins and trolls, witches and fairies, heroes and gods, all of
them stemming from the same mythology, affected by the land
itself and the dark imagination of its inhabitants, rough and
tough people who used imagination, colours and simplicity to
get through the struggles of every day life.
If you look at the work of all great Icelandic and Scandinavian
and even Baltic artists what is the first thing to strike you? You
can guess, without looking. Nature. Endless wild landscapes.
Animals, snow, lakes, sea, ships,
forests. One must not forget
how nature and its riches
had been the only means
for the Northern people.
Yet, all that, is
definitely also the
perfect setting
for all the
fairytales
and
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mythological creatures native to these lands. The power the
forces of nature had over people in this northern isolated part
still remains today, partially. When myths speak of enchanted
woods like Járnvid, home to every creature associated with
the North -trolls, giants, witches- and of ash tree gods, brook
horses emerging from the fog, and wolves like Skoll and Hati
chasing the moon and the sun, and finally everything ruled by
the most famous tree ever -The Yggdrasil, it is not possible to
ignore this. Painters like Marcus Larson, Anders Zorn, gustaf
Fjaestad, Peder Balke, Hans gude, are some of the dozens of
artists who could not resist the animal symbolism and the wilderness
of their home countries and incorporated it into world
famous paintings.
OK, to be honest, another thing that always comes to mind
when speaking of Scandinavian and Icelandic art: creatures.
And not just their ghosts haunting these beautiful landscapes,
but the actual creatures. Mind, one of the most famous story
tellers, Hans Christian Andersen is Scandinavian and a little
mermaid is all many people actually know of Copenhagen. Yes,
hairy and slow trolls, forest maidens and seductresses, werewolves,
dangerous but also friendly mermaids who can see into the
future, longnosed witches of the woods or domesticated vicious
ones, cats with superhuman powers, music playing fossegrimen,
shapeshifters, ghosts of dead sailors, dwarfs and giants,
and beautiful elves , even dragons and worms. When paganism
and folklore is so rich wouldn‘t you be tempted to draw some
inspiration from this infinite pool? John Bauer remains
one of the most well recognized illustrators, same goes
for Theodor Kittelsen and Nils Blommer.
Now as time went by, and even though these
parts of the world still remain the most
Pagan ones, for sure, the Northern tribes
were faced with modernism, modern
life, industrial revolutions and all the forces
and trends from the South. This would have a
tremendous impact on people whose whole life was
the old ways and whose mythology was interwoven
with fact. The result of such a clash was evident in Northern
art. A world that is surreal to them as it was to the rest
of Europe, a world that fills the artists with agony and despair,
having lost faith in many of their given values. Spectacular
artists emerge. Pioneers, like Edvard Munch whose screaming
man has become a symbol for mankind. Or Sigrid Hjerten
whose bold canvases helped reinvent Scandinavian art. Or Eugene
Jansson with his bold nudity, the first openly homosexual
painter when being gay was still illegal.
By now, you will have recognized parts and pieces of Scandinavia
and Iceland all around you. One of the biggest elements of
Northern art is just about to be revealed though: bright bright
colours. It is impossible you have never noticed the feast of colours
when you are dealing with anything Icelandic or Scandinavian
in the broader sense. From places so dark, coming such
lively colours and shapes, would seem odd or actually would
seem totally expected. People needed to bring colour into their
lives and that‘s just what they did. Think of how Iceland is covered
in ice for such a long period of the year. Think of the dim
lights, of the Aurora Borealis. And then also think of the crazy
geometric shapes and the colours of folklore costumes of the
North. Doesn‘t it all fall to place? People create what they need
most. Like Asgrimur Jonsson, or Svavar gudnason with their
explosive use of colour, or Josef frank with his clean patterns.
Having read this you will hopefully have understood how an
area of the world so lonely, isolated, cold, and mystic has come
to invade everyone‘s hearts and everyone‘s homes, especially
when it comes to art and also design in a way. It is because all
these contrasts and secrets are simply irresistible.

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There are many many things Sweden is known for. Some of them are
the beautiful girls, „Swedish porn“ (most of the time made somewhere
else, perhaps in a basement in Brooklyn, but hey, there is
always a blonde wig to use and a sausage like in Fäbojäntan), our
nudity, clothes that all look the same from ACNE and Whyred,
August Strindberg, radical feminists, polar bears walking in the
streets (and it´s just a myth), Björn Borg, ABBA, Swedish meatballs,
the chef from the muppets and finally our depressing movies.
I guess every Swedish film maker wants to be the new Ingmar Bergman.
To live in Sweden is alright. It´s really dark and cold in the winter, so you
become melancholic or depressed easily, just get seized by this melancholic,
depressing mood in a second and then the summer just rains
away to the sound of pouring rosé wine.
You get depressed because you´ve got really nothing to be depressed
about, or at least that is what most Swedish film makers would like us to
think.
Swedes call it „Radhusångest“. A radhus is an ordinary house that looks
just like all the rest on the same street, the type of house that Malvina
Reynolds sings about in „Little Boxes“ on The Weeds-jingle. Ångest is
just angst. Ordinary fuckin‘ angst.
Everyone‘s got their luxury issues going on and I just wanna scream
AAAAAAAHHHHHH when I see one of those boring, melodramatic films
CAUSE EVERYTHING IS TOO ALRIGHT! Where is the intrigue? Where
is the background story? Where is the drama? Should I relate to all that
bullshit about your life is being a mess and the only reason you´re life is a
mess and you´re depressed is you having a 40 years old midlife crisis and
nothing ever happens to you except from feeling guilty cause you fantasize
about sleeping with the neighbour just to feel alive?
Are we so just alright, just fine, just so ordinary, that we have to complain
about how ordinary our lives are? Everything is filmed in a light that
makes you think of abduction more than anything else. Or someone just
sitting and staring out of the window with empty eyes to the sound of
rain drop indie. Well, true, it is a fact: If you‘re making a comedy you will
never win one of those prestigious prizes they give out at indie film festivals.
Your movies have to be dark and complicated but totally uncomplicated
in the background. All you need to remember is if you´re writing
about a happy happy joyful reality it is just not OK on film.
So, every Swede I know hates Swedish movies and nobody wants to
watch them because of all the cliches. We laugh at the miserably drunk
like in Sällskapsresan (Lasse Åberg, 1980) and at people characters
representing the stereotype we´re so afraid to be. The Svensson. The
Average Jones type. The ordinary guy sitting next to us on the bus (OK
not next to us, more like five seats behind us because here you don´t sit
next to someone on the bus if it´s not filled).
But here we also have something we call „Jäntelagen“, it´s the idea of
believing that you are not better than anybody else. You should never
think you are somebody special and if you say it out loud, well, then
you´re just a braggart. Lets keep that in mind as well.
What I miss in Swedish cinema are real scripts of real problems.
Perhaps you still wanna give it a try though.
Do you have Radhusångest?
A GLIMPSE OF

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SWEDISH CINEMA
by Charlotte Signell
Photo by www.flickr.com/photos/ichimusai
My top 5 Radhusångest movies:
Sånger från andra våningen (Roy Andersson, 2002)
Vuxna människor (Felix Herngren and Fredrik Lindström, 1999)
Farväl Falkenberg (Jesper Ganslandt, 2006)
Flickan (Fredrik Edfeldt, 2009)
Äta sova dö (Gabriela Pichler, 2012)

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NOW
HITE 2.0
Design & Styling: Aynur Pektas
Make Up: Kristina Loos
Hair: Milko Grieger
Photographer: Patrick Styrnol
Model: Marijana Jurcevic @Brodybookings Stuttgart

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Jacob
Jacob Felländer is one of our favourite Swedish artists, no doubt. He is famous for his collections of
really large scale abstract photographs of cityscapes but also landscapes around the world in magnificent
double exposures. He has a degree in Fine Art photography and Graphic Design and began experimenting
with landscape photography in the late 90s. He talked to us about the similarities of big cities around
the world, how it feels showing his work and basically just everything.

Felländer Interview
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by Amanda M Jansson and Emma E K Jones

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„
Differences
or
similarities
depend on the context.
“

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KALTBLUT: You’ve been to many places. How different and how similar
were they? What where the similarities and differences between
them?
JACOB: Differences or similarities depend on the context, photographing
is one thing, the people another. going in one lap around the
world makes me see similarities mainly. A stock broker in New York
City has the same problems and dreams as a taxi driver in Bangkok.
Traveling and photographing sometimes feels like going through the
same country, only with different scenery and colours. It makes me feel
human kind is all one. Sounds like a Miss Universe speech, but everyone
actually had the same things to do daily, everyone worried about
the same things, about money or if they had money then about time.
Same problems, same joys. In terms of photographing I chose places
that actually look alike a lot. In a way it‘s almost like large cities are 1
country all over the world.
KALTBLUT: Has Sweden influenced your art and if so, how?
JACOB: I don‘t think so. The rest of the world has. Sweden is like a
blank canvas. A good place to leave from. A good place to start from.
The rest of the world is inspiring to me. The journey around the world
but also inside myself.
KALTBLUT: You shoot both cities and landscapes, what are the major
differences for you? How do you approach each?
JACOB: No difference for me, at all. Sometimes I just feel like making
something pretty in nature and then something dark and dense in the
city.
KALTBLUT: You have published three books, what is most important
to you when you are putting together a book and what is the last book
about?
JACOB: My images are very very large so it‘s hard to carry them
around. A book is good for showing. What is important is that the
images are well represented. My latest book “Anatomy” is only black
and white. It is also in multiple exposures like the rest of my work and
comes in a cool box with my name on it.
KALTBLUT: You often speak about time, why is this concept so important
to you?
JACOB: Time is an aspect of photography. Like with painting, photography
is all about space, light, and time. Where you are, how much
light you let in, and for how long you let the light into the picture.
Usually a photo is a moment frozen in time and history. My pictures
are more like a film actually, because they are many different moments
in time. For instance, a picture can be a flight of 15 hours, from Los
Angeles to Hong Kong. While producing one single image, time shifts,
you cross time boarders.
KALTBLUT: If you had a time capsule which era would you like to go
back to or forward and why?
JACOB: I don‘t know. It depends on whether I get to be me or someone
else. As myself, being a white male, I could get away with pretty
much anything, during any era in history. It hasn‘t always been so fortunate
for women or black people and so on. I guess I would choose
the 60s. Late 60s. Lots of art took place back then. Lots of big steps
forward in art and music were happening. Much more was going on
than now really.

KALTBLUT: What cameras do you use and how
did you come to experiment with them in the first
place?
JACOB: I use all kinds of cameras. Different one
for every image. An old Polaroid camera is one of
my favourites, film cameras, a Mamiya, an old Leica.
I experimented a lot and through experimenting
you always discover something. Through experimenting,
you make mistakes and this is the only
route to discovery. Some of the greatest inventions
were all about experimenting and accidents.
KALTBLUT: Have you been influenced or inspired
by the work of some other photographers or
artists or a movement?
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JACOB: Yes. A lot. Many people have influenced
me. A very interesting photographer I had discovered
in the beginning of my career is Robert
Frank. Then while studying, there have been some
great teachers who have been truly inspiring for
me. I love photography a lot in general, and well all
types of art and music inspire me.
KALTBLUT: How has Stockholm changed
through the years? (in every day life but also in art)
JACOB: I don‘t know. I lived in the States for 8 years
and when I got back here it was difficult to tell
how much of all the change had happened inside
me or around me. Had I changed or Stockholm?
What‘s me and what‘s Stockholm?

