Radical Vertical

RADICAL
V
ERTI
C
A
L
Walter Pfeiffer @IsabelitaVirtual Shaun Ross
INCLUSION
Chi Modu
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
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

WITH WALTER PFEIFFER
WALTER PFEIFFER AND ROMAN BY CLAUDE GASSER

Contents 12-13
4
15-17
18-21
22-23
24-27
28-29
30-31
32-37
38-41
42-45
46
47-50
51-57
58-63
64-71
72-77
78-85
86-91
92-97
98
What’s that jacket,
Margiela?*
We can be heroes
just for one day
Que será, será
Who’s NEXT?
Ménage à trois -
Threesome
Shaun Ross :
Rebel with a cause
Chez Arman
Material Girls
One of these days
these boots are gonna
walk all over you
I am not from your tribe
F for Fashion Film
is the Future
From Los Angeles
with LAFFF
Paradise Lost
Les Fleurs du Mal
The Real McCoy
Sneaker Pig &
Sock Monkey
Angel Face
Love, like the light,
silently wrapping all!
RIP LA
LAws of Style
Contents

T H E R E I S O N L Y A W A Y T H A T
L E A D S T O T H E F U T U R E , A N D
I T I S G R E E N .
www.mdsarmy.com

Editor’s
Letter
Stranger, if you passing
meet me and desire
to speak to me,
why should you not
speak to me?
And why should I not
speak to you?
- Walt Whitman
It took 126 years, or in other words, more than 2,800 titles, for Tyler Mitchell to be the first
African-American photographer ever to shoot a cover of US Vogue. The choice of Tyler Mitchell
as a photographer for the last September issue, however, is only due to the fact that Beyoncé
insisted on his participation. This story is more of a reason to be ashamed however, since whole
generations of commercially successful black photographers, including Carrie Mae Weems, Awol
Erizku, Mickalene Thomas, Micaiah Carter, and Shaniqwa Jarvis, have simply been ignored by
the world’s most important printed fashion title.
For hundreds of years, a great part of American history has been defined by the
struggle of Afro Americans to be recognized as full members of this society. A frustrating struggle
for them, as the (white) American culture has developed a society that simply cannot accept
inclusion for all its citizens. This fight continues to this day. But equality and integration is required
for a healthy and stable democracy. The government of a country that breeds fear of other races
and condones exclusion will inevitably be stripped of those valuable and elementary principles
that are necessary to establish an intact and humane society. If we commit to human dignity
and equality for all, we must also create spaces in which we not only recognize our equality,
but allow differences. Only because of our equality and differences, dialogue and exchange will
become necessary and even possible. Building bridges between different cultures and different
ways of thinking is an indispensable added value for every society, and an increment for every
individual who is part of it.
The most important space for personal (self) expression is art. But the world of art is far
from being a space where equality and inclusion prevail: similar to the fashion world, minorities
also have to fight to become equal. In this issue of RADICALVERTICAL, equality and difference
take centre stage in the aesthetics, content, and authorship of the featured contributions.
For years, Walter Pfeiffer was denied recognition in his homeland of Switzerland due to his
controversial early work
as a photographer and
chronicler of the Zurich
gay underground scene.
Until 10 years ago, thanks
to a retrospective at the
Fotomuseum Winterthur
(2008), Pfeiffer, now in his
early seventies, achieved the long overdue
international recognition, making him one of
the most sought-after fashion photographers
of our time.
With
Uncategorized, Chi
Modu created his own
format to make his
art more accessible to a wider audience:
“The art world tends to
be very exclusive 7
and full of obstacles for both the artists
and the public. My goal is to make
art more inclusive by pulling an end run
on the galleries and the museums, breaking
down the barriers, and
bringing the art directly
to the people.“
Dotan Saguy, born in a small kibbutz
near the Israeli border,
grew up in a Paris suburb,
then emigrated to the
US, where he lived in
Lower Manhattan during
the events of September
11, 2001, before moving to Los Angeles in 2003.
His works, partly shown in the magazine, are
compelling documents of the fascinating character of Venice Beach. Its uniqueness lies in the
diversity of those living there, but faces an uncertain future with luxury refurbishments and greed
for profit threatening the lifestyle that has been the trademark of Venice Beach for decades,
where the misfits of American society sought refuge.
Ryan James Caruthers’ stature and physical condition are the exact opposite of what
American society expects of her members, especially in terms of athleticism. His condition, which
did not wholly identify with the stereotypes most commonly attributed to men, increasingly
isolated him. Caruthers, 24, won the prestigious BJP Breakthrough Award one year later for
his emotional series Tryouts. He photographed himself in full sports outfits in various sports
scenarios and recreated motifs which related to just the kind of activities he never joined as a
student. In those almost poetic images, however, interfaces between homosexuality, masculinity,
identity and athleticism become impressively visible.
The amazing thing about Laura Aguilar’s (1959-2018) very personal style of photography
is that she took things as they were, and apparently captured what was happening right in
front of her camera—the staging of her own big naked body included—without any judgment,
thereby emphasizing the character of difference or otherness. You will find her photography
impressively straightforward and of an unmistakable integrity, as well as with an openness
to each pictured motive. Whether you associate her work with a feminist, Latin American, or
lesbian agenda, you may decide for yourself. But Aguilar was not a theoretical artist; she was
a narrator with unmistakable images originating in her own incomparable aesthetic, which has
indelibly marked her personality and life within our collective memory. I hope a look at her and
all other works of the creatives united in the RADICALVERTICAL “inclusion” issue will leave a
lasting impression on you.
– Holger Homann
EDITOR’S LETTER

THE
TECHNICOLOR
EXPERIENCE
CENTER
The Technicolor Experience Center is about
what happens when creativity meets emerging
technologies. It’s about the partnerships that discover
how stories can be told and delivered in new and ever
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Con
Chi Modu
Chi developed relationships with the biggest
icons of the hip hop movement, including
Tupac Shakur, Notorious B.I.G., Mary J. Blige,
and L-L Cool J, most of whom were not yet
famous at the time. His photos include some
of the most groundbreaking, memorable
images of that era which have graced the
covers of Rolling Stone Magazine and Jazz
Times, and album covers for Snoop, Method
Man, Mobb Deep, Mad Lion, and Christian
McBride. We are very proud to be able to
share some of them with you.
Ryan James Caruthers
Since graduating from Parsons the New
School for Design in 2016, LA-based
photographer Ryan James Caruthers has
not only won the 2017 British Journal of
Photography’s Breakthrough Awards, but has
also been busy shooting editorials for Dazed,
Coeval, FY!, New York Magazine and many
more. We thank him for providing us with an
intimate portfolio of almost poetic images
of intersections of age, race, class, gender,
and body type.
Zohar Winner
Zohar Winner is an incredibly talented graphic
artist based in Berlin. She works across the
mediums of illustration, graphic design and
set design. After graduating at the Bezalel
Academy of Art & Design in Jerusalem, she
worked predominantly as an art director in
the fashion field. Since we consider a good
illustration to be the cherry on the cake
for any magazine, Zohar didn’t hesitate to
provide the much-needed complement
for the magazine.
Walter Pfeiffer
Walter Pfeiffer is a Zürich-based photographer
whose portraits of friends, lovers, still life
and scenery, always taken with a large dose
of fun, not only inspired a generation of
photographers, but also contributed a far
more varied and modern view of what it
means to be queer. Together with Julian
Zigerli, Pfeiffer shot Roman, one of his ‘Walter
Boys’, especially for his Autumn Winter
2018 collection.
tribu
Shaun Ross
Shaun Ross’s newest music video, filmed
at Popsicle LA, features the model-turnedmusician
emerging breaking out of a chrysalis.
Of course it is the breaking out that the lyrics
refer to. It is also a song about the beauty of
transforming into the truest version of yourself.
Since transformation and triumph always
seem to be the biggest points of Shaun’s life
we were glad he gave us some very personal
insight on those important topics.
Slava Mogutin
Slava Mogutin focuses on the more universal
themes of desire and estrangement while
letting his camera range over seemingly
spontaneous situations and marginal scenes
to capture the urban gay subculture in
particular. Since the sneaker market is really
taking off, we felt Slava’s work would be the
best to illustrate what has also become a
fetish for the $65 billion footwear industry.
tors
Symone Ridgell
2018 summertime heat called for a little—or
a lot of—vintage glamour. We reached out
to Symone Ridgell, LA Video producer at
PAPER magazine, to add some of the late
80s vibes and glam to our magazine before
the inevitable autumn approaches, and the
bright and shiny colors mute and begin to
darken our souls. In that aim, we thank her for
achieving the radical chic which will now shine
through our pages.
CONTRIBUTORS

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Radical
Vertical
The magazine is published in collaboration between
radicalvertical, Berlin, kulturspace, Los Angeles & LAFFF.
Editor-In-Chief
& Creative Director:
Art Director:
Fashion Editor:
Copy Editor:
Holger Homann
Ryan Ying
Elliott-Alfred Attia
Lindy Siu
Publisher:
Project Manager:
Sales & Partnerships:
Special Thanks to:
Justin Raymond Merino
Natasha Siemaszko
Alex Holz
Leslie Bedolla
Contributors:
Alexis Borges
Chris Francis
Douglas Hand
Simone Heift
Ryan James
Caruthers
Matt Lambert
Andy Lee
Jamie Luca
Chi Modu
Slava Mogutin
Arman Naféei
Walter Pfeiffer
Symone Ridgell
Shaun Ross
Dotan Saguy
Lindy Siu
@IsabelitaVirtual
Zohar Winner
Julian Zigerli
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1
Cover by Matt Lambert
Published by: The kulturspace Foundation
1920 Hillhurst Ave V921
Los Angeles, CA 90027 USA
www.radicalvertical.com
www.kulturspace.com
www.lafashionfilmfest.com
MASTHEAD

What’s that jacket, Margiela?*
* Kayne West Lyric from “N****** in Paris.”
Streetwear is about to dominate fashion.
Generations Y and Z are already the
main growth drivers of the luxury goods
market, contributing 85 percent of luxury
purchases. Sneakers and sweatpants are
boosting luxury brand profits even more
than custom tailoring and evening wear.
It is no coincidence that Louis Vuitton
appointed Virgil Abloh as artistic director
of menswear: streetwear is getting hotter
than ever. For the last few years, the rise of
streetwear has been more than just another
big storyline in fashion. In 2017, Supreme
was reportedly valued at $1 billion, which
underlined that the success of Supreme,
and streetwear in general, are definitively
to be considered game changers in terms
of fashion and culture.
Clothes are becoming
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more and more casual, inspired by
2 the growing momentum for healthy STREETWEAR - THE
END OF FASHION?
and sporty lifestyles, generating
unprecedented popularity of items such
as sneakers and sweatshirts. Hip-hop has
grown from a subculture into the most
successful genre of the music industry in
the US, surpassing rock. Generation Y and
Z represent a large and growing share of
fashion consumers, and what they want is
community and authenticity. Streetwear
ties to hip-hop but in terms of fashion, what
is left besides its signature casual clothes
like hoodies and tees, graphic logos and
the fixation on sneakers? We asked Simone
Heift, Buying Director of the KaDeWe
Group—one of the most prominent and
distinguished international department
stores, offering over 60,000 square meters
of international designer goods and
exclusive brands—why, even as streetwear
grows into a billion-dollar business, it’s
still not perceived as prestigious, and still
doesn’t signify luxury the way fashion
traditionally has.
WHAT’S THAT JACKET, MARGIELA?*
HH In the German press—and not only there—it has been said
that “Streetwear has become the driver of fashion”. Fact is, hoodies and
sneakers have left Haute Couture behind. Everyday suitability triumphs
over aesthetics (at least for the moment). Where does streetwear drive
fashion in your opinion?
SH Streetwear has had a major impact on fashion in the past,
with NEIL BARRETT and GIVENCHY by Ricardo Tisci already known as
Luxury Streetwear, filling the gap between Contemporary and Luxury
Formal looks. The creation is part of a high-low aesthetic of lifestyles
of the West Coast, Californian kind. Currently, streetwear influences are
clearly leading the way. The fusion with luxury not only brings a whole
new look, but conventional boundaries are resolved. Designers rely on
sneakers, hoodies and tracksuits. Logomania everywhere—not a brand
new, rather, ongoing mega-trend but more present and important than
ever—especially labels like Balenciaga and Off / White, even Valentino
follows the hype. Collaboration follows one another at ultimate speed,
limited editions and new brands become a must-have.
What is changing is mainly that a whole new audience is in
focus—the young ones, informed, with incredible brand awareness and
purchasing power—the millennials are flocking to the luxury brands.
Fashion is increasingly becoming a status symbol, and the leading
labels have mastered the game of desire. The run on various It Pieces
is enormous; they are quickly replaced by new ones. The more limited
the better. Even though streetwear dominates and is authoritative

Simone Heift
Fashion
Interview by Holger Homann
inspiration, without the “ugly & sporty”, nothing works. The wave hasn’t
reached its peak yet. Nothing is final; fashion is constantly changing.
HH Zalando has been selling a collection by Karl Lagerfeld, which
was developed exclusively for the Berlin online fashion platform. The
collection “combines the trademark of Karl Lagerfeld with a streetwear
influence,” Zalando said in a press release. What is the meaning of
“under streetwear influence”? Or is “Streetwear” just the train that
everyone seems to be jumping on?
SH Two very different positions got together here, effective in the
media and determined to be a commercial success. As a mass market
retailer, Zalando serves a wide range of customers and accordingly has
a very different view of streetwear. In addition to his successful work
at Chanel and Fendi, Karl Lagerfeld Collection has always focused
on casual suits and apparel as a brand. Therefore, this is a natural
collaboration in tune with the times.
HH In the mainly white world of fashion, Virgil Abloh is the first
black man in a top position with the world’s most prestigious luxury
brand, Louis Vuitton, to display a mix of streetwear and luxury clothing
in his debut collection. Is this a creative decision by the house of
Louis Vuitton, or was the marketing department unable to resist the
temptation thanks to Abloh’s appeal to get an even bigger chunk of
“coolness”, rather than just a cooperation like the one with Supreme?
SH The appointment of Virgil Abloh for menswear designer is a
perfectly thought-through move—from every point of view. I doubt that
the skin color played any role here, and so it should be. Rather, worked
the “hype” factor around his personality. Everything that touches Virgil
turns gold—the label Off / White and his numerous collabs—and is
decisive. Virgil is one of the most influential designers of his time, with
strong connections to the music and design industries. Virgil Superstar:
an all-round genius—he epitomizes the zeitgeist like no other.
Workaholic and Party Animal. No other can skilfully blur the boundaries
between street style and luxury as he does—he is the undisputed king
of coolness and the perfect choice for Louis Vuitton, making the label
even more desirable and open, especially for the most sought-after fan
base. I trust him to not only lead Louis Vuitton to commercial success,
but to manifest a new kind of lifestyle. Fashion is more than tailoring;
it is a complex, multi-layered interaction. Today, above all, the overall
concept is decisive. He will put his stamp on the house.
HH Does this step help open the door to a rather whitedominated
industry which they were previously denied? It was surely
for a reason that students from Abloh’s Art and Design Academy were
invited by him to attend the show. True to the motto: If I can do this, you
can do it too.
SH I wish that skin color as well as gender, religion, origin,
or even sexual orientation, were generally no longer obstacles to
achieving goals of any kind—not only in fashion, not just in the job.
Virgil’s debut for Louis Vuitton was more than a show—it was a clear
statement of diversity, tolerance and freedom. Everyone should be
able to go their own way without being discriminated against in any
way. Unfortunately, today we are often further away than we think—it
is even more important to fight for it. I can do that; you can too. Abloh
not only invited the entire LV design studio to the show but students
from various Parisian fashion schools also attended. This element
of social inclusiveness is new to LV and is an excellent strategy to
reach a wider audience.
HH In the New York Times, Abloh’s debut collection has already
been called the end of the “créateur de mode”. How do you judge the
future of the classic fashion designer à la Dior, Chanel, Balenciaga, or
will they mutate into just labels of a global operating corporate?
SH A very disillusioning and one-sided headline; I can not and
do not want to share that. Many voices of criticism in the run-up turned
silent after his emotional debut for Louis Vuitton anyway. For fashion
has lost its meaning, is not true, because is not exactly this freedom
and individuality the new—or rather rediscovered—real meaning
behind it? Fashion today moves in all imaginable directions; we no
longer strictly follow a single dictation. Everything is possible. The hype
about streetwear and Virgil at Louis Vuitton is far from the only thing
that makes fashion fashionable today. Alessandro Michele breaks all
conventions and shapes a very own aesthetic of maximalism, Céline
sets with Hedi Slimane on the extreme contrast to Phoebe Philo and
ultimately Givench breaks Givenchy obviously with Tisci’s streetwear
influences, the list is endless. There is more diversity and change than
ever before—that is the zeitgeist. The time of the great couturiers may
be over. However, they are followed by brilliant, innovative visionaries
with a view of the whole and beyond, which is more important today.
HH Kim Jones, the 38-year-old predecessor of Abloh, is now with
Dior, making the menswear there. Only a few models have worn classic
shoes and boots on his debut collection. Does the shoe industry have
to worry? Will we only wear sneakers in the future—the item that seems
to have become the new fashion fetish?
SH Sneakers have undoubtedly become a statement piece
and now one of the strongest categories in the footwear segment.
In KaDeWe alone, about 70% of sales in the men’s shoe department
are generated from sneakers, which have thus overtaken the formal
shoe. Designer sneakers from luxury brands such as Balenciaga, Gucci,
Alexander McQueen and Saint Laurent are an important part of our
range, as well as classic manufacturers such as Santoni or John Lobb
who have expanded their collections through various sneaker models.
Here we notice that the sneaker models of the brands, which are
actually specialized in classic shoe models, are selling almost as well, if
not better. Streetwear brands are taking advantage of the scarcity of the
product and the social media hype to reinforce the traditional supply
and demand model.
HH Burberry boss Marco Gobbetti justified his decision in
March to have former Givenchy designer Ricardo Tisci appointed as
creative director of Burberry with the statement “His ability to combine
streetwear with high fashion is extremely relevant for today’s
luxury customer. “ Similarly, Michael Burke, chief executive of
Louis Vuitton, commented on the appointment of Virgil Abloh:
“Virgil is incredibly good at creating bridges between the classic
and the zeitgeist of the moment.” Are brands such as Burberry and
Louis Vuitton no longer viable without these connections? Or are
they being completely redefined with streetwear fashion styles?
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SH Without a doubt, Riccardo Tisci established Givenchy during
his 12 years with the brand—he was the first to combine streetwear
with high fashion in a unique way, but Riccardo’s visions are also
contemporary elegance and bizarre romance. Burberry approached
the topic of luxury street style in cooperation with Gosha Rubchinsky
before. With mastermind Tisci Burberry, I think it’s the perfect formula.
He is enormously versatile, you can not reduce it purely to his street
style coolness factor. I look forward to Riccardo’s (at least partially
ironic) interpretation of the heritage of the British cult label and his
typical game of opposites, because he masters this like no other. As
always, Marco Gobbetti proves the right nose here. Although far less
experienced, Virgil Abloh is also cornered too much. The man just has
it. He sets signs and clear statements, even though tailoring admittedly
is not one of his strengths. Carefully thought through to the smallest
detail, he puts everything in a nutshell, pursuing his vision undeterred—
few couturiers are capable of doing so.
HH As a buyer of one of the most important international
department stores that offers international designers and top-class
brands on over 60,000 square meters of retail space, these changes
will certainly have an influence on brand selection and communication.
How does KaDeWe react to these trends?
SH It’s exciting to get the new, well-publicized target group into
the stores. Not only do they have a passion for logo and street style, they
are primarily interested in the new and the unconventional, and that is
the basic meaning of fashion. It is important not only to focus on wellknown
Collaborations, Limited Editions and the Big Names—above all,
of course, Off / White. Especially in this segment, you can constantly
discover new brands to offer this very informed crowd a unique mix
and sometimes to stay one step ahead. Labels such as A Cold Wall, Y
/ Project, Heron Preston and Unravel are among them. Dynamic is the
“key”—in every sense of the word—a conscious departure from the
mainstream, much faster in terms of assortment and communication,
much more spontaneous.
WHAT’S THAT JACKET, MARGIELA?*

