THIS ISSUE IS DEDICATED TO
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.
6 th edition of
the international and
fashion shows / exhibition / performances / designer market and more.
photo: hordur ingason
Amanda M. Jansson
Emma E.K. Jones
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
Mauricio & Aleesandro Lázaro
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
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
- firstname.lastname@example.org -
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
p.26 Sketch Book
Illustrations by Jean Khalife
p.30 The Last Supper
p.38 Melanie Gaydos
Fashion Story + Interview
You Should Know
p.50 The Widows
p.68 Paint It Black
p.77 Joseba Eskubi
p.86 Horror-Shaping Art
p.96 Into Brackets
p.100 Black Metal
p.106 Augustin Teboul
p.120 Mehryl Levisse
p.124 Cunt Cunt Chanel
p.126 Must Have
p.127 Dear Bad Bed Bug
p.128 Queen of Sorcery
p.136 Lines Of Life
p.142 Eirik Lyster
p.145 Love & Malice
p.154 Ana Alcazar
Fashion Story + Interview
p.174 Gustavo Jononovich
p.178 The X-Insider
Interview with M
What's Left Of
p.190 Susanne Bosslau
Interview + Fashion Story
p.196 Kerby Rosanes
p.198 Must Wear
p.200 Sorry My Love
p.206 Humphrey Bogart
p.208 CraZay Giveaway
Photographers: Lucio Aru and Franco Erre www.errearuphotography.com
Stylist: Crystal Birch www.therealcrystalbirch.com
Assistants: Micheal Mosel and Moritz Jasper
Hair and Make-Up artist: Janine Pritschow www.janinepritschow.com
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
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
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
Nico: That’s nice.
Dave: That is really nice.
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?
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
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
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
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…
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
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
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.
MACHT SCHÖN ...
MACHT LAUT ...
... WEIL DU MIT DEM KOMPAKTEN,
FALTBAREN DESIGN NICHT NUR DEINE
KOPFHÖRER IN DIE TASCHE STECKST.
... WEIL DIR DIE CITISCAPE FRAMES MIT
IHREN WEICHEN ONEAR-POLSTERN
EXZELLENTEN SOUND LIEFERN.
MACHT SPASS …
... WEIL DU DANK DES INTEGRIERTEN
MIKROFONS JEDERZEIT ZWISCHEN MUSIK
UND TELEFONIE WECHSELN KANNST.
ERLEBE MUSIK WIE NOCH NIE ZUVOR
ENTDECKE DIE KOMPLETTE RANGE UNTER
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
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
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
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
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
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
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
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
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
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
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
Moga e Mago: The perfect black piece
of our NOTTURNO SS14 is a superlight-weight
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?
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
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
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
KALTBLUT: How did you envision the band
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
is still a
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
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
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
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
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
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.
Photography: Ali Kepenek www.alikepenek.com
Styling: Hakan Bahar www.hakanbahar.com
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
‟DUCTILITY AND ITS ABILITY TO CREATE SHADES”
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
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
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
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 www.oliverblohm.com
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
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
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
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 www.ulrichhartmann.de 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
Eyes: RMS Beauty, Seduce
Lips: Chanel, Rouge Coco, Nr. 19 Gabrielle
And Obsessive Compulsive Cosmetics,
Lip Tar, Green
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, www.wrangelkiez.org
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.
www.femalepressure.net www.kritzkom.com www.anna-otto.org
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.
ARI BENJAMIN MEYERS
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
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
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
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
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
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
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
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
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
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
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
KALTBLUT: What is your vision of the music
Industry in the future?
Tyree Cooper: A flapping bass and a smiling
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?
Photography & Postproduction by Valquire Veljkovic / www.valquire.de
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 www.pernillesandberg.com
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
“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.”
THE STORY OF A MOVEMENT
AND A COMMUNITY
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Blouse - Zara / Headband - H&M / Necklace - Asos
Photography – Julia Blank www.juliablank.com
Model – Marika @ MegaModels www.megamodels.com
Styling – Jeanna www.jeannastyling.com
Make-up & Hair – Suzana Santalab www.suzanasantalab.com
Cap - Pinko / Jacket - Krew / Shirt - Monki / Skirt - Glamorous / Tights - Falke / Overknees - Sensual Latex / Necklace & Bracelet - H&M
Shirt - Asos / Necklace - Limited Edition
Jacket, Skirt & Gloves - Sensual Latex
Pullover - Freak of Nature
Bra - H&M
Leggings - Asos
Shoes - Zara
Earrings - Vintage
Bracelet - Hermès
Shirt - Moschino / Skirt - Sensual Latex / Tights - Falke / Shoes - Pleaser / Necklace - Asos / Ring - H&M
Bathing Suit & Earrings - Asos
Cap - Stylist's own
Bag - Monki
Pullover - H&M
Shirt - Asos
Skirt - Freak of Nature
Necklaces - Limited Edition
Headphones - Softwear
Shoes - Buffalo
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 www.coullaudkoulinsky.com
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
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
KALTBLUT: What is the over-arching
inspiration for your work?
