Oryanne Dufour I Aynur Pektas I Dirk-Peter Wiegmann I Anina Brosius I Juan

Ernesto Oliveros Muller I Carina Jahn I Deborah Frey I Fabian Kalker I Erwin

Stranintzky I Birge George I Romain Grandveaud I Anna Willert I Martin Strauss

I Andrea Hoppe I Dana Mikelson I Silke Wilhelm I Valquire I Philipp Bruening I

Franco Erre I Thomas Gastl I Gonny Glass I Georg Szablowski I Charli Howard I

Christine Kreiselmeier I Urban Spree GmbH I Attila Huber I Daisy Walker I Jenna

Lee I Sherion Mullings I Robert Logemann I Jochen Sand I Gabriella Barouch I

Fotis Vazakas I Tussunee Roadjanarungtong I Steve Pletscher I Irmela Schwengler

I The WYE GmbH I Marc Majewski I Fabian Blascke I Fak Yeah Clothing I

Sven Stienen I Vatilis Neufeld I Stefan Nott I Christian Born I Contentement I

Zsuzsanna Majadan I Kristin Lawrenz I Richard Dubieniec I Rosa Morelli I The

Candy Factory Studio I John Morrison I Lucie Le Hir I Michael Woischneck I

Marine Drouan I Jerome Karsenti I Torsten Grewe I Astafyeva Tatiana I Katrin

Cremer I Anthracite I Shantu Bhattacharjee I Frank Wilde I Danielle Shami I

Karsten Schulz I Karl Slater I Peter Wiklund I Robert Sacheli I Birte Meyer I

Robert Kothe I Orestes Hellewegen I Kobald TV I Caroline Burnett I Florian

Mass I Mads Dinesen I Marie Staggat I Sören Münzer I Felipe Torres Basave I

Mario Seyer I Marc Handke I Eva Vorsmann I David Bennett I Arkadij Koscheew

I Chantal Henken I Helge Langensiepen I Karina Schönberger I Anna-Christina

Faust I Lisa Ladke I Voodoo Market I Suzana Holtgrave I Anita Krizanovic


Spectacular programme with

More then 100 talents from all over the world.

(The Netherlands)

6 th edition of

the international and


fashion festival


in Maastricht


1 15



fashion shows / exhibition / performances / designer market and more.

photo: hordur ingason


Fashion Editor

Art Director

Art Editors

Music Editors

Movie Editor

Marcel Schlutt

Nicolas Simoneau

Amanda M. Jansson

Emma E.K. Jones

Amy Heaton

Ange Suprowicz

Claudio Alavargonzalez Tera

“If death doesn’t kill you, my demons will!”

That could certainly be one way of summarising the past few

weeks we’ve had here. The last months have been a difficult

time for us at KALTBLUT. You could even talk of a cloak of

darkness that was veiled over us. But we wouldn’t be KALT-

BLUT Magazine if we didn’t turn this around into something

positive. We learnt a lot, both in terms of trust and how the

magazine and fashion markets work. It’s not always easy to stay

true to yourself but KALTBLUT Magazine stands for candour,

strength and morality and this will always remain the same

regardless of darker times.

Noire is the theme for this issue. Black in fashion, in art and

in music. Why the fascination with black? It was revealing to

see how artists formed their own version of the theme. This

issue celebrates two years of KALTBLUT Magazine and at

this point of the journey we’d like to thank all our friends and

family, artists and agencies. You continued believing in us, supported

us and never shied away from offering us constructive

criticism. Due to you we managed to grow up.

We are more proud than ever to show our latest issue. A lot has

changed. We’ve deliberately decided to publish the magazine

with 208 pages, meaning we’re able to lower the price from

30 EURO to 14 EURO. We hope you like it and support the


This issue is the most personal one for us all. A lot of tears were

shed, it was a difficult journey but it was certainly worth it.

Yours Marcel and the team

Photo by Lucio Aru & Franco Erre

Fashion Assistant

Brazil Editors

UK Editor

Translation /


Nico Sutor

Mauricio & Aleesandro Lázaro

Karl Slater

Amy Heaton, Ange Suprowicz ,

Amanda M.Jansson, Bénédicte Lelong

Pernille Sandberg / Photographer

Pernille is a well-known photographer based in Berlin and Copenhagen. For this issue, Pernille

visited the fashion label Augustin Teboul in their studio and had a chat about the fashion.

Nik Pate / Photographer

Nik is a London-based fashion photographer and digital artist. Mister Pate is an upcoming

artist in the UK and this is our first collaboration with him and we are proud to showcase two

of his works.

Suzana Holtgrave / Photographer

Once again, the Berlin-based photography icon has produced 2 amazing editorials for us.

Suzana has been part of our journey from the very beginning. We are sure you’re familiar with

her work.

Agnese Pagliano / Graphic designer

Agnese is a freelance graphic designer. She has already worked with severals magazines and has

made a notable contribution to this issue. She is obsessed with typography and loves to create

new fonts in her free time.

Eileen Rullmann / Photographer

Eileen is a still life photographer based in Hamburg. She specialises in macro photography,

particularly focussing on insects. Her eye for detail and her aesthetics have allowed her work

to be published in Vogue Italia.

Model: Melanie Gaydos, Photography by Maren Michaelis,

Dress by Augustin Teboul, Postproduction by Florian Hetz

- -

KALTBLUT Magazine is published by KALTBLUT Media UG,

Nicolas Simoneau & Marcel Schlutt

KALTBLUT MAGAZINE I Grünbergerstrasse 3 I 10243 Berlin I Germany


p.12 Dark Travelers

Fashion Story

p.20 Darkside


p.26 Sketch Book

Illustrations by Jean Khalife

p.30 The Last Supper

Fashion Story

p.38 Melanie Gaydos

Fashion Story + Interview


Berlin Faces

You Should Know

p.50 The Widows

Fashion Story

p.58 Pins


p.60 Decode

Fashion Story



Pictures of

The Dead

p.68 Paint It Black

Fashion Story

p.77 Joseba Eskubi


p.80 Nachkriegszeit

Fashion Story

p.86 Horror-Shaping Art


p.88 Heraista

Beauty Editorial

p.96 Into Brackets


p.100 Black Metal

Fashion Story

p.106 Augustin Teboul


p.112 Marika

Fashion Story

p.120 Mehryl Levisse


p.124 Cunt Cunt Chanel


p.126 Must Have

p.127 Dear Bad Bed Bug

p.128 Queen of Sorcery

Fashion Story

p.134 Gesaffelstein


p.136 Lines Of Life

Fashion Story

p.142 Eirik Lyster


p.145 Love & Malice

Fashion Story

p.150 Austra


p.154 Ana Alcazar

Fashion Story + Interview

p.164 c355p001


p.166 Concrete

Fashion Story

p.174 Gustavo Jononovich


p.178 The X-Insider

Interview with M

p.180 Termites

Photo Story



What's Left Of

The Noire?

p.186 Trentemøller


p.190 Susanne Bosslau

Interview + Fashion Story

p.196 Kerby Rosanes


p.198 Must Wear

p.200 Sorry My Love

Fashion Story

p.206 Humphrey Bogart


p.208 CraZay Giveaway

p.209 (End).itorial


Jacket: Sadak

Dark Travelers

Photographers: Lucio Aru and Franco Erre

Stylist: Crystal Birch


Assistants: Micheal Mosel and Moritz Jasper

Hair and Make-Up artist: Janine Pritschow


Models: Franz and Nicholai at ultmodels


Hat: Mads Dinesen, Coat: Studio Laend Phuengkit, Scarf: Stylist’s own, Cape: Preview5, Trousers: Comme des Garçons, Shoes: Ann Demeulemeester

Shirt: Sopopular, Coat: Julia Heuse

Shirt: Sopopular


Hat: Mads Dinesen, Shirt: Preview5


Hat: Mads Dinesen, Coat: Studio Laend Phuengkit, Scarf: Stylists own, Cape: Preview5, Trousers: Comme des Garçons, Shoes: Ann Demeulemeester


Franz (left) Top: Sadak, Trousers: Ethel Vaughn, Shoes: Tiger of Sweden, Nicholai (right) Coat: Laend Phuengkit, Knitwear: Tiger of Sweden, Trousers: Bobby Kolade, Shoes: Ann Demeulemeester


Nicholai (below) Shirt: Sadak, Trousers: Julia Heuse, Boots: Ann Demeulemeester, Franz (above) Jacket: Sadak, Trousers: Sopopular, Shoes: Tiger of Sweden

Trousers: Ethel Vaughn


Nicholai (left) Glasses: Kuboraum, Knitwear: Tiger of Sweden, Trousers: Sadak, Shoes: Tiger of Sweden, Franz Hat: Mads Dinesen, Coat: Bobby Kolade, Trousers: Ethel Vaughn, Shoes: Ann Demeulemeester



A Lesson In Patience

Experimenting with electronic music at the

tender age of 14, making his debut on Wolf

+ Lamb three years later, forming his own

record label and releasing his critically acclaimed

debut album before turning 21 or

graduating: Nicolas Jaar may have gotten off

to an early start, but he’s in no hurry to get

anywhere fast. Disinterested in dwelling on

the past or former glories, he’s invested in

new beginnings and startling collaborations.

The electro wunderkind has paired up with

multi-instrumentalist Dave Harrington to

create Darkside; a project that sees Jaar bringing

his raspy baritone to air amongst warmly

played keyboards, tactile electronic textures

and other sundries. Slowhand Dire Strait

leads might be the last thing you’d expect an

electronic producer to bring to his records,

but if there’s anything we’ve learnt from Jaar

in the last years it’s: don’t expect. Subtlety,

strangeness and difference: the precocious

producer is giving listeners what they want.

Nicolas Jaar is invested in developing a singular

style and letting it patiently evolve over


As a producer who’s known for bringing dance

music down to 100 BPM or lower, he’s created

an atmosphere that’s unconventional and

unprecedented. The crowd’s patience is not

left underserving; Jaar delivers in pitches

that persist and peak. In remixing the entirety

of Daft Punk’s Random Access Memories

earlier this year and renaming their project

Daftside, Jaar and his musical partner shed

a light on their unequivocal ability to find

something else in the music- their inclination

to take big moments and make them small,

turning them inward – an achievement noted

for its remarkable turnaround rate. In contrast,

the duo’s full-length album took a full

two years to produce and reflects Jaar’s eye

for detail and the care he dedicates into every

aspect he presents. Released on Jaar’s brand

new imprint and subscription service, Other

People, predecessor to his first record label

Clown & Sunset, Psychic beckons the listener

to slow down and move at its pace.

Exploratory, confrontational and wandering,

Psychic is full of characteristically long Jaar

songs, that feeling of “the song has you” for

the seven minutes of its duration; and in a

record that fits an incredible amount of music

into a compact 45 minutes, the silences

themselves are moments of active listening

too, with unintentional things happening between

the beats. The opening track is eleven

minutes long and it takes four full minutes

for the tinkering to do its thing, to dissolve

from a space-radio crackle into a beat that’s

both melodic and methodical as it meanders

and experiments into a heavy-lidded, inebriated

swell. The first single Paper Trails with its

singed blue riffs in the middle of the record

is the album’s one only narrative and Freak,

Go Home encompasses a constant fluidity

between acoustic and digital percussion.

Unhurried yet insistent; the record cogs away

before it can get personal; Jaar and Harrington

tease the concept of scale, the desire to

instil wonder. The record is intimate: it’s a

journey- from start to finish, to the celestial,

to the otherworldly- that beckons you further:

the longer you spend with Psychic, the more

you sink into its depths, speeds, sounds and

findings. Dropping you in from nowhere,

there’s a driving force but don’t try to define

it; it takes its time to coalesce, and as soon

as an ostensible connection is made, it’s gone

again- fleeting and departing as quickly as it

appeared. What grounds the record is Jaar’s

uniquely congested vocals that eke in over a

gentle pulse of synth-dappled drones leaving

the listener engulfed in the realisation that

he has a voice where you never expect him

to mean exactly what he says. Live, the duo

gives a performance that displays both restraint

and a high level of skill- like the feel

of the whole album: the sounds bulge as soon

they burst, never giving away too much. In

conversation, Jaar and Harrington are articulate,

dedicated and gregarious; the former

passionate and insightful- with a careful,

organised sense of self that belies his age.

The pair’s full-length effort spills with sounds

that self-ignite, over take one another, and

combine at imperceptible speeds, whether

solo or layered. Patiently and steadily, the

rhythms, the meaning, the story rises and

reaches a state of euphoria without divulging

that it was up anything at all- which, come

to think of it, is much like the collaboration



Interview by Ange Suprowicz

Photo credit: Other People / Matador


“…Sometimes things take their time. It’s sad

sometimes; it’s frustrating sometimes

but it’s also just very real… and I love the

very simple fact when something finally

happens you realise ‘Oh, it couldn’t have ever

happened before. It needed to

happen now.”

KALTBLUT: First of all, huge congratulations on the

album. It’s sensational. The recording process spun over

two years and critics have been quick to comment that

the record reflects that. I like to think you’re teaching listeners

the virtue of patience and deliberation. Does this

ring true?

Nico: That’s nice.

Dave: That is really nice.

Nico: Patience…

Dave: Patience…

Nico: We had a song called ‘Patience’, we haven’t written


Dave: I think that those things are things that we both value.

We share that in things that we like… and more important

than just things, the experience of music for both of

us has a lot to do with that and that is a very real point of

connection and so if that’s coming through, then it’s very


Nico: And life takes its time y’know, sometimes things

take their time. It’s sad sometimes; it’s frustrating sometimes

but it’s also just very real and I love the very

simple fact if something just takes two years to happen;

something you’ve been waiting for finally happens then

you realise ‘Oh, it couldn’t have ever happened before. It

needed to happen now.’ Y’know that feeling of in... inevit…

what is it?

Dave: Inevitability.

Nico: Inevita... Inevitability! Boom. That’s very real. We

didn’t necessarily write songs or tracks we just wrote a

fifty minute thing in a way, and so in the light of that we

did want to tell a story that was a little bit more subdued,

that hopefully you could sink into and that maybe the first

time you listen to it you would tell yourself ‘this is an orb

that maybe I want to sink into’. And I’m saying that in the

friendliest way possible… it’s not a challenge at all.

KALTBLUT: It’s interesting, the theme of challenge. When

you first started together you said it was tough, wasn’t

what you expected and it required a lot of work. What was

it that kept you pushing and motivated?

Nico: When did we say that?

Dave: Doesn’t sound like something I’d say.

Nico: Nope, I think that’s probably like a bad German


KALTBLUT: I was surprised it didn’t seem like something

that would apply to you…

Dave: Maybe you could set the record straight. It’s so easy

and fun and that’s why we kept doing it.

Nico: It came about naturally. The end of anything is much

harder because we needed to actually make some true,

miniscule decisions. But at the beginning, no- that was all

play. That was all fun.

KALTBLUT: Nico, the idea of Darkside came to you to

make a more blues orientated guitar heavy project…

Nico: No, it didn’t really come to me. It was more the combination

of Dave and I sitting down one day and making

music together. It wasn’t a project that I had I in mind and

I’m gonna do this. It was more… Dave and I just met each

other and we decided to make music one day and then it


KALTBLUT: You started Darkside two years ago in Berlin

and Nico you’ve commented that Berghain is your favourite

place to play. How is it for you both to be back in this

venue and city at the start of your Psychic tour?

Dave: Yeah we made our first song in Berlin.


Nico: That’s the only song we made in Berlin. It’s amazing

being back. I can’t wait to play. I actually had Berghain in

mind when I wrote the record. The sad thing about that is

that when you really love a space, there’s few clubs in the

world that I love and that I don’t want to play anywhere

else. I just want to continue playing in this place hopefully

until I’m like old y’know? (laughs) When you don’t have

a show that’s as good as you want it, it’s such a shame

because everything is so perfect. It’s a perfect club. The

pressure is higher in a way because you want to, not live

up, but you want to adhere to the club.

KALTBLUT: You’ve said before that where you play your

music changes everything. For those unable to experience

you live, what would be the best sitting to listen to the

record in?

Dave: If you’re sticking around for the show you’ll see that

it is and it isn’t like the record, just for the record (laughs)

My answer to this would be: wherever they want to listen

to it, in a meaningful way not like a (distorts his voice)

“listen to it wherever you want to”. I love records where I

feel like I make it my “this-record”, it’s the record I listen

to when I can’t sleep or this is the record I listen to when

it’s a beautiful day out and I’m walking around.

Nico: Or if you’re driving.

Dave: Yeah if you’re driving… things that are very personal.

Hopefully people can be personal with it.

KALTBLUT: It’s been said that there’s a gravitational pull

in the record that only exists in music made by Nicolas

Jaar. What is this pull, this hype that surrounds you and

how do you sustain it?

Nico: Excuse me? I said that?

KALTBLUT: No no, you didn’t… (laughs)

Nico: Oh, thank god. I honestly don’t see how any of the

music that we made as Darkside has that much to do with

me. I think why I decided to make this project, to be in this

position of being in a duo instead of doing my own thing

etcetera etcetera is because I believe in the fact that we’re

creating a different sound than what I do and that whatever…

thing that he’s talking about y’know, maybe that’s his

own subjective way but for me this is a band and a band

that makes songs together and if anything I’m excited to

not be the sole maker of decisions and the sole maker of

the music. I’ve been doing that for five years and now it’s

exciting to not do it.

KALTBLUT: So let me ask you: do you think you establish

connections between genres or pronounce differences?

Something that’s very apparent is that there are no rules

to your work…

Nico: I… I love the idea of no rules by the way. That’s… I’m

happy that at least you can see that because that’s very

exciting to me. One of the most important things about

just talking about genre, which I like talking about… I don’t

hate talking about genre; I actually like talking about it a

lot because it is interesting. I don’t think it’s interesting to

make music in a very specific genre in order to do certain

things… I mean you can use genre, I think that’s the most

exciting thing. But one thing I wanted to say, in the ‘base

form’ there are certain things about music that have been

co-opted by music’s ability to sell. And genre is one of

them and so I get very excited when I see music that can

be appealing but that maybe finds a way out of very, very

specific cultural and musical statements because in my

utopian mind that I still think I have, music that makes you

“The most important thing is to defy

being used, defy being labelled,

defy all these things, maybe create a

tiny space for yourself where you

don’t have rules because rules are the

things that create a lot of the problems

that this time has.”

question it makes you question a lot

of different things if you actually think

about it, not only music. I think that’s

the small role that an artist can have

today because our role is getting

smaller and smaller and we’re getting

used more and more, right? We’re just

getting used more by everyone. Not

me, artists in general so I think the

most important thing is to defy being

used, defy being labelled, defy all these

things, maybe create a tiny space

for yourself where you don’t have rules

because rules are the things that

create a lot of the problems that this

time has.

KALTBLUT: Drawing on the point

about music being co-opted by it’s

ability to sell … you’ve said before

that you hate CDs and you think

the music industry is just out to sell


Nico: The CD thing is just a stupid

thing I thought for a while. I don’t

know why I was so against them, I

actually don’t really care. I don’t want

to be mean to your question though;

the truth is I actually don’t care... I’m

not anti- it… in one interview, in the

one stupid interview where I said that,

because I do feel stupid that I talked

about it in that way… what I actually

meant to say is that CDs were invented

with a specific amount of time,

with a weight and with a design that

was easiest to sell and we should

think about that. That’s all I was saying.

The context of that is huge.

KALTBLUT: So you designed The

Prism as a contrast to that?

Nico: Yeah, but that’s also a primitive

idea of hopefully a better idea that I’ll

have at some point, because that’s

still not the answer at all.



KALTBLUT: It’s been noted that you

have some distinctly old fashioned

ideas about art and integrity. Your

sound and musical tropes reference

things before your time. Simply put,

do you think things were simpler in

the past?

Dave: I wouldn’t really presume to

know (laughs) I mean, the short

answer is no. I think that’s kind of a

binary that relies on facile idea of

history that Nico and I wouldn’t think.

If there are sounds or things that are

feel that they’re from another time

then its because we live in the era of

the über-archive, like the total and

so, what that means is that…what

ends up becoming the fabric of internal

life, one’s creative life is built on

thousands of years of history because

now we’ve fully archived it in a very

intense way. On a fundamental music

level that means you become influenced

by, and this is my impression,

things that aren’t in your city, in your

year… right now I’m reading the biography

of Derek Bailey, a free improviser

guitarist and he talks about growing

up in England before WW1 if you

wanted music, he grew up in a small

industrial town, you had to go see it

at the pub, that’s a real thing. They

couldn’t afford records, if you wanted

to hear music; this was 70 years ago…

Nico: Only…

Dave: Yeah, only 70 years… you’d have

to go down the street or drive to the

next town to hear whoever had taught

themselves whatever it is they were

going to do over there and so now and

we live on the opposite end of that

spectrum. If I’m hungry and I’m curious

about different things, they inevitably

seep into you because you live in

this archive.

KALTBLUT: True to its title, Psychic

is not a heart to heart but an extra

sensory telepathic exchange. How

important was the name giving of both

Darkside and Psychic on a personal


Nico: You mean the actual words? So

the second we finished our first song,

this word ‘dark side’ was in the air

between us. It wasn’t the band name;

we were just using it a lot.

Dave: It became a descriptor of a

feeling or experience, y’know if something

got deep we’d be like ‘dark

side’ or if something was a little bit


Nico: So when we finished our first

song, we were like ‘dark side’. And

then we were like, whoa that should

be our name. And that’s it. We never

spoke about it again. It’s a placeholder.

And it’s meant to be that. There’s

no meaning. There’s no meaning. It’s

a placeholder. It’s a colour of a shirt,

right? It’s just a black shirt; it doesn’t

say anything. But it says a little bit…

because it’s black, it’s not white, it’s

not stripy. It’s just a black shirt. Psychic

is…. (hearing music in the background)

Oh, they’re playing Val…the

DJ is.

Dave: Oh, snap!

Nico: Isn’t that so cute?

Dave: That’s amazing.

Nico: That shit blows my mind. What

were talking about?

KALBLUT: The naming of Psychic…

Nico: So Psychic was a little more

deliberate because we did feel like

there were certain things about the

record that we wanted to give to people;

like these were some of the things

we were thinking about. And the idea

of each other’s mind and creating a

telepathic exchange is exciting to us…

that’s so exciting to us.













SHL 5705











Almost like an extension of themselves, the sketch book is an indispensable part to every artist. Bursting with

ideas, thoughts and doodles, it’s where the magic begins. Every issue we approach one artist and present them

with a blank page to allow their imagination run wild.

The first guest for this brand new feature is Jean Khalife, product designer of Vans Europe.

Jean can also be found on Instagram via his illustrator name JOHN KAISER KNIGHT.




Photographed by Gal Reuveni Styled by Marina Milcheva

Models: Blake Myers, Sofya Titova, Natasha Ramachandran @Next Model Management

Top - Balmain, Rings - Topshop, Belt - Evis, Model: Natasha Ramachandran


Leather Biker Jacket - Evis, Skirt - Zara , Belt - Balmain, Sunglasses - Ray Ban, Model: Blake Myers


Leather Vest & Leather Biker Jacket – Evis, Models: Natasha Ramachandran & Sofya Titova


Jumpsuit - Gucci, Belt - Moschino, Model: Sofya Titova




The Queen From Outta Space!

Interview by Marcel Schlutt

Photography by Maren Michaelis

Styling: Carrie Bass (alter.ego)

Hair & Make-up: Deniz Mouratoglou (alter.ego)

Some human beings are so special,

they must simply be from

outer space, can’t come from

this planet. New York based model

and artist Melanie Gaydos

is one of them. Officially born in

Connecticut, but I am sure this

is a legend, Miss Gaydos is gifted

with the most special looks

and a big heart. She was born

to be a model. During these last

years, we have worked with so

many models but none of them

revealed that much of her own

personality in front of the camera.

She is not afraid of being

naked and so easy to work with,

that I would like to just book her

again and again, right away. Together

with photographer Maren

Michaelis, she has produced

one of the most amazing editorials

for our magazine. Yes, she

is not that typical boring beauty

model. Her beauty is on another

level. I don’t see how any of the

“normal” models could compare

to her. I had the pleasure of interviewing

Melanie and after the

interview I am 100 % sure that

she is not from Earth. She is : The

Queen From Outta Space!


KALTBLUT: Hallo Melanie. First at all I

have to say: I adore your photos in our

editorial, and having had a look through

your portfolio. You have some amazing

photographs. On every photo you look

so strong, as if you are born to do this.

Was modelling something you always

wanted to do?

Melanie: Hallo! Thank you so much,

when I was younger I had a dream of

being on a billboard. I never thought

I would be modelling, though I am

sure this is something every little girl

may dream about. I don’t think I ever

thought I could model, but I wanted to

be someone important. I guess in general

I always had a fascination with

something being “larger than life.”

KALTBLUT: You take some amazing

photos in each shot: which story or editorial

is your favourite so far?

Melanie: I really enjoy all of the photo

shoots that I take part in so it is so hard

to choose!! My favourite projects would

have to be (in chronological order) the

Rammstein video shoot for “Mein Herz

Brennt” directed by Eugenio Recuenco

and the current editorial by Maren Michaelis

for your magazine KALTBLUT. I

also really loved one of my last projects

in Germany, a collaboration with photographer

Christian Martin Weiss.

KALTBLUT: Can you tell us something

about your background? All I know is

that you live in New York. Are you born

and raised there? How did little Melanie

grow up?

Melanie: I grew up in Connecticut, a

suburban town an hour or so outside

of NYC. I moved to NYC about

three years ago while transferring art

schools. I had kind of a rough childhood

with my peers and family life, but I always

found solace in artwork and the

outdoors. Since moving to NYC, I miss

living in the forest most of all!

KALTBLUT: What was your dream

growing up? And why?

Melanie: I had always wanted to be an

artist growing up. This really paved the

way for all of my childhood and before

I started modelling, I was a fine artist

and studied in school for a degree.

Being an artist is the complete freedom

to do whatever you wanted to do,

and basically the freedom without any

excuses to just be who you are.

KALTBLUT: You have quite a unique

look: and as I can see in your portfolio

you don’t have any problems with

being nude in front of a camera. Where

is this confidence coming from?

Melanie: Sometimes it surprises me

how comfortable I am with nudity as

well. I think it comes from a variety of

things but I’ve always just been comfortable

with it. I’ve had to endure a lot

physically and psychologically when I

was younger so I think I’ve had to learn

at an early age how to accept and be

comfortable with my own body. Nudity

is our purest form and most natural

state. It doesn’t matter to me if I am

clothed or nude, there is so much our

bodies can say regardless.

KALTBLUT: You have a very good body.

Do you work out a lot in the gym? Or is

it nature? How important do you think

it is for a model to stay in shape?

Melanie: Thank you, no I don’t work

out or go to the gym. I do have a very

high metabolism and am naturally thin.