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KALTBLUT: So many people are talking about
your work worldwide…how does it feel? Did you
expect this?
JACOB: I don‘t hear people‘s conversations, so I
don‘t know how many talk about my work, or who
it is, and what they say. I love consuming art, we
are consumers in a way. For art lovers to consume
someone must produce stuff. It is my responsibility
to produce works, this responsibility is what makes
it worth it. I keep producing and consuming. I
wouldn‘t know people in greece or anywhere else
are talking about me, so I don‘t know how you or
anyone views it. By producing and exposing your
art you become subject to other people‘s opinion.
Some part of me wants to be pleased, my ego needs
to hear it‘s good, but there‘s part of me that really
doesn‘t care at all. It‘s not always good to hear only
good things, some artists like Van gogh were not
necessarily acknowledged at first. In fact, naming
art good or bad is a threat to art. You need to take
these labels away so you can experience it. We are
trained to have an opinion on everything and that
stops us from really experiencing things.
www.jacobfellander.com

Selected by Nicolas Simoneau
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BERLIN‘S
Best

One of the first things that came to my mind when
I thought about Ice-land is the SAUNA. You know
I always picture naked people taking these hyper
warm baths in the forest..I wonder where that comes
from. Maybe it‘s time for me to have a serious chat
with my father.
Anyhow, I digress. Let‘s get back to talking about
saunas. My ‚little‘ issue convinced me to give you
some tips and talk to you about the best places to go
for a good sauna in Berlin.
But before I get into this, did you notice how we
all love going to the sauna but that nobody really
knows how to do it properly? That‘s why I‘m going
to explain it to you, and then you‘ll be ready to go
sweat out all your stress and worries.
Try this method first, and once you have, you can
always adapt it to your tastes:
1°Start by taking a shower. This helps to keep the
hot room clean.
2°Enter the sauna and sit on the upper bench. You
may want to use a small towel to sit on.
3°Sit back for a few minutes and let the heat permeate
your body and open the pores of your skin.
4°You may adjust the air moisture by throwing water
on the stones of the heater. The steam will make
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the room feel hotter.
5°Go for a cold shower and relax a bit before you
come back
6°You may go back to the heat a few times, taking
your time to relax and enjoy the warmth.
7°Finally shower to clean yourself from the sweat.
8°Allow yourself to cool and dry properly before
putting your clothes back on.
Complete the sauna with a peaceful rest and a drink.
To get the most of your sauna session, you will need:
At least half an hour, preferably an hour or more, so
you have ample time to relax.
A large towel to dry yourself
You may also want to consider these:
A smaller towel to sit on
A moisturising lotion for after the sauna
A bathrobe to wear while cooling down
Flip-flops
Illustration by Alexandra Vial
www.funghii.com
Ready? GO!
By the way if you want to go in your birthday suit,
go for it, we are in Berlin after all, the city of the
FKK (Freikörperkultur).

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if you want to be selfish, don‘t hesitate to indulge in a
guilty pleasure : this is definitely the thing to do.
LUXUrY is the first word that comes to mind when
i think about this place. When you‘re there, it is just
somehow like you were cut out from the rest of the
world. First of all when you arrive at the Soho House,
you need to go down to get to the sauna. Once you
get there it already feels like your mind is letting go,
submerged in an ocean of peace and quiet.
You will have a private bathroom, where you can
change, the lockers are electronic so no need to cary a
key around. Everything has been thought of for your
own comfort. So first let me talk a little bit about the
private bathrooms: These are just HUGE, of course
you‘ll find a shower with an assortment of Coswed
products for your hair, your body, the full experience,
Yes Sir - Ma‘am!
Once you‘ve changed into something more comfortable,
you will enter a little space with a HUGE sofa
that can fit in at least 10 people, easy. There are magazines
if you feel like you want to chill and relax for a
while.
This place is basically the room that separates you
from the sauna. it‘s cosy, and the atsmophere is so
smooth, it almost feels like your whole body is wrapped
in cotton wool.
Here you are in the sauna. When you finally go in,
take a minute to look around you: the place is beautiful,
with tiled floors everywhere.
Two big separate places, one sauna and one Turkish
bath / Hammam. What struck me was the smell of
this place: it smelled incredibly good, i can‘t explain.
The whole atmosphere feels like something out of a
fairytale: the light is really soft, and in the middle of
the room there is this cute little fountain if you want
to wash your hands...
And here‘s the cherry on top : if you do not want to
relax with people all around you, that‘s not a problem,
there are 3 little private salons where you can
read and chill all by yourself if that‘s what you‘re
into. You can have your privacy thanks to a velvet
curtain, and then it‘s just you and no one else.
COMPLETE SiLEnCE. i could have slept there if
i wanted too. The only drawback is, everything feels
quite boxy and tiny, so that if there‘s more than 10
people you might feel crowded and uncomfortable.
Price:
20 euros for a day pass but seriously you‘re not gonna
stay the whole day there, i mean i wouldn‘t, because
quite frankly i get bored at some point.
Be selfish!
Looking good, feeling gorgeous.
Cowshed: Soho House Berlin Torstraße 1
10119 Berlin
www.sohohouseberlin.de
Photo by Soho House Berlin, Cowshed

Back to the Future: here it really feels like you are
in roman times.
Forget about luxury, this a city Building. Still, the
baths were re-opened in 1998 and now offer roman-style
bathing in exquisite surroundings. The
architectural centerpiece of the baths is a circular
marble hall with a stained-glass skylight which the
sun glistens through on bright days.
in Stadtbad neukölln you can enjoy magical surroundings
and architecture in which you can do
your lengths… Corinthian columns, bronze gargoyles
and multi-colored mosaics make for a sensual
swimming experience, similar to bathing in a traditional
roman bath. With a large regular pool and
a smaller but warmer second pool… you can also
have a lovely time in one of the 8 different saunas
and steamrooms ... herbal steamrooms, some hotter
saunas… a real oasis of rest and relaxation.
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Ganghoferstraße 3
12043 Berlin
www.berlinerbaederbetriebe.de
nOW a little word of advice for you, first about
the swimming pools : you do not really want to go
there to swim : the length of each pool is 20 and
25 meters : a bit short if you wish to exercise, but
perfect for relaxation.
This being said, the place itself is a definite MUST-
SEE, and i‘m talking about the swimming pool
and the sauna Area.
You won‘t find any hipster here, only real people
from neukölln. And to be honest sometimes its
also good to go to a place just to relax and not to
show off.
Definitely one of my favorite spots in Berlin.
14 euros for a day pass ( including access to the
swimming pools).

Ok so the thing about the Liquidrom is, it can
become your Paradise on earth just as quickly
as it can turn into a Hellhole. if you want to
enjoy the place (and yourself), i would advise
against going on the weekends, and forget
about Friday and Thursday evenings as well
… Yes i know it does not leave you that much
of a choice, but now you‘ve been warned.
Oh, and also if you do want to try to go there
on the weekend ( do not say that i haven‘t
warned you) you might have to wait something
like an hour before you can actually
go in. YES!
Well actually it‘s a good thing they limited the
amount of people inside…But still weekends
= overcrowed = endless queue = thanks, but
no thanks = pizza quadri fromagio at home.
Well if you want some time to relax and if
you happen to be with a friend, this is a
good place. A bit expensive though ( count
something like 20€ for 2 hours and 25€ for 4
hours), but i do like the place , you know the
kind, really design-oriented, something that
looks like it belongs in a architectural magazine
somewhere or on a poster. The place is
very clean and peaceful ( depending on when
you go of course, i think you get that now).
Liquidrom is definitely a place to visit and
here‘s why:
1° They have this huge floating pool of salt
water, which makes for a uniquely relaxing
experience. The pool is very nicely presented
with low lights and music piped through the
water ( oh yes, music under water…great way
to relax)
2° There is an outdoor courtyard with a really
warm pool. needless to say, the best time
to go there is when it‘s snowing outside, how
it feels on your body is hard to put into words,
it‘s just awesome : there‘s nothing quite like
sitting outside in the freezing cold after a hot
sauna and watching the steam rising off your
body, just like sitting in a warm pool in the
open air.
And of course like in every respectable sauna,
there‘s one thing you should not miss: the
„Aufguss session“. Every hour the Saunameister
will perform this sort of ritual during
which he will pour water on the hot stones to
increase humidity and then proceed to wave
a large towel around in order to allow the hot
air to circulate through the sauna, thus intensifying
the heat -and making you sweat some
more. Keep in mind that according to sauna
etiquette, it is deemed disrespectful to either
enter or leave the sauna during that time.
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Piece of advice on this one : the higher you go in the sauna
the warmer it will be, so if it‘s your first time i would encourage
you to sit down next to the stones.
And there is also a hammam.
Oh and if you need some refreshments the bar is here for
you. Actually i do not find it that expensive (compared to
the admission price) and you‘ll find some good products
too : carrot juice with infer tea, healthy sh*t.
TiP: you are allowed to bring water with you from the outside,
sooooo if you remember it, try not to forget a big bottle,
because it‘s always good to drink a little between saunas.
Moeckernstrasse 10
10963 Berlin
www.liquidrom-berlin

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Persona Non Grata
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Hairdressing
Berlin Headquarters
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I t
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Madame Peripetie
„Dream Sequence“
is a big honour to introduce you to a very special artist and photographer Madame Peripetie. I have been a big fan of
her work for some years. Madame Peripetie alias Sylwana Zybura is a pardoned award winning photographer and her
work has been shown in many exhibitions. Reality is a stranger to her. She shows you a different world of Dadaist
mythical creatures. There is so much creativity involved and I love the composition in her pictures, the colours.
Now in 2013 she is on her way to publish a book: „Dream Sequence“.
A project she has been working on for more than 3 years. Each photo is a piece of art.
I had the pleasure of having a little chat with Madame Peripetie about this upcoming release.

Interview by Marcel Schlutt
Photography + Creative direction: Madame Peripetie
www.madameperipetie.com
Styling: Stella Gosteva
Make-up/Hair: Marina Keri
Models: Yana@M+P/ Mark&Caleb @D1/David@AMCK
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KALTBLUT: Welcome to our magazine.
I have been a big fan of your work for years
so it is my pleasure to introduce you to our
readers. Your work is outstanding. Please
tell us, when did you start with photography?
And how long did you need to create
your own style?
MADAME PERIPETIE: I started around 5
years ago, and because it was a very thoughtthrough
decision I already had a precise idea of
how I would like my images to look. Photography
happened to be the medium that helped to
visualise my staged ideas of character design.
KALTBLUT: Let´s talk about your longterm
project, „Dream Sequence“. You are
working on the project now for 3-4 years
which is a long time. What was the idea
behind this project?
MADAME PERIPETIE: The project started
in 2009 as a commission for one of the NY
magazines and turned into a long-term project
that I have been photographing infrequently
ever since. It was inspired by the Salvador Dali
dream scene from the Alfred Hitchcock’s film
Spellbound and so it is closely connected to
archetypal dreams (investigated very closely by
Gustav Jung) that occur in a transitional period
of one‘s life and often leave you in a sense of
awe and reverence, staying in your mind long
after you experienced them. The main idea was
to create unconventional characters that radiate
the contemplative and poetic artificiality of
Sugimoto’s wax sculptures, the hallucinogenic
beauty of abstract surreal objects and incorporate
physicality and intangibility at the same
time. The hypnotic visual experience is being
intensified by ephemeral flowers, hazy light
and an illuminated black background.
KALTBLUT: Looking at the pictures I can
see there is a lot of work to be done just for
one shot. Where do you find your models
and stylist to work together? Or do you
have a fixed team?
MADAME PERIPETIE: It is a very analytical
approach towards a very specific colour
palette and a strong composition involving
both solid preparation – costume and modelwise
- and experimental approach on set,
where the magic happens! It is a mixture of
theatrical images that has been composed fully
by myself and also in collaboration with stylist
Rolf Buck. The 2012-2013 part (partially
presented in your magazine) is being created
together with a stylist Stella Gosteva and make
up artist Marina Keri, who both understand
my vision completely and implement the ideas
with an immaculate precision and skill. It is
difficult to say how exactly a character will appear
and evolve – sometimes it is the garment I
see somewhere that inspires me, sometimes the
texture and shape of the flowers that capture
my attention or an unusual model that is being
transformed into a bizarre persona. In the end,
the interaction of all elements constitutes a
final result.
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KALTBLUT: How important is the fashion aspect in your work?
Is fashion something you use to create your style? Or do you take
what the stylist presents you?
MADAME PERIPETIE: Fashion is important but only in terms of
structure, colour and in order to illustrate a character and specify attributes
that belong to that entity. See the visually arresting costumes of
Eiko Ishioka or Colleen Atwood that envision the final character in all his
subtleties.
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KALTBLUT: Can you describe the process of creating your
awesome photos, especially during this project?
MADAME PERIPETIE: As I said before it is a mixture of research,
solid preparation and a sparkle of spontaneity on set. The project itself
fluctuates, the protagonists transform from session to session, the light
set up differs slightly as I am working in different environments and it
is becoming more and more mosaic and complex to tell the same story
with a surprising, bold twist – keeping the idea fresh and creating new