MARCELL VON BERLIN
Fashion
Words by Lindy Siu
We can be heroes
just for one day
MARCELL VON BERLIN:
Street Couture,
With a Berlin Edge
True to its Berlin DNA, MARCELL VON BERLIN embodies progressive diversity and urban
glamour in its distinctive street couture. The label’s interpretation of edgy urban styles using
the finest quality Italian fabrics offers a delightful integration between casual streetwear
and exclusive luxury.
The merging of the two contrasting worlds is further underscored with the
inspired placement of an in-store Späti—a signature Berlin late-night convenience store—
in the brand’s flagship store on Friedrichstrasse in Berlin, which offers guests an
assortment of typical German candies and sweet treats. That’s one cool way of putting the
street in haute couture.
As a designer, MARCELL VON BERLIN is as versatile as he is creative. His
creations have been worn to grace many a red carpet, standing out with his signature
geometric cuts and innovative materials. As the brand continues to pave the way towards
fashion that’s more inclusive and accessible, MARCELL VON BERLIN prepares to open its
first international store on Melrose Avenue, Los Angeles, before the end of the year—a
fittingly funky, trend-setting neighbourhood for the street couture label’s first US store. A
natural progression in the brand’s evolution since its inception in 2011, the label’s high-end
street style is an ideal fit with the laidback, trendy LA vibe.
Its iconic Berlin Boy and Berlin Girl series—a tribute to Berlin’s urban
charm—features a provocative combination of street style imagery and old
German typography. In conjunction with its LA store opening, this quintessential
line of ready-to-wear sweaters and t-shirts will be adapted and launched as
LA Boy and LA Girl, with distinctive design elements symbolizing the close connections
shared by the two sister cities. Swimwear and sliders will also be included in the LA edition
for those warm summer days.
Further preserving its authentic Berlin heritage and staying true to its brand
identity, the LA store will also have an in-store Späti for non-Berliners to get a taste of the
city’s unique street culture.
Let’s applaud the fall of the couture wall.
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WE CAN BE HEROES JUST FOR ONE DAY

WE CAN BE HEROES JUST FOR ONE DAY

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Que será,
será
@IsabelitaVirtual on the rise of the
digital world and the extinction of
the printed matter
The future’s not
ours to see
In a world where influencers have become the new
trendsetters, the question of where fashion publications
stand in terms of relevance and potential for commerce
is more important than ever to marketers and publishers
alike. The question is no longer if and when luxury brands
should embrace the digital opportunity, but how they
should go about doing it.
@IsabelitaVirtual aka Isabel Martinez is a young
Spanish creative whose universe has enchanted the world
of social networks. Born and raised in Barcelona, Isabel
is an award-winning creative director and photographer
who has collaborated with brands such as Dior, Hermès,
Kenzo, Tiffany & Co, Coach, & Other Stories, Sony, Viktor
& Rolf, Boucheron, Delpozo, and The Moscow Ballet. Her
popularity on Instagram has grown exponentially with over
680 thousand followers. The co-founder of Instagram,
Kevin Systrom, named her one of his 3 favorite fashion
accounts in an interview with i-D Magazine.
In 2018, the @IsabelitaVirtual Instagram
Gallery was honored by the Webby Awards
(hailed as “the internet’s highest honor” by The
New York Times) in the category of Best Social Content
in Art & Culture alongside powerhouse cultural
institutions such as The Metropolitan Museum of Art,
the Guggenheim, and LACMA.
Martinez, who has to-date not posted a single
selfie, recently called for 12 different artists—who follow
her on Instagram and whom she believes connect with
her artistic vision on some level—to create portraits of
her based solely on the images on her Instagram account,
without knowing anything about her physical self.
Since Isabel Martinez also has numerous
collaborations with famous magazines, W magazine
amongst them, we were keen for some words of advice
on how to avoid the extinction of iconic print titles. Recent
examples include the legendary Interview magazine
which closed down just 6 months ago; Village Voice, the
independent weekly New York City newspaper which will
cease to be in print; and even Teen Vogue. Condé Nast—
owner of Teen Vogue, with a reported loss of about $120
million in 2017—will also end its print publication, with plans
to sell three of its titles: Brides, Golf Digest, and W, based
on a recommendation by the Boston Consulting Group.
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QUE SERÁ, SERÁ

@IsabelitaVirtual
Fashion
Interview by Holger Homann
HH In the current climate when
magazine publishers are reporting vastly
declining circulation, even of the most
prestigious titles, (with sales of the top 100
magazines in UK and Ireland having declined
by over 50% since 2000),
would you consider the
printed fashion magazine
to be an endangered
species? Or in short:
is print dead?
the experience of reading.
The ritual of spending time
and enjoying the moment.
On digital platforms,
we have access to
millions of images
and articles, which
2
0
fulfils the voracity for
content. In print it’s
not about quantity but
always about quality.
This leads us to the second
reason, which is focused
on the object itself. Today,
print magazines should be
the haute couture of fashion
editorials, to keep this
glamour that attracted fans
IV I don’t think
so. Obviously it’s been
hard for some magazines,
particularly the ones that
were not so appealing
in their print version to
compel readers to spend
money on them. Why
should I buy a magazine
when I can get the same
content for free? Well, I
find at least 2 powerful
reasons: the first one is
from all over the world
and of course, to win
followers in social media.
On the other hand, we
should turn our heads to
the rise of independent
fashion and lifestyle
magazines, focused on
niche audiences with a
high interest in the issues
they are related to.
HH The hottest
topic in the media
business right now is the
unexpected growth in paid
subscriptions. If the growth
of subscriptions is driven in
part by frustration with the
pervasive advertising we
are subject to, is the fashion magazine mainly
financed by the sales of advertisement fit for
the future, or the reason for its decline?
IV The growth in paid subscriptions
is the evidence that magazines have “real
lovers”. Advertisers should take advantage
of this fact now, more than ever, and invest to
touch the hearts (and wallets) of readers. There
is an enormous opportunity for advertisers
and publishers to not do conventional ads but
interesting content. Since the beginning of
their creation, magazines
have been a catalogue
for brands. Net-a-Porter
was the evolution of this
idea in a very honest way.
Print magazines should
collaborate with brands
to explain relevant fashion
stories. In digital, it’s the
natural way of doing it, but
in print, advertising was
always the annoying price
that readers paid. Now
the relationship between
advertisers and editors
is evolving into valuable
content and an invaluable
increase of fans.
language of the brand/
titles and the digital
language.
HH Teen Vogue,
once a prized brand in
Condé Nast’s portfolio,
has been cut down to four
issues per year. Teen Vogue
will now become an onlineonly
publication. Is this the
proof of a continued trend
as younger audiences and
digital natives move away
from print?
HH
What could
be the best strategy for a
publisher deeply rooted in
printed titles to adapt to
the digital economy?
IV There is
probably not a unique
solution that works for
all titles. However, there
are some common
points that are a must
to build a community:
time and money. Quite
obvious, right? But there
are still companies that
don’t understand this.
Also to find the correct
balance between the own
IV Younger audiences
have less purchasing
power but they are willing
to spend it on products/
services they are in love with. Even online
magazines like Rookie are editing books.
HH Is the reinvention of magazine
brands online such as Teen Vogue the only
solution to help replace the fall of print in
terms of advertisement revenues?
IV Advertisers are where audiences
are. So the question should be how to make
your audience grow.
HH
On the other hand, independent
magazines are seeing a
rise in readership through
a hybrid of print and
online publications. What
went wrong in terms of
developing adequate
strategies to bridge once
prestigious and successful
printed titles such as
Details and Teen Vogue
with the digital era?
IV I see a tendency
of forgetting what is the
real DNA of printed
magazines in the transition
to digital. Most of them
are very similar to each
other and there is a lack
of personality.
HH As our dependence on
social media grows, and it becomes
more integrated into our lives, we’re
becoming more influenced by what
we see online than ever—how do
you consider the effects on fashion?
IV We are witnessing
something unprecedented. Regular
people are turning into trends
prescribers. This is amazing and it’s
forcing the fashion establishment
to be more innovative. However,
all of us are subjected to what we
call the “dictatorship of likes”.
Brands repeat what audiences
like the most, which is normal,
taking into account the market
but it’s not that
healthy for
opening minds and
bringing in something new.
HH Fashion was
presented to us in the
past mainly through glossy
magazines such as Vogue.
Fashion in that way was
kept exclusive, determined
by designers and magazine
editors. With platforms like
Instagram, we have the
chance to become our
own magazine editors,
sharing our personal style
with potentially millions
of users. To what extent
do you think this will
change the way fashion
is perceived and how
brands connect with their core audience in
the future? Will the printed fashion magazine
stay in the picture?
IV Democracy has arrived in fashion.
It’s true that everyone can post content but we
need to keep in mind that the content an ego-
QUE SERÁ, SERÁ

Illustrations by @ConradRoset, @CarlaFuentesArt, @Cristina daura _@CDaura, @GilButton, @AgataWierzbicka, @Velwyn, @OneEyeGirl,
@Laura_Laine, @FebruaryJames, @juan_cris_smiley, @YaelHupert
blogger posts and the content a professional
journalist offers is not the same. A magazine
shouldn’t compete with influencers in these
terms but should offer a point of view about
other issues. For instance Vice has a clear
editorial line which is very
different from, for example,
Hello Mr. (a Brooklyn-based
gay men’s magazine) or
Wallpaper. So what printed
fashion magazines should
do is to be stronger in what
defines them.
HH Does that mean
that magazines and advertising
campaigns don’t
have the influence they
once did?
IV Ten years ago,
magazines and big
advertisers were the only
players in the game. Now
the game has different
rules. Thousands
of creative people
are challenging the
big names of fashion with no budget
but with ideas and enthusiasm.
HH Of Instagram’s total
audience, 200 million users follow at
least one fashion account which allows
fashion companies to interact with
their customers on a level that they
could never do previously. Instagram
has become a platform for fashion
brands to connect with their audience
directly, rather than through a catwalk
show or print advertising campaign,
opening up a whole new world for
fashion marketers. Where do you see
adapting yourself in regards to that
new world?
followers. In regards to brands’ relationships
with influencers to increase social reach and
maximise followers, do you see a risk of the
creatives of the brand becoming just another
marketing tool?
On the other
hand, the lack of concept
is a big issue. There is a
Spanish saying for this,
“bread for today and
hunger for tomorrow”.
They are not planning
long-term strategies. To
focus on quantity (of
likes, followers, comments,
retweets and so on) has
nothing to do with quality.
HH Social networks
are not only a place
where users can express
themselves but also a
large-scale platform for
IV The strategy of
well-known brands (fashion
labels or editorials) is to
identify and collaborate
with creative people not
so much for their strong
fan base, but more so for
their very special point
of view. But the term
“collaborate” is tricky.
This means all too often,
to work almost for free
with visibility as the only
remuneration. Powerful
brands that are aiming to
be patrons of young people
are not paying them for
their creativity.
one sole picture are two basic rules.
HH The Social Media Marketing
market is growing and new platforms and
services appear every day to simplify the
lives of influencers and
advertisers. In terms of
that trend, where do
you see a chance for a
magazine publisher to
contribute to the future
world of fashion?
IV The fashion
industry has the connections,
the power, and
what is more important,
the glamour aura that
makes fashion aspirational.
I’d encourage them
to take more risks and
to work closely with
technological startups to
create relevant content.
Some time ago I was
talking with the Head of
Digital of a very well-known
“Maison”. He wanted to
invest in digital, beyond
celebrities, and I
asked why he couldn’t
do it. He told me an
anecdote: When the 2
maison was looking
for someone to take
over his position,
1
the job requirements
included “at least 10
years of experience with
Instagram”, but Instagram
was launched in 2011...
This is a very illustrative
example of old mentality.
IV Isabelita Virtual
was born on Instagram, but
the platform is evolving so
fast that what worked six
years ago maybe doesn’t
work today. I’m always
trying to be loyal to my
own vision, to evolve
my aesthetic but trying
not to copy others and
also to expand the limits
of the platform which is
something really important
to me. Instagram is plenty
of bold images fighting
to gain the attention
of viewers in a second.
Sometimes I find a lack of
concept. I want something
that goes further than a
couple of impacting photos.
HH In terms of influencers claiming
to generate a wider conversation around
fashion brands, any profile that can add
value to a brand can be involved. This value
is generally measured by the volume of
promotion, advertising,
and selling. This means
that influencers play an
important role in this
industry and their influence
will grow further.
But almost 50% of the
industry considered microinfluencers,
with 10k-100k
followers, as the most
effective for their campaigns.
Only 11% chose celebrity
influencers with 1.5 million
followers as the most
effective marketing partners.
How can a brand find the
right influencer?
IV They should
think about what they
want to reach. We are used to seeing
celebrity influencers selling a Dior bag today
and a Chanel one tomorrow. In this way it’s
complicated to create a real link between the
brand and the influencer’s values.
So to have a mid-term
relationship and to think of content beyond
We’re in between two
generations and the
transition to digital is
not always easy. I feel
really lucky collaborating
with brands like Delpozo
and his Creative Director
Josep Font and their
team, who have pristine
ideas about the importance
of extending a
brand’s values to social
media. Regarding magazines,
people like Alessia
Glaviano or Chiara
Nonino from Vogue Italia
are doing excellent
work, also Sarah Leon
in W Magazine. These
are just some examples
of professionals doing their best to stay
relevant not just in printed magazines but also
in digital.
QUE SERÁ, SERÁ

Who’s NEXT?
THE NEW BREED
OF RUNWAY
President of Next Model Management Los
Angeles, Alexis Borges, who spotted Lucky
Blue Smith’s potential at age 10, shares his
thoughts on the future of the catwalk. Lucky
Blue Smith has become the world’s most
famous male supermodel with over 3.3m
Instagram followers. Despite that, more
non-white, plus-size, trans, non-binary, and
over-50s models walked the Spring 2018
runways than in any other season, with New
York leading as the most racially diverse
city. Yet it took 20 years to have another
black model open a Prada runway show, the
last being Naomi Campbell in 1997! If color
doesn’t matter anymore—does gender,
age, or size? Are African and transgender
models simply 2018’s flavor and just
fashion’s way of capitalizing on popular
public trends? How radical an entire industry
becomes when it’s desperate to reach the
Gen Zs while still sticking to the (outdated)
concept of “seasons”, and “menswear” vs
“womenswear”. And what does it mean for
scouting the new breed of models?
WHO’S NEXT?