I used to go to the gym when I was

younger just to stay fit or accompany

friends. I always think it is a good idea

to stay healthy and really enjoy being

active in general. Living in cities or even

the forest really helps, you just walk

everywhere! When I first started modelling,

I worked primarily in the ˝art

nude“ world where the subject’s body

is encouraged to have character and

to really embrace who you are outside

of society’s ideals. As I shoot more on

industry related sets, I definitely see

and can understand the pressure models

have nowadays to maintain their

image. As individuals, we evolve and

our ideals change. I think all people

have the right to be happy and healthy.

KALTBLUT: Do you live from modelling?

Or do you have a normal job to

pay the rent?

Melanie: I am a full time model so yes

this is how I live! At times it is difficult,

especially just being a freelancer in

general but I can not think of anything

else I would rather be doing. I’m very

open to creativity and opportunities,

but modelling is by far the most enjoyable

for me.

KALTBLUT: As I said before you live

in New York: capital of all cities in the

world. How does a normal day usually

pan out for you?

Melanie: Haha well it is probably a lot

less exciting or stable than one would

think! My schedule varies day by day. I

also live in Brooklyn which is a borough

separated from Manhattan (”the city”).

Life in Brooklyn is a lot more relaxed

than living right in the heart of New

York. A typical day is waking up and

having breakfast, then taking the subway

into Manhattan or wherever my

shoot may be. The subways are pretty

much amazing here because they

usually pan out anywhere you need to

go. Once I leave my neighborhood, it is

very busy and I just get swept into the

momentum of the city. I love waking up

to go to shoots and then depending on

how much time I have in between shoot

schedules, or how long of a day it was,

I love running errands after and having


KALTBLUT: As you know the theme of

our issue is Noire. We just love every

thing dark. What kind of imagery does

this word conjure up for you?

Melanie: Noire to me is like a sexy

smoke screen. There are a lot of layers

and hidden subtleties. It is very mysterious

and elegant in my opinion.

KALTBLUT: Can you share one of your

worst nightmares with us? We all have

bad dreams from time to time. What is


Melanie: This may sound awful, but as I

get older I can no longer really tell what

would constitute as a bad dream. Sure

I have unpleasant dreams but when I

wake, I have the understanding that it

is my subconscious and I always really

try to learn from those messages: such

as why do I have fear, and how could

I overcome it? When I was younger I

would always have nightmares, now

that I am older I don’t have as many

and I guess in the rarity that they do

occur, it is a visitation to something in

my past. I don’t like to dream about

people that I’ve had negative experiences


KALTBLUT: Where would you say is

the darkest place in New York?

Melanie: I think the darkest place in

New York is the darkest place anywhere

in the world, in the negativity of one’s

own mind.

KALTBLUT: Our shoot was on location

in Berlin. Do you like our hometown?

How many times have you been here?

And where do you hang out when you

are here?

Melanie: I absolutely LOVED Berlin!

Absolutely. I have been to Berlin once

before during a video shoot for the

band Rammstein, but I did not get to

travel around the city or see much as

I was on a tight production schedule.

Even though I was in Germany for

about a month, I was shooting almost

everyday and I had spent a few days

in Munich as well. The times I did get to

hang out in Berlin, I really liked walking

around Mitte, and Kreuzberg for a bit.


Dress: Moga E Mago


Dress: Augustin Teboul

Blouse: Stylestalker



Clothing: Immortal by Thomas Hanish


KALTBLUT: What makes Berlin a

place to be for you? And what is

different here to New York?

Melanie: I really love Berlin’s energy.

I feel a certain sense of calm and

relaxation. I think I feel most grounded

there, naturally without even

trying :P The air is fresh and crisp,

and really that is the difference

there than in New York! This was

the first time I was able to “live” somewhere

outside of the USA for a

while, and in returning, I see a large

difference in the way people interact

with one another. I think people

are much more friendly and open

than in New York. New York is just

a very busy city, everyone is living

their own lives.

KALTBLUT: I know you have

worked with Rammstein. For the

video “Mein Herz Brennt”. How

was it to work with the international


Melanie: It was very, very nice. A

really wonderful experience to be

on a large production set, I had

learned a lot from that shoot and

had only been modelling for about

five months at the time. The band

mates are all very nice and sweet

guys as well.

KALTBLUT: Do you know any other

German artists? Are there any

you would particularly like to work


Melanie: I would really love to meet

and shoot with Karl Lagerfeld. I

don’t know of many other German

artists aside from the people

I have met and shot with during my

last trip. They’re all very beautiful

and amazing people, I am so happy

to have met them. I really loved

Germany though, and would visit

again any time!

KALTBLUT: Melanie thank you

very much for the photos, the interview

and your time for KALT-

BLUT. It will be not the last time we

work together. I swear!

Melanie: Xoxo, thank you KALT-

BLUT so much!! I really loved shooting

with you and look forward to

talking with you again!

Dress: Augustin Teboul

Hairpiece: Moga E Mago




By Fleur Helluin

“When it comes to the future,

there are three kinds of people:

those who let it happen, those

who make it happen, and those

who wonder what happened.”

John M. Richardson.

KALTBLUT is here 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 better do

the same.

Photo by Marcel Schlutt


concentrated amount of information.

Darkness is needed as counterpoint of

light to give her a sense. Some of my

early work plunges into darkness to

come back with a reflection of the self

concentrated in high symbolic pieces.

KALTBLUT: Is there a light at the end of

the tunnel?

Beatriz: There is even light in the most

absolute of darkness. No tunnel out


KALTBLUT: Some of your projects are

very elaborate and quite complex, like

Interstitial, while some of your pieces

seem to flow naturally. How do you make

a difference and how do you see your

different pieces co-existing?

Beatriz: The different kinds of artistic

expressions are for me like different

languages. My discourse in art is

permanent, it is part from some seed

convictions, I’m questioning myself,

which I try to understand and solve

through art. Depending on what I want

to explore or explain, I decide which

one of it is more interesting. The writing,

the performance, videos or installations,

collaborative and participative

art, drawings or paintings… all of them

flow in a very natural way. Some look

more complex because the questions

were also complex or because the

answers had been very abstract cooking

inside me, and concentrating like

a short poem, in which all the different

meanings of each word are in the


KALTBLUT: What is your favourite black


Beatriz: Coal with its shimmery hard

surface, and the vegetal charcoal from

willow. It’s like velvet for the eyes. So

delicate and deep in his tone.

Beatriz Crespo is a luminous young woman full of talents. I met her at the

Neukölln gallery EXPO, and was soon surprised by how elegantly she managed

forms and power in her work. I kind of thought she’d be a woman

who wouldn’t get scared in the dark, so I interviewed her to find out.

KALTBLUT: Dear Beatriz, what was your

darkest hour?

Beatriz: I broke my right hand last year

in an accident. The healing time was

long and full of incertitude. I nearly

went crazy… but all this impotence

and energy shouting inside me, ended

flowing through the left hand. Now I’m


KALTBLUT: Why do we draw in black so


Beatriz: The act of drawing a black

line over paper or a surface, is determination,

you take a position in which

you divide the space and lead the eye

trough the narrative of your discourse.

Then black lines are incredibly graphic,

I love this characteristic in art.

When you take some black bituminous

colour, or coal or charcoal and you

start to make some Graphism, it has

something quite strong and primitive

about it. I like to think that in this primary

act of tracing a line all this energy

of the human being of past, present

and future eras is conveyed. We are

repeating the same act once and again

and this act takes you to the origins, to

the primitive.

KALTBLUT: How do you cope with dark


Beatriz: You may learn quite quick that

it gets dark at 4pm during the winter

here in Berlin, but that’s already perfect

for me. I‘m a painter of the night, I

work with the low light and during the

slow rumours of the night that I paint

my best. I like to see the darkness as a

KALTBLUT: Is black the new black?

Beatriz: Definitely! (laughs)

KALTBLUT: Where shall we meet in five


Beatriz: Somewhere in the East...

KALTBLUT: 2013 recently came to a

close, what were your last projects of the


Beatriz: I opened another solo show in

Valladolid Spain. It was a show called

“Soul’s Topography” that was selected

by the CreArt European project.

Addressing the human body from unusual

viewpoints, I concluded ethereal

works in which the male’s physiognomy

becomes a rugged landscape

carved by the passage of time. “Topography

of the Soul” is an ode to man

and the beauty implicit in the erosion

caused by the experience. Following

this exhibition, I explored how our

brain attempts to hold images and

memories that are meaningful. I tried

to paint or represent my memories and

tried to deal with the holes that time

created in them.


If you’re an attentive reader of KALTBLUT Magazine, the brand Moga e

Mago is probably not new to your eyes. I met the incredibly talented Elisa

Lindenberg and Tobias Noventa a few years ago and have been following

them very closely ever since. Sometimes, I have this special feeling for

something and the brand fulfils this. That’s a pretty vague description,

so without further ado, let’s introduce their latest SS14 collection “Notturno”,

consiting of chiselled lines, precise fabrics and an innovative vision.

KALTBLUT: “Black is black” or “Paint It


Moga e Mago: ‘Black as the dark night

she was...’

KALTBLUT: Seeing black or feeling blue?

Moga e Mago: Seeing black cats in


KALTBLUT: What was the most depressing

day of your life?

Moga e Mago: May 7th, 2008.

KALTBLUT: Why are so many fashion

people dressed in black?

Moga e Mago: Black is still the new


KALTBLUT: Did you experience appetite

loss, great fatigue, paranoid ideas or

insomnia in the last months?

Moga e Mago: Yes, the last week before

fashion week (laughs)

KALTBLUT: What’s the perfect piece for

Collection Noire?

Moga e Mago: The perfect black piece

of our NOTTURNO SS14 is a superlight-weight

goat-on-fabric coat.

KALTBLUT: What’s the darkest corner of


Moga e Mago: Berghain’s dark room?

KALTBLUT: Best remedy to feel good?

Moga e Mago: Travel.


Emmanuel Hubaut is a poem of

a man. I was 13 the first time I

saw him; he was on stage with

his infamous band LTNO. He’s

been working on prestigious

projects with Karl Lagerfeld,

ORLAN, Maurice Dantec and

others, and it’s always impressive

how he can maintain

professionalism and be so cool

at the same time. Lately, he’s

been working with David Maars

and Andreas Schwartz to host

“Ich bin Ein Berliner” parties

at SO36 and has been producing

the third album with his band


KALTBLUT: “Black is black”

or “Paint It Black”?

Emmanuel: Paint it Black. I’m definitely

a Rolling stones fan... I’m

very fascinated by their late 60’s/

early 70’s period when Kenneth

Anger got close to them. And back

when the hippie movement turned

into nightmare at Altamont, or with

Charles Manson families ...

KALTBLUT: Seeing black or feeling


Emmanuel: Listening to Blue


KALTBLUT: What was the most

depressing day of your life?

Emmanuel: My birthday... people

are mean and want me to

celebrate it every year!

KALTBLUT: Why are so many

rockers dressed in black?

Emmanuel: Baudelaire’s

Fault, he’s also responsible for

green hair !

KALTBLUT: Did you experience

appetite loss, great fatigue, paranoid

ideas or insomnia in the last


Emmanuel: You mean 3 Tage Wach?

KALTBLUT: What’s the perfect music

for our Collection Noire?

Emmanuel: Heresie by The Virgin

Prunes, amazing double album

released in 1982 on “l’Invitation au

Suicide” label.

KALTBLUT: What’s the darkest

corner of Berlin?

Emmanuel: Gustav Meyer Allee

between Brunnenstrasse and

Hussitenstrasse. I regularly passed

this place at different times at night

because it was on my way to a club

I was DJing at. I always had a very

weird, scary feeling when I passed

the hill on the left side in the park. I

eventually found out that it’s a fake

hill made after the WWII to uncover

the Leitturm Bunker Humboldthain.

Berlin is very relaxed and open-minded

city maybe also because of a

very hard and dark and sad history...

KALTBLUT: Best remedy to feel


Emmanuel: Turn off the light.

Photo by Karl Lagerfeld


Veil – Rene Walrus

Shirt – Obscure Couture

Ring – Georgia Wiseman



Photography – Nuala Swan

Fashion – Molly Sheridan

Make Up – Molly Sheridan

Hair – Anna Wade

Models – Jude and Rosie @ Model Team,

Kirstin @ Superior


Body Suit – Kirsty Elizabeth MacLennan

Jacket – CuriouScope

Skirt – Obscure Couture

Ring – Georgia Wiseman

Shoes – Model’s Own

Headpiece (worn around the neck) – Rene Walrus

Top – Staysick

Jacket – Obscure Couture

Skirt – Matthew Houston



Headpiece – Rene Walrus

Shirt – Matthew Houston

Jacket – CuriouScope

Shorts – Obscure Couture

Ring – Georgia Wiseman

Shoes – Stylist’s Own

Necklace – Rene Walrus

Top – Staysick

Jacket – CuriouScope

Trousers – Katy Clark



Hood – Chouchou/Rene Walrus/MYB Lace

Bodysuit – Obscure Couture

Hood – Chouchou/Rene Walrus/MYB Lace

Shirt – Matthew Houston


57 Kirstin

Bodysuit – Kirsty Elizabeth MacLennan

Jacket – CuriouScope

Skirt – Obscure Couture


Jacket – CuriouScope




There’s a lot of testosterone floating around in

our Noire music section, but something tells me

the PINS girls would kick those boys’ asses, and

then some. Hitting the spot with their lo-fi tinge

of mancunian melancholia and atypical girl

band aesthetic, Faith Holgate (vocals, guitar),

Lois McDonald (guitar), Anna Donigan (bass),

and Sophie Galpin (drums) released their

reverb-soaked debut album “Girls Like Us” this

September on Bella Union. Having been an

avid follower of their velvetine droning since

the release of the single “Eleventh Hour” back

in February, I was chuffed that they didn’t

disappoint with their full length, but what kind

of girls are they exactly? We find out!

Photo taken exclusively for the Noire issue by PINS

Interview by Amy Heaton

KALTBLUT: For our readers who don’t

know you yet, can you tell us a bit about

the name, how did you decide on PINS?

PINS: It was actually suggested to us by

a friend and we thought we’ll keep it for

a while and see if it sticks then Faith and

Anna went to see Dum Dum Girls at the

Deaf Institute in Manchester and spoke

to Dee Dee after the show, we told her we

were starting a band and asked her what

she thought of the name, we said y’know

cos like pins, as in girls legs because

we’re all girls in the band and she said

oh we call them stems in America, so we

considered STEMS for a little while but

eventually settled on PINS. I’m glad, we

like it, it’s a good name.

KALTBLUT: Was it hard to find female

band members in Manchester when you

started in 2010?

PINS: It really was! There was almost a

year between starting the band and completing

the lineup. Prior to meeting Anna,

Faith had been trying to make a band or

join a band for like a year too, so it was

a very long process for them! For Lois it

was also about finding the right people to

work with. We tried lots of different ideas

out and it’s important to be open minded

and try styles that might not be your first

choice, we have a good balance of that as

a group.

KALTBLUT: How did you envision the band

to sound?

PINS: Well, Faith always said heavy toms,

reverb, fuzz, delay..referencing bands

like The Jesus and Mary Chain, Black

Tambourines, The Stooges. Anna was

imagining dark and broody, listening to

Zola Jesus and Lower Dens at the time,

and we all like experimenting, so wouldn’t

say that we have ‚a sound’ or at least not

one that we are sticking too. We like our

sound to develop, at the beginning we all

had very varied music tastes, and we still

do but we’re aware of much more music

from other genres now cos we talk about

it all the time. We wrote Eleventh Hour

pretty early on when it was cold, dark and

miserable in Manchester. As we’ve progressed

as a band we’re definitely up for

a lively pop song to dance to. Our moods

(and the seasons) sometimes have a

strong influence on what songs we write,

but the sound is always developing, it’s a

natural process of maturing as a band.

KALTBLUT: Would you place yourself in the

Riot Grrrl genre?

PINS: It’s a very distinct sound, we’re

definitely inspired by the attitude, and we

liked some Riot Grrl bands, as a teenager

Bikini Kill were one of Faith’s biggest

inspirations so it’s possible that some of

that shines through in the songs or the

lyrics or whatever but we wouldn’t classify

PINS as a Riot Grrrl band, saying that

though we wouldn’t classify our band as

grunge or punk or shoegaze or post punk

or garage rock or any of the other genres

that people attach to us.

KALTBLUT: You all have different musical

backgrounds, what instrument(s) do you

each find most comfortable to use?

PINS: We all come from different musical

backgrounds. The guitar is Faith’s one

true love, “I’m pretty jealous that the other

girls can all play the piano but I’m going

to learn!”. Lois played piano and tried out

clarinet, but on hearing Nirvana taught

herself to play guitar instead, playing piano

and guitar are different experiences

for her, but both cathartic. Anna had never

played the bass guitar until she joined

Pins. “I feel so comfortable on it though

and love the power of it and the solid

backbone it gives to the band with the

drums.” She played the piano and cello


lot of

is still a


in music”

from when I was young but the piano is more of an instrument, she

enjoys playing to herself rather than in front of an audience. Sophie’s

been playing instruments since she was four, starting on piano, then

took up violin and guitar too, but only started the drums properly back

in February when she joined PINS, “but now I feel like a real drummer

and absolutely love the drums. It’s a whole new experience.”

KALTBLUT: What was the first album you heard that really made you

want to be part of a band?

PINS: Well as a band of four members there’s a few answers to that

one! Faith used to try and make these bands when she was a little kid,

probably most inspired by the Spice Girls or Britney... getting dressed

up with friends and making up dance routines, singing the songs... rehearsing

day after day for the imaginary show we had... “I discovered

Hole when I was about 14 though and that changed everything.” Lois

reckons Nirvana’s “Nevermind”, or Greenday’s “Dookie”. “I remember

hearing it for the first time and thinking, what is this and how can I

make that much noise? I started a band with my friends Beki and

Natalie and we lasted one practice in the garage. I quit.” For Anna it’s

probably Arcade Fire’s “Funeral.” “I loved how many different instruments

they play and how they keep swapping about on stage. I’m keen

to slip a hurdy-gurdy into a PINS song.” Sophie wanted to be in the

Spice Girls, but it was Elvis that inspired her to learn guitar.


KALTBLUT: What about when your debut single

release of “Eleventh Hour / Shoot You” sold out?

Amazing! How was that experience for you?

PINS: Exciting! Especially because it was

something we did on our own, we’re grateful for

all the help and all the people we get to work

with now but when that release came out it was

just us doing it for ourselves and it was really

special. The experience of recording a couple of

songs early on then deciding to release them on

(gold) cassette and make a video to then have it

sold out within a couple of hours was amazing!

Until that point we never realised how much

there was going on in the ‚blogosphere’ so to

have people recognising and noticing what we

were doing was very humbling.

KALTBLUT: “Girls Like Us” looks like one hell of

video, but what girls are you exactly?

PINS: [Laughs] It’s difficult to sum yourself up

like that so we’re not going to but what we will

say is that the song “Girls Like Us” isn’t about

being girls like us it’s meant to be about being

yourself and about being happy to be yourself.

KALTBLUT: Is sexuality a prominent topic with

your music? Or is it just a big F.U to anyone who

makes a big deal out of it?

PINS: There is still a lot of sexism in music

just like there is in most industries. We rarely

experience it first hand, it’s usually some sad

troll on the internet or some wannabe journalist,

basically it’s never anyone who’s opinion you

actually value.

KALTBLUT: What made you decide to start your

own label “Haus of PINS”?

PINS: It began as a platform for us to release our

own music, at the time of the “Eleventh

Hour / Shoot You” release we couldn’t settle on a

label, also it felt a little premature to be working

like that so self releasing seemed like the best

option. After that, we thought it’d be fun to work

with bands that we really love who are at a

similar place.

KALTBLUT: I’m a big fan of your all-girl mix for

i-D magazine, it contains some of my favourites

like Bikini Kill and Siouxsie and the Banshees,

are these your main musical inspirations?

PINS: Faith chose Bikini Kill, “I love them... as

for many teenagers they had a huge impact on

me. I was too late for the Riot Grrl movement,

but, getting into Bikini Kill helped me discover

a whole bunch of other music from that time,

and was my first introduction to feminism.” We

have loads of musical inspirations, and if we did

another mix today it’d be different depending on

how we’re feeling and what we’re into. Sophie

adds, “I’ve been getting into bands that we have

been compared to more retrospectively, I never

really actively listened to the Banshees until we

were compared to them.”

KALTBLUT: You’ve been touring a lot this summer?

Do you have a favourite gig so far? Or one

coming up maybe?

PINS: We have been touring with our friends

Abjects, September Girls and Post War glamour

Girls and we’ve had so much fun with them.

Brixton Academy next week. Oh. My.

KALTBLUT: What was it like opening for Best

Coast at Manchester’s Ritz?

PINS: It was special because it was our first experience

of a big stage in a venue where we’ve

seen some of our favourite bands, it felt like a

milestone. “I like Best Coast but I don’t think they

were the highlight for me”, Faith comments, “I

have a tendency to over romanticise everything

but it was definitely a night that I won’t forget.”

Sophie was actually in the audience at that gig, “I

thought, I would like to be in this band.” Little did

she know...

KALTBLUT: Are you excited to support Warpaint at

the end of this month?

PINS: It’s safe to say that we are all very excited

to be supporting Warpaint. We hung out at End Of

The Road Festival - they are SUCH babes. Will be

a pleasure.

KALTBLUT: This time our theme is all about the

Noire, the underground, the grime, the downright

dark. I noticed you use black & white imagery a

lot in your work. What is it that draws you to this


PINS: I think we like a lot of imagery from the

past, sorta 60’s era and it probably comes from

there. It has a classic look. We do work with

colour too, but even then I think the colours

are very specific or of a certain era, the “Stay

True” video for example. Faith comments, “to be

honest, black is my favourite colour, I’ve always

dressed in black, even as a kid, I don’t know

what draws me to it.”

KALTBLUT: How important is your image as a

band, in comparison to the sound...?

PINS: Our music comes first! We don’t really

ever consider our image... it just is what it is. We

love getting involved with all the design, videos

and photoshoots creatively where we can, but

just because we want to make stuff that we like

and are proud of. The image is just an extension

of ourselves. We’re just projecting who we are.

KALTBLUT: If you could shoot a music video with

any director, who would it be?

PINS: Faith - I’d stick with our pal Sing J Lee.

Lois - Stanley Kubrick. Anna - Anton Corbijn.

Sophie - Chris Cunningham - that would be

fuuucked uuup.



Photography: Anny CK

Model: Anastasia Bresler

Hair & Make-Up: Anne Timper @Nude Agency

Styling: Pablo Patané

Retouching: Aurore de Bettignies

@ One Hundred Berlin

Fashion by Moga e Mago





Text and photos by Amanda M. Jansson and Emma E. K. Jones

Admittedly, the Victorian Age is one of

the strangest and most absurd eras in

world history. One of the weirdest traditions,

amidst covering piano legs and

other absurdities, were post-mortem

photographs, which is not as insane

as it seems at first.

Post-mortem photography, which is

also known as memento mori and consists

of memorial portraits or mourning

portraits, is basically an arranged portrait

of a dead person shortly after the

person’s death and it is often intended

to appear life-like.

When photography was invented and

in its early stages, this specific art was

often used for occult practices and to

capture scientific or paranormal activities,

as well as to document spaces.

With the invention of daguerreotype

in 1839 portraits became less expensive

and easier to set up, gaining them a

great popularity especially among those

who could not afford to sit for a painted

portrait or those who were simply fascinated

with this new invention. Even

though affordable to the middle classes,

portrait photography was still far from

a daily practice. Portraits of beloved

ones remained rare and were supposed

to serve as a form of remembrance.

These are the circumstances that gave

rise to what seems now to be the creepiest

form of photography; of taking

pictures of the deceased. In the nineteenth

century people usually died at

home, and often at a relatively young

age, which meant it was easy to have

someone to take a picture, and often

resulted that this picture would be the

one and only treasured photograph of

the departed and the only means of

keeping their memory alive. As a result,

it was customary to arrange them in

an upright position to allow them to

look as alive as possible and to

have them posed with siblings or

other family members. Infants

were often positioned in cribs as

well, while for adults an arm chair

was more common. In these cases,

eyes were propped open and the

pupil was later enhanced on the

print. Sometimes, cheeks were

tinted pink to give the corpse a

more lively appearance. Of course,

there are also many pictures of the

deceased in flower filled coffins,

peacefully sleeping while surrounded

by mourners, especially in

the earlier days. As it goes with

everything, fashions also came and

went with post-mortem photography,

but the exact composition was

usually up to the photographer

and the family to decide.

When it became possible to reproduce

this photograph of the dead,

it was often sent out to relatives

and other family members as part

of the mourning and remembering


Eventually, by the early 20th century,

this practice ceased as family

photos and all sorts of photos became

a part of every day life with

the arrival of the snapshot and

when personal cameras were made

available to the public.

Initially a part of life, these death

portraits were not viewed as macabre.

In the 20th century they came

to be viewed as creepy, morbid or

unspeakable because of the revulsion,

reject and lack of familiarity

with death that the modern world

brought with it. By now, still

causing shivers, they have become

an accepted method of as keeping

somebody’s image and memory,

rather than being regarded as violation

or lack of respect.

However, in a world stripped of

magic, there is one aspect that is

overlooked today, and it was a

very widespread belief in the 19th

century: people would believe that

the soul of the recently deceased

would linger around the body and

room for several days before the

burial. A portrait made during this

time acquired a special meaning.

As already mentioned, photography

film was often used during

séances or to capture auras and

other supernatural phenomena

and experiments. The sensitivity

of film and the magic of its workings

gave and still gives room

for plenty of speculation. It was

firmly believed, as it still is in many

cultures, that a photograph could

trap or at least depict a person’s

soul. And occasionally this was the

very purpose of such a picture. To

always keep the actual soul of the

depicted dead very much alive.



Paint It


Photography: Ali Kepenek

Styling: Hakan Bahar

Hair & Grooming: Daniel Dyer, Aveda Haircare and Shu Umera Skincare

Body Painting: Kai Sued

Photo Asistant: Andre Titcombe

Model: Jasper Harvey @Elite Models London

Raincoat by Alexander Wang


Left Page: Trenchcoat by Rodarte, This Page: Pants by Dries Van Noten

Top by Thom Brown


Jersey by Elif Cigizoglu


This Page: Leather Jacket by Vintage Raberg




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

Joseba Eskubi’s art has been a real

revelation to us. Living and working

in Bilbao, Spain, he is currently

teaching at the Faculty of Fine

Arts of the University of the Basque

Country. His abstract, yet very

theatrical work often consists of a

stage and one single figure, silhouetted

against the background. This

figure becomes the very definition of

decomposition, through the soft and

amorphous qualities that accentuate

the tactile sense of vision. Highly

suggestive and haunting, difficult

for some and addictive to others,

his imagery is definitely among our

favourite modern classics.