captivating characters that will mesmerize
you. I find myself comparing the actual part
with the older one that I shot in 2009 – but
it is pointless in a way because I see it as a
perpetual creative process with heterogeneous
evolutionary stages connected by the
architecture of proportion and chromaticity.
KALTBLUT: Do you have moments
where you don‘t get inspired during a
photo shooting? And if so how do you
get past that?
MADAME PERIPETIE: Not that often
actually, as I am always very well prepared
so plan B and C are always there. The
concept is being developed beforehand and
if something is not working as it should
we always have a back-up and a pinch of
improvisation.
KALTBLUT: You are planning a book
with your project. How big will it be?
How much of your work will be inside?
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MADAME PERIPETIE: The book is
planned for later this year and will include
around 40-50 images from the series.
KALTBLUT: Where will the book be published?
Or do you look for a publisher?
If so, where can a publisher contact you?
MADAME PERIPETIE: I don’t have a
publisher yet as the project is still progressing
but I have a few publishing houses in
mind that would be a perfect fit.
KALTBLUT: There is also an exhibition
coming up this year in New York. Where
will it be? In which gallery can we visit
your work?
MADAME PERIPETIE: Yes, it will be a
part of a group exhibition at The National
Arts Club that is taking place in September
in New York City this year.
KALTBLUT: I would be proud like hell
to see my work in a gallery. During the
last few years you have shown your pieces
in a couple of big exhibitions. How do
you feel when you see your work there?
MADAME PERIPETIE: It is always good
to showcase your work and get constructive
feedback from the audience on it.
KALTBLUT: Your work has been featured
in various different art and photography
magazines.. and you can call
yourself an award winning artist. Are you
proud of your awards? Or which is the
most important one for you?
MADAME PERIPETIE: I really appreciate
it but it is only to satisfy your ego for 5
minutes and make you realize that you have
to work even harder to stand up to the task.
KALTBLUT: You worked for some big
names in the fashion world like Maison
Martin Margiela or our friends from
Moga E Mago. But as an unknown
designer, could I contact you to work

together? Or do you choose your clients?
MADAME PERIPETIE: It all depends on
the project and visual interpretation. I love
working with Moga e Mago not only for their
beautifully crafted pieces but because of their
conceptual approach which makes you cherish
their piece even more. It is always possible to
collaborate – it is all about concept, dedication
and unconventional ideas. The Margiela shoot
was very relaxed and I quite enjoyed it. I don‘t
differentiate between brands – I am always
involved 100% no matter how big the client is.
KALTBLUT: If I wanna have a print of
yours for my home what do I have to do?
And how much do I have to pay?
MADAME PERIPETIE: Contact me or my
agent with the details for bespoke images or
editions.
KALTBLUT: Are there any photographers
you look at or let’s say more, are there any
artists who are influencing you?
And if so why?
MADAME PERIPETIE: There are so many
– from the surrealistic movement, architectural
Heatherwick Studio designs, JG Ballard short
stories, and independent cinema. At the moment
I am obsessed with new technologies! I
am also exploring the phenomenology of visual
noise, silence and boredom.
KALTBLUT: We wish you a lot of success
with your project! And publishers if you
wanna show Madame Peripetie´s work,
please contact the outstanding artist,
because we want this book!!
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Melancholia feeds
the North with
Text and illustartions by Agnes Lindström Bolmgren

Something is happening to the mind when one
half of the year is full of light and endless nights
where the landscape offers dreamy pictures,
and the other half is sudden darkness and bitter
cold, only lightened up by cold quiet snow.
I think this melancholia is present in a lot of different
contexts in Scandinavian culture and it’s something many
of us learned not to be afraid of but to even regard and
make use of. Maybe it’s even simpler than we think. It
could also be the result of our survival instincts that made
us deal with the winter depression and loneliness like
this. For some of us it’s even grown to something that
we’d like to feed and let grow. If you somehow manage
to use this melancholia for creativity and productivity it
almost makes you achieve the quite opposite: a feeling
of satisfaction and achieving something.
I think this Scandinavian melancholia has become a
necessity, if not even vital tool for the creativity.
Most of the Scandinavian writers, artists, musicians,
filmmakers and photographers have a preference for
Melancholia. I think creativity needs this mood to
breathe.
I do think that you’ll find not only the lack of light
causing this state of mind but also the nature itself. In
Sweden the conditions for melancholia are superb. The
silent, well-meaning but reserved attitude of the people
combined with apathetic void, early mornings, naked
trees, thick forests of fir trees, funereal nature, dreamful
beauty, trudging animals, surprised elks, scared rabbits,
brutal birds, myth-like haze and fog.
It definitely puts a solid ground for the melancholic
soul.
You can see a connection between
the climate and the nature with the
old sagas and northern mythology
and the modern melancholia present
in the arts.
The old Nordic myths are most
of the time based on mysterious
beautiful creatures in the forest
or around the water that usually
hide pretty brutal secrets.
There are a lot of warnings
for temptations. If you can’t
handle the temptation right it
does not seldom have a fatal
end.
We have the story about
Näcken. A handsome naked guy
who’s sitting in the river in the deep
forest and plays the violin. Some traditions
describe him as making people
drown in the river with his charm and his
beautiful melodies. Others describe him as
a harmless depressed person who couldn’t
have his freedom.
Another example is the myth about Huldra.
A breathtaking beautiful naked woman who
hangs out in the forest and likes to lure men into
the forest to have sex with them, often killing those
who don´t satisfy her.
We can also see how this melancholia has been
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forming the humor. There’s a lot of tragicomic connected
to it. Dark humor and subtle details. The Swedes like
joking about themselves. And about how Swedish we
are. It’s something about the melancholy and everyone
recognizes a little part of themselves in the idea of the
tragicomic Swede.
The Swedish photographer Lars Tunbjörk has definitely
got an eye for this melancholic humor in Swedish
culture. His images often content human loneliness,
tragicomic scenarios, dejection, vacuum like landscapes,
rainy Midsummer, depressing caravan vacations. Tunbjörk
portraits people with a humorous sense but without
looking down on them.
Some of the characters in his photographs are like
modern versions of old Swedish myths about beings in
the forest.
The cover photo of his book of selected work is quite
a good summary of Swedish melancholia; an unambitiously
made snowman without hat and carrot but with a
smile and dots made with spray color on dirty snow.
If you look at the filmmaker Roy Andersson’s work
there is a lot of speechless melancholic pictures of landscapes
and all of his films show a very typical Swedish
mood. There are silences and doubting and a melancholic
breeze. He works a lot with beige and grey color
scales and by building up every single scene in his
famous studio in Stockholm he manages to create his
own cities and therefor keeping an almost fantasy-like
anonymousness. All of the actors are being type-casted
from the streets and usually have no experience in acting.
It’s not a secret that he has a preference for small
fat elderly men with cartoon-like faces and a lot of
charac- ter. This is very typical for his
later films like “Songs from
the second floor”(Sånger
från andra våningen, 2000)
and “You, the living”(Du
levande, 2007) but there
is another type of melancholia
in his first film. The
beautiful movie “A Swedish
love story”(En kärlekshistoria,
1969). It’s a wonderful
portrayal of a love story
between two very young
people and the soundtrack
by
Björn

Isfält is so melancholic but beautiful
that it makes you want to cry. He’s
also the composer behind many of the
screen adaptions of Astrid Lindgren’s
children books.
Another more obvious example is
one of the most famous Swedes; Ingmar
Bergman. Many of his films, for
example “Persona”(1966), are shot at
his beloved Fårö, a small island close
to Gotland, famous for this landscape
with wounded rocks, beaches of broken
stones, grey scale surroundings
and the wind mourning in the background.
His characters are also not less
melancholic with often a dramatic
inner life filled with angst, regret,
helplessness and melancholia. I think
he made an important base for following
artists and filmmakers on how
to welcome and not avoid the greyer
shades of life.
You can track down this melancholia
not only in films but also in the art
and in the Swedish fashion. Designers
like Nakkna and Diana Orving are
working with colors and materials that
make you think of the Swedish forests
and the sagas about the elves and
trolls.
I think there is even a certain
melancholy that connects the old
sagas and their nature with the modern
surroundings and the city and
its buildings. I think about the suburbs
with the 60s function houses almost
GDR-like. I think about how Thomas
Alfredsson uses them in “Let the right
one in” (2008) and how he connects
this modernity with the mystic almost
mythology-like story.
In comparison to Germany I think
the melancholia is more present in
Sweden because Germany has been
struggling with many other problems
and has got a unique dramatic history
that Sweden hasn’t had. Sweden
didn’t experience the same kind of
dramatic events the last centuries and
I think it has given people more time
to start growing this other state of
mind. The Melancholia.
www.agnes.given.se
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MUST
Andrea Pompilio Nicolas K
Selected by Marcel Schlutt

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R i c h a r d N i c o l l Frankie Morello Raf Simons

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Peter Pilotto Tracey Reese Nicole Miller

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Creatures Of The Wind Hermes Vivienne Tam

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Blue Shadows
Photographer, Hair & Make-up:
Pascale Jean-Louis
Art Direction:
Nicolas Simoneau
Models:
Maria Bräutigam
mariabraeutigam@gmx.de
Special Thanks:
Swarovski
www.swarovski.com
Uslu arlines
www.usluairlines.com