Alexis Borges
Fashion
Interview by Holger Homann
talent that is being pushed out. I don’t scout models based on trends,
I scout models that I believe would appeal to my fashion peers. There
are models that will be able to cross over and do men’s or women’s,
but there are models that simply will never cross, nor should they
have to. There is a difference between a female physique and a male
physique. Within this gender identification, there will also always
be different builds that will appeal to a more athletic consumer, or a
high fashion consumer.
HH I consider Bryce a good example of a rather “gender fluid”
cast. Is the line-up of future models at Next to be perceived as a
reflection of the diversity of our society in terms of gender, religion,
race, sex etc. rather than an ideal of just “beauty” and how the industry
defines the ideal of beauty?
HH You once spotted a 10-year-old Utah boy who then got signed
by the age of 12 and became one of the most popular male models:
Lucky Blue Smith. How often does it happen, that you see such potential
in a future model, when that person is perceived by others as simply
a good-looking kid?
AB It happens a couple of time a year for sure, but there are a lot of
factors that come into play. Finding them is one thing, however, whether
or not they reach their potential is a whole other thing. It all depends
on such things as school trajectory, religion, geographic location, family
dynamics, family beliefs and many other things, but mainly they have
to want it and work hard for it. I can’t want it for them, you know what I
mean? I pride myself on my keen eye for spotting potential models—it
goes way past whether they are a good-looking kid or not. Most are not
so good-looking or obvious “models” as they are young and may be
holding on to baby weight, or acne and all the other wonderful things
we have to go through as teens. When I spot a kid with potential, I’m
looking at them from head to toe, I’m looking at cheekbones, length of
arms and legs, how they hold their shoulders, how they stand out or not
stand out in a group if they are with friends, etc.
HH In terms of fashion’s relationship with inclusion—do you
consider the growing casting of diverse models as just a trend or a
commitment of an industry to a more modern, more open society?
AB Well this time, I hope it’s not a trend. I have seen this wave of
“inclusion” in fashion many times before, throughout my 30 plus years
as a manager. I think as human beings, fashion or not, we should have
evolved by now, in something so simple as being inclusive of all beings
regardless of race, color, religion, or sexual preference. I hope this time
it sticks, and in the near future there will be no need for talks of inclusion
as it will be the norm. That would be ideal!
HH Do you see any progress within the fashion industry in terms
of the creators and business people of the industry becoming more
diverse—in making model decisions rather than who’s on the runway?
AB In editorial, fashion shows and fashion advertising, yes, I see a
difference, but unfortunately we are only just seeing an increase mainly
in African American models. There has been little to no noticeable
increase in Latin/Hispanic, Asian, Indian and other models. And when
it comes to e-commerce, we still get breakdowns that say looking for
1 African American girl or boy. Yet they feature dozens of Caucasians
models. Also they usually offer a lower rate, which is just messed up. The
fashion industry has a long way to go, as far as I’m concerned.
HH In regard to the topic of gender fluidity, do you think model
agencies will also increasingly refer to trends within the society and its
needs to explore the concept of individuality in general, rather than just
matching the demands of the sometimes capsuled world of fashion,
which still sticks to the rules of, e.g., menswear vs womenswear?
AB I have been representing gender neutral to transgender
models since the late 80’s with iconic people like Connie Girl, and
costume designer Zaldy. I think agencies shouldn’t follow trends; we
are the managers, and we are a big part of the contribution of the
AB Very good question, however, the answer is yes to both. We
have to cater to the consumers as well as the industry needs, while
retaining our creative power to sign talent we believe are worthy of
our management. What we look for is always changing and evolving.
What we make sure is always to stay on brand, on our mission of what
fashion and beauty means to NEXT. We will always push for diversity and
equality. That’s in our DNA.
HH In times of technical achievements turning the smartphone
into a camera, everyone seems to have turned into a photographer
nowadays. Is the next step happening that everyone can become
a model?
AB No, not at all. I think what we are seeing is that there are a lot
more opportunities for these potential models to be discovered, and as
we know there has also been a lot more opportunities for truly talented
people to get noticed.
HH I have a very distinctive opinion about what one needs
to be called a photographer. Can you explain what one needs
to be a model?
AB Height, fitness, personality, and ultimately how
they photograph, and their ability to feel comfortable in front
of the camera.
HH I’ve had the pleasure to meet Cindy Crawford, Claudia Schiffer
and Christy Turlington: do you think we will experience a revival of the
Supermodel mania like in the pre-digital era?
AB In my opinion that era has come and gone. Those girls will
always remain the reason I got into the industry to begin with. Today’s
consumer doesn’t seem to have the attention span to remain influenced
only by a small crop of models that at the time dominated the industry.
With that said, there will always be a few girls that rise above their peers
and will be in demand. How long they will reign is still in question.
HH Talking digital era: how important is street casting still, and
how important have the social networks become in scouting?
AB Digital casting is important for sure, and for the most part,
easier than pounding the pavement, scouting for talent in a mall, airport
or amusement park. But to me, there is nothing like street casting.
Seeing the person in the flesh and getting an immediate feel for how
they truly carry themselves without the pressure of a camera presence
and the pressure of social media and the power of photoshop. I will
always prefer street casting over social media casting.
HH Since we will face not just a new generation of consumers but
also buyers for retail worldwide: do you think we will still have runways
as the most important stage to present a fashion brand’s new collection,
or in times of AR and VR, do you think these new technologies will
take over soon?
AB I think it will look very different down the road, shows will be
more for “show purpose” and the theatrics and creative outlet of the
designers. They will remain important for brand awareness, but not
catered to the consumers. AR and VR and new technologies will take
over—it’s inevitable. It may feel weird and different now, but it’s our
future and part of our evolution.
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3
WHO’S NEXT?

Ménage à trois -
Threesome
2
4
MÉNAGE À TROIS - THREESOME

Walter Pfeiffer
Fashion
Words by Holger Homann
Photo by Claude Gasser
Models: Walter Pfeiffer,
Roman & Julian Zigerli
An artistic collaboration
Yves Saint Laurent’s love of painting culminated in 1965 in a kind of tribute to the Dutch
painter Piet Mondrian, whose geometric paintings became the pattern of his autumn winter
collection shown in Paris. The fashion show was a triumph. The dresses, cleverly designed
and tailored with all the finesse of haute couture, were dubbed “the best collection” by
Diana Vreeland in The New York Times. The Mondrian line was an international success
and a personal triumph for Yves Saint Laurent, who became the “King of Paris”. In the
same year, the Mondrian dress also made it to the front page of ELLE, followed by Harper’s
Bazaar and Vogue. Originals from this iconic collection—the blueprint for any future
collaboration of art and fashion—can now be seen in the Rijksmuseum in Amsterdam,
the V & A Museum in London, and the Metropolitan Museum of Art in New York.
2
In retrospect however, at least from my perspective, the most striking
collaboration in 2017 was The Artist Series by Helmut Lang: a project that continues the 5
over two-decade-long tradition of the brand’s collaboration with artists. The diverse
collection features works by Peter Hujar, Carrie Mae Weems, Martine Syms, Andrew Miksys
and Mark Morrisroe in the form of limited edition posters, t-shirts and other products.
The series was launched with a collaboration with Walter Pfeiffer, whose shown
works dates back to the period of his career in Zurich in the 1980s. Those “golden years,” as
Walter describes them, are also the subject of the documentary “Chasing Beauty” by Iwan
Schumacher, which premiered in autumn 2017. Towards the later part of the 1980s, Walter
Pfeiffer retired from photography, again focusing on drawing and painting, disciplines in
which he finally began his artistic career. A long overdue showcase of Pfeiffer’s graphic work,
which weaves a rich dialogue with his photographic works, is scheduled to be published in
October this year, in an artist’s book by the Edition Patrick Frey with the title ‘Bildrausch.
Drawings 1966 - 2018.’ It was also the Swiss publisher Patrick Frey who introduced Pfeiffer
to a wider audience in the early 2000s. The two published the book “Welcome Aboard”
featuring his most beautiful photographic works. Walter, almost 60, having spent the last three
decades as a photographer, suddenly found that his photos were more popular than ever.
For his 15th collection, Julian Zigerli—an eponymous brand renowned for
unique collaborations with artists, taking inspiration from their evocative work to inspire
his own bold aesthetic—celebrates its history by turning to its archives for key shapes
for A/W18. Julian approached Walter Pfeiffer, whose portraits of friends, lovers, still life
and scenery are always taken with a large dose of fun, to artistically translate his colourful
vision of the male form into a collection for both men and women. Known for exploring the
fluidity of gender and sexuality in relation to the male body, this collaboration with Julian
Zigerli exudes a sense of liberation that you would expect.
MÉNAGE À TROIS - THREESOME

2
6
MÉNAGE À TROIS - THREESOME

Photos by Walter Pfeiffer
2
7
MÉNAGE À TROIS - THREESOME

Shaun Ross :
Rebel
with a cause
2
8
Transformation and
Triumph of a Misfit
Shaun Ross not only paved the way for albino models within the industry. He also starred
in campaigns for the likes of Alexander McQueen, Givenchy, and Nike (just to name a
few), and appeared in Beyoncé’s “Pretty Hurts” music video. After the release of his debut
single “Symmetry”, he is now determined to make his mark on the music industry with his
second single “Chrysalis,” a song about the beauty of transforming into the truest version
of yourself. We asked Ross to share his views about transitioning from the runway to the
recording studio, and what to expect from him in the near future.
SHAUN ROSS: REBEL WITH A CAUSE

Shaun Ross
People
Interview by Elliott-Alfred Attia
Photo by Johnny Kitsune
EA You’ve been a prominent frontrunner
for inclusion within the fashion industry
for quite some time now. What have you learnt
most from your personal career journey, and
what advice would you give to others joining
the fashion industry?
SR My dream was never to jump into
the fashion industry, at first my passion was
dance. I was very inspired for years about
being a performer, and fashion found me.
I had no idea what I was getting myself into and
I’ve made mistakes not knowing so along the
way. I would definitely tell someone inquiring
about the fashion industry to be cautious of
the relationships you create and nurture them
as if you know them well. Never fear others’
opinions they may place upon you, and stay
true to the vision.
EA Who are your role models, or who
inspires you within and also outside the
fashion industry?
SR I get mainly inspired by those
around me who sometimes chime in to give
their opinion on what I’m trying to do, in
inspiring the world we live in, and to create a
better and brighter future for diverse cultures.
EA What is the biggest challenge you
have had to face so far and how did you
overcome it?
SR I used to have issues with validation
from an industry I wasn’t accepted into,
therefore I would always look past it, allowing
myself to push my face in the spaces where
it wasn’t wanted. I then noticed that I was
valid and had my own personality, so why not
continue.
EA H&M made waves in late May
when it launched its first ever Pride collection,
featuring a range of items with rainbows and
pro-LGBTQ+ phrases. You were involved as
a model. How important do you think your
display of pride is to your following? What has
the response been to this?
SR It was amazing working with the
team at H&M. They have a great eye for
diversity. They’ve always been inclusive
towards others and I wanted to be a part of
this matter. The response has been amazing
from fans all over.
EA At the end of 2017, you debuted
your first single ‘SYMMETRY”. How
challenging has it been establishing yourself in
this new creative outlet—did you always know
the direction you wanted to go in, if you were
to delve into making music?
SR At first, I thought it would be
extremely complicated due to the fact that
most people know me from fashion, so I was
a little bit hesitant. Then I realized that it’s all a
part of the creative process, so I decided to do
it anyway, no matter what people say or think.
It was very nerve-racking, I must admit.
EA Do you think there is a difference in
making a career in fashion vs the music industry?
SR They are both two different
industries underneath the same umbrella
of entertainment. They are both extremely
different but also the same; they both take
creative power and thought.
EA You have been a face to many
campaigns, videos, runway shows—often
collaborating with the creators. What has been
your favorite collaboration in your career/
personal life?
SR Honestly, I don’t have a favorite—
they’ve all been a part of my life/career, some
better than others but more importantly, I’m
happy to make an impact on the world.
EA Do you think the fashion industry has
in fact become more diverse on and beyond
the runways, or has it just picked a trend?
SR When I started in fashion, models
like myself and Diandra Forrest created this
shift in today’s fashion industry in looking at
sexuality differently. We just knew how to be
ourselves and it was just us at that moment in
time. I think the fashion industry loves a good
trend and charity story, which is fine because
it sells, but I do believe they should take more
time to try and understand it to the core,
and they don’t.
EA You claim transformation (and
triumph) as one of the essential cornerstones
of your life—can you give us more insights into
the meaning of this in conjunction with your
own biography and “Chrysalis”?
In terms of transformation—what
kind of effect does “Chrysalis” have in regard
to your own life, and what do you wish it to
have for the audience?
SR I’ve completely transformed in so
many ways, even down to the way I inspire
the world. Some things don’t take
that much of a touch and it shouldn’t.
I used to feel so insecure, not about my
look, but the way others perceived it. 2
I learned to understand people will
think what they want and it’s okay,
it’s their logic.
9
EA I have the impression that
“Chrysalis” is just the overture of something
bigger or more to come. Do you think you have
finally found your own way or “language”, so
to speak, to express yourself and the topics
which seem important to you to share with
your audience?
SR Absolutely not, but I’m getting
closer by the day, and it feels good to figure
out my own voice and language to connect
with people in.
SHAUN ROSS: REBEL WITH A CAUSE

Chez Arman
Our Man of Music
3
0
In 2010, Arman Nafeei was appointed by Mr. Balazs as the Music Director of all his properties—including
Sunset Beach on Shelter Island and his three New York properties—to create a musical signature for
those iconic venues. The man who made The Boom Boom Room boom with his eclectic sound mixture
and hosts “Chez Arman” on dublab—a radio show introducing listeners to sounds, interviewees and
poetry from around the world—is to open and run the new bar at celebrity favorite Chateau Marmont
in Los Angeles. Having left Europe to make a career in New York and now living in Los Angeles,
we chatted with Arman about his past, present and future.
CHEZ ARMAN

Arman Nafeei
People
Interview by Holger Homann
Photo by Arman Nafeei
HH How did you become a Music
Director at the Standard Hotel Group?
AN When I was a student in London, I
was active in the art world and also worked
as a DJ in various clubs and events. At some
point I started to work more and more with
Jay Jopling’s White Cube gallery. When I
completed my studies, I was desperate to
move to New York to work in the legendary
Boom Boom room, which was the coolest club
describe yourself in terms of your profession?
AN Entertainer certainly describes what
I actually do much better. I’ve been working
as a DJ since I was 16. Nevertheless, I wasn’t
too happy about calling myself a DJ because
I never intentionally planned to become just a
DJ, considering it to be too monotonous and
pretty exhausting as well after a while. Of
course it’s lots of fun, but also full of ups and
downs. In my current situation, I can choose to
do fewer but more distinguished
gigs. I love to host and entertain
people. Be it at a dinner, a gig or any
other event—I enjoy that as much as
I do.
HH Someone who works at
Chateau Marmont is in daily contact
with VIPs. Are there any personal
relationships or friendships that
have emerged from your job?
AN Yes, of course, but that
happens quite naturally as you get
to know people. Celebrity or not
doesn’t matter to me. The main
thing is whether it clicks. I have met
many celebrities over the years and
there have been disappointments as
well as positive surprises.
HH For some time
now you have your own radio
format (“Chez Arman”: a radio
show introducing listeners
to sounds, interviewees
and poetry from around the
world). What do you like
about this work especially in
relation to the job of a DJ?
3
1
in the world back then. I didn’t know Andre
but fortunately it turned out that Jay was very
good friends with him. It took a few months,
but Jay finally convinced Andre to give me a
chance, and I think both of them were happy
with the way things turned out. I certainly was!
HH You then left New York for Los
Angeles to work as a “Directeur d’ambiance”
at the Chateau Marmont. Why this title?
AN Andre had been calling me his
Director of Ambience for years, which I never
liked too much since my official title was
Music Director. But after a while, I got more
and more used to it, and due to my wideranging
experiences in the Music business far
beyond the usual tasks of a Music Director,
the title seemed to fit much better as I grew
more comfortable in the role. I decided to
translate the title into French though—it is
so much funnier.
HH In my opinion, you are more of an
entertainer rather than a DJ. How would you
AN The radio show actually
happened quite spontaneously. I
was once a guest at Dublab radio,
which is a very cool underground
station in LA. I got talking with
the people who run the station—
et voila two weeks later they
offered me a small slot in their
program. The show is pretty easy to handle for
me because I have no fixed date and so
I can adjust it to my actual schedule. The
name of the show and the concept turned
out to be almost like being a guest in my
home for one hour—entertained by music,
by other people or texts.
HH Which project currently occupies
you most?
AN The biggest project I’ve been
working on for almost two years is the opening
of my own club in the chateau, which should
hopefully be completed by the end of this year!
HH Could you also imagine doing
something completely different? Imagine
being able to wish for anything at all!
AN There is a lot I can think of. Like
opening my own spa, cinema or a beach club.
But it can also be a completely different thing,
where I choose to move to the countryside and
become an organic farmer.
CHEZ ARMAN

Material
Girls
3
2
The Vintage Glamour
of the Work of
Symone Ridgell
While watching “Channel Surfing” and
marvelling at its outstanding aesthetics
thanks to the casting of Peyton Knight
and Elizabeth Ayodele, with its artistically
crafted “vintage glamour” yet modern
vibe, we went behind the scenes with
Symone Ridgell. She shares her ideas and
ideals about the making of a fashion film,
with a narrative derived from her personal
career, revealing her standards of what she
considers to be a film of value.
MATERIAL GIRLS