KALTBLUT: When and how did you begin

painting? What were you doing

before that? Any kind of art you

were interested in? Or did paintings

come first?

Joseba: I started painting many years

ago. At first I also drew a lot.

In my early works many similar forms

of the actual painting had already

appeared: organic and oneiric. Later,

I realized some sculptural objects

where I mixed different techniques

but basically, painting has

always been my primary interest.

Many times I create photographs,

digital works, and other kinds of

processes where I find new ways. I

have also made some manipulations

of classical painting reproductions,

altering the forms and original



KALTBLUT: Your style is very specific

and distinctive. How would you

describe your style?

Joseba: Style becomes something

recognizable in dealings with the

matter, a mechanism that aims to

limit and structure desire. In my

painting the brushstrokes are very

marked, creating collisions, knots,

contrasts. In recent years I have

worked on a type of composition

where a landline appears and generates

a theatrical space.

KALTBLUT: Technically speaking,

what kind of material and colours

work best for you and why?

Joseba: I am interested in enhancing

the colour intensity, so that

the painting has a certain energy

and electricity. I like the colours

to be vivid and vibrant. In

many cases I use very intense reds,

as a first sight of the vision that

weaves the emotions. Black is another

fundamental colour in my work.

Many of the figures are silhouetted

against this indefinite plane. Itʼs

amazing to discover how many shades

of black can exist .... all depends

on small nuances. I love oil

painting, its ductility and ability

to create shades. The technique is

something dynamic, changing during

each process to adapt to new contexts

and transgressing its own rules.

The diversity of media creates

new starting points, to maintain a

certain emotion and encounter with

an unknown image.

KALTBLUT: What colours do you use

most depending on your emotions? Do

certain colours represent certain

emotions for you as a person?

Joseba: Of course. The colour inevitably

determines our emotions

and the perception of the image. I

am interested in the contrast between

dark and cold zones and the

carnality of the central figure. It

is a resource very common in Baroque

painting. The shapes are cut

in front of a vacuum, and the co-


lour of the live element acquires

an increased presence. I also like

to emphasize the saturation of certain

colours (red, yellow..), creating

a surreal atmosphere where colour

breaks the logic of a realistic


KALTBLUT: There is something extremely

unique about your work but also

something classic about it. What

are your influences in terms of art?

Joseba: I am interested in combining

different sensations inside

the image, one that unbalances

things and another that arranges

everything in a certain order, a

structure against its ruin. In many

of my works, there are still life

resonances and echoes of Baroque

painting. I also like a lot of actual

artists like Allison Shulnik

for example. There is so much visual

information today that sometimes it

is difficult to digest all this visual

universe that we receive.

KALTBLUT: Where do you get ideas for

a new painting from?

Joseba: There are many inspiring

things. Small residues found in soil

can hold an entire universe of sensations.

Attention is the tool. I

donʼt use natural models. The painting

itself offers many paths and


KALTBLUT: You work a lot with black.

So, NOIRE what comes to mind? What

would you paint to that word?

Joseba: Itʼs a quite suggestive

term. I imagine a bleak and hypnotic

space, where it seems that

everything is occult, submerged in

a deep silence. Noire can be a place

that everyone without revealing

themselves are awaiting our visit.

KALTBLUT: Some people may say your

work is difficult, “hard to take“,

why do you think they might feel

that way? Does it strike a chord

that makes them uneasy?

Joseba: I donʼt see this as a difficult

work. Perhaps the discomfort

can sometimes arise from the difficulty

of identifying the figures

and elements of the image, its ambiguity

creates a certain uneasiness.

KALTBLUT: Your work is haunting.

Colourful but dark at the same time.

What scares you the most?

Joseba: Anything that takes me to

an unpleasant experience. The experience

creates a way of perceiving

reality. Some images may be a kind

of catharsis to this fear.

KALTBLUT: Of all paintings, is there

one painting in which you would

like to live? Touch it, feel it?

Joseba: Wow, itʼs a quite fascinating

question. Perhaps I would

like to experiment the sensation of

being inside of the painting ʼAgnus

Day of Zurbaranʽ, touch the skin of

the animal and feel the silence of

the scene.

KALTBLUT: What do you think attracts

people in horror, darkness,

strangeness? What fascinates us

about things that frighten us?

Joseba: The fascination for something

that is strange but familiar

at the same time. I think that

there is a subtle difference between

the suggestion and the purely explicit

and descriptive way.

KALTBLUT: If you had to sum up your

body of work to 3 themes, what would

you say are the 3 major themes in

your work?

Joseba: Metamorphosis, light, organic.

KALTBLUT: What was the creepiest

dream you ever had? Do you remember?

Joseba: I remember one in which people

were following me to the door of

my house ... I tried to close the

door and couldnʼt, all I wanted was

to catch hands ... it was the end

... a bad dream where the only way

out was to scream!

KALTBLUT: What would your self portrait

look like? What colours represent


Joseba: I donʼt know. I would paint

it in white shades, quite bright.

Perhaps it would start being real,

but surely would change until it

would become something unrecognizable.

Every form leads to another as

a river that always flows.



Photography: Oliver Blohm

Stylist: Pablo Patanè

Hair & Make-Up: Theo Schnürer @ Blossom Management

Model: Nala Diagouraga @ M4 Models

Photography Assistant: Mari Inoue

Dress & Stockings by Unrath&Strano, Armour & Shoes by Amélie Jäger


Dress & Sleeves by Amélie Jäger, Vintage Fur by Giulia Iovine Collection

Armour by Pablo Patanè

Armour (Stomach + Neck) by Amélie Jäger

Fur Sleeves by Amélie Jäger

Stockings by Unrath&Strano


83 Neckpiece by Amélie Jäger

Mask by Guillaume Airiaud

Dress by Unrath&Strano


Dress & Stockings by Unrath&Strano, Chestplate, Sleeves, Shoulders by Amélie Jäger, Shoes by Amélie Jäger


Neckpiece by Amélie Jäger, Mask by Guillaume Airiaud, Dress by Unrath&Strano


Horror-shaping Art

How is it possible that horror films could influence art

in any way? What do they even have in common? If you

think the answer is “nothing”, then you will be quite

surprised to find out that not only do these two share more

than you can imagine, but horror films do indeed influence

entire art movements and actually always have.

Art is the highest form of, well obviously, art, and horror

films are like the lowest form of “art”, if it can be called

so; or at least that’s what most people need to advocate in

order to convince themselves they are artistic and cultivated

enough. Obviously, this is far from true. Horror

in all of its forms, be it film or literature, just like art, is

there to push limits and to experiment, to investigate the

human psyche and its deepest aspects, to give voice to

troubling thoughts, to give expression to human feelings

and emotions, to shape culture. Admittedly, no other genre

has the power to shock us and stir us like horror does, and

the very definition of good art is its potential to shock or

provoke as well.

Proof of all this is in the very beginnings of horror film

history, which goes hand in hand with art. More than those

of any other “serious” kind of film. When moving images

were still in their infant stage, horror became a playground

for emerging artists, who would design sets, costumes,

absurd plots and be in charge of photography. Take Dali

for example, along with ̔Un Chien Andalou̓. So, the first

horror films actually were a firm part of contemporary

art movements and influenced each other greatly. They

did revive an interest in classical paintings and lighting

and explored fears and nightmares, thus giving a huge

boost to Expressionism, Dadaism and Surrealism and allowing

them to literally take off and reach audiences they

wouldn’t have been able to capture otherwise. Even names

such as Francis Bacon, a master of the macabre, have been

inspired by these early nightmarish images.

But what about today? We have come a long way. Art has

been through a lot of movements, some pleasant, others

more unpleasant and vulgar to some, still in touch with

their horror roots. And perhaps, by now, magnificent artists

like Joel-Peter Witkins have made corpses acceptable

as an art object, but that was not before horror directors

made dismemberment, disfigurement and blood widely

acceptable and even expected on screen. The acceptance

of death in art did not come before the familiarity with

death in films that appealed to

the masses; horror shapes and

defines culture like only art

can, and because of their pretty

intimate relationship. It is

necessary to mention the early

Tim Burton imagery, heavily

loaded with Edgar Allan

Poe, German Expressionism

and a Gothic aesthetic, and

to remember how he changed

the art landscape for over a

decade. One can also observe

how the empty and silently

haunted-haunting atmosphere

of Japanese horror influences

so often creep into a brilliant

young photographer’s work.

Lately, it is horror films like

̔Carrie̓, ̔Prom Nights̓,̔ I

Spit on your Grave̓, ̔Poison

Ivy̓, horror films dealing with

teenage girl sexuality, and

young girls’ culture that help

shape an entire movement that

remains to be named. The glitter

and menacing atmosphere

of a teenage world as depicted

in some of these iconic films

are forming a great archive for

photographers willing to deal

with the trauma of entering

adulthood, the maddening burden

of expectation, the mental

inner massacre of being a

girl and symbols for female


There is really no reason why

we should be ashamed to

face up to the fact that horror

films are shaping our taste,

our culture and yes, our art as

well. Art because it is art and

horror because it is so easily

condemnable. These two, set

our imaginations ablaze and

play on our memories and

stories of common experience,

explore human nature and

collective reaction; bring up

issues we want to never have

to deal with, question and

expose. All this they both do

visually. It couldn’t be a more

perfect match.

By Amanda M. Jansson and

Emma E. K. Jones

Photos by Michaela Knizova


Foundation: Shiseido, Advanced Hydro Liquid Compact, Nr. 120

Eyes: Benefit, Creaseless Dream Shadow, Bronze Have More Fun I Lips: Lancôme, L’absolut Rouge, Pense a Mio, Nr. 131

Photography: Ulrich Hartmann Stylist: Silvia Naefe @ Basics

Hair & Make Up: Stefan Kehl @ Close Up Model: Nele @ Modelmanagement

Photographer’s Assistant: Patrick Jendrusch


Embroidered Top: LUXXUS Berlin

Foundation: Sisley, Skinleÿa, 01, Light Opal

Eyes: Benefit, Creaseless Dream Shadow,

Bronze Have More Fun

Lips: Chanel, Rouge Allure, 99 Pirate

Foundation: Dior, Nude BB Creme Light 001 I Eyes: Écriture de Chanel, Black

Lips: YSL, Rouge Volupté Shine, 05 Fuchsia in Excess

Dress: Comme des Garçons Hat: Traditional costume seen at Comme des Costumes

Foundation: Make Up For Ever, Uplight Face Luminizer Gel, 21 Pearly White I Eyes: Givenchy, Le prisme yeux Mono, No. 03 Hop Grey

Lips: Givenchy, Le Rouge, 307 Grenat Initié


Dress: Saint Laurent

Hat: Anna de la Russo for H&M

Rings: Gregory’s Joaillier

Black Panther: 267 Black Diamond

9.42ct, 2 Emeralds 0.14ct. , 18kt. Black Gold

Poisonous Frog: 416 Tasvoriten 5.20ct.,

1.02ct. Black Diamonds, 0.11ct rubin 20g 18kt. Black Gold

Gloves: Stylist’s own

Foundation: Chanel Lift Lumière

Eyes: Armani, Maestro Eye Liner

Lashes: Armani, Eyes To Kill Excels

Lips: Chanel, Rouge Allure Renovation, Nr. 104, Passion

Lip Liner: YSL, Dessin du Regarde Crayon Yeux Haute Tenue,

Velvet Black, No. 1

Link Page

Eyes: RMS Beauty, Seduce

Lips: Chanel, Rouge Coco, Nr. 19 Gabrielle

And Obsessive Compulsive Cosmetics,

Lip Tar, Green

This Page

Black sequenced jacket: Giorgio Armani Vintage I Mask: seen at Comme des Costumes

Colors: Make Up For Ever, 12 Color Case. MAC




Text and illustrations by Marianne Jacquet,

Think positive, just do it, everything is going to be fine, keep calm and carry on, just relax, it is not gonna last forever, tomorrow is another day,

it’s half as bad, trust yourself, smile, it’s all good, don’t you worry, it’s going to work out, cheer up, head up, I got your back, don’t worry, your

work is gonna pay, don’t give up, after the rain comes the sun, don’t be afraid, I believe in you.

Between two ears and behind two eyes, I got caught up in the matière noire, where a rusty dream of a bright future as a musician stands.

Breath in, it is not going to hurt... hum, well maybe a little bit.


has raised its flag for more equality between male and female in the music industry and digital art. They got started in Berlin with the Perspective Festival

at aboutblank and more recently have started hosting a regular party at Tresor. Kritzkom is a french music producer, graphic designer who lives in Berlin

and joined the Female Pressure fight among many others artists. The message is clear: stop the painted black and fade to grey!

KALTBLUT: How did the initiative of female pressure start?

Kritzkom: Female pressure started 15 years ago in Vienna,

founded by the Electric Indigo (Suzanne Kirchmayr).

At first it was a database of female musicians and visuals

artists, to bring them to visibility and encourage collaborations.

Since the 8th of March 2013, the collective started to

count how many women where playing in music festivals.

The facts were then published in a press release: globally

less than 10% of festival performers are women. After this

shocking discovery, we decided to think about how we could

make things better. The aim is mostly to invite promoters,

bookers, and journalists to think about this too. Perspectives

Festival was born, to show that there are women in the

electronic music scene.

KALTBLUT: How do you explain the fact that men and women

are so unbalanced in the cultural field? Did it come as a surprise

as a contrast to the developed countries in Europe?

Kritzkom: First, even for us, who knew that it was quite bad,

the count was a surprise because we didn’t expected such

dramatic results. This became also a motivation. It’s a complex

topic, but of course it starts with centuries of male power

society. Even though it seems that girls are now educated

in the same spirit as boy, in reality it’s very far from this

ideal. Little girls are less encouraged to do whatever they

would like to do, and to believe in themselves. The current

cultural context produces a society where fewer women will

become artists or musicians. Then the majority of bookers,

promoters, organisers, label owners are men and, in turn,

book mostly men.

KALTBLUT: How far do you geographically extend this project?

Kritzkom: Right now, the network is quite central in Europe.

KALTBLUT: Do you think that this movement could develop

into a label or other fields such as fine arts?

Kritzkom: Of course it could, our group right now is more focussed

on music, because most of us are musicians. But the

topic is definitely more universal and concerns all women

and men in all artistic fields.

What is most important is that men and women should work

on this together to get to a more balanced society. I don’t

think a man can be proud to consciously exclude women.

The art and music could only get richer.

KALTBLUT: One number we should all know?

Kritzkom: Let’s remember that only 10% of the musicians

are female and that’s at the festivals we counted around the


KALTBLUT: How do you picture the perfect club scene?

Kritzkom: Kind of balanced, no quota or rate, but a bit more

equal. For now, 30% of women in music would be amazing.



is american composer and conductor who lives in Berlin. His work questions the borders of art and the materiality of music. The recent solo show «Do You

Have Black Thoughts» at the Esther Shippers Gallery, was a performative installation where the spirit of kraut rock meets Erik Satie. Ari Benjamin Meyers who

collaborated with the artists Saâdane Afif, Philippe Parreno or Dominique Gonzales Foerster is giving us a little idea of what is music. Question are you ready

to set yourself free? His ongoing installation «Chamber Music(Vestibule)» is a the Berlinische Galerie from April 27, 2013 - April 28, 2014.

KALTBLUT: How did you slide

from classical composing to contemporary


Ari: I am still a composer. But

the art scene really came about

because of the work I was interesting

in composing and

writing. It started to become

more difficult to realise it in the

music context and to fit into the

music industry and business.

The structures that are available

are very limited for the music

industry, you can give a concert

or you can make a record that is

all the business allows to do. I

was starting to think about doing

work that lasted a very long

time 7 or 8 hours, much longer

that you can do in a concert. I

started making work where I

was thinking more of the audience

like this piece that is

for one performer and one audience

only. Then it started to

break down.

Those kinds of thoughts and

doubts were happening parallel

at a time where I was collaborating

with artists. Bit by bit I

just found myself working exclusively

in the art context and

stopped doing concert. So I

took the next step and worked

with a gallery.

KALTBLUT: Is it the reason why

you came to Berlin?

Ari: No, I have been in Berlin

for 15 years. I came to Berlin

on a full break grant for opera

conducting, which is the ultimate

classical western music.

I have studied composition and

conducting so from the opera,

I was always interested in new

music and I started to do Musiktheater

and experimental

music theatre and experimental

opera. This naturally lead me to

work with more artists.

KALTBLUT: Are you still conducting?

Ari: I still do conduct on certain

specific projects and conducting

in general is a part of

my practice. One of my pieces

is a solo for one conductor, it

is a quite silent composition.

Conducting is very interesting

in that way, you train for years

and years and it is considered

like almost the pinnacle of musical

knowledge or ability. And

yet in a very real way if you take

a step back I started to see

the conductor as a dancer, you

make no sound, you make no

music in that sense. It is quite

fascinating, of all of the job you

could have, conductor certainly

has to be one of the oddest. Basically

you are dancing around

on a little stage, in front of a

hundred people to get them to

do something, it is very bizarre.

I am not an esoteric person but

conducting has a thing, you almost

telepathically, through the

eyes, read the mind of people. I

do explore this in my work. But

for instance in the “Serious Immobilities”

performance I do

not conduct, the performers do.

KALTBLUT: How far can they

change the piece?

Ari: Before every performance,

we sat together and decided on

the order. There are nine modules

and they decided the order,

the length. You can’t say that it’s

improvised because the music

is quite composed and written

out but the structure is totally

up to the performers.

KALTBLUT: Is it more like a pattern?

Do they have to play it all?

Ari: They don’t have to play everything

all the time. They can

play only two modules for six


KALTBLUT: What was your idea

when you chose the performers?

Ari: In fact the three female

singers are all dancers. The piece

is written for non classical

opera trained female vocals.

The girls of course should have

good voices and be able to sing

but i wanted the piece to sound

as if you sing it, or when someone

ears it that would not feel

intimidated to sing along.The

melodies are quite catchy, the

idea is almost like a strange lullaby

that someone is singing to

you and that you might join in or

clap along. Another aspect of

the piece is about space, movement

through space, arrangement

regards the audience

and I knew the dancers specifically

are working with this. So

it was easier to train them to

sing instead of training a singer

to use the space and body. The

two musicians are professional

rock musicians.

KALTBLUT: You wrote Serious

Immobilities in Berlin, what was

your inspiration besides the Vexations

by Erik Satie?

Ari: I knew I had that show at

Ethers Shippers and I wanted

a big part of the show to be a

live performance and a composition.

The inspiration was not

so much a theme or a person

but rather the situation. The

issues and the questions I was

trying to work on were: how do

you create a composition that

works in an exhibition? It is a

piece that has no middle, beginning

or end? I wanted to make

a piece that could be strong for

5 minutes but if you decided to

stay could also be strong five

hours. A piece you could come

in and out without feeling you

have missed something, like a

sculpture. The people can look

at it from different sides, leave

and go. I was inspired by the

space and I knew I wanted the

piece to last as long as the gallery

was open so it was seven


KALTBLUT: The audience was

invited to interfere notably while

playing on a grand piano that was

tuned with one note. How did you

incorporate it into the piece? Is it

a reference to constraint writing?

Ari: Like Georges Perec? This

missing tone is not missing

from my piece but from the Erik

Satie’s Vexations but the situation

is right. There was a form

of controlled chaos, sometimes

you would hear some sounds

from the other room that would

bleed into the performance.

And there is also a part where

the performance is going to the

other room. The Serious Immobilities

uses all tones but I understand

about this idea of constraint.

And it is true that the

most constraints you have the

more interesting the outcome

can be.

KALTBLUT: You erased the time

constraint, the stage situation,

the hierarchy, you are rule breaker?

Ari: It is not quite the same as

a constraint but it is similar. A

constraint is where you set up

some boundaries and here I

was trying to get rid of certain

parameters that we use. For

instance time, a pop song or a

rock song is four minutes long,


and we use time to tell us if it is

the beginning, the middle, the

end of the song, it is the same

in classical music you have

symphony. Here I really wanted

to remove this element of time

through repetition. It was not

easy to work for performers.

Repeating two or three times is

easy but It gets much more difficult

when you get into a space

where you are repeating so

much that you don’t even have a

feeling anymore. This was a big

part for the audience to reach a

point where they cannot think

about where they are, when it

is going to end. That was about

removing the time dimension

and the spacial dimension.

The people could sit anywhere,

could lay down and the performers

were also all over the

space. So those things are not

so much about constraints but

sort of trying to remove some

various elements to get to something

more essential about

the situation.

KALTBLUT: Is materiality a frustration?

Ari: It is a frustration, especially

as a musician or composer because,

I think we have come

to a point now where music

really is something that we do

not understand. It has become

such a consummable product.

Of course it is a process that

started hundred years ago with

the recording but now everyone

is aware that we have reached

a turning point where music is

fundamentally changed to something

constantly disposable,

you have millions of songs

on your hard drive. Somehow it

gets way down by its materiality.

This units that you store on

your iPad, or even on your record

shelf, the music itself has

lost along the way what it really

is, something about time, space

and being in a certain moment.

The single most property about

music that makes it unique, is

the fact that you cannot pause

it. You cannot reduce it to a

single unit. The smaller you get,

there is always another unit

smaller even down to the sound

wave. A film you can pause but

music is something that exists

purely in time, it is a totally time

based phenomena. Along with

the way we consume music we

got caught up in the surface

of it: the way it sounds. There

is much beyond the way it

sounds and yet I think we tend

to leave it to only this. Maybe

we should take a step back and

understand that the way music

sounds is only one aspect, it

might be an important one but

it is only one out of many.

KALTBLUT: Do you tend to work

on a most scientific approach?

Ari: No, this is just my opinions

and thoughts I am not trying

to make a statement. As a

composer I try to understand

more about the essence of music.

And I have the feeling that

music is not found on a cd, on

a concert hall where you sit

down, you are quiet and the

band is on a stage in the dark

and you clap your hands. The

essence is somewhere else, it

is between people, something

very physical, body based and

by its very nature music is a

social phenomena because

it exists in space. If you think

about headphones, I use them

but I don’t particularly like

them, as they are isolating you

from the space. What it does,

it takes the social phenomena

and by putting directly the

music into your brain, it turns it

into something visual. You cannot

help it, when you listen with

headphones, music becomes a

private soundtrack to whatever

you are doing. If this the prime

way you consume music, I think

it cuts out 80% of what music

originally was about.

KALTBLUT: When you read you

hear your voice, do you picture or

visualise the music when you write?

Ari: I sort of do. When I am

writing I am very aware. If I do

have a kind of picture it tends

to be what is the relationship

between what is happening

musically, with the listener, the

audience, their expectations,

how would I play with it, with

the time and what is the situation?

The great thing about composition

and music is that you

can also exist in a very abstract

level. You don’ t have to convert

always into signs that mean something.

KALTBLUT: Can you picture for

me a black thought?

Ari: Sure the funny thing about

the black thought is a sort of

a joke with myself. The title of

the show: «Do you Have Black

Thoughts» really means music.

There was a grand piano in the

show what was black of course,

there was a score I wrote by

hands with that graphite pencil

which is black, the lines of the

music paper are black, printed

notes are black, somehow music

in some ways is a black phenomena.

But also going back

to Satie, it really is a quote of

his and I made the assumption

that it was what he was talking

about. In some ways, music is

the black thought.

KALTBLUT: Can you tell us more

about your piece at the Berlinisches


Ari: That piece is on for a year.

It is a composition for a solo

voice. I worked with an opera

singer from the Deutsche Oper.

It takes place in the foyer before

you enter the museum. It is a

simple idea that leads to interesting

situations because the

piece can be played only when

all the doors are closed. It is a

decision that people have to

make, to stay in this transition

space. They have about five seconds

between the two doors

and if they stay they will hear

the composition but of course

many people don’t notice which

is a part of the process. It is the

opposite of a music box. There

is a bench which is part of the

piece too and of course an absurdity.

I found this space of

the museum very interesting;

it represents the moment between

outside and inside, public

space and private space,

between reality and art and to

have something right there was

quite interesting.

Meet Jack The Box,

the House music duo revealed by the Chicago House legend Tyree Cooper and the talented DJ and

radio host Bobby Starrr! The two Berliners share a passion for fun and music History. Their first album

“Side A“ released on Mood Music records is a punch to get moving and carrying on the beat. Talking

about moving on, theses two hyperactive producers are unstoppable. Among an incredible longevity in

the music industry, they are producing music, hosting a weekly radio show on sweatlodge radio and

organiSing parties with old-school DJs and emerging talents at Tresor! What is their youth therapy?

And how do they pursue the impact of music in our virtual world?

KALTBLUT: Is hip house over?

Tyree Cooper: No,it never ended.

KALTBLUT: What do you think of the hip

hop attitude nowadays?

Tyree Cooper: Since everything is kind

of corporate, they sell you a product they

don’ t sell you music. It has no tangibility,

has no sustainability, it is just a product

like a simile line that keep turning over

and over, just like a car. The way they

feed it to the kids is something new and

the kids don’ t know, they cannot get the

education from the other ones because

the corporations, the video or records

companies have taken control and sell it

a natural thing. At the same time theses

companies say that it is bad but they do

sell a lot of music so there is a lot of hypocrisy.

Bobby Starrr: There are no long term sales


Tyree Cooper: Long term sales only determines

how long the records stays in

the chart.

Bobby Starrr: They build artist form an LP.

Tyree Cooper:This is the whole point,

they build artist from singles, they don’

t get an album deal anymore. EDM is

just another way of chasing the music

that we do. To be accepted by the masses.

Instead of calling it house music

they call it electronic dance music so

they compose it all outside of hip hop.

Though everything in hip hop is made

with electronics but they never put the

two together. And as old as I have been

in the early 90‘s the reason why the world

dance music is in our culture is because

they tried again to change house music


to dance music, to make it acceptable for

the masses and by the masses equivalent

to white kids.

Bobby Starrr: It is quite funny with the hip

hop scene in Berlin to see especially in

Neukölln and Kreuzberg you have got this

under current quite aggressive scene and

on the other side there is also a lot of international

people here who got more a

love for the jazz side of hip hop, it is a quite

funny mix you see on the street.

KALTBLUT: Regarding the great return of

the 90’s, what is hip and what is deep?

Bobby Starrr: It is funny how people keeps

going about the 90’s into a certain period

of house music, I guess it is good and bad

I suppose.

Tyree Cooper: Eight years ago it was all

about Chicago, again it is the 20 years

cycle. Some of these kids are just finding

out about what this music is. This music

has been going on for so long and some

of them are between 20 and 32 years old

and have never been exposed to any of this

music. So the 80’s return was a few year

ago, now they are going to the 90’s and I

guess they will catch up with themselves

and go to the 2000. And by the time they go

to the 2000’s, I would imagine we will catch

up with each other, but until then, the corporations

are still going to dictate what is

cool and what is not.