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?
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
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
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
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.
CUNT CUNT CHANEL
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 www.soundcloud.com/bobbyblueisamusiclover
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
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
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
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
I love reading crime and mystic
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a charismatic young
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
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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
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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!
HANIWA NO. 1
The label JEONGA CHOI BERLIN was founded in 2012 and provides unique
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The colorful Forever
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Straw Duffle Backpack
Straw Duffle Backpack
We have seen this wonderful green Straw
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we love. Spring is coming and yes
we all have to buy new stuff for
our spring wardrobe. Topshop is
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those who like to spend their money
for more than just clothing.
Zweena Pure Argan Oil
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The Duesseldorf-based street wear label
DRMTM has the right thing for the
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DEAR BAD BED BUG
By Amanda M. Jansson & Emma E. K. Jones
Clothing : Harue Nagamoto
Photography: Tomokazu Hamada
Styling: Linda Brwnlee
Hair: Yoko Sato (AVGVST)
Make Up: Yuka Hirata (A.K.A)
129 Clothing : Yuya Nakata
Clothing : Harue Nagamoto
Clothing : Harue Nagamoto
Clothing : Harue Nagamoto
133 Clothing : Harue Nagamoto
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
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
to help better express
element of the
project. Inspired by
artworks that range
from the contemporary
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
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 melancholy and
the darkness that’s
to get out. Working
at the intersection
between solace and
aggression there are
themes to which Gesaffelstein
return: raw, and unending,
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
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
ALICJA KOSIBA @VOX
DOBROCHNA RAWICKA & JUSTYNA MICHALCZAK
EEVI MAKEUP STUDIO
KOTO BIZUTERIA// PAKAMERA.PL
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
Eirik: Hello! I’m fine, thank you.
KALTBLUT: You only work with pens, where does your love of pens
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
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.
Bra – DKNY
Suspenders – Maison Kiss Kiss
Stockings – Maison Kiss Kiss
Knickers – Maison Kiss Kiss
Shoes – Missoni
Lace Gimp Mask – Jay Briggz
Love & Malice
Photography: Nik Pate - www.nikpate.com 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
Leather Bodice/ Top – Tamzin Lillywhite
Jacket – Katie Eary
Trousers – Heohawn
Shoes – Pretty Little Things
Ring – Only Child
Earrings – Finchittida Finch
Trousers – Sopopular
Bra – Tamzin Lillywhite
Leather-Pleated Skirt – AMEN Couture
Fishnet Stockings – Maison Kiss Kiss
Fur Boots – Robert Cligerie
Necklace – Mirabelle
Lace Gimp Mask – Jay Briggz
Dress – AMEN Couture
Head Piece – Jay Briggz
Bracelet – Eshvi
Earrings – Finchittida Finch
Lace Gimp Mask – Jay Briggz
Trousers – Sopopular
Dress – AMEN Couture
AND THE DESIRE TO BE CANDID
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
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
Interview by Ange Suprowicz
Photos by Norman Wong
Between Daylight and Dreams
Photography: Federica Roncaldier www.federicaroncaldier.com
Interview & Concept: Marcel Schlutt and Nico Sutor
Styling: Christina van Zon www.christinavanzon.com
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
Jumpsuit: Ana Alcazar
Necklace: Zofie Angelic
Bracelet: Antique & Vintage Jewellery
Dress: Ana Alcazar
Collar: Rita in Palma
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
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
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
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
Earrings: Zofie Angelic
Earrings: Antique & Vintage Jewellery Oliver Rheinfrank
Shoes: Varese seen at Roland
Bag: Selected Femme
Dress: Ana Alcazar
Necklace: Dawid Tomaszewski
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
group of course, like I said.
The majority found the campaign
exciting and interesting
in terms of sexism - just this
KALTBLUT: How was it for
you to become established
in the fashion world? How do
you deal with criticism from
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
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
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
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
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
Dress: Ana Alcazar
Garter Belt: Hunkemöller
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
Dress Ana Alcazar
Earrings: Antique & Vintage Jewellery Oliver Rheinfrank
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
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
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
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
c355p001: Blackness comes from people who
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
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 www.nikpate.com
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 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
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
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
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
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
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
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
“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 : www.labo-m-music.com
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
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
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
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
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
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
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
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
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
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….
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
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
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
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
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
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
TECIDOFINO X MARC STONE
"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
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
THE KING OF
F I L M N O I R
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
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”
3 x Sunglasses
1 x Album CD “Aleph”
3 x Low 8-hole Canvas Sneaker
3 x 50€ Voucher
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.
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