Symone Ridgell
Fashion
Interview by Holger Homann
Photos by Symone Ridgell
3
6
HH The New York Times once described
you as having a “late-80s, early-90s thing”—
watching “Channel Surfing”, I can see you
stick to the glam—what is so fascinating about
that time period you never lived in? How does
it affect your daily life?
SR I’m not sure at all. I have a theory
that the decade one’s born into is constantly
looking at least two decades before them,
because that’s the age group that was cool
when they were kids. Sort of how “Dazed
and Confused”, “Boogie Nights”, and
“The Wedding Singer” were so successful
repeating the 70s/80s in the 90s. There’s this
strange transition that happened to film after
video emerged that I’m interested in mixing
together, rather than keeping apart (especially
in the digital/web-based era of video).
HH How would you describe
“vintage glamour”?
SR I’d describe it as Helmut Newton’s
“Cold Eye” mixed with your Mom’s
old headshot.
HH You are Director/Editor | Video
Producer at PAPER magazine—tell us more
about PAPER magazine and your contributions
for that medium.
SR PAPER gave me my jumping-off
point and from there sparked a symbiotic
relationship between the brand and my
personal taste.
HH Please tell us about the casting
process for those shorts—did you have
freedom of choice?
SR I worked closely with the casting
director and stylist, Ella Cepeda, who has a
natural eye for both. I can’t take any credit.
She just showed me her choices and I loved
them both.
HH You studied at the Parsons School
of Art and Design. How important would
you rate your academic background in terms
of your current work, and how much more
important has the actual experience become?
SR I couldn’t imagine there being any
other route for myself academically. I use
everything I learned in my time spent there in
all facets of my life.
HH How important is the influence
of photography in general, and fashion
in specific?
SR For me, very important. Fashion is
where you create the character. It’s the same
as wardrobing on a narrative feature.
HH How important would you say
Music and Pop plays in conjunction with
your own work?
SR Music is major. I don’t think I
would’ve ever dove as deep into film without
it. As a kid I would sit in the passenger seat of
my Grandpa’s car listening to my iPod classic
and think up music videos for each song
playing that didn’t already have one.
Sound is an incredibly manipulative source.
With it, you can change the entire scope of an
image with one good or bad move.
HH You mentioned Gia and Sofia
Coppola having a major influence on you
for their storytelling styles. In terms of your
own work—would you consider that you’ve
achieved your own style?
SR I do. I, however, don’t think it’s
completely manifested, but I’m not sure I’d
like it to. I’d like to constantly be changing
themes within that style. I really look to
Kubrick in that sense. He’s a director whose
motifs followed throughout most of his work
no matter the changing themes.
HH In terms of influence by other
directors, is there any European director you
may claim to have an impact on your work?
SR I’ve never thought about it like
this, but I guess that all depends on if I’m
shooting color or black and white. I come
from a photographic background, so the two
mediums are very separate in my mind. When
I’m shooting black and white, it’s got to be
Fellini and Resnais. It took me a second after
starting college to make the transition from
photo to film. So anything that can work as a
still image really captures my attention when
it then chooses to move.
I found myself looking a lot to Dario
Argento’s “Suspiria” during the filming of
“Channel Surfing” for his vivid use of colors
through unmotivated lighting.
HH As a female director looking back
at your own experience—do you feel the
fashion industry should become more diverse
in the direction of decision makers in terms of
business and creative decisions?
SR Absolutely. Yes. Speaking as a
young, female, African-American, that’s a
no brainer.
HH Working in the west, east and south
of the US—if you could choose, which would
be your preferred city to work in?
SR I prefer to write in the midwest, film
in the east, and take a breather in the south.
I grew up between Michigan and Florida,
so bits and pieces of me belong to certain
regions. Living in New York and not being
able to have the parts of the other cities I
call home readily available has been tough
to navigate. Though, I’ve found ways to still
create without having to travel miles to get
there. New York is such a surprising place. You
can find the suburbs and the beach amongst
the city if you look for them.
HH
Can you tell us about your next project?
SR I just wrapped two projects coming
out this September. The first is a music video
for the artist Mafalda. She’s got an incredibly
smooth dark-pop sound. We met two years
ago when I first started at PAPER on a
shoot and this will be her first music video.
The second is a piece highlighting several
northeast based sex workers. I chose to film
it in a 1970s porno homage, but instead
of the sex workers playing their assumed
roles, I flipped the script and gave them the
role of the director on a porn set. I wanted
to highlight their ability to direct
their own careers.
MATERIAL GIRLS

1
8

One of these days
these boots are gonna
walk all over you
3
8
Chris Francis sees fashion as art and does not have any intention to separate those worlds.
After watching a shoemaker from France making shoes all night, he started trying to make
his own the next day. By the end of the week, he had his first pair made. Encouraged
by the results of his first attempts, he then turned his kitchen into a workshop, making
more and more pairs of shoes—or shall I say “pieces of art made for walking”—inspired
by the paintings of Kazimir Malevich, Bauhaus and some of them with hints of glam. As
Los Angeles–based Chris Francis explains, a shoe is not only an architectural piece that’s
supporting vertical human weight, but it’s also supporting a mechanical load. Therefore
it has to move with the body, support the body, and still—look beautiful. We interviewed
Chris to find out more about how shoes became his way to express himself.
ONE OF THESE DAYS THESE BOOTS ARE GONNA WALK ALL OVER YOU

Chris Francis Fashion Interview by Elliott-Alfred Attia
Photos by Chris Francis
Chris Francis’
radical way
of making
ready-to-wear
shoes
EA How important is the process of
creating the shoe for you?
CF I enjoy the process often times
more than the result. I’m just trying to relax
an overactive mind and nothing else seems
to work. Designing and making shoes
involves a complex thought process where
every decision must be well orchestrated and
strategically executed. My mind operates
more efficiently when I’m in the studio. It’s like
I’ve been given a race car and it only operates
on high octane fuel and doesn’t operate to
its full potential while driving on city streets—
it needs a track.
The studio is my metaphoric race
track; I can run wide open and for me that is
very relaxing.
EA What is your favourite part of
the process?
CF Winning a game of chess against
myself and seeing creations come to life that
I can display as trophies. When a new design
happens that has not been seen by myself
or the rest of the world, I feel victorious but
it’s hard to achieve that. My favorite designs
end up being the unconventional ones. I find
shoe designs that are already known to the
world less challenging for me, because I can
already see examples of them, therefore I
anticipate the success of their creation. I love
the idea that I may fail. If I feel like the design
is too easy and there is not enough risk I’ll
be apprehensive to go on a journey with it;
I’d rather crash and burn than chew my arm
off over some boring design that I don’t want
on my shelf.
EA What is the most challenging aspect
when creating these shoes? Do you ever have
creative block?
CF Feeling the need to contribute
my own design and expression, and achieve
unique results when so much has already been
done with this form. I hit creative blocks that
are extremely frustrating and usually they
arrive when I compare myself to others. The
moment I stop and think about how a designer
I admire has previously done something, or
I realize that I have already done something
with this form to break barriers, I start
to hit a block.
I start to ask myself, “What’s the
point, why push this any further, is there
anything left to contribute?”
I look at my shelves and realize
that I have contributed; there are shoes
there that don’t exist anywhere else than
from my own mind and seeing that pulls me
back to creativity.
When I’m building a collection, I
refuse to look at other shoes or shoe books.
I don’t want any subliminal influence or
anything to compare myself to.
EA
Who is your ideal client?
CF A kind one. I’m not intentionally
exclusive to anyone. My neighbor gets the
same dedication and quality as a superstar and
it’s the same price no matter who walks through
the door. My clients are all characters—it’s a
mix of celebrities and creative people who
just want a special pair of shoes; everyone is
welcomed.
EA
Who do you make shoes for?
CF People who aren’t afraid to stand
out and who don’t need the crowd’s approval.
My clients aren’t afraid to wear one-of-akind
designs and probably prefer to, and
that’s why they come. They know they can
come to me and get something that isn’t
mass produced. I don’t deal with too many
people who are following the trends or the
rules and if they are, they probably don’t
know my name. I know every single customer.
It’s like a family, I run this like a proper Italian
restaurant and when you are here you are part
of the family, names stay behind closed doors,
I like it old school.
EA What is your biggest struggle in
terms of the process?
CF
Dealing with everyone who works here.
The maker and the designer don’t
get along, the designer is uptight and very
demanding while the maker is like a disheveled
anarchist, he can’t stand rules or being told
what to do at all and thinks his ideas are better
than the designer’s. The artist here is too
thoughtful, he’ll sit and stare at the creation
all day long while trying to make one decision
only to make a change that doesn’t amount
to anything. There’s the “architect”—he’s got
no credentials as an architect but he thinks he
knows better than everyone else in the house
and that structural engineering surpasses
design and art; he thinks he comes first. All of
these characters get ahold of the phone and
write posts on social media but the business
guy erases all of them and tries to keep these
guys quiet! None of us get along but we
are all the same person, and it’s this friction
combined with a seemingly endless amount of
fuel that keeps the creations coming.
EA What is your most prominent
creative influence in terms of these shoes?
CF Probably music? I visualize music
where most people only hear it—many of
my shoes are the result of this ability. Colors,
shapes and ideas are usually generated by my
way of processing sound. I once listened to
Modest Mouse while making a pair of shoes
and the pair unintentionally came out all grey
and gloomy—there was no contrast, just cold
grey tones. I love their music though
and find it rich with creativity and
depth, but it mostly looks cold and grey
visually. I listen to them when it rains.
During the Ten Acts of
Brutalism collection, I pretty much only
listened to Grandmaster Flash and the
Furious Five. That collection was raw,
3
9
coarse and real; it was heavy and I needed
the sound of the Furious Five to lift ideas like
that off the ground. The whole collection was
made of concrete, steel and raw materials:
they were shoes that looked like high rise
housing projects. I don’t think I would have
arrived at the same collection had I listened to
anyone else.
EA You have very eclectic influences—
ranging from pop music to art. Tell us more
about your landscape of influence?
CF I have no limitations upon myself
when it comes to exploration of music and
culture, I want and need all influences. I’m not
part of any scene so I don’t stand judgement
for venturing out of the boundaries usually
found within scenes. I’m listening to a punk
band one minute and a pop band the next,
rap, folk, country, gospel, hardcore, metal,
there are no boundaries, no scenes, no rules,
no one else to entertain other than myself. I
enjoy some buildings and I’ve always tried to
love art even though I’m not usually moved
by it as much as I should be. Usually I am
looking at art, trying to figure out what in the
hell I’m looking at, and I include my own work
in the statement.
I studied shoemaking by following
the outdated curriculum of the Bauhaus
School. I put myself through the four year
program and rigorously exposed myself to
all types of building materials, architecture,
craft, fine arts, textiles, drawing, painting,
ONE OF THESE DAYS THESE BOOTS ARE GONNA WALK ALL OVER YOU

nothing was out of bounds.
EA
CF
EA Do you ever
get approached by
brands for collaboration?
CF I recently
worked with a house
helping to create their
designs for a runway show
in Cannes but we are not
calling it collaboration.
Things get tricky once
a collaboration is
announced, it starts to
involve red tape.
EA Can you
imagine your work
4 ever extending to
0
In regard to the almost sculptural
shape of your shoes which are one-of-a-kind.
Do you consider them more as a piece of art
or a piece of design/fashion?
I bridge both fashion and art and I’m
equally in both worlds, but I’m mostly in my
own world and that’s where I want to be. I’m
making expressive objects that are wearable
to various definitions of wearability. It’s hard
to separate art from fashion in the bulk of my
work and I think that’s exactly what I want. My
shoes walk high fashion runways and show
in art museums, they
appeal to both audiences
and those audiences are
beginning to be one
and the same, which is
fantastic!
other items of
accessories, bags,
jewelry?
CF It has. I started
by making leather
jackets, then moved
on to handbags before
shoes. I enjoy making
handbags, they have
a lot of characteristics
similar to shoes that
engage my interest. Both
shoes and handbags are
structural, functional and
three-dimensional and
both are complex to
create. Handbags have
multiple compartments
and demand clever
design, they share
construction techniques
with shoemaking. I enjoy
them. Jewelry design
I’m not sure if I would
ever enter, it’s not my
thing. I enjoy jewelry on
other people but not on me, I’m very simple
in regards to my style. I just think it would be
extremely difficult to be a jeweler, working so
small and precise would be a challenge that
I’m not cut out for.
EA What does success mean to you?
How do you achieve this?
CF Success to me is a happy life with
the people I love. I don’t need fancy cars or
flashy brands to wear, I don’t need much. If I
had unlimited funds I probably wouldn’t live
very differently than I do now. I’d travel more.
I feel like I have achieved success, I’m happy.
I didn’t inherit anything except for a stack of
punk rock records, I just worked really hard to
achieve my goals and they were set in reality
which made them obtainable.
My operation started from an idea
while hanging from a 73-story building, then
became a reality while making my creations
from a park bench. I have since exhibited in
five museums, multiple galleries and on stages
around the world. The shoes have shown
in Paris and have walked French runways
alongside the most respected fashion houses.
I think what I have built is a great example of a
success model. There has never been outside
backing. The operation is entirely independent
making its own creations in-house, by hand,
without corporate influence or investors. I am
able to keep art alive in my creations because
of my lack of obligation to investors. This is a
beautiful model of happiness, I’m proud of it!
EA In terms of growing a business
in the fashion industry, do you think
there is a growing need for the creator’s
mind rather than the franchised and
industrialized collection?
CF Growing a business in the fashion
industry is very competitive and difficult, most
fail. I don’t know if there is a growing need for
the creator’s mind. If you are a creator for a
corporate brand you certainly won’t be able to
use your mind outside of your hired task and
you won’t be encouraged to be a free thinker.
You will make their products, sign your ideas
away, while being locked into a strict NDA.
The average consumer wants
something affordable and quick, and they
really don’t care how it’s made as long as it is
of a quality that fits the price.
The price point of a luxury
handmade good typically renders the product
exclusive, therefore the
creator’s business must
compete with other
exclusive businesses that
may have reputations that
date back to the1800’s,
whose logo is a symbol of
worth and validity.
I am seeing a
huge interest in people
wanting to make and
people taking on trades
such as shoemaking
as hobbies. Surviving
by doing it, I see very
few. I survive by making
shoes and in one of
the most expensive
cities in the world, that’s
my job, it’s what I do, I
play a real life game of
chess. Everything is up
to the consumer. They
decide the fate of
handmade goods versus
mass produced corporate
goods and to be honest,
the average consumer
is choosing mass
produced fashion.
EA Have you
ever thought of hiring
workers/apprentices to
increase the number
of creations?
CF I’d like to have
a team, I think ideas
would lift off the ground
better with a team. I’d
have others offering input
and that often makes
for stronger designs. I’m
realistic and understand
the demand for custom
shoes, growing in that
way could be more of a
financial obligation than
a gain. On the bright
side, not many houses
can put a flag in the
ground and say that the designer is the sole
creator of every single piece produced by the
house. I enjoy being able to do that, but it is
getting to the point to where the workload is
overwhelming.
EA What’s the best advice you have
received? (In terms of your career and
being a creative)
And in reverse, what’s your advice?
CF An old man in the shoe business
told me “If you can find anything else to do in
ONE OF THESE DAYS THESE BOOTS ARE GONNA WALK ALL OVER YOU

your life to earn money go do it and leave this
as a hobby, because you are committing to a
hard life by taking this on and you are building
a Spruce Goose, it’s never going to fly.” After
he told me this I sort of felt defeated and my
way of dealing with it was by developing the
attitude of “Well I’ll just become a pilot of this
Spruce Goose and fly my wild plane all over
the place” and that’s exactly what I did.
That old man put a spark in me
because he told me that what I was doing was
incapable of being done, so me being me, I
worked extra hard to prove him wrong.
After all I’ve seen and done, I will
say that he was mostly right except for the fact
that my idea flew. I’ve
flown it all over the map,
but it was his advice that
probably helped me to fly.
My advice
to anyone wishing to
make it as an artist, and
I mean actually survive
and pay your bills as an
artist, is to skip art school
and instead major in
business or demand for
your art school to offer
business courses! The art
and fashion worlds are
business worlds. Your art
can be beautiful and as
important as the greatest
art ever made, but it’s
the artist who knows and
understands business
that will very likely be the
one who succeeds.
EA I see you have
a love for RUN DMC. Is
this a potential influence
of work to come?
CF They play
regularly in the shop.
Early punk and early Hip
Hop are influential to
what’s been made and
what’s to come for sure.
I grew up with punk and
it gave me my bullshit
detector. Early rap and
hip hop had the same
bones about it so I see it
all as the same stuff.
I liked these
styles before they
became products, before
they lost their guts and
became about bling
and twerking or selling
rebellion in shopping
malls. Both punk and
rap became such
massive moneymakers,
a capitalist’s dream, it’s
now all about selling records and image. I
love RUN DMC, but they opened the door
for fashion and brand promotion in Hip Hop,
they were one of the firsts to really have an
image that fashion could latch on to. They
were marketable, with a real cool look and a
sound that bridged rock and rap. They were
one of the first in that world to promote
fashion brands in songs which exploded in to
the situation we have now—the multi-million
dollar branding and marketing machine.
What I love about early rap is that a
couple guys from project housing towers with
no money could set up a turntable, hook it to
a city light pole with no other instruments but
their voices and have insane creativity with
unfiltered self-expression—the early stuff is
so sincere. I appreciate anything that is done
with that level of sincerity. I’m not seeing that
in modern music, none that’s been brought
to my attention.
I’m kind of like the shoe shop that’s
plugged in to the city light pole in a way?
I’m keeping handmade, grassroots fashion
and art alive in my little shop, I’m rooted
to old ways and I’m invested in keeping
an old trade from dying by the progress of
the modern world.
I’ve turned down involvement with
leading corporate fashion brands in order to
keep the guts of this and declare the house
independent. I could be in the shopping malls
and be a mass producer, the opportunity has
been on my table. I’ve stuck to my guns, I
believe in underground fashion, I came from
punk rock and punk as a movement still
influences all of my work and my reasons
for creating it.
EA What is the DNA of your collection
in your very own words?
CF It’s not a line or a brand; it’s an
independent house where all creations are
designed and made entirely in-house without
outsourcing artisanship. Art and expression
comes before product; the house is not
obligated to seasons or market trends.
EA Is there any collaboration with a
brand that you’d love to do?
CF
None I can think of.
EA What is your opinion on the rise of
‘streetwear’ across the fashion industry and
how Hip Hop has influenced culture?
CF I’m not
sure if I’m qualified
to answer this?
I’m not involved with the
Hip Hop or Streetwear
industry enough to
offer my opinion, but
streetwear was born from
the punk movement and
skate culture and I grew
up in that. Streetwear
back then was handmade
and unavailable in
stores, at least that was
the case for me. I often
made my own shirts with
spray paint back when
streetwear was raw and
DIY. Now you can buy
studded leather jackets
at Forever 21, punk is
over and has lost
its edge, what was
once anti-product
and anti-fashion is 4
now the basis of
modern fashion. I
will say that I think
1
calling a thousand -
dollar wallet with some
brand’s logo on it
streetwear seems absurd.
I just think streetwear
should be more about
being DIY and from the
real streets than from
Rodeo Drive, otherwise
call it Drivewear, and
that’s just my opinion
since you asked. Hip
Hop has influenced that
dynamic though, it’s now
cool to spend thousands
of dollars on logos—lyrics
validate that and give
these products demand.
It’s a multimillion-dollar
industry; fashion is
getting rich from Hip
Hop and Punk, in my
opinion it’s not a positive
influence on the culture.
What I’m saying is that the Hip Hop
that I respect, the voice of the streets, urban
folk, urban truth, replaced by brand promotion
and adoration for products is not positive, it’s
keeping people poor. Kids from the hood
have to drop a couple grand on their outfits
in order to be cool and I’d rather the kids plug
back in to the light poles and tell it like it is,
that’s way more cool!
ONE OF THESE DAYS THESE BOOTS ARE GONNA WALK ALL OVER YOU