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Spotlight on Upcoming Designer
Anna GregoryBy Biki John
Anna Gregory’s eponymous label, ‘Anna Gregory Designs’ is greatly inspired by the Nordic countries, and
her collections are said to be marked with a, ‘distinct Scandinavian mood’. As such, her naturally sourced
pieces have a rugged and yet gentle beauty. Her collections which are sourced from natural fibres such as
silks, cottons, wools and linens have recurring themes of rustic texture, fullness and wood; and in her words,
‘nature’ remains her primary inspiration.
KALTBLUT: Tell us about your background, how did you get into
fashion design?
ANNA GREGORY: My mother is an interior designer as well as an
artist, so growing up I always wanted to be an interior designer.
However when I applied for the University program in Poland, I was
unsuccessful. You see in Poland, the competition for universities is
extremely high- you can only apply to one university at a time, which
leads to thousands of applicants vying for one spot. So instead of
wasting a year because I didn’t get the place I wanted, I decided to
go to a fashion design school. After my first year, I loved the courses
I was studying so much within the program (which included fine art,
drawing, painting and interior design) that I decided to stick with
fashion.
KALTBLUT: Where did you go after your fashion design course?
ANNA GREGORY: After doing that program in Poland for two years,
I then did a BA (Hons) in Fashion Design at the University of East
London, BA (Hons).
KALTBLUT: How would you say your art background has influenced
the pieces you make today?
ANNA GREGORY: Well, my old professors in London who see my
work today say that my pieces have an artistic edge, so this is probably
because of the Fine Art subjects I studied when I was in Poland.
KALTBLUT: Currently, you have designed two collections- S/S
12 and A/W 12. How would you describe the aesthetic of your
designs?
ANNA GREGORY: All my designs are hand-made and I label each
and every one as, ‘Scandinavian’ because my inspiration comes
from there. This is why I only use natural fibres in earthy colours and
oversized, cocoon shapes. Also, I made the wooden jewellery you see
in my first collection.
KALTBLUT: Oh, really? I assumed that the wooden jewellery
pieces were made by a jewellery designer who collaborated
with you for that particular collection.
ANNA GREGORY: No they were all made by me, I decided to make
chunky, wooden jewellery because they really fitted the natural vibe
of that collection, and it made sense to add pieces that had been
sourced from nature. With the wooden pieces, I was wholly inspired
by my trips to the Fjords, Norway and as a reference I used the pictures
I had taken in the forests, paying particular attention to the tree
patterns I saw. Every piece was painted, hand-dyed and dip-dyed,
meaning that each piece is unique.
Photography by Gokhan Goksoy
www.vragency.co.uk
Models: Emilia Samelsson and Leanne

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KALTBLUT: Is there anything in particular you remember about those trips?
ANNA GREGORY: Yes, how magical the waterfalls and mountains were and how eerily
quiet the Fjords were; it has a special kind of silence. Also in relation to my work, I remember
how dedicated I was in ensuring my pieces reflected as much as I was able to capture
during those journeys. For example, I would lift a wood pattern from a tree and put it on a
dress, and for a whole week I photographed the stones on the pavement, in order to imitate
the patterns on my fabrics.
KALTBLUT: Could you tell us about one of your earliest, most memorable Nordic
trips?
ANNA GREGORY: That would be the summer when I was ten years old. I went on a road
trip with my parents where we started in Bergen, Norway and travelled along the coast, all
the way to the North Pole. It was such a magical trip! I’ll always remember being fascinated
by witnessing the Sami people first-hand. Even from the car, I could tell that they were a
strong community of people who lived a life that was totally dictated and inspired by nature.
KALTBLUT: If I had to use two words to describe your clothes, I would say- texturized
shapes. I like the way you play with different lengths, volumes and silhouettes
with your pieces- a straight fitting waistcoat there, a ruched, puff skirt there- is
this a reflection of your own personal style?
ANNA GREGORY: Well, the oversized pieces in my collection are definitely a reflection of
my style. If you open my wardrobe, it is crammed with oversized pieces. My own personal
style is understated and yet distinct and this can be seen in my pieces.
KALTBLUT: As of now some of the recurring themes in your work are milk-paint,
sustainable, wood, hand-made which are all said to be marked with a distinct
Scandinavian mood’. How do you see this evolving in the future?
ANNA GREGORY: I see myself being even more inspired by Scandinavia and continuing
my design explorations in that area. I will also continue to be faithful to my use of natural
fibres.
KALTBLUT: So far in your current base- London, you have shown your pieces at
London Fashion Week (Off-Schedule) as well as Alternative Fashion Week and
Graduate Fashion week. How much do you think London supports emerging
designers?
ANNA GREGORY: I believe that as a city it supports emerging designers very well. You can
see this from the fashion week it hosts where the city pays special attention to new designers
like LFW, Off Schedule, where I’ve shown my work. Also from my personal experience,
there are boutiques that have approached me because they want to promote new designers;
so I assume that if I am getting this assistance, then other emerging designers are
too. There are also many London- based online stores that cater to selling pieces from new
designers.
KALTBLUT: Which public figures would you most like to see wearing your clothes?
ANNA GREGORY: Oh my God, Sienna Miller! I also love the Polish model, Anja Rubik.
KALTBLUT: What kind of woman do you think you design your clothes for?
ANNA GREGORY: Stylish, relaxed women who are able to combine luxury with second
hand clothes effortlessly. So for example, she can wear Yohji Yamamoto with pieces from a
fabulous retro shop.
KALTBLUT: Is there any designer you would like to collaborate with for a one-off
collection?
ANNA GREGORY: Stella McCartney, I love the cut and lines of her pieces. Also I admire the
stance she makes against fur, as I am anti-fur as well.
KALTBLUT: What kind of music do you play in your studio to stir your creative
juices?
ANNA GREGORY: I tend to listen to a lot of classical music or Jazz which used to confuse
me because normally, I listen to Hip Hop which is weird.
KALTBLUT: Why is listening to Hip Hop weird?

ANNA GREGORY: Well, people say it doesn’t
suit me…
KALTBLUT: If you don’t mind me saying,
that’s a very silly thing to say. Music is
universal, that’s the whole point of it.
ANNA GREGORY: Well, the thing is when I
listened to Hip Hop in my studio, I just couldn’t
concentrate. So I began to listen to classical
music and I discovered that due to the rhythm
and pace that comes with that style of music,
my design team and I was able to concentrate
more.
KALTBLUT: I can imagine... The theme for
this issue is Ice.Land, Myths, Legends and
Nature- what imagery do you conjure up
when you hear those ethereal words?
ANNA GREGORY: I actually think of a mood
board I made in university a few years ago
where for inspiration I used those exact words!
KALTBLUT: Really?
ANNA GREGORY: Yes, the mood board
borrowed from themes and subjects that were
derived from childhood tales like the Ice Queen
and ‘The Lion, The Witch and The Wardrobe’.
Really, when you say the theme words of the
magazine, my imagination goes straight to
these tales.
KALTBLUT: As you know, lots of fashion
businesses are driven by social media.
How have you found balancing promoting
your brand through social media and
creating your designs?
ANNA GREGORY: I find it very difficult to keep
the balance because even though I use social
media platforms like Facebook to engage with
my market- it does not come to me naturally.
Also, I am an artist and as such, I would rather
use my time designing than sitting in front of a
computer.
KALTBLUT: What are your dreams for the,
‘Anna Gregory’ brand for the future?
ANNA GREGORY: For the future, my dream is
to have my own boutique in an area like Islington
or Shoreditch. In this store I would be in
charge of everything from the visual merchandising
to the design of the shop. It may sound
like a small dream but in London, getting those
locations is very difficult.
KALTBLUT: I am intrigued, I expected you
to say that you would want Anna Gregory
stores around the world!
ANNA GREGORY: Yes that would be great but
I feel to achieve something so formidable, you
need a lot of help or contacts in the industry.
Take Stella McCartney for example, she is undeniably
talented but having the surname that
she has helped to open a lot of doors for her.
So for me now, I want to dream small before I
dream big.
www.annagregorydesign.co.uk
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„I want to
dream
small
before I dream
Big“

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PaperCut Photographer:
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Svetlana LK / www.SvetlanaLKphoto.com
Hair & Make up: Helena Narra Kapidzic/narra.cc
Stylist: Josephina Rigall
Stylist Assistant: Marie Pedon
Model: Martina Dimitrova / Soul Artist Management

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AW 13/14 ICE-COOL

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Some weeks ago we presented our very first KALTBLUT AW 13/14 Collection during Berlin
Fashion Week. The idea behind this project is to give young and unknown fashion designers a
platform to create their designs and show them to the fashion world.
For our first collection we worked together with two Berlin based fashion labels. NICO SUTOR
who has created an intense black and white themed collection. Her theme is: ICE. Accessories for
our collection come from ZILLMANN. The designer has created some outstanding pieces for
us, stunning and eccentric headwear and masks. Her theme is: COOL. The presentation during
fashion week took place at the FIER Showroom and was really well received, it seemed that people
really appreciated the collection and are excited about it, we are so happy that our plan worked
out!
I had a little chat with both designers, speaking about their designs, the concept and fashion in Berlin.
Interview by Marcel Schlutt
Photos by Pacale Jean Louis and Marcel Schlutt
Hair and Make up by Pascale Jean Louis
Models are: Adrian Dorsch, Lukas Sauer, Andreas Milz, Elizabeth Ehrlich.

