Radical Vertical

The magazine is published in collaboration between radicalvertical, Berlin, kulturspace, Los Angeles & LAFFF.

The magazine is published in collaboration between radicalvertical, Berlin, kulturspace, Los Angeles & LAFFF.


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V<br />

ERTI<br />

C<br />

A<br />

L<br />

Walter Pfeiffer @IsabelitaVirtual Shaun Ross<br />


Chi Modu<br />

Slava Mogutin

Celebrity: Jake Gyllenhaal, Brand: Cartier, Product: Cartier Santos, Emmanuelle Guillon, Nicolas Guiramand, Elodie Thiele Hubsch, Helene Duval, Agency: Publicis 133, CD: Antoine Bonodot, Agency Team: Christine Bouffort, Amandine Ribiero, Jeremy<br />

Givord, Iris Decoux, Photographer: Matthew Brookes @ CLM, CLM UK: Thu & Anna, Production: @Wandaprint @ Wanda - Park Pictures, Artbuying: Wandaprint, Executive Producer: Charles Denis, Line Producer: Yannick Lebot, Antonin Lemoine



Contents 12-13<br />

4<br />

15-17<br />

18-21<br />

22-23<br />

24-27<br />

28-29<br />

30-31<br />

32-37<br />

38-41<br />

42-45<br />

46<br />

47-50<br />

51-57<br />

58-63<br />

64-71<br />

72-77<br />

78-85<br />

86-91<br />

92-97<br />

98<br />

What’s that jacket,<br />

Margiela?*<br />

We can be heroes<br />

just for one day<br />

Que será, será<br />

Who’s NEXT?<br />

Ménage à trois -<br />

Threesome<br />

Shaun Ross :<br />

Rebel with a cause<br />

Chez Arman<br />

Material Girls<br />

One of these days<br />

these boots are gonna<br />

walk all over you<br />

I am not from your tribe<br />

F for Fashion Film<br />

is the Future<br />

From Los Angeles<br />

with LAFFF<br />

Paradise Lost<br />

Les Fleurs du Mal<br />

The Real McCoy<br />

Sneaker Pig &<br />

Sock Monkey<br />

Angel Face<br />

Love, like the light,<br />

silently wrapping all!<br />

RIP LA<br />

LAws of Style<br />


T H E R E I S O N L Y A W A Y T H A T<br />

L E A D S T O T H E F U T U R E , A N D<br />

I T I S G R E E N .<br />


Editor’s<br />

Letter<br />

Stranger, if you passing<br />

meet me and desire<br />

to speak to me,<br />

why should you not<br />

speak to me?<br />

And why should I not<br />

speak to you?<br />

- Walt Whitman<br />

It took 126 years, or in other words, more than 2,800 titles, for Tyler Mitchell to be the first<br />

African-American photographer ever to shoot a cover of US Vogue. The choice of Tyler Mitchell<br />

as a photographer for the last September issue, however, is only due to the fact that Beyoncé<br />

insisted on his participation. This story is more of a reason to be ashamed however, since whole<br />

generations of commercially successful black photographers, including Carrie Mae Weems, Awol<br />

Erizku, Mickalene Thomas, Micaiah Carter, and Shaniqwa Jarvis, have simply been ignored by<br />

the world’s most important printed fashion title.<br />

For hundreds of years, a great part of American history has been defined by the<br />

struggle of Afro Americans to be recognized as full members of this society. A frustrating struggle<br />

for them, as the (white) American culture has developed a society that simply cannot accept<br />

inclusion for all its citizens. This fight continues to this day. But equality and integration is required<br />

for a healthy and stable democracy. The government of a country that breeds fear of other races<br />

and condones exclusion will inevitably be stripped of those valuable and elementary principles<br />

that are necessary to establish an intact and humane society. If we commit to human dignity<br />

and equality for all, we must also create spaces in which we not only recognize our equality,<br />

but allow differences. Only because of our equality and differences, dialogue and exchange will<br />

become necessary and even possible. Building bridges between different cultures and different<br />

ways of thinking is an indispensable added value for every society, and an increment for every<br />

individual who is part of it.<br />

The most important space for personal (self) expression is art. But the world of art is far<br />

from being a space where equality and inclusion prevail: similar to the fashion world, minorities<br />

also have to fight to become equal. In this issue of RADICALVERTICAL, equality and difference<br />

take centre stage in the aesthetics, content, and authorship of the featured contributions.<br />

For years, Walter Pfeiffer was denied recognition in his homeland of Switzerland due to his<br />

controversial early work<br />

as a photographer and<br />

chronicler of the Zurich<br />

gay underground scene.<br />

Until 10 years ago, thanks<br />

to a retrospective at the<br />

Fotomuseum Winterthur<br />

(2008), Pfeiffer, now in his<br />

early seventies, achieved the long overdue<br />

international recognition, making him one of<br />

the most sought-after fashion photographers<br />

of our time.<br />

With<br />

Uncategorized, Chi<br />

Modu created his own<br />

format to make his<br />

art more accessible to a wider audience:<br />

“The art world tends to<br />

be very exclusive 7<br />

and full of obstacles for both the artists<br />

and the public. My goal is to make<br />

art more inclusive by pulling an end run<br />

on the galleries and the museums, breaking<br />

down the barriers, and<br />

bringing the art directly<br />

to the people.“<br />

Dotan Saguy, born in a small kibbutz<br />

near the Israeli border,<br />

grew up in a Paris suburb,<br />

then emigrated to the<br />

US, where he lived in<br />

Lower Manhattan during<br />

the events of September<br />

11, 2001, before moving to Los Angeles in 2003.<br />

His works, partly shown in the magazine, are<br />

compelling documents of the fascinating character of Venice Beach. Its uniqueness lies in the<br />

diversity of those living there, but faces an uncertain future with luxury refurbishments and greed<br />

for profit threatening the lifestyle that has been the trademark of Venice Beach for decades,<br />

where the misfits of American society sought refuge.<br />

Ryan James Caruthers’ stature and physical condition are the exact opposite of what<br />

American society expects of her members, especially in terms of athleticism. His condition, which<br />

did not wholly identify with the stereotypes most commonly attributed to men, increasingly<br />

isolated him. Caruthers, 24, won the prestigious BJP Breakthrough Award one year later for<br />

his emotional series Tryouts. He photographed himself in full sports outfits in various sports<br />

scenarios and recreated motifs which related to just the kind of activities he never joined as a<br />

student. In those almost poetic images, however, interfaces between homosexuality, masculinity,<br />

identity and athleticism become impressively visible.<br />

The amazing thing about Laura Aguilar’s (1959-2018) very personal style of photography<br />

is that she took things as they were, and apparently captured what was happening right in<br />

front of her camera—the staging of her own big naked body included—without any judgment,<br />

thereby emphasizing the character of difference or otherness. You will find her photography<br />

impressively straightforward and of an unmistakable integrity, as well as with an openness<br />

to each pictured motive. Whether you associate her work with a feminist, Latin American, or<br />

lesbian agenda, you may decide for yourself. But Aguilar was not a theoretical artist; she was<br />

a narrator with unmistakable images originating in her own incomparable aesthetic, which has<br />

indelibly marked her personality and life within our collective memory. I hope a look at her and<br />

all other works of the creatives united in the RADICALVERTICAL “inclusion” issue will leave a<br />

lasting impression on you.<br />

– Holger Homann<br />


THE<br />



CENTER<br />

The Technicolor Experience Center is about<br />

what happens when creativity meets emerging<br />

technologies. It’s about the partnerships that discover<br />

how stories can be told and delivered in new and ever<br />

more immersive ways. And, it’s about making the<br />

impossible possible, and doing it together.<br />



Con<br />

Chi Modu<br />

Chi developed relationships with the biggest<br />

icons of the hip hop movement, including<br />

Tupac Shakur, Notorious B.I.G., Mary J. Blige,<br />

and L-L Cool J, most of whom were not yet<br />

famous at the time. His photos include some<br />

of the most groundbreaking, memorable<br />

images of that era which have graced the<br />

covers of Rolling Stone Magazine and Jazz<br />

Times, and album covers for Snoop, Method<br />

Man, Mobb Deep, Mad Lion, and Christian<br />

McBride. We are very proud to be able to<br />

share some of them with you.<br />

Ryan James Caruthers<br />

Since graduating from Parsons the New<br />

School for Design in 2016, LA-based<br />

photographer Ryan James Caruthers has<br />

not only won the 2017 British Journal of<br />

Photography’s Breakthrough Awards, but has<br />

also been busy shooting editorials for Dazed,<br />

Coeval, FY!, New York Magazine and many<br />

more. We thank him for providing us with an<br />

intimate portfolio of almost poetic images<br />

of intersections of age, race, class, gender,<br />

and body type.<br />

Zohar Winner<br />

Zohar Winner is an incredibly talented graphic<br />

artist based in Berlin. She works across the<br />

mediums of illustration, graphic design and<br />

set design. After graduating at the Bezalel<br />

Academy of Art & Design in Jerusalem, she<br />

worked predominantly as an art director in<br />

the fashion field. Since we consider a good<br />

illustration to be the cherry on the cake<br />

for any magazine, Zohar didn’t hesitate to<br />

provide the much-needed complement<br />

for the magazine.<br />

Walter Pfeiffer<br />

Walter Pfeiffer is a Zürich-based photographer<br />

whose portraits of friends, lovers, still life<br />

and scenery, always taken with a large dose<br />

of fun, not only inspired a generation of<br />

photographers, but also contributed a far<br />

more varied and modern view of what it<br />

means to be queer. Together with Julian<br />

Zigerli, Pfeiffer shot Roman, one of his ‘Walter<br />

Boys’, especially for his Autumn Winter<br />

2018 collection.<br />

tribu<br />

Shaun Ross<br />

Shaun Ross’s newest music video, filmed<br />

at Popsicle LA, features the model-turnedmusician<br />

emerging breaking out of a chrysalis.<br />

Of course it is the breaking out that the lyrics<br />

refer to. It is also a song about the beauty of<br />

transforming into the truest version of yourself.<br />

Since transformation and triumph always<br />

seem to be the biggest points of Shaun’s life<br />

we were glad he gave us some very personal<br />

insight on those important topics.<br />

Slava Mogutin<br />

Slava Mogutin focuses on the more universal<br />

themes of desire and estrangement while<br />

letting his camera range over seemingly<br />

spontaneous situations and marginal scenes<br />

to capture the urban gay subculture in<br />

particular. Since the sneaker market is really<br />

taking off, we felt Slava’s work would be the<br />

best to illustrate what has also become a<br />

fetish for the $65 billion footwear industry.<br />

tors<br />

Symone Ridgell<br />

2018 summertime heat called for a little—or<br />

a lot of—vintage glamour. We reached out<br />

to Symone Ridgell, LA Video producer at<br />

PAPER magazine, to add some of the late<br />

80s vibes and glam to our magazine before<br />

the inevitable autumn approaches, and the<br />

bright and shiny colors mute and begin to<br />

darken our souls. In that aim, we thank her for<br />

achieving the radical chic which will now shine<br />

through our pages.<br />



A new<br />

LA<br />

concept<br />

studio<br />

built for<br />

social<br />

content<br />

creators<br />


RENTAL<br />




<strong>Radical</strong><br />

<strong>Vertical</strong><br />

The magazine is published in collaboration between<br />

radicalvertical, Berlin, kulturspace, Los Angeles & LAFFF.<br />

Editor-In-Chief<br />

& Creative Director:<br />

Art Director:<br />

Fashion Editor:<br />

Copy Editor:<br />

Holger Homann<br />

Ryan Ying<br />

Elliott-Alfred Attia<br />

Lindy Siu<br />

Publisher:<br />

Project Manager:<br />

Sales & Partnerships:<br />

Special Thanks to:<br />

Justin Raymond Merino<br />

Natasha Siemaszko<br />

Alex Holz<br />

Leslie Bedolla<br />

Contributors:<br />

Alexis Borges<br />

Chris Francis<br />

Douglas Hand<br />

Simone Heift<br />

Ryan James<br />

Caruthers<br />

Matt Lambert<br />

Andy Lee<br />

Jamie Luca<br />

Chi Modu<br />

Slava Mogutin<br />

Arman Naféei<br />

Walter Pfeiffer<br />

Symone Ridgell<br />

Shaun Ross<br />

Dotan Saguy<br />

Lindy Siu<br />

@IsabelitaVirtual<br />

Zohar Winner<br />

Julian Zigerli<br />

1<br />

1<br />

Cover by Matt Lambert<br />

Published by: The kulturspace Foundation<br />

1920 Hillhurst Ave V921<br />

Los Angeles, CA 90027 USA<br />

www.radicalvertical.com<br />

www.kulturspace.com<br />

www.lafashionfilmfest.com<br />


What’s that jacket, Margiela?*<br />

* Kayne West Lyric from “N****** in Paris.”<br />

Streetwear is about to dominate fashion.<br />

Generations Y and Z are already the<br />

main growth drivers of the luxury goods<br />

market, contributing 85 percent of luxury<br />

purchases. Sneakers and sweatpants are<br />

boosting luxury brand profits even more<br />

than custom tailoring and evening wear.<br />

It is no coincidence that Louis Vuitton<br />

appointed Virgil Abloh as artistic director<br />

of menswear: streetwear is getting hotter<br />

than ever. For the last few years, the rise of<br />

streetwear has been more than just another<br />

big storyline in fashion. In 2017, Supreme<br />

was reportedly valued at $1 billion, which<br />

underlined that the success of Supreme,<br />

and streetwear in general, are definitively<br />

to be considered game changers in terms<br />

of fashion and culture.<br />

Clothes are becoming<br />

1<br />

more and more casual, inspired by<br />

2 the growing momentum for healthy STREETWEAR - THE<br />


and sporty lifestyles, generating<br />

unprecedented popularity of items such<br />

as sneakers and sweatshirts. Hip-hop has<br />

grown from a subculture into the most<br />

successful genre of the music industry in<br />

the US, surpassing rock. Generation Y and<br />

Z represent a large and growing share of<br />

fashion consumers, and what they want is<br />

community and authenticity. Streetwear<br />

ties to hip-hop but in terms of fashion, what<br />

is left besides its signature casual clothes<br />

like hoodies and tees, graphic logos and<br />

the fixation on sneakers? We asked Simone<br />

Heift, Buying Director of the KaDeWe<br />

Group—one of the most prominent and<br />

distinguished international department<br />

stores, offering over 60,000 square meters<br />

of international designer goods and<br />

exclusive brands—why, even as streetwear<br />

grows into a billion-dollar business, it’s<br />

still not perceived as prestigious, and still<br />

doesn’t signify luxury the way fashion<br />

traditionally has.<br />


HH In the German press—and not only there—it has been said<br />

that “Streetwear has become the driver of fashion”. Fact is, hoodies and<br />

sneakers have left Haute Couture behind. Everyday suitability triumphs<br />

over aesthetics (at least for the moment). Where does streetwear drive<br />

fashion in your opinion?<br />

SH Streetwear has had a major impact on fashion in the past,<br />

with NEIL BARRETT and GIVENCHY by Ricardo Tisci already known as<br />

Luxury Streetwear, filling the gap between Contemporary and Luxury<br />

Formal looks. The creation is part of a high-low aesthetic of lifestyles<br />

of the West Coast, Californian kind. Currently, streetwear influences are<br />

clearly leading the way. The fusion with luxury not only brings a whole<br />

new look, but conventional boundaries are resolved. Designers rely on<br />

sneakers, hoodies and tracksuits. Logomania everywhere—not a brand<br />

new, rather, ongoing mega-trend but more present and important than<br />

ever—especially labels like Balenciaga and Off / White, even Valentino<br />

follows the hype. Collaboration follows one another at ultimate speed,<br />

limited editions and new brands become a must-have.<br />

What is changing is mainly that a whole new audience is in<br />

focus—the young ones, informed, with incredible brand awareness and<br />

purchasing power—the millennials are flocking to the luxury brands.<br />

Fashion is increasingly becoming a status symbol, and the leading<br />

labels have mastered the game of desire. The run on various It Pieces<br />

is enormous; they are quickly replaced by new ones. The more limited<br />

the better. Even though streetwear dominates and is authoritative

Simone Heift<br />

Fashion<br />

Interview by Holger Homann<br />

inspiration, without the “ugly & sporty”, nothing works. The wave hasn’t<br />

reached its peak yet. Nothing is final; fashion is constantly changing.<br />

HH Zalando has been selling a collection by Karl Lagerfeld, which<br />

was developed exclusively for the Berlin online fashion platform. The<br />

collection “combines the trademark of Karl Lagerfeld with a streetwear<br />

influence,” Zalando said in a press release. What is the meaning of<br />

“under streetwear influence”? Or is “Streetwear” just the train that<br />

everyone seems to be jumping on?<br />

SH Two very different positions got together here, effective in the<br />

media and determined to be a commercial success. As a mass market<br />

retailer, Zalando serves a wide range of customers and accordingly has<br />

a very different view of streetwear. In addition to his successful work<br />

at Chanel and Fendi, Karl Lagerfeld Collection has always focused<br />

on casual suits and apparel as a brand. Therefore, this is a natural<br />

collaboration in tune with the times.<br />

HH In the mainly white world of fashion, Virgil Abloh is the first<br />

black man in a top position with the world’s most prestigious luxury<br />

brand, Louis Vuitton, to display a mix of streetwear and luxury clothing<br />

in his debut collection. Is this a creative decision by the house of<br />

Louis Vuitton, or was the marketing department unable to resist the<br />

temptation thanks to Abloh’s appeal to get an even bigger chunk of<br />

“coolness”, rather than just a cooperation like the one with Supreme?<br />

SH The appointment of Virgil Abloh for menswear designer is a<br />

perfectly thought-through move—from every point of view. I doubt that<br />

the skin color played any role here, and so it should be. Rather, worked<br />

the “hype” factor around his personality. Everything that touches Virgil<br />

turns gold—the label Off / White and his numerous collabs—and is<br />

decisive. Virgil is one of the most influential designers of his time, with<br />

strong connections to the music and design industries. Virgil Superstar:<br />

an all-round genius—he epitomizes the zeitgeist like no other.<br />

Workaholic and Party Animal. No other can skilfully blur the boundaries<br />

between street style and luxury as he does—he is the undisputed king<br />

of coolness and the perfect choice for Louis Vuitton, making the label<br />

even more desirable and open, especially for the most sought-after fan<br />

base. I trust him to not only lead Louis Vuitton to commercial success,<br />

but to manifest a new kind of lifestyle. Fashion is more than tailoring;<br />

it is a complex, multi-layered interaction. Today, above all, the overall<br />

concept is decisive. He will put his stamp on the house.<br />

HH Does this step help open the door to a rather whitedominated<br />

industry which they were previously denied? It was surely<br />

for a reason that students from Abloh’s Art and Design Academy were<br />

invited by him to attend the show. True to the motto: If I can do this, you<br />

can do it too.<br />

SH I wish that skin color as well as gender, religion, origin,<br />

or even sexual orientation, were generally no longer obstacles to<br />

achieving goals of any kind—not only in fashion, not just in the job.<br />

Virgil’s debut for Louis Vuitton was more than a show—it was a clear<br />

statement of diversity, tolerance and freedom. Everyone should be<br />

able to go their own way without being discriminated against in any<br />

way. Unfortunately, today we are often further away than we think—it<br />

is even more important to fight for it. I can do that; you can too. Abloh<br />

not only invited the entire LV design studio to the show but students<br />

from various Parisian fashion schools also attended. This element<br />

of social inclusiveness is new to LV and is an excellent strategy to<br />

reach a wider audience.<br />

HH In the New York Times, Abloh’s debut collection has already<br />

been called the end of the “créateur de mode”. How do you judge the<br />

future of the classic fashion designer à la Dior, Chanel, Balenciaga, or<br />

will they mutate into just labels of a global operating corporate?<br />

SH A very disillusioning and one-sided headline; I can not and<br />

do not want to share that. Many voices of criticism in the run-up turned<br />

silent after his emotional debut for Louis Vuitton anyway. For fashion<br />

has lost its meaning, is not true, because is not exactly this freedom<br />

and individuality the new—or rather rediscovered—real meaning<br />

behind it? Fashion today moves in all imaginable directions; we no<br />

longer strictly follow a single dictation. Everything is possible. The hype<br />