KALTBLUT: The techno scene in Detroit

came out as a result of an economical

change. You live in Berlin, the city is known

for its economical and social issues regarding

the rest of Germany. Do you get some inspiration

from that context?

Tyree Cooper: Hell yeah! Just like you said,

generally good music comes out of an oppressed

time. In the 80’s we had hip hop,

house and techno from the urban area.

Bobby Starrr: What about heavy metal?

Tyree Cooper: No, I never put heavy metal

in the mix, because these white guys they

have a chance; these black kids, they had

no chance. That is why you get this music,

it came out of an oppression of the people.

Here in Berlin, it was like that for a while.

Therefore, electro and minimal music was

created because Berlin didn’t have any

money during the early part of the millennium.

They were the ambassadors of something

that already existed but still, they

were able to created out of oppression.

Bobby Starrr: When I came to Berlin the

first time, I felt the whole city was swamped

by a certain sound and I was looking

forward to seeing some love. But there

was not that much love in what was being

played. It was quite intriguing and two or

three years later I have moved in and saw

Daniel Wang play disco. Then I knew there

would be some chance that the scene

would change at some point.

KALTBLUT: House music has never been so

popular and the way of broadcasting have never

been so multiple, you have quite of a record

of longevity in the music scene, though

it is still hard to release a good record?

Tyree Cooper: Hell yeah! Let’s say you release

a record digitally, in the week of your

release there will be probably 70, 000 to 100,

000 of records released that day. Then you

have to compete with the 60, 000 from the

week before etc. So yeah, it is super difficult

nowadays to release a record specifically

digitally. Vinyl has become another

new source but again, when they saturate

that market, it is going to be equally as

hard. So until they come out with another

format, music is going to be rough unless

you have the right tools and place to get

your music exposed.

Bobby Starrr: With digital you are in the instant,

the music is out, people buy it and

after two weeks, it is gone. At least with

vinyl, it is still present in shop for at least

six weeks.

Tyree Cooper: You can also have thousands

of records on a shelf and it is not selling

though you have visibility. The only thing

the digital game did, is to make it easier

for the consumer to get their music, thank

you Napster.

KALTBLUT: What is your vision of the music

Industry in the future?

Tyree Cooper: A flapping bass and a smiling

face (laughs)

Bobby Starrr: The most important thing is

to keep carrying on; you will never know

what is going to happened in the market

space. It is always going to change and

it has been proven. I mean you build something

out of it which is not only making

money by just selling records. Every single

avenue you have to click, from doing your

own party, t-shirt….

Tyree Cooper: Socks, shoes, bra, eyeliner,

ice cream… (laughs)

KALTBLUT: So is art total?

Bobby Starrr: It is getting more in that direction.

Tyree Cooper: It is no longer music, it is the

whole marketing branding, it is a lifestyle.

KALTBLUT: Are we living a fluxus life style


Tyree Cooper: Well, there is individualism

still. There is not a city unified so capitalism

still plays a big part in this individualism,

so what can you do?

Black Metal

Photography & Postproduction by Valquire Veljkovic /

COncept & Production by nicolas simoneau & Nico Sutor

mountain xl ring sabrina dehoff


103 chain: humana

sunglasses: ray ban


105 wide square stone zebra and leo ring: sabrina dehoff,

originals 1950’s cufflinks: Antique & Vintage Jewellery Oliver Rheinfrank




Text & Atelier photos by Pernille Sandberg

Feat. ‘Holy Me SS14 Collection’ photos by Ingrid Pop

I am in Neukölln, Berlin and it is a rainy evening beyond

normality. The hard wind makes everyone on the street

walk fast, trying to avoid getting completely wet, myself

included. Berlin seems completely grey and pale, the overall

atmosphere is gloomy and the air is thick just before it gets

dark. This feeling changes immediately as I step into the

universe of Augustin Teboul, created by the duo Annelie

Augustin and Odély Teboul. Situated on the ground floor

in what looks like an old grocery store with panorama

windows covered on the inside with patterned paper it is

impossible to tell that this is a studio when seeing it from

the outside. Even though it is already 9pm in the evening

the productivity is still high. Young assistants are sewing

hectically on the sewing machines, boxes are constantly

relocated and the styling and fitting are intensely discussed.

This studio has been the base of Augustin Teboul since

December last year. The stylist of Augustin Teboul’s presentation

this season shows me around. In one room people are

working and in the other one the final pieces hang, along

with long racks filled to the brim with exclusive rolls of

different black fabric – and only black fabric.

My interview is held in the small kitchen of the studio.

This is the place for their cigarette break – it also contains

a smaller moodboard. The open window keeps smashing

into the wall because of the cruel weather. Odély Teboul

seems completely calm and professional and she gives me

her full attention even though her time schedule is tight.

Annelie Augustin has gone home as she just had a baby.

What is special about this brand is that they have never

done a runway show. They do presentations. They want to

keep it simple and minimal and give people time to really

explore the pieces that the models are wearing. What is

even more special about them is their brand development –

they started out dramatically by having a presentation during

Paris Fashion Week in cooperation with the fashionable

store L’Éclarieur and have had a presentation at Plazza

Athénée. Now they are based in Berlin although they still

have a showroom and a press agency in Paris. Everything

is now produced in Berlin, all the prototypes made by hand

in-house and then the collections are produced somewhere

else in the city, going through different steps before it hits

the shops...


“I don’t really miss Paris but life is different here than

in Paris. There is a lot of good energy and creative feeling

here. It’s very inspiring. It’s dynamic here in a way

because the city is still under construction. Paris is more

established, especially in fashion.”

Through time the duo has learned how to work together as a


“It’s very interesting, because we have very different

personalities and on the other hand it’s like a fusion, a

creative fusion of two people sharing creativity. We’re

very different from each other, but we complement each

other. The more you work together the more you learn

how to make it quick. I think when you don’t have an ego

that is too strong and you’re interested in working as a

team it’s more interesting than fighting. It depends on

how you want to work.”

The two women come from different backgrounds, but both

expenrienced handicraft as a part of their childhood homes.

Odély comes from France and Annelie from Germany. Odély

tells us how she never has and never will sew her own clothes,

but likes to work with the cloth.

“I’ve done handicraft since I was a kid. I have always

known that because my mom taught me how. Skills develop

through time I guess. I think that’s important. When

you know your techniques you can transform it into design.”

Odély and Annelie met at Esmod (international fashion and

business school in Paris since 1841) but this was not the place

of birth for their brand that has only existed since 2009.

Within these few years they have managed to achieve the

highest prized German fashion award SYFB (Start Your

Fashion Business), not to mention the three awards their first

collection “Cadavre Exquis” received – along with the ability

to sell worldwide.

“I was working for Jean-Paul Gaultier in Germany. In

2009 I had a job interview in London. Annelie was living

in London while she was working for Y3 Yohji Yamamoto

for Adidas. I needed a couch to sleep on and got her phone

number. It turned out we were in the same personal

situation, looking for something creative and the desire

to build something new. It just worked out and one thing

leaded to another and it somehow turned into a brand. We

won a few awards and with a small amount of money we

started slowly. It’s a young brand but very luxurious. It

still has a creative touch and a lot of handmade elements

to it. It’s placed on the expensive market. Basically it’s

ready-to-wear in the sense that all the clothes that you

see you can buy in a shop. Our way of working is not by

measurements. We don’t see our clients and make clothes

especially for them, but create a collection that can

be bought in a shop. In the sense of craftsmanship and

techniques it’s a lot of couture. There is so much embroidery

and handmade details.”

Their courage to take a risk combined with hard work has

leaded them into the position they stand in today. Back then

they worked on a very basic level. Every morning they woke

up and started working with their hands in a complete mess of

30 square meters, both sleeping in the same room, producing

everything by hand. Things started to fit into place and magic

started to happen.

“It’s difficult. Nothing is easy. We started with nothing. I

lived in a one-room flat of thirty square meters and that’s

how we began. Slowly, slowly, you know...”

Their brand and working conditions have obviously changed

since then, but it is important for them to be able to monitor

every step of the process in the making of their clothes.

“It’s not our aim to create a big mass production. It will

be interesting to enlarge the collection with more accessible

pieces, once the label grows. For now we produce in

Germany, and are focused on a production made in Europe.

I think it’s important to be conscious with what you

are doing when you’re involved in business. Nowadays

there are so many brands; there is so much you can buy.

It’s important for us to just concentrate on the quality of

the pieces and all the finishing. That is where we want to

put our energy.”

Maybe that is the reason why every single piece in their

collections is black. There is then room for complete focus and

attention to the crafting, the embroidery and the details that

makes the whole aesthetic. It is not a choice they have made to

exclude a certain kind of woman – they design for every age

and every style.



“It came by coincidence more or

less. The first product we did together

was created out of this game

we played. You know this game where

you draw something, fold the paper

and then the next one has to draw

something? We are two fashion designers

so of course it became very

fashionable drawings. It was really

interesting because it was so unrealistic

in a way. We decided to make

an interpretation of this drawing, all

in black with details and texture. It

was a good base to start with cause

I was working with a lot of colours

and Annelie was very minimal when

we met. It was a good base for combining

our different universes. Black

was our only restriction. We did these

drawings and it was a very good

way of starting working together.

We wouldn’t make one of shoulders

if one of us didn’t liked it. It became

our first mini-collection of six looks

and we decided to develop it. That’s

why we only design in black cause

we wanted to explore all the fields in

only one colour.”

Something that hits me again and

again while I talk to Odély is her charming

kind of humility, it runs through

every word that comes out of her mouth.

She knows what her and her business

partner Annelie have achieved, but she

knows the importance of staying calm

and safe with both feet on the ground.

The adventure will continue. The last

thing she tells me is this:

“I don’t have something specific I’m

proud of but I have moments where I

can manage to look at some stuff we

did and think ’wow, we achieved that,

that’s cool’ and I feel… I don’t know

if it’s pride or fulfilment. I think it’s

important not to be too proud in life.

When you manage to have a distance

when looking at what you managed

to do it’s difficult. Everytime I finish

a creation I’m tired and feel that it’s

disgusting. Then I look at it after a

few months and think it’s good. Now

when I wake up and come to the studio

I realize that it’s such a big step

from starting in one room, only two

people working together.”



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Merhyl Lévisse is a sculptor and a photographer. He is also artist, an “Artiste plasticien”, one might say. The

body takes a notable role in Merhyl’s work, perhaps because of Lévisse’s dance education. It was a real pleasure

for me to discover his work; the beautiful pictures that he creates make me feel like a child peering in through

the Christmas windows. There is so much going on; a whole world captured by a camera. To further showcase

his work, I chatted to him about his passion, his inspirations and his meticulous way of crafting his art.

Merhyl’s work is exhibited at his official gallery

Interview by Nicolas Simoneau

KALTBLUT: Hi Mehryl, How are you


Mehryl: Hi KALTBLUT! I think I’m fine…

if I don’t sleep, if I’m stressed, if I have

many ideas for my work, it’s normal I’m


KALTBLUT: Could you maybe tell us a

bit more about your artistic background?

Mehryl: I have one “bac+5” in contemporary

art, I was the assistant of several

artists, I have a formation in dance

and in contemporary dance, and I lived

in Morocco two years to work in artistic

structures, I returned to France in

January. I’m represented by the French

Gallery Coullaud & Koulinsky.

KALTBLUT: I’m totally in love with your

“Captations Photographiques”. How do

you choose themes for your pictures?

Mehryl: It’s really complicated, I work

in two different ways. Once per year,

I choose a theme and I work on this

theme (for example; “ton sur ton”,

“sciences occults”, “pornographie”)

because at different months of the

year and with the time past my ideas

change and I don’t think about any

more similar theme. For the other “captations

photographiques” I choose the

theme with my desires, my material,

the object, the wallpaper, the carpets

and the body that I want to work. I

never create more than one captation

photographique by day, a lot of time is

needed to built a photographic environment

and I need to reflect and test my

thoughts. When I sit and I don’t speak

or I seem to make nothing in reality it’s

there that I work most because I imagine

in the slightest detail what will be

my next images.

KALTBLUT: What’s the process like

when you work on a series? Do you

have a clear idea before you start to


Mehryl: My process is always similar. I

work in a closed space, without daylight,

and always artificial light. I begin

in a room and I make the photographic

space, I imagine the body, build the

suit, accessory and I fit out the space.

Usually, I have a specific idea for my

photo, I think about the picture before

starting to work and after I create

the photographic space. Sometimes

I forget this work method and I make

the photo and think the body piece by

piece, and then I forget the constraints,

my code and at this moment I have

absurd pictures (some are the ones I

prefer in my work).

KALTBLUT: Your finished work looks like

a piece of theatre: there’s real direction

in it. Every single picture you create

looks like a different universe. Do you

create all the set design on your own?

Mehryl: I’m creating everything.

I work alone, I don’t have assistants

and it’s me who imagines and realises

everything. It’s a lot of work. I choose

to work alone, because I know

where I’m going, when I speak with

other artists they say, “I could have

made that” and for me it’s really

difficult to discuss that. Artists forget

they aren’t me, I have a personal story,

personal route they don’t know and

they me and I think differently.


KALTBLUT: Is there story behind each of

your series, or is it more open to interpretation?

Mehryl: Both, behind every pictures

there is a story but I have chosen not

to tell it to leave free to interpretation.

It’s very important that every spectator

imagine their own story. Each

person imagines their own story,

because we don’t have same

real-life experience, the same

memories, the same education,

the same parents, the same family, the

same route and my work calls on to all

this, to the life of each person.

KALTBLUT: As an artist, who are your

main references?

This Page: BAUHAUSporn #5: Le monde des perversions.



This Page Up: BAUHAUSporn #4: Ornementation géométrique, This Page Middle: Epiphragme,

This Page Down: Le dernier Jeu.

Mehryl: I have a great deal of references

for the painting, in the sculpture,

by way music, cinema, literature,

opera, dance etc… Dance is

very important to me, I studied the

dance and I hesitate to become a

dancer in a company. I love Maguy

Marin, each of the plays causes an

artistic explosion in my guts.

Of course I love Pina Bausch it’s

obvious, but I was born too late to

meet her. The Spanish choreographer

Olga Mesa that I met in Morocco

and with whom I was lucky enough

to think the body, the Moroccan

choreographer Meryem Jazouli

inspires me enormously, with whom

I worked in casablanca during two

years also deserves metion.

There is also Josef Nadj, Steven

Cohen, Raimund Hoghe, Benoît

Lachambre, Sasha Waltz… The movie

that I prefer is “The Rocky Horror

Picture Show”, that was an obvious

fact and a revelation when I saw it

as a child. I read Jean Giono, Jules

Verne, Gilles Deleuze, Charles Baudelaire,

Ionesco, Oscar Wilde and I

listen to some electronic music, new

wave and experimental and I’m into

“Fan death”.

KALTBLUT: What is the over-arching

inspiration for your work?

Mehryl: Life.

KALTBLUT: Your shots look totally

realistic. Does any postproduction

take place in your photography work?

Mehryl: Yes they are realistic, there

is no post-production in my shots.

My work isn’t retouched by computer.

Special effects are realised

during the photography used the

lightings, make-up, false grounds,

prostheses as in the theatre.

I never use postproduction it’s really

important to me that my pictures are


KALTBLUT: Are you working with a

digital or an analog camera?

and why?

Mehryl: I work with a digital camera,

because for make one picture,

sometimes I realise three hundred or

four hundred photographs to obtain

THE photograph which I imagine.

The tool is not important, I’m not a

photographer I’m an artist. My work

isn’t the photography, the photography

is a documentary track.

My work is the construction of the

space, the thought of the body, the

suits, before the photography and

not the photography itself.

KALTBLUT: You’ve worked on a few

collaborations, how was it for you

sharing project space with another

artist? What were you hoping to gain

by collaborating?


Mehryl: Actually I work on three new

collaborations, an installation, a

series picture and a movie. In collaboration

I don’t share the space. We

share the ideas, the thoughts and

we work together on the project, but

the photographic work is my work

and nobody goes into the space.

My associate works alone and then

I work with his productions in the

photographic space. I only think the

space and it’s important to me. I

love collaborations because our universes

mix and takes me differently

but the work is shared, the photography

part is me.

KALTBLUT: You also work in 3D. How

does it compare working with photography

and working with installations?

Mehryl: The installations are the 3D

of my photos. Both are connected

and complement each other. These

works are not comparable but additional,

I both consider them as very

important, but it’s true I realise less

work in 3D and more photos.

This Page Up: Joyeuses fêtes, This Page Middle: L’étude des figures,

This Page Down: L’oisivore.

KALTBLUT: Can you tell us a bit more

about the piece “Le Dernier Jeu”.

I love the dark humour of it.

Mehryl: It’s about a very personal

work on which I worked several years,

and connected to my life and a

lego’s series of the photo. There are

two coffins, one white one in colour

and it’s unique piece. A arrangement

box, a note of 900 pages and

two volumes, four days to build and

more of 3900 scrub each.

KALTBLUT: A lot of artists use their

work as a way to purge their souls,

would you say it’s the same in your

case? If so, what do your demons

look like?

Mehryl: It’s really true!! I’m so neurotic…

I work on me, I try to make

efforts for the everyday life, it’s really

difficult. I’m very stressed, I have

many demons but I keep it for me.

KALTBLUT: Do you also work by demand

or do you decide the time scale

for all of your projects?

Mehryl: I obey to nobody except my

own creative drives. I have some

projects in command but I’m free in

my creation.

KALTBLUT: Your pictures are everything

but simple. The patterns,

colours, repetition, bodies; our eyes

are really “served” with your work. Are

you a fan of “abondance” in general?

Mehryl: I work a lot. I destroy a lot!

I work on the everyday life, on the

objects which surrounds us and to

whom we give an mystic way.




Searching for the soul in the very atmosphere itself Markus Nikolaus Büttner is currently

producing his very first Solo-LP “The Monster Inside Of Me” (Suena Hermosa, Berlin), getting

lost around Europe in search of hope through pleasure and pain, to overcome loneliness,

weariness, hollowness and absurdity. Played between static contrasts, the songs are mostly

minimalistic in structure with dreamy features, factory-like beats, distorted organ, deep

bass, dental drills. His works are not so much arrangements or compositions, but simply

pure expression. Let us introduce you to the sound of CUNT CUNT CHANEL.

Photo by Bobby Anders I Interview: Amy Heaton

KALTBLUT: For our readers who don’t know you, can you tell

us a little summary of your project in your own words?

C C C: Hello, my name is Markus Nikolaus. I am a live-act

performing mostly solo under the name “Cunt Cunt Chanel”. If

I’m asked to describe the music I make, I always feel like describing

what a cake tastes like. You can never fully explain it

to the person if they haven’t tried it themselves but for a little

introduction. I play mostly digital with my computer, various

midi-controls, a master-keyboard and use sound-pedals

with the focus on the voice. Especially in a club I like to play

with my drummer, who plays a Roland V-Drumkit on pads,

instead of my own. My intention is to bring more profound

diversity into the club scene, that I like very much myself,

and to function in a way that’s both artistic and aesthetic but

also poetic and soulful.

KALTBLUT: Do you usually find yourself writing a text, and

adding the music, or the other way around? Or is the whole

process more organic?

C C C: Usually I try to produce a lot before even thinking about

making a song. When I do, I simply intend to find an interesting

sound. I don’t think about the arrangement, if it is played

right or about the harmony too much. I don’t produce, I actually

just prepare and try to make something happen. I experiment

with what I have. Sometimes I have a lot of equipment

sometimes I only have my computer. For me, the piano is the

only failsafe set-up. The digital equipment I use is always

vague and destined to fail one day. Returning to the keys of

the piano, i realise, it can only be me failin’.

KALTBLUT: For me, music making is always at it’s most intense

when it’s a solitary affair. Would you agree?

C C C: I just try to prepare for a situation to pop-up. But I

would agree that it is a solitary affair. Most of my strongest

songs were made when I was on my own. Another person in

the room steals your concentration. Either everyone goes into

the same direction or it won’t work. The best way is to nicely

ask the thieves of your creativity to leave. If that doesn’t seem

to work. Get yourself a gun.

KALTBLUT: I’m sure everyone asks you about the name, it’s

brilliant. Where did you get the idea for it?

C C C: To be honest, I didn’t have the idea, at the time I couldn’t

think of one. It was a friend of mine, Matea. She came up

with the name and I trust her opinion. She writes for the SPEX

Music Magazine and in a pure moment of brainstorming she

hit the spot. The word CUNT is not meant to be provocative but

it seemed necessary to have a distance between the combination

of words. I wanted to involve the huge opposites of

FRANKFURT. The city has almost no middle-class. The huge

skyscrapers and the poor and homeless sitting at the bottom

You can hear the wistful tones of CUNT CUNT CHANEL over at

of it. I can’t think of any other place in Germany where

people are so far away from each other, divided into

the class-of-finance and the class-of-poverty but on

the other hand, you see bankers and bank-robbers sitting

in the same bar, café or club. When Matea said the

name CUNT CUNT CHANEL it just hit me. In my head was

this picture of a woman sitting at Goethestraße, Frankfurt

($$$) in front of the Chanel-boutique injecting, like

she’s trying to reach somehow a moment of happiness

which the rich and beautiful praise with their extraordinary

lifestyle. It is mass-madness. The rich live in

complete illusion of money and the poor are completely

disillusioned in life by having none.

KALTBLUT: Are you into fashion? How do you construct

your image as an artist?

C C C: I like fashion but I can’t afford it. I try to dress

rather decent and I like to mix a more old-fashioned

style with something that was clearly not made for me

to wear. Peacocking in an Oscar Wilde’ish way. When I

play live I try to only wear black, oftentimes because of

the black light I use to paint things like the microphone

or myself during the show. But what the hell is my

image? My image as a construct is maybe to be seen as

someone who clearly escapes his habitus, his surroundings,

hometown and family in a way to free himself

whatever the cost, at all cost. The place where I grew

up definitely influences my projection on the audience

as for example a working class-kid; half-orphan growing

up at my mothers butchers shop, ADHD, son of a

butcher and so forth. I try to let all these pieces take

somehow part in what I do. But I didn’t do blood yet on

stage, I leave this to Hermann Nitsch for now.

KALTBLUT: Your music is inspired by the electro scene

in Frankfurt, how do you find it compares to Berlin?

Which scene do you prefer?

C C C: I use Frankfurt to create anything but the usual

and I use Berlin to step back from the far outs. Frankfurt

has a very common sound. In Berlin everybody just

tries to be so very different, they are so far out that it

almost scares me. I use both to seek and find inspiration

and to come back to what I’ve learned. I like both

and prefer none.

KALTBLUT: From the clips I’ve heard and the live show


experience you put a lot of yourself into your music... gutwrenching,

soul searching, atmospheric: would you say

this is true of your work?

C C C: I would say so because it is a part of me writing

these songs and it is a part of me performing but since

individualism became mainstream I see myself as a part

coming shaped out of the same big thing and the same

reasons trying to speak to the ones who think and feel

likewise. I don’t want to be different, I want to place myself

in the warmth of a circle of friends and with my music I am

able to find these.

KALTBLUT: You’re producing your L.P at the moment “The

Monster Inside Of Me”, can you tell us a bit more about

that monster?

C C C: Confused in a moment, grey in grey, like a prophet,

take the nearest exit or at him another hit, heartbeating

piece of meat, once there was a time to carry truth out

on the street, hard voices, widow, doubt, skin, unfaithful,

sweat, panic attack, summer dress, blurred faces, main

station, someone I know that is now someone random,

glory, words, most likely somewhere out of reach, one

single night a thousand feet deep, details, devils, save my

soul, journey, pilgrim, sightless view, body presence, soul

absence, muse breathing, out-loving, pictures, weakness,

losing suitcase, the injuries that to myself I do, loss is fortune

ever fixed, fleeting year, one shot revolver, have years

told, now it is over, chance or nature’s changing course,

well as long as man can breathe, bring me life approaching

death, of this, our time, it’s worth to sing, have eyes

to wonder, french kiss, black tongue, as long as ocean’s

open, muscle works, one way I go, such is my love.

KALTBLUT: Although your lyrical content is deep, imbued

with layers of meaning, there’s a gentle dreamlike quality

to your sound. Is this juxtaposition intentional?

C C C: It is the dreamlike sound that gives the listener the

biggest space for imagination. After minutes of atmospheric

sounds it only needs a word or a line to get hooked on

a thought. I don’t think it is my lyrics that are deep. I think

it is the listener who creates this deepness in a moment of

thinking when listening to my songs.

KALTBLUT: The otherworldliness of your tracks is almost

cinematic. Do you include any visuals when you play live?

Or have you collaborated with any film makers?

C C C: Truth is I’ve been experimenting with some people

so far but for the visualisation of the show, I’ve not found

the right person yet. For videomaterial I always like to take

a filmer with me on the road or lock us up in my cottage

nearby the forest. For the cut I have only one guy, Max

Sternkopf, he’s got the right eye for it plus he’s magnificent

in a way because he grows with the challenge. Whenever

we have too little material he finds a way to cut 10 minutes

material even better than a 3 day shot production. I don’t

need rocket-scientists to make decent movies but what

you need is a handful of very fine minds that have a sense

of your own imagination.

KALTBLUT: Which other artists in the music scene are most

exciting for you right now?

C C C: Julien Bracht (Cocoon) and Rouge Mecanique (Rekids).

Both of these live-acts combine rock elements with

club music and play solo, this is what made it interesting

for me to learn because usually the club is not prepared

for live-acts to that extend. Julien for example plays techno

with very intense live drums. He is one of my closest but

everytime I see his songs live, he leaves me with amazement.

Romain, Rouge Mecanique, plays guitar throughout

his show and the first time I heard him live at Heideglühen

in Berlin, I knew it was something new. Both are very special

artists and go into directions where I imagine to be.

The perfect crossover of club-culture and concert music.

When it comes to good pop music I think Ballet School

(Bella Union, UK) is one band to keep an eye on. Rosalind

Blair’s soprano voice brings my ear to frequencies I hardly

heard live. Plus, Louis McGuire is a machine on the drums.

A very fine one.

KALTBLUT: Thanks so much for the cool photograph you

made especially for us, what kinds of things did you think

about when I told you about our theme: Noire?

C C C: Of course first thing that comes to one’s mind is

the night. Not very imaginative. After I thought about it for

a while, I felt like going on one red thread most people

would run on. The well trodden path, so to say. So, what

I did was that I jumped into one of Berlins Photoautomat

boxes at Kottbusser Tor and it was one out of four shots. I

gave it to an acquaintance, Ludwig Kempf, he made it look

like a bit more special. Noire is also a ¼ note in music.

Take four of them and a bass drum and you have a club

beat. So, NOIRE, for me is a artistic expression on music

for the uncontrolled and spontaneous mind.