1
7
SNEAKER PIG

Jamie Luca People Interview by Holger Homann
Photos by Jamie Luca
I
am
not
from
your
tribe
The
candid
camera
of
Jamie
Luca
4
3
Jamie Luca has a whole catalogue of unpublished analog
film that he’s taken throughout his career, which he is
sharing on Instagram as @proluca. It’s all the models
he shot upon arriving at or leaving his shoots.. In his
words, “very, very candid” photos where you see their
personality in the images.
At this current point of his career, he is more
interested in the individuals he is shooting and their
nuances and personalities. For LA-based Jamie, that’s the
most attractive aspect about a person: “Yes, the traditional
physical attributes that make someone attractive is still
the norm . . . however, I strive to photograph someone’s
imperfections and someone showing his or her vulnerability—
that for me, is attractive.” That remark led to more questions
from our side and enlightening insights into why High Fashion
and Hollywood now goes hand in hand while LA remains
“a different beast.”
HH When did you decide to become a
photographer and why?
JL My older sister is a photographer
and I was always a big fan of her work. When I
went to University, I knew that I wanted to be
as good as her, though at that point, I didn’t
know it was going to be a career for me. When
I moved to NYC in 1998, I guess that’s when
it all started as a career for me and I started
referring to myself as a photographer.
HH Where did you learn to become
a photographer?
JL I went to University in the suburbs of
Los Angeles. I was on the school newspaper as
a photojournalist.
HH What do you consider to be the
most important skill as a photographer?
JL Technique. I guess I can call myself
“old school” since I learned photography
when analog film was still being used. I think
having that background and knowledge
really helps in the day-to-day work process.
I AM NOT FROM YOUR TRIBE

Also, communication skills . . . It is really
important to express and communicate what
you offer to clients and vice versa. I work
in fashion, so interacting with different personalities
and people, conveying your ideas and
concepts is a key part in a successful shoot.
Communicating a clear point of view to the
team is crucial.
HH Looking back at the time when
you started photography: what changes
have taken place that you consider to be
the most significant?
JL Education. These days, you don’t
have to have a college degree to become
a photographer. You can watch YouTube or
sign up for seminars to learn photography.
Now, the saturation in the market with
photographers makes it really hard to stand
out these days. But, that’s the evolution of
photography, I guess . . . you can shoot with
an iPhone these days and filter it and it’s just
as good as a DSLR.
It’s funny though . . . I guess there’s a
counter to all these new fangled technologies .
. . the trend these days is to revert to analog—
or making your images look not so crisp and
clean and more like film. I have no idea. I’m
just happy to be working after all these years
in the business.
HH Which of those changes had a major
effect on your own career?
JL Clients and day rates. With the
saturation of photographers in the market,
clients take full advantage of that.
They can have a rookie photographer
with all the skills and pay them half
4
4
or even nothing.
Being relevant in this day and age
is what has changed. The attention
span of clients and people have been
scrubbed down to almost nothing. Even being
technically good at what you do doesn’t give
you an edge anymore. You have to have a
gimmick for people to pay attention to you.
Moreover, photography on its own
doesn’t provide a main source of income
anymore. You have to wear different hats and
do different things to entice clients. Back in my
day, it was ride or die to be a photographer.
Nowadays, even amazing photographers
have day jobs, and photography is
just a weekend thing!
Also, INDIVIDUALITY is what’s
missing. I think photographers jump on the
latest trends in filters and don’t really hone
their own individual style. Or COPY CATS. I get
a lot of requests from young photographers
willing to pay me to teach them my technique.
That for me is very offensive and degrading. I
think a lot of young photographers just want
the glitz and glamour and not want to work for
it. Or even discover on their own what they’re
capable of . . . they want it now!
HH You decided to work as a
photographer in the fashion industry—what
was the main reason for that decision?
JL The main reason: I love FASHION.
I love the fantasy of fashion. Although I
have evolved into the fashion portraiture
side of things, I just love that you can create
anything in your head and transform it into
photography. Honestly, the main reason was
when I moved to NYC from Los Angeles, I had
no choice. I had to make money to pay rent.
So, that summer in 1999, I was lucky enough
to work with top modeling agencies like
IMG and Elite in NY and I just tested models
and worked on building my portfolio.
Along the way, I started earning money and I
guess that’s when I could start calling myself
a fashion photographer—when I started
getting paid!
HH You are LA-based. In terms of
fashion, Paris, Milan, London and New York
claim to be the capital cities of the industry. Do
you see a growing importance of and interest
in fashion here in LA?
JL LA is a different beast. Although,
these days, LA is the place to be. A lot of A-list
designers are based in LA now . . . while 5 or
6 years ago, LA was only known for Hollywood
and commercials. High Fashion and Hollywood
now goes hand in hand. Hollywood has the
money to afford those clothes so designers
are now catering to that. Though, it’s still not
a Fashion Capital . . . there are pockets in LA
where you see young creatives producing
amazing work. That’s what I love about LA—
it’s still a bit underground. It’s almost like you
have to know someone in the “IN” to let you
into their world.
HH Having worked with models for so
many years, do you see changes in terms of
castings and new faces?
JL Absolutely! There’s more diversity,
not just ethnicity-wise, but in sizes and shapes.
It’s long overdue. And I love that . . . because I
want to see my color represented out there!
HH Is the recent diversity on the runway
a lasting game changer or just another
(fashion) trend?
JL It’s here to stay . . . with the political
climate in the US and in Europe, I think
designers and/or casting directors are very
conscious of it. And consumers as well are
demanding diversity.
HH Do you think future casting will
reflect the multi-spectrum of individuals of a
global society rather than create or project
the ideal beauty?
JL Perhaps in the West, there’s a
trend for diversity. However, I think in Asia,
there’s still a homogeneous way of looking at
beauty—WHITE.
HH Looking at those images, you seem
more interested in the individuals you were
shooting and their nuances and personalities
rather than just their pretty faces— has
personality found increased value within the
fashion industry too?
JL I think these days, just being pretty
isn’t enough for clients. You have to bring
something else to the table to stand out. I think
clients have such extensive variety of models
going to castings that they are looking at
everything now. No one wants a model who’s
constantly on his/her phone whilst shooting
and not interacting with the crew. They want a
model who can interact with everyone on set,
which reflects on the images produced as well.
I think major brands want authenticity; they
don’t want mannequins.
HH
Do you think that the norm of
traditional physical attributes that make
someone attractive still applies and how
important are they?
JL Of course it does. However, by
showing a diverse range of people on
advertisements, perhaps we can change
people’s perception of beauty and not just
be bombarded with the same Ken and Barbie
dolls every season.
HH We see parts of unpublished analog
films you’ve taken throughout your career.
Some of them are published on digital networks
such as Instagram. Do you think there is a
significant difference whether a photograph is
being printed or just uploaded to be seen on
the small screen of a smartphone?
JL Honestly, I don’t know how to
answer that question. I think for me, I just like
going through my archives and reminiscing.
Perhaps I am having a nostalgic moment in my
career right now, or perhaps I am evolving my
work to be a little bit more raw and unfiltered. I
think we are so bombarded with highly curated
and well polished work that I’m just bored of
seeing the same thing over and over again.
I respect a photograph more when I see a
little bit of humanity in the face. Nonetheless,
whichever platform whether digital or print—I
think we live in a time where sharing content is
the new normal.
HH How do you think analog and digital
can work together—for the benefits of the
photographer and the viewer, if there is any
future in analog photography at all?
JL Of course there is a future in analog. I
think these days, a lot more photographers are
experimenting with analog. There’s a realness
and texture to film that digital cannot mimic
and produce. There’s also spontaneity to
shooting film and that’s the beauty of it. Also,
it really hones your skills as a photographer,
because you really have to be technical to
shoot film. When young photographers
ask me how to do film photography, I say,
GO TO SCHOOL!
HH Since the main titles of printed
fashion magazines are struggling to
survive—where do you see your own future
in photography?
JL I see myself still grinding away like
Sisyphus. Still rolling that rock to the top of
the mountain. Although I have been in the
business for a long time, I still have so many
things to learn. But, I want to evolve into an
Art Director in the near future.
HH How did you match the quotes
with those portraits—do they have a personal
connection to the person, or are they chosen
at random?
JL Honestly, it’s all random. I pulled
those quotes from my favorite musical artists
like Tori Amos, Morrissey, New Order, Peter
Murphy, The Cocteau Twins and the Smiths.
These artists inspired me in my teenage years.
Perhaps it’s my subconscious working when I
choose a quote and place it with an image . . .
it tells a story, but honestly, there’s no rhyme or
reason to it. I just like the graphic nature of the
font on top of the image and what it creates.
Moreover, I am really inspired by Barbara
Kruger with her graphics on her paintings.
I AM NOT FROM YOUR TRIBE

I AM NOT FROM YOUR TRIBE

Andy Lee Fashion Words by Andy Lee
F for
Fashion
Film
is the
Future
2
HEARING INNER VOICES THAT AREN’T MEN’S.
Yes, sometimes being ‘whimsical’ is a fallback of
the unthoughtful but at least it’s not some middleaged
man sitting in a car looking silently into space
for 5 minutes. After watching any random number
of fashion films you realise how few female
voiceovers you hear elsewhere, especially in
mainstream cinema.
5
TALKING TO PEOPLE THAT DIDN’T THINK
THEY’D EVER MAKE A FILM TELLING ME
THEY’RE WINNING AN AWARD FOR DIRECTING
ONE. Studying filmmaking is wonderful, film schools
are great, cameras are fascinating but there’s more
to a film than lenses, dollies and the latest 4K blah
blah. The democratising of production through the
lower cost of equipment and mobile technology has
allowed people to break through in ways that would
have been unheard of 20 years ago.
8
WATCHING MORE SHORT FORM FILMMAKING
BEING CELEBRATED. The global Fashion Film
community is buzzing, from LA to Bucharest,
committed and passionate people are cheering
on each others’ work. Gathering to discuss and
understand film in different more open ways than
you might see at traditional film festivals. Shooting
a written script, or having a music track to work from
is arguably often easier than formulating and telling
the story of a brand or a garment and it’s heartening
to see work so widely lauded and supported.
10 reasons
to make a
fashion film &
10 ways
to make it
a good one
3
BEING ABLE TO FOLLOW A THREAD THAT’S
MORE DIVERSE IN CONTENT THAN MUSIC
PROMOS. Music Video, in their heyday were the
last time short film met new platforms to the same
extent as Fashion Film in the internet age. Yes, they
should sell product, but there’s a freedom to many
Fashion Film productions that naturally crosses
over into other creative spaces. The greatest of the
most celebrated gatefold double 70’s rock concept
albums, or enormo-budget 80’s music promo
have nothing on the scale and depth of Beyonce’s
Lemonade for instance and it’s this genre-defying
embrace of style, identity and commerciality that
makes the genre exciting.
6
WITNESSING NARRATIVE BEING TAKEN
SERIOUSLY. Enough with the models swirling
around in fields already - it’s to the 2010s what the
slow cross dissolve was to the noughties, or what
a band playing ‘live’ on an empty sound stage
was to the 80’s and 90’s. Embracing structure and
understanding the importance of story has engaged
audiences widely. Still, be careful with only furnishing
the actors with clothes and then shooting a straight
short film. That’s cool, but it’s just a short film. A
successful Fashion Film shouldn’t be easily mistaken
for anything else.
9
SEEING MORE DIVERSITY. We’re getting there.
Are we? It took 73 years before Donyale Luna got
the cover of British Vogue, and 82 before Beverly
Johnson in America. Fashion Film hasn’t taken as
long to traffic in diversity, in multiple perspectives,
with multiple influences. But there are still more
voices to hear, more stories to tell. Think about how
you’re casting and crewing your films.
Andy Lee is Subject Leader for Fashion Film
Practice at the London School for Fashion
1
NOT HAVING TO REMIND PEOPLE TO ONLY
SHOOT LANDSCAPE. 10 years of my life was spent
telling fashion photographers to avoid the instinct
to turn their camera around for a full length shot.
Since we now spend all our time looking at portrait,
vertical screens, I can finally shut up and they can get
a full length shot against a roll of backdrop without
masking it off in post production. Everything’s a
screen, fill them how you please.
4
SEEING THE WORDS “DIRECTED BY”
FOLLOWED BY A WOMAN’S NAME. Of
course women have contributed a huge amount
to filmmaking during the century of cinema,
often unsung (look up the editors credit for Jaws,
Memento, ET, The Force Awakens, Bonnie & Clyde,
Lawrence of Arabia and pretty much all of Scorsese
and Tarantino for starters) but film sets, have been so
painfully a male-dominated domain.
7
WITNESSING PRODUCTION TECHNIQUES
BEING TAKEN SERIOUSLY. Successfully
understanding film production techniques is
enabling better stories and more complex visuals
(and drones help too). Mostly gone are the days of
rocking up with a DSLR and just shooting something
that moves. But though approaches to crewing and
storyboards and permissions etc. are very important
and over a century old, don’t forget to develop in
ways fit for the 21st Century. Crews can be more
nimble and multi-task sometimes, just pay them
and feed them properly. But perhaps don’t have
a third of your running time as credits, I know it
makes it look like ‘a film’, but that was before 24/7
connectivity, save your time for some more visuals!
10
KNOWING THAT THE FUTURE OF IMMERSIVE
MEDIA SUITS FASHION FILM LIKE A GLOVE.
As the age of mixed reality quickly approaches,
the themes of identity and the intimacy of
clothing puts fashion and technology centre
stage. We’re on the brink of a next generation of
visual storytelling - it’s Prada not Panasonic that’ll
be putting the cameras on our bodies in the
21st Century and it means capital F Fashion Film
is the future.
F FOR FASHION FILM IS THE FUTURE

From
Los
Angeles
with
Los Angeles Fashion
Film Festival: Inclusion
LAFFF
Welcome to Radical Vertical, and by extension, the
LA Fashion Film Festival community. Essentially
LAFFF in print, Radical Vertical chronicles inclusive
views of a diverse group of industry influencers and
key figures.
What started out a year ago as a coffee discussion
with Leslie Bedolla in Berlin about style, life,
spirituality, and the need to create community in
LA, has culminated in this first edition of LAFFF.
Our goal is simple: to build an open, creative and
inclusive society that connects like-minded brands,
filmmakers and consumers. Everywhere we look,
boundaries are disappearing.
The future is inclusive, and we are all connected,
especially you, the consumer.
LAFFF is one of the cultural initiatives by
kulturspace—the LA & Berlin-based creative
consultancy I founded five years ago—and a
nonprofit project by The kulturspace Foundation.
The kulturspace DNA can be summed up in three
simple words: collaborative, creative, and organic.
Besides LAFFF, we’ve spearheaded and produced
cultural and creative projects such as the Berlin
Student Film Festival, Behance Adobe Portfolio
Reviews, Show Us Your Type LA & Berlin, and the
U-Bahn Berlin book, with more in the making.
The idea behind LAFFF is to shine the spotlight on
LA as an international fashion and culture capital,
besides advocating for greater inclusion and diversity
in the industry. A lot of selfless work has gone into
realizing this vision, and we couldn’t have done it
without my wonderful partners: Leslie Bedolla,
Founding Partner; Holger Homann, Publishing
Partner; Alex Holz, Partnerships & Business Partner;
and the rest of the team who’ve worked tirelessly to
realize this grassroots concept.
On behalf of the team, advisors, sponsors, and
jurors, we are thrilled to bring fashion film to the
doorstep of the entertainment capital of the world:
Los Angeles. We look forward to connecting with
you in person at the festival.
Creatively yours,
Justin Raymond Merino
Founder, kulturspace
FROM LOS ANGELES WITH LAFFF