about streetwear and Virgil at Louis Vuitton is far from the only thing<br />

that makes fashion fashionable today. Alessandro Michele breaks all<br />

conventions and shapes a very own aesthetic of maximalism, Céline<br />

sets with Hedi Slimane on the extreme contrast to Phoebe Philo and<br />

ultimately Givench breaks Givenchy obviously with Tisci’s streetwear<br />

influences, the list is endless. There is more diversity and change than<br />

ever before—that is the zeitgeist. The time of the great couturiers may<br />

be over. However, they are followed by brilliant, innovative visionaries<br />

with a view of the whole and beyond, which is more important today.<br />

HH Kim Jones, the 38-year-old predecessor of Abloh, is now with<br />

Dior, making the menswear there. Only a few models have worn classic<br />

shoes and boots on his debut collection. Does the shoe industry have<br />

to worry? Will we only wear sneakers in the future—the item that seems<br />

to have become the new fashion fetish?<br />

SH Sneakers have undoubtedly become a statement piece<br />

and now one of the strongest categories in the footwear segment.<br />

In KaDeWe alone, about 70% of sales in the men’s shoe department<br />

are generated from sneakers, which have thus overtaken the formal<br />

shoe. Designer sneakers from luxury brands such as Balenciaga, Gucci,<br />

Alexander McQueen and Saint Laurent are an important part of our<br />

range, as well as classic manufacturers such as Santoni or John Lobb<br />

who have expanded their collections through various sneaker models.<br />

Here we notice that the sneaker models of the brands, which are<br />

actually specialized in classic shoe models, are selling almost as well, if<br />

not better. Streetwear brands are taking advantage of the scarcity of the<br />

product and the social media hype to reinforce the traditional supply<br />

and demand model.<br />

HH Burberry boss Marco Gobbetti justified his decision in<br />

March to have former Givenchy designer Ricardo Tisci appointed as<br />

creative director of Burberry with the statement “His ability to combine<br />

streetwear with high fashion is extremely relevant for today’s<br />

luxury customer. “ Similarly, Michael Burke, chief executive of<br />

Louis Vuitton, commented on the appointment of Virgil Abloh:<br />

“Virgil is incredibly good at creating bridges between the classic<br />

and the zeitgeist of the moment.” Are brands such as Burberry and<br />

Louis Vuitton no longer viable without these connections? Or are<br />

they being completely redefined with streetwear fashion styles?<br />

1<br />

3<br />

SH Without a doubt, Riccardo Tisci established Givenchy during<br />

his 12 years with the brand—he was the first to combine streetwear<br />

with high fashion in a unique way, but Riccardo’s visions are also<br />

contemporary elegance and bizarre romance. Burberry approached<br />

the topic of luxury street style in cooperation with Gosha Rubchinsky<br />

before. With mastermind Tisci Burberry, I think it’s the perfect formula.<br />

He is enormously versatile, you can not reduce it purely to his street<br />

style coolness factor. I look forward to Riccardo’s (at least partially<br />

ironic) interpretation of the heritage of the British cult label and his<br />

typical game of opposites, because he masters this like no other. As<br />

always, Marco Gobbetti proves the right nose here. Although far less<br />

experienced, Virgil Abloh is also cornered too much. The man just has<br />

it. He sets signs and clear statements, even though tailoring admittedly<br />

is not one of his strengths. Carefully thought through to the smallest<br />

detail, he puts everything in a nutshell, pursuing his vision undeterred—<br />

few couturiers are capable of doing so.<br />

HH As a buyer of one of the most important international<br />

department stores that offers international designers and top-class<br />

brands on over 60,000 square meters of retail space, these changes<br />

will certainly have an influence on brand selection and communication.<br />

How does KaDeWe react to these trends?<br />

SH It’s exciting to get the new, well-publicized target group into<br />

the stores. Not only do they have a passion for logo and street style, they<br />

are primarily interested in the new and the unconventional, and that is<br />

the basic meaning of fashion. It is important not only to focus on wellknown<br />

Collaborations, Limited Editions and the Big Names—above all,<br />

of course, Off / White. Especially in this segment, you can constantly<br />

discover new brands to offer this very informed crowd a unique mix<br />

and sometimes to stay one step ahead. Labels such as A Cold Wall, Y<br />

/ Project, Heron Preston and Unravel are among them. Dynamic is the<br />

“key”—in every sense of the word—a conscious departure from the<br />

mainstream, much faster in terms of assortment and communication,<br />

much more spontaneous.<br />



Fashion<br />

Words by Lindy Siu<br />

We can be heroes<br />

just for one day<br />


Street Couture,<br />

With a Berlin Edge<br />

True to its Berlin DNA, MARCELL VON BERLIN embodies progressive diversity and urban<br />

glamour in its distinctive street couture. The label’s interpretation of edgy urban styles using<br />

the finest quality Italian fabrics offers a delightful integration between casual streetwear<br />

and exclusive luxury.<br />

The merging of the two contrasting worlds is further underscored with the<br />

inspired placement of an in-store Späti—a signature Berlin late-night convenience store—<br />

in the brand’s flagship store on Friedrichstrasse in Berlin, which offers guests an<br />

assortment of typical German candies and sweet treats. That’s one cool way of putting the<br />

street in haute couture.<br />

As a designer, MARCELL VON BERLIN is as versatile as he is creative. His<br />

creations have been worn to grace many a red carpet, standing out with his signature<br />

geometric cuts and innovative materials. As the brand continues to pave the way towards<br />

fashion that’s more inclusive and accessible, MARCELL VON BERLIN prepares to open its<br />

first international store on Melrose Avenue, Los Angeles, before the end of the year—a<br />

fittingly funky, trend-setting neighbourhood for the street couture label’s first US store. A<br />

natural progression in the brand’s evolution since its inception in 2011, the label’s high-end<br />

street style is an ideal fit with the laidback, trendy LA vibe.<br />

Its iconic Berlin Boy and Berlin Girl series—a tribute to Berlin’s urban<br />

charm—features a provocative combination of street style imagery and old<br />

German typography. In conjunction with its LA store opening, this quintessential<br />

line of ready-to-wear sweaters and t-shirts will be adapted and launched as<br />

LA Boy and LA Girl, with distinctive design elements symbolizing the close connections<br />

shared by the two sister cities. Swimwear and sliders will also be included in the LA edition<br />

for those warm summer days.<br />

Further preserving its authentic Berlin heritage and staying true to its brand<br />

identity, the LA store will also have an in-store Späti for non-Berliners to get a taste of the<br />

city’s unique street culture.<br />

Let’s applaud the fall of the couture wall.<br />

1<br />

5<br />



1<br />


Que será,<br />

será<br />

@IsabelitaVirtual on the rise of the<br />

digital world and the extinction of<br />

the printed matter<br />

The future’s not<br />

ours to see<br />

In a world where influencers have become the new<br />

trendsetters, the question of where fashion publications<br />

stand in terms of relevance and potential for commerce<br />

is more important than ever to marketers and publishers<br />

alike. The question is no longer if and when luxury brands<br />

should embrace the digital opportunity, but how they<br />

should go about doing it.<br />

@IsabelitaVirtual aka Isabel Martinez is a young<br />

Spanish creative whose universe has enchanted the world<br />

of social networks. Born and raised in Barcelona, Isabel<br />

is an award-winning creative director and photographer<br />

who has collaborated with brands such as Dior, Hermès,<br />

Kenzo, Tiffany & Co, Coach, & Other Stories, Sony, Viktor<br />

& Rolf, Boucheron, Delpozo, and The Moscow Ballet. Her<br />

popularity on Instagram has grown exponentially with over<br />

680 thousand followers. The co-founder of Instagram,<br />

Kevin Systrom, named her one of his 3 favorite fashion<br />

accounts in an interview with i-D Magazine.<br />

In 2018, the @IsabelitaVirtual Instagram<br />

Gallery was honored by the Webby Awards<br />

(hailed as “the internet’s highest honor” by The<br />

New York Times) in the category of Best Social Content<br />

in Art & Culture alongside powerhouse cultural<br />

institutions such as The Metropolitan Museum of Art,<br />

the Guggenheim, and LACMA.<br />

Martinez, who has to-date not posted a single<br />

selfie, recently called for 12 different artists—who follow<br />

her on Instagram and whom she believes connect with<br />

her artistic vision on some level—to create portraits of<br />

her based solely on the images on her Instagram account,<br />

without knowing anything about her physical self.<br />

Since Isabel Martinez also has numerous<br />

collaborations with famous magazines, W magazine<br />

amongst them, we were keen for some words of advice<br />

on how to avoid the extinction of iconic print titles. Recent<br />

examples include the legendary Interview magazine<br />

which closed down just 6 months ago; Village Voice, the<br />

independent weekly New York City newspaper which will<br />

cease to be in print; and even Teen Vogue. Condé Nast—<br />

owner of Teen Vogue, with a reported loss of about $120<br />

million in 2017—will also end its print publication, with plans<br />

to sell three of its titles: Brides, Golf Digest, and W, based<br />

on a recommendation by the Boston Consulting Group.<br />

1<br />

9<br />


@IsabelitaVirtual<br />

Fashion<br />

Interview by Holger Homann<br />

HH In the current climate when<br />

magazine publishers are reporting vastly<br />

declining circulation, even of the most<br />

prestigious titles, (with sales of the top 100<br />

magazines in UK and Ireland having declined<br />

by over 50% since 2000),<br />

would you consider the<br />

printed fashion magazine<br />

to be an endangered<br />

species? Or in short:<br />

is print dead?<br />

the experience of reading.<br />

The ritual of spending time<br />

and enjoying the moment.<br />

On digital platforms,<br />

we have access to<br />

millions of images<br />

and articles, which<br />

2<br />

0<br />

fulfils the voracity for<br />

content. In print it’s<br />

not about quantity but<br />

always about quality.<br />

This leads us to the second<br />

reason, which is focused<br />

on the object itself. Today,<br />

print magazines should be<br />

the haute couture of fashion<br />

editorials, to keep this<br />

glamour that attracted fans<br />

IV I don’t think<br />

so. Obviously it’s been<br />

hard for some magazines,<br />

particularly the ones that<br />

were not so appealing<br />

in their print version to<br />

compel readers to spend<br />

money on them. Why<br />

should I buy a magazine<br />

when I can get the same<br />

content for free? Well, I<br />

find at least 2 powerful<br />

reasons: the first one is<br />

from all over the world<br />

and of course, to win<br />

followers in social media.<br />

On the other hand, we<br />

should turn our heads to<br />

the rise of independent<br />

fashion and lifestyle<br />

magazines, focused on<br />

niche audiences with a<br />

high interest in the issues<br />

they are related to.<br />

HH The hottest<br />

topic in the media<br />

business right now is the<br />

unexpected growth in paid<br />

subscriptions. If the growth<br />

of subscriptions is driven in<br />

part by frustration with the<br />

pervasive advertising we<br />

are subject to, is the fashion magazine mainly<br />

financed by the sales of advertisement fit for<br />

the future, or the reason for its decline?<br />

IV The growth in paid subscriptions<br />

is the evidence that magazines have “real<br />

lovers”. Advertisers should take advantage<br />

of this fact now, more than ever, and invest to<br />

touch the hearts (and wallets) of readers. There<br />

is an enormous opportunity for advertisers<br />

and publishers to not do conventional ads but<br />

interesting content. Since the beginning of<br />

their creation, magazines<br />

have been a catalogue<br />

for brands. Net-a-Porter<br />

was the evolution of this<br />

idea in a very honest way.<br />

Print magazines should<br />

collaborate with brands<br />

to explain relevant fashion<br />

stories. In digital, it’s the<br />

natural way of doing it, but<br />

in print, advertising was<br />

always the annoying price<br />

that readers paid. Now<br />

the relationship between<br />

advertisers and editors<br />

is evolving into valuable<br />

content and an invaluable<br />

increase of fans.<br />

language of the brand/<br />

titles and the digital<br />

language.<br />

HH Teen Vogue,<br />

once a prized brand in<br />

Condé Nast’s portfolio,<br />

has been cut down to four<br />

issues per year. Teen Vogue<br />

will now become an onlineonly<br />

publication. Is this the<br />

proof of a continued trend<br />

as younger audiences and<br />

digital natives move away<br />

from print?<br />

HH<br />

What could<br />

be the best strategy for a<br />

publisher deeply rooted in<br />

printed titles to adapt to<br />

the digital economy?<br />

IV There is<br />

probably not a unique<br />

solution that works for<br />

all titles. However, there<br />

are some common<br />

points that are a must<br />

to build a community:<br />

time and money. Quite<br />

obvious, right? But there<br />

are still companies that<br />

don’t understand this.<br />

Also to find the correct<br />

balance between the own<br />

IV Younger audiences<br />

have less purchasing<br />

power but they are willing<br />

to spend it on products/<br />

services they are in love with. Even online<br />

magazines like Rookie are editing books.<br />

HH Is the reinvention of magazine<br />

brands online such as Teen Vogue the only<br />

solution to help replace the fall of print in<br />

terms of advertisement revenues?<br />

IV Advertisers are where audiences<br />

are. So the question should be how to make<br />

your audience grow.<br />

HH<br />

On the other hand, independent<br />

magazines are seeing a<br />

rise in readership through<br />

a hybrid of print and<br />

online publications. What<br />

went wrong in terms of<br />

developing adequate<br />

strategies to bridge once<br />

prestigious and successful<br />

printed titles such as<br />

Details and Teen Vogue<br />

with the digital era?<br />

IV I see a tendency<br />

of forgetting what is the<br />

real DNA of printed<br />

magazines in the transition<br />

to digital. Most of them<br />

are very similar to each<br />

other and there is a lack<br />

of personality.<br />

HH As our dependence on<br />

social media grows, and it becomes<br />

more integrated into our lives, we’re<br />

becoming more influenced by what<br />

we see online than ever—how do<br />

you consider the effects on fashion?<br />

IV We are witnessing<br />

something unprecedented. Regular<br />

people are turning into trends<br />

prescribers. This is amazing and it’s<br />

forcing the fashion establishment<br />

to be more innovative. However,<br />

all of us are subjected to what we<br />

call the “dictatorship of likes”.<br />

Brands repeat what audiences<br />

like the most, which is normal,<br />

taking into account the market<br />

but it’s not that<br />

healthy for<br />

opening minds and<br />

bringing in something new.<br />

HH Fashion was<br />

presented to us in the<br />

past mainly through glossy<br />

magazines such as Vogue.<br />

Fashion in that way was<br />

kept exclusive, determined<br />

by designers and magazine<br />

editors. With platforms like<br />

Instagram, we have the<br />

chance to become our<br />

own magazine editors,<br />

sharing our personal style<br />

with potentially millions<br />

of users. To what extent<br />

do you think this will<br />

change the way fashion<br />

is perceived and how<br />

brands connect with their core audience in<br />

the future? Will the printed fashion magazine<br />

stay in the picture?<br />

IV Democracy has arrived in fashion.<br />

It’s true that everyone can post content but we<br />

need to keep in mind that the content an ego-<br />


Illustrations by @ConradRoset, @CarlaFuentesArt, @Cristina daura _@CDaura, @GilButton, @AgataWierzbicka, @Velwyn, @OneEyeGirl,<br />