KALTBLUT: Where would be your favourite location to play

a gig in Berlin? Maybe you already have played there…or

somewhere on your watchlist?

C C C: Most people would probably answer Panorama Bar

but Berlin is full of beautiful off-locations, rooftops, cellars,

basements, outside places along the Spree. I could

imagine though to play in the attic of the CHALET just as

much as I would like to give a show at a lakeside or at

an off-location somewhere in the nature of this town. This

year I enjoyed to play outside in the yard of the Kater Holzig.

Burning trash cans under the wide open sky, people

from all over the world screaming my lyrics back into my

face. I was very interactive.

KALTBLUT: If I saw you in a cafe, book in hand, you would

be reading…?

C C C: It was very likely to see me with the book of gaelic

wisdom called ANAM CARA by John O’Donoghue. Translated

from the gaelic it means “soul-friend”. I treated it like

my bible but since I gave it to a friend because I got it from

a friend and wisdom is there to share, I would probably be

reading one of Rilke’s book. I know I should at some point

start to read something out of the 21st Century. Maybe better

not care.

KALTBLUT: What about your plans for the coming year, will

you be touring outside of Europe at all?

C C C: Europe is a small continent but with a lot of very

diverse nations living on it. It takes some time to explore

all the nooks and crannies of this continent. This is what I’d

like to do before I start thinking about spreading my wings

to overcome the huge swimming pool of an ocean. Though

a friend of mine, the brazilian writer Ricardo Domeneck

and I have started working together this year combining

poetry and music and we intend to play a few shows in Rio

and Sao Paolo and hopefully some nice, little extraordinary

places. Brazil is a very tough but interesting country

that offers huge possibilities and space for art in general.

I definitely want to be there someday.

KALTBLUT: If you could live and create anywhere outside of

Germany, where would it be?

C C C: To really create songs I think I would only need a

place in the mountains and my dog. But think it’s a relief to

be able to work anywhere just with a pair of headphones.

It’s different with the singing. It doesn’t always work to

improvise on a rather high emotional level. For that I need

to be absent from people. As an artist I cut out stencils on

my own. If I like one I can recreate it unlimited in front of

every audience without hesitation or the feeling of shame.

Then the stencil is like carved wood in my head.

KALTBLUT: You mentioned you’ve retreated to the countryside

to work on your recordings, what is it about peaceful

surrounds that you prefer as a base (as opposed to the

hustle and bustle of the inner city)

C C C: I don’t like silence very much but absence from

everything that is not existential is very important. I start

to hear more clearly and to overcome the deadly silence I

instinctively start to sing. I am always surprised how this

seems to work for me. The voice is my most important instrument

and whatever happens, I always have it with me.

KALTBLUT: How do you feel about music in the digital age?

On the one hand it frees musicians from the shackles of

traditional constructs, on the flip side of that it does make

it harder to earn a living from being a musician these


C C C: Musicians shouldn’t earn anything from their music

if they put it online themselves. Nowadays most music is

given out like flyers, its only the commercial for the actual

product. I really (try to avoid the word “hate”) don’t like

that especially if your songs come from deep down of your

heart, it makes you feel like the music one makes is cheap

but it is not. I want the people to download music illegally,

put it up again for everyone to spread. I want the people

to steal it and let them guess its actual value themselves.

Nothing is expensive or cheap when you steal it but one

has to discover what it’s worth. The audience should be

forced to find it, if they adore it, overcome borders, break

the law and literally rip it out of the hands of the industry.

That is pure admiration for the artist. The artist doesn’t

need the industry but the industry needs the artist. People

need to be excited. Excitement is important. Boredom a


KALTBLUT: When can we expect to hear the new album?

C C C: Never. there will always be a “new album” I don’t

ever want to retire from this. I want this to be my profession

and the start of making music is always my destination.

However, there will be a techno-release this year with

Florian Meindl, in which I did sing and my long awaited

“Monster Inside Of Me” will be released on the berlinbased

label Suena Hermosa end of this year.



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

Selected by Marcel Schlutt

The Son by

Jo Nesbo

I love reading crime and mystic

books. One of my favorite is

The Son by Jo Nesbo. A

thriller from no 1 bestselling

crime author,

Jo Nesbo, which sees

a charismatic young

prisoner escaping

jail to find out the truth about his father's

death. He listens to the confessions of other

inmates at Oslo jail, and absolves them of

their sins. Some people even whisper that

Sonny is serving time for someone else:

that he doesn't just listen, he confesses to

their crimes. A book you should own.

DOCKERS Bomber Jacket

Bomber jackets are this year an

absolute must-have for every fashion

boy out there. This Quilted Bomber

Jacket by Dockers makes any look

more comfortable and modern.

Their lightweight nylon with

quilted detail looks casual and

keeps you warm.

Philips M1X

Dj System

Mix like a DJ with Philips M1X-Dj , give your music through any device, and share it with

others. Create incredible sets that will delight your friends, and stream the songs on the

Lightning-Anschluss/Bluetooth. And take your music with you wherever you are for a big

party at any location.

The Walking Dead Monopoly

The last thing you want to do, when the zombies hit the fan

(so to speak), is to worry about real estate deals. What you DO

want to be doing is making sure the property you own is well

protected and ready to withstand the advancing zombie menace.

Let this be your mindset when you play The Walking Dead

Monopoly. It's Monopoly mashed up with Robert Kirkman's The

Walking Dead. Don't just buy properties - fortify them!


The label JEONGA CHOI BERLIN was founded in 2012 and provides unique

and sophisticated hats and accessories. Each piece is lovingly handmade

with the highest quality materials. The HANIWA NO. 1 hat is one of our

favorite items from the young Berlin

based label. And girls if you want

something unique and special just

have a look at their webpage. You

surely will find the right thing

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Nike Air Max Ice

The next Nike lightweight in Hyperfuse mode! The Air Max 90 ICE

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outside, it has also got an Ice sole. Red, seamless, Hyperfuse upper with

a clear 'ICE' midsole, a red 'ICE' Air

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outsole. Absolute eye catcher

and very comfortable!

Forever 21

The colorful Forever

21 rain coat finally

brings color to

the gray everyday

life. The 90s style

of the print should

be in every

wardrobe of

a hip girl.

It fits in a


Is easy to

clean and

goes with

any outfit.

Straw Duffle Backpack

Straw Duffle Backpack

We have seen this wonderful green Straw

Duffle Backpack at and

we love. Spring is coming and yes

we all have to buy new stuff for

our spring wardrobe. Topshop is

offering always some great items for

those who like to spend their money

for more than just clothing.

Zweena Pure Argan Oil

Argan Oil is the new big thing for your skin. Argan oil is a rich

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tree. It has been valued for its abundant cosmetic and medicinal

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argan oil a “superfood” for the skin due to its healing,

moisturizing, anti-inflammatory and anti-aging properties.


The Duesseldorf-based street wear label

DRMTM has the right thing for the

coming spring and summer:

the most beautiful Cap to

forget winter once and

for all. We are very

excited about Roses

Cap. And hope to

see you all in it this

summer, on

the street or

at parties.



By Amanda M. Jansson & Emma E. K. Jones


Clothing : Harue Nagamoto

Queen of


Photography: Tomokazu Hamada

Styling: Linda Brwnlee

Hair: Yoko Sato (AVGVST)

Make Up: Yuka Hirata (A.K.A)

Model: Symone

Postproduction: Chaos

129 Clothing : Yuya Nakata

Clothing : Harue Nagamoto



Clothing : Harue Nagamoto

Clothing : Harue Nagamoto


133 Clothing : Harue Nagamoto



Prince of


There’s something undeniably terrifying

about music that has the power to rip your

head clean off: contort, cajole and crystallise

your movements as if you were suddenly

transported outside of yourself helplessly

looking in. Everyone has a fearless

beast living inside of them, and Gesaffelstein

is the man who knows just the way to

set it free. Naming himself after two of the

most confident and unwavering concepts

in human history is a pretty demonstrative

start. Gesamtkunstwerk: the German ideal

of the total or universal artwork, bringing

together music, the visual arts and narrative

into a single intoxicating vision. Albert

Einstein: the ultimate example of human

intellect, the man who explained the universe.

When Mike Levy, the Paris-based DJ-producer,

was asked how this name came to

be he explains, “Gesaffelstein is an ambitious

name, but I want my music to be art,

with something to say. Einstein is about

quantum physics too, that means the small

things, the tiny things that change everything,

the detail. He always kept questioning

and refining his ideas. That’s what I

strive towards.” Perhaps it was setting the

bar so high from day one that pushed Levy

on to develop something so distinctive, and


Born in Lyon, France in 1985, Levy discovered

techno music in his teenage years.

“This was my first contact with electronic

music and I was obsessed with it,” he recalls.

“I was almost too shy to admit that I

liked this music. It was primitive, but in a

serious way and I really liked that. I kept it

to myself for years.” After playing around

with his neighbour’s collection of synthesisers

he began to realise it was not so much

music he wanted to create, but pure sound.

“I was intrigued by white noise and analogue

sound,” he says. At 18 he moved to

Paris and began what he now describes as

‘research’. You would think coming from

a long line of tortured intellectual types

his heritage and homeland must have something

to do with it, but is his music at

all French? “It’s hard to say” he comments,

“We live in a digital world where all frontiers

have broken down. A kid in the South

of France can be making Detroit techno that

sounds indistinguishable from the “real”

thing. Who would know where it came

from? Does it matter?” He has a point, but

as he steps out on stage sharply dressed and

coiffed to perfection, it’s hard to believe

that the sound about to be unleashed from

such a man can be so anarchistic, so visceral.

“I had to work again and again to find

my proper sound,” he says. “The revelation

came when I did the first EP ‘Variation’ on

Turbo in 2010. When I finished that I knew

it was the sound I was searching for.”

This is the ear-shattering revelation that

has he has been building on ever since, and

to fully experience the extent of it is to let

go of any preconceived notions you once

had about what techno should be, one taste

of the piercing complexity behind his sonic

explosions, and you’ll soon be converted.

Building a fanbase amongst dance music

fiends since the middle of the Noughties,

his ominous combination of hard techno

and industrial primal drive is more commercially

acknowledged by way of his collaboration

with Kanye West on two standout

tracks on 2013’s ‘Yeezus’ album, the

abrasive ‘Send It Up’ and the glam-punk

rap riot ‘Black Skinhead’, a co-production

with Daft Punk and Levy’s friend Brodinski.

Releases on the OD, Zone and Bromance

labels showcased an ever-developing

individual style whilst his remixes for

Lana del Rey, Justice, The Hacker, Laurent

Garnier and heroes Depeche Mode put his

unique sound on the mainstream map.

It’s only this year that the full extent of

Levy’s musical intensity has been released

in his debut album ‘Aleph’, wantonly bludgeoning

us with a musical exploration that

isn’t for the faint of heart. His pounding

yet melodic tracks awaken some dark, uncomfortably

human impulses: perversion

drives each beat, pounding on the inside of

your skull looking for a way out. His structures

are brutal yet calculated—connecting

the clashes of our modern era with expert


The first release from the album, the insistent

and acidic ‘Pursuit’, was accompanied

by a sinister controversial video created by

director duo Fleur & Manu. As the camera

pans out clinical images of war and machinery

are juxtaposed with the elegance

of neo-classical existence, disturbing as it

is enthralling Gesaffelstein’s unrelenting

beats and electronic wails provide the perfect

backdrop for this world of decadence,

technology and sex. His second release,

the powerful ‘Hate or Glory’ also directed

by the filmmaking duo, is a contemporary

take on the cautionary tale of King Midas,

pushing even harder and deeper with a more

powerful drive. “I don’t know why I’m so

drawn to dark sounds,” Levy admits. “It’s

like when you make a movie about love,”

he explains, “that’s not your life, it’s the art

you have made. It’s a fiction. The music is

exactly the same. Although there is nothing

dark in my life, I have a facility to understand

dark emotion.” These two tracks turned

out to be just a taster for the sinister

pleasures that lie within the album: refreshing

a stale techno scene with the disturbing

flavours that ran through pre-pop Human

League, Throbbing Gristle and early

Kraftwerk. On several tracks London singer

Chloe Raunet—formerly of lo-fi electro

band Battant on the Kill The DJ label,

now working on her solo project C.A.R.—

provides lyrics and vocals to compound the

seductive atmosphere: a fierce female presence

in a wicked storm of sound.


Although his electrifying DJ-sets have earned him acclaim from

Boiler Room Berlin to Electric Zoo in NYC, Sonár in Barcelona

and Bestival in the UK as a self-confessed introvert Levy admits

that he isn’t by nature an outgoing clubbing type, “If the music is

really good I have to sit down on my own and listen...when I go out

I have to forget the

technical side of the

music,” he admits,

“DJ-ing can be fun,

especially if I‘m doing

it with Brodinski.

We’re friends and it’s

exciting to work together.

But in the end,

you are playing mostly

other people’s records.

I prefer to play

live.” Indeed, the Gesaffelstein

show is the

best way to experience

his decadent vision:

a classicist form

of electronic music

that aspires to high

art. His approach to

each live exposition

is with meticulous attention

to detail, performing

from within

a giant custom-made

marble altar where

he can control everything

from the frequencies

to the lights.

“I can have a response

directly with the

audience,” he says. “I

can take the pressure

up and down, build

tension and release

it, and take people

deeply into the music.

I have much more

pleasure this way.”

As far as the visual

is concerned this is

an entirely different

matter, and he frequently


with fellow artists, directors

and designers

to help better express

the ‘Gesamtkunstwerk’

element of the

project. Inspired by

artworks that range

from the contemporary

abstract paintings

of Pierre Soulages to

the severity of 18th century neoclassical painter Jacques-Louis David—infamous

for his depiction of Napoleon on horseback—it’s

no wonder that the visual is just as important to Levy as the music

itself. Take the album cover for the album for example, the design

was created with Manu Cossu. “He has the hands to make it happen,

and I have the words,” Levy explains. “The cover is pure and

complex at the same time and everything relates to the idea of the

Aleph, which is both the beginning and the return to the beginning.

It’s a beautiful object.” Similarly his music video archive is

a black hole of visual exploration. The first video that grabbed me

was the monochrome film project for “Viol” entitled “Ghostrider”,

filmed in the darkened

streets of Paris

the directors Jérémy

and Anto, aka, Les

Darons, twinned their

passion for fixies and

film-making capturing

a dark spirit of

the discipline on camera.

As they ride

like hell without a

flicker of fear in their

eyes the cyclists push

on in time to the oppressive

beats of Gesaffelstein


an addictive visual

reality that is instantly

seductive. This is

the kind of visual that

fits perfectly to his

music, and the powerful

imagery it can


Photo by Emmanuel Cossu

Text by Amy Heaton.

Without a doubt Levy

is a master of exposing

the Noire that

hides in all of us.

His sound encapsulates

the madness,

the melancholy and

the darkness that’s

somehow striving

to get out. Working

at the intersection

between solace and

aggression there are

themes to which Gesaffelstein

will always

return: raw, and unending,

ecstatic, yet

deeply concentrated

and controlled. When

asked to comment on

the meaning behind

the title of the album,

‘Aleph’, he explains

that it’s a word which

can have many meanings.

The first character

of the Hebrew

alphabet. The computer

that contains

a complete reality

in Neal Stephenson’s cyberpunk novel ‘Snow Crash’. The letter

which brings a clay Golem to life in Jewish legend…and whatever

other interpretation you as the listener wish to bestow upon it. “I

have the key to my music,” says Levy, “and I keep it for me. But

I’m really excited to witness other people discovering it.” Now it’s

your turn.



























































Eirik Lyster

KALTBLUT: Hi Eirik, how are you?

This Page: “Floral Brutal” 2013, 42x59,4 cm, Drawing with pen.

Next Page: “Sleepwalker” 2013, 42x59,4 cm, Drawing with pen.

Based in Oslo, Eirik Lyster is such a

creative individual that we’re going to

have problems listing all his achievements.

But we’ll try: he’s a stylist, he’s

a performer, he’s also a sculptor and last

but certainly not least, he also draws.

Not just any old drawings, one’s in which

the characters he creates seem to have a

full wonderland imagination going on.

It’s half magic, half gore. We meet and

chat to him, and in the end Eirik creates

two brand new pieces exclusively for

KALTBLUT, which we’re rather proud

to present.

Eirik: Hello! I’m fine, thank you.

KALTBLUT: You only work with pens, where does your love of pens

come from?

Eirik: I’ve tried a lot of different expensive pens, but the pen I always end

up with is a regular pen. It is kind of dry and has these shades of dark blue

almost. Looks really good when I draw hair, which I do a lot.

I was thinking about pens and drawing the other day… we live in a world

where everything is so digital, so I think it’s good to stop up and actually

create something with a pen. You cant just push a button and it will magical


KALTBLUT: So tell us a bit more about the characters you draw.

Some of them sort of look like hybrid creatures. What are they


Eirik: The main character is actually a rubber duck. But most of the time

you can only see the face of it with closed eyes, dressed up in different

layers of animals. A pop icon walking in a cold landscape.

KALTBLUT: Where do they come from, what’s their story?

What does their world look like?

Eirik: It’s a world in between dreams and reality. Each drawing holds a

different story and emotion.


KALTBLUT: Your drawings bring to the surface a mixture of very

different emotions : cuteness, childlike innocence, and yet there is a

lot of blood and gore. Cute but not so cute?

Eirik: It is uninteresting for me to show something pure good or bad. I like

to show both sides. If you look at nature, it is so beautiful but so grotesque

at the same time. I think we live somewhere between those things.

KALTBLUT: All of your pieces are pretty big. Are you more comfortable

working on large canvases?

Eirik: Yes I really enjoying making big drawings. It’s kind of how it has to

be… fair to my work in a way. Not every drawing suits being small. I’ve

made some huge drawings straight on wall also (laughs) In my hometown

there is a hairdresser that has a big piece of my work on their wall, but the

ones you’ve seen is on paper. Google it!

KALTBLUT: How did you come to do illustration?

Eirik: I have been drawing my whole life. I can’t remember a time without

it. It comes naturally to me. When I was a kid I could sit and draw animals

and characters and make up stories for hours and hours. I always knew I

was gonna be an artist. I’ve always felt like one. I also so badly wanted to

feel the things that all the icons I admired had felt. Even the bad stuff. Lonliness,

struggle and the endless dreaming.

KALTBLUT: The contrast between the black and the bright pinks,

reds and yellows is quite strong…. why these clashing colours?

KALTBLUT: Where do you draw inspiration from?

Eirik: I get inspired by everything in my life. Identity, fame, pop culture,

death, nature. I’m fascinated that beauty and life are fragile; something

that is slowly fading away. Its like I draw beauty that is aware of its own death

in a way. When I’m going through something, good or bad, my first reaction

is how can I translate this in the most beautiful way I know. My art is poetic

but also very pop. I tell stories in a metaphoric way, but at the same time it is

branding itself. I like to repeat things over and over again.

I also like the idea of making things that will live longer than I will. We so

often tend to think life is a promise, when it’s not at all. If life is not a promise,

then at least I will promise myself to live forever through art.

KALTBLUT: There obviously is a dark side to all of your drawings.

What are your demons?

Eirik: I am a person that listens to my dark times as much as my bright times.

Regardless of how much it hurts I stay in it for as long as it takes for an

answer to come. I embrace darkness and struggle as much as happiness and

success. I think you have to accept both sides if you’re an artist to survive in a


KALTBLUT: Do you use your art as an outlet?

Eirik: Yes, its the way I express myself. Without art, life would have no meaning

to me. Its a luxury to get to be private in public in an artistic way.

KALTBLUT: You live in Olso, how does your city influence your work?

Eirik: I’ve always said that drawings come to me. I see drawings. I have

visions. When I’m feeling something out of nowhere I get drawings in my

head. When I’m going through something, if the feeling is strong enough,

drawings come up really clearly. It almost feels like an instinct. And then as

I work I see that I can add certain metaphors to highlight what I’m telling.

I want the art to look like something that is easy on the eye, but when you

look closer you can see layers of poetic undertones, which is maybe different

to the image that you first saw.

KALTBLUT: Any artists you look up to in the illustration world?

Eirik: There are many talented artists out there, but I have to say Theodor

Kittelsen. He has this cold Scandinavian feel to his work ,which I’m fascinated

by. His drawings and paintings are just beautiful. I don’t think you

can necessarily compare us, but he has a soul in is work I can really relate

to. Beautiful but dark.

Eirik: The city is bigger than the one I’m from so there’s a lot more opportunities.

I’ve lived here for over a year now and many dreams have come true.

It’s all about hard work and discipline. I got to show my work in the Astrup

Fearnley Museum of Modern Art. I meet a lot of interesting artists and

musicians all the time so Oslo makes me feel like home. As often as I can I try

to make time for a walk before I go to sleep, under the stars or into the city

lights. Thats also inspiring to me: to walk, think and listen to music and watch

the city neon lights popping up in the sky. Magical.

KALTBLUT: Any other cities where you’d love to go to, to visit or to

live in?

Eirik: New York and Iceland. Maybe L.A. and Hollywood also. Ive always

pictured myself in the future living or at least staying in NYC for a while.

Or living in a house by the sea in Iceland. Time will show. But right now, I’m

really happy to be working in Oslo.


Sam wears

Bra – DKNY

Suspenders – Maison Kiss Kiss

Stockings – Maison Kiss Kiss

Knickers – Maison Kiss Kiss

Shoes – Missoni

Matthew wears

Lace Gimp Mask – Jay Briggz

Love & Malice

Photography: Nik Pate - Make Up: Mark Bowles

Hair: Paul Jones Styling: Justin & Andre @ a+c:studio

Models: Matthew Riches & Samantha Jackson @ S.O.S

Dress – Lee Paton

Cuff’s and Neckbrace – Maison Kiss Kiss


Sam wears

Leather Bodice/ Top – Tamzin Lillywhite

Jacket – Katie Eary

Trousers – Heohawn

Shoes – Pretty Little Things

Ring – Only Child

Earrings – Finchittida Finch

Matthew wears

Trousers – Sopopular



Sam wears

Bra – Tamzin Lillywhite

Leather-Pleated Skirt – AMEN Couture

Fishnet Stockings – Maison Kiss Kiss

Fur Boots – Robert Cligerie

Necklace – Mirabelle

Matthew wears

Lace Gimp Mask – Jay Briggz

Sam wears

Dress – AMEN Couture

Head Piece – Jay Briggz

Bracelet – Eshvi

Earrings – Finchittida Finch

Matthew wears

Lace Gimp Mask – Jay Briggz

Trousers – Sopopular



Dress – AMEN Couture



In the words of Marina Abramovic, “Performance is

about being in the present; it’s about creating a luminous

state of being.” Luminous indeed, Katie Stelmanis

shares her middle name with the Latvian goddess of

light. It’s also the name she chose for her solo-project

some five years ago. Classically trained, Stelmanis’

musical career came to life in her early teens amidst

the Canadian opera scene and flourished into the now

critically acclaimed synth-pop band Austra when she

began experimenting with electronic music in 2009.

Fast forward to 2013: she released her second fulllength

album, Olympia, which reaches deep into the

history of dance music and early house. Indeed, the

album’s single Home features a serious old-school

Chicago house thump, with Stelmanis stating, “the

main intention of this record was to make electronic

music acoustically.“ Ridding herself from the rigidity

of classical music, she’s unequivocally explored the

flowing and numerous possibilities made available to

her by way of Olympia.

The main shift from the debut, Feel It Break, and

Olympia isn’t just adding more beats, but adding more

overall: introducing more involved members and transforming

the bedroom project into a full six-piece live

band, bringing more layers to Katie’s lyrics by acquiring

Sari Lightman as her ghost-writer and pushing the

entire feel of it from orchestrally imbued gothic impulses

to house-inspired, synth-pop. But it’s not cluttered.

It’s not over-thought, it’s not strategic, and it’s not

calculative. It’s progressive, and organic, it came about

naturally and it’s authentic. From the intimate lyrics

and the erupting beats to the pristine production and

the emotions conveyed, it’s candidly created. Olympia

is more lyric-based than its predecessors and as a

result it’s persuasively personal and, at times, political.

Stelmanis’ voice shines as she weaves tales of lovers’

plight and same sex-marriages (“We don’t have to marry….

in this town we’ll bury all the minds that clench

too tight”) addressing bigotry and the patriarchal

over gothic-leaning synths. The sounds are loud and

omnipresent but the intent is serene and the message

subtle: enough to cause a stir but not frenzy.

Live, Katie’s energetic, passionate and in the moment.

She’s having fun. Stood in front of the hand-painted

mountain scene that adorns Olympia’s cover and

surrounded by glowing parasols, she sways and swings

amidst four sultry band members. Like that of an opera

singer, her performance is theatrical. She might have

strayed away from the classical in her music, but her

movement, her persona; her energy belongs very much

on stage. The emotional power and the aesthetic interest

of all her work- from her performance and videos

to the lyrics and album cover- reside in the comfort and

allure of authenticity; reminding and enlightening us

that being straightforward is that which always come

naturally. Subtly changing the air in the room Austra is

played, Katie shall sing and you shall listen.


“…Marina’s The Artist

is Present did play a role

in the desire

to be candid

on this album…”

KALTBLUT: When you first started the

project people weren’t really getting it

and said you should be playing acoustically

with instruments. What encouraged

you to push through and stick to

what you felt was right and what you

wanted to create?

Katie: I guess I just loved working with

electronic instruments. At the time,

it was different to what everyone else

was doing in Toronto and I preferred the

sounds and I enjoyed that I felt like I was

doing something unique. Of course, in

the rest of the world it wasn’t anything

special but in the city that I came from it

felt like I was doing something different.

KALTBLUT: You started Austra as a

“solo project” would you say its now as

collaborative as it’s ever been?

Katie: Yeah, it’s definitely very collaborative

now. Well I mean, the first record

Feel It Break was essentially a solo record

for the most part and then we kind

of formed this six person live band while

we were touring Feel It Break for a few

years. For the next record we kind of

wanted everybody to be involved in it,

so actually all six of us kind of played a

role. We made that album…even though

we’re currently touring Olympia; we’re

touring as a four piece. It was kind of in

that moment that we wanted to do that.

KALTBLUT: You’ve said you brought a

certain energy to the record from playing

live. Can you expand on this?

Katie: Well, the songs felt completely

different after touring with them for

two years than they did when I listened

to them on the album. When I listen to

Feel It Break right now it sounds a little

foreign to me in some ways. I definitely

think that playing them live we improved

on songs a lot …they gained a lot

of depth and a more interesting sound

palette. So we wanted to bring all those

characteristics forward in the new


KALTBLUT: How does Olympia compare

to Feel It Break personally? How

does it feel looking back and seeing

where you are now?