LAFFF Program 2018
OCTOBER 5, 2018
AT FRED SEGAL -
SUNSET BLVD
Welcome to LAFFF 2018 - Social
10:00 AM - 10:30 AM
Kick off #LAFFF2018 Day I with a coffee, “Morning
Mix”, and be one of the first to read our magazine:
Radical Vertical.
The Laws of Style - Panel
MODERATOR: DOUGLAS HAND
10:30 AM - 11:30 AM
Notable fashion attorney, fashion law professor and
sharp dressed man, Douglas Hand, will moderate a
panel of menswear designers. Topics of discussion
will range from the design process and inspiration,
the state of the menswear industry today, formal
dress and the casualization of the business uniform,
and the challenges for emerging brands and
personal presentation, followed by a book signing.
Who said Fashion Film? - Panel
MODERATOR: JUSTIN RAYMOND MERINO
SPECIAL GUEST: MATTHEW FROST
12:00 PM - 1:00 PM
What do we consider to be a fashion film? What
makes a film a fashion film and when is it not
considered one? Is fashion film for everyone? The
panel will discuss the definition of fashion in a
cinematic context: what is fashion film, what is the
purpose of it, what makes it what it is, and who
defines it.
The Role of Fashion & Style - Panel
MODERATOR: LESLIE BEDOLLA
SPECIAL GUEST: SHAUN ROSS
01:30 PM - 02:30 PM
What is the role of Fashion in the process of
questioning identity? We will start the panel with
talks about personal experience and storytelling and
we will go to a more anthropological understanding
of how fashion can be a tool in the identity search
and inclusion process.
Tribal Markers - Body Art - Experience
03:00 PM - 03:45 PM
SPECIAL GUEST: AMIR MAGAL
Join and/or witness Amir and his team of artists apply
tribal body art for a live performance on attendees
who want to be adorned. Artist and creator of the
Tribal Body Marker, Amir Magal, is inspiring tribes
and communities all over the world to take a breath
and spark deep soul connections through the sacred
art of Tribal BodyMarking.
Spiritual & Sustainable Fashion - Panel
MODERATOR: LESLIE BEDOLLA
SPECIAL GUEST: DR HABIB SADEGHI
04:15 PM - 05:15 PM
Why do we have the need as consumers to go
for a more spiritual and sustainable fashion?
This panel seeks to understand this new form of
consciousness from different perspectives. In a
society where fashion is a prominent influence, we
will talk to people for whom fashion is more than
clothing or commerce, people for whom fashion is
a way of contributing to a collective experience of
life, and a way to influence what and who we value
in our society.
That Kind of Future - Panel
MODERATOR: HOLGER HOMANN
SPECIAL GUEST: VIKTORIA MODESTA
05:45 PM - 06:45 PM
Where do new technologies stand in fashion and
art? Where are we now? Why and how have new
technologies changed fashion and art? Where are
we going? What are the next technologies? How do
we see the future? Viktoria Modesta is here with us.
She will explain why and how new technologies are
important to her work, and what is her vision of the
future. We will also have an expert expound various
forms of technology in fashion, and we will find out
what we can look forward to in the years to come.
AKA Poolside Screening - Screening & Social
7:00 PM - 9:00 PM
We’ll screen some of the best film submissions
while enjoying the sunset, a refreshing drink from
our sponsor Duvel in hand, and the amazing view
of Los Angeles from the poolside of the AKA West
Hollywood. Network, connect, socialize, and get to
know your audience.
ALL-DAY/
SEGMENTED EVENTS
b8ta - Experience
10:00 AM - 7:00 PM
Come for a hands-on exploration of some of b8ta’s
most innovative products! The b8ta Santa Monica
team will be on hand to engage festival guests in
interactive demos of their latest must-haves at the
b8ta tech corner.
Browns - Screening
10:00 AM - 7:00 PM
A selection of films to be screened at the Browns
pop-up space.
GIF/Selfie Greenery Wall - Experience
10:00 AM - 7:00 PM
Snap a GIF or selfie in front of our LAFFF green
foliage wall. Capture your LAFFF memories and text
or email your photos/GIF’s right from the screen!
AKA Cinema - Screening
10:00 AM - 7:00 PM
An intimate 16-seat cinema at the AKA West
Hollywood, where festival guests can pop in to catch
fashion films and micro discussions throughout
the day.
OCTOBER 6, 2018
AT TECHNICOLOR
EXPERIENCE CENTER
Weekend Start - Social & Experience
11:00 AM - 11:30 PM
Kick off #LAFFF2018 Day II with a coffee, “Morning
Mix”, and be one of the first to read our magazine:
Radical Vertical.
Late Morning Film Screening - Screening
11:30 AM - 12:15 PM
We’ll screen some of the best film submissions on
the TEC stage. Lights, camera, fashion, action!
Radical Vertical - Panel
12:45 PM - 1:45 PM
How to build a brands’ DNA with the use of social
media platforms and new immersive technologies?
The question is no longer if and when brands
should embrace digital opportunities and immersive
experiences, but how they should do so, considering
that by 2019, global consumer Internet traffic will
account for 80% of all Internet traffic.
The Future Consumer: A Cultural Hackathon -
Workshop
2:00 PM - 4:00 PM
We’ll be hosting a cultural hackathon, bringing
together thought leaders, educators, connected
consumers and brands on one stage here at The
Technicolor Experience Center in Los Angeles for a
one-day deep dive into the “The Future Consumer.”
Afternoon Film Screening - Screening
4:15 PM - 5:15 PM
We’ll screen some of the best film submissions on
the TEC stage. Lights, camera, fashion, action!
Courtyard Social & Awards - Social
5:15 PM - 7:00 PM
It’s a wrap! Join us for a sundowner, network,
connect, socialize and get to know your audience.
We’ll also announce the #LAFFF2018 winners!
ALL-DAY/
SEGMENTED EVENTS
Immersive Experiences - Experience
11:00 AM - 7:00 PM
Curated experiences include showcasing the
merging of fashion and beauty technologies via
immersive demos, and innovative displays exploring
Virtual Reality (VR) and Augmented Reality (AR)
technologies. Join us.
Courtyard Pop-up - Social & Experience
11:00 AM - 7:00 PM
A blend of fashion pop-ups, food truck, light bar
by Duvel and beats to keep the mood flowing
throughout the day.
Panels begin with a film screening and end with a
10-minute Q&A session.
Program is subject to change.
RSVP is encouraged.
More info at lafashionfilmfest.com
VIP bags provided by LOQI
SPECIAL GUESTS
Viktoria Modesta
Shaun Ross
FROM LOS ANGELES WITH LAFFF

Illustration by Zohar Winner
EXHIBITION SPACE
Gallery Regen Projects
6750 Santa Monica Blvd, Los Angeles,
CA 90038
THEATRE
Kirk Douglas Theatre
9820 Washington Blvd, Culver City,
CA 90232
VENUE
A: Fred Segal & AKA
8500 Sunset Blvd West Hollywood,
CA 90069
B: Technicolor Experience Centre
3237 S La Cienega Blvd, Los Angeles,
CA 90016
HOTEL
Chateau Marmont
8221 Sunset Blvd, West Hollywood,
CA 90046
The Jeremy
8490 Sunset Blvd, West Hollywood,
CA 90069
FOOD
The Black Cat
8100 Melrose Ave, Los Angeles,
CA 90046
Lokal Sandwich Shop
10433 National Blvd #1A, Los Angeles,
CA 90034
Catch LA
8715 Melrose Ave, West Hollywood,
CA 90069
Norah
8279 Santa Monica Blvd, West Hollywood,
CA 90046
Boardwalk 11 Bar And Grill
903 North La Cienega Blvd, Los Angeles,
CA 90069
Sun Cafe
10820 Ventura Blvd, Studio City,
CA 91604
BAR
Barbette
7511 Santa Monica Blvd, West Hollywood,
CA 90046
La Fête
8277 Santa Monica Blvd, West Hollywood,
CA 90046
Ollies Duck And Dive
29169 Heathercliff Road, Suite 102 Malibu,
CA 90265
Fiesta Cantina
8865 Santa Monica Blvd. West Hollywood,
CA 90069
ICE CREAM
Coolhaus Icecream
8588 Washington Blvd, Culver City,
CA 90232
Grom
6801 Hollywood Blvd, Los Angeles,
CA 90028
COFFEE
The Verve
833 S Spring St, Los Angeles,
CA 90014
PARTNERS & SUPPORTERS

OFFICIAL SELECTIONS
A
B
C
D
E
F
G
A Fashion Fairytale - Style - HENRIK STEEN/
A perfum for every you - Campaign - IBON
LANDA/ ALIUD - Glam - HADI MOUSSALLY/
AWAKENING - Direction - RAMON J. GONI
BE YOUR NATURE - Direction, Style -
NUTTAPHON SORNCHUMSIANG/beyond
- Style - CHRISTOPHER STARK/ Bowl Of
Cherries - Documentary - HADI MOUSSALLY/
Butt Muscle - Music - MATT LAMBERT
CASAMORATI - Direction - MICHELE BIZZI/
Channel Surfing: Elizabeth - Direction - SYMONE
RIDGELL/ Channel Surfing: Peyton - Direction
- SYMONE RIDGELL/ Cocoon: Beyond The
Light - Documentary - FREDERICO STAUFFER
& MARCO DE ORNELLA & MARIA BURNS
Diagonales - Emerging - ROMÁN REYES/
Different ways of loving John Marras
- Campaign, Direction, Cinematography -
GIULIA ACHENZA/ DIVA - Cinematography,
Music, Emerging - ADAM CSOKA KELLER
essence of life - Style - CHRISTOPHER STARK/
ETRO ROOTS - Campaign - PIETRO COPPO/
Everyone can be beautiful - Cinematography
- JAN MANTANAKORN
FaFa Fashion film - Innovation - BARTEK
KALINOWSKI/ FOLLOW ME - Emerging -
MAREN LANGER
Georgetown Optician “The Eye Ball” -
Direction - DEAN ALEXANDER/ giudicare -
Emerging - ANTONIO SEMERARO/ Glommy
Planets - Music - IBON LANDA/ God Save The
Youth - Emerging - DAVEION THOMPSON/
Gucci in Bloom - Direction - MATT LAMBERT/
Guide for the Good Wife - Emerging -
IGNACIO SEPÚLVEDA/ Gypsy - Emerging -
PAULA MONETA
SUBMISSIONS
H
I
J
K
L
M
N
O
How I Faked My Way to The Top of Paris
Fashion Week - Documentary - FLORENCE
BARKWAY/ How To Be A Winner - Campaign
- JACOPO MARIA CINTI
I Am An Individual - Direction - AMBER
MOELTER, LUIS / I Had A Dream - Direction -
SIQIN BIAN/ Increase The Life Span Of Your
Clothes - Emerging - EMILIA KURYLOWICZ
& ALA SOWIAR/ Integration - Emerging -
J.J. TORRES
Jillian - Documentary - DANILO LAURIA
Karl Lagerfeld x Jaspal - Direction -
DEAN ALEXANDER
Le Fix - Happy Nothing - Direction, Emerging
- IAN ISAK/ LOLA’S MANIFESTO - Direction -
GSUS LOPEZ & CRISTIAN VELASCO
MARCELL VON BERLIN Campaign Film
FW 18/19 - Campaign - MARCELL VON
BERLIN/ Meta-Gaze - Innovation - TONY
ASSI/ Mirage - Emerging - IVON SKULA/
Mondrian Doha - Our Time Is Now -
Campaign, Cinematography, Glam - JUSTIN
KRAMER/ Mr Tom Ford’s Six Rules Of
Style - Campaign - JACOPO MARIA CINTI/
Mrs. Poucheau - Emerging - AMANDA LAGO
Not(e) for a Dreamer - Cinematography,
Direction, Music - ENRICO POLI/ NüSTALGIA -
Music, Style - OLIVIA DOYON
Oliver Peoples, In Conversation with
Tasya Van Ree - Campaign - IVAN OLITA/
OVERDOSE - Glam - JUANMA MOTA &
REBEKA ARCE
Visit the ‘LAFFF Studio’
lafashionfilmfest.com/lafff-studio
P
R
S
T
U
Y
Perfect In Her Own Right - Campaign -
CHRISTINA MACGILLIVRAY/ Positive - Glam -
HADI MOUSSALLY/ Proclamation Punctuation
- Glam - SEWRA G KIDANE
RED - Cinematography - LAIA GIL/
REFLECTIONS - Campaign, Glam, Style -
MASASHI MUTO/ Rouge 66 - Documentary -
RYAN MAXEY
Santos by Cartier - Cinematography,
Direction, Music, Style - SEB EDWARDS/
Skater Girl - Style - REPETTO STUDIO/ SOUL
LAND - Cinematography - MEETO GREVSEN/
Start the Buzz - Campaign, Style - GIACOMO
BOERI & MATTEO GRIMALDI
Tattoo in Seoul X MONTBLANC KOREA
(Director’s Cut) - Campaign - JEEYOUNG
YOON/ Terry White / Summon Crazy Horse
- Campaign - MANUEL PORTILLO/ The
Beginning - Campaign - JULIAN PROLMAN&
ROGER SPY/ THE ENCOUNTER - Direction
- JOHN-MICHAEL TRIANA/ The Feeling -
Cinematography - MATT LAMBERT/ The
Greatest Luxury - Documentary - KATHRYN
FERGUSON/ The Lollipop Girls Struggle
on the Hard Earth - Style - DENISE PRINCE/
THE UNIVERSE - Cinematography, Direction,
Music - DAĞHAN CELAYIR/ There is no exit
- Emerging - TAJANA BUNTON-WILLIAMS/
Timeless - Lacoste - Cinematography,
Direction, Music, Style - SEB EDWARDS
Uncertainty - Campaign - CRISTINA
STRECIWIK/ Urban Revivo Spring 2018 -
Campaign - TIM WONG
Ya es Primavera - Direction - VICTOR CLARAMUNT
Widow|Ghosts - Campaign - JIL GUYON/ Are you ok? - Campaign - MARKO TARDITO/ Wanderlust -
Documentary - ANNEBEL HUIJBOOM/ Never Look Back! - Campaign - ROHAT TÜRK/ ONE AND ONLY -
Campaign - FABRIZIO AZZELLINI & KRISTINE CIEMATNIECE/ Teatime Ponderer - Campaign - AMIN SHAIKH/
In A Made-Up World - Emerging - STEVEN PERKINS/ Kill Your Darlings - Direction - PASCAL BAILLIEN/
Chris Francis: Shoes - Documentary - VIRGINIA LEE HUNTER/ Pink Story - Style - CHARLOTTE ANDERSEN
& HENRIK STEEN/ Urban Revivo Winter 2017 - Campaign - TIM WONG/ Urban Revivo Summer 2018 -
Campaign - TIM WONG/ OXGN - Direction - DAMIAN PRADO/ Balance of Power - Emerging - ABDUL MALIK
ABBOTT/ RUNAWAY BABY - Emerging - LOLA BESSIS/ NF5M - Emerging - LUCAS MAETHGER & SERVULO
MENDEZ/ CHROMATIC - Emerging - MONICA LILAC/ Who’s A Fly Bird? - Emerging - BIANCA TOMCHIN
& MATHEW HARVEY/ Break the Rules - Emerging - SIMON WALTI/ I Am An Individual - Direction - AMBER
MOELTER & LUIS/ Girl Gang - Style - WESLEE KATE/ The Other Side - Direction - LEO ADEF/ Mood Swing -
Campaign - LEO ADEF/ Tomboy - Emerging - ROMÁN REYES/ RSEA - Direction - SOPHIA BANKS/ Anine Bing
- Direction - SOPHIA BANKS/ Savage Rose - Direction - SOPHIA BANKS/ TOME Super8 - Direction - SOPHIA
BANKS/ Venia: Innuo - Campaign - GOVIND RAE & SAMUEL MIRON/ Frontline Fashion II - Campaign -
LINDSAY ROBERTSON & SIMON YIN/ The Letter - Emerging - WESLEY SUN/ Hibernation - Cinematography,
Music - DOMINIC PACKULAT & CHRISTINA HASENAUER/ PARADISE 3000 - Direction, Emerging, Innovation
- PEPPER LEVAIN/ Embellir - Documentary - TAKUMI SAITOH/ MDS Green Army - Direction - COXY CHIARA
RODONI/ The Perfect Parisienne - Direction - VICTOR CLARAMUNT/ Dare To Be Bold - Direction - MITCHELL
LAZAR/ Team H.A.R.D. Vs The Athleisurist - Direction - JORDAN ANSTATT/ #unofficial - Documentary -
GREG FERRO/ Comme des Garcons: Infinity 8 88 - Cinematography, Direction, Emerging, Glam, Innovation,
Style - KRISTY FUNG/ dé-jà-vu - Campaign, Glam, Style - MASASHI MUTO/ Just Friends - Emerging - MARC
LESPERUT/ R Magazine Spring ‘18 - Cinematography - BLACKOUT/ RISE - Emerging - AMBER CURRY/
Matches - Style - MATT LAMBERT/ The Collar - Style - VIKTORIA RUNTSOVA/ Isabelle - Cinematography,
Direction - JUSTIN COUPE & ALVARO G. HUEZO/ Liquid Sorb - Music - TONY ASSI/ I contain multitudes -
Emerging - FRANCESCO ALESSANDRO COGLIATI & ILARIA DE LORENZI/ Like A Virgin - Style - SIRIPHONG
TIPAYAKESORN/ Leonidya Kushev - Emerging - MARK TAYLOR & LEONIDYA KUSHEV/ Love Potion - Music
- ANDREA LIN (SUPERDOLL)/ LITOST - Direction - GSUS LOPEZ/ The Style of illusion - Glam - MARIA MILLAN/
The12Project - Style - HADI MOUSSALLY/ HÀNA - Cinematography - LUEY NOHUT/ Ein Traum - Direction -
WARUT WIMOLKUNARAK/ Dark Paradise - Emerging - LUYIN ZHAO/ Rage: The Inner Thoughts of a Black
Woman - Style - CHENAY BARNES/ Utopia - Emerging - LUIZ FURTADO & PEDRO CANTELMO/ Dancer On
The Roof - Style - REPETTO STUDIO/ The Holy Ghost - Campaign - TÁINE KING/ In The Heat of Summer -
Cinematography, Direction, Emerging - BENJAMIN J. RICHARDSON/ Lemons - Emerging - LEILAH FRANKLIN &
EMILY ROSENSTEIN / The New Gaze - Emerging - TONY ASSI/ Run - Emerging - TAJANA BUNTON-WILLIAMS
LAFFF TEAM
ALEX HOLZ, Partnerships & Business Partner/ CARLA MARBOEUF, Program Coordinator/ ELLIOTT-ALFRED
ATTIA, Fashion Editor/ HOLGER HOMANN, Publishing Partner/ JUSTIN RAYMOND MERINO, Founding &
Managing Partner/ KIM KRISTY, LA Creative Services Director/ LESLIE BEDOLLA, Founding Partner/ LINDY SIU,
Brand Communications/ NATASHA SIEMASZKO, Creative Services Coordinator/ REBECCA LIU, Consultant/
RYAN YING, Art Director
JURORS
ALEXIS BORGES, President of NEXT Management
Los Angeles/ ALICE BOTTARO, Creative Director
for Mercedes-Benz at antoni Berlin/ ANA FINEL
HONIGMAN, Art and Fashion Writer/ ANDREW
VAN WYK, Storyteller & VR Specialist - Creative
Coordinator, River Road Entertainment/ ANDY LEE,
Senior Lecturer Film Practice, London College of
Fashion/ BLAINE HALVORSON, Designer & Owner
of Made Worn/ CAISA AIRMET, Digital Marketing
Creative, and Fashion Stylist/ CATHERINE LE GOFF,
Commissioning Editor at ARTE/ DAMIEN MERINO,
Bay Area Creative/ HOLGER HOMANN, Publisher
& Creative Director/ @ISABELITAVIRTUAL, Creative
Director & Photographer/ JOY C. MITCHELL,
Screenwriter, Journalist, Storyteller/ JUUL VAN
ALPHEN, Producer and Creative Consultant/
LAURA SERRA ESTORCH, Producer at CANADA/
LUCA FINOTTI, Director & Filmmaker/ MICHELLE
MCCOOL, Stylist, Creative Director/ MURIELLE
VICTORINE SCHERRE, Filmmaker, Designer & Owner
of la fille d’O/ NATALIE LONG, Creative Director/ PER
ZENNSTRÖM, Fashion Photographer & Filmmaker/
SARA SOZZANI MAINO, Deputy editor-in-chief of
Vogue Italia and head of Vogue Talents/ SEBASTIEN
MEUNIER, Artistic Director at Ann Demeulemeester/
STEPHEN GALLOWAY, Creative Movement Director
and Creative Consultant/ VANESSA KINCAID, Chief
Creative Officer, Littlstar
ADVISORS
CHRISTOPHER SIBLEY, Writer, Director, & Virtual
Reality Producer/ FABIO MASTROIANNI, Design
Thinking & Business Development/ MATTHEW
COLLADO, Co-Founder/Chief Content Officer of
Littlstar/ SUZANNE EDWARDS, The kulturspace
Foundation Board Member/ TORSTEN WIDARZIK,
Creative & Strategy/ WINY BERNARD, Communicator
& Connector
FROM LOS ANGELES WITH LAFFF