@Laura_Laine, @FebruaryJames, @juan_cris_smiley, @YaelHupert<br />

blogger posts and the content a professional<br />

journalist offers is not the same. A magazine<br />

shouldn’t compete with influencers in these<br />

terms but should offer a point of view about<br />

other issues. For instance Vice has a clear<br />

editorial line which is very<br />

different from, for example,<br />

Hello Mr. (a Brooklyn-based<br />

gay men’s magazine) or<br />

Wallpaper. So what printed<br />

fashion magazines should<br />

do is to be stronger in what<br />

defines them.<br />

HH Does that mean<br />

that magazines and advertising<br />

campaigns don’t<br />

have the influence they<br />

once did?<br />

IV Ten years ago,<br />

magazines and big<br />

advertisers were the only<br />

players in the game. Now<br />

the game has different<br />

rules. Thousands<br />

of creative people<br />

are challenging the<br />

big names of fashion with no budget<br />

but with ideas and enthusiasm.<br />

HH Of Instagram’s total<br />

audience, 200 million users follow at<br />

least one fashion account which allows<br />

fashion companies to interact with<br />

their customers on a level that they<br />

could never do previously. Instagram<br />

has become a platform for fashion<br />

brands to connect with their audience<br />

directly, rather than through a catwalk<br />

show or print advertising campaign,<br />

opening up a whole new world for<br />

fashion marketers. Where do you see<br />

adapting yourself in regards to that<br />

new world?<br />

followers. In regards to brands’ relationships<br />

with influencers to increase social reach and<br />

maximise followers, do you see a risk of the<br />

creatives of the brand becoming just another<br />

marketing tool?<br />

On the other<br />

hand, the lack of concept<br />

is a big issue. There is a<br />

Spanish saying for this,<br />

“bread for today and<br />

hunger for tomorrow”.<br />

They are not planning<br />

long-term strategies. To<br />

focus on quantity (of<br />

likes, followers, comments,<br />

retweets and so on) has<br />

nothing to do with quality.<br />

HH Social networks<br />

are not only a place<br />

where users can express<br />

themselves but also a<br />

large-scale platform for<br />

IV The strategy of<br />

well-known brands (fashion<br />

labels or editorials) is to<br />

identify and collaborate<br />

with creative people not<br />

so much for their strong<br />

fan base, but more so for<br />

their very special point<br />

of view. But the term<br />

“collaborate” is tricky.<br />

This means all too often,<br />

to work almost for free<br />

with visibility as the only<br />

remuneration. Powerful<br />

brands that are aiming to<br />

be patrons of young people<br />

are not paying them for<br />

their creativity.<br />

one sole picture are two basic rules.<br />

HH The Social Media Marketing<br />

market is growing and new platforms and<br />

services appear every day to simplify the<br />

lives of influencers and<br />

advertisers. In terms of<br />

that trend, where do<br />

you see a chance for a<br />

magazine publisher to<br />

contribute to the future<br />

world of fashion?<br />

IV The fashion<br />

industry has the connections,<br />

the power, and<br />

what is more important,<br />

the glamour aura that<br />

makes fashion aspirational.<br />

I’d encourage them<br />

to take more risks and<br />

to work closely with<br />

technological startups to<br />

create relevant content.<br />

Some time ago I was<br />

talking with the Head of<br />

Digital of a very well-known<br />

“Maison”. He wanted to<br />

invest in digital, beyond<br />

celebrities, and I<br />

asked why he couldn’t<br />

do it. He told me an<br />

anecdote: When the 2<br />

maison was looking<br />

for someone to take<br />

over his position,<br />

1<br />

the job requirements<br />

included “at least 10<br />

years of experience with<br />

Instagram”, but Instagram<br />

was launched in 2011...<br />

This is a very illustrative<br />

example of old mentality.<br />

IV Isabelita Virtual<br />

was born on Instagram, but<br />

the platform is evolving so<br />

fast that what worked six<br />

years ago maybe doesn’t<br />

work today. I’m always<br />

trying to be loyal to my<br />

own vision, to evolve<br />

my aesthetic but trying<br />

not to copy others and<br />

also to expand the limits<br />

of the platform which is<br />

something really important<br />

to me. Instagram is plenty<br />

of bold images fighting<br />

to gain the attention<br />

of viewers in a second.<br />

Sometimes I find a lack of<br />

concept. I want something<br />

that goes further than a<br />

couple of impacting photos.<br />

HH In terms of influencers claiming<br />

to generate a wider conversation around<br />

fashion brands, any profile that can add<br />

value to a brand can be involved. This value<br />

is generally measured by the volume of<br />

promotion, advertising,<br />

and selling. This means<br />

that influencers play an<br />

important role in this<br />

industry and their influence<br />

will grow further.<br />

But almost 50% of the<br />

industry considered microinfluencers,<br />

with 10k-100k<br />

followers, as the most<br />

effective for their campaigns.<br />

Only 11% chose celebrity<br />

influencers with 1.5 million<br />

followers as the most<br />

effective marketing partners.<br />

How can a brand find the<br />

right influencer?<br />

IV They should<br />

think about what they<br />

want to reach. We are used to seeing<br />

celebrity influencers selling a Dior bag today<br />

and a Chanel one tomorrow. In this way it’s<br />

complicated to create a real link between the<br />

brand and the influencer’s values.<br />

So to have a mid-term<br />

relationship and to think of content beyond<br />

We’re in between two<br />

generations and the<br />

transition to digital is<br />

not always easy. I feel<br />

really lucky collaborating<br />

with brands like Delpozo<br />

and his Creative Director<br />

Josep Font and their<br />

team, who have pristine<br />

ideas about the importance<br />

of extending a<br />

brand’s values to social<br />

media. Regarding magazines,<br />

people like Alessia<br />

Glaviano or Chiara<br />

Nonino from Vogue Italia<br />

are doing excellent<br />

work, also Sarah Leon<br />

in W Magazine. These<br />

are just some examples<br />

of professionals doing their best to stay<br />

relevant not just in printed magazines but also<br />

in digital.<br />


Who’s NEXT?<br />



President of Next Model Management Los<br />

Angeles, Alexis Borges, who spotted Lucky<br />

Blue Smith’s potential at age 10, shares his<br />

thoughts on the future of the catwalk. Lucky<br />

Blue Smith has become the world’s most<br />

famous male supermodel with over 3.3m<br />

Instagram followers. Despite that, more<br />

non-white, plus-size, trans, non-binary, and<br />

over-50s models walked the Spring 2018<br />

runways than in any other season, with New<br />

York leading as the most racially diverse<br />

city. Yet it took 20 years to have another<br />

black model open a Prada runway show, the<br />

last being Naomi Campbell in 1997! If color<br />

doesn’t matter anymore—does gender,<br />

age, or size? Are African and transgender<br />

models simply 2018’s flavor and just<br />

fashion’s way of capitalizing on popular<br />

public trends? How radical an entire industry<br />

becomes when it’s desperate to reach the<br />

Gen Zs while still sticking to the (outdated)<br />

concept of “seasons”, and “menswear” vs<br />

“womenswear”. And what does it mean for<br />

scouting the new breed of models?<br />


Alexis Borges<br />

Fashion<br />

Interview by Holger Homann<br />

talent that is being pushed out. I don’t scout models based on trends,<br />

I scout models that I believe would appeal to my fashion peers. There<br />

are models that will be able to cross over and do men’s or women’s,<br />

but there are models that simply will never cross, nor should they<br />

have to. There is a difference between a female physique and a male<br />

physique. Within this gender identification, there will also always<br />

be different builds that will appeal to a more athletic consumer, or a<br />

high fashion consumer.<br />

HH I consider Bryce a good example of a rather “gender fluid”<br />

cast. Is the line-up of future models at Next to be perceived as a<br />

reflection of the diversity of our society in terms of gender, religion,<br />

race, sex etc. rather than an ideal of just “beauty” and how the industry<br />

defines the ideal of beauty?<br />

HH You once spotted a 10-year-old Utah boy who then got signed<br />

by the age of 12 and became one of the most popular male models:<br />

Lucky Blue Smith. How often does it happen, that you see such potential<br />

in a future model, when that person is perceived by others as simply<br />

a good-looking kid?<br />

AB It happens a couple of time a year for sure, but there are a lot of<br />

factors that come into play. Finding them is one thing, however, whether<br />

or not they reach their potential is a whole other thing. It all depends<br />

on such things as school trajectory, religion, geographic location, family<br />

dynamics, family beliefs and many other things, but mainly they have<br />

to want it and work hard for it. I can’t want it for them, you know what I<br />

mean? I pride myself on my keen eye for spotting potential models—it<br />

goes way past whether they are a good-looking kid or not. Most are not<br />

so good-looking or obvious “models” as they are young and may be<br />

holding on to baby weight, or acne and all the other wonderful things<br />

we have to go through as teens. When I spot a kid with potential, I’m<br />

looking at them from head to toe, I’m looking at cheekbones, length of<br />

arms and legs, how they hold their shoulders, how they stand out or not<br />

stand out in a group if they are with friends, etc.<br />

HH In terms of fashion’s relationship with inclusion—do you<br />

consider the growing casting of diverse models as just a trend or a<br />

commitment of an industry to a more modern, more open society?<br />

AB Well this time, I hope it’s not a trend. I have seen this wave of<br />

“inclusion” in fashion many times before, throughout my 30 plus years<br />

as a manager. I think as human beings, fashion or not, we should have<br />

evolved by now, in something so simple as being inclusive of all beings<br />

regardless of race, color, religion, or sexual preference. I hope this time<br />

it sticks, and in the near future there will be no need for talks of inclusion<br />

as it will be the norm. That would be ideal!<br />

HH Do you see any progress within the fashion industry in terms<br />

of the creators and business people of the industry becoming more<br />

diverse—in making model decisions rather than who’s on the runway?<br />

AB In editorial, fashion shows and fashion advertising, yes, I see a<br />

difference, but unfortunately we are only just seeing an increase mainly<br />

in African American models. There has been little to no noticeable<br />

increase in Latin/Hispanic, Asian, Indian and other models. And when<br />

it comes to e-commerce, we still get breakdowns that say looking for<br />

1 African American girl or boy. Yet they feature dozens of Caucasians<br />

models. Also they usually offer a lower rate, which is just messed up. The<br />

fashion industry has a long way to go, as far as I’m concerned.<br />

HH In regard to the topic of gender fluidity, do you think model<br />

agencies will also increasingly refer to trends within the society and its<br />

needs to explore the concept of individuality in general, rather than just<br />

matching the demands of the sometimes capsuled world of fashion,<br />

which still sticks to the rules of, e.g., menswear vs womenswear?<br />

AB I have been representing gender neutral to transgender<br />

models since the late 80’s with iconic people like Connie Girl, and<br />

costume designer Zaldy. I think agencies shouldn’t follow trends; we<br />

are the managers, and we are a big part of the contribution of the<br />

AB Very good question, however, the answer is yes to both. We<br />

have to cater to the consumers as well as the industry needs, while<br />

retaining our creative power to sign talent we believe are worthy of<br />

our management. What we look for is always changing and evolving.<br />

What we make sure is always to stay on brand, on our mission of what<br />

fashion and beauty means to NEXT. We will always push for diversity and<br />

equality. That’s in our DNA.<br />

HH In times of technical achievements turning the smartphone<br />

into a camera, everyone seems to have turned into a photographer<br />

nowadays. Is the next step happening that everyone can become<br />

a model?<br />

AB No, not at all. I think what we are seeing is that there are a lot<br />

more opportunities for these potential models to be discovered, and as<br />

we know there has also been a lot more opportunities for truly talented<br />

people to get noticed.<br />

HH I have a very distinctive opinion about what one needs<br />

to be called a photographer. Can you explain what one needs<br />

to be a model?<br />

AB Height, fitness, personality, and ultimately how<br />

they photograph, and their ability to feel comfortable in front<br />

of the camera.<br />

HH I’ve had the pleasure to meet Cindy Crawford, Claudia Schiffer<br />

and Christy Turlington: do you think we will experience a revival of the<br />

Supermodel mania like in the pre-digital era?<br />

AB In my opinion that era has come and gone. Those girls will<br />

always remain the reason I got into the industry to begin with. Today’s<br />

consumer doesn’t seem to have the attention span to remain influenced<br />

only by a small crop of models that at the time dominated the industry.<br />

With that said, there will always be a few girls that rise above their peers<br />

and will be in demand. How long they will reign is still in question.<br />

HH Talking digital era: how important is street casting still, and<br />

how important have the social networks become in scouting?<br />

AB Digital casting is important for sure, and for the most part,<br />

easier than pounding the pavement, scouting for talent in a mall, airport<br />

or amusement park. But to me, there is nothing like street casting.<br />

Seeing the person in the flesh and getting an immediate feel for how<br />

they truly carry themselves without the pressure of a camera presence<br />

and the pressure of social media and the power of photoshop. I will<br />

always prefer street casting over social media casting.<br />

HH Since we will face not just a new generation of consumers but<br />

also buyers for retail worldwide: do you think we will still have runways<br />

as the most important stage to present a fashion brand’s new collection,<br />

or in times of AR and VR, do you think these new technologies will<br />

take over soon?<br />

AB I think it will look very different down the road, shows will be<br />

more for “show purpose” and the theatrics and creative outlet of the<br />

designers. They will remain important for brand awareness, but not<br />

catered to the consumers. AR and VR and new technologies will take<br />

over—it’s inevitable. It may feel weird and different now, but it’s our<br />

future and part of our evolution.<br />

2<br />

3<br />


Ménage à trois -<br />

Threesome<br />

2<br />

4<br />


Walter Pfeiffer<br />

Fashion<br />

Words by Holger Homann<br />

Photo by Claude Gasser<br />

Models: Walter Pfeiffer,<br />

Roman & Julian Zigerli<br />

An artistic collaboration<br />

Yves Saint Laurent’s love of painting culminated in 1965 in a kind of tribute to the Dutch<br />

painter Piet Mondrian, whose geometric paintings became the pattern of his autumn winter<br />

collection shown in Paris. The fashion show was a triumph. The dresses, cleverly designed<br />

and tailored with all the finesse of haute couture, were dubbed “the best collection” by<br />

Diana Vreeland in The New York Times. The Mondrian line was an international success<br />

and a personal triumph for Yves Saint Laurent, who became the “King of Paris”. In the<br />

same year, the Mondrian dress also made it to the front page of ELLE, followed by Harper’s<br />

Bazaar and Vogue. Originals from this iconic collection—the blueprint for any future<br />

collaboration of art and fashion—can now be seen in the Rijksmuseum in Amsterdam,<br />

the V & A Museum in London, and the Metropolitan Museum of Art in New York.<br />

2<br />

In retrospect however, at least from my perspective, the most striking<br />

collaboration in 2017 was The Artist Series by Helmut Lang: a project that continues the 5<br />

over two-decade-long tradition of the brand’s collaboration with artists. The diverse<br />

collection features works by Peter Hujar, Carrie Mae Weems, Martine Syms, Andrew Miksys<br />

and Mark Morrisroe in the form of limited edition posters, t-shirts and other products.<br />

The series was launched with a collaboration with Walter Pfeiffer, whose shown<br />

works dates back to the period of his career in Zurich in the 1980s. Those “golden years,” as<br />

Walter describes them, are also the subject of the documentary “Chasing Beauty” by Iwan<br />

Schumacher, which premiered in autumn 2017. Towards the later part of the 1980s, Walter<br />

Pfeiffer retired from photography, again focusing on drawing and painting, disciplines in<br />

which he finally began his artistic career. A long overdue showcase of Pfeiffer’s graphic work,<br />

which weaves a rich dialogue with his photographic works, is scheduled to be published in<br />

October this year, in an artist’s book by the Edition Patrick Frey with the title ‘Bildrausch.<br />

Drawings 1966 - 2018.’ It was also the Swiss publisher Patrick Frey who introduced Pfeiffer<br />

to a wider audience in the early 2000s. The two published the book “Welcome Aboard”<br />

featuring his most beautiful photographic works. Walter, almost 60, having spent the last three<br />

decades as a photographer, suddenly found that his photos were more popular than ever.<br />

For his 15th collection, Julian Zigerli—an eponymous brand renowned for<br />

unique collaborations with artists, taking inspiration from their evocative work to inspire<br />

his own bold aesthetic—celebrates its history by turning to its archives for key shapes<br />

for A/W18. Julian approached Walter Pfeiffer, whose portraits of friends, lovers, still life<br />

and scenery are always taken with a large dose of fun, to artistically translate his colourful<br />

vision of the male form into a collection for both men and women. Known for exploring the<br />

fluidity of gender and sexuality in relation to the male body, this collaboration with Julian<br />

Zigerli exudes a sense of liberation that you would expect.<br />


2<br />

6<br />


Photos by Walter Pfeiffer<br />

2<br />

7<br />


Shaun Ross :<br />

Rebel<br />

with a cause<br />

2<br />

8<br />

Transformation and<br />

Triumph of a Misfit<br />

Shaun Ross not only paved the way for albino models within the industry. He also starred<br />

in campaigns for the likes of Alexander McQueen, Givenchy, and Nike (just to name a<br />

few), and appeared in Beyoncé’s “Pretty Hurts” music video. After the release of his debut<br />

single “Symmetry”, he is now determined to make his mark on the music industry with his<br />

second single “Chrysalis,” a song about the beauty of transforming into the truest version<br />

of yourself. We asked Ross to share his views about transitioning from the runway to the<br />

recording studio, and what to expect from him in the near future.<br />


Shaun Ross<br />

People<br />

Interview by Elliott-Alfred Attia<br />

Photo by Johnny Kitsune<br />

EA You’ve been a prominent frontrunner<br />

for inclusion within the fashion industry<br />

for quite some time now. What have you learnt<br />

most from your personal career journey, and<br />

what advice would you give to others joining<br />

the fashion industry?<br />

SR My dream was never to jump into<br />

the fashion industry, at first my passion was<br />

dance. I was very inspired for years about<br />

being a performer, and fashion found me.<br />

I had no idea what I was getting myself into and<br />

I’ve made mistakes not knowing so along the<br />

way. I would definitely tell someone inquiring<br />

about the fashion industry to be cautious of<br />

the relationships you create and nurture them<br />

as if you know them well. Never fear others’<br />

opinions they may place upon you, and stay<br />

true to the vision.<br />

EA Who are your role models, or who<br />

inspires you within and also outside the<br />

fashion industry?<br />

SR I get mainly inspired by those<br />

around me who sometimes chime in to give<br />

their opinion on what I’m trying to do, in<br />

inspiring the world we live in, and to create a<br />

better and brighter future for diverse cultures.<br />

EA What is the biggest challenge you<br />

have had to face so far and how did you<br />

overcome it?<br />

SR I used to have issues with validation<br />

from an industry I wasn’t accepted into,<br />

therefore I would always look past it, allowing<br />

myself to push my face in the spaces where<br />

it wasn’t wanted. I then noticed that I was<br />

valid and had my own personality, so why not<br />

continue.<br />

EA H&M made waves in late May<br />

when it launched its first ever Pride collection,<br />

featuring a range of items with rainbows and<br />

pro-LGBTQ+ phrases. You were involved as<br />

a model. How important do you think your<br />

display of pride is to your following? What has<br />

the response been to this?<br />

SR It was amazing working with the<br />

team at H&M. They have a great eye for<br />

diversity. They’ve always been inclusive<br />

towards others and I wanted to be a part of<br />

this matter. The response has been amazing<br />

from fans all over.<br />

EA At the end of 2017, you debuted<br />

your first single ‘SYMMETRY”. How<br />

challenging has it been establishing yourself in<br />

this new creative outlet—did you always know<br />

the direction you wanted to go in, if you were<br />

to delve into making music?<br />

SR At first, I thought it would be<br />

extremely complicated due to the fact that<br />

most people know me from fashion, so I was<br />

a little bit hesitant. Then I realized that it’s all a<br />

part of the creative process, so I decided to do<br />

it anyway, no matter what people say or think.<br />

It was very nerve-racking, I must admit.<br />

EA Do you think there is a difference in<br />

making a career in fashion vs the music industry?<br />

SR They are both two different<br />

industries underneath the same umbrella<br />

of entertainment. They are both extremely<br />

different but also the same; they both take<br />

creative power and thought.<br />

EA You have been a face to many<br />

campaigns, videos, runway shows—often<br />

collaborating with the creators. What has been<br />

your favorite collaboration in your career/<br />

personal life?<br />

SR Honestly, I don’t have a favorite—<br />

they’ve all been a part of my life/career, some<br />

better than others but more importantly, I’m<br />

happy to make an impact on the world.<br />

EA Do you think the fashion industry has<br />

in fact become more diverse on and beyond<br />

the runways, or has it just picked a trend?<br />

SR When I started in fashion, models<br />

like myself and Diandra Forrest created this<br />

shift in today’s fashion industry in looking at<br />

sexuality differently. We just knew how to be<br />

ourselves and it was just us at that moment in<br />

time. I think the fashion industry loves a good<br />

trend and charity story, which is fine because<br />

it sells, but I do believe they should take more<br />

time to try and understand it to the core,<br />

and they don’t.<br />

EA You claim transformation (and<br />

triumph) as one of the essential cornerstones<br />

of your life—can you give us more insights into<br />

the meaning of this in conjunction with your<br />

own biography and “Chrysalis”?<br />

In terms of transformation—what<br />

kind of effect does “Chrysalis” have in regard<br />

to your own life, and what do you wish it to<br />

have for the audience?<br />

SR I’ve completely transformed in so<br />

many ways, even down to the way I inspire<br />

the world. Some things don’t take<br />

that much of a touch and it shouldn’t.<br />

I used to feel so insecure, not about my<br />

look, but the way others perceived it. 2<br />

I learned to understand people will<br />

think what they want and it’s okay,<br />

it’s their logic.<br />

9<br />

EA I have the impression that<br />

“Chrysalis” is just the overture of something<br />

bigger or more to come. Do you think you have<br />

finally found your own way or “language”, so<br />

to speak, to express yourself and the topics<br />

which seem important to you to share with<br />

your audience?<br />

SR Absolutely not, but I’m getting<br />

closer by the day, and it feels good to figure<br />

out my own voice and language to connect<br />

with people in.<br />


Chez Arman<br />

Our Man of Music<br />

3<br />

0<br />

In 2010, Arman Nafeei was appointed by Mr. Balazs as the Music Director of all his properties—including<br />

Sunset Beach on Shelter Island and his three New York properties—to create a musical signature for<br />

those iconic venues. The man who made The Boom Boom Room boom with his eclectic sound mixture<br />

and hosts “Chez Arman” on dublab—a radio show introducing listeners to sounds, interviewees and<br />

poetry from around the world—is to open and run the new bar at celebrity favorite Chateau Marmont<br />

in Los Angeles. Having left Europe to make a career in New York and now living in Los Angeles,<br />