KALTBLUT: First of all I want to say: Thank you!
To both of you for creating such a great collection
for our magazine. It is the first time that KALT-
BLUT is working together with 2 designers in this
way. You are part of the family now forever. What
was your first thought when I asked you to work
with us on this?
NICO SUTOR: Yes!
ÅLISA ZILLMANN: COOL! Nico Sutor and Zillman
already work well together, we were already married!
but we were excited to enlarge the family. More importantly
it‘s a privilege to work with you. Thank you.
KALTBLUT: Is there a difference between creating
a collection on your own and being commissioned
to make one for a magazine? Do you feel like we’ve
given you enough space to be creative?
NICO SUTOR: No, there‘s not really a difference,
maybe just a different form and direction as far as
where the inspiration is coming from. I think 404 pages
is definitely enough for inspiration… and enough
creative space too !
ÅLISA ZILLMANN: It is different. I was concentrated
and focused but I didn‘t feel imprisoned. Nico
and I were immediately inspired by the „kalt“ in
„Kaltblut“ and named the collections: Ice and Cool.
We‘ve known each other for years and so our ideas fit
together easily without much need to work on it. for
example, the triangle. that was cool!
KALTBLUT: We showed the collection during the
last Berlin Fashion Week just 4 weeks ago and the
people loved it. Can you tell me about your different
inspirations for our collection?
NICO SUTOR: Since I visited Iceland, I‘ve been
fascinated by glaciers and I’ve always wanted to do
something using that topic. One thing lead to another
with the theme of the issue also being „ICElands“.
For Kaltblut I wanted the design to be strict
and linear, stern and strong, just like the magazine.
Clear concept, clean lines, clean cuts.
ÅLISA ZILLMANN: I‘m a big fan of Disney, Tim
Burton and 80‘s style series and films. With the experience
that I have, and that you wanted me, what I
thought was: cool! So it made sense to call it that. After
cool came: cat. Of course I immediately thought
about Michelle Pfeiffer as Catwoman (Directed by
Time Burton), but in the 90‘s in a jazz club...poetry
slam...also I love animals... at the moment I have two
canaries (Bonnie Tyler and Maedchen)... when I got
them I worked with feathers. The cat masks are also
inspired by a cat I once had called Emily Strawberry.
KALTBLUT: Ålisa, everybody is in love with your
masks. Some people even wanted to have them directly
after the show. What kinds of materials were
you working with? And how did you create your
show pieces?
ÅLISA ZILLMANN: I always work with all kinds of
materials and try making more editions than collections.
For example, neoprene with feathers, copper
pipes.. For the base I use this rather uncool, old kind
of felt material, because it is stable and it allows me to
make 3D designs. I love to build things, or demolish
things, like walls.. you get that rush. With the masks
it was no different.
It‘s a sexy adrenaline kick !
KALTBLUT: Nico, we’ve known each other for
around one year now and it’s actually not the first
time that we’ve worked together. Can you tell our
readers how long you’ve been working on your
collection? And which garments did you use?
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NICO SUTOR: We had our one year
anniversary on 17.01 during Berlin
Fashion Week! I still love this moment
and remember it fondly The actual
work was about 2 weeks, but finding
the ideas and the forms takes me
around 1.5 to 2 months. My favourite
material is and always has been jersey,
but it creeps now more and more in the
direction of chiffon. I like to play with
transparency of a material and then put
it against something more dense.
KALTBLUT: How did your friends,
family and customers react when you
told them that you will be designing a
collection for a magazine?
NICO SUTOR: COOL.
ÅLISA ZILLMANN: My family,
friends and customers (I can call lots of
my customers friends too) they know
how hard it can be to be self-employed:
so proud!
KALTBLUT: Our idea is to support
young fashion labels and give them a
platform to show their designs in the
international fashion world. What
is your fashion background? Since
when do you work in fashion?
NICO SUTOR: My first victim was my
Barbie, so I‘d say I’ve been in fashion
my whole life, and then I also studied
fashion. After my studies I worked for
a Berlin based label and started Nico
Stuor in 2011.
ÅLISA ZILLMANN: I also dressed
my Barbie dolls with couture clothing
as a child, handkerchief and sellotape
creations... that counts as fashion design,
right? In my youth I never found
cool clothes, it was also really hard,
because I never had a specific style. I
had a design in my head but I didn‘t
know how to create it. My clique went
the way into fashion, so I also wanted
to become a designer. I guess officially
though since 2005.
KALTBLUT: I am a little bit disappointed
about the Berlin Fashion
Week. I think the German Government
should support young labels
much more. Do you get any support
from the state or if not, how do you
survive?
NICO SUTOR: I also think there
should be more support given, if they
advertise Berlin and the fashion here,
they should also promote the designers
better! That doesn’t even necessarily
have to be financially, when you consider
how many rooms and shops could
be let for free, it‘s the least they can do
to just make that available to showrooms
and designers for Fashion Week.
Berlin advertises „poor but sexy“ but if
the fashion dies then we‘re just poor!
ÅLISA ZILLMANN: No, if you don‘t
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have a customer base you can‘t be considered
for credit, without credit you get
no money, without money you can‘t buy
materials, without materials you have
no product, and without product you
have no customers, then you find yourself
drowning. Luckily I put on a regular
night club „ENKLAVE“ that goes well
and makes me some money, and I am
also an illustrator, a well paid job!
KALTBLUT: Which designers inspire
you? Who are your personal favorites?
And why?
NICO SUTOR: Vladimir Karaleev and
Michael Sontag! I love their aesthetic!
KALTBLUT: Can you both name 3
must have items for a fashion victim in
2013?
NICO SUTOR: Fun… “Cool” by Zillmann
and “Ice” for KALTBLUT.
Ålisa Zillmann: Masks, because then you
don‘t need make-up. Cool leggings. Clothes
that you can easily fall in love with.
So many „in“ items have become standard,
for example studs, you can easily
wear them now in everyday life.
KALTBLUT: What is coming next for
you then? Our collection is ready to get
sold, some stylists booked pieces for
shootings and we can’t be more happier!
But what are your plans for the
future?
NICO SUTOR: A holiday, a new collection,
more shops, more happy customers.
After my father comes to visit us at
Fier in January he‘ll also want us at the
Fashion Week tent….
ÅLISA ZILLMANN: There will soon
be the ZILLMAN slim edition. T-Shirts
with my illustrations and jute bags in
my style: with ears. Otherwise I let life
surprise me and wait to find some new
materials.
KALTBLUT: Thank you very much for
your work. What I like the most about
you both is that you don’t have this
weird attitude which we experience
each day in fashion. You’re down to
earth and live in the real world. Please
keep this forever. Love you both!
www.nicosutor.com
www.alisazillmann.tumblr.com

The
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Insider
Text and Interview by Amy Heaton
Illustration by Nicolas Simoneau
As
we delved
deeper into the Scandinavian
psyche with our issue I
caught up with the lovely Nina
Legnehed for this collections
X-Insider. She and her partner
Steffi von Kannemann
run the brilliant Berlin-based
PR Agency called “Nordic by
Nature” and represent bags
of Scandinavian music talent
through tasteful promotion
and events. She shared a bit
of insight about Swedish
nostalgia and why moving to
Berlin was the scariest, but
most soul-satisfying decision
she’s made…
„ Just work really
hard and stay
true to your
taste and your
concept.“

KALTBLUT: Hey Nina, thanks for having a chat with us for our X-Insider! So tell us a
bit about your story, why did you come to Berlin? Nina: Well I’m from Göteborg, the
second largest city in Sweden, and I have a background there dj-ing, running club
nights etc.. but I studied in Human Resources, so when I was in my 20’s I don’t
think I really realised that it’s so easy to get a job in the music industry! So I
moved to Stockholm and I started working in normal companies but I soon realised
that’s not what I wanted to do. It’s funny, because when I quit my job there another
guy quit to become a professional poet that day.. I suppose there was always a
small clique of people who were not fitting in there and were really somehow
unhappy or unsatisfied.. it’s not that big companies are bad to work for, I sometimes
end up defending that experience because people think big corporations are
evil, but any experience in life is valuable for later on. During that time I had been
coming to Berlin, visiting a friend of mine who was living here.. Berlin for me was
this kind of haven that I could go to and get away from everything I didn’t like
about my life in Sweden and then I just decided to move, leave everything and try
something else. It was really scary, but I had some money and some time to work
it out, and then I met Steffi and we started doing club nights, events etc, all with
the Scandinavian theme. KALTBLUT: I think it’s normal for these kinds of office jobs
to drive people into creativity eventually..! How do you think your experience of
setting up a business here has been different from if you’d done the same thing in
your hometown? Nina: We weren’t so business minded in the beginning but then we
realised we had found a niche in Berlin. I guess the cultures are completely
different and since the Scandinavian music scene is so small there’s some politics
to consider, like always very friendly, but you have certain allies in a way, and
you’re working with labels who are usually putting out good stuff. Here in Berlin
it’s more about this idea of helping each other out a lot more.. but in Sweden
people are really competitive, even in the creative industries, even amongst your
closest friends it’s not normal to share contacts, if someone has a valuable contact
it’s somehow special and they want to keep it for themselves, but if it was Berlin
and somebody knew someone who could be good for you to meet for some reason,
work, or hobbies or whatever, you would be straight away like, “Oh you have to
meet my friend…” so it’s very different in that way. KALTBLUT: Do you think that
makes it harder to get things moving in Berlin, than it would back home, because
that competitive spirit is missing? Nina: Personally I think that by helping each
other out you get further. I mean we’ve gained so much from other people sharing
their knowledge with us and as I see it I’m not competing with the other agencies
or the other creative PR companies around Berlin. If I was back in Sweden I
couldn’t ever admit if I had an unsuccessful event or if things aren’t going so well
but with Germans they’re just so honest, they just say it how it is and that’s brave!
On the other hand I guess that also means that Germans won’t be nice to you if they
don’t like you and I think the Swedish way is complete opposite, it’s not about
conflict so much but we don’t like awkwardness or it’s hard for us to be rude, you
would always have to have an excuse to leave or something, I think that’s very
Scandinavian. KALTBLUT: Why do you think Scandinavian concepts like your own
do so well in Germany at the moment? Nina: I guess we try to have this Scandinavian
attitude so I don’t think people mind if it’s a bit strange to them, they like it, for
example the way we write a press release, or an event text, the way you write it
might normally be different between Hamburg and Berlin, but we have this Scandinavian
touch we always use so that’s really our style, and the way we do the night
we want people to feel like that could also be the way it feels to be at a club in
Stockholm.. we do a lot of stuff that a music export agency would normally do but
it’s not so formal, we really do it out of love, not just love, but really a kind of taste.
We want good music to come to here and people have caught onto that. KALTBLUT:
What about the difference between the scene over here and back in Sweden? Nina:
I think that Germany is definitely more divided, and all the major cities have their
own different scene. Also the German media climate can be frustrating. I mean on
a national scale, and I don’t want to be negative here, but I feel like the whole
German scene is a bit behind in a way, also with the idea of being selective or
exclusive, that we think is important, but I find that if I contact someone that I have
a good relationship with they never say no to me.. maybe that’s just because they
like what we’re doing! But I want there to be better blogs in Germany, more
influential, more powerful and I think that the ambitious new ones who start
writing really good stuff are great, but if they write about all the stuff we give
them, and they also write about lots of other stuff that other people give them, then
you kind of lose the edge a little bit, like the thing about ‘Pitchfork’ or something
more exclusive, it’s so hard to get in, because it’s so hard to get in there everybody
349
knows it really means something if you get in there. In a way you need a PR agency
in Germany because this hype thing doesn’t happen, if we send out a press release,
nobody writes about it, nobody just picks it up, I mean things can get spread so
quickly outside of Germany, using blogs or social networking, but that doesn’t
seem to happen here, but then if I call people up or write them and ask them to
write about something they’re like “Yeah, sure”! They’re actually just sitting back
and waiting for people like me to call them.. but where’s their ambition to find it,
and be the first ones? That kind of ambition is what drives the Swedish scene at
least. KALTBLUT: So do you think that means the quality is somehow reduced over
here than there in that case? Nina: Maybe it might be true just for the Berlin scene,
but music wise at least it’s like you can always get a gig, even if you’re not very
good you can get a gig.. and you can play somewhere. But in Sweden there’s a lot
of competition and judgement, there’s some circles you want to get into or
something, like when I talk with Swedish artists they are really self critical and
they’re thinking “am I really making something new here, am I really adding
something to music history..” and why would you do it if you don’t feel like you’re
adding something? but in Berlin people don’t seem to think that at all. I’ve known
Swedish bands who even announced that they wouldn’t release the album that they
made because they didn’t think it was good enough, it was so hyped up and there
was so much expectation that they couldn’t bring themselves to release tracks that
they didn’t think were good enough. It’s kind of cowardly but it’s also a really
interesting cultural observation about such high ambition to the point where it
could stop the whole process. They’d written the songs and everything, it’s not like
they had writers block, but I think that is so super Scandinavian to do that…
KALTBLUT: The big question is…. What do you miss most about Sweden!? Nina:
Before the interview I was thinking about it, what’s unique about Scandinavia? Or
what do I miss most about it. I really miss the cleanliness, even like housing and
stuff, I was at a friend‘s flat recently and everything was so perfect, the walls.. the
toilet.. Here I’m living in an Alt-Bau and of course that was my dream when I was
moving to Berlin and when I was looking for a flat I really wanted that and now I’m
so sick in a way, everything’s so, well it looks pretty but there’s always some kind
of dust in the corner, you don’t know where it comes from.. KALTBLUT: Maybe if
you could bring that kind of cleanliness down to Berlin you’d have your perfect life
then? Nina: Haha, yeah maybe, but in a way it’s good for me to start questioning
those things a bit, I think I have quite a nostalgic view of Sweden and it being so
perfect. Actually I think there’s this pressure to actually be perfect in Sweden and
I feel like being in Berlin is kind of a relief from that. KALTBLUT: Do you feel that
you dress differently here than you would back home? Nina: Sure, I’m walking
around in clothes here that I would never wear in Sweden. It’s much more casual,
and I think that’s mostly good, I don’t know if it has something to do with size or
something, because Sweden is still small and it’s hard to be really anonymous in a
way, but I do feel like people know who other people are and you’re much more
judged all the time.. KALTBLUT: We love your concept at ‘Nordic by Nature’ and
you’ve represented some pretty high profile artists (before they were famous!) and
things are going from strength to strength..! Do you have any words of advice for
other ambitious Scandinavians thinking of moving here on a whim? Nina: Yeah, I
mean I’m proud to look back, that’s also kind of our goal, to be the first ones to
bring in a band and then they make it in Germany. It was really difficult in the
beginning, it’s like a lesson you have to learn yourself because people think it’s
easy but putting on events can be really hard, and I guess that can be whatever
you start doing here. We have changed a lot in the way we do things since we
started, you have to be careful with how much money you spend because you’re
going to lose money here. Just work really hard and stay true to your taste and
your concept. KALTBLUT: Why do you think so many Scandinavian artists are
migrating to Berlin right now? Nina: One idea is that Sweden has been a bit behind
traditionally, for example in the kind of pop music revolution, like what happened
in other places where it was like years before, and that was a very interesting
music scene then, Sweden was more conservative, more song writing, and then
this real new indie pop wave came to Sweden much later. So in a way that’s
happening now that we’re creating our identity and building up our own scene, so I
think that’s why it’s so exciting and so interesting right now, maybe in 20 years it’ll
be different. The thing with Scandinavia is that you have to go internationally
otherwise you can only play 3 gigs and you’re done, so even small indie labels are
pushing acts to break out into the European scene. In Germany you can sell a lot
more records than in Scandinavian countries. Or maybe it’s just that we like better
music in Scandinavia…!