Dotan Saguy Portfolio Photos by Dotan Saguy
PARADISE
L
O
ST
5
1
Light up and
fade away:
the last sparks of
Venice Beach
In capturing the revelations of Venice Beach,
Dotan Saguy has created a body of work
with unexpected, enthusiastic surprise which
documented what could be a lost society.
PARADISE LOST

Les
5
8
du
The new seed
of porn
LA native Matt Lambert, who splits his time between
London, Paris, Berlin, and LA in his profession as a filmmaker,
planted a new flower in the desert of Porn Valley (aka San
Fernando Valley), where the business migrated to in 2002
because of low rents and easy access to the mainstream
movie business, becoming the adult entertainment capital
of the world. In his videos as well as his photography, Matt
Lambert quite often tackles the topics of gay intimacy and
themes like “sexual pluralism, multiculturalism, gender
equality, and female empowerment.” His new documentary
and powerful exploration of queer culture in South Africa
“Out of This World”, hosted by rapper, performance
artist, poet and activist Mykki Blanco, is a typical example
Last year, he also shot a 17-minute X-rated film entitled
“Flower”, which Out magazine described as “a dreamy
sexual lullaby of a film”. Styled rather like a documentary,
it follows five friends as they “redefine the line between
intimacy, friendship and sex” to challenge the norms of
traditional porn and create an artistic version of the genre.
Why take such a risk as an acclaimed filmmaker? Whether
this excursion into the porn industry will be short-lived, we
were keen to find out—here are the answers to these and
many more questions.
LES FLEURS DU MAL

Fleurs
5
9
Mal
LES FLEURS DU MAL

Matt Lambert
People
Interview by Holger Homann
Photos by Matt Lambert
6
0
HH In regard to your debut of Flower
within the porn genre, I read that you nearly
adopted a pseudonym to release Flower.
Why is that?
ML I’d considered it as it’s something
done often by directors, editors, etc. when
working on explicit projects. Bruce LaBruce
once told me to never shoot anal penetration
as it’d kill my chances of commercial success.
However, I struggled with the hypocrisy of
making work that celebrated sexuality and
denounced shame, to only go and hide
myself from the work. If I was to practice what
I preached, I needed to be as proud and
celebratory as the characters I portrayed.
HH You once partnered with your
husband Jannis Birsner to create Vitium, an
erotic, sexually-explicit punk zine. In regard to
that project, Flower could almost be seen as a
successor. Is there more to come?
ML Yea, it was the beginning of a
playful and irreverent body of explicit work.
I suppose my film and zine, Butt Muscle,
with Rick Owens, also falls into that camp
as does elements of other projects here
and there. I definitely intend to do more in
the Vitium publishing series with Jannis,
as well as continue to explore explicit
storytelling in film.
HH You once mentioned in an interview
that people, especially now more than ever,
learn about their sexuality through porn.
How do you consider your contributions
different from what you perceive to be
typical gay porn?
ML I shy away from the term ‘porn’
even when I can. For me, it’s something that’s
reductive and treats its characters as objects
rather than subjects. While ‘porn’ is an
impossible word to escape when discussing
‘Flower’, I see it as a short film with explicit sex
scenes. My goal was to capture the lightness,
playfulness, humor, honesty and irreverence
of gay sex when coming-of-age. I wanted
to capture the essence of its characters and
celebrate them as humans, while still making
it something that’s sexy and provocative.
While there’s surely a lot of sex in it, I see
intimacy as the subject more than just sex. That’s
a layer that I often feel is missing from your
typical ‘gay porn’.
HH Considering Helix, the production
company that produced Flower, is a gay porn
studio—what is the difference between Helix
and what the genre offers in general?
ML I worked with Helix because I loved
them as people and felt they had the utmost
respect for their talent. I also really wanted to
work with both Blake and Sean as they had
something different from what I had typically
seen. It was more about the personalities and
relationships behind the scenes that attracted
me, but I think that warmth and playfulness
often comes across in the work they do.
HH What do you suggest needs
to be different to create art rather than
traditional porn?
ML For me it becomes art when it causes
you to question the way you’d perceived the
genre in the past, and when it challenges the
way you relate to your own identity/sexuality.
HH In terms of artistic freedom—to
what extent did Helix allow you to direct and
edit the film the way you wished to pull it off?
ML Total freedom. They were
supportive and collaborative when I needed
it, but they more or less let me make the film I
wanted to make.
HH In terms of authenticity, how much
of what we see in Flower can you claim to be
real, and what is staged?
ML It’s a hard one to answer. I had a
story and knew what I wanted to capture, but
many of the moments are completely genuine
and unscripted. Which ones, I’d rather leave
up for guessing ;)
HH Since Flower has been produced
with full credit to your name—can you talk
about the reaction within the agencies which
represent you for other purposes than doing
porn, and the perception by the actual
audience it was targeting?
ML I had full support from everyone
around me. Part of my journey in finding the
right representation has been finding people
who support me in everything I do and are
able to see the joy and art in all my work,
rather than reducing them to their worst-case
buzzword. The audience it was intended for
reacted better than I could have imagined,
and got love from people I’d never expected
to even see it.
HH In regard to our main topic
of inclusion, do you consider—looking
backwards—projects such as Vitium and
Flower as inclusive pieces of your body of
work, or rather misfits?
ML Almost everything I make is about
intimacy and finding new ways to tell these
stories either in who or how.
LES FLEURS DU MAL

The Real
McCoy
“People are
best in
photographs
when they are
really true to
who they are.”
- Chi Modu
Chi’s most recent project began in August 2013, when
massive images of his started appearing on the exterior
walls of select NYC buildings, as part of an ongoing
installation called Uncategorized.
6
According to Modu, “The art world tends
to be very exclusive and full of obstacles for both the 5
artists and the public. My goal is to make art more
inclusive by pulling an end run on the galleries and the
museums, breaking down the barriers, and bringing the art
directly to the people. Like graffiti, but legal.”
As to why he calls the exhibit Uncategorized—
“People always want to put art and artists into neat little
boxes. My work does not fit into any one stereotype
and neither do I. I wanted to create something that is
the opposite of putting labels on everything and make a
statement against stereotyping in general. I don’t see this
as just an exhibit. I want to start a movement.”
Chi Modu not only chronicled and defined
the most important phase of the hip hop movement,
now a global force, he was also able to define the artists
and show them as real people, rather than onedimensional
celebrities.
I met Chi on the occasion of the opening of
his exhibit UNCATEGORIZED at HVW8, Berlin. Alongside
images of hip-hop royalty including Tupac, Biggie, Nas
and ODB, the show also features previously unseen gems
from Chi’s photographic archive. To learn more about the
man behind the lens of such iconic images of those hip hop
legends, we took the chance to ask a couple of questions.
THE REAL MCCOY

Chi Modu
People
Interview by Holger Homann
Photos by Chi Modu
6
6
“What kind of
gangsta rapper
has a stylist?
A stylist?!” - Ice T
HH In your career as a photographer,
you’ve had the chance to capture the steady
rise of hip-hop culture from almost its
beginning for almost three decades, and shot
portraits of the genre’s most famous figures
including Biggie, Tupac, Nas, ODB, and many
others. When did all this start and how did you
get so close to them?
CM Well, my first work as a photographer
was freelance work at the Amsterdam News—a
small newspaper in Harlem, New York in the
early ‘90s. I think it was like 1990. And that was
right around the time that the founders from
Harvard moved down to New York and started
to bring The Source Magazine to a more
national level. I went down to the magazine
and had a visit with them. And they didn’t
really have anybody on staff that actually really
understood photography. At that time, I was
already printing my own prints in my own dark
room, so I was really ready to rock.
This is now post-college. I went to
Rutgers University in New Jersey, I moved
up towards New York City, which is when I
started playing around with my own darkroom
supplies and enlarger that I’d purchased.
From there, my prints got better. I did the
work at the newspaper, then I segued into The
Source since they didn’t really have anyone
that was at the ready. I had a beeper at the
time. So if you called me I would show up. So I
was basically the on-call guy for the magazine.
And then the artists started to see me as the
guy. So they knew if they would sit for my
camera, cooperate, they’ll probably end up
in the magazine. I was always pretty sound
technically, and I brought a higher level of
technical ability to the space, which I think
lifted the whole thing up a bit. This was right
around the early ‘90s. And then I had a run
of about seven years of having my bit of time
to shape the space visually and shape how
people perceived hip hop.
HH In regard to all those personal
encounters, are there any that stand out as
most memorable?
CM It’s tough to single out any one. But
you can imagine, most of them probably are
memorable. We were young men and women
in our 20s, and we were at the front end
of this movement that no one really knew
where it was going. But people knew it had
a lot of energy.
We were running free and running
wild, but we were actually also producing
something that ended up being the
foundation for the multi-billion dollar industry
of hip hop. It kind of rocked the whole globe.
It was important not to get distracted by the
enormity of what we were doing so the work
would stay pure.
So Tupac was always a good subject and quite
cooperative and understood the camera. So it
wasn’t hard to get him for photo shoots and
to perform or just be himself and not perform.
And it worked out well.
Biggie was a good friend of mine
because he’s from the east coast, so he would
always come and cooperate. I did Snoop’s
first album. So I definitely worked with a lot
of these guys early in their career. I’d say all of
them were actually quite memorable.
HH Who was the most difficult to
work with?
CM As a photographer, you don’t really
know what you’re dealing with when you roll
up on a subject. So as far as difficult, everyone
can be at times... Most people don’t really
like having their picture taken. So it’s our job
to make them comfortable and help them to
relax. But it’s also our job to not leave without
a photograph. So I had to bend a lot of
people’s arms over the years to eventually do
a picture after they said they weren’t going to
when I arrived.
The most difficult one was probably
Mike Tyson, because I remember I showed
up at his place in Youngstown, Ohio, and he
was training for a fight. It must have been
1996 or so. And Mike showed up and said,
“I’m not taking any pictures today.” And you
can imagine what that’s like, right? I knew
I was going to get him to take a picture
no matter what.
I softened him up with conversation,
got him to sit down, we ate some food, we
talked for a bit, he cooperated and I was
able to get my images. We saw each other a
year later and laughed about the experience
and we ended up as friends. So I think that
when subjects are difficult, it’s usually other
things in their world that make them difficult.
Photographers know not to take it personally,
and adjust to whatever the challenges are
in any situation, but more importantly, we
must leave with a photograph. That’s priority
one for a photographer. If you don’t leave
with a photograph, you didn’t do your job.
If you don’t do your job, you probably won’t
be hired again.
HH In these times when almost
everybody seems to have the technology for
taking photographs in their hands, what does
one need, to be considered a photographer
from your perspective?
CM Well, the fact that cameras have
become ubiquitous ... I actually like the fact
that everybody has a camera because what
it’s done for photography is it’s made people
appreciate the skills required more, because
more people now see how hard it is to do it.
And it’s not really about the equipment; it’s
always about how you see the world and
your composition. You can get the technical
aspects of photography behind you fairly
quickly if you focus on them. But that’s not
entirely what creates a good picture. A good
picture still consists of the photographer
deciding what stays or leaves the rectangle.
I think that’s what people have learned now
that they all have cameras.
So to be a good photographer, I
think you really have to know how to look in
those four corners and make that decision in
a millisecond of what you want in and what
you want out, and then you press your shutter.
Once you get that down, and the more
often you’re able to do that and not just get
lucky periodically, then, okay, now you’re a
good photographer.
It doesn’t matter whether it’s a
camera phone, like a Sony a7, or a 4x5, it’s
all still the same process. Light exposing film
or exposing a sensor, timing, composition—
that’s photography.
HH What does a photo need, to
become iconic?
CM I think a number of things have
to line up. I can really speak from a music
photography space. There is something to
be said about superstar artists who pass away
at a young age, because they are preserved
in the photographs that we have of them. So
when people look at pictures of Tupac and
pictures of Biggie, they use the word iconic
around them because they haven’t been here
for about 20-something years.
But I think it’s not just the subject,
but it’s the combination of the subject and
how the photographer chose to portray them,
because a lot of times people’s image is really
how the photographer saw them. They’re the
ones looking at the subject. So we look at you,
and we decide when to press the shutter to
capture you where you’re looking right.
That’s kind of our job. We’re your
mirror, in a way. If you are “that” person, we
have to know how to see you as that and
then press the shutter to capture you at your
best. If you line those things up where you
capture someone as they are, and that person
to the public is a superstar or someone the
public believes in—if you line all that up with
a well-exposed image, that’s how you create
THE REAL MCCOY