we chatted with Arman about his past, present and future.<br />


Arman Nafeei<br />

People<br />

Interview by Holger Homann<br />

Photo by Arman Nafeei<br />

HH How did you become a Music<br />

Director at the Standard Hotel Group?<br />

AN When I was a student in London, I<br />

was active in the art world and also worked<br />

as a DJ in various clubs and events. At some<br />

point I started to work more and more with<br />

Jay Jopling’s White Cube gallery. When I<br />

completed my studies, I was desperate to<br />

move to New York to work in the legendary<br />

Boom Boom room, which was the coolest club<br />

describe yourself in terms of your profession?<br />

AN Entertainer certainly describes what<br />

I actually do much better. I’ve been working<br />

as a DJ since I was 16. Nevertheless, I wasn’t<br />

too happy about calling myself a DJ because<br />

I never intentionally planned to become just a<br />

DJ, considering it to be too monotonous and<br />

pretty exhausting as well after a while. Of<br />

course it’s lots of fun, but also full of ups and<br />

downs. In my current situation, I can choose to<br />

do fewer but more distinguished<br />

gigs. I love to host and entertain<br />

people. Be it at a dinner, a gig or any<br />

other event—I enjoy that as much as<br />

I do.<br />

HH Someone who works at<br />

Chateau Marmont is in daily contact<br />

with VIPs. Are there any personal<br />

relationships or friendships that<br />

have emerged from your job?<br />

AN Yes, of course, but that<br />

happens quite naturally as you get<br />

to know people. Celebrity or not<br />

doesn’t matter to me. The main<br />

thing is whether it clicks. I have met<br />

many celebrities over the years and<br />

there have been disappointments as<br />

well as positive surprises.<br />

HH For some time<br />

now you have your own radio<br />

format (“Chez Arman”: a radio<br />

show introducing listeners<br />

to sounds, interviewees<br />

and poetry from around the<br />

world). What do you like<br />

about this work especially in<br />

relation to the job of a DJ?<br />

3<br />

1<br />

in the world back then. I didn’t know Andre<br />

but fortunately it turned out that Jay was very<br />

good friends with him. It took a few months,<br />

but Jay finally convinced Andre to give me a<br />

chance, and I think both of them were happy<br />

with the way things turned out. I certainly was!<br />

HH You then left New York for Los<br />

Angeles to work as a “Directeur d’ambiance”<br />

at the Chateau Marmont. Why this title?<br />

AN Andre had been calling me his<br />

Director of Ambience for years, which I never<br />

liked too much since my official title was<br />

Music Director. But after a while, I got more<br />

and more used to it, and due to my wideranging<br />

experiences in the Music business far<br />

beyond the usual tasks of a Music Director,<br />

the title seemed to fit much better as I grew<br />

more comfortable in the role. I decided to<br />

translate the title into French though—it is<br />

so much funnier.<br />

HH In my opinion, you are more of an<br />

entertainer rather than a DJ. How would you<br />

AN The radio show actually<br />

happened quite spontaneously. I<br />

was once a guest at Dublab radio,<br />

which is a very cool underground<br />

station in LA. I got talking with<br />

the people who run the station—<br />

et voila two weeks later they<br />

offered me a small slot in their<br />

program. The show is pretty easy to handle for<br />

me because I have no fixed date and so<br />

I can adjust it to my actual schedule. The<br />

name of the show and the concept turned<br />

out to be almost like being a guest in my<br />

home for one hour—entertained by music,<br />

by other people or texts.<br />

HH Which project currently occupies<br />

you most?<br />

AN The biggest project I’ve been<br />

working on for almost two years is the opening<br />

of my own club in the chateau, which should<br />

hopefully be completed by the end of this year!<br />

HH Could you also imagine doing<br />

something completely different? Imagine<br />

being able to wish for anything at all!<br />

AN There is a lot I can think of. Like<br />

opening my own spa, cinema or a beach club.<br />

But it can also be a completely different thing,<br />

where I choose to move to the countryside and<br />

become an organic farmer.<br />


Material<br />

Girls<br />

3<br />

2<br />

The Vintage Glamour<br />

of the Work of<br />

Symone Ridgell<br />

While watching “Channel Surfing” and<br />

marvelling at its outstanding aesthetics<br />

thanks to the casting of Peyton Knight<br />

and Elizabeth Ayodele, with its artistically<br />

crafted “vintage glamour” yet modern<br />

vibe, we went behind the scenes with<br />

Symone Ridgell. She shares her ideas and<br />

ideals about the making of a fashion film,<br />

with a narrative derived from her personal<br />

career, revealing her standards of what she<br />

considers to be a film of value.<br />


Symone Ridgell<br />

Fashion<br />

Interview by Holger Homann<br />

Photos by Symone Ridgell<br />

3<br />

6<br />

HH The New York Times once described<br />

you as having a “late-80s, early-90s thing”—<br />

watching “Channel Surfing”, I can see you<br />

stick to the glam—what is so fascinating about<br />

that time period you never lived in? How does<br />

it affect your daily life?<br />

SR I’m not sure at all. I have a theory<br />

that the decade one’s born into is constantly<br />

looking at least two decades before them,<br />

because that’s the age group that was cool<br />

when they were kids. Sort of how “Dazed<br />

and Confused”, “Boogie Nights”, and<br />

“The Wedding Singer” were so successful<br />

repeating the 70s/80s in the 90s. There’s this<br />

strange transition that happened to film after<br />

video emerged that I’m interested in mixing<br />

together, rather than keeping apart (especially<br />

in the digital/web-based era of video).<br />

HH How would you describe<br />

“vintage glamour”?<br />

SR I’d describe it as Helmut Newton’s<br />

“Cold Eye” mixed with your Mom’s<br />

old headshot.<br />

HH You are Director/Editor | Video<br />

Producer at PAPER magazine—tell us more<br />

about PAPER magazine and your contributions<br />

for that medium.<br />

SR PAPER gave me my jumping-off<br />

point and from there sparked a symbiotic<br />

relationship between the brand and my<br />

personal taste.<br />

HH Please tell us about the casting<br />

process for those shorts—did you have<br />

freedom of choice?<br />

SR I worked closely with the casting<br />

director and stylist, Ella Cepeda, who has a<br />

natural eye for both. I can’t take any credit.<br />

She just showed me her choices and I loved<br />

them both.<br />

HH You studied at the Parsons School<br />

of Art and Design. How important would<br />

you rate your academic background in terms<br />

of your current work, and how much more<br />

important has the actual experience become?<br />

SR I couldn’t imagine there being any<br />

other route for myself academically. I use<br />

everything I learned in my time spent there in<br />

all facets of my life.<br />

HH How important is the influence<br />

of photography in general, and fashion<br />

in specific?<br />

SR For me, very important. Fashion is<br />

where you create the character. It’s the same<br />

as wardrobing on a narrative feature.<br />

HH How important would you say<br />

Music and Pop plays in conjunction with<br />

your own work?<br />

SR Music is major. I don’t think I<br />

would’ve ever dove as deep into film without<br />

it. As a kid I would sit in the passenger seat of<br />

my Grandpa’s car listening to my iPod classic<br />

and think up music videos for each song<br />

playing that didn’t already have one.<br />

Sound is an incredibly manipulative source.<br />

With it, you can change the entire scope of an<br />

image with one good or bad move.<br />

HH You mentioned Gia and Sofia<br />

Coppola having a major influence on you<br />

for their storytelling styles. In terms of your<br />

own work—would you consider that you’ve<br />

achieved your own style?<br />

SR I do. I, however, don’t think it’s<br />

completely manifested, but I’m not sure I’d<br />

like it to. I’d like to constantly be changing<br />

themes within that style. I really look to<br />

Kubrick in that sense. He’s a director whose<br />

motifs followed throughout most of his work<br />

no matter the changing themes.<br />

HH In terms of influence by other<br />

directors, is there any European director you<br />

may claim to have an impact on your work?<br />

SR I’ve never thought about it like<br />

this, but I guess that all depends on if I’m<br />

shooting color or black and white. I come<br />

from a photographic background, so the two<br />

mediums are very separate in my mind. When<br />

I’m shooting black and white, it’s got to be<br />

Fellini and Resnais. It took me a second after<br />

starting college to make the transition from<br />

photo to film. So anything that can work as a<br />

still image really captures my attention when<br />

it then chooses to move.<br />

I found myself looking a lot to Dario<br />

Argento’s “Suspiria” during the filming of<br />

“Channel Surfing” for his vivid use of colors<br />

through unmotivated lighting.<br />

HH As a female director looking back<br />

at your own experience—do you feel the<br />

fashion industry should become more diverse<br />

in the direction of decision makers in terms of<br />

business and creative decisions?<br />

SR Absolutely. Yes. Speaking as a<br />

young, female, African-American, that’s a<br />

no brainer.<br />

HH Working in the west, east and south<br />

of the US—if you could choose, which would<br />

be your preferred city to work in?<br />

SR I prefer to write in the midwest, film<br />

in the east, and take a breather in the south.<br />

I grew up between Michigan and Florida,<br />

so bits and pieces of me belong to certain<br />

regions. Living in New York and not being<br />

able to have the parts of the other cities I<br />

call home readily available has been tough<br />

to navigate. Though, I’ve found ways to still<br />

create without having to travel miles to get<br />

there. New York is such a surprising place. You<br />

can find the suburbs and the beach amongst<br />

the city if you look for them.<br />

HH<br />

Can you tell us about your next project?<br />

SR I just wrapped two projects coming<br />

out this September. The first is a music video<br />

for the artist Mafalda. She’s got an incredibly<br />

smooth dark-pop sound. We met two years<br />

ago when I first started at PAPER on a<br />

shoot and this will be her first music video.<br />

The second is a piece highlighting several<br />

northeast based sex workers. I chose to film<br />

it in a 1970s porno homage, but instead<br />

of the sex workers playing their assumed<br />

roles, I flipped the script and gave them the<br />

role of the director on a porn set. I wanted<br />

to highlight their ability to direct<br />

their own careers.<br />


1<br />


One of these days<br />

these boots are gonna<br />

walk all over you<br />

3<br />

8<br />

Chris Francis sees fashion as art and does not have any intention to separate those worlds.<br />

After watching a shoemaker from France making shoes all night, he started trying to make<br />

his own the next day. By the end of the week, he had his first pair made. Encouraged<br />

by the results of his first attempts, he then turned his kitchen into a workshop, making<br />

more and more pairs of shoes—or shall I say “pieces of art made for walking”—inspired<br />

by the paintings of Kazimir Malevich, Bauhaus and some of them with hints of glam. As<br />

Los Angeles–based Chris Francis explains, a shoe is not only an architectural piece that’s<br />

supporting vertical human weight, but it’s also supporting a mechanical load. Therefore<br />

it has to move with the body, support the body, and still—look beautiful. We interviewed<br />