Katie: Well for me, the biggest difference

is in the production. It went from

being a bedroom project to being a real

band project in a studio. There were so

many more people involved in the making

of Olympia than there were for Feel

It Break. We had lots of band members

who were contributing; we worked with

a lot of different engineers and my friend

Mike from the band Fucked Up had

some co-production credits on songs

so it just felt like a group effort whereas

Feel It Break felt like a much more personal


KALTBLUT: You have a background in

classical music and were previously an

opera singer. What elements from your

classical training have you brought to

Austra and specifically to this record?

Katie: I mean to be honest I try and

move away from the classical training

as much as I can. I haven’t really studied

classical music in like ten years but I’m

sure there’s lingering habits…it took a

while to move away from the classical

style of singing and to learn music in

a different way because classical music

has such a rigid way of playing and

understanding music and I find when

you’re writing music it kind of helps to

just ignore that. A lot of people who are

classical musicians if they are told to improvise

they just won’t know what to do,

and so I think it’s kind of dangerous to go

really far down that path.

KALTBLUT: You picked Owen Pallett

as an example of an artist cutting

through genre. Do you like to label

yourself as a crossover band?

Katie: Its really hard to label and identity

your own music. I think about us being

a crossover band and then I think there

are a lot of people listen to us who think

that we’re straight up electro (laughs)

Y’know, I don’t really have a proper perspective.

I mean I listen to certain songs

on the record and for me, the influences

are glaringly obvious and other people

would have no idea really. It’s hard to say.

KALTBLUT: The lyrics for both Home

and Forgive Me are blunt both lyrically

and musically. Obsessive, tense and

desperate for closure: they’re almost

like a plea to a lover. You’ve said before

you weren’t very good at writing lyrics

or didn’t use to be the focal point of

your creativity. How has it changed for


Katie: With Olympia I had the desire to

write more personal and more meaningful

lyrics. I really think the reason behind

that being… y’know after performing for


a few years, I just wanted to kind of identify with the audience

in a new way, or a different way. I’ve always loved doing covers

of songs that are very lyric-based… a crying, choking natural

woman and I kind of wanted that story behind the songs I was

making. I tried to do that with Olympia and also worked on

the lyrics with one of the back-up singers at the time.

KALTBLUT: Am I correct in thinking that the video for Home

was inspired by Marina Abramovic’s The Artist Is Present?

Katie: Um, a little bit, I guess. It was difficult because I wanted

that video to really embody the sentiment behind that song,

but its really hard not to do it in a cheesy way, because the

lyrics are so… obviously it could go really wrong…keeping

it as simple as possible was the best way to go. We worked

with a director and he had this concept of pretending it was

a dressing room and I think it worked really. It was really nice

we only had to perform it like four times and we had a video.

With so much weight off our shoulders, we were able to capture

the sentiment perfectly.

connect with it. And even the role I was playing in the opera, I

didn’t connect with that. Obviously I think in the music industry

there are some difficulties being a woman in music but

ultimately feel lucky that I can do my own thing and make a

career out of it.

KALTBLUT: So you’re from Toronto, what does the city’s

music scene mean to you?

Katie: I feel like… I mean the Toronto music scene is a huge

part of me developing as a musician, as an artist. When I was

in my early twenties there was a lot of stuff happening, there

was Blocks Recording Club and there were a lot of important

parties that were happening at the time. Right now I feel kind

of disconnected to it essentially because I’ve been touring for

three years straight but aside from that I feel lucky that I was

raised in a really strong music scene.

KALTBLUT: Aside from the musical, are there any creative

influences that you can list?

KALTBLUT: I Don’t Care, I’m a Man is a short but powerful

interlude on the record. What was the thought process behind


Katie: Well I guess that song originally came to life… my way

of writing lyrics is generally me writing all the music and then

I’ll sing on top of it and I’ll kind of say anything and often what

I’m saying kind of makes sense and I make it to real lyrics

later. But in the case of this song, the words that stuck for

me, that I kind of worded were I Don’t Care, I’m a Man. I appreciated

those words because I enjoyed the anti-patriarchal

vibe around them. Then I put Sari with the song and I think

she kind of interpreted it to be more of a direct relationship

between a man and a woman, maybe an abusive relationship.

Really, there are a lot of meanings and interpretations around


KALTBLUT: You’ve said before began by making music; you

weren’t a band with a message. It feels that with Olympia

you’re making more of a stand - is that true?

Katie: I think we’ve always had the same… I’ve never really

written political lyrics, well actually that’s not true, I have in

the past, but I’ve always been pretty vocal about my politics

and my position on feminist issues and queer issues and I

think Olympia maybe because its more lyrically driven has

more of an effect.

KALTBLUT: The reason I ask is because you’ve commented

before that one of the reasons you left the opera world is

because you felt uncomfortable as a lesbian in a predominantly

male hetero world. How does the music industry you

find yourself in now compare?

Katie: Well its not that its predominantly male because I

don’t think that’s true but I think…I guess it just embodies a

very traditional way of performing where the women would

literally have to be wearing ball gowns to be taken seriously.

On an on-stage competition or performance, I just wasn’t fitting

into that ideal of what an opera singer should be. I didn’t

Katie: I don’t know I mean we’re always influenced by a lot of

things, I feel like during the process of writing Olympia, while

we were working with Sarah and Romy, they were introducing

me to a lot of things I didn’t know before, for example the

film The Red Shoes ended up being a big influence and how

we presented Olympia visually. Again, Marina’s The Artist is

Present did play a role in the desire to be candid on this album

as well.

KALTBLUT: Can I ask the reason behind the title of the record?

Katie: Well I mean in actuality, it was named after a baby that

was born… the family was really close to us during the recording

process. It felt like we wanted commemorate the idea of

new life, and the new album. Aside from that I think the name

also holds a lot of alternative meanings, its kind of slight homage

to the nineties riot girl and then of course, the Manet

painting exhibits the prostitute staring into the eye of the viewer

in a very candid way. We appreciated all the references

that the name had behind it.

KALTBLUT: It’s been noted that your music feels emotional

and is also electronic dance music. Where do you think music-

both yours and in general- is headed?

Katie: I don’t know that’s kind of difficult question. I don’t

know I try not to really follow where the general, mainstream

ideas of music are going because I think that could be dangerous.

I definitely know where our intentions behind this album

were- to create an electronic album basically because I felt

the market was becoming oversaturated with musicians who

were just making albums on their laptops and that particular

sound was just becoming over-used in my opinion and we

wanted to do something different. And then of course Daft

Punk also had that idea (laughs) and they made the whole

electronic album acoustically. I thought that lots more people

would want to do that, maybe they will eventually. But I don’t

know it seems that people are still really into the idea of making

laptop music.

Interview by Ange Suprowicz

Photos by Norman Wong




Between Daylight and Dreams

Photography: Federica Roncaldier

Interview & Concept: Marcel Schlutt and Nico Sutor

Styling: Christina van Zon

Hair & Make-Up: Pascale Jean-Louis

Models are Lex Olsén @ Seeds Management and Jules Wiegemann @ M+P Models London

Production: Nico Sutor

Special thanks to Halil Erbek and Vögelchen Bar, Berlin


Lex wears

Jumpsuit: Ana Alcazar

Necklace: Zofie Angelic

Bracelet: Antique & Vintage Jewellery

Oliver Rheinfrank

Earrings: Six

Jules wears

Dress: Ana Alcazar

Earrings: Akkesoir

Collar: Rita in Palma

Tights: Burlington


When it comes to fashion in Germany there are only a few labels that are really making it into

the international market. The Munich based fashion label is one of them. Founded some years

ago by the two sisters Beate and Jutta Ilzhöfer, Ana Alcazar is one of the most successful labels

here in Germany. I had the pleasure of having a chat with the two creative minds behind

the label. About their long journey into the fashion world, the new collection, and their love

for fashion design. Also, I wanna thank Federica, Christina, Pascale and Nico for producing this

great editorial for our new issue. Fashion designed for strong women.

KALTBLUT: Beate and Jutta, a

warm welcome to KALTBLUT.

We are big fans of your label Ana

Alcazar. Tells us something about

your background. What made ​

you get into fashion?

Be: Hello Marcel, this really

pleased us very much! We are

also very big fans of your magazine

and find it great to see how

successful you are internationally

as well. Sometimes we feel a bit

reminiscent of ourselves back in

time; a private label, or in your

case to bring your own magazine

new on the market, that takes a

lot of energy, stamina and courage.


Ju: True, it was not always easy,

but if you stay true to yourself

and believe in your work then

that's a big step already. My sister

and I come from Swabia and

wanted to get out and discover

something new. During our time

in Milan and Paris we kept ourselves

afloat with modeling jobs.

Be: Right. It hasn't always been

very easy. To get modeling jobs

you have to go to this or that

party in the evening - it was not

about fun but only to find new

jobs. This was in the long run too

stressful for us. We did not want

to go back home. Munich, we

always found so exciting, even

as little girls traveling through on

the way to Italy vacations. The

fashion scene at that time was

more open and more exciting

- there were no mono-stores.

While Ju continued modeling, I

earned some money as a graphic

designer to add to the pot.

Ju: At that time we used to go

out a lot and started to sew our

nightlife outfits for ourselves. This

was well received and we had a

lot of fun with it. Well, there were

already the wildest creations

forming - we wanted to stand

out, and so we didn't remain

undetected. The first requests

came and we started tailoring

outfits for our friends. Yet it never

crossed our minds that we would

someday start a company.

Be: That we could live on this? I

never would have thought. We

were brave and had of course

also tried to sell our clothes

in stores. Our first attempt, I

will never forget: We went to

the Ludwig Beck in Munich, a

renowned shop, and had our

tailored clothes with us. Edler

jersey from the fifties, with coarse

sacking that we stole from some

scaffolding at night.

Ju: Our pulse was beating like

crazy, but the buyer was more

than impressed and bought the

goods immediately. The next day

we got a call that all outfits were

sold and he had rarely experienced

such a thing. We could

be certain of a second order.

So things went on little by little

and today we serve nearly 1,000

retailers in Europe, Australia and


KALTBLUT: Both of you have

been involved in the fashion

world for over 20 years now. Is it

easier to go this route as a team?

Or can it also be a hindrance

working together as sisters and

having a daily business to maintain?

Be: It is not easy, certainly not.

The fashion industry and the

market makes no difference

whether one designs alone or

whether it's two or three people

working together. But it is beautiful.

The close familiarity and

being able to completely rely

on each other, those things offer

security. This gives you a certain

earthiness. There are also clear

separations, which is extremely

important in teamwork. We cannot

each of us do everything at

once, which would bring unnecessary

confusion and waste time.

And obviously: we do also not

always agree - but with us there

is no fighting or bickering. We

are sisters, but also reliable business


KALTBLUT: Do you still remember

the first piece of clothing you


Be: No, I do not know now.

Ju: No, I do not know what the

first model was. But I can remember

moments connected to a

certain style.

KALTBLUT: You are based in

Munich, this is where you are at

home with your label. Why just

there and not in Milan, Paris or

London like many other labels?

Ju: We have lived for years in

Milan and Paris. Both wonderful

cities, but we had fallen in love

with Munich at that time. Our

friends and our families are at

home here. Here we feel comfortable.

KALTBLUT: You are also big Berlin

fans, though. Why is that? Do

you show your collections here at

Fashion Week as well?

Be: Berlin is absolutely breathtaking,

no question about that!

During Fashion Week in Berlin,

we are showing at Show & Order,

every year, and then in the evening

we go on great discovery

trips. It is always exciting and the

city is changing so rapidly, almost

too quickly. Hopefully Berlin can

preserve its charm. Who knows,

maybe you'll find us in your

neighborhood in Berlin soon.

KALTBLUT: When I look at all

your previous collections, I would

say you do not own a typical

trend-oriented fashion label.

You've got your own personal

style. Can you describe the Ana

Alcazar woman in a few words

for us?

Ju: Self-confident, fashion-conscious,

bold, feminine and no interest

in mass-produced goods.

KALTBLUT: The collection that

we photographed for the Noire

theme is almost completely in

black. What is your inspiration for

this collection?

Be: We design 4 collections

each year. We are very pleased

and happy that you have photographed

exclusive parts of

our first Ana Alcazar Black Label

Collection. With the first Black

Label line, we have focused on



Dress: Vintage

Earrings: Zofie Angelic



Dress: Vintage

Earrings: Antique & Vintage Jewellery Oliver Rheinfrank

Shoes: Varese seen at Roland

Bag: Selected Femme


Dress: Ana Alcazar

Necklace: Dawid Tomaszewski

Shoes: Vagabond

Stockings: Augustin Teboul


timeless classics. This is the

reason why black plays a major

role. The Black Label is an

experiment, so in the future

we want to clearly set this line

apart from the main line.

Ju: Ana Alcazar Black Label

is intended to be innovative,

avant-garde and yet unmistakably

Ana Alcazar. The

development is exciting and

we are very glad about that.

KALTBLUT: You also experiment

with colours and prints,

few designers incorporate

those so well. Question to

Beate: Can this be traced

back to your time as a graphic


Be: It has certainly trained my

eye. I think that the skilled

use of patterns in a dress

has mostly to do with the

sense of female silhouettes.

If a pattern is placed incorrectly,

it can quickly become

a disadvantage, but there are

no rules - the fabric has to

be adjusted individually each


Ju: Clearly this is our strength.

That is what our Ana Alcazar

customers love and always

expect from us.

KALTBLUT: Your Ana Alcazar

woman is very sexy but also

very strong and independent.

Is this your form of feminism,

but on beautiful legs?

Be: Absolutely. Sexy and

strong are not opposites. The

woman of today is not “Miss

Oversensitive” but lives her

own life and shows that with

full passion. Just magnificent!

The beautiful legs do not

matter really.

group of course, like I said.

The majority found the campaign

exciting and interesting

in terms of sexism - just this

time reversed.

KALTBLUT: How was it for

you to become established

in the fashion world? How do

you deal with criticism from

the outside?

Ju: The biggest critic is ourselves.

Fashion is an ongoing

process. That's what captivates

us, that's what we love

and what drives us forward.

Be: It was not always easy,

that's for sure. For a long time

German fashion hadn't been

taken seriously. This has luckily

changed. Nevertheless,

it is fashion and Germany or

actually fashion in Germany

that is not easy. Our provocative

pieces we sell exclusively

abroad, where here are

obviously more courageous

women willing to wear them.

KALTBLUT: Your fashion

exudes a particular strength.

It has that special Rock Star

touch. Where does this come

from? And what would be the

perfect rock band for you?

Be: Rock Star Touch? [laughs]

that's a very interesting approach.

During the collection

design we take great care

that the pieces do not kill the

person wearing them. The

wearer is always at the forefront.

Dresses are to support

and transport the person and

her own character to the outside.

There is nothing sadder

than clad women. Always stay

true to yourself, authenticity is



Dress: Ana Alcazar

Shoulderpiece: Zofie Angelic

Tights: Falke

KALTBLUT: The fashion

industry is often accused of

degrading women to sex

objects just because men

design the stuff. Do you have

to face nasty allegations such

as these even though you are

both women?

Ju: No. Fashion thrives on

freedom, tolerance and creativity.

Our woman is represented

in our campaigns as a

self-confident, strong person.

Be: In our last shoot we have

our Ana Alcazar model posing

with a naked man. We

were amazed at how many

women were upset about the

naked man. We had actually

expected more protests

from men - but there was not

a single negative comment.

This was only a very small

KALTBLUT: You sell your fashion

on the internet a lot. Is

this more and more the future

for the designer in the form of

direct sales and communication

with the target group?

How important is the whole

social media trend for you as

a designer?

Ju: The internet is great: for

the first time, as a manufacturer

and designer we

can stay in touch with the

consumer. Now real, direct

communication takes place.

Incredibly great! Bonding

with the customer is thus

much more intense; customer

needs and habits can be

directly taken up and considered

in our collections. This

creates trust and a bond.

Be: Absolutely! And the




Top: Ana Alcazar

Skirt: Dawid Tomaszewski

Hat: Lierys


Dress: Ana Alcazar

Garter Belt: Hunkemöller

Stockings: Aubade

Hat: Seeberger

many emails and messages of Ana Alcazar fans, that's

something we always look forward to very much. It's

just nice to see that customers get married in an Ana

Alcazar or spend a wonderful holiday in it. At this

point we want to thank all our loyal fans!

KALTBLUT: How important are fashion fairs and fashion

weeks still for a fashion label? Or does the Internet

make these events actually unnecessary?

Ju: Clearly! No. We see the Internet as a complement,

not a substitute. Virtually, information is exchanged

every millisecond, but reality can also be a great feeling,

an enthusiasm that can't be replaced. In real life I

have the opportunity to look to the left and right, and

not only what the camera captures. Feel fabrics, sense

them, this is possible only on the fashion fairs. The

internet can attract attention though, arouse curiosity

and inform. A symbiosis of feeling and information -

that's how it works.

KALTBLUT: Your label Ana Alcazar has a daring history

in terms of its name. In the beginning it was called

CCCP: Capitalistic Culture Control Program. What I

personally find very captivating. Then switching to Ana

Alcazar; Ana stands for “anarchistic neurotic alien.” Is

that also equal to a warning? And what does Alcazar


Be: Oh yes, that's right [laughs]. Life, the people,

society - everything is in constant upheaval. Everything

around you is in constant motion - standing still

is dangerous. Yet, being able to rest can be something

nice and in my opinion the true essence of creativity.

We have tried many things, in fact, and it's still incredibly

fun to try new things, such as our Black Label


Ju: We wanted to be provocative, but not politically

- we did not do ourselves a favour with our first label

CCCP. In the mid-80s, the name wasn't welcomed

by the authorities and the international market. We

sensed this really fast and renamed our label and our

company to Tricia Jones - a purely fictitious name

- just like Ana Alcazar, which we then launched mid

90s. Besides the Tricia Jones line that was extremely

avant-garde, progressive and high-priced, we wanted

to establish a young, portable and affordable label.

The name Ana Alcazar sounds very feminine, yet mysterious,

spirited and strong - just like the collections.

It is not Ana Alcazar that means "anarchistic neurotic

alien" - this has been misinterpreted by a newspaper

- but our menswear line, that we had to give up on

after five years, due to lack of time. The menswear

label was an exciting mix of sporty chic and provocative

style. We still get emails and inquiries from guys,

whether we do not want to continue the label - and

we find this amazing class! So dear men: we have

heard you and we'll see, perhaps there is something

for you in the near future. I also think the guys from

KALTBLUT would have loved the anarchistic neurotic

alien collection very much.

KALTBLUT: Thank you for having taken the time to

collaborate with us. I am very pleased. We wish you

much success for the years to come.

Be: Thank you so much, I wish you and the entire

KALTBLUT team every success.

Ju: Thank you, Marcel. Continued success with your

great magazine!



Dress Ana Alcazar

Earrings: Antique & Vintage Jewellery Oliver Rheinfrank

Gloves: Roeckl

Hat: Mayser

Bag: Ystrdy




If you look up c355p001 online, you won’t find much. A few illustrations,

sure, but unless you speak Japanese you’ll encounter

a fair few obstacles trying to navigate the website. But this

is the year 2013 and there’s a whole world out there full

of technology and tools to help us. We used a mighty

translation engine to decipher an interview with her,

and we’re honoured to be able to present you a bit

more of the mysterious c355p001.

KALTBLUT: My first question will be a fairly basic

one, but as I couldn’t find much about you

on the web, who are you? Who’s hiding behind


c355p001: My name is Fumiko. I was born in

Kyoto Japan in 1984. When you will see my

works, a presence of me will disturb. So you

might want to forget who I am.

KALTBLUT: Tell us about the name “c355p001”.

What’s the story behind it and where does it

come from?

c355p001: The beginning is a personal reason.

I made myself a place of pardon: for my illustration

and my own world. The cesspool which

I can throw in anything. That was “c355p001”.

Now I use this symbol as name.

KALTBLUT: How did you get started in illustration?

c355p001: There was pen and paper. This is

a difficult question, like asking how to have

mastered the native language.

KALTBLUT: There is something dark and obscure

about your work, some very disturbing

elements. What inspires you and gets you

going as an artist?

c355p001: The feeling inside a dream: somatosensory.

Wonder and beauty of the body.

KALTBLUT: Most of your drawings are made

with simple lines. What’s your medium of



c355p001: A pen-and-ink drawing. My favourite

is “Isograph” 0,13 MM by Rotring.

KALTBLUT: There are a lot of human bodies in

your work, bodies that are deformed, transformed,

cut, separated or even destroyed… Why is

the human body so central to your work?

c355p001: Because I am human. I have a doubts

about the body. Have you seen the dream in

which your skin melts or your limbs are torn to

pieces? I fear and expect simultaneously that it

actually happens.

KALTBLUT: You do not work with colours, if we

consider black and white as non-colours. Why?

c355p001: If necessary for a illustration, I will

use colours. I choose suitable means / colours

and tools. My only rule, is “Optimisation”.

KALTBLUT: Each of your drawings seems to work

as its own little story. Is that that the case in your

creative process?

c355p001: They have own little stories or the feel,

like a seed secretly paused, waiting to grow. I

wait for them to be watered people I see.

KALTBLUT: Where is this blackness of yours

coming from?

c355p001: Blackness comes from people who

found blackness.

KALTBLUT: Nature is another very important

element of your work. Or at least some aspects

of it, like the fusion between men and nature, am

I right?

c355p001: Petal is also the flesh or the skin.

Stalk is also the blood vessel or the nerve. All

living things are on the same line. Sometimes

fusing, sometimes punishing.

Interview by Nicolas Simoneau


Skirt - American Apparel

Turtle Neck - American Apparel

Ring - GoGo Phillip

Earring - Bill Skinner

Necklace - Top Shop

C o n c r e t e

Photography NIK PATE

grooming sophie anderson

styling justin & andre @ A+C: studio

model danny blake @ D1


Jacket - Jessica Walsh

Skirt - American Apparel

Bandana - Stylist's Own

Trousers - American Apparel

Shoes - Nike

Ring - Claudia Ligari

Bracelet - Go Go Phillip

Necklace - Stylist's Own

Top - Benjamin Bertram

Trousers - Clio Peppiatt

Bandana - Stylist's Own

Shoes - Nike



Jacket - Lucy Offen

Meggings - Top Man

Skirt - American Apparel

Turtle Neck - American Apparel

Ring - GoGo Phillip

Earring - Bill Skinner

Necklace - Top Shop

Shoes - Nike


Headpiece - Jay Briggz

T-Shirt - Hardware LDN

Shorts - American Apparel

Watch - Triwa


Headpiece - Jay Briggz

T-Shirt - Hardware LDN

Jacket - Parka

Shorts - American Apparel

Socks - Stylist's Own

Shoes - Nike

Watch - Triwa




the games




The beauty of Gustavo’s

work in incontestable. His

images are so pure, and so

full of emotion. His work

“RICHLAND” is particularly

touching. All the people

I’ve met in Buenos Aires

so far are all concerned

with what is happening in

their country, and once

again, Gustavo Jononovich

is one of these photographers

that want to use his

work to pass a message and

not only to show the beauty

of some random landscape.

The Argentinan photographer

accepted to share a little

chat with us.

Interview by Nicolas Simoneau

KALTBLUT: Hi Gustavo, my first question

will be really basic, how did

you get into photography?

GUSTAVO: After finishing high school,

I started studying engineering, over

time, I realized that I was on a path

that was not mine. I decided to drop

out of university; I had no idea what

to do next or what I really wanted

out of life. I spent the following

year without any direction trying

to untie some of my ‟inner knots”;

social beliefs, family expectations,

fears... I liked photography but I

had never set out myself to do it seriously.

At that time, I just needed

to do things that I like, without

too many pretensions or expectations,

just the fact that something caught

my attention was enough to try it. So

in 2003 I began studying photography

and became more interested in documentary


KALTBLUT: One of the first things we

noticed when looking at your work

is the fact that you are only using

black and white. Why is that?

GUSTAVO: I also use color sometimes.

The decision of using black and white

or color depends of the projects I’m

working on

KALTBLUT: Some of your shots seem

also to be taken at night, am I


GUSTAVO: Yes, you are. Night is part

of the day...

KALTBLUT: I also notice, especially

in your work ‟YUMA” that you are working

a lot with multiplicity. Multiplicity

of objects, animals… Does

that have a special significance for


GUSTAVO: It is not a conscious decision

but yes. Multiplicity could be

a tool, like geometry, shapes, contrast,

light, etc, etc.

KALTBLUT: What was your original idea

when you started working on ‟YUMA”.

What did you want to say/show with

this series?


GUSTAVO: I traveled to Cuba because

my wife decided to do an

internship in a hospital in La

Havana, she’s a Doctor. Until

then, I had always made photographs

guided by a specific

theme, trying to tell something

about other people’s misfortunes.

I decided to experience photography

in a different way this time.

I wasn’t interested in telling

or describing anything about the

well-known political and historical

characteristics of the Cuban

system. I didn’t want to need to

look for ‟useful situations”. I

tried to forget that I was there.

Liberating myself of having to

tell something about Cuba allowed

me to connect in a more authentic

way with the place. Photographing

using only my instinct allowed me

to discover what I was feeling.

My method was to walk the same

streets over and over again, in

silence, just focusing in contemplating.

I sometimes felt attracted

to the expression of the

shapes and textures and to the

simple beauty of nature. Other

times I felt I was just photographing

my own sense of calmness or

the mystery that Cuba inspired


KALTBLUT: There is also a lot of

nature in your work. Is this a

theme that you particularly like?

GUSTAVO: I live in Buenos Aires

surrounded by concrete and asphalt

therefore my direct contact

with nature is sporadic, but necessary.

During the recent years

my relationship with nature increased

notoriously, I’ve been in

the jungle, in the desert, in the

mountains, in lakes, rivers and

the sea. I like to imagine our

planet without our intervention,

without the human civilization,

just like it’s been for about

5 billion years. Only stones,

water, land, sand, air, trees,

plants, insects... It feels good

to see no artificiality at the

horizon sometimes.

KALTBLUT: Why did you decide to

to create the series ‟RICHLAND”?

What was your motto behind it?

GUSTAVO: RICHLAND is a project

about the exploitation of the natural

resources in Latin America

and the resulting long-term negative

effects. Rather than benefit

from natural resources abundance

and wealth, local people living


in areas of exploitation have experienced

loss of livelihoods, health

problems, human rights violations and

environmental degradation. This body

of work was made between 2008 and

2012 in Brazil, Peru, Venezuela, Ecuador,

Bolivia, Chile and Argentina.

Our history has transformed us into a

civilization which functioning depends

on consume. The engine of our

economic structure is fed by generating

new needs, invented needs.

Something that did not exist a month

ago can be indispensable tomorrow and

become a useless thing a year later.

Our lifestyle and the so-called ‟comfort”

set up a huge contradiction.

Some companies extract natural resources

which are used by other companies

to manufacture products that

will be purchased by all of us. The

more things we consume, more natural

resources must be extracted. There’s

no other way. Always a new laptop,

a new cell phone, a new car, a new

blender, more clothes, always more

and more, it seems like it’s never

enough for us.