THE REAL MCCOY

an iconic photograph that’ll stay forever, ala the Che Guevara iconic
photograph, or the pictures of Tupac tying his bandana.
It’s not just that the subject is good-looking. They also have
to have some brand, and energy behind them, that comes across
in photographs. And that’s why people want them for years and
years to come.
HH Comparing hip-hop artists today to artists in the past, are
there any differences that affect your work?
CM Well, I don’t really spend that much time photographing
artists of today. I get a lot of requests and I know I have a lot of fans
among younger rappers. But I really feel that there are a lot of quality
photographers out there shooting from this generation that can
capture them quite well.
With rappers today, a big difference that I notice from the past
is that they don’t really let the cameras into their worlds that much. It
seems like the images are a little bit more on the surface. You can list
them: Drake, Kendrick, a lot of big time stars, Beyonce. You know them
as a performer but you don’t really know that much about them visually.
And you don’t really know the rest of their world.
I think over the long haul, that affects artists because once you
leave the public eye, meaning once your music is no longer hitting, all
people have to recall of you is what they already know about you. And
what they know about you is really about your private life.
But it’s very, very tricky, because part of why Tupac has so
much love from the public is, he lived his life on his sleeves. You knew
what he was going through at every moment. So you could either dislike
him or like him, but I think both things are with equal intensity. So the
people that like him, really believed in him. And that’s part of why he’s
still here, 20-something years later.
So there is something to be said about being a little bit more
open about both your successes and your flaws. It’s more really being
who you are and letting the public decide whether they’re going to
take to that or not.
HH In the times of Instagram, artists seem very much focused
on how they look. Looking at your work from the past, do you think
authenticity has become a rare commodity nowadays and is more
difficult to achieve?
CM I think authenticity is the same as it’s always been. If
you’re authentic, people will know. You can’t fake authenticity. So as
far as looking good in photographs, it depends on what you call
good, because I find that when you have pictures of artists and
they’re overly styled, it’s more about the style than the subject.
And we know styles change.
It’s this whole argument about ‘is fashion art’? I actually think
fashion is art but not the same way a lot of people think of it as art. I
think that people who come up with the really creative pieces are the
ones who actually are the artists in fashion, like the one who made the
Nehru jacket, the person who designed the pencil skirt, the original
black pump. That’s the artist.
And the reason why is that fashion changes twice a year. It’s
supposed to in the spring and the fall, right? So if something is supposed
to change twice a year, it’s not really meant to be permanent, whereas
visual art is actually quite permanent.
If you’re spending too much energy in defining your fashion
and your look, well, it’s going to change in six months. It’s going to
change in a year. So I find for people to really follow you, they need
to know that you’re going to be consistent six months out and not
change with the seasons.
So it’s not really about your surface, your clothes, your brand,
your image. It’s really about you. And that doesn’t really change with the
styles. That stays consistent, decades out, much like how my work has.
HH In regard to the recent trend within the fashion industry aiming
to embrace the cultural power of American Hip-Hop—for obvious
reasons since it is one of America’s greatest cultural exports—do you
consider Hip-Hop as a lifestyle now, rather than the art form it started
as ages ago?
CM That right there is a big challenge and debate that’s going
on in hip hop, I think, because ... I’ll tell you where I draw the line on it.
I don’t call hip hop a culture. I don’t quite understand what that
means when people say the culture, because I think ‘culture’ grays it
out too much.
Hip hop is really the message and the voice of the people.
And you have to be very clear. And a voice can’t always say dumb things.
A voice has to actually say some smart things at times.
So I think that it’s good that other people embrace hip hop,
but it’s not just about making up words that sound good together. It is still
about delivering a message. That’s the base of hip hop. Of course, you
can have different versions along the way. But you should not really have
chart-topping music not staying true to its core, because that means
eventually it’s going to die out. And that may be what we’re starting to
see, and will witness over the next 30 years. When you look at the charts
and the famous rappers don’t look anything like the people that started
it, like what we have with the DJs today, that is the beginning of the
dilution of an art form.
HH How much do you consider the importance of clothing styles,
which seems an important signature of the hip-hop genre?
CM Well, if you look at Louis Vuitton and Balenciaga making
sneakers, now you have an idea of what hip hop has done to the world.
We’ve basically completely turned upside down how people look at
fashion. And it’s not just for us. You see a lot more people wearing
high-end sneakers than you ever did before. But we’ve been wearing
sneakers for 40 years.
And so it’s just funny to see how we’re on the front end of a lot
of this change. And the fashion world eventually taps into it, but we just
did hear that Vogue hasn’t hired a black photographer in its 126-year
history. So that’s what we’ve been dealing with. And that’s part of why
we created hip hop, because we weren’t actually welcome. And we’re
barely even still welcome. But we’re driving the globe. And since we’re
driving the globe, you have to pay attention to us.
But, they want to take certain elements of hip hop influence
without you, and that’s where hip hop has to be careful, because, yeah,
Louis Vuitton can make sneakers and Balenciaga can also do the same,
but if you’re pricing them at $1,500, that’s not really hip hop.
HH You once mentioned some references in terms of your
photography going back to the 1920’s. Everyone now seems to live
in the moment not knowing anything about the “roots” - whether it is
about fashion, film, music or photography. Are we losing our past and is
there only enlightenment in the moment?
CM No, we only lose the past by choice. And I think why
people like to eliminate the past is because they don’t want
to be compared to the past which sometimes makes people
want to break away from their roots. But, there’s a challenge of
breaking away from the past, because the past actually has some
foundational qualities that you’re tapping into, whether on a
conscious or subconscious level. So the past is still there whether
you acknowledge it or not.
I think the mistake that is often made is that we don’t give
enough credit to the past. When I see many photographs of rappers
today, I can see influences of my photo styles from 20 years ago being
used by younger photographers today, and it’s a good thing. It’s
supposed to happen like that. But a lot of them don’t know where it
came from, but eventually they’ll figure it out.
And that’s, I guess, what the beauty of Instagram is, because
as I’ve been sharing my work, it’s allowed people to really see my
collection over the past three years. I’ve been putting up a photo daily
and it’s been quite successful because it’s very different from a magazine
or a newspaper publishing your work periodically. They can only publish
your work every now and then but on Instagram, I can put a new picture
up every day that no one has ever seen before, so it’s quite a tool.
If you have quality work now, you cannot be hidden. In the
past, even if you had the work, an editor could decide not to hire you
or a gallery could decide never to show your work. But now if you have
the work, there’s nowhere to hide. People will find you. So it’s changed
the game a lot.
HH In that conjecture, can going back also become part of the
future, and how does that work?
CM Well, you’re basically watching it in real-time, right? My
photographs are 20 to 25 years old. And a lot of people look at my
photographs like I took them yesterday, because my photography style
is somewhat timeless even though my subjects are older. And like I say
a lot, I’m not a big fan of nostalgia. Even though I work with pictures
from the ‘90s, I make them relevant today. It’s not like a throwback, or
a “ I wish I was there” thing I’m doing. I’m saying, no, these pictures
still matter by today’s standards. These artists are still powerful, even by
today’s standards. And that’s what so remarkable about the era I covered,
because here we are 25 years later, and the people I photographed
are actually larger stars than some of the people that are around today.
That’s hip hop.
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THE REAL MCCOY

THE REAL MCCOY

Sneaker Pig &
Sock Monkey
The new fetish
of the
fashion industry
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SNEAKER PIG & SOCK MONKEY
Many leading luxury brands have followed consumers
toward less formal dress, which these days means a lot
of athletic wear, especially sneakers. Louis Vuitton hired
fashion designer Virgil Abloh, known for his streetwear
leanings, to design its menswear. Balenciaga’s creative
director, Demna Gvasalia, has found success with items
such as sneakers and hoodies. Women are ditching
heels and formal black shoes that have ruled the world.
Instead, they are turning to sneakers—the new fetish
of the fashion industry.
Slava Mogutin was prosecuted for his articles
and interviews dealing with gay issues and the war in
Chechnya, at the time when homosexuality was an absolute
taboo in the Russian media and the Russian society.
The artwork of the provocative New York-based Russian-
American multimedia artist, filmmaker and writer has
been exhibited worldwide. Over the past decade he’s
also done plenty of personal and commissioned projects
that involve fashion. His new book, Bros & Brosephines,
merges his studio and fashion photography, portraits and
unseen early work but also continues to explore fetishes—
such as sneakers and socks.

SNEAKER PIG & SOCK MONKEY

Slava Mogutin
Fashion
Interview by Holger Homann
Photos by Slava Mogutin
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3
HH When limited edition sneakers are
released, people camp in line for days to
get their hands on a pair. It can even turn to
violence: In 2015, a Brooklyn teenager was
shot in his foot(!) for cutting in line. Can you
enlighten us on how the desire for a pair of
sneakers can turn into an obsession?
SM To each their own, as they say. Some
people are obsessed with expensive cars,
gadgets or pets, some with designer sneakers.
Everyone has a fetish for something—unless
they lack any fantasy or imagination. I wouldn’t
call myself a sneaker fetishist but I do use lots
of sneakers and athletic gear in my pictures.
I actually get all my sneakers for free and I’d
never wait online for any fetish items—there
are so many fetishes to choose from!
HH Pornhub—the world’s biggest porn
site—found Pornhub Gay users to be more
likely to search for sneaker-related porn. 1,124
percent more likely, in fact—with men more
likely to search for sneaker-porn than women
overall. Feet make their first appearance in 6th
with “heels”, followed closely by “socks” in
7th. “Boots” walk in at 13th, and “sneakers”
sneak into the top 20 at 19th. Overall, the
most popular sneaker-related search term
is “sneaker worship,”—does any of this
surprise you?
SM Thanks for the fascinating insights!
I’m not a big porn consumer; I’d much rather
take my own pictures and let others analyze
them once they’re published. I use porn as a
reference in my work but I do it in an ironic
way because most of porn is so serious.
HH You mentioned having been
engaged in the porn industry as a
photographer for magazines like Honcho,
Inches, and Playgirl. In terms of that genesis
of your career as a photographer and in terms
of aesthetics and chosen subjects of your
current work, do you consider that this still
gains influence?
SM It’s up to critics to discuss the
genesis of my career. Working in porn was
an interesting experience and I got to meet
and photograph lots of beautiful and talented
people, some of whom remain my friends
to this day. Human form and emotion are
central to my work. Unfortunately, there’s a
common misconception that nudity equals
sex and sex equals porn. Those are three
SNEAKER PIG & SOCK MONKEY

SNEAKER PIG & SOCK MONKEY

SNEAKER PIG & SOCK MONKEY

different animals, and sometimes those
misconceptions prevent people from seeing
past nudity. I think Germans have a healthy
attitude towards nudity because there’s a
long tradition of nudism and naturism. I had
so many great moments at the nudist lakes
and parks in Berlin; it’s a healthy alternative
to the dreadful app dating, which leaves very
little room for romance.
“Everyone has a fetish
for something unless
they lack any fantasy
or imagination”
HH In geographic terms, the Polish
capital Warsaw is where most people hunt
for sneaker-related porn, followed by Berlin.
Is Berlin and its fetish scene where you first
discovered your affection for sneakers?
SM It’s fascinating how some teenagers
from the former Eastern Bloc find sneakers
and sports gear sexually appealing. Coming
from the Soviet Union, I can understand it
because I grew up at the time when you
couldn’t even buy any foreign brand sneakers,
maybe with the exception of Adidas. So you
fetishize and totally fixate on something your
really want but then go a bit further and
end up sniffing someone’s dirty sneakers
in someone’s online chat room. My first
introduction to sneaker fetish was through my
Berlin gay skinhead friends, Andre and Tobias,
whom I photographed for Lost Boys. They
had a crazy sneaker collection and engaged
in fetish roleplay in front of their online
subscribers, who sent them more and more
sneakers. They also introduced me to other
Berlin sneaker skinheads. That was shortly
after I did Skin Flick with Bruce LaBruce, so I
was greeted as a hero at gay skinhead parties.
I do appreciate the Berlin fetish scene. I’ve
been documenting it for many years.
HH Has any sneaker brand ever
approached you in terms of a collaboration
for an advertisement campaign? Would you
consider working with such brands?
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SM Let’s just say there were several
campaigns based on my pictures but I’m still
waiting for my royalties.
HH In your work as a writer and
photographer, you seem to be able to touch
on the darkest subjects with wit and humor—
where is that sense of humor derived from?
SM I guess humor is a part of my survival
mechanism, coming all the way from Siberia
to New York. Sometimes it’s twisted and dark,
but it always helps me to find comfort in chaos
and beauty in the most unexpected places,
the darkest corners of human nature.
HH My last question is in conjunction
with another interview where you claimed
that people don’t need to go to an expensive
art school and get a degree to have a vision.
You also said everyone is born creative but
some forget how. As a creative, can you tell
us about your vision?
SM Ever since I started writing and
taking pictures, I’ve always wanted to express
myself in the most uncompromising and
honest way. Whether it’s a book, a show,
a performance, or a magazine project, all
my work is about queer insurgency and
claiming your own identity. It’s about love in
different shapes and forms. In the end, it’s
about universal humanistic values that we all
so desperately need in order to peacefully
coexist with one another.
SNEAKER PIG & SOCK MONKEY

A
N
GEL
F
A
CE
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T-shirt ATELIER ROSENBAUM
ANGELFACE

Photos by Holger Homann
Styling by Elliott-Alfred Attia
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ANGELFACE

Sweater CALVIN KLEIN
Jeans LEVI’S
Shoes ADIDAS BY RAF SIMONS
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ANGELFACE

2 stripe shirt COMME DES GARCONS
Necklace Photographer’s own
2 stripe shirt COMME DES GARCONS

T-shirt LUTZ HUELLE
Messenger Bag GUCCI
Trousers BALENCIAGA
Shoes ADIDAS BY RAF SIMONS
ANGELFACE

Trousers BALENCIAGA
Sweater BALENCIAGA
Shoes ADIDAS BY RAF SIMONS

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SNEAKER PIG

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Parka L’OFFICINE GENERALE
Bucket Hat BURBERRY
T-shirt NIKE
Raincoat BURBERRY
Jean’s LEVI’S
Backpack EASTPACK
Shoes NIKE
ANGELFACE

Ryan James Caruthers
Portfolio
Photos by Ryan James Caruthers
LOVE, LIKE THE LIGHT, SILENTLY WRAPPING ALL!

Love,
like the light,
silently wrapping all!
Cowboys
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LOVE, LIKE THE LIGHT, SILENTLY WRAPPING ALL!

LOVE, LIKE THE LIGHT, SILENTLY WRAPPING ALL!
Tucson

Patricia
LOVE, LIKE THE LIGHT, SILENTLY WRAPPING ALL!

LOVE, LIKE THE LIGHT, SILENTLY WRAPPING ALL!
Mother

Dylan
LOVE, LIKE THE LIGHT, SILENTLY WRAPPING ALL!

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RIP LA

Laura Aguilar Portfolio Photos by Laura Aguilar
RIP LA
“Laura’s work a lot of time
represents people that are
marginalized and people that
are oppressed or people that
are invisible. Poor, large women
of color — they tend to be
invisible in society. Nobody
sees them. They’re not represented
in media, they are
discriminated against because
we have issues with color, we
have issues with obesity. And
so for a woman like herself to
put herself front and center in
the conversation, that’s pretty
brave. That’s pretty amazing
because there’s nobody out
there that looks like her that’s
saying anything like that.”
- Sybil Venegas (Curator),
LA WEEKLY
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Remembering the
body of work of
Mexican-American
artist Laura Aguilar
(1959-2018)
which redefined
the landscape of
queer aesthetics
RIP LA

Douglas Hand
Fashion
Words by Douglas Hand
Ten commandments
to achieve the best
and avoid the worst
2.
LAws of Style
1.
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The Professional
Gentleman shall
dress in a manner
that is elegant
and capable.
4.
3.
The Professional
Gentleman shall
not dress
more affluently
than his clients.
The Professional
Gentleman shall
always dress
more formally
than his clients.
"They're all wearing
casual clothes, yoga
pants, T-shirts, jeans,"
- Tom Ford
6.
We find ourselves in a period of distinct change—a cultural shift. More
and more men who have achieved professional success are measuring
achievement not just financially, but creatively in other spheres of their
lives. This is a good thing—a great thing actually. We are also living
at a time—an aesthetic inflection point—where norms in manners
of dress are changing. Casual Friday has given way to the full-time
casual workplace in many industries. This has thrown many men (not to
mention many menswear brands) into a state of generalized confusion.
Sadly, for many, the default reaction to this state of affairs is apathy. In
sartorial terms, the phrase business casual is an oxymoron. Like most
oxymoronic statements, it came about as an attempt to put a label on
a bad idea. That bad idea was rooted in the notion that looking casual
can mean looking ready for business. When someone works for me,
I don’t want them taking it casually. When I work for someone else, I
don’t take it casually. I take it very seriously.
I truly believe that style is a form of self-respect. Respect
yourself. Respect your appearance. And by the transitive property
of equality—respect the clothes you wear. As an attorney – I am
somewhat compelled to live by laws. As a human being – I believe
true style (and therefore a form of self-actualization) only comes from
breaking laws. So therefore, a few of The Laws of Style germane to the
current overcasualization we are seeing across certain industries and, in
some cases, particularly in the fair City of Angels follows.
10.
The Professional
Gentleman shall
feel comfortable
and confident in
his clothing if he
9.
is to succeed.
The Professional
Gentleman shall
not be recognized
as “fashionable.”
5.
The Professional
Gentleman shall
properly maintain
his shoes.
The Professional
Gentleman shall
have many ties to
choose from and
shall mix them
into his wardrobe.
7.
The Professional
Gentleman shall
not take “business
casual” casually.
The Professional
Gentleman shall
not have more than
a single whimsical
accessory item on
his person at one
time, and such item
should (i) have a
personal
connection to him
and/or (ii)
be notionally
a useful item.
8.
The Professional
Gentleman need
not mix and match
patterns and
textures, but in
doing so properly,
he shall attain
degrees of style.
LAWS OF STYLE

LA Flagship Store Opening
November 2018
8619 Melrose Ave
West Hollywood, CA 90069
marcellvonberlin.com