Chris to find out more about how shoes became his way to express himself.<br />


Chris Francis Fashion Interview by Elliott-Alfred Attia<br />

Photos by Chris Francis<br />

Chris Francis’<br />

radical way<br />

of making<br />

ready-to-wear<br />

shoes<br />

EA How important is the process of<br />

creating the shoe for you?<br />

CF I enjoy the process often times<br />

more than the result. I’m just trying to relax<br />

an overactive mind and nothing else seems<br />

to work. Designing and making shoes<br />

involves a complex thought process where<br />

every decision must be well orchestrated and<br />

strategically executed. My mind operates<br />

more efficiently when I’m in the studio. It’s like<br />

I’ve been given a race car and it only operates<br />

on high octane fuel and doesn’t operate to<br />

its full potential while driving on city streets—<br />

it needs a track.<br />

The studio is my metaphoric race<br />

track; I can run wide open and for me that is<br />

very relaxing.<br />

EA What is your favourite part of<br />

the process?<br />

CF Winning a game of chess against<br />

myself and seeing creations come to life that<br />

I can display as trophies. When a new design<br />

happens that has not been seen by myself<br />

or the rest of the world, I feel victorious but<br />

it’s hard to achieve that. My favorite designs<br />

end up being the unconventional ones. I find<br />

shoe designs that are already known to the<br />

world less challenging for me, because I can<br />

already see examples of them, therefore I<br />

anticipate the success of their creation. I love<br />

the idea that I may fail. If I feel like the design<br />

is too easy and there is not enough risk I’ll<br />

be apprehensive to go on a journey with it;<br />

I’d rather crash and burn than chew my arm<br />

off over some boring design that I don’t want<br />

on my shelf.<br />

EA What is the most challenging aspect<br />

when creating these shoes? Do you ever have<br />

creative block?<br />

CF Feeling the need to contribute<br />

my own design and expression, and achieve<br />

unique results when so much has already been<br />

done with this form. I hit creative blocks that<br />

are extremely frustrating and usually they<br />

arrive when I compare myself to others. The<br />

moment I stop and think about how a designer<br />

I admire has previously done something, or<br />

I realize that I have already done something<br />

with this form to break barriers, I start<br />

to hit a block.<br />

I start to ask myself, “What’s the<br />

point, why push this any further, is there<br />

anything left to contribute?”<br />

I look at my shelves and realize<br />

that I have contributed; there are shoes<br />

there that don’t exist anywhere else than<br />

from my own mind and seeing that pulls me<br />

back to creativity.<br />

When I’m building a collection, I<br />

refuse to look at other shoes or shoe books.<br />

I don’t want any subliminal influence or<br />

anything to compare myself to.<br />

EA<br />

Who is your ideal client?<br />

CF A kind one. I’m not intentionally<br />

exclusive to anyone. My neighbor gets the<br />

same dedication and quality as a superstar and<br />

it’s the same price no matter who walks through<br />

the door. My clients are all characters—it’s a<br />

mix of celebrities and creative people who<br />

just want a special pair of shoes; everyone is<br />

welcomed.<br />

EA<br />

Who do you make shoes for?<br />

CF People who aren’t afraid to stand<br />

out and who don’t need the crowd’s approval.<br />

My clients aren’t afraid to wear one-of-akind<br />

designs and probably prefer to, and<br />

that’s why they come. They know they can<br />

come to me and get something that isn’t<br />

mass produced. I don’t deal with too many<br />

people who are following the trends or the<br />

rules and if they are, they probably don’t<br />

know my name. I know every single customer.<br />

It’s like a family, I run this like a proper Italian<br />

restaurant and when you are here you are part<br />

of the family, names stay behind closed doors,<br />

I like it old school.<br />

EA What is your biggest struggle in<br />

terms of the process?<br />

CF<br />

Dealing with everyone who works here.<br />

The maker and the designer don’t<br />

get along, the designer is uptight and very<br />

demanding while the maker is like a disheveled<br />

anarchist, he can’t stand rules or being told<br />

what to do at all and thinks his ideas are better<br />

than the designer’s. The artist here is too<br />

thoughtful, he’ll sit and stare at the creation<br />

all day long while trying to make one decision<br />

only to make a change that doesn’t amount<br />

to anything. There’s the “architect”—he’s got<br />

no credentials as an architect but he thinks he<br />

knows better than everyone else in the house<br />

and that structural engineering surpasses<br />

design and art; he thinks he comes first. All of<br />

these characters get ahold of the phone and<br />

write posts on social media but the business<br />

guy erases all of them and tries to keep these<br />

guys quiet! None of us get along but we<br />

are all the same person, and it’s this friction<br />

combined with a seemingly endless amount of<br />

fuel that keeps the creations coming.<br />

EA What is your most prominent<br />

creative influence in terms of these shoes?<br />

CF Probably music? I visualize music<br />

where most people only hear it—many of<br />

my shoes are the result of this ability. Colors,<br />

shapes and ideas are usually generated by my<br />

way of processing sound. I once listened to<br />

Modest Mouse while making a pair of shoes<br />

and the pair unintentionally came out all grey<br />

and gloomy—there was no contrast, just cold<br />

grey tones. I love their music though<br />

and find it rich with creativity and<br />

depth, but it mostly looks cold and grey<br />

visually. I listen to them when it rains.<br />

During the Ten Acts of<br />

Brutalism collection, I pretty much only<br />

listened to Grandmaster Flash and the<br />

Furious Five. That collection was raw,<br />

3<br />

9<br />

coarse and real; it was heavy and I needed<br />

the sound of the Furious Five to lift ideas like<br />

that off the ground. The whole collection was<br />

made of concrete, steel and raw materials:<br />

they were shoes that looked like high rise<br />

housing projects. I don’t think I would have<br />

arrived at the same collection had I listened to<br />

anyone else.<br />

EA You have very eclectic influences—<br />

ranging from pop music to art. Tell us more<br />

about your landscape of influence?<br />

CF I have no limitations upon myself<br />

when it comes to exploration of music and<br />

culture, I want and need all influences. I’m not<br />

part of any scene so I don’t stand judgement<br />

for venturing out of the boundaries usually<br />

found within scenes. I’m listening to a punk<br />

band one minute and a pop band the next,<br />

rap, folk, country, gospel, hardcore, metal,<br />

there are no boundaries, no scenes, no rules,<br />

no one else to entertain other than myself. I<br />

enjoy some buildings and I’ve always tried to<br />

love art even though I’m not usually moved<br />

by it as much as I should be. Usually I am<br />

looking at art, trying to figure out what in the<br />

hell I’m looking at, and I include my own work<br />

in the statement.<br />

I studied shoemaking by following<br />

the outdated curriculum of the Bauhaus<br />

School. I put myself through the four year<br />

program and rigorously exposed myself to<br />

all types of building materials, architecture,<br />

craft, fine arts, textiles, drawing, painting,<br />


nothing was out of bounds.<br />

EA<br />

CF<br />

EA Do you ever<br />

get approached by<br />

brands for collaboration?<br />

CF I recently<br />

worked with a house<br />

helping to create their<br />

designs for a runway show<br />

in Cannes but we are not<br />

calling it collaboration.<br />

Things get tricky once<br />

a collaboration is<br />

announced, it starts to<br />

involve red tape.<br />

EA Can you<br />

imagine your work<br />

4 ever extending to<br />

0<br />

In regard to the almost sculptural<br />

shape of your shoes which are one-of-a-kind.<br />

Do you consider them more as a piece of art<br />

or a piece of design/fashion?<br />

I bridge both fashion and art and I’m<br />

equally in both worlds, but I’m mostly in my<br />

own world and that’s where I want to be. I’m<br />

making expressive objects that are wearable<br />

to various definitions of wearability. It’s hard<br />

to separate art from fashion in the bulk of my<br />

work and I think that’s exactly what I want. My<br />

shoes walk high fashion runways and show<br />

in art museums, they<br />

appeal to both audiences<br />

and those audiences are<br />

beginning to be one<br />

and the same, which is<br />

fantastic!<br />

other items of<br />

accessories, bags,<br />

jewelry?<br />

CF It has. I started<br />

by making leather<br />

jackets, then moved<br />

on to handbags before<br />

shoes. I enjoy making<br />

handbags, they have<br />

a lot of characteristics<br />

similar to shoes that<br />

engage my interest. Both<br />

shoes and handbags are<br />

structural, functional and<br />

three-dimensional and<br />

both are complex to<br />

create. Handbags have<br />

multiple compartments<br />

and demand clever<br />

design, they share<br />

construction techniques<br />

with shoemaking. I enjoy<br />

them. Jewelry design<br />

I’m not sure if I would<br />

ever enter, it’s not my<br />

thing. I enjoy jewelry on<br />

other people but not on me, I’m very simple<br />

in regards to my style. I just think it would be<br />

extremely difficult to be a jeweler, working so<br />

small and precise would be a challenge that<br />

I’m not cut out for.<br />

EA What does success mean to you?<br />

How do you achieve this?<br />

CF Success to me is a happy life with<br />

the people I love. I don’t need fancy cars or<br />

flashy brands to wear, I don’t need much. If I<br />

had unlimited funds I probably wouldn’t live<br />

very differently than I do now. I’d travel more.<br />

I feel like I have achieved success, I’m happy.<br />

I didn’t inherit anything except for a stack of<br />

punk rock records, I just worked really hard to<br />

achieve my goals and they were set in reality<br />

which made them obtainable.<br />

My operation started from an idea<br />

while hanging from a 73-story building, then<br />

became a reality while making my creations<br />

from a park bench. I have since exhibited in<br />

five museums, multiple galleries and on stages<br />

around the world. The shoes have shown<br />

in Paris and have walked French runways<br />

alongside the most respected fashion houses.<br />

I think what I have built is a great example of a<br />

success model. There has never been outside<br />

backing. The operation is entirely independent<br />

making its own creations in-house, by hand,<br />

without corporate influence or investors. I am<br />

able to keep art alive in my creations because<br />

of my lack of obligation to investors. This is a<br />

beautiful model of happiness, I’m proud of it!<br />

EA In terms of growing a business<br />

in the fashion industry, do you think<br />

there is a growing need for the creator’s<br />

mind rather than the franchised and<br />

industrialized collection?<br />

CF Growing a business in the fashion<br />

industry is very competitive and difficult, most<br />

fail. I don’t know if there is a growing need for<br />

the creator’s mind. If you are a creator for a<br />

corporate brand you certainly won’t be able to<br />

use your mind outside of your hired task and<br />

you won’t be encouraged to be a free thinker.<br />

You will make their products, sign your ideas<br />

away, while being locked into a strict NDA.<br />

The average consumer wants<br />

something affordable and quick, and they<br />

really don’t care how it’s made as long as it is<br />

of a quality that fits the price.<br />

The price point of a luxury<br />

handmade good typically renders the product<br />

exclusive, therefore the<br />

creator’s business must<br />

compete with other<br />

exclusive businesses that<br />

may have reputations that<br />

date back to the1800’s,<br />

whose logo is a symbol of<br />

worth and validity.<br />

I am seeing a<br />

huge interest in people<br />

wanting to make and<br />

people taking on trades<br />

such as shoemaking<br />

as hobbies. Surviving<br />

by doing it, I see very<br />

few. I survive by making<br />

shoes and in one of<br />

the most expensive<br />

cities in the world, that’s<br />

my job, it’s what I do, I<br />

play a real life game of<br />

chess. Everything is up<br />

to the consumer. They<br />

decide the fate of<br />

handmade goods versus<br />

mass produced corporate<br />

goods and to be honest,<br />

the average consumer<br />

is choosing mass<br />

produced fashion.<br />

EA Have you<br />

ever thought of hiring<br />

workers/apprentices to<br />

increase the number<br />

of creations?<br />

CF I’d like to have<br />

a team, I think ideas<br />

would lift off the ground<br />

better with a team. I’d<br />

have others offering input<br />

and that often makes<br />

for stronger designs. I’m<br />

realistic and understand<br />

the demand for custom<br />

shoes, growing in that<br />

way could be more of a<br />

financial obligation than<br />

a gain. On the bright<br />

side, not many houses<br />

can put a flag in the<br />

ground and say that the designer is the sole<br />

creator of every single piece produced by the<br />

house. I enjoy being able to do that, but it is<br />

getting to the point to where the workload is<br />

overwhelming.<br />

EA What’s the best advice you have<br />

received? (In terms of your career and<br />

being a creative)<br />

And in reverse, what’s your advice?<br />

CF An old man in the shoe business<br />

told me “If you can find anything else to do in<br />


your life to earn money go do it and leave this<br />

as a hobby, because you are committing to a<br />

hard life by taking this on and you are building<br />

a Spruce Goose, it’s never going to fly.” After<br />

he told me this I sort of felt defeated and my<br />

way of dealing with it was by developing the<br />

attitude of “Well I’ll just become a pilot of this<br />

Spruce Goose and fly my wild plane all over<br />

the place” and that’s exactly what I did.<br />

That old man put a spark in me<br />

because he told me that what I was doing was<br />

incapable of being done, so me being me, I<br />

worked extra hard to prove him wrong.<br />

After all I’ve seen and done, I will<br />

say that he was mostly right except for the fact<br />

that my idea flew. I’ve<br />

flown it all over the map,<br />

but it was his advice that<br />

probably helped me to fly.<br />

My advice<br />

to anyone wishing to<br />

make it as an artist, and<br />

I mean actually survive<br />

and pay your bills as an<br />

artist, is to skip art school<br />

and instead major in<br />

business or demand for<br />

your art school to offer<br />

business courses! The art<br />

and fashion worlds are<br />

business worlds. Your art<br />

can be beautiful and as<br />

important as the greatest<br />

art ever made, but it’s<br />

the artist who knows and<br />

understands business<br />

that will very likely be the<br />

one who succeeds.<br />

EA I see you have<br />

a love for RUN DMC. Is<br />

this a potential influence<br />

of work to come?<br />

CF They play<br />

regularly in the shop.<br />

Early punk and early Hip<br />

Hop are influential to<br />

what’s been made and<br />

what’s to come for sure.<br />

I grew up with punk and<br />

it gave me my bullshit<br />

detector. Early rap and<br />

hip hop had the same<br />

bones about it so I see it<br />

all as the same stuff.<br />

I liked these<br />

styles before they<br />

became products, before<br />

they lost their guts and<br />

became about bling<br />

and twerking or selling<br />

rebellion in shopping<br />

malls. Both punk and<br />

rap became such<br />

massive moneymakers,<br />

a capitalist’s dream, it’s<br />

now all about selling records and image. I<br />

love RUN DMC, but they opened the door<br />

for fashion and brand promotion in Hip Hop,<br />

they were one of the firsts to really have an<br />

image that fashion could latch on to. They<br />

were marketable, with a real cool look and a<br />

sound that bridged rock and rap. They were<br />

one of the first in that world to promote<br />

fashion brands in songs which exploded in to<br />

the situation we have now—the multi-million<br />

dollar branding and marketing machine.<br />

What I love about early rap is that a<br />

couple guys from project housing towers with<br />

no money could set up a turntable, hook it to<br />

a city light pole with no other instruments but<br />

their voices and have insane creativity with<br />

unfiltered self-expression—the early stuff is<br />

so sincere. I appreciate anything that is done<br />

with that level of sincerity. I’m not seeing that<br />

in modern music, none that’s been brought<br />

to my attention.<br />

I’m kind of like the shoe shop that’s<br />

plugged in to the city light pole in a way?<br />

I’m keeping handmade, grassroots fashion<br />

and art alive in my little shop, I’m rooted<br />

to old ways and I’m invested in keeping<br />

an old trade from dying by the progress of<br />

the modern world.<br />

I’ve turned down involvement with<br />

leading corporate fashion brands in order to<br />

keep the guts of this and declare the house<br />

independent. I could be in the shopping malls<br />

and be a mass producer, the opportunity has<br />

been on my table. I’ve stuck to my guns, I<br />

believe in underground fashion, I came from<br />

punk rock and punk as a movement still<br />

influences all of my work and my reasons<br />

for creating it.<br />

EA What is the DNA of your collection<br />

in your very own words?<br />

CF It’s not a line or a brand; it’s an<br />

independent house where all creations are<br />

designed and made entirely in-house without<br />

outsourcing artisanship. Art and expression<br />

comes before product; the house is not<br />

obligated to seasons or market trends.<br />

EA Is there any collaboration with a<br />

brand that you’d love to do?<br />

CF<br />

None I can think of.<br />

EA What is your opinion on the rise of<br />

‘streetwear’ across the fashion industry and<br />

how Hip Hop has influenced culture?<br />

CF I’m not<br />

sure if I’m qualified<br />

to answer this?<br />

I’m not involved with the<br />

Hip Hop or Streetwear<br />

industry enough to<br />

offer my opinion, but<br />

streetwear was born from<br />

the punk movement and<br />

skate culture and I grew<br />

up in that. Streetwear<br />

back then was handmade<br />

and unavailable in<br />

stores, at least that was<br />

the case for me. I often<br />

made my own shirts with<br />

spray paint back when<br />

streetwear was raw and<br />

DIY. Now you can buy<br />

studded leather jackets<br />

at Forever 21, punk is<br />

over and has lost<br />

its edge, what was<br />

once anti-product<br />

and anti-fashion is 4<br />

now the basis of<br />

modern fashion. I<br />

will say that I think<br />

1<br />

calling a thousand -<br />

dollar wallet with some<br />

brand’s logo on it<br />

streetwear seems absurd.<br />

I just think streetwear<br />

should be more about<br />

being DIY and from the<br />

real streets than from<br />

Rodeo Drive, otherwise<br />

call it Drivewear, and<br />

that’s just my opinion<br />

since you asked. Hip<br />

Hop has influenced that<br />

dynamic though, it’s now<br />

cool to spend thousands<br />

of dollars on logos—lyrics<br />

validate that and give<br />

these products demand.<br />

It’s a multimillion-dollar<br />

industry; fashion is<br />

getting rich from Hip<br />

Hop and Punk, in my<br />

opinion it’s not a positive<br />

influence on the culture.<br />

What I’m saying is that the Hip Hop<br />

that I respect, the voice of the streets, urban<br />

folk, urban truth, replaced by brand promotion<br />

and adoration for products is not positive, it’s<br />

keeping people poor. Kids from the hood<br />

have to drop a couple grand on their outfits<br />

in order to be cool and I’d rather the kids plug<br />

back in to the light poles and tell it like it is,<br />

that’s way more cool!<br />


1<br />

7<br />


Jamie Luca People Interview by Holger Homann<br />

Photos by Jamie Luca<br />

I<br />

am<br />

not<br />

from<br />

your<br />

tribe<br />

The<br />

candid<br />

camera<br />

of<br />

Jamie<br />

Luca<br />

4<br />

3<br />

Jamie Luca has a whole catalogue of unpublished analog<br />

film that he’s taken throughout his career, which he is<br />

sharing on Instagram as @proluca. It’s all the models<br />

he shot upon arriving at or leaving his shoots.. In his<br />

words, “very, very candid” photos where you see their<br />

personality in the images.<br />

At this current point of his career, he is more<br />

interested in the individuals he is shooting and their<br />

nuances and personalities. For LA-based Jamie, that’s the<br />

most attractive aspect about a person: “Yes, the traditional<br />

physical attributes that make someone attractive is still<br />

the norm . . . however, I strive to photograph someone’s<br />

imperfections and someone showing his or her vulnerability—<br />

that for me, is attractive.” That remark led to more questions<br />

from our side and enlightening insights into why High Fashion<br />

and Hollywood now goes hand in hand while LA remains<br />

“a different beast.”<br />

HH When did you decide to become a<br />

photographer and why?<br />

JL My older sister is a photographer<br />

and I was always a big fan of her work. When I<br />

went to University, I knew that I wanted to be<br />

as good as her, though at that point, I didn’t<br />

know it was going to be a career for me. When<br />

I moved to NYC in 1998, I guess that’s when<br />

it all started as a career for me and I started<br />

referring to myself as a photographer.<br />

HH Where did you learn to become<br />

a photographer?<br />

JL I went to University in the suburbs of<br />

Los Angeles. I was on the school newspaper as<br />

a photojournalist.<br />

HH What do you consider to be the<br />

most important skill as a photographer?<br />

JL Technique. I guess I can call myself<br />

“old school” since I learned photography<br />

when analog film was still being used. I think<br />

having that background and knowledge<br />

really helps in the day-to-day work process.<br />


Also, communication skills . . . It is really<br />

important to express and communicate what<br />

you offer to clients and vice versa. I work<br />

in fashion, so interacting with different personalities<br />

and people, conveying your ideas and<br />

concepts is a key part in a successful shoot.<br />

Communicating a clear point of view to the<br />

team is crucial.<br />

HH Looking back at the time when<br />

you started photography: what changes<br />

have taken place that you consider to be<br />

the most significant?<br />

JL Education. These days, you don’t<br />

have to have a college degree to become<br />

a photographer. You can watch YouTube or<br />

sign up for seminars to learn photography.<br />

Now, the saturation in the market with<br />

photographers makes it really hard to stand<br />

out these days. But, that’s the evolution of<br />

photography, I guess . . . you can shoot with<br />

an iPhone these days and filter it and it’s just<br />

as good as a DSLR.<br />

It’s funny though . . . I guess there’s a<br />

counter to all these new fangled technologies .<br />

. . the trend these days is to revert to analog—<br />

or making your images look not so crisp and<br />

clean and more like film. I have no idea. I’m<br />

just happy to be working after all these years<br />

in the business.<br />

HH Which of those changes had a major<br />

effect on your own career?<br />

JL Clients and day rates. With the<br />

saturation of photographers in the market,<br />

clients take full advantage of that.<br />

They can have a rookie photographer<br />

with all the skills and pay them half<br />

4<br />

4<br />

or even nothing.<br />

Being relevant in this day and age<br />

is what has changed. The attention<br />

span of clients and people have been<br />

scrubbed down to almost nothing. Even being<br />

technically good at what you do doesn’t give<br />

you an edge anymore. You have to have a<br />

gimmick for people to pay attention to you.<br />

Moreover, photography on its own<br />

doesn’t provide a main source of income<br />

anymore. You have to wear different hats and<br />

do different things to entice clients. Back in my<br />

day, it was ride or die to be a photographer.<br />

Nowadays, even amazing photographers<br />

have day jobs, and photography is<br />

just a weekend thing!<br />

Also, INDIVIDUALITY is what’s<br />

missing. I think photographers jump on the<br />

latest trends in filters and don’t really hone<br />

their own individual style. Or COPY CATS. I get<br />

a lot of requests from young photographers<br />

willing to pay me to teach them my technique.<br />

That for me is very offensive and degrading. I<br />

think a lot of young photographers just want<br />

the glitz and glamour and not want to work for<br />

it. Or even discover on their own what they’re<br />

capable of . . . they want it now!<br />

HH You decided to work as a<br />

photographer in the fashion industry—what<br />

was the main reason for that decision?<br />

JL The main reason: I love FASHION.<br />

I love the fantasy of fashion. Although I<br />

have evolved into the fashion portraiture<br />

side of things, I just love that you can create<br />

anything in your head and transform it into<br />

photography. Honestly, the main reason was<br />

when I moved to NYC from Los Angeles, I had<br />

no choice. I had to make money to pay rent.<br />

So, that summer in 1999, I was lucky enough<br />

to work with top modeling agencies like<br />

IMG and Elite in NY and I just tested models<br />

and worked on building my portfolio.<br />

Along the way, I started earning money and I<br />

guess that’s when I could start calling myself<br />

a fashion photographer—when I started<br />

getting paid!<br />

HH You are LA-based. In terms of<br />

fashion, Paris, Milan, London and New York<br />

claim to be the capital cities of the industry. Do<br />

you see a growing importance of and interest<br />

in fashion here in LA?<br />

JL LA is a different beast. Although,<br />

these days, LA is the place to be. A lot of A-list<br />

designers are based in LA now . . . while 5 or<br />

6 years ago, LA was only known for Hollywood<br />

and commercials. High Fashion and Hollywood<br />

now goes hand in hand. Hollywood has the<br />

money to afford those clothes so designers<br />

are now catering to that. Though, it’s still not<br />

a Fashion Capital . . . there are pockets in LA<br />

where you see young creatives producing<br />

amazing work. That’s what I love about LA—<br />

it’s still a bit underground. It’s almost like you<br />

have to know someone in the “IN” to let you<br />

into their world.<br />

HH Having worked with models for so<br />

many years, do you see changes in terms of<br />

castings and new faces?<br />

JL Absolutely! There’s more diversity,<br />

not just ethnicity-wise, but in sizes and shapes.<br />

It’s long overdue. And I love that . . . because I<br />

want to see my color represented out there!<br />

HH Is the recent diversity on the runway<br />

a lasting game changer or just another<br />

(fashion) trend?<br />

JL It’s here to stay . . . with the political<br />

climate in the US and in Europe, I think<br />

designers and/or casting directors are very<br />

conscious of it. And consumers as well are<br />

demanding diversity.<br />

HH Do you think future casting will<br />

reflect the multi-spectrum of individuals of a<br />

global society rather than create or project<br />

the ideal beauty?<br />

JL Perhaps in the West, there’s a<br />

trend for diversity. However, I think in Asia,<br />

there’s still a homogeneous way of looking at<br />

beauty—WHITE.<br />

HH Looking at those images, you seem<br />

more interested in the individuals you were<br />

shooting and their nuances and personalities<br />

rather than just their pretty faces— has<br />

personality found increased value within the<br />

fashion industry too?<br />

JL I think these days, just being pretty<br />

isn’t enough for clients. You have to bring<br />

something else to the table to stand out. I think<br />

clients have such extensive variety of models<br />

going to castings that they are looking at<br />

everything now. No one wants a model who’s<br />

constantly on his/her phone whilst shooting<br />

and not interacting with the crew. They want a<br />

model who can interact with everyone on set,<br />

which reflects on the images produced as well.<br />

I think major brands want authenticity; they<br />

don’t want mannequins.<br />

HH<br />

Do you think that the norm of<br />

traditional physical attributes that make<br />

someone attractive still applies and how<br />

important are they?<br />

JL Of course it does. However, by<br />

showing a diverse range of people on<br />

advertisements, perhaps we can change<br />

people’s perception of beauty and not just<br />

be bombarded with the same Ken and Barbie<br />

dolls every season.<br />

HH We see parts of unpublished analog<br />

films you’ve taken throughout your career.<br />

Some of them are published on digital networks<br />

such as Instagram. Do you think there is a<br />

significant difference whether a photograph is<br />

being printed or just uploaded to be seen on<br />

the small screen of a smartphone?<br />

JL Honestly, I don’t know how to<br />

answer that question. I think for me, I just like<br />

going through my archives and reminiscing.<br />

Perhaps I am having a nostalgic moment in my<br />

career right now, or perhaps I am evolving my<br />

work to be a little bit more raw and unfiltered. I<br />

think we are so bombarded with highly curated<br />

and well polished work that I’m just bored of<br />

seeing the same thing over and over again.<br />

I respect a photograph more when I see a<br />

little bit of humanity in the face. Nonetheless,<br />

whichever platform whether digital or print—I<br />

think we live in a time where sharing content is<br />

the new normal.<br />

HH How do you think analog and digital<br />

can work together—for the benefits of the<br />

photographer and the viewer, if there is any<br />

future in analog photography at all?<br />

JL Of course there is a future in analog. I<br />

think these days, a lot more photographers are<br />

experimenting with analog. There’s a realness<br />

and texture to film that digital cannot mimic<br />

and produce. There’s also spontaneity to<br />

shooting film and that’s the beauty of it. Also,<br />

it really hones your skills as a photographer,<br />

because you really have to be technical to<br />

shoot film. When young photographers<br />

ask me how to do film photography, I say,<br />


HH Since the main titles of printed<br />

fashion magazines are struggling to<br />

survive—where do you see your own future<br />

in photography?<br />

JL I see myself still grinding away like<br />

Sisyphus. Still rolling that rock to the top of<br />

the mountain. Although I have been in the<br />

business for a long time, I still have so many<br />

things to learn. But, I want to evolve into an<br />

Art Director in the near future.<br />

HH How did you match the quotes<br />

with those portraits—do they have a personal<br />

connection to the person, or are they chosen<br />

at random?<br />

JL Honestly, it’s all random. I pulled<br />

those quotes from my favorite musical artists<br />

like Tori Amos, Morrissey, New Order, Peter<br />

Murphy, The Cocteau Twins and the Smiths.<br />

These artists inspired me in my teenage years.<br />

Perhaps it’s my subconscious working when I<br />

choose a quote and place it with an image . . .<br />

it tells a story, but honestly, there’s no rhyme or<br />

reason to it. I just like the graphic nature of the<br />

font on top of the image and what it creates.<br />

Moreover, I am really inspired by Barbara<br />

Kruger with her graphics on her paintings.<br />



Andy Lee Fashion Words by Andy Lee<br />

F for<br />

Fashion<br />

Film<br />

is the<br />

Future<br />

2<br />


Yes, sometimes being ‘whimsical’ is a fallback of<br />

the unthoughtful but at least it’s not some middleaged<br />

man sitting in a car looking silently into space<br />

for 5 minutes. After watching any random number<br />

of fashion films you realise how few female<br />

voiceovers you hear elsewhere, especially in<br />

mainstream cinema.<br />

5<br />




ONE. Studying filmmaking is wonderful, film schools<br />

are great, cameras are fascinating but there’s more<br />

to a film than lenses, dollies and the latest 4K blah<br />

blah. The democratising of production through the<br />

lower cost of equipment and mobile technology has<br />

allowed people to break through in ways that would<br />

have been unheard of 20 years ago.<br />

8<br />


BEING CELEBRATED. The global Fashion Film<br />

community is buzzing, from LA to Bucharest,<br />

committed and passionate people are cheering<br />

on each others’ work. Gathering to discuss and<br />

understand film in different more open ways than<br />

you might see at traditional film festivals. Shooting<br />

a written script, or having a music track to work from<br />

is arguably often easier than formulating and telling<br />

the story of a brand or a garment and it’s heartening<br />

to see work so widely lauded and supported.<br />

10 reasons<br />

to make a<br />

fashion film &<br />

10 ways<br />

to make it<br />

a good one<br />

3<br />



PROMOS. Music Video, in their heyday were the<br />

last time short film met new platforms to the same<br />

extent as Fashion Film in the internet age. Yes, they<br />

should sell product, but there’s a freedom to many<br />

Fashion Film productions that naturally crosses<br />

over into other creative spaces. The greatest of the<br />

most celebrated gatefold double 70’s rock concept<br />

albums, or enormo-budget 80’s music promo<br />

have nothing on the scale and depth of Beyonce’s<br />

Lemonade for instance and it’s this genre-defying<br />

embrace of style, identity and commerciality that<br />

makes the genre exciting.<br />

6<br />


SERIOUSLY. Enough with the models swirling<br />

around in fields already - it’s to the 2010s what the<br />

slow cross dissolve was to the noughties, or what<br />

a band playing ‘live’ on an empty sound stage<br />

was to the 80’s and 90’s. Embracing structure and<br />

understanding the importance of story has engaged<br />

audiences widely. Still, be careful with only furnishing<br />

the actors with clothes and then shooting a straight<br />

short film. That’s cool, but it’s just a short film. A<br />

successful Fashion Film shouldn’t be easily mistaken<br />

for anything else.<br />

9<br />

SEEING MORE DIVERSITY. We’re getting there.<br />

Are we? It took 73 years before Donyale Luna got<br />

the cover of British Vogue, and 82 before Beverly<br />

Johnson in America. Fashion Film hasn’t taken as<br />

long to traffic in diversity, in multiple perspectives,<br />

with multiple influences. But there are still more<br />

voices to hear, more stories to tell. Think about how<br />

you’re casting and crewing your films.<br />

Andy Lee is Subject Leader for Fashion Film<br />

Practice at the London School for Fashion<br />

1<br />


SHOOT LANDSCAPE. 10 years of my life was spent<br />

telling fashion photographers to avoid the instinct<br />

to turn their camera around for a full length shot.<br />

Since we now spend all our time looking at portrait,<br />

vertical screens, I can finally shut up and they can get<br />

a full length shot against a roll of backdrop without<br />

masking it off in post production. Everything’s a<br />

screen, fill them how you please.<br />

4<br />



course women have contributed a huge amount<br />

to filmmaking during the century of cinema,<br />

often unsung (look up the editors credit for Jaws,<br />

Memento, ET, The Force Awakens, Bonnie & Clyde,<br />

Lawrence of Arabia and pretty much all of Scorsese<br />

and Tarantino for starters) but film sets, have been so<br />

painfully a male-dominated domain.<br />

7<br />


BEING TAKEN SERIOUSLY. Successfully<br />

understanding film production techniques is<br />

enabling better stories and more complex visuals<br />

(and drones help too). Mostly gone are the days of<br />

rocking up with a DSLR and just shooting something<br />

that moves. But though approaches to crewing and<br />

storyboards and permissions etc. are very important<br />

and over a century old, don’t forget to develop in<br />

ways fit for the 21st Century. Crews can be more<br />

nimble and multi-task sometimes, just pay them<br />

and feed them properly. But perhaps don’t have<br />

a third of your running time as credits, I know it<br />

makes it look like ‘a film’, but that was before 24/7<br />

connectivity, save your time for some more visuals!<br />

10<br />



As the age of mixed reality quickly approaches,<br />

the themes of identity and the intimacy of<br />

clothing puts fashion and technology centre<br />

stage. We’re on the brink of a next generation of<br />

visual storytelling - it’s Prada not Panasonic that’ll<br />

be putting the cameras on our bodies in the<br />

21st Century and it means capital F Fashion Film<br />

is the future.<br />


From<br />

Los<br />

Angeles<br />

with<br />

Los Angeles Fashion<br />

Film Festival: Inclusion<br />

LAFFF<br />

Welcome to <strong>Radical</strong> <strong>Vertical</strong>, and by extension, the<br />