350

351
FOX
Photography by Camilla Storgaard
www.camillastorgaard.tumblr.com

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353

354

355

356
#ThingsWeLove
dot
Selected by Nicolas Simoneau
If we spent as much time doing (productive) things as we did surfing the internet, well... LIFE WOULD BE SO
BOOOORIIIIIIING! 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.
Did you notice how, when it‘s time for you to get ready in the morning,
you never (ever!) seem to find two socks that match? Or it is just me?
Well, I did notice that somehow I always find myself in a situation
where i am like: „Shit! Are you serious?! why can‘t I find two matching
socks again today?“. Come on, fess up it HAS to have happened to you
too! You go to the doctor and he asks you to take your shoes off, and
oh surpriiiiise one black sock and one white one (with a hole the size
of Texas, of course). Hmmmm : awk-weeerd, right? Or you go to buy
shoes with your boyfriend/girlfriend and when you decide to try them
on, hmmmm lookey here! Nice grey sock that matches quite perfectly your
Mickey Mouse one.
But this? This was before I found out about „HAPPY SOCKS“.
These Swedisch sock makers have some really nice stuff.
Bye bye depressive socks, HEL-LO colorful, playful, patterned socks!
I mean it is rather unusual to come across a brand that‘s 100% focused
on our feet and the way to dress them.
Picky sock wearer, are ya? You know what they say: Swedes do it better
(I‘m sure whoever came up with that saying was talking about socks).
You‘ll find the sock that‘s right for you at Happy Socks: stripes, dots,
argyles, squares, leopard patterns, whatever you‘re into, they‘ll have
what you‘re looking for.
Look at you... you‘ve never looked so sexy wearing nothing but
socks.

www.happysocks.com
357

SUSANNE BIER
358
From Dogma to Hollywood

359
I
still remember watching the 2010 Academy Awards ceremony
when the stunning presence of Barbra Streisand showed up
on stage to introduce the five nominees for best achievement
in directing. It was a special night, although James Cameron
was the main favorite, for the first time a woman and an African
American director could win an Oscar. But when Barbra
opened the envelop something in cinema history changed and
her first words were: „Well, the time has come!“ and a very nervous
Kathryn Bigelow won the golden trophy. David defeated Goliath.
The Hurt locker defeated Avatar and a woman defeated a man called
James „The King of the World“ Cameron.
Only 4 women had been nominated for this Oscar. Lina Wermüller
in 1976, Jane Campion in 1993, Sofia Coppola in 2003 and the winner
Kathryn Bigelow. It seems directing is still a man‘s world. Hundreds
of men but only dozens of women. Jodie Foster, Penny Marshall,
Julie Taymor, Agnieszka Holland or Isabel Coixet to name a few more.
And one of these brave fighters is the Danish director Susanne Bier.
At the moment it‘s easy to see many Scandinavian directors working
in Hollywood but some years ago it was unthinkable to see
people like Lars von Trier (Melancholia) or Thomas Vinterberg (Dear
Wendy) directing a very fresh and light comedy with Julia Roberts for
example. Things have changed and some names like Ole Bornedal
(Nightwatch), Niels Arden Oplev (Dead Man Down), Lone Scherfig
(An Education) and of course Lasse Hallström (The Cider House Rules,
Salmon Fishing in the Yemen, who can be considered an American
director) but in 2012 he was back to his native Sweden to shoot the
thriller Hypnotisören with his wife Lena Olin maybe following the recent
boom of Scandinavian crime fiction (see our Top 5 in this issue).
Susanne Bier was born in Copenhagen in a jewish family and was
an important part of Dogma movement where she became very popular
with films like Open Hearts (2002). Bier always tended to show
these emotional relationships pushing her characters to the limit with
a deep and effective morality and soon she turned into one of the
most popular Danish film makers working with the best of Danish cinema
like Mads Mikkelsen, Connie Nielsen, Mikael Persbrandt, Ulrich
Thomsen or Trine Dyrholm in masterpieces like Brothers (2004), After
the wedding (2006) and In a better world (2010).
Bier (who also won an Oscar in 2011 for Best Foreign Language
Film with her excellent film In a better world) is a „rara avis“. A director
who comes from Dogma and fits perfectly in both sides of the
Atlantic or perhaps somewhere in the middle. Susanne Bier is able
to develop her cinema between the borders of two continents, between
both ways of making cinema, the emotional drama, the „made
for TV“ short of narrative and social critic like most of Lars von Trier‘s
works (producer of many of her films). In her films we usually find a
common line that has become something really characteristic in all of
her works: the portrait of emotional links between families and couples.
Of course the American industry didn‘t take long to discover her
talent and call her and in 2007 she released Things We Lost in the
Fire with Benicio Del Toro and Halle Berry (in probably her best role
after Monster‘s Ball) but the reception of the film wasn‘t as good as
the producers expected perhaps because the audience thought it was
a regular romantic drama with the two popular stars. In my opinion
Things We Lost in the Fire is one of her finest films, a chronicle of a
very painful redemption, an elegy of survival when the external and
internal fire, fate or soul‘s demons have devastated every existing
thing around us. I still remember the first time I watched this film,
I remember the way it touched and moved me. I have to admit I‘m
quite a cryer but this time my tears were extremely dry.
I imagine there are no formulas or
rules in fiction to make the audience
cry. Everyone cries when or how he/
she feels like it, even when the melodrama
is heading that purpose. Susanne
Bier is one of those directors who
takes you to that place where your
eyes start to get wet maybe because
our own life gets related in a certain
way to the fate of some of the characters
on the screen in front of us. And
that feeling is simply priceless.
In her last film Love is all you need,
staring Pierce Brosnan and Trine Dyrholm,
Bier has gone back to comedy
after many years. But not the typical
romantic comedy made in USA. Susanne
Bier has the ability of making
comedy from the drama of a woman
healing from cancer while she discovers
her husband‘s infidelity. Again,
love, family and human conditions as
the main engine of her films. The film
never loses its humor and although
this last film seems to be lighter than
the rest, it keeps that exquisite taste
of the Danish director while taking the
human side of drama and never forgetting
Bier‘s films identity: a wedding
(After the wedding), dysfunctional families
(Brothers, Things We Lost in the
Fire) or cancer (In a Better World) but
also pain, vulnerability and seeking
happiness.
She has completed her second
American film called Serena about a
couple in North Carolina during the
Depression-era staring Jennifer Lawrence
and Bradley Cooper. The film
will be released later this year. Let‘s
see how it will turn out.
Of course no one is perfect and it
is said that working with her is hard
as she turns out to be very authoritarian.
But like her i do believe good
directors have to be a bit dictatorial. If
an actor wants to risk and be able to
get to hidden places that actor must
know there‘s a director covering his
back who knows what he‘s doing. And
Susanne Bier seems to know very well
what she has in her hands.
Some of her critics say her films are
just a bunch of high standing „soap
operas“ but in my opinion, if Susanne
Bier didn‘t exist we should have to
invent her.
Text by Claudio Alvargonzález Tera

Earring: Made by Stylist
Top: Goldknopf Couture
Clutch: Friendly Fur
Trousers: Stylists own
Shoes: Miroike
360
Allerleirauh
Photographer: Pia Schweisser
Photo assistance: Anja Kerth
Hair&Makeup: Kerstin Hajdu
Styling: Irmela Schwengler
Model: Tonia Farber @ Tune Model MGMT

Mask: Stylists own
Earring: Made by Stylist
Jacket: Prose Studio
Dress: Unrath&Strano
361

Fur: Strenesse
Clutch: Friendly Fur
Dress: Goldknopf Couture
362

Wedding Dress: Unrath&Strano, Shoes: Vintage
363

Accessoire: Prose Studio
Fur Vest: Strenesse
Trousers: Stylists own
Boots: Miroike
364

Fur: Strenesse
365

367
www.nicosutor.com www.kaltblut-magazine.com
www.alisazillmann.tumblr.com

VAGABOND
368
Photography by Phoebe Cheong
(www.phoebecheong.com)
Photography assistants by Matthew Aland,Charlotte Ellis,
Jonathan Fleetwood & Alejandro Torija
Hair & Makeup by Clare Greathead
Styling by Victoria Child
Styling assistant by Emma West
Modelling by Kristie @ Leni‘s Model Management
Set Design by Larissa Gauger
(www.larissagauger.co.uk)
Vintage, man’s blazer: Stylist’s own
Hand knitted man’s overalls by Stephen Garvey
Vintage bowler hat: Stylist’s own
Leather Ankle Boots with fringe detail by ASOS

369

Wallpaper print midi dress by ASOS
Leather Ankle Boots with fringe detail by ASOS
Black socks. Stylist’s own
Coat by Zara
Vintage, women‘s coat. Stylist‘s own
Vintage Faux Fur Hat
370

371
Tweed Boiler Jumpsuit by ASOS
3D Check Oversized navy Scarf by ASOS
Platform Ankle Boots by ASOS

Fur collarless coat by Zara
Gortex man’s coat by Michael James
Vintage white skirt. Stylist’s own
Ear muffs by ASOS
Suede Knee High Boots by ASOS
372

373
Gortex man’s coat by Michael James
Fingerless gloves, Vintage Dress. Stylist’s own
Vintage leather trousers by Cow vintage
Leather shoes with cut-out detail by ASOS
Khaki Felt Cap by ASOS

Faux leather dungarees by ASOS
Sheer white shirt by H&M
Oversized Scarf with pom pom’s by ASOS
Leather shoes with cut‐out detail by ASOS
374

375

Handmade plastic dress
Devore dress by Georgina Mullholland
376

377

378
TROLLTOURS by Stini Mimissonsdottir
The 70 pages long book TROLLTOURS displays visionary and vibrating images in a
playful way. Produced by Berlin based photographer Stini Mimissonsdottir, 4 fictional
characters meet for a holiday trip to the unknown, underlined by commercial quotes
from nail polish or tampon ads right out of the American lifestyle magazine „PEOP-
LE“, which is their constant companion on this trip. Put into new settings those quotes
turn from Kitsch to Pop.
The photos show a subjective but very fictional journey through Iceland‘s fascinating
nature and bond with the old Icelandic stories and traditions which were collected in
the so called Sagas. The book displays its own unforgettable insight into a hidden world
of Iceland‘s spirits. It is like a diary full of memories and magical moments in a riot of
colour and kitsch which turns this book into a modern Saga itself.
Performers: Jonathan Löwengart, Sabrina Köhler, Uta Sanchez
Artist Book
70 Pages
limited, hand signed issue - 50 Copies
Englisch
2013
www.mimissonsdottir.tumblr.com