Business is more important than any

other thing. In the name of ‟progress”

we can transform a forest into

a desert and a desert into a city.

We can move mountains or make them

disappear and we can drill the soil

for miles to extract what is down

there. We can also disrupt mighty

rivers to convert them into inert

lakes. Among the millions of species

that exist and existed, the human is

the only one capable to do that sort

of things, to modify an ecosystem for

their own benefit. Such ability means

a big responsibility for us.

I wonder why we consider that the

earth belong to us, why we consider

it as our property like any other

material good.

KALTBLUT: Would you consider yourself

as an engaged Artist? What do except

from the people who see your work?

GUSTAVO: I prefer not to label myself.

I make pictures that tell something

about my thoughts or the way

I see our world, what happen next it

is out of my range.

KALTBLUT: Are you working on any

other projects right now?

GUSTAVO: Now I’m looking for a publisher

to make the book of Richland.

I’m also making new pictures, I would

say that I’m into a transitional

moment of changing my approach to






Text by Aude Gouaux-Langlois

Un portrait en noir

Illustration by Nicolas Simoneau

Black is a colour that can

be found in others, but searching

for its nuances, and

shimmering glimpses inside

the unexpected, is no mean

feat. An oblique perspective

which allows another meaning

to shine.

Matthieu Chedid has been

sewing his joyful yet deep

musical message together

with his alter ego -M- for

the last 15 years, and it is

with a frank smile that he

started to play around with

the idea of “Noire”: as a

symbol, a colour, an idea.

Our afternoon conversation

takes place in his XVIIth

century hôtel particulier

in the heart of Paris, and

a selection of simple drawings

around the theme of

“Noire” are going to lead it.

Matthieu Chédid in 5 dates

1971 : Born in Boulogne-Billancourt


1997: Creation of the character-Mand

first album release Le Baptême

2009 : 4th album Mister Mystère

2012 : 5th album Îl

2013 : Live album Îl(s)

-Depiction ONE: The image of a French

musical icon dressed in black-

“Edith Piaf…? This is very strange. I

connected with her for the first time

when I watched a documentary about

her love life two weeks ago. Since

then, I have been listening to all her

records with a new ear, because I understood

the importance of a certain

truth: she is not in the form, she is in

the substance (=essence) meaning

that she can repeat 8 times the same

sentence, and it doesn’t matter, the

intention flows. She gives us a lesson

of authenticity, strength and interpretation.

A wonderful energy…”

Your musical influences are taken

from a English speaking background

but your texts are anchored in the

French language. Do you consider

French Chanson a heritage for you?

“After Piaf came a new wave of French

singers (my father Louis Chédid, Alain

Souchon, Michel Jonasz, Laurent

Voulzy..) and musically they were the

children of the Beatles. I am from the

2nd generation of this original wave

and my aim is to merge the two cultures

closer together. Even if it belongs

to the period, I feel more son of

an Hendrix or Led Zeppelin. And today

we see a 3rd generation that connects

with electronic music…”

In your last album “Îl”, there is a deeper poetry in the French language

that appears in your texts. How do you manage to stand in front of a nonfrancophone


“Just like Edith Piaf gives an interpretation that goes beyond words, I

would focus on the energy of the sound so that the sound itself is the meaning.

This record gives the literacy, this resonance given to the words

as well as a sound is sufficient in itself. Unconsciously, I am trying to get

to the point where the sound is a language. I think that it can be enough,

that the melody and the intensity behind the words are meaningful. I

have been touched by English speaking songs without understanding the

meaning so often...I assume it works the other way round! Also, I like to

let the imagination doors open and let everyone build their own story.

This is a bit my intention, not to write realistic texts : to remain onirique.”

-Depiction TWO: “Noire” as a record, the swirling black of a vinyl-

Throughout your career you’ve worked with other artists from different

backgrounds. Even though, a certain poetry comes out of every association.

How do you choose your musical collaborations?

“These are meetings of life: if I were a carpenter, I would meet people

that inspire me in this particular field. As a musician, I always liked to

accompany other musicians, enter another universe, be open and regenerated.

It is very natural to me to exchange, to share. It can be a singer, a

film director, a photographer, for instance, I will be lucky enough to meet

Martin Parr, an iconic English photographer. I really like his universe: it is

very aesthetic yet raw. I like artists, poetry and how we can contribute to

make things poetic by sounds or images. When I meet people with whom

I have a common language I want to build something like a hand worker.

Poetry or building an object, the aim doesn’t matter.”

-Depiction THREE: A black curtain: being exposed or hidden.


Stage time seems very important for you. I

have the impression that you are going back

to the essential with the new electronic “power

trio” you create together with Brad Thomas

Ackley and Dorion Fiszel.

“Every change of line-up is a new experience.

I started on my own with a kick drum

and samples 15 years ago then joined by the

cellist Vincent Segal and the drummer Cyril

Atef to create this unconventional trio. A

second tour has been done with Alain Gaudi

on drums and Sébastien Martel on guitars,

we stayed 10 years this way. The Mister

Mystère tour has been a cut as I did it with

my family with Cyril Atef and other young

musicians. I am now drowned to the power

of the trio. Brad is playing an instrument

called basstar with 2 bass strings and 4

guitar strings. We build this instrument

here adding a midi controller connected

to his computer which can add samples

and filters. It is very challenging! And I

already have in mind the story I will tell

in the next album and live situation!”

-Depiction FOUR: A blues progression,

the influences of

“Noire” in music..

“Blues is the root of everything

as we find it in funk,

reggae, modern African

music. These 5 notes are

a base for lots of things.

I more and more experience

that I sing like

my guitar and my guitar

plays like I sing. The link

between them too is very

close: it is simply the expression of the same


You claim a strong inspiration of the blues in

this album which is so musically sunny. This

is quite of paradox don’t you think?

“This is all what -M- is about: it is a romantic

soul in a playful universe. It can also be

the opposite. I really like the A-minor tonality

for instance. Melancholy is more or less

perceptible but there is always one or two

sad songs in my albums like “Délivre”, “Oualé”...

It is part of me. Moreover I am fond of

contrasts, alchemies, the mix of opposites.

When I started my career, someone did a

street-interview asking “why do you

like -M-?” A girl answered “because

it is the mix of Coluche and Prince”

and I thought it was quite on

point (smiles). Anyway, life is

made of contradictions and

I like my music to reflect

this. For me it is totally

normal to have a

sad text on

a joyful music or the other way round. It creates a 3D of perception.

As musicians, composers or artists, we are chemists

and inventors.”

Using the term chemist makes me think of mixing. Are you active

in the post-production process?

“Yes, I have my home studio here where we recorded and mixed

the whole album. I sometimes mix the songs I really like the

laboratory side of it, it is part of -M- aesthetic.”

-Depiction FIVE: A map of Africa…. we talk about roots and


“Îl” is an album where you travel a lot: India, Africa, Egypt,

China, USA... Is travelling an important source of

inspiration for you?

“Yes, travelling is very inspiring. When I am not busy with

music, I just travel. Îl contains one song totally made for a

place that touched me a lot, La Réunion. This island has a

nickname and this is how I called the song : “L’île intense”.

Lyrics can be seen as fragments of a tale, using the island’s

particular vocabulary. And when I am with Saraï (the sister

of Dorion Fiszel in Los Angeles), we threw a party and it lead

to the song “La maison de Saraï”. Every place inspires

a song or more. For instance,

Mali is a country

that moved me a lot.”

Serge Gainsbourg was also inspired

by Mali.

“Yes, Gainsbourg released “Gainsbourg Percussions”

including “Couleur Café” in 1965. Even though

it is 99% inspired from African songs, it is always turned

his way and it is magic! He is a genius of geniuses! (smiles)

I also take part in the festival “Fiesta des Suds” in Marseille.

The line up mix African and European musicians. Four years

ago, I found myself on stage with Ayo singing, Flee (Red Hot

Chili Peppers) playing bass, Tony Allen on drums... It was

very unexpected and intense moment…”

-Depiction SIX: -M- shaped black sunglasses, hiding in the


It’s difficult to draw your portrait without speaking of the

link between -M- and Matthieu Chédid, shadow, light, nor

the accessories can describe… did you ever feel like hiding

yourself behind a character?

“Black sunglasses drown me to the mask, the wolf. I took

this sentence from Nietzsche saying ’Everything that is deep

loves the mask’. Perhaps I reinterpreted its original sense

but I think that you are deeper when you hide yourself because

you are disinhibited and go searching further away.

It is like going to a masquerade, being dressed up allows

you to let go. For me, it is obvious that you reveal your true

self being someone else in the form, you are closer to your

true self. Unconsciously, -M- comes from this approach: to

reveal your soul behind, or because of a mask.”

Then you could also appropriate this sentence of Oscar Wilde

‚Give him a mask and he will tell you the truth’?

“Yes sure. (smiles)”

This truth may also lie in the cycle you draw through

your career. In contrast to David Bowie who radically

changes character with each album, I have

the feeling that you moved -M- away in “Mister

Mystère” to let it evolve, and consider -M- and

Matthieu Chédid as the same person in “Îl”. Do you


“All things considered, I never locked myself in one character.

This is more like a game. I really enjoy playing, there

is space for freedom. To be honest, I would compose and play

exactly the same music with or without the look of -M-. This

is not what changes my music. My music is very instinctive;

it reflects periods of my life. The colours can change from an

album to another but the content would stay the same. Like a

painter, I really like the idea of ‚period’. I am very much in the

present as well as aware of the timelessness: I always have

a long vision of things and like to make things coherent.”

The sounds of Matthieu Chédid can be heard at :



Photography by Eileen Rullmann

I Heteropteryx dilatata I


I Xylotrupes gideon I

I Zanna nobilis I


I Leopa sikkima javanica I

I Lasiocampa quercus I


I Prioneris thestylis I

I Samia cyrithia I



What’s Left O

by Amy

Frustration, stalling us at every

turn. Amongst the crowd of

vacant eyes you can feel its grip

tighten. Suffocating, yet familiar,

constricting, yet comforting. The

Noire is all your darkest doubts,

your enemies, and your fear of

being alone. It’s a locked door, a

sealed hatch in the floor, a darkened

room: that contains all the

secrets about your true self, but

you’ve never dared open it to look

inside. Everyone has something

hidden, something mysterious,

magical and precious: just meant

for themselves, kept from others,

it’s how we were intended

to be. We have the capacity to

keep a secret. Yet in an attempt

to establish total control, for the

so-called good of our society, we

began to clean up, renovate, and

demolish the walls behind which

we hid such secrets for so many

eternities. The places where

we could once go to express

our innermost desires and our

distresses, suddenly engulfed by

cleanliness: a sheen of musty dirt

aggressively purified by something

mechanical, chemical—no

regard for the poetic beauty that

may once have been festering


Fear of the mysterious is ordinarily

ingrained within us from an

early age, so deeply ingrained in

fact, that lines have been drawn

that we are so inherently petrified

to cross, for our own protection:

or for the greater good. As soon

as the darkness becomes just a

little too inviting—welcoming,

even. The adrenaline inside of us,

the fight or flight signal, switches

the light from off to on, revealing

the reality of a harmless empty

room. This isn’t to say that we

don’t fabricate these environments,

we still love to be terrified

for the sake of it, to explore our

dark fetishes, our perverse fantasies,

but only if a panic button

lies just within reach: we build

something that can be quickly

erased, forgotten or buried. Noire

is not a way of life for the average

human being, just something

to be played with, teased,

and used as entertainment. If

anything gets too out of hand,

well—it’s only our imagination.

How powerful can that be? It was

all just a dream. Pinch yourself

to check for sure. This isn’t to

say that every mind should have

been unlocked, and plenty of

depraved, psychotic a-lid in this

world should have undoubtedly

been left shut, but still there’s

no way to know exactly how our

world would look had these and

other such tools of control—the

gatekeepers of the Noire–never

been known.

Perhaps the most intense criticism

surrounds the network we

know as the world wide web,

innumerable factors, strings

of thought and oppositions are

open to consideration in regards

to this. However, one thing is

certainly clear, that we no longer

understand the importance of the

phrase, “some things are better

left unsaid”—suddenly we

are all knowing, all telling, and

all masters of our own online

universes, as tiny robotic devices

surround us and ‘enrich’ our daily

lives. No question left unanswered,

no stone left unturned,

no dark, mysterious passageway

left unexplored. Yet we are all

still fascinated by a story without

an end, an adventure: a tail,

only visible to the naked eye, but

to what kind of creature can it

possibly belong? For fear of the

answer we constantly construct

rational thought to somehow

disband these once so revered

myths: webpages, forums, selfhelp

websites, all answering the

unanswerable questions of the

world, that were once so wonderfully

abstract, suddenly now

seeming so concrete, our doubts

sent scattering.

As soon as we switch on and

log in, accept the terms, check

the box, something we never

even knew we had is inextricably

ripped from us: a foetus of

unknowable energy, curiosity

and depth. Should we have the

opportunity to look outside of our

assumed blinkers, even just for

the briefest of moments, and live

our own lives, instead of focusing

on the experiences lived by one

thousand million others?

Through media, music, video,

sound and film, we can experience

the cultures, lives, emotions,

existences and imagery of

every area of the earth, witness

the most horrific sights of war,

famine, depravity, and death—

but have the majority of us ever

really seen anything at all?

Something with our own eyes, to

the point that it shakes us to the

very bones, shakes us into action,

outside of the safety of our living

rooms, our cosy, comfortable

nests. How much of your life is

lived within a virtual reality, that

separates you from your fellow

human, a virtual reality, that has

really become your cage.



f The Noire?


Anonymity and privacy are

things of the past: our emotions,

everyday and otherwise,

shamelessly spattered across

pages, even the most hardened

critic has their price. Nothing

is sacred anymore. Existence,

once so wonderfully fragile and

unfathomable is now tirelessly

analysed and finally, explained

away: there is no mystery. How

can there possibly be when every

moment, feeling, living, waking

day is captured through the eyes

of a camera lens, how much of

your life do you even live through

your own eyes? Let’s appreciate

the irony in all of this interconnectedness,

if only for a fleeting

moment. Each time we find

ourselves afraid, and isolated,

within moments we are able to

network to our nearest and dearest

in a heartbeat. Slide open the

iPhone screen to reveal a world

of human contact within, but if

we were ever forced to face our

own most twisted fears head on,

how quickly would a cry for help

really be answered? How many

of those so-called friends would

come to your rescue when you

truly needed them most? Have we

somehow become so lost in our

own world of imagined security

that in fact, when we finally look

back: no one’s there. Instead of

staring, sharing, tweeting and

liking our way through life, copy/

pasting our personalities into

the endless white space, why

not step outside and take a walk,

down a darkened street, down

a road without an end, and see

what’s really possible? How far

are we really able to defend ourselves

and cross the line into the

place without an exit? To discover

all the sordid delights that may

well lie within.

Yet it is irreversibly so, that the

beauty in the unknown has been

long since forgotten. In a world

full of endless safety features,

soft cushions and user-friendly

bullshit, how is it even possible

to find the Noire? Let alone live

a life inside it. To really crawl

into its cavernous mouth, teeth

glinting, tempting as they are

destructive. Those who even hope

to find a way must live on the

fringes, outcast, the only ones

who dare to go where others

dare not, living life to the full,

travelling further, pushing themselves

harder to the very edges.

As more and more mysteries of

the world are seemingly solved,

unmasked, excavated, where

do we find that last place that

is truly—underground. Ignorance

may be bliss for a while,

but somewhere there’s a feeling

deep inside that’s niggling

away, yearning for something

more than just the world that is

tailored for us by the choices we

already made. Who we know,

why we know them, where we go,

what we do there, what we buy,

where we work, where we went

once, twice, three times. Perhaps

without this constant observation

of our every movement we might

feel free to explore some of those

secret corners of the world, those

hidden places you can’t read up

about on Lonely Planet, leaving

your review from 1–5 stars. No

photo app filter can blur the reality

of what was really there. No

edit button, no retouching tools.

As we become ever more intertwined

I start to wonder what will

become of us in the end, what

will be left of the Noire, in us,

in the things that surround us,

perhaps it was never even there

in the first place, or perhaps we

simply don’t care what happens

when all the mysteries are

solved. Concepts are researched

and researched into nothing.

References quoted, captions

explaining, clarifying, criticising.

Whatever happened to just

letting things be? Leave notes

hanging—artfully mounted in the

mid-air. When the rush of excitement

of simply not knowing, is

a feeling that humans can no

longer ever experience. Background

checks, google searches,

facebook pages: telling us all we

really need to know. Why would

you bother looking anywhere

else? As a lack of empathy, and

disconnectedness overwhelms

and consumes you, are you really

in a position to stand up and

fight? Drugged, subdued, and

vacuous, tapping away into the


As we disband the external socalled

threats that surround us,

will we start to destroy ourselves

from the inside out, our minds

so constricted that they slowly

coil in on themselves, tighter and

tighter around our consciousness

until the last drop of curiosity is

unravelled. What hope is there for

the Noire—half-dead already–

taking it’s last gulps of air in a

world where anything that once

waited patiently in the shadows,

is now mercilessly exposed

beneath the unblinking chill, of

inextinguishable neon lights.



Not all who

wander are


Interview: Ange Suprowicz & Amy Heaton

Photo Credit: Alastair Philip Wiper

“ I wrote all the songs

with certain vocalists

in mind but without

their knowing. So

Luckily everyone said

yes actually, if not

these songs would not

have been on the album.

Each track was

specifically written

for the vocalist who

recorded it in the end.”


Composing at the intersection between indie and electronica, Copenhagen-based musician Anders Trentemøller

released his debut album ‘The Last Resort’ in 2006. Since then he has been exploring a penchant for emotional

melodic moments and experimental production methods, touring with his live band of multi-instrumentalists

and remixing every well respected artist in the electronic music scene from Moby to The Knife. After starting up

his own record imprint, In My Room, Trentemøller’s second album Into The Great Wide Yonder was released

four years later, it was a move into a more analogue sound influenced heavily by indie and post punk incorporating

even more live instrumentation and vocals. This autumn he released his third full-length album Lost,

drawing inspiration from his extensive live touring stint, is a record defined by Trentemøller’s grunting reverb,

psychedelic grooves and a jumpy synth pattern that pushes us into the album’s dark, emotive context. Lost is

Trentemøller’s most collaborative effort yet, pairing him with a vibrant cast of vocal features— the legendary

duo Low, Jonny Pierce from The Drums, Marie Fisker, Kazu Makino of Blonde Redhead, Jana Hunter of Lower

Dens, Ghost Society and Sune Wagner of The Raveonettes.

Live, Anders is accompanied by a band made up of three guys dressed in black and two girls on his right adorned

in floaty white chiffon. Together, they create a musical journey that twists and turns; it peaks in pitches high

and low, it rattles and tattles. As the drums build from a tribal romp to a panicked bubbling, the atmosphere

is rife with a feverish buzz. Haunted by past endeavours and a droning EKG pulse, the entirety of Lost may

exist in the bliss of the intermediate, neither here nor there; the disparate state of wandering and intentionally

finding oneself lost. The members on stage take turns to stand in the foreground, as if taking turns to navigate

through the unknown. Equipped with shakers, tambourines, cymbals, a xylophone and other tinkling sundries,

the group noisily makes it way into the dark void ahead. On stage, three pieces of art installation appear,

obstacles in their path, and there’s a gloomy moment of uncertainty. Classic horror movie sounds eke in, and it

seems the end is nigh. Slowly, Anders’ gnarled, bass heavy synth style moves into the foreground and he begins

clapping, exciting the audience and encouraging his band to push on. The straight instrumental sheds a light on

Anders’ technical finesse and he raises his hand as if to exclaim “It’s this way, follow me!” The band follows; having

found a fork in the road, they see an open stretch of opportunity. Marie Fisker’s uncanny voice is silky and

sultry and oddly comforting, it grounds both audience and band, and together we find our way out of the abyss.

The performance’s closing moments recapitulate the album’s theme: it progresses from a wide-eyed sensual understanding

to disorientated wanderings to a profound feeling of escape. Anders has chosen and acted wisely: if

you’re going to get lost, it’s best to have five virtuosos by your side.

KALTBLUT: On your website it says that the album is a “fuck-you to

whatever genre” your followers had boxed you into. What kind of progression

brought you to this definitive point?

TRENTEMØLLER: Thankfully it’s not all my ‘followers” who like to

put me into a box, but yeah, it has sometimes been a bit frustrating

for me that people seem to find it difficult to accept that I keep on

developing my sound. I still think there’s a red line connecting the

music I did in my past up to now, but my life also naturally developed.

That should hopefully be something you could hear in the

music too. Of course I don’t make the same music as I did eight years

ago but I don’t think in genres to be honest, so it’s sometimes a

bit fun to see, especially music-journalists, who try to put my music

into different kinds of weird boxes. Why not just judge the music

for the music itself ? I sometimes like to think...

KALTBLUT: How important do you think is it for musicians to break

out of their genre?

TRENTEMØLLER: I don’t like to think too much in genres, I think

it’s all about making personal music that reflects your moods and

feelings, then if it breaks the genre or not at all, that does not matter

to me as long as the music touches me. A band like Mazzy Star

sounds totally the same on their new album as they did when they

released their last 17 years ago…and I’m glad about that! They are

amazing and Hope’s vocal is so unique, I don’t need them to break

genres, I need to hear them write fantastic songs and they did not

disappoint me this time either!

KALTBLUT: How much of your work is done with the intention to surprise

and shock?

TRENTEMØLLER: Not much at all! That’s not my purpose in making

music. I make music out of a personal passion. Music is for me,

one of the best ways to describe my feelings and I try to only be in

the now and not thinking about music in a ‘music marketing’ or

business kind of way! I don’t care about target groups either.

KALTBLUT: In 2008 you won an award for Best Chillout Artist and

later stated you never thought your music would be categorized as

“chillout”. How would you describe it then?

TRENTEMØLLER: I won’t try to squeeze the music into a specific

genre, but I would say it’s melodic and kind of dramatic music with

a lot of contrasts and dynamic. All in all I actually just try to make

good quality music! That’s the most important thing for me as an


KALTBLUT: What was the recording process like for you this time?

Did you have continuity with your studio set up?

TRENTEMØLLER: Yeah, pretty much! I have a nice studio in

Copenhagen with a recording room for drums, guitars, piano, amps

and other stuff and then my working/producing room next door,

where most of the time is spent. This time I began the writing of the

tunes often at my upright piano. I like to focus on the melodies and

chord progressions first and for that the piano is the natural choice.

I don’t have the music graphically in front of me on the computer

monitor but I am using only my ears and I like that fact, it makes it

easier for me to write music that way.

Then later I turn to my studio and arrange those ideas and parts

I have written for the different instruments and work on them

again on the computer.


KALTBLUT: This album has, indeed, a far more song-structured style–-compositionally

speaking—and not only because of the vocals

from collaborating artists. Was this a calculated attempt to spend

more time working with other people? Do you think the album is

more commercial than your previous work?

TRENTEMØLLER: I don’t think about being commercial or not,

so it’s hard for me to say, but maybe it’s a bit easier for people to

connect to because there are more vocal tracks on the album. It

was very much just how the tunes I wrote ended up progressing,

I did not plan to do an album with more vocals on than before,

but the songs somehow really fitted vocals as I went along, it

wasn’t my intention to create something more commercial at all,

but simply because the tunes I wrote kind of ‘demanded’ vocals it

seemed natural to follow the flow.

KALTBLUT: You’ve been quoted as saying, “For me, making music is

quite a lonely process.” Does this ever bother you? Or do you embrace


TRENTEMØLLER: I really love the process of writing and producing

all on my own, that’s what works best for me. I don’t incorporate

the musicians when I’m in the studio, I like to have

100% control over the music at this point. So often we make quite

different versions of the same song, and then when we finally

get together we share our ideas. I can offer my experience as a

musician, because I know what it’s possible to actually play on

the different instruments and often that is a big help, and the

musicians give me a lot of feedback on the music and often come

up with other ideas how to play the different parts, and at this

point it becomes more of a collaborative process. I didn’t really

want the album to be a ‘feature’ album actually, that was very

important for me. So I really hope the album works as a whole

album even if there are several different vocalists on it. There are

also several instrumental tracks and that is something that I still

really love to do. Next album could maybe be a pure instrumental

album, who knows…

KALTBLUT: How do your collaborations usually come about?

TRENTEMØLLER: For me it’s actually not the main thing to collaborate

with vocalists, but since I really sing quite badly myself

I need someone to sing my songs! When I started writing for this

album these songs just materialised when I sat at the piano, and

I instantly knew that they would fit specific vocalists, so I actually

wrote all the songs with certain vocalists in mind but without

their knowing. So it was quite nerve-wracking finally after

the songs were kind of finished from my side to begin to contact

these vocalists and hope that they would want to work with me!

Luckily everyone said yes actually, if not these songs would not

have been on the album. Each track was specifically written for

the vocalist who recorded it in the end.

KALTBLUT: Was there any one particular artist with whom you

had a special musical chemistry, where you just immediately clicked?

TRENTEMØLLER: Yeah! The song I did with Mimi Parker of

Low. It was so easy to work together and the result turned out so

well I think. I’m a HUGE fan of their music and they have been

a constant inspiration for me the last 15 years, so for me it was a

fantastic thing to have them on my album. When I started working

on the chord progression of the song I had Mimi Parker’s

beautiful voice in mind, so it was a great, great pleasure and a

big honour that she actually really liked the music I sent to her

and made this magical melody and lyrics to put with my music.

So that’s also one of the reasons that the song ‘The Dream’ is the

opening track on the album. From there you can go everywhere…

it’s quite open and I like that!

KALTBLUT: The collaboration with Jonny Pierce from The Drums is

the one that surprised us the most. What’s the feedback on that been

like? Did it open up a new audience for your sound?

TRENTEMØLLER: I had a really good feedback on that track, especially

when we are playing it live. We play it in a quite different

more uptempo version that sounds a bit like The Cure. It’s Marie

Fisker, who also appears on the album, that sings it live. So to

make the song adapt to her we change it quite a lot actually, but

it works.

KALTBLUT: Do you feel like you’ve collaborated with almost all the

people you’d like to? Or is there anyone that seems out of reach for

you—a dream collaboration, perhaps?

TRENTEMØLLER: If I had to choose one artist that I really respect

and love it would be Nick Cave. To work with him on a song

would be out of this world! Nick Cave and The Bad Seeds played

just before us at a festival, and we watched the whole concert

from the stage. It was mind blowing, nearly a bit scary how well

they played and how good Nick Cave was on stage.


KALTBLUT: Who’s your favourite artist that has remixed one of your

tracks so far?

KALTBLUT: How do you think the electronic music scene has evolved

since you’ve been apart of it?