LA Fashion Film Festival community. Essentially<br />

LAFFF in print, <strong>Radical</strong> <strong>Vertical</strong> chronicles inclusive<br />

views of a diverse group of industry influencers and<br />

key figures.<br />

What started out a year ago as a coffee discussion<br />

with Leslie Bedolla in Berlin about style, life,<br />

spirituality, and the need to create community in<br />

LA, has culminated in this first edition of LAFFF.<br />

Our goal is simple: to build an open, creative and<br />

inclusive society that connects like-minded brands,<br />

filmmakers and consumers. Everywhere we look,<br />

boundaries are disappearing.<br />

The future is inclusive, and we are all connected,<br />

especially you, the consumer.<br />

LAFFF is one of the cultural initiatives by<br />

kulturspace—the LA & Berlin-based creative<br />

consultancy I founded five years ago—and a<br />

nonprofit project by The kulturspace Foundation.<br />

The kulturspace DNA can be summed up in three<br />

simple words: collaborative, creative, and organic.<br />

Besides LAFFF, we’ve spearheaded and produced<br />

cultural and creative projects such as the Berlin<br />

Student Film Festival, Behance Adobe Portfolio<br />

Reviews, Show Us Your Type LA & Berlin, and the<br />

U-Bahn Berlin book, with more in the making.<br />

The idea behind LAFFF is to shine the spotlight on<br />

LA as an international fashion and culture capital,<br />

besides advocating for greater inclusion and diversity<br />

in the industry. A lot of selfless work has gone into<br />

realizing this vision, and we couldn’t have done it<br />

without my wonderful partners: Leslie Bedolla,<br />

Founding Partner; Holger Homann, Publishing<br />

Partner; Alex Holz, Partnerships & Business Partner;<br />

and the rest of the team who’ve worked tirelessly to<br />

realize this grassroots concept.<br />

On behalf of the team, advisors, sponsors, and<br />

jurors, we are thrilled to bring fashion film to the<br />

doorstep of the entertainment capital of the world:<br />

Los Angeles. We look forward to connecting with<br />

you in person at the festival.<br />

Creatively yours,<br />

Justin Raymond Merino<br />

Founder, kulturspace<br />


LAFFF Program 2018<br />

OCTOBER 5, 2018<br />



Welcome to LAFFF 2018 - Social<br />

10:00 AM - 10:30 AM<br />

Kick off #LAFFF2018 Day I with a coffee, “Morning<br />

Mix”, and be one of the first to read our magazine:<br />

<strong>Radical</strong> <strong>Vertical</strong>.<br />

The Laws of Style - Panel<br />


10:30 AM - 11:30 AM<br />

Notable fashion attorney, fashion law professor and<br />

sharp dressed man, Douglas Hand, will moderate a<br />

panel of menswear designers. Topics of discussion<br />

will range from the design process and inspiration,<br />

the state of the menswear industry today, formal<br />

dress and the casualization of the business uniform,<br />

and the challenges for emerging brands and<br />

personal presentation, followed by a book signing.<br />

Who said Fashion Film? - Panel<br />



12:00 PM - 1:00 PM<br />

What do we consider to be a fashion film? What<br />

makes a film a fashion film and when is it not<br />

considered one? Is fashion film for everyone? The<br />

panel will discuss the definition of fashion in a<br />

cinematic context: what is fashion film, what is the<br />

purpose of it, what makes it what it is, and who<br />

defines it.<br />

The Role of Fashion & Style - Panel<br />



01:30 PM - 02:30 PM<br />

What is the role of Fashion in the process of<br />

questioning identity? We will start the panel with<br />

talks about personal experience and storytelling and<br />

we will go to a more anthropological understanding<br />

of how fashion can be a tool in the identity search<br />

and inclusion process.<br />

Tribal Markers - Body Art - Experience<br />

03:00 PM - 03:45 PM<br />


Join and/or witness Amir and his team of artists apply<br />

tribal body art for a live performance on attendees<br />

who want to be adorned. Artist and creator of the<br />

Tribal Body Marker, Amir Magal, is inspiring tribes<br />

and communities all over the world to take a breath<br />

and spark deep soul connections through the sacred<br />

art of Tribal BodyMarking.<br />

Spiritual & Sustainable Fashion - Panel<br />



04:15 PM - 05:15 PM<br />

Why do we have the need as consumers to go<br />

for a more spiritual and sustainable fashion?<br />

This panel seeks to understand this new form of<br />

consciousness from different perspectives. In a<br />

society where fashion is a prominent influence, we<br />

will talk to people for whom fashion is more than<br />

clothing or commerce, people for whom fashion is<br />

a way of contributing to a collective experience of<br />

life, and a way to influence what and who we value<br />

in our society.<br />

That Kind of Future - Panel<br />



05:45 PM - 06:45 PM<br />

Where do new technologies stand in fashion and<br />

art? Where are we now? Why and how have new<br />

technologies changed fashion and art? Where are<br />

we going? What are the next technologies? How do<br />

we see the future? Viktoria Modesta is here with us.<br />

She will explain why and how new technologies are<br />

important to her work, and what is her vision of the<br />

future. We will also have an expert expound various<br />

forms of technology in fashion, and we will find out<br />

what we can look forward to in the years to come.<br />

AKA Poolside Screening - Screening & Social<br />

7:00 PM - 9:00 PM<br />

We’ll screen some of the best film submissions<br />

while enjoying the sunset, a refreshing drink from<br />

our sponsor Duvel in hand, and the amazing view<br />

of Los Angeles from the poolside of the AKA West<br />

Hollywood. Network, connect, socialize, and get to<br />

know your audience.<br />

ALL-DAY/<br />


b8ta - Experience<br />

10:00 AM - 7:00 PM<br />

Come for a hands-on exploration of some of b8ta’s<br />

most innovative products! The b8ta Santa Monica<br />

team will be on hand to engage festival guests in<br />

interactive demos of their latest must-haves at the<br />

b8ta tech corner.<br />

Browns - Screening<br />

10:00 AM - 7:00 PM<br />

A selection of films to be screened at the Browns<br />

pop-up space.<br />

GIF/Selfie Greenery Wall - Experience<br />

10:00 AM - 7:00 PM<br />

Snap a GIF or selfie in front of our LAFFF green<br />

foliage wall. Capture your LAFFF memories and text<br />

or email your photos/GIF’s right from the screen!<br />

AKA Cinema - Screening<br />

10:00 AM - 7:00 PM<br />

An intimate 16-seat cinema at the AKA West<br />

Hollywood, where festival guests can pop in to catch<br />

fashion films and micro discussions throughout<br />

the day.<br />

OCTOBER 6, 2018<br />



Weekend Start - Social & Experience<br />

11:00 AM - 11:30 PM<br />

Kick off #LAFFF2018 Day II with a coffee, “Morning<br />

Mix”, and be one of the first to read our magazine:<br />

<strong>Radical</strong> <strong>Vertical</strong>.<br />

Late Morning Film Screening - Screening<br />

11:30 AM - 12:15 PM<br />

We’ll screen some of the best film submissions on<br />

the TEC stage. Lights, camera, fashion, action!<br />

<strong>Radical</strong> <strong>Vertical</strong> - Panel<br />

12:45 PM - 1:45 PM<br />

How to build a brands’ DNA with the use of social<br />

media platforms and new immersive technologies?<br />

The question is no longer if and when brands<br />

should embrace digital opportunities and immersive<br />

experiences, but how they should do so, considering<br />

that by 2019, global consumer Internet traffic will<br />

account for 80% of all Internet traffic.<br />

The Future Consumer: A Cultural Hackathon -<br />

Workshop<br />

2:00 PM - 4:00 PM<br />

We’ll be hosting a cultural hackathon, bringing<br />

together thought leaders, educators, connected<br />

consumers and brands on one stage here at The<br />

Technicolor Experience Center in Los Angeles for a<br />

one-day deep dive into the “The Future Consumer.”<br />

Afternoon Film Screening - Screening<br />

4:15 PM - 5:15 PM<br />

We’ll screen some of the best film submissions on<br />

the TEC stage. Lights, camera, fashion, action!<br />

Courtyard Social & Awards - Social<br />

5:15 PM - 7:00 PM<br />

It’s a wrap! Join us for a sundowner, network,<br />

connect, socialize and get to know your audience.<br />

We’ll also announce the #LAFFF2018 winners!<br />

ALL-DAY/<br />


Immersive Experiences - Experience<br />

11:00 AM - 7:00 PM<br />

Curated experiences include showcasing the<br />

merging of fashion and beauty technologies via<br />

immersive demos, and innovative displays exploring<br />

Virtual Reality (VR) and Augmented Reality (AR)<br />

technologies. Join us.<br />

Courtyard Pop-up - Social & Experience<br />

11:00 AM - 7:00 PM<br />

A blend of fashion pop-ups, food truck, light bar<br />

by Duvel and beats to keep the mood flowing<br />

throughout the day.<br />

Panels begin with a film screening and end with a<br />

10-minute Q&A session.<br />

Program is subject to change.<br />

RSVP is encouraged.<br />

More info at lafashionfilmfest.com<br />

VIP bags provided by LOQI<br />


Viktoria Modesta<br />

Shaun Ross<br />


Illustration by Zohar Winner<br />


Gallery Regen Projects<br />

6750 Santa Monica Blvd, Los Angeles,<br />

CA 90038<br />


Kirk Douglas Theatre<br />

9820 Washington Blvd, Culver City,<br />

CA 90232<br />

VENUE<br />

A: Fred Segal & AKA<br />

8500 Sunset Blvd West Hollywood,<br />

CA 90069<br />

B: Technicolor Experience Centre<br />

3237 S La Cienega Blvd, Los Angeles,<br />

CA 90016<br />

HOTEL<br />

Chateau Marmont<br />

8221 Sunset Blvd, West Hollywood,<br />

CA 90046<br />

The Jeremy<br />

8490 Sunset Blvd, West Hollywood,<br />

CA 90069<br />

FOOD<br />

The Black Cat<br />

8100 Melrose Ave, Los Angeles,<br />

CA 90046<br />

Lokal Sandwich Shop<br />

10433 National Blvd #1A, Los Angeles,<br />

CA 90034<br />

Catch LA<br />

8715 Melrose Ave, West Hollywood,<br />

CA 90069<br />

Norah<br />

8279 Santa Monica Blvd, West Hollywood,<br />

CA 90046<br />

Boardwalk 11 Bar And Grill<br />

903 North La Cienega Blvd, Los Angeles,<br />

CA 90069<br />

Sun Cafe<br />

10820 Ventura Blvd, Studio City,<br />

CA 91604<br />

BAR<br />

Barbette<br />

7511 Santa Monica Blvd, West Hollywood,<br />

CA 90046<br />

La Fête<br />

8277 Santa Monica Blvd, West Hollywood,<br />

CA 90046<br />

Ollies Duck And Dive<br />

29169 Heathercliff Road, Suite 102 Malibu,<br />

CA 90265<br />

Fiesta Cantina<br />

8865 Santa Monica Blvd. West Hollywood,<br />

CA 90069<br />


Coolhaus Icecream<br />

8588 Washington Blvd, Culver City,<br />

CA 90232<br />

Grom<br />

6801 Hollywood Blvd, Los Angeles,<br />

CA 90028<br />

COFFEE<br />

The Verve<br />

833 S Spring St, Los Angeles,<br />

CA 90014<br />



A<br />

B<br />

C<br />

D<br />

E<br />

F<br />

G<br />

A Fashion Fairytale - Style - HENRIK STEEN/<br />

A perfum for every you - Campaign - IBON<br />


AWAKENING - Direction - RAMON J. GONI<br />

BE YOUR NATURE - Direction, Style -<br />


- Style - CHRISTOPHER STARK/ Bowl Of<br />

Cherries - Documentary - HADI MOUSSALLY/<br />

Butt Muscle - Music - MATT LAMBERT<br />


Channel Surfing: Elizabeth - Direction - SYMONE<br />

RIDGELL/ Channel Surfing: Peyton - Direction<br />

- SYMONE RIDGELL/ Cocoon: Beyond The<br />

Light - Documentary - FREDERICO STAUFFER<br />


Diagonales - Emerging - ROMÁN REYES/<br />

Different ways of loving John Marras<br />

- Campaign, Direction, Cinematography -<br />

GIULIA ACHENZA/ DIVA - Cinematography,<br />

Music, Emerging - ADAM CSOKA KELLER<br />

essence of life - Style - CHRISTOPHER STARK/<br />

ETRO ROOTS - Campaign - PIETRO COPPO/<br />

Everyone can be beautiful - Cinematography<br />


FaFa Fashion film - Innovation - BARTEK<br />

KALINOWSKI/ FOLLOW ME - Emerging -<br />


Georgetown Optician “The Eye Ball” -<br />

Direction - DEAN ALEXANDER/ giudicare -<br />

Emerging - ANTONIO SEMERARO/ Glommy<br />

Planets - Music - IBON LANDA/ God Save The<br />

Youth - Emerging - DAVEION THOMPSON/<br />

Gucci in Bloom - Direction - MATT LAMBERT/<br />

Guide for the Good Wife - Emerging -<br />

IGNACIO SEPÚLVEDA/ Gypsy - Emerging -<br />



H<br />

I<br />

J<br />

K<br />

L<br />

M<br />

N<br />

O<br />

How I Faked My Way to The Top of Paris<br />

Fashion Week - Documentary - FLORENCE<br />

BARKWAY/ How To Be A Winner - Campaign<br />


I Am An Individual - Direction - AMBER<br />

MOELTER, LUIS / I Had A Dream - Direction -<br />

SIQIN BIAN/ Increase The Life Span Of Your<br />

Clothes - Emerging - EMILIA KURYLOWICZ<br />

& ALA SOWIAR/ Integration - Emerging -<br />

J.J. TORRES<br />

Jillian - Documentary - DANILO LAURIA<br />

Karl Lagerfeld x Jaspal - Direction -<br />


Le Fix - Happy Nothing - Direction, Emerging<br />

- IAN ISAK/ LOLA’S MANIFESTO - Direction -<br />


MARCELL VON BERLIN Campaign Film<br />

FW 18/19 - Campaign - MARCELL VON<br />

BERLIN/ Meta-Gaze - Innovation - TONY<br />

ASSI/ Mirage - Emerging - IVON SKULA/<br />

Mondrian Doha - Our Time Is Now -<br />

Campaign, Cinematography, Glam - JUSTIN<br />

KRAMER/ Mr Tom Ford’s Six Rules Of<br />

Style - Campaign - JACOPO MARIA CINTI/<br />

Mrs. Poucheau - Emerging - AMANDA LAGO<br />

Not(e) for a Dreamer - Cinematography,<br />

Direction, Music - ENRICO POLI/ NüSTALGIA -<br />

Music, Style - OLIVIA DOYON<br />

Oliver Peoples, In Conversation with<br />

Tasya Van Ree - Campaign - IVAN OLITA/<br />



Visit the ‘LAFFF Studio’<br />

lafashionfilmfest.com/lafff-studio<br />

P<br />

R<br />

S<br />

T<br />

U<br />

Y<br />

Perfect In Her Own Right - Campaign -<br />

CHRISTINA MACGILLIVRAY/ Positive - Glam -<br />

HADI MOUSSALLY/ Proclamation Punctuation<br />

- Glam - SEWRA G KIDANE<br />

RED - Cinematography - LAIA GIL/<br />

REFLECTIONS - Campaign, Glam, Style -<br />

MASASHI MUTO/ Rouge 66 - Documentary -<br />


Santos by Cartier - Cinematography,<br />

Direction, Music, Style - SEB EDWARDS/<br />

Skater Girl - Style - REPETTO STUDIO/ SOUL<br />

LAND - Cinematography - MEETO GREVSEN/<br />

Start the Buzz - Campaign, Style - GIACOMO<br />


Tattoo in Seoul X MONTBLANC KOREA<br />

(Director’s Cut) - Campaign - JEEYOUNG<br />

YOON/ Terry White / Summon Crazy Horse<br />

- Campaign - MANUEL PORTILLO/ The<br />

Beginning - Campaign - JULIAN PROLMAN&<br />

ROGER SPY/ THE ENCOUNTER - Direction<br />

- JOHN-MICHAEL TRIANA/ The Feeling -<br />

Cinematography - MATT LAMBERT/ The<br />

Greatest Luxury - Documentary - KATHRYN<br />

FERGUSON/ The Lollipop Girls Struggle<br />

on the Hard Earth - Style - DENISE PRINCE/<br />

THE UNIVERSE - Cinematography, Direction,<br />

Music - DAĞHAN CELAYIR/ There is no exit<br />

- Emerging - TAJANA BUNTON-WILLIAMS/<br />

Timeless - Lacoste - Cinematography,<br />

Direction, Music, Style - SEB EDWARDS<br />

Uncertainty - Campaign - CRISTINA<br />

STRECIWIK/ Urban Revivo Spring 2018 -<br />

Campaign - TIM WONG<br />

Ya es Primavera - Direction - VICTOR CLARAMUNT<br />

Widow|Ghosts - Campaign - JIL GUYON/ Are you ok? - Campaign - MARKO TARDITO/ Wanderlust -<br />

Documentary - ANNEBEL HUIJBOOM/ Never Look Back! - Campaign - ROHAT TÜRK/ ONE AND ONLY -<br />

Campaign - FABRIZIO AZZELLINI & KRISTINE CIEMATNIECE/ Teatime Ponderer - Campaign - AMIN SHAIKH/<br />

In A Made-Up World - Emerging - STEVEN PERKINS/ Kill Your Darlings - Direction - PASCAL BAILLIEN/<br />

Chris Francis: Shoes - Documentary - VIRGINIA LEE HUNTER/ Pink Story - Style - CHARLOTTE ANDERSEN<br />

& HENRIK STEEN/ Urban Revivo Winter 2017 - Campaign - TIM WONG/ Urban Revivo Summer 2018 -<br />

Campaign - TIM WONG/ OXGN - Direction - DAMIAN PRADO/ Balance of Power - Emerging - ABDUL MALIK<br />


MENDEZ/ CHROMATIC - Emerging - MONICA LILAC/ Who’s A Fly Bird? - Emerging - BIANCA TOMCHIN<br />

& MATHEW HARVEY/ Break the Rules - Emerging - SIMON WALTI/ I Am An Individual - Direction - AMBER<br />

MOELTER & LUIS/ Girl Gang - Style - WESLEE KATE/ The Other Side - Direction - LEO ADEF/ Mood Swing -<br />

Campaign - LEO ADEF/ Tomboy - Emerging - ROMÁN REYES/ RSEA - Direction - SOPHIA BANKS/ Anine Bing<br />

- Direction - SOPHIA BANKS/ Savage Rose - Direction - SOPHIA BANKS/ TOME Super8 - Direction - SOPHIA<br />

BANKS/ Venia: Innuo - Campaign - GOVIND RAE & SAMUEL MIRON/ Frontline Fashion II - Campaign -<br />

LINDSAY ROBERTSON & SIMON YIN/ The Letter - Emerging - WESLEY SUN/ Hibernation - Cinematography,<br />

Music - DOMINIC PACKULAT & CHRISTINA HASENAUER/ PARADISE 3000 - Direction, Emerging, Innovation<br />

- PEPPER LEVAIN/ Embellir - Documentary - TAKUMI SAITOH/ MDS Green Army - Direction - COXY CHIARA<br />