379

SAAMI,
380
the reindeerpeople
When you think Scandinavia
you might think of snow
and reindeer sometimes, but
admit it, you don‘t think of
Sami people. If you even
know what the Sami are.
Saami are the indigenous
people of The North. Our
northern European natives
so to speak. Sadly a minority
today, they used to inhabit
large parts of northern
Norway, Sweden, Finland
and the Kola Peninsula in
Russia before Germanic tribes
pushed them even further
north.
The Sami being referred to as
Fenni or Phinnoi are
mentioned for the first time
in 98 AD in Greek and
Roman sources. However, it
is pretty certain that the Sami
date back to 5,000 BC when
other evidence found in their
areas suggests they existed as
early as 10,000 BC.
Now a little more history,
because you just love it.
Sami, and definitely not
Lapps -as lapp means piece
of cloth and is a silly and
derogatory term, kept
moving around in the north
but also the south of what is
today known as Scandinavia
depending on the movement
of glaciers in the area.
By Amanda M. Jansson and Emma E. K . Jones
By Photoglob AG Zürich [Public domain or Public domain],
via Wikimedia Commons

381
Gatherers and hunters for thousands of
years, they lived off wild reindeer and
fish, two food sources that would keep
them going for a long time. Yet, in the
middle ages as the “other Scandinavians”
kept expanding and the wild
reindeer population began to shrink
most Sami began keeping reindeer
herds, especially those who didn‘t live
near the coasts. As the bubonic plague
crawled up north and many Norwegians
died on it, the Sami always keeping
to themselves didn‘t get affected
really but continued to thrive both in
coastal areas as well as in the mountains
and inland.
However, before long, the
first church was built in
“Lapland”, and it is easy
to imagine what followed.
The so-called civilization
process was forced upon
the Sami. The mine in
Nasafjäll, Sweden was
opened and the Sami were
employed to work and
were cruelly punished
if they refused to. Many
Sami tried to flee the land
and abandon the areas
they had inhabited for
thousands of years, but the
government sent troops to
prevent them from leaving.
So the colonization of the
Sami areas began with
settlers who moved into
their land. The new ways
of life contrasted with the
traditional ones and of
course the extensive hunting
brought many species
to the brink of extinction
and the Sami had to face
starvation.
Towards the end of the 17th century
things got worse. The Christian religion
that had become the official
religion of all Scandinavian countries
hit the North. Sami drums were burnt,
people who practiced the old religion
were persecuted and holy sites and
idols were destroyed. Soon the burning
of people at the stake followed
on any occasion that could be related
to “witchcraft”. After the turn of the
century the Sami were gathered and
deported to the “Lappish administrative
region”, which meant they would
have to continue reindeer herding in
restricted areas upper north. A hundred
years later, Sami people were stripped
of all property rights and the land they
were allowed to use for their animals
kept shrinking.
The 20th century didn‘t make things
any better for these indigenous people.
In 1905 the nomadic mountain
Sami had to decide which country they
wanted to belong to and then moving
wouldn‘t be possible for them anymore.
Next, a bill was passed to grab
all useful lands and give them to the
white settlers. After the first world war
racism was institutionalized in Sweden
and race segregation became the norm
while the Sami language was forbidden
in public and a racebiological
institute was created in Uppsala. The
Sami tried to organize and protect their
rights but even as recently as in the 70s
they were not allowed to have a house
bigger than modest, while many forest
Sami populations got extinct.
When the UN declaration of human
rights was introduced in 1948, Sami
people started hoping but they still
continued losing land, their land was
being polluted by new power plants
and even the Chernobyl disaster ruined
them, compensations promised were
never given to them. The lakes and
areas reserved for the Sami are given
away to non-Sami who exploit the
areas thoughtlessly and basically all
Sami rights are being violated. Split
into many different organizations the
Sami are still fighting for their rights
and trying to make their voices heard.
Today, if you go to Finland you can
actually visit real Sami habitats, even
though non-Sami dressed in inaccurate
traditional costumes are often employed
for tourist entertainment, as well
as Sami-ish ceremonies and giftshop
artifacts. The religion and art of the
Sami people should not be overlooked.
It is much more than cheap methods to
attract naïve tourists. The roots of all
Scandinavian and Norse mythology is
to be found in the Sami pantheist religion
and many sacred sites have luckily
managed to survive, while all bright
and colourful geometry that is typical
in Scandinavian art can be traced back
to traditional Sami art and culture.

382
Be your
friend‘s
true friend.
eturn
gift gift.
for

Repay
383
laughter
with
laughteragain
but
betrayal
with
treachery.
- The Havamal / Book Of Viking Widsom -

Jacket - Rick Owens
Photography - Ram Shergill
Styling - Aiden Connor
Make up - Ahmed Chami
384
THE OUTTAKES
Hair - Aaron Charlo
Model - Bianca, Simon @Nevs
David @Nevs

385
Dress - Vintage Oscar de la Renta

Lace top - Christian Lacriox from House of Liza
Gloves - Vintage @ Relik
Trousers - Versace menswear @Relik
Shoes - Bernard Chandran
386

Printed bodysuit - Ziad Ghanem
387

Jacket - Ziad Ghanem Couture
Bag - Marjan Pejoski
388

389

Top - Adidas
Pants - Ziad Ghanem
Coat - Lanvin @House of Liza
390

Bodysuit - Rokit
Head Piece - Ziad Ghanem Couture
391

392
KALTBLUT is calling all artists!
Theme is: The Male Issue!
The 5th issue will be focusing on Boys, Boys and Men.
What makes a man to a man?
Do we live in a men‘s world?
Why are guys so sexy?
What are your visions when you think about boys?
Do you want to share your vision with the rest of the world?
Be it fashion, articles, photography, art,
if this theme speaks to you,
if you play with this theme, contact us!
Artists from all over the world are more than
welcome to work with us.

393
BE PART OF
COLLECTION 5!
collection5@kaltblut-magazine.com
Photo by Marcel Schlutt, Model: Mo

394
ART
We have selected 6 events we would kill to go to. We can’t afford travelling the globe but there’s surely
something near you that you will get excited about.
Atheneum Art Museum
In the Spirit of Symbolism
till 28 April 2013
www.ateneum.fi
Kaivokatu 2, FI-00100 Helsinki, Finland
Thoughtfully selected by Amanda M. Jansson & Emma E.K.
This one is all about illusions. Trompe l‘oeil translates into tricking the eye or something. So
you get the picture. An amazing collection of not frequently shown work will be at your disposal
Trompe-l‘oeil art originated in painting, in which the illusion created by a painted object
relies heavily on perspective and chiaroscuro. The objects displayed are of various different
forms, from the most modest ones to the most sumptuous and they all imitate some other
material. Wallpapers that looks like wood or velvet or framed pictures. Ceramics imitating
porphyry or gold, this game of patterns and illusions knows no limits, especially not in the
18th and 19th century when it was spreading to fashion and the theatre. This one should be an
unforgettable experience.
Scandinavian art kicks ass and so does Helsinki and all the events we came across. This breathtaking exhibition
presents a special selection of art in 5 exhibition rooms. Symbolism in Finnish art from the 1890s to the late 1910s
is all about religion and mysticism, the world of ideas and death. Visual symbols and metaphors emphasizing
on the Platonic concept of a world of ideas which the visible reality remotely reflects. Timeless and fundamental
truths, emotions and states of mind come to life in the work of Akseli Gallen-Kallela, Magnus Enckell, Hugo Simberg,
Väinö Blomstedt, Pekka Halonen, Ellen Thesleff and Ville Vallgren. This could even make you fly to Helsinki.
Paris: Les Arts Décoratifs
Trompe-l’œil. Imitations, pastiches et autres illusions
till November 2013
www.lesartsdecoratifs.fr
Les Arts Décoratifs , 107, rue de Rivoli 75001 Paris
Rene Magritte - Ceci N´est Pas Une Pomme.

Tate Modern
Lichtenstein: A retrospective
till 27 May 2013
Bankside, London SE1 9TG
www.tate.org.uk
Photo: Roy Lichtenstein, Oh, Jeff…I Love You,
Too…But… 1964
Private Collection © Estate of Roy Lichtenstein/
DACS 2012
395
Tate Modern is known for its amazing exhibitions and is now proud to present a retrospective of one of the greatest American artists of the twentieth century.
This is the first full-scale retrospective of this important artist in over twenty years, with 125 of his most definitive iconic paintings and sculptures. For
those not familiar, Lichtenstein‘s work is based on comic strips and advertising imagery coloured with his signature dots. Visitors will be lucky enough to
appreciate paintings like Drowing Girl or Whaam! as well as works on Rowlux and steel and some previously unseen collages and masterpieces of paper.
21_21 Design
Design Ah!
9-7-6 Akasaka, Minato-ku, Tokyo
till: 02 June 2013
www.design-ah.net
What can be said about Japanese design.
We all know it is fantastic and more than
inspired, minimalistic, genius, out of
this world. In a uniquely built art space
directed by three Japanese masters of
design you get the chance of enjoying
some young design wonders‘ latest
works. With all the data overload this
show wants to determine the adequacy
of the things around us. Overseen by
some experts in all sorts of design fields
and with lots of hands-on experiences,
workshops, and audio visual extras this
should be really fun.

This Hamburger Bahnhof‘s
„secret universe“ exhibition
is about an artist not as
well known as he would
deserve to be. Born in
Kentucky in 1962, George
Widener developed an
early interest in numbers,
numerology, history,
calculations, artificial
intelligence. So his work
is actually complex
number pictures. With
images based on secret
algorithms, dates are
no longer patterns but
become a system for
perceiving the world. An
unusually talented man
predicting the melting of
consciousness into software?
This is definitely
not something to miss.
Nationalgalerie Hamburger
Bahnhof
Secret Universe IV. George
Widener
till: 16 June 2013
Invalidenstr. 50, 10557
Berlin
www.hamburgerbahnhof.de
Photo: Sunday´s Crash,
undatiert
paper, 91,3 x 132,1 cm
Collection abcd, Paris
© George Widener
396
The Metropolitan Museum of Art
Plain or fancy? Restraint and Exuberance in the Decorative Arts
Till: 18 August 2013
1000 Fifth Avenue, New York, New York 10028-0198
www.metmuseum.org
Choosing New York events has never
been easy, since this city is always
buzzing with the most amazing exhibitions.
Basically, we would kill to go
to at least 10 of them. However, this
one here is a really interesting and
thought provoking one you shouldn‘t
miss. The exhibition contrasts austere
works of art with much more ornate
ones, encouraging viewers to examine
their own esthetics and responses
and to view them in the context they
were created considering time,
trends, and styles. Drawn from the
Museum‘s vast collection of European
sculptures and decorative arts, this
exhibitions includes items from the
Renaissance to the early twentieth
century.

Marc Chagall, Moi et le village (Detail), 1911, The Museum of Modern Art, New York, Chagall ®/© 2013, Pro Litteris, Zürich
397
DER DIVIDED
HEAVEN
GETEILTE
HIMMEL
Neue Nationalgalerie
Staatliche Museen zu Berlin
Kulturforum
Potsdamer Straße 50
10785 Berlin
www.smb.museum
The Collection.
1945 – 1968.
Neue Nationalgalerie
130124_NNG_Der geteilte Himmel_240x168,5.indd 1 24.01.13 15:38
Auch montags geöffnet!