TRENTEMØLLER: I don’t think that I have ever got a remix that

I really liked...but for the first time I really got a fantastic remix of

the track Gravity (feat. Jana Hunter from Lower Dens) from the

new album from danish band Pinkunoizu. It’s a brilliant remix and

it will be out soon! I’m so happy about it!

KALTBLUT: How was it working with Dorit Chrysler? We’re big fans

of her unique experimentation with the theremin sound.

TRENTEMØLLER: Dorit is a good friend and she supported us on

our US tour two years ago. She is also married to the Danish video

artist Jesper Just who did the music video for Sycamore Feeling

from my last studio album and it’s through Jesper that I got to

know Dorit and her music. She’s so talented and a great performer.

She’s a real diva (in a good way) so that was also why I produced

and released her latest EP on my own label In My Room.

KALTBLUT: What do you see in the future of recording and sharing

music? Especially in regards to GEMA on our Berlin backs.

TRENTEMØLLER: As regards file sharing music, I really think

it’s rude and with no respect for the artist when people upload a

WHOLE album with graphics and everything for people to download

for free. It’s really hard to make a living as an artist now, because

the physical sales have been minimised so much, so one of

the only ways we can have the time and freedom to make music

is if the people using our music also pay for it! I don’t mind if one

of my tracks is on a blog or another place on the net, but a whole

album for people to download for free is too much disrespect for

the artist and I hate that I can find my new album as a .zip file free

to download on the internet quite easily, but at the end of the day

it’s really hard to fight that.

KALTBLUT: You once said in an interview Berlin doesn’t do it for you

quite in the same way as Copenhagen. What does the Danish capital

have on the German one? Are there any other cities you would you

consider moving to?

TRENTEMØLLER: I just like Copenhagen and the vibe here. So

much interesting music has come out of Copenhagen and Denmark

these past years I think. Maybe because we started to trust

our own sound and do not try to copy what is coming out of for

example US and UK, but we try to define a certain Scandinavian

way of writing music, often with a more melancholic touch.

KALTBLUT: Let’s talk about your imprint ‘In My Room’. When did

you start this up, and why?

TRENTEMØLLER: I simply wanted my own platform from where

I could release my albums and sometimes other artists that I find

interesting, but so far the only other artist I have had the time to

release is Dorit Chrysler. Hopefully I can sign another new artist

soon that has that special thing that I’m looking for. But right now

I’m really busy touring so when the touring stops next year I will

definitely start searching for more artists to work with. It basically

just means that I have 100% artistic freedom and that is of course

very important to me!

KALTBLUT: What does it mean to you that electronic musicians appear

to be taking a darker, more industrial and atmospheric turn? Do

you have any thoughts on the influences behind this progression?

TRENTEMØLLER: I can’t talk on behalf of other artists, especially

not electronic artists so I don’t know if the overall music style has

taken a darker twist. I don’t see music as a whole scene or a whole

sound or style, but what I certainly miss in a lot of electronic music

is melodies! It’s too often only atmospheres, beats and sound design

and too less melody, but that’s just my opinion…maybe I’m wrong?

TRENTEMØLLER: To be honest I don’t really follow it so much because

when I was doing more pure electronic music l did not feel

any connection to the scene actually. So I’m not at all up to date

with what is happening, and it was the same thing back then. I

tried not to focus so much on a genre or scene but just to make music,

and back then what came out from me had a more electronic

sound but I never felt that I belonged to the electronic scene.

KALTBLUT: How important is the relationship between the visual

and the auditory for you?

TRENTEMØLLER: Quite important! I work very closely with the

Danish artist and fashion designer Henrik Vibskov on the visual

side of the show. Henrik actually used to play drums in the band

too but these days he’s too busy for that because he’s using all his

time on his own stuff. But Henrik is designing and building the

whole stage set-design that we always bring with us when we play

live. There is no video projections, it’s all build up and then we use

a lot the light to make these set ups work even stronger.

KALTBLUT: A lot of musicians are starting to turn towards working

on film soundtracks. Does this appeal to you at all?

TRENTEMØLLER: No. Not really! I worked on a Danish movie

once but then I realised that it takes a lot of time and energy, it’s

nearly the same as making a studio album and I would rather use

that time on touring or making new music. I do like the fact that

other directors use my music in their movies though, for example

Pedro Almodóvar used one of the tracks on my earlier album Into

The Great Wide Yonder for his movie, ‘The Skin I Live In’. It’s a key

scene about two minutes in with no dialogue, only the music, and

then he actually also used that track for all the trailers for the movie.

He also asked to have the different parts in the music separately

so he could mix up for example the guitars so they fitted what

happened in the scene which was a long chase scene with Antonio

Banderas on a motorbike. Also Oliver Stone used my surf track

‘Silver Surfer, Ghost Rider Go!!!’ in his latest movie, and the french

director Jacques Audiard used a mix I did with Bruce Springsteen

in a key scene in Rust And Bone. So the fact that other artists that

I also admire a lot can use my music in a creative way is fantastic.

I’m very grateful for that!

KALTBLUT: How do you approach your Dj-ing versus your tour

shows? Where do you like to let your creativity and risk-taking run


TRENTEMØLLER: I don’t really play as a DJ anymore, my focus

is playing my own music live rather than playing other peoples

tracks as a DJ, so it’s also mainly with the band that I use my creativity!

KALTBLUT: You started out presenting your work as a solo artist and

then began touring with a live band. Did it take a lot of work to transform

the set up?

TRENTEMØLLER: I don’t think really think about it in advance,

like about if or how the music I make will work in a live situation,

but It’s really nice after all these months isolated in the studio and

the album is finished to meet with the band and start to rearrange

the song and rehearse them together. It’s a totally different process

and a nice contrast for me!

KALTBLUT: What are you currently listening to when you’re not working?

TRENTEMØLLER: The Soft Moon, The Smiths, Dirty Beaches, Flaming

Lips, Moon Duo, The Warlocks….


Susann Bosslau


Objects in mirror are further than they appear

A fashion star is born! May I

introduce you to my friend and

fashion designer Susann Bosslau?

I've known her for some years

now, and we used to curate the

fashion element of our project

HONK! Magazine together

two years ago. She is a model,

fashion editor and just finished

studying at the Akademie Mode

& Design (AMD) fashion school

in Berlin. If someone is truly

gifted with talent then it is Susann.

This blond-haired German

girl is an all-rounder and just

moved to London to enter the

fashion world from there. I am

proud to present her first Spring/

Summer Collection for 2014:

"LENTICUL[I]AR - Objects

in mirror are further than they


Together with photographer

Suzanna Holtgrave she has

produced this great editorial for

our Collection Noire. Her designs

are fashion-forward, exactly

what I expect when I think of

avant-garde fashion. The woman

Susann is designing for must be a

strong character—a woman with

style, sexy and edgy—because

she herself is that kind of woman.

To be honest I hate the fact that

she is designing womenswear. I

would love to see, and perhaps

one day wear, some amazing

menswear pieces from her.

Susann do you hear me?


Interview by Marcel Schlutt

Concept and Photography by Suzana Holtgrave

Styling and Designs by Susann Bosslau

Hair & Make-Up by Timo Blum

Assistant: Stella Semmerling

Models: Kassandra and Pepa

M4 Model Management

Special THX Kiko Dionisio and Nero the dog








would be

the perfect

model for




KALTBLUT: Hello Susann. Welcome to our

magazine. We've known each other personally for a long time

now, but please tell our readers something about your background?

How did you get into fashion design?

Susann: Hey KALTBLUT. Thank you for

having me. It’s been a while since we last worked together,

before I started working on my Bachelor Degree collection

at AMD Berlin. I had to leave the Fashion Editor

part at HONK! (which has now become KALTBLUT)

in order to focus on my B.A. From a very young age I

was involved in the arts. I was dancing a lot, jazz, modern

dance and ballet, and I actually always wanted to become

a ballerina because I had this obsession with those painful

but beautiful ‘pointe’ shoes. I was always so keen about designing

the outfits or at least having a say about the costumes

and looks my dance group wore for performances and

competitions. I guess this is when designing started to take

over my life. My mum always made the clothes I designed.

She was unbelievably patient with me. Her mum was

a tailor and she learned it from her and I learned part of

that from my mum.

KALTBLUT: You just finished your studies at the AMD Berlin.

For how long did you study fashion there? Do you have the feeling

that it was time well spent?

Susann: I finished my B.A. in February 2013. Studying

there definitely made a change to my life. Not only was I

studying with very good teachers and professors for 3 and

a half years but also extremely talented students who are

now very good friends. It was a tough time but I am happy

that I chose to study there.

KALTBLUT: We are presenting your first collection for Spring/

Summer 2014 entitled "LENTICUL[I]AR - Objects in mirror

are further than they appear". Could you explain your inspiration

for this collection? And what does the name mean?

Susann: Visualize a liar. Someone who hides his weaknesses

behind a fabricated facade. There will always be people

who create a fake character in order to hide their not so

cool self. LENTICUL[I]AR actually refers to physics. A

lenticular lens is an array of magnifying lenses. It is a lens

specially designed in a way that when you look at it from

different angles different images are magnified. You might

know this effect from pictures where lenticular printing

was used. As a child I had this card with butterflies on it.

When I held in my hand I could see the butterflies with

their wings either closed or opened but when I moved it

they looked like they were flying. I used it because just

like my collection this lens shows you an illusion, a lie. It’s

like a different reality or how I call it a parallel universe

of yourself. This is where those metal corsets, pants and

gloves come into the picture. That would be the inspirational

negative part of this collection. The positive part

is that you should always look at something from different

angles before you judge, the picture can change on

a second or third look. When you see my clothes from

the front they will lead you in a certain direction but this

direction will turn completely when you see the back.

I think faking is self-torture. However that torture was

inspirational enough to make metal corsets, pants, latches

and gloves.

KALTBLUT: I love the shapes of your designs. How would you

describe the aesthetic of your work?

Susann: It’s a neo 50’s/60’s mix with a hint of Han Solo’s

‘Millennium Falcon’. Elegant, straight-forward, laced up

but at the same time sexy.

KALTBLUT: Also your choice of different materials in the collection

is amazing. From fake leather to multicoloured brocade.

Why those different materials? Was it easy to work with them?

And what else can we find in your collection?

Susann: I wanted the materials to clash. I wanted

to draw attention to the fabrics and show

that this mix can work. Whilst researching for

fabrics I focused on what sort of association a

certain material recalled in me. The multicoloured

woven brocade reminded me of a stuck

up English tea party with rich middle-aged wives.

The polyvinyl chloride on the other hand

reminded me of wrapped up meat that you get

in supermarket with a hint of fetish.


KALTBLUT: For how long have you been working

on the collection? And how many nervous breakdowns

did you have during that time?

Susann: 3 Months. Breakdowns: enough.

KALTBLUT: I love that your collection features a

lot of black pieces but also some yellow. Is it a risk

to create a mainly black collection for the upcoming

season? Or do you see your woman wearing a lot of


Susann: Black is timeless and doesn’t depend

on certain seasons. So no, not risky. And yes

there is always a good time to wear black.

KALTBLUT: The theme of our issue is NOIRE.

Do you have an idea why black is the perfect colour

for fashion? Which are your favourite colours?

Susann: To me black is a colour that leaves

questions open. So it challenges you. Black can

be strong, fierce, elegant, menacing anything

really. Black has many faces and a person wearing

black is not easy to judge. I like strong and

heavy colours but I might go with pastel when

the fabric to that is strong and heavy. I have an

affinity for collisions..

KALTBLUT: For what kind of woman do you

design your clothes for?

Susann: The ‘Twin Peaks’ character Josie

Packard would be the perfect model for my

clothes. A passionate, straight-forward and

inconspicuously sexy woman who doesn’t want

to be overlooked.

KALTBLUT: You also created some amazing shoes.

I know you love to make accessories. Are there any

plans to come out with an accessories line one day as


Susann: The shoes are all handmade with aluminum.

My brother was crazy enough to help

me make them. Marty Mcfly’s ‘Back To The

Future’ Deloreaon (I LOVE THAT CAR) was

an inspiration. If Josie Packerd would travel

through time in that car I would love her to

wear my shoes. Accessories are important because

they transport the message of your look

and can lead it in a very different direction.

Plans for an accessories line are in the making.

KALTBLUT: Your current collection is only for

girls. What a pity, because I think you would dress

the guys quite well. Why have you decided to go for


Susann: There are so many details of menswear

in womenswear that I think I am already

satisfied. For now I will focus more on designing

for women but I wouldn’t say I will never

design for men. After all I am actually wearing

my boyfriend's clothes every now and then.

195 KALTBLUT: As a young fashion designer in

Germany it is not so easy to survive. Germans

are not so into fashion like our friends in London

or Paris. How much of your cultural background,

especially Berlin, can we see in your designs?

Susann: The fascination for metal must

come from my families background of blacksmithing.

Once it was about smithing horse

shoes and now it's about forging women shoes

and accessories. The accessories are actually

made of these old metal construction kits my

brother played with as a kid. You are supposed

to build cars and trains out of it. I thought

why not make some pants, gloves and glasses.

So I took my brother's old metal kits and

started to play dress up. I’m not sure if you

can see anything of Berlin in my collection.

You probably see a culture clash though. To

support myself and to finance my studies I fly

around the globe as a flight attendant every

now and then. That enables me to explore

different parts, traditions and people of this

wonderful planet. Japan fascinates me. Tokyo

is the most inspiring city I’ve ever been to.

Whenever I’m there I feel like a child who

tastes candy for the first time. Mind blowing.

KALTBLUT: Is there any designer you look up

to and why? Do you have some kind of a fashion


Susann: Rei Kawakobu. She is brilliant.

Nothing more to say to that.

KALTBLUT: Where do you create your designs?

Do you have your own studio?

Susann: I designed and made the collection in

my 56 square meter apartment in Berlin. That

was a challenge but a successful one.

KALTBLUT: Some may not know it but you also

worked as a model, fashion editor for HONK!

Magazine back in 2011 and as a double for Cate

Blanchet. Now you are a fashion designer. I have

the feeling you are still on a private journey

through life. Where do you see yourself let’s say in

20 years?

Susann: Good memories come back to my

mind when I think about that. I had such a

good time doing all this. Being a designer

you’ve got to be open for everything and

multitasking in a way. Otherwise, how are you

supposed to create something new?

KALTBLUT: Let’s play a little game. If you could

dress a famous person out of these two who would it

be and why!? Marilyn Mason or Justin


Susann: Marilyn Manson because he is a

crazy genius, I love his music and because

there is always a little bit of Manson in my

mood boards.

KALTBLUT: Thank you very much for your time

and the amazing editorial you and Suzana

Holtgrave have produced for our Noire theme.

Come back to see us soon when you have a new

collection to show!

Susann: Thanks to you





Kerby Rosanes is a freelance illustrator. The things that occupy him the most? Sketching and doodling, of course.

Hailing from the Philippines, he spends every bit of free time he has clutching his notebook, armed with his

beloved pens. He’ll fill up blank pages with thousands of little details; put those details together and creates an

extraordinary piece of art. For Kerby, these doodles are much more than just “unfocused drawing.”

This is his passion, it’s his way of life.

KALTBLUT: Hi Kerby, can you please tell us what are your

influences and what inspires you?

Kerby: A lot of things inspire me. Nature, music, anime, cartoons, scifi

movies, personal experiences and anything interesting I encounter

everyday. My greatest influences include other ink artists like Mattias

Adolfsson and Johanna Basford, film characters of Hayao Miyazaki

and my mom for teaching me how to be creative at all times.

KALTBLUT: There is a lot of detail in your illustrations. How

did you start working this way?

Kerby: I love putting details in my work. I think that characteristic

alone makes my work unique from other artists. Without it, any of my

pieces will not come alive knowing that I don’t usually colour them. I

started working that way when I decided to drop my pastels and coloured

pencils, when I lose the patience of colouring my work.

KALTBLUT: How long does it take you to finish one of your

illustrations? What does it depend on?

Kerby: It depends on the size and what purpose it will be used for. Most

commissioned pieces would take me a couple of weeks to finish since

research is being made. For personal doodles, I do it in two days most

likely every night after a busy day at the office.

KALTBLUT: How has your work changed as you evolved?

Kerby: My work has changed from the ordinary scribbles in my class

notebooks, to more detailed and conceptual illustrations that are well


recognized across the globe. I still

have a long way to go when it comes

to “evolving” my craft and that’s

what I am more excited about!

KALTBLUT: What kind of

things scare you the most? What

do you fear?

Kerby: Many things actually. I’m

afraid of heights, paranormal activity

and losing my beloved pens!

KALTBLUT: If you would make

an illustration of yourself, what

would it look like? What kind of

things would it involve?

Kerby: Hmm.. tough question. But

I think I’ll just include things I love

and best represent me. It can be so

random without any art direction

at all. Just like my other drawings,

I want it to be just plainly spontaneous

leaving the viewer to figure

out the stories behind them.

KALTBLUT: You often include

animals in your work, can you

tell us a little about it? What do

they symbolize?

Kerby: They don’t symbolize

anything at all. I just love to explore

the wild and natural elements

as a major theme of the artwork.

Animals are good subjects when you

want to reach a wide audience, appealing

to kids, adults, art professionals,

tattoo artists, nature lovers,


KALTBLUT: Each one of your

illustrations seems to be a whole

world. If you could bring one to

life, which one would it be and


Kerby: It would be the doodle called

“CROW-DED”. It might sound

weird but I love crows!

KALTBLUT: There is a lot of

black and white in your work.

What makes you choose black

and white over colour?

Kerby: I just don’t have the patience

to colour in my work.

KALTBLUT: Where do you see

yourself in 10 years from now?

Kerby: Still doing what I love. Travelling

the world for more inspiration.

And teaching kids about my


Interview by Amanda M. Jansson,

Emma E. K. Jones and Nicolas Simoneau



Selected by Marcel Schlutt


"There is no luxury in the world a man can be closer to!"

The label tecidofino has presented itself on the catwalk for the first time during the last Berlin Fashion Week together with the Swiss designer

Marc Stone's underwear. And it was the perfect combination. Marc Stone is known for his classic men's fashion. But due to his athletic

new collection he sent models in underwear from tecidofino on the catwalk . And guys , we all know how important the perfect pants are for

us. Founded in 2013 the Berlin Label tecidofino has got high quality materials combined with the latest design ideas and so produced the

finest underwear for men in the world. Tecidofino makes a name for itself, because the fine fabric represents design, quality, luxury and wellbeing.

The natural , luxurious comfort is not only special because of the fashionable design but also because of the use of environmentally

friendly raw materials . All fabrics are primarily made from renewable resources. The proverbial red thread which runs not only through the

entire collection , is rather subtle and yet signal red, is found on any of the tecidofino designs. The classic aesthetics of Marc Stone's man

fits perfectly to the really high quality underpants of tecidofino.

Photos by Frazer Harrison/Getty Images

Bürknerstr. 5 - 12047 Berlin

Sorry My



Concept & Photography: Suzana Holtgrave

Model: Amanda at Satory Models

Hair and make up: Anna Kürner at Basics

Styling: Anita Krizanovic

Production: Marcel Schlutt

Dress & Skirt: Who’s That Girl


Dress & Cardigan: Who’s That Girl, Scarf: Illith, Earrings: Stylists Own

Dress, Skirt & Cardigan: Who’s That Girl, Pinafore: Illith, Earrings: Stylists Own, 202 Gloves: Très Bonjour

Dress: Who’s That Girl, Pinafore: Illith, Scarf: Illith, Shoes: Gianni


Dress: Who’s That Girl, Stockings & Body: Très Bonjour, Shoes: Gucci


205 Dress & Cardigan: Who’s That Girl, Scarf: Illith



Text by Claudio Alvargonzález Tera

Illustration by Emma E. K. Jones




If you think of classic Film Noir, one

of the first images that comes to

mind is a black and white picture

of a gangster, a private detective

or a drunk journalist with a hat, a

raincoat, a cigarette and a glass of

bourbon. If you try to put a face on

that image I bet that it belongs to

Humphrey Bogart.

If you are born on Christmas Day,

I guess you are destined to do

something special with your life.

Humphrey DeForest Bogart was born

in New York City on that special day

in 1899. His father was a wealthy

Manhattan surgeon and his mother

was a famed magazine illustrator

and photographer. Bogart’s parents

wanted him to be a doctor, probably

dreaming about studying at

Yale University like the rest of posh

kids from New York City. However

destiny had prepared something

completely different for him. Since

the beginning, his marks at Trinity

School and Phillips Academy were

pretty low and he was eventually

kicked out. Yale University was

out of the picture, and his parents’

dream was broken. Bogie, like many

young guys in those days, joined the

United States Navy during the spring

of 1918. Those were the times of

First World War and the young

Bogart was sent to service during

the conflict. That was the time he got

injured by the impact of shrapnel

leaving him with that famous scar

on his lip.

After leaving the navy he found a

job at the World Film Corporation

and some time later he finally got a

role in a theatre play called Drifting

(1922). It was his first role. Soon he

became quite popular on Broadway,

working in one play after another

until 1929, when he decided to move

to Hollywood. The truth is he wasn’t

too lucky at the start. Broadway is

one thing, but Hollywood is a much

bigger playing field. The year 1935

came along and he finally got a role

in The Petrified Forest with two bigger

stars, Leslie Howard and Bette

Davis. The film was a success and

Bogie signed a contract with Warner

Brothers, but it wasn’t until 1941

when he met his friend John Huston

(probably the most influential man

in his life) during the shooting of

their first film together The Maltese


The film became an instant Film Noir

classic (you can find a small review

of the film in our TOP 5) and Bogart

simply jumped into a higher Hollywood

status. They made seven films

together, including The Treasure of

the Sierra Madre, Key Largo (with

his last wife Lauren Bacall) and The

African Queen with Katherine Hepburn.

This last role of a gin-swilling

riverboat captain finally gave him

the Oscar he was waiting for in

1952. He defeated Marlon Brando

and his amazing role in A Streetcar

Named Desire, and then came

Casablanca. Of course, I won’t forget

the film which is ranked as the best

one ever made in cinema history

(according to audiences). I would’t

say that much. I just think it’s simply

impossible to choose just one but

I agree the film is indeed at least

one of the Top 10 in history. Anyway,

Casablanca is a masterpiece and

Bogie became a worldwide star

with his Rick Blane (an American

expatriate during World War II).

There is not too much to say about

Casablanca as you already know

the story. The script is one of the

best ever written, Ingrid Bergman

never looked better and the director

Michael Curtiz gave us some of the

most memorable images in cinema

history. For example, we all know

the melody of “As Time Goes By” and

think about how many times you

have used the quote: “We’ll always

have Paris”. See?? That is what

makes cinema and this film eternal:

the collective imaginary.

The film only won three Oscars

(including ‘Best Film’) but it deserved

many more. Bogart’s love life

was as difficult as it was depicted

in many of the roles he played. He

got married four times. He became

a drunk, probably because his third

wife (actress Mayo Methot) was a

compulsive one, and like some of

the gangsters or private detectives

he played, he was looking for some

kind of redemption. It came in 1944

while shooting To Have and Have Not

when he met a young model called

Lauren Bacall (Dame Lauren Bacall

in my opinion). They got married

a year later and had two children.

Their love story continued until

Bogie, too ill with cancer, died in

January 1957. The Harder They Fall

(1956) was his last movie. His face

was not the same due to his long

fight against this illness. His fight

was very hard, the same way he and

his characters did on screen but this

time he was defeated. At his funeral,

his friend John Huston said: “He is

an irreplaceable man. There will

never be someone else like him…”

Although I agree, I still prefer what

Lauren Bacall said to Lars von Trier

after a fight during the filming of

Dogville: “Listen stupid, you weren’t

even born and were already sleeping

with Humphrey Bogart”.

Bogart had the perfect face for

Noire, a face filled with character.

Our signature image of him is

seated at a table, the inevitable

drink nearby, cigarette in hand, as

he stares out at the world without

passion but understanding of its full

meaning. It is said Bogart’s means

of expression were limited, but his

eyes radiated complexity. He played

men of principle, men with their own

code of honour. Men with a cynical

mask hiding integrity. Bogart was

the king of Film Noir but above all,

Humphrey Bogart is in two words:

classic cinema. A myth.

Perhaps in the same way there was just one Marilyn, one Katherine, one

Bette or one Ava, there was just one Bogie, and his last name was Bogart.





You like it, you get it. Just pick the item you would like to win, 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.

Good Luck. Your Kaltblut Team. Write to : Kaltblut Magazine, Grünbergerstrasse 3, 10243, Berlin, Germany.


2 x Chinos


1 x Nintendo 2DS

1 x Game “The Legend of Zelda”


1 x Album CD

“Girls Like Us”


1x iPhone Case by Oliver Rath

1x iPad Case by Oliver Rath


1 x Album CD “Lost”

Mr. Spex

3 x Sunglasses


1 x Album CD “Aleph”


3 x Low 8-hole Canvas Sneaker


3 x 50€ Voucher



Grünbergerstrasse 3

10243 Berlin


KALTBLUT Magazine is published by

KALTBLUT Media UG (haftungsbeschränkt)

CEO: Nicolas Simoneau,

Grünbergerstr. 3, 10243 Berlin,




Photo by Valquire Veljkovic


People say you have to make something happen if you want to be able to make your way in life.

You start with a project, an idea; where you put

all your heart and soul, you have a vision, a really

good view of the goal you want to hit - but the

thing is, the whole thing is not really working the

way you would like it to. So to make it work you

have to allow for concessions; have to accept the

fact that by transforming the thing, it may actually

finally work. The question is, how much are

you ready to give away? How many concessions

are you ready to make in this process, and where

is the limit? What about if you make too many

concessions and you’re even not able to recognize

this thing as your own anymore? It may indeed

feel as though it is not yours anymore, because

it's too far from the vision you originally had.

This is a really delicate process, and you have to

be open for changes, of course; but also ready to

accept that your initial idea was maybe not as

good as you once thought it would be. This is

not just about your project, at the end - this is

also about yourself and to be able to look at your

actions with some distance, and to be able to readjust.

When I heard that we had to reduce 400

pages of our beloved collection down to 200, I

was angry and sad, because I thought if we only

print 200 pages, that this is not us anymore, this

is not what we created. However with a good

long look at it, and seeing with an open mind

the facts and the way they are, I can truly say

that this Collection [Noire] is by far the best we

have done yet. The content is thick-and-tight,

really fits the theme, and the editorials and the

interviews are just on point. Here we are, always

trying to push ourselves to be able to present a

beautiful product to our readers, and for once we

can stand proud, and be sure that you’ll understand.

We are in constant evolution, because we

try to evolve with you. Thank you to everyone

who has helped to make it possible this time, and

god knows that they are a lot of people to name.

Thank you for being fidele. I really hope you did enjoy it.

Yours Nicolas



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All of KALTBLUT´s contributors are responsible and retain the reproduction

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without the permission of the magazine, editor and each contributor.



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