RODONI/ The Perfect Parisienne - Direction - VICTOR CLARAMUNT/ Dare To Be Bold - Direction - MITCHELL<br />

LAZAR/ Team H.A.R.D. Vs The Athleisurist - Direction - JORDAN ANSTATT/ #unofficial - Documentary -<br />

GREG FERRO/ Comme des Garcons: Infinity 8 88 - Cinematography, Direction, Emerging, Glam, Innovation,<br />

Style - KRISTY FUNG/ dé-jà-vu - Campaign, Glam, Style - MASASHI MUTO/ Just Friends - Emerging - MARC<br />

LESPERUT/ R Magazine Spring ‘18 - Cinematography - BLACKOUT/ RISE - Emerging - AMBER CURRY/<br />

Matches - Style - MATT LAMBERT/ The Collar - Style - VIKTORIA RUNTSOVA/ Isabelle - Cinematography,<br />

Direction - JUSTIN COUPE & ALVARO G. HUEZO/ Liquid Sorb - Music - TONY ASSI/ I contain multitudes -<br />


TIPAYAKESORN/ Leonidya Kushev - Emerging - MARK TAYLOR & LEONIDYA KUSHEV/ Love Potion - Music<br />

- ANDREA LIN (SUPERDOLL)/ LITOST - Direction - GSUS LOPEZ/ The Style of illusion - Glam - MARIA MILLAN/<br />

The12Project - Style - HADI MOUSSALLY/ HÀNA - Cinematography - LUEY NOHUT/ Ein Traum - Direction -<br />

WARUT WIMOLKUNARAK/ Dark Paradise - Emerging - LUYIN ZHAO/ Rage: The Inner Thoughts of a Black<br />

Woman - Style - CHENAY BARNES/ Utopia - Emerging - LUIZ FURTADO & PEDRO CANTELMO/ Dancer On<br />

The Roof - Style - REPETTO STUDIO/ The Holy Ghost - Campaign - TÁINE KING/ In The Heat of Summer -<br />

Cinematography, Direction, Emerging - BENJAMIN J. RICHARDSON/ Lemons - Emerging - LEILAH FRANKLIN &<br />

EMILY ROSENSTEIN / The New Gaze - Emerging - TONY ASSI/ Run - Emerging - TAJANA BUNTON-WILLIAMS<br />


ALEX HOLZ, Partnerships & Business Partner/ CARLA MARBOEUF, Program Coordinator/ ELLIOTT-ALFRED<br />

ATTIA, Fashion Editor/ HOLGER HOMANN, Publishing Partner/ JUSTIN RAYMOND MERINO, Founding &<br />

Managing Partner/ KIM KRISTY, LA Creative Services Director/ LESLIE BEDOLLA, Founding Partner/ LINDY SIU,<br />

Brand Communications/ NATASHA SIEMASZKO, Creative Services Coordinator/ REBECCA LIU, Consultant/<br />

RYAN YING, Art Director<br />

JURORS<br />

ALEXIS BORGES, President of NEXT Management<br />

Los Angeles/ ALICE BOTTARO, Creative Director<br />

for Mercedes-Benz at antoni Berlin/ ANA FINEL<br />

HONIGMAN, Art and Fashion Writer/ ANDREW<br />

VAN WYK, Storyteller & VR Specialist - Creative<br />

Coordinator, River Road Entertainment/ ANDY LEE,<br />

Senior Lecturer Film Practice, London College of<br />

Fashion/ BLAINE HALVORSON, Designer & Owner<br />

of Made Worn/ CAISA AIRMET, Digital Marketing<br />

Creative, and Fashion Stylist/ CATHERINE LE GOFF,<br />

Commissioning Editor at ARTE/ DAMIEN MERINO,<br />

Bay Area Creative/ HOLGER HOMANN, Publisher<br />

& Creative Director/ @ISABELITAVIRTUAL, Creative<br />

Director & Photographer/ JOY C. MITCHELL,<br />

Screenwriter, Journalist, Storyteller/ JUUL VAN<br />

ALPHEN, Producer and Creative Consultant/<br />


LUCA FINOTTI, Director & Filmmaker/ MICHELLE<br />

MCCOOL, Stylist, Creative Director/ MURIELLE<br />

VICTORINE SCHERRE, Filmmaker, Designer & Owner<br />

of la fille d’O/ NATALIE LONG, Creative Director/ PER<br />

ZENNSTRÖM, Fashion Photographer & Filmmaker/<br />

SARA SOZZANI MAINO, Deputy editor-in-chief of<br />

Vogue Italia and head of Vogue Talents/ SEBASTIEN<br />

MEUNIER, Artistic Director at Ann Demeulemeester/<br />

STEPHEN GALLOWAY, Creative Movement Director<br />

and Creative Consultant/ VANESSA KINCAID, Chief<br />

Creative Officer, Littlstar<br />


CHRISTOPHER SIBLEY, Writer, Director, & Virtual<br />

Reality Producer/ FABIO MASTROIANNI, Design<br />

Thinking & Business Development/ MATTHEW<br />

COLLADO, Co-Founder/Chief Content Officer of<br />

Littlstar/ SUZANNE EDWARDS, The kulturspace<br />

Foundation Board Member/ TORSTEN WIDARZIK,<br />

Creative & Strategy/ WINY BERNARD, Communicator<br />

& Connector<br />


Dotan Saguy Portfolio Photos by Dotan Saguy<br />


L<br />

O<br />

ST<br />

5<br />

1<br />

Light up and<br />

fade away:<br />

the last sparks of<br />

Venice Beach<br />

In capturing the revelations of Venice Beach,<br />

Dotan Saguy has created a body of work<br />

with unexpected, enthusiastic surprise which<br />

documented what could be a lost society.<br />


Les<br />

5<br />

8<br />

du<br />

The new seed<br />

of porn<br />

LA native Matt Lambert, who splits his time between<br />

London, Paris, Berlin, and LA in his profession as a filmmaker,<br />

planted a new flower in the desert of Porn Valley (aka San<br />

Fernando Valley), where the business migrated to in 2002<br />

because of low rents and easy access to the mainstream<br />

movie business, becoming the adult entertainment capital<br />

of the world. In his videos as well as his photography, Matt<br />

Lambert quite often tackles the topics of gay intimacy and<br />

themes like “sexual pluralism, multiculturalism, gender<br />

equality, and female empowerment.” His new documentary<br />

and powerful exploration of queer culture in South Africa<br />

“Out of This World”, hosted by rapper, performance<br />

artist, poet and activist Mykki Blanco, is a typical example<br />

Last year, he also shot a 17-minute X-rated film entitled<br />

“Flower”, which Out magazine described as “a dreamy<br />

sexual lullaby of a film”. Styled rather like a documentary,<br />

it follows five friends as they “redefine the line between<br />

intimacy, friendship and sex” to challenge the norms of<br />

traditional porn and create an artistic version of the genre.<br />

Why take such a risk as an acclaimed filmmaker? Whether<br />

this excursion into the porn industry will be short-lived, we<br />

were keen to find out—here are the answers to these and<br />

many more questions.<br />


Fleurs<br />

5<br />

9<br />

Mal<br />


Matt Lambert<br />

People<br />

Interview by Holger Homann<br />

Photos by Matt Lambert<br />

6<br />

0<br />

HH In regard to your debut of Flower<br />

within the porn genre, I read that you nearly<br />

adopted a pseudonym to release Flower.<br />

Why is that?<br />

ML I’d considered it as it’s something<br />

done often by directors, editors, etc. when<br />

working on explicit projects. Bruce LaBruce<br />

once told me to never shoot anal penetration<br />

as it’d kill my chances of commercial success.<br />

However, I struggled with the hypocrisy of<br />

making work that celebrated sexuality and<br />

denounced shame, to only go and hide<br />

myself from the work. If I was to practice what<br />

I preached, I needed to be as proud and<br />

celebratory as the characters I portrayed.<br />

HH You once partnered with your<br />

husband Jannis Birsner to create Vitium, an<br />

erotic, sexually-explicit punk zine. In regard to<br />

that project, Flower could almost be seen as a<br />

successor. Is there more to come?<br />

ML Yea, it was the beginning of a<br />

playful and irreverent body of explicit work.<br />

I suppose my film and zine, Butt Muscle,<br />

with Rick Owens, also falls into that camp<br />

as does elements of other projects here<br />

and there. I definitely intend to do more in<br />

the Vitium publishing series with Jannis,<br />

as well as continue to explore explicit<br />

storytelling in film.<br />

HH You once mentioned in an interview<br />

that people, especially now more than ever,<br />

learn about their sexuality through porn.<br />

How do you consider your contributions<br />

different from what you perceive to be<br />

typical gay porn?<br />

ML I shy away from the term ‘porn’<br />

even when I can. For me, it’s something that’s<br />

reductive and treats its characters as objects<br />

rather than subjects. While ‘porn’ is an<br />

impossible word to escape when discussing<br />

‘Flower’, I see it as a short film with explicit sex<br />

scenes. My goal was to capture the lightness,<br />

playfulness, humor, honesty and irreverence<br />

of gay sex when coming-of-age. I wanted<br />

to capture the essence of its characters and<br />

celebrate them as humans, while still making<br />

it something that’s sexy and provocative.<br />

While there’s surely a lot of sex in it, I see<br />

intimacy as the subject more than just sex. That’s<br />

a layer that I often feel is missing from your<br />

typical ‘gay porn’.<br />

HH Considering Helix, the production<br />

company that produced Flower, is a gay porn<br />

studio—what is the difference between Helix<br />

and what the genre offers in general?<br />

ML I worked with Helix because I loved<br />

them as people and felt they had the utmost<br />

respect for their talent. I also really wanted to<br />

work with both Blake and Sean as they had<br />

something different from what I had typically<br />

seen. It was more about the personalities and<br />

relationships behind the scenes that attracted<br />

me, but I think that warmth and playfulness<br />

often comes across in the work they do.<br />

HH What do you suggest needs<br />

to be different to create art rather than<br />

traditional porn?<br />

ML For me it becomes art when it causes<br />

you to question the way you’d perceived the<br />

genre in the past, and when it challenges the<br />

way you relate to your own identity/sexuality.<br />

HH In terms of artistic freedom—to<br />

what extent did Helix allow you to direct and<br />

edit the film the way you wished to pull it off?<br />

ML Total freedom. They were<br />

supportive and collaborative when I needed<br />

it, but they more or less let me make the film I<br />

wanted to make.<br />

HH In terms of authenticity, how much<br />

of what we see in Flower can you claim to be<br />

real, and what is staged?<br />

ML It’s a hard one to answer. I had a<br />

story and knew what I wanted to capture, but<br />

many of the moments are completely genuine<br />

and unscripted. Which ones, I’d rather leave<br />

up for guessing ;)<br />

HH Since Flower has been produced<br />

with full credit to your name—can you talk<br />

about the reaction within the agencies which<br />

represent you for other purposes than doing<br />

porn, and the perception by the actual<br />

audience it was targeting?<br />

ML I had full support from everyone<br />

around me. Part of my journey in finding the<br />

right representation has been finding people<br />

who support me in everything I do and are<br />

able to see the joy and art in all my work,<br />

rather than reducing them to their worst-case<br />

buzzword. The audience it was intended for<br />

reacted better than I could have imagined,<br />

and got love from people I’d never expected<br />

to even see it.<br />

HH In regard to our main topic<br />

of inclusion, do you consider—looking<br />

backwards—projects such as Vitium and<br />

Flower as inclusive pieces of your body of<br />

work, or rather misfits?<br />

ML Almost everything I make is about<br />

intimacy and finding new ways to tell these<br />

stories either in who or how.<br />


The Real<br />

McCoy<br />

“People are<br />

best in<br />

photographs<br />

when they are<br />

really true to<br />

who they are.”<br />

- Chi Modu<br />

Chi’s most recent project began in August 2013, when<br />

massive images of his started appearing on the exterior<br />

walls of select NYC buildings, as part of an ongoing<br />

installation called Uncategorized.<br />

6<br />

According to Modu, “The art world tends<br />

to be very exclusive and full of obstacles for both the 5<br />

artists and the public. My goal is to make art more<br />

inclusive by pulling an end run on the galleries and the<br />

museums, breaking down the barriers, and bringing the art<br />

directly to the people. Like graffiti, but legal.”<br />

As to why he calls the exhibit Uncategorized—<br />

“People always want to put art and artists into neat little<br />

boxes. My work does not fit into any one stereotype<br />

and neither do I. I wanted to create something that is<br />

the opposite of putting labels on everything and make a<br />

statement against stereotyping in general. I don’t see this<br />

as just an exhibit. I want to start a movement.”<br />

Chi Modu not only chronicled and defined<br />

the most important phase of the hip hop movement,<br />

now a global force, he was also able to define the artists<br />

and show them as real people, rather than onedimensional<br />

celebrities.<br />

I met Chi on the occasion of the opening of<br />

his exhibit UNCATEGORIZED at HVW8, Berlin. Alongside<br />

images of hip-hop royalty including Tupac, Biggie, Nas<br />

and ODB, the show also features previously unseen gems<br />

from Chi’s photographic archive. To learn more about the<br />

man behind the lens of such iconic images of those hip hop<br />

legends, we took the chance to ask a couple of questions.<br />


Chi Modu<br />

People<br />

Interview by Holger Homann<br />

Photos by Chi Modu<br />

6<br />

6<br />

“What kind of<br />

gangsta rapper<br />

has a stylist?<br />

A stylist?!” - Ice T<br />

HH In your career as a photographer,<br />

you’ve had the chance to capture the steady<br />

rise of hip-hop culture from almost its<br />

beginning for almost three decades, and shot<br />

portraits of the genre’s most famous figures<br />

including Biggie, Tupac, Nas, ODB, and many<br />

others. When did all this start and how did you<br />

get so close to them?<br />

CM Well, my first work as a photographer<br />

was freelance work at the Amsterdam News—a<br />

small newspaper in Harlem, New York in the<br />

early ‘90s. I think it was like 1990. And that was<br />

right around the time that the founders from<br />

Harvard moved down to New York and started<br />

to bring The Source Magazine to a more<br />

national level. I went down to the magazine<br />

and had a visit with them. And they didn’t<br />

really have anybody on staff that actually really<br />

understood photography. At that time, I was<br />

already printing my own prints in my own dark<br />

room, so I was really ready to rock.<br />

This is now post-college. I went to<br />

Rutgers University in New Jersey, I moved<br />

up towards New York City, which is when I<br />

started playing around with my own darkroom<br />

supplies and enlarger that I’d purchased.<br />

From there, my prints got better. I did the<br />

work at the newspaper, then I segued into The<br />

Source since they didn’t really have anyone<br />

that was at the ready. I had a beeper at the<br />

time. So if you called me I would show up. So I<br />

was basically the on-call guy for the magazine.<br />

And then the artists started to see me as the<br />

guy. So they knew if they would sit for my<br />

camera, cooperate, they’ll probably end up<br />

in the magazine. I was always pretty sound<br />

technically, and I brought a higher level of<br />

technical ability to the space, which I think<br />

lifted the whole thing up a bit. This was right<br />

around the early ‘90s. And then I had a run<br />

of about seven years of having my bit of time<br />

to shape the space visually and shape how<br />

people perceived hip hop.<br />

HH In regard to all those personal<br />

encounters, are there any that stand out as<br />

most memorable?<br />

CM It’s tough to single out any one. But<br />

you can imagine, most of them probably are<br />

memorable. We were young men and women<br />

in our 20s, and we were at the front end<br />

of this movement that no one really knew<br />

where it was going. But people knew it had<br />

a lot of energy.<br />

We were running free and running<br />

wild, but we were actually also producing<br />

something that ended up being the<br />

foundation for the multi-billion dollar industry<br />

of hip hop. It kind of rocked the whole globe.<br />

It was important not to get distracted by the<br />

enormity of what we were doing so the work<br />

would stay pure.<br />

So Tupac was always a good subject and quite<br />

cooperative and understood the camera. So it<br />

wasn’t hard to get him for photo shoots and<br />

to perform or just be himself and not perform.<br />

And it worked out well.<br />

Biggie was a good friend of mine<br />

because he’s from the east coast, so he would<br />

always come and cooperate. I did Snoop’s<br />

first album. So I definitely worked with a lot<br />

of these guys early in their career. I’d say all of<br />

them were actually quite memorable.<br />

HH Who was the most difficult to<br />

work with?<br />

CM As a photographer, you don’t really<br />

know what you’re dealing with when you roll<br />

up on a subject. So as far as difficult, everyone<br />

can be at times... Most people don’t really<br />

like having their picture taken. So it’s our job<br />

to make them comfortable and help them to<br />

relax. But it’s also our job to not leave without<br />

a photograph. So I had to bend a lot of<br />

people’s arms over the years to eventually do<br />

a picture after they said they weren’t going to<br />

when I arrived.<br />

The most difficult one was probably<br />

Mike Tyson, because I remember I showed<br />

up at his place in Youngstown, Ohio, and he<br />

was training for a fight. It must have been<br />

1996 or so. And Mike showed up and said,<br />

“I’m not taking any pictures today.” And you<br />

can imagine what that’s like, right? I knew<br />

I was going to get him to take a picture<br />

no matter what.<br />

I softened him up with conversation,<br />

got him to sit down, we ate some food, we<br />

talked for a bit, he cooperated and I was<br />

able to get my images. We saw each other a<br />

year later and laughed about the experience<br />

and we ended up as friends. So I think that<br />

when subjects are difficult, it’s usually other<br />

things in their world that make them difficult.<br />

Photographers know not to take it personally,<br />

and adjust to whatever the challenges are<br />

in any situation, but more importantly, we<br />

must leave with a photograph. That’s priority<br />

one for a photographer. If you don’t leave<br />

with a photograph, you didn’t do your job.<br />

If you don’t do your job, you probably won’t<br />

be hired again.<br />

HH In these times when almost<br />

everybody seems to have the technology for<br />

taking photographs in their hands, what does<br />

one need, to be considered a photographer<br />

from your perspective?<br />

CM Well, the fact that cameras have<br />

become ubiquitous ... I actually like the fact<br />

that everybody has a camera because what<br />

it’s done for photography is it’s made people<br />

appreciate the skills required more, because<br />

more people now see how hard it is to do it.<br />

And it’s not really about the equipment; it’s<br />

always about how you see the world and<br />

your composition. You can get the technical<br />

aspects of photography behind you fairly<br />

quickly if you focus on them. But that’s not<br />

entirely what creates a good picture. A good<br />

picture still consists of the photographer<br />

deciding what stays or leaves the rectangle.<br />

I think that’s what people have learned now<br />

that they all have cameras.<br />

So to be a good photographer, I<br />

think you really have to know how to look in<br />

those four corners and make that decision in<br />

a millisecond of what you want in and what<br />

you want out, and then you press your shutter.<br />

Once you get that down, and the more<br />

often you’re able to do that and not just get<br />

lucky periodically, then, okay, now you’re a<br />

good photographer.<br />

It doesn’t matter whether it’s a<br />

camera phone, like a Sony a7, or a 4x5, it’s<br />

all still the same process. Light exposing film<br />

or exposing a sensor, timing, composition—<br />

that’s photography.<br />

HH What does a photo need, to<br />

become iconic?<br />

CM I think a number of things have<br />

to line up. I can really speak from a music<br />

photography space. There is something to<br />

be said about superstar artists who pass away<br />

at a young age, because they are preserved<br />

in the photographs that we have of them. So<br />

when people look at pictures of Tupac and<br />

pictures of Biggie, they use the word iconic<br />

around them because they haven’t been here<br />

for about 20-something years.<br />

But I think it’s not just the subject,<br />

but it’s the combination of the subject and<br />

how the photographer chose to portray them,<br />

because a lot of times people’s image is really<br />

how the photographer saw them. They’re the<br />

ones looking at the subject. So we look at you,<br />

and we decide when to press the shutter to<br />

capture you where you’re looking right.<br />

That’s kind of our job. We’re your<br />

mirror, in a way. If you are “that” person, we<br />

have to know how to see you as that and<br />

then press the shutter to capture you at your<br />

best. If you line those things up where you<br />

capture someone as they are, and that person<br />

to the public is a superstar or someone the<br />

public believes in—if you line all that up with<br />

a well-exposed image, that’s how you create<br />



an iconic photograph that’ll stay forever, ala the Che Guevara iconic<br />

photograph, or the pictures of Tupac tying his bandana.<br />

It’s not just that the subject is good-looking. They also have<br />

to have some brand, and energy behind them, that comes across<br />

in photographs. And that’s why people want them for years and<br />

years to come.<br />

HH Comparing hip-hop artists today to artists in the past, are<br />

there any differences that affect your work?<br />

CM Well, I don’t really spend that much time photographing<br />

artists of today. I get a lot of requests and I know I have a lot of fans<br />

among younger rappers. But I really feel that there are a lot of quality<br />

photographers out there shooting from this generation that can<br />

capture them quite well.<br />

With rappers today, a big difference that I notice from the past<br />

is that they don’t really let the cameras into their worlds that much. It<br />

seems like the images are a little bit more on the surface. You can list<br />

them: Drake, Kendrick, a lot of big time stars, Beyonce. You know them<br />

as a performer but you don’t really know that much about them visually.<br />

And you don’t really know the rest of their world.<br />

I think over the long haul, that affects artists because once you<br />

leave the public eye, meaning once your music is no longer hitting, all<br />

people have to recall of you is what they already know about you. And<br />

what they know about you is really about your private life.<br />

But it’s very, very tricky, because part of why Tupac has so<br />

much love from the public is, he lived his life on his sleeves. You knew<br />

what he was going through at every moment. So you could either dislike<br />

him or like him, but I think both things are with equal intensity. So the<br />

people that like him, really believed in him. And that’s part of why he’s<br />

still here, 20-something years later.<br />

So there is something to be said about being a little bit more<br />

open about both your successes and your flaws. It’s more really being<br />

who you are and letting the public decide whether they’re going to<br />

take to that or not.<br />

HH In the times of Instagram, artists seem very much focused<br />

on how they look. Looking at your work from the past, do you think<br />

authenticity has become a rare commodity nowadays and is more<br />

difficult to achieve?<br />

CM I think authenticity is the same as it’s always been. If<br />

you’re authentic, people will know. You can’t fake authenticity. So as<br />

far as looking good in photographs, it depends on what you call<br />

good, because I find that when you have pictures of artists and<br />

they’re overly styled, it’s more about the style than the subject.<br />

And we know styles change.<br />

It’s this whole argument about ‘is fashion art’? I actually think<br />

fashion is art but not the same way a lot of people think of it as art. I<br />

think that people who come up with the really creative pieces are the<br />

ones who actually are the artists in fashion, like the one who made the<br />

Nehru jacket, the person who designed the pencil skirt, the original<br />

black pump. That’s the artist.<br />

And the reason why is that fashion changes twice a year. It’s<br />

supposed to in the spring and the fall, right? So if something is supposed<br />

to change twice a year, it’s not really meant to be permanent, whereas<br />

visual art is actually quite permanent.<br />

If you’re spending too much energy in defining your fashion<br />

and your look, well, it’s going to change in six months. It’s going to<br />

change in a year. So I find for people to really follow you, they need<br />

to know that you’re going to be consistent six months out and not<br />

change with the seasons.<br />

So it’s not really about your surface, your clothes, your brand,<br />

your image. It’s really about you. And that doesn’t really change with the<br />

styles. That stays consistent, decades out, much like how my work has.<br />

HH In regard to the recent trend within the fashion industry aiming<br />

to embrace the cultural power of American Hip-Hop—for obvious<br />

reasons since it is one of America’s greatest cultural exports—do you<br />

consider Hip-Hop as a lifestyle now, rather than the art form it started<br />

as ages ago?<br />

CM That right there is a big challenge and debate that’s going<br />

on in hip hop, I think, because ... I’ll tell you where I draw the line on it.<br />

I don’t call hip hop a culture. I don’t quite understand what that<br />

means when people say the culture, because I think ‘culture’ grays it<br />

out too much.<br />

Hip hop is really the message and the voice of the people.<br />

And you have to be very clear. And a voice can’t always say dumb things.<br />

A voice has to actually say some smart things at times.<br />

So I think that it’s good that other people embrace hip hop,<br />

but it’s not just about making up words that sound good together. It is still<br />

about delivering a message. That’s the base of hip hop. Of course, you<br />

can have different versions along the way. But you should not really have<br />

chart-topping music not staying true to its core, because that means<br />

eventually it’s going to die out. And that may be what we’re starting to<br />

see, and will witness over the next 30 years. When you look at the charts<br />

and the famous rappers don’t look anything like the people that started<br />

it, like what we have with the DJs today, that is the beginning of the<br />

dilution of an art form.<br />

HH How much do you consider the importance of clothing styles,<br />

which seems an important signature of the hip-hop genre?<br />

CM Well, if you look at Louis Vuitton and Balenciaga making<br />

sneakers, now you have an idea of what hip hop has done to the world.<br />

We’ve basically completely turned upside down how people look at<br />

fashion. And it’s not just for us. You see a lot more people wearing<br />

high-end sneakers than you ever did before. But we’ve been wearing<br />

sneakers for 40 years.<br />

And so it’s just funny to see how we’re on the front end of a lot<br />

of this change. And the fashion world eventually taps into it, but we just<br />

did hear that Vogue hasn’t hired a black photographer in its 126-year<br />

history. So that’s what we’ve been dealing with. And that’s part of why<br />

we created hip hop, because we weren’t actually welcome. And we’re<br />

barely even still welcome. But we’re driving the globe. And since we’re<br />

driving the globe, you have to pay attention to us.<br />

But, they want to take certain elements of hip hop influence<br />

without you, and that’s where hip hop has to be careful, because, yeah,<br />

Louis Vuitton can make sneakers and Balenciaga can also do the same,<br />

but if you’re pricing them at $1,500, that’s not really hip hop.<br />

HH You once mentioned some references in terms of your<br />

photography going back to the 1920’s. Everyone now seems to live<br />

in the moment not knowing anything about the “roots” - whether it is<br />

about fashion, film, music or photography. Are we losing our past and is<br />

there only enlightenment in the moment?<br />

CM No, we only lose the past by choice. And I think why<br />

people like to eliminate the past is because they don’t want<br />

to be compared to the past which sometimes makes people<br />

want to break away from their roots. But, there’s a challenge of<br />

breaking away from the past, because the past actually has some<br />

foundational qualities that you’re tapping into, whether on a<br />

conscious or subconscious level. So the past is still there whether<br />

you acknowledge it or not.<br />

I think the mistake that is often made is that we don’t give<br />

enough credit to the past. When I see many photographs of rappers<br />

today, I can see influences of my photo styles from 20 years ago being<br />

used by younger photographers today, and it’s a good thing. It’s<br />

supposed to happen like that. But a lot of them don’t know where it<br />

came from, but eventually they’ll figure it out.<br />

And that’s, I guess, what the beauty of Instagram is, because<br />

as I’ve been sharing my work, it’s allowed people to really see my<br />

collection over the past three years. I’ve been putting up a photo daily<br />

and it’s been quite successful because it’s very different from a magazine<br />

or a newspaper publishing your work periodically. They can only publish<br />

your work every now and then but on Instagram, I can put a new picture<br />

up every day that no one has ever seen before, so it’s quite a tool.<br />

If you have quality work now, you cannot be hidden. In the<br />

past, even if you had the work, an editor could decide not to hire you<br />

or a gallery could decide never to show your work. But now if you have<br />

the work, there’s nowhere to hide. People will find you. So it’s changed<br />

the game a lot.<br />

HH In that conjecture, can going back also become part of the<br />

future, and how does that work?<br />

CM Well, you’re basically watching it in real-time, right? My<br />

photographs are 20 to 25 years old. And a lot of people look at my<br />

photographs like I took them yesterday, because my photography style<br />

is somewhat timeless even though my subjects are older. And like I say<br />

a lot, I’m not a big fan of nostalgia. Even though I work with pictures<br />

from the ‘90s, I make them relevant today. It’s not like a throwback, or<br />

a “ I wish I was there” thing I’m doing. I’m saying, no, these pictures<br />

still matter by today’s standards. These artists are still powerful, even by<br />

today’s standards. And that’s what so remarkable about the era I covered,<br />

because here we are 25 years later, and the people I photographed<br />

are actually larger stars than some of the people that are around today.<br />

That’s hip hop.<br />

6<br />

9<br />



Sneaker Pig &<br />

Sock Monkey<br />

The new fetish<br />

of the<br />

fashion industry<br />

7<br />

2<br />


Many leading luxury brands have followed consumers<br />

toward less formal dress, which these days means a lot<br />

of athletic wear, especially sneakers. Louis Vuitton hired<br />

fashion designer Virgil Abloh, known for his streetwear<br />

leanings, to design its menswear. Balenciaga’s creative<br />

director, Demna Gvasalia, has found success with items<br />

such as sneakers and hoodies. Women are ditching<br />

heels and formal black shoes that have ruled the world.<br />

Instead, they are turning to sneakers—the new fetish<br />

of the fashion industry.<br />

Slava Mogutin was prosecuted for his articles<br />

and interviews dealing with gay issues and the war in<br />

Chechnya, at the time when homosexuality was an absolute<br />

taboo in the Russian media and the Russian society.<br />

The artwork of the provocative New York-based Russian-<br />

American multimedia artist, filmmaker and writer has<br />

been exhibited worldwide. Over the past decade he’s<br />

also done plenty of personal and commissioned projects<br />

that involve fashion. His new book, Bros & Brosephines,<br />

merges his studio and fashion photography, portraits and<br />

unseen early work but also continues to explore fetishes—<br />

such as sneakers and socks.


Slava Mogutin<br />

Fashion<br />

Interview by Holger Homann<br />

Photos by Slava Mogutin<br />

1<br />

3<br />

HH When limited edition sneakers are<br />

released, people camp in line for days to<br />

get their hands on a pair. It can even turn to<br />

violence: In 2015, a Brooklyn teenager was<br />

shot in his foot(!) for cutting in line. Can you<br />

enlighten us on how the desire for a pair of<br />

sneakers can turn into an obsession?<br />

SM To each their own, as they say. Some<br />

people are obsessed with expensive cars,<br />

gadgets or pets, some with designer sneakers.<br />

Everyone has a fetish for something—unless<br />

they lack any fantasy or imagination. I wouldn’t<br />

call myself a sneaker fetishist but I do use lots<br />

of sneakers and athletic gear in my pictures.<br />

I actually get all my sneakers for free and I’d<br />

never wait online for any fetish items—there<br />

are so many fetishes to choose from!<br />

HH Pornhub—the world’s biggest porn<br />

site—found Pornhub Gay users to be more<br />

likely to search for sneaker-related porn. 1,124<br />

percent more likely, in fact—with men more<br />

likely to search for sneaker-porn than women<br />

overall. Feet make their first appearance in 6th<br />

with “heels”, followed closely by “socks” in<br />

7th. “Boots” walk in at 13th, and “sneakers”<br />

sneak into the top 20 at 19th. Overall, the<br />

most popular sneaker-related search term<br />

is “sneaker worship,”—does any of this<br />

surprise you?<br />

SM Thanks for the fascinating insights!<br />

I’m not a big porn consumer; I’d much rather<br />

take my own pictures and let others analyze<br />

them once they’re published. I use porn as a<br />

reference in my work but I do it in an ironic<br />

way because most of porn is so serious.<br />

HH You mentioned having been<br />

engaged in the porn industry as a<br />

photographer for magazines like Honcho,<br />

Inches, and Playgirl. In terms of that genesis<br />

of your career as a photographer and in terms<br />

of aesthetics and chosen subjects of your<br />

current work, do you consider that this still<br />

gains influence?<br />

SM It’s up to critics to discuss the<br />

genesis of my career. Working in porn was<br />

an interesting experience and I got to meet<br />

and photograph lots of beautiful and talented<br />

people, some of whom remain my friends<br />

to this day. Human form and emotion are<br />

central to my work. Unfortunately, there’s a<br />

common misconception that nudity equals<br />

sex and sex equals porn. Those are three<br />




different animals, and sometimes those<br />

misconceptions prevent people from seeing<br />

past nudity. I think Germans have a healthy<br />

attitude towards nudity because there’s a<br />

long tradition of nudism and naturism. I had<br />

so many great moments at the nudist lakes<br />

and parks in Berlin; it’s a healthy alternative<br />

to the dreadful app dating, which leaves very<br />

little room for romance.<br />

“Everyone has a fetish<br />

for something unless<br />

they lack any fantasy<br />

or imagination”<br />

HH In geographic terms, the Polish<br />

capital Warsaw is where most people hunt<br />

for sneaker-related porn, followed by Berlin.<br />

Is Berlin and its fetish scene where you first<br />

discovered your affection for sneakers?<br />

SM It’s fascinating how some teenagers<br />

from the former Eastern Bloc find sneakers<br />

and sports gear sexually appealing. Coming<br />

from the Soviet Union, I can understand it<br />

because I grew up at the time when you<br />

couldn’t even buy any foreign brand sneakers,<br />

maybe with the exception of Adidas. So you<br />

fetishize and totally fixate on something your<br />

really want but then go a bit further and<br />

end up sniffing someone’s dirty sneakers<br />

in someone’s online chat room. My first<br />

introduction to sneaker fetish was through my<br />

Berlin gay skinhead friends, Andre and Tobias,<br />

whom I photographed for Lost Boys. They<br />

had a crazy sneaker collection and engaged<br />

in fetish roleplay in front of their online<br />

subscribers, who sent them more and more<br />

sneakers. They also introduced me to other<br />

Berlin sneaker skinheads. That was shortly<br />

after I did Skin Flick with Bruce LaBruce, so I<br />

was greeted as a hero at gay skinhead parties.<br />

I do appreciate the Berlin fetish scene. I’ve<br />

been documenting it for many years.<br />

HH Has any sneaker brand ever<br />

approached you in terms of a collaboration<br />

for an advertisement campaign? Would you<br />

consider working with such brands?<br />

7<br />

7<br />

SM Let’s just say there were several<br />

campaigns based on my pictures but I’m still<br />

waiting for my royalties.<br />

HH In your work as a writer and<br />

photographer, you seem to be able to touch<br />

on the darkest subjects with wit and humor—<br />

where is that sense of humor derived from?<br />

SM I guess humor is a part of my survival<br />

mechanism, coming all the way from Siberia<br />

to New York. Sometimes it’s twisted and dark,<br />

but it always helps me to find comfort in chaos<br />

and beauty in the most unexpected places,<br />

the darkest corners of human nature.<br />

HH My last question is in conjunction<br />

with another interview where you claimed<br />

that people don’t need to go to an expensive<br />

art school and get a degree to have a vision.<br />

You also said everyone is born creative but<br />

some forget how. As a creative, can you tell<br />

us about your vision?<br />

SM Ever since I started writing and<br />

taking pictures, I’ve always wanted to express<br />

myself in the most uncompromising and<br />

honest way. Whether it’s a book, a show,<br />

a performance, or a magazine project, all<br />

my work is about queer insurgency and<br />

claiming your own identity. It’s about love in<br />

different shapes and forms. In the end, it’s<br />

about universal humanistic values that we all<br />

so desperately need in order to peacefully<br />

coexist with one another.<br />


A<br />

N<br />

GEL<br />

F<br />

A<br />

CE<br />

7<br />

8<br />



Photos by Holger Homann<br />

Styling by Elliott-Alfred Attia<br />

7<br />

9<br />


Sweater CALVIN KLEIN<br />

Jeans LEVI’S<br />


8<br />

0<br />


2 stripe shirt COMME DES GARCONS<br />

Necklace Photographer’s own<br />

2 stripe shirt COMME DES GARCONS

T-shirt LUTZ HUELLE<br />

Messenger Bag GUCCI<br />

Trousers BALENCIAGA<br />



Trousers BALENCIAGA<br />

Sweater BALENCIAGA<br />


1<br />

8<br />


1<br />

7<br />


Bucket Hat BURBERRY<br />

T-shirt NIKE<br />

Raincoat BURBERRY<br />

Jean’s LEVI’S<br />

Backpack EASTPACK<br />

Shoes NIKE<br />


Ryan James Caruthers<br />

Portfolio<br />

Photos by Ryan James Caruthers<br />


Love,<br />

like the light,<br />

silently wrapping all!<br />

Cowboys<br />

8<br />

7<br />




Patricia<br />




Dylan<br />


9<br />

2<br />


Laura Aguilar Portfolio Photos by Laura Aguilar<br />

RIP LA<br />

“Laura’s work a lot of time<br />

represents people that are<br />

marginalized and people that<br />

are oppressed or people that<br />

are invisible. Poor, large women<br />

of color — they tend to be<br />

invisible in society. Nobody<br />

sees them. They’re not represented<br />

in media, they are<br />

discriminated against because<br />

we have issues with color, we<br />

have issues with obesity. And<br />

so for a woman like herself to<br />

put herself front and center in<br />

the conversation, that’s pretty<br />

brave. That’s pretty amazing<br />

because there’s nobody out<br />

there that looks like her that’s<br />

saying anything like that.”<br />

- Sybil Venegas (Curator),<br />


9<br />

3<br />

Remembering the<br />

body of work of<br />

Mexican-American<br />

artist Laura Aguilar<br />

(1959-2018)<br />

which redefined<br />

the landscape of<br />

queer aesthetics<br />


Douglas Hand<br />

Fashion<br />

Words by Douglas Hand<br />

Ten commandments<br />

to achieve the best<br />

and avoid the worst<br />

2.<br />

LAws of Style<br />

1.<br />

9<br />

8<br />

The Professional<br />

Gentleman shall<br />

dress in a manner<br />

that is elegant<br />

and capable.<br />

4.<br />

3.<br />

The Professional<br />

Gentleman shall<br />

not dress<br />

more affluently<br />

than his clients.<br />

The Professional<br />

Gentleman shall<br />

always dress<br />

more formally<br />

than his clients.<br />

"They're all wearing<br />

casual clothes, yoga<br />

pants, T-shirts, jeans,"<br />

- Tom Ford<br />

6.<br />

We find ourselves in a period of distinct change—a cultural shift. More<br />

and more men who have achieved professional success are measuring<br />

achievement not just financially, but creatively in other spheres of their<br />

lives. This is a good thing—a great thing actually. We are also living<br />

at a time—an aesthetic inflection point—where norms in manners<br />

of dress are changing. Casual Friday has given way to the full-time<br />

casual workplace in many industries. This has thrown many men (not to<br />

mention many menswear brands) into a state of generalized confusion.<br />

Sadly, for many, the default reaction to this state of affairs is apathy. In<br />

sartorial terms, the phrase business casual is an oxymoron. Like most<br />

oxymoronic statements, it came about as an attempt to put a label on<br />

a bad idea. That bad idea was rooted in the notion that looking casual<br />

can mean looking ready for business. When someone works for me,<br />

I don’t want them taking it casually. When I work for someone else, I<br />

don’t take it casually. I take it very seriously.<br />

I truly believe that style is a form of self-respect. Respect<br />

yourself. Respect your appearance. And by the transitive property<br />

of equality—respect the clothes you wear. As an attorney – I am<br />

somewhat compelled to live by laws. As a human being – I believe<br />

true style (and therefore a form of self-actualization) only comes from<br />

breaking laws. So therefore, a few of The Laws of Style germane to the<br />

current overcasualization we are seeing across certain industries and, in<br />

some cases, particularly in the fair City of Angels follows.<br />

10.<br />

The Professional<br />

Gentleman shall<br />

feel comfortable<br />

and confident in<br />

his clothing if he<br />

9.<br />

is to succeed.<br />

The Professional<br />

Gentleman shall<br />

not be recognized<br />

as “fashionable.”<br />

5.<br />

The Professional<br />

Gentleman shall<br />

properly maintain<br />

his shoes.<br />

The Professional<br />

Gentleman shall<br />

have many ties to<br />

choose from and<br />

shall mix them<br />

into his wardrobe.<br />

7.<br />

The Professional<br />

Gentleman shall<br />

not take “business<br />

casual” casually.<br />

The Professional<br />

Gentleman shall<br />

not have more than<br />

a single whimsical<br />

accessory item on<br />

his person at one<br />

time, and such item<br />

should (i) have a<br />

personal<br />

connection to him<br />

and/or (ii)<br />

be notionally<br />

a useful item.<br />

8.<br />

The Professional<br />

Gentleman need<br />

not mix and match<br />

patterns and<br />

textures, but in<br />

doing so properly,<br />

he shall attain<br />

degrees of style.<br />


LA Flagship Store Opening<br />

November 2018<br />

8619 Melrose Ave<br />

West Hollywood, CA 90069<br />


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