CRAY
Zay
Frida Hyvönen
www.fridahyvonen.com
kswiss
398
Marybell Katastrophy
www.marybell.dk
2x CDs:„To the Soul“
3 x K-Swiss
Brogue-Sneaker (42-46)
2x CDs:„Amygdala“
www.kswiss.com
Davidoff
www.nintendo.com
You like it, you get it. Just pick the item you
would like to have, write a nice-crazy-funny
letter (ho yes we‘re a bit old-school, we love
snail post!) with your name, your address,
and the thing you want.
JUST ONE ARTICLE PER
PERSON.
And we will pick the winner. Good Luck.
Your Kaltblut Team. Write to : Kaltblut
Magazine, Grünbergerstrasse 3, 10243,
Berlin,Germany.
Smnovella
1x Acqua di Rose
1x Crema al Polline
www.smnovella.com
3x Perfume
Davidoff „The Game“
www.davidoff.com
Nitendo 3DS
1x Game: Mario Kart 7

1x Refurbished 80S Style
Polaroid 600 Camera Kit
www.the-impossible-project.com
Roskilde-festval.dk
399
Nordic by Nature
2x Print T-Shirts
www.nbnberlin.de
The Impossible Project
2x Tickets to Roskilde Festival 2013
www.roskilde-festival.dk
Calvin Klein
3x Perfume: CK One
www.calvinkleinfragrances.de
Buff wear
3x BUFF Scarf
www.buffwear.com
Tony&GuY
1x Tony&GUY Men´s Collection
1x Styling glue + 1x 2in1 Anti-Dandruff Shampoo &
Conditioner, 1x Deep Clean Shampoo, 1x Styling Pompade,
1x Styling Putty, 1x Styling Fibre,
www.toniandguy.de

Info
info@kaltblut-magazine.com
Press
press@kaltblut-magazine.com
400
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Events
events@kaltblut-magazine.com

Our second print issue : The North.
It is such a relief to realize that this project, our project, KALTBLUT
is going to be able to live on. The most difficult thing about throwing
yourself heart and soul into a project is not so much creating something
as it is keeping it going, and being able and willing to put more
energy into it in order to bring it to the next level.
The excitement is still palpable even after we’ve gotten all the submissions,
and every day it is sheer pleasure to read more and more
positive feedback about the Magazine.
KALTBLUT was created to give a chance to all the creative people
out there. A chance to see their work published by providing a platform
where they can showcase their art and express themselves freely.
We take great satisfaction in opening our mailbox every day to that
we have hundreds of emails from people from all over the world
sending us their work: it is working, it was a good thing to do, and
we are proud to be this connection between the artists and our
readers.
Releasing these 404 pages is our way of saying thank you. Thank you
for believing in us, and thank you for being a part of it too because
let’s be honest, without you all, KALTBLUT wouldn’t be here.
This issue is chock-full of creativity and beauty coming your way
straight from the North. It is such a privilege for us to be able to
introduce you to wonderful artists like Jacky Hijsteck, Morten Anderson,
Marzena Skubatz and many others, like Suzana Holtgrave,
who have been supporting us from the very beginning.
Dealing with a project like this is not an easy thing. Of course we’re
bound to make a couple of mistakes along the way, but we are
learning every day, and we are enjoying every second of it.
We are not perfect, but we try to do things a little bit better every
time, and when we get emails saying that KALTBLUT MAGAZINE
is a great thing, it truly is one of the best presents that we could
possibly receive.
We believe in what we do and we hope that you do too.
Nicolas

A
ACNE
www.acnestudios.com
ADIDAS SVLR
www.slvr.com
AGENT PROVOCATEUR
www.agentprovocateur.com
AGATHA
www.agatha.com.br
ALL SAINTS
www.allsaints.com
AMERICAN APPAREL
www.americanapparel.net
AMERICAN RETRO
www.americanretro.fr
AN!MAL
www.anmal.de
ANDREA POMPILIO
www.andreapompilio.it
ANNA DELLO RUSSO
www.annadellorusso.com
ANNA LATY
www.annalaty.tumblr.com
ANNA GREGORY
www.annagregorydesign.co.uk
ANTIX
www.amoantix.com
ARTMASTER
ASOS
www.asos.de
AUGUSTIN TEBOUL
www.augustin-teboul.com
AYNUR PEKATS
B
BARBARA BONER
www.barbaraboner.co.uk
BILLIONARE BOYS CLUB
www.bbcicecream.com
BJØRG
www.bjorgjewellery.com
BJÖRG SKARPHéðINSDÓTTIR
BLAENK
www.blaenk.net.com
BLUSH
www.blush-berlin.com
BUTTERFLY SOULFIRE
www.butterflysoulfire.blogspot.de
BURBERRY
www.burberry.com
C
CALVIN KLEIN
www.calvinklein.com
CAMILA KLEIN
www.camilaklein.com.br
CASA JUISI
www.juisi.blogspot.com
CHANTAL THOMASS
www.chantalthomass.fr
CHEAP MONDAY
www.cheapmonday.com
CHLOE
www.chloe.com
CHOLET
www.cholet.com.br
CHINES LAUNDRY
www.chineselaundry.com
CLAUDINE IVARI
www.claudineivari.com
CLEO B
www.cleob.com
CONVERSE
www.converse.com
CREATURES OF THE WIND
www.creaturesofthewind.com
D
DAMARIS
www.damaris.co.uk
DANDY OF THE GROTESQUE
www.dandyofthegrotesque.com
DANIELA BARROS
www.danieladebarros.blogspot.de
DANIELE MABE
www.danielemabe.com.br
DANIELLE ROMERIL
www.danielleromeril.com
DARLING
www.darling.com.br
DAVID TOMASZEWSKI
www.dawid-tomaszewski.com
DESIRE
www.desireclothing.co.uk
DOMINICK KNECHT
www.dominicknecht.de
DOS SANTOS
www.petradossantos.com
DSTM
www.dont-shoot-the-messengers.com
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E
EKATERINA GERASIMOVA
ELENA ROMANOVA
ELEVEN
ELISABETTA FRANCHI
www.elisabettafranchi.it.
ELLY CHENG
ERFURT
www.erfurt.dk
ETIENNE JEANSON
www.etiennejeanson.com
EYGLO
www.eyglocollection.com
EVA BRA BARKARDÓTTIR
EVA POLESCHINSKI
www.epanoui-fashion.at
F
FADE TO W
www.weekday.se
FALKE
www.falke.com
FENN WRIGHT
www.fennwrightmanson.com
FRANKIE MORELLO
www.frankiemorello.it
FRÄULEIN KINK
www.frauleinkink.com
FIONA BENNETT
www.fionabennett.com
G
GAVILANE
www.gavilane.com
GEMMA FANNING
www.gemmafanning.tumblr.com
GEORGINA MULHOLLAND
www.georginasjorneyintofashion.blogspot.de
GLAW
www.glaw-berlin.com
GUESS
www.guess.com
GUIDO MARIA KRETSCHMER
www.guidomariakretschmer.de
H
HASSELBLAD
www.hasselblad.co.uk
H&M
www.hm.com
HEUBEL
www.heubel-collection.de
HILDUR YOEMAN
www.hilduryeoman.com
HERMES
www.hermes.com
HUGO BOSS
www.hugoboss.com
I
IN ODD WE TRUST
www.iowtca.tumblr.com
INDYANNA
www.indyanna-fashion.blogspot.de
IRIS VAN HERPEN
www.irisvanherpen.com
ISABELL DE HILLERIN
www.isabelldehillerin.com
J
JAMES HOCK
www.jameshock.co.uk
JAYNE PIERSON
www.jaynepierson.co.uk
JEAN PAUL GAULTIER
www.jeanpaulgaultier.com
JOSEP FONT
www.josepfont.com
JIL SANDER
www.jilsander.com
JIMMY CHOO
www.jimmychoo.com
JITROIS
www.jitrois.com
JULIA ANDBEN
www.juliaandben.com
JW ANDERSON
www.j-w-anderson.co.uk
K
KAVIAR GAUCHE
www.kaviargauche.com
KILIAN KERNER
www.kiliankerner.de
KONSTANTINOS MELIS BY LASKOS
www.konstantinosmelis.com

L
LA PERLA
www.laperla.com
LASCIVIOUS
www.lascivious.co.uk
LAURITZ
www.lauritz.com
LEVIS
www.levi.com
LIA SOUZA
www.liasouza.com.br
LINA SALEEM
www.linasaleem.com
M
MALAIKA RAISS
www.malaikaraiss.com
MAISON MARTIN MARGIELA
www.maisonmartinmargiela.com
MAJE
www.maje.com
MARC STONE
www.marc-stone.ch
MARIA BLACK
www.maria-black.com
MICHAEL JAMES
MICHAEL SONTAG
www.michaelsontagcom.
MINIOT
www.miniot.com
MOGA E MAGO
www.mogaemago.com
MONKI
www.monki.com
MUUBAA
www.muubaa.com
N
NAKED STEEL
www.naked-steel.de
NATIVE UNION
www.nativeunion.com
NICO SUTOR
www.nicosutor.tumblr.com
NICHOLAS K
www.nicholask.com
NICOLE MILLER
www.nicolemiller.com
O
OAKWOOD
www.oakwood.fr
P
PAT BO
www.patbo.com.br
PERLENSÄUE
www.perlensau.com
PETER HAHN
www.peterhahn.de
PETER PILOTTO
www.peterpilotto.com
PP FROM LONGWY
www.ppfromlongwy.com
RITA IN PALMA
www.ritainpalma.com
PROSE
www.prose-studio.com
PRINCESSE TAM TAM
www.princessetamtam.com
POSH
R
RAF SIMONS
www.rafsimons.com
REALITY STUDIO
www.realitystudio.de
RENO
www.reno.de
RETAW
www.retaw-tokyo.com
REX
RICHARD NICOLL
www.richardnicoll.com
ROECKL
www.roeckl.com
RYBALKO
S
SAAD
www.saad.ind.br
SABRINA DEHOFF
www.sabrinadehoff.com
SASA OBRADOVIC
SAMMLER BERLIN
www.sammler-berlin.com
SAVA NALD
www.savanald.de
SHIREEKA DELVIN
SHOKAY
www.shokay.de
SISLEY
www.sisley.com
STEPHANIE GHOUSSAIN
STEPHEN GARVEY
SWAROVSKI
www.swarovski.com
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T
TANYA LEVY
www.cargocollective.com/tanjalevy
TIGRESSE
www.tigresse.com.br
TRACY REESE
www.tracyreese.com
TRES BONJOUR
www.tresbonjour.de
TRIUMPH
www.de.triumph.com
TOPSHOP
www.topshop.com
TOPMAN
www.topman.com
U
UNRATH & STRANO
www.unrath-strano.com
V
VALENTINO
www.valentino.com
VLADIMIR KARALEVV
www.vladimirkaraleev.com
W
WAREDROBE
www.wardrobeclothing.com
WEEKDAY
www.weekday.com
WOLFORD
www.wolford.com
WON HUNDRED
www.wonhundred.com
Y
Y3
www.y-3.com
YANA CHERVINSKA
Z
ZARA
www.zara.com
ZILLMAN
www.alisazillmann.tumblr.com
ZISKA
www.ziskas
ZOFIE ANGELIC
www.zofieangelic.com
ZUMTOBEL
www.zumtobel.com
1
3.1 PHILLIP LIM
www.31philliplim.com

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404
Deine Idee für Berlin
be Berlin sucht neue Berlin-Souvenirs. Bewirb Dich bis zum 29.4. mit Deinem Design und zeig der Öffentlichkeit, wie
ungewöhnliche Hauptstadt-Souvenirs aussehen können. Eine renommierte Jury prämiert die besten und marktfähigsten
Ideen mit bis zu 5.000 Euro. Die nominierten Entwürfe bekommen außerdem eine Ausstellung und stehen mit etwas
Glück schon bald als Berlin4U-Kollektion in den Läden der Stadt. Alle Infos auf www.sei.berlin.de/du
Schirmherr: Jury: Gremium: GmbH
Medienpartner: