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ROUGH IT UP! Issue

Welcome to THE NEW KALTBLUT. We are proud to introduce you to our brand new print issue: ROUGH IT UP! 120 Pages featuring artists like Peaches, Ebony Bones, Esther Perbandt, Jeff Miles, Ari Versluis, Sui Zhen, Paul Waak, Archi Fitzgerald, Prodomos Emmanouilids, Petros Koublis. Plus fashion editorials, interviews, new rubrics, essay and more. Special thanks to Ana Alcazar for the support!

Welcome to THE NEW KALTBLUT. We are proud to introduce you to our brand new print issue: ROUGH IT UP! 120 Pages featuring artists like Peaches, Ebony Bones, Esther Perbandt, Jeff Miles, Ari Versluis, Sui Zhen, Paul Waak, Archi Fitzgerald, Prodomos Emmanouilids, Petros Koublis. Plus fashion editorials, interviews, new rubrics, essay and more. Special thanks to Ana Alcazar for the support!

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Peaches

Esther Perbandt

Ebony Bones

Ari Versluis

Jeff Mills


Team

Editor-in-Chief

Fashion Editor

Marcel Schlutt

mschlutt@kaltblut-magazine.de

Art Director

Art Editor

Nicolas Simoneau

nsimoneau@kaltblut-magazine.de

Art Editors

Amanda M. Jansson

ajansson@kaltblut-magazine.de

Emma E.K. Jones

ejones@kaltblut-magazine.de

Music Editor

Nicola Phillips

nphillips@kaltblut-magazine.de

Movie Editor

Friedericke Suckert

fsuckert@kaltblut-magazine.de

Fashion Woman Editor

Fashion Assistant

Anita Krizanovic

akrizanovic@kaltblut-magazine.de

Nico Sutor

nsutor@kaltblut-magazine.de

Welcome to THE NEW KALTBLUT.

Photo by Suzanna Holtgrave

Fashion Uk Editor

Karl Slater

kslater@kaltblut-magazine.de

I just can’t believe it has already been 3 years since we published

our very first print issue. Time is flying. And I love it. This issue is

dedicated to all our friends, artists and family who have supported us

all this time.

Editor Netherlands

www.kaltblut-magazine.com

Michelle Hèlena Janssen

mjanssen@kaltblut-magazine.de

Proof reading and editing by Nicola Phillips and

Amanda M.Jansson.

Marianne Jacquet, Suzanna Holtgrave, Bernhard Musil

Peaches, Photography by Suzana Holtgrave,

Postproduction by Suzana Holtgrave & Florian Hetz

- florian.hetz@me.com -

KALTBLUT Magazine is published by KALTBLUT Media UG,

Nicolas Simoneau & Marcel Schlutt

KALTBLUT MAGAZINE I Linienstraße 13 I 10178 Berlin I Germany

We are still growing up. It´s still a big adventure for us. I have the

feeling that right now we are leaving our teenager years and are turning

to adults. We lost some weight .. like we say in Germany .. The „Baby

Speck“ is gone. And we’ve had a little face lift. I and my team, we hope

you will like THE NEW KALTBLUT. And I wanna invite you to be

one of the first ones to see how we grow up.

We met some amazing artist for this issue. Interviews with icons like

Peaches and Esther Perbandt, and our newcomers, like the one and

only Ebony Bones, are making this issue very special to us. So, I really

hope you guys will love it like we do.

A personal note: The world is getting tougher, the world is becoming

more intolerant.

What is wrong with you world? What is wrong with you humans?

Why all this anger, hate and intolerance? Millions of people running

away from war and danger. Freaks are ruling the world. Humans!!

WAKE UP! This is not the world I wanna live in. This is not the

behavior of humans. It is time for a revolution of humanity. Let´s

ROUGH IT UP and lets fight together against all this shit in the

world. Let´s make the world a better place. For us, for our children

and for the future of humanity.

I also wanna thank Munich based fashion label ANA ALCAZAR.

For believing in our vision. For the trust in our work. You are some

real KALTBLÜTER. You are part of our family. Also a big thanks

to Nicolas Simoneau without you - I and the magazine would be

nothing. You make my heart smile. You never judge me and our work.

I love you for this. Thank you!

And now… enjoy our brand new issue.


Marcel Schlutt


C o n t e n t

8. Troy Roy 46. Ari Versluis 76.

Art interview

Fashion interview

Esther Perbandt

14.

Früher, Jetze & Morgen

The now and future of Berlin menswear

Fashion Editorial

24.

Introducing feature - Sui Zhen

Music Interview

26.

IN DREAMS | Uninterpreted

Dreams and other Divinations

Art Interview

52.

Rubric

55.

Rubric

56.

Fashion Editorial

Voyage Voyage

Things that makes

you go mmmmmmm

62.

Lux DeLuxe

Peaches

84.

Art Interview

90.

Fashion Editorial

100.

Prodromos Emmanouilids

104.

Music Interview

108.

Ebony Bones

Archie Fitzgerald

Some like it Hot

Art Interview

Jeff Mills

A photographic series

Interview

32.

It‘s safe to say you

dig the backseat

Fashion Editorial

40.

Meet me at the

C a t w a l k

Rubric

42.

Art

Paul Waak

68.

Rubric

70.

Fashion Editorial

75.

Essay

Bedtime Stories

A Tough Guy

Refugee in Film:

a short overview

Music Interview

112.

Rubric

114.

Beauty Editorial

118.

The End

More Sneakers

Than a Plumber‘s Got Pliers

Bijlmer Beauty

Enditorial


sorry

Interview with

Glitch Artist -

Troy Roy

8Interview by Nicolas Simoneau

How did you came to Glitch art?

I probably started around two years ago. I just read about

Glitch art on the internet somewhere and it seemed to

be really easy to start with. I didn’t even know about any

Facebook groups. These came like one year after I started,

so I didn’t share anything until then.

Do you have a feeling that Glitch art has become more visible

and a little more mainstream during the past 2 to 3 years?

Oh yes, definitely yes. And I think one of the reasons is that


people started to make apps for it, like really

easy apps. So it was really easy for people to

use, and also they could make art really quickly.

super_official

Glitch art becoming more mainstream, do you

think it’s a way to go against all this Photoshop

retouch- perfection we see so often at the

moment?

Yes I think it’s definitely a sort of reaction. With

Photoshop and retouching everything to make it

perfect, so precise, it was like a sort of protest in

a way. Even public figures you can deconstruct

in that way really easily, you know? I don’t

really like the Glitch apps anyway, it’s so easy

to create without them, and everything ends

up looking so similar. It’s almost lost it’s initial

purpose in the way.

The glitching you mean?

Yes.

Exactly! I also noticed that Glitch art started

to get a certain aesthetic which doesn’t make

any sense when you think about the fact that

it’s about creating something by the art of

destroying it. Lately you’re seeing beautiful

pictures, it doesn’t make sense.

Exactly, and right now you can pretty much see

what people did to the pictures. A lot of images

looks the same, not all of it does, but it looks

very similar. People doing the same thing, trying

to give it a certain look, it’s almost turning into a

Photoshop filter!

What’s the deal with the Roman statue thing?

It’s everywhere right now!

I actually used to use that a lot! The whole

internet sort of, vaporwave culture, it somehow

bled over into Glitch art and blended together.

But now the statues are used constantly.

I_Cant_Feel_My_Face

Which I’m not going to complain about it, I do

find it really beautiful, but lately, it’s just being

overdone. I’m have a feeling of saturation.

I get the thing about taking some classical art

work and bringing it to a modern sense, but this

is pretty overdone now. I think it’s because this

art is beautiful and those statue pictures are

beautiful, and so you can take beautiful photos

and glitch it in a beautiful art piece.

Your work is more landscape based, and I’ll

almost want to say, still life.

Definitely. I try to create giant installation pieces

that in the real world are almost impossible to

do

Like these giant skulls and sneakers?

Exactly, stuff like that.

What’s your process when you work on this

landscape? If I look at some Glitch images it’s

easy for me to find how did this person started

and with which images, but in your case I find it

difficult to find what comes first.

Usually what I do is to find a landscape that I

like. From there I’ll create 3D models, and I’ll

glitch them, I’ll destroy them. I always have an

idea about how I want it to look like, but it never

really completely turns out like that.

Of course, that’s the thing about the Glitch art,

right? That you actually can’t have exactly what

you want. You can’t really control.


Im_Sorry_About_Your_Home_I’ll_Pay_For_The_Damages

Yes. I mean you can to a certain

extent, let’s say, like with the 3D

stuff, I create and then I text edit a

lot. And then I sit there and find out

which part of the code corresponds

to which part of the 3D object. But

it takes forever going through all

of that code and figure out what is

does, so you can control a little bit.

I always go for something that’s a

little bit creepy I guess, and seems

kind of lonely or isolated and then

go from there really. But I’m always

working on like 4, 5 different pieces

at once, depending on how I’m

feeling that day..

How long do you work on one piece

before to have it really done?

Four or five hours usually.

Sometimes it’s only 30 minutes

thought!

10

Do you also do some music and

video Glitch?

I used to do music a lot more a

couple of years ago. I also did videos

but I never really posted them.

Are the types of media related at all?

Sort of. There is this guy I know

who Glitches his pictures and then

puts audio with it. I don’t really do

it that way. What I would do is I will

use a synthesizer and bring it into

say, GarageBand and then having

this mp3 file I would Glitch that and

bring it back into GarageBand and

cut it up from there. It’s not really

Glitching, it’s just using a sample I

guess.

It’s really hard nowadays to define

what’s Glitch and what’s not,

sometimes because of the usage

of apps or layers. What is your

definition of Glitch?

Well there is Glitch art where people

will figure out with Photoshop using

filters how to get an image that

looks like Glitch, and then there’s

apps. I guess pretty recently it’s

been called a Glitch aesthetic.

There is always this argument in

the community with what’s Glitch

and what’s not, I just feel like if it’s

actually Glitch, it’s Glitch art and if

it’s just got the Glitch aesthetic then

it’s something else. But they still

belong in the same category. Yes,

it’s just that the process is different.

One of them is like basically what

Glitch art was originally rejecting, is

doing exactly that to look like Glitch

art.

The whole point of Glitch is that you

100% don’t know what you’re going

to get. I mean it took me ages to

make my first Glitch images: I open

it in the text files, and add stuff and

then delete stuff, but at first when I

saved it, it was just black images. It

took me a lot of time to understand

that maybe I’ve add too much or


glitch

[glich] Slang.

Examples

Word Origin

noun

1.

a defect or malfunction in a machine

or plan.

2.

Computers. any error, malfunction,

or problem.

Compare bug1(def 5).

3.

a brief or sudden interruption

or surge in voltage in an electric

circuit.

verb (used with object)

4.

to cause a glitch in:

an accident that glitched our

plans.

Origin of glitch

German

1960-1965

1960-65; perhaps < Yiddish glitsh

slippery area; compare glitshn,

German glitschen to slip, slide

We’re_All_Dead_Anyway


deleted too much information,

so I did again until finally the

result looked like something

which was not a black picture.

So I have the feeling that

to really control the effect

you’re putting in a picture is

almost quite impossible. I

think that’s exactly one of the

answers between Glitch art and

aesthetic, even if you really

know what you’re doing with

Glitching, you’ll always have

this thought of, “Well, I still

don’t know what it’s going to

look like at the end!”

Yeah, and that’s my favourite

part of it! You can’t completely

take the randomness out of

it, you know? You don’t have

complete control over it.

Nothing_And_Nothing

The_Soft_Middle

deathlies

Exactly. You are a contributor

of the Glitch Artist Collective.

How did this happen?

I just searched for a Facebook

group and I remember when

I found them it was just 5

thousand people following

the page, and now it’s like 25

thousand! The group has a lot

more direction now though.

FOREST_HORRORS

Do you produce a lot of pieces

for the group?

I used to produce a lot more.

I use to do photo collage and

then when I started proper

Glitch I will do 5 to 10 of those

in an hour, Iike Glitch a photo.

But it takes me much more

time also because i’m doing

3D stuff and also composition

rather than just Glitching an

image.

We can really see the evolution

in your work. If we look at the

first work it’s more like images

Glitched, as you just said,

then we can we can see the

introduction of 3D elements in

the composition. The programs

you use, did it take a lot of time

to learn how to use them?

Yes totally. I never have any

formal training with all of these

programs. I mean my mum is

a Graphic Designer so I’ll do

a bit of Photoshop, but like

for Cinema 4D and Blender

12

it was reading tutorials on

the internet and just trying to

figure it how do it.

What’s your main inspiration

for these composition?

Mostly I really like horror

movies, like Dario Argento. His

cinematography is incredible

and i think quite a lot of my

work in inspired by that, the

FreshlySqueezed

Hit_Em_Up


The_Soft_Middle

Dead_At_5_O’clock

the_chrysalis

colours as well. He uses these

super bright colours and pastels.

He creates scenes that look

sort of creepy or suspicious, like

you don’t know what’s going to

happen.

What’s next?

I want to get onto 3D printing, or

making more videos which aren’t

completely Glitched but only

partially. Or introduce some sort

of Glitch character, which you

could do with CGI pretty easily. I

mean, everything becomes more

and more mainstream, until

something else happens.

More glitch can be seen at

www.purehoney.glitchartistscollective.com

5_Shots_couldnt_Drop_Me

whatever_in_creation_that_exists_without_my_knowledge_exists_without_my_consent


Früher, Jetze & Morgen

The now and future of Berlin menswear

14

Leggins: Vektor I Vest: Vladimir Karaleev I Coat: Nico Sutor I Shoes: Vladimir Karaleev


Top: Maximilian Kattwinkel

Jacket: Sarah Effenberger

Trousers: Kai Gerhardt

Leather-Cape: Nobi Talai

Necklace: Vladimir Karaleev


Shirt: Mads Dinesen

Coat: Mads Dinesen

Vest: Sarah Effenberger

Trousers: Mads Dinesen

Hat: Mads Dinesen

Harness: Mads Dinesen

Shoes: Velt


18

Vest: Vladimir Karaleev

Coat black: Nico Sutor

Coat mustard: Sean Neubauer

Glasses: Maximilian Kattwinkel


Slipover: Sarah Effenberger

Shirt: Sarah Effenberger

Jacket: Sarah Effenberger

Coat: Vektor

Trousers: Vektor

Shorts: Sarah Effenberger

Shoes: Velt

20


Shirt: Sissi Goetze

Overall: Esther Perbandt

Vest: Maximilian Kattwinkel

Scarf: Kai Gerhardt


Shirt: Brachmann

Trousers grey: Brachmann

Trousers striped: Maison Mason

Skirt: Nobi Talai

Pullover: Sarah Effenberger

Harness: Mads Dinesen

Hat: Esther Perbandt

22


INTERVIEW

Introducing feature - Sui Zhen

Interview by Nicola Phillips Photography by Phebe Schmidt

Emerging from the depths of Melbourne’s electronica scene, Becky Freeman, known predominantly as Sui Zhen, is

a fine addition to the uprising cluster of multimedia artists, with an aesthetic that would make any heavy Tumblr user

foam at the mouth. Inspired by Japanese contemporary design, ASMR videos, and with her digital doppelgänger,

Susan, at the helm, Sui Zhen invites us into the milky-chrome corner of her surreal world with new album, Secretly

Susan. By distorting the line between reality and fiction, Sui speaks of delving into the “digital ocean” and just how

Susan found her. Because everything you read online is true, right?

A lot more artists have been making an impression

from Melbourne lately, why do you think this is?

I think it’s largely to do with the strong and supportive

community. People feel that they can pursue music for

themselves and create their own sound. Most of my

musician friends have a few different projects going on

at the same time, and little scenes are nurtured with

shared band members and collaborators making video

or designing artwork for releases and events. People help

each other out. The scene is not hidden or underground,

it’s very present in daily life.

I think it’s really encouraging to see your peers doing well

and working hard at all aspects of their music career, it’s

infectious and flows through the community. At the helm

is the radio station Triple R. It allows new music to get

airplay and reach larger audiences, so bands have a chance

at growing their fanbase. Despite all the arts funding that

has been cut recently by the Abbott Government, the

community is still making and producing quality music.

I have pride in Melbourne’s scene.

Do you find that being a female music producer leaves

you at a disadvantage in the music industry today?

I don’t consider myself any different to any other

musician or producer because I’m female. I think

that sexism and racism are still very present in society

today and those attitudes filter into the music industry.

Personally, I demand the same respect I would from

anyone, regardless of gender, I guess that is my

response to discussions around discrimination

within the music industry.

Are any of these issues reflected in your

music/lyrics?

The meaning of my lyrics may evolve over

time, as I have new experiences. And I hope

that listeners will find their owning meaning

and interpret them to be relevant to their own

experiences also.

“I think music should always

do the talking.

But

sometimes

visuals work

so beautifully

alongside

music, it makes

sense to create a whole

world for some songs.”

What was your approach when you began writing

Secretly Susan? What was your process?

I took different approaches depending on the

24

instrumentation I wanted to use. Probably five or so

songs were written on guitar and the other half were

started with a drum machine, so the guitar ones I’d

usually have a strong melody and some words in mind

to begin with. The drum machine songs are move groove

based.

I wanted to write songs that I would be happy singing for

a long time, they generally begin as personal expressions

and grow into songs that I hope others will find a

connection with. Writing the song is the easy bit, it can

take just an hour or a few. The rest of the time is spent

refining the instrumentation and arrangements.

Is Susan an

alter ego of yours?

How did you find her?

I found Susan in the digital ocean. She is

meta-data manifested into a representation of a person,

someone’s digital doppelgänger. If you took all the things you

see online about someone to be real, than that person might be Susan. Susan

and I probably share a few attributes. She enjoys the sensation of gently touching ferns, and

having nice clean socks. She takes comfort in banality and procedural pleasures. I was also greatly

influenced by ASMR videos.

Your visual style in your imagery and videos is very clean cut, like a Photoshop dream! Is

graphic design something you’re interested in? Who are your favourite designers/artists?


Yes! I have been studying a post-graduate course

in design for a couple of years now. I’m doing

it part-time in and amongst work and music.

But it is a great passion and something I wish to

pursue into academia alongside my music career.

I’m particularly inspired by Japanese aesthetics

and design approaches. Some favourites are Ikko

Tanaka, Shigeo Fukuda, Yukimasa Okumura,

Koichi Sato… The Tokyo ADC (Art Directors

Club) Annuals are a great resource if you’re curious

about Japanese contemporary design. There are

so many amazing artists within the history of

graphic design it’s a like opening a can of worms

once you start looking in the right places. Some

artists I am inspired by are Chris Johansen, David

Shrigley, Marcel Dzama… and then photographic

performance artists, Cindy Sherman, Sophie Calle,

Ming Wong… ah! I could go on and on. Don’t get

me started on film.

With such impressive visuals alongside

your music, do you find yourself as a

multimedia artist rather than just a

music producer?

Yes, I think I do consider myself

as a multimedia producer

alongside being a musician.

I also work as a producer

within the tech industry

creating digital tools to

help engage audiences

in galleries, museums

and cultural sites. But in

terms of creative output,

I mostly try to channel

that through my music

projects. I’ve made

videos for others

but time

is an issue. I need to choose carefully what I do and

it makes most sense right now to focus my video/

design skills into Sui Zhen stuff.

Do you think it’s important to have something

visual alongside audio? Or should the music just

do the talking sometimes?

I think music should always do the talking. But

sometimes visuals work so beautifully alongside

music, it makes sense to create a whole world for

some songs. It really depends what the goal is. I’m

a songwriter at the core, so I focus on creating

music that stands on it’s own, but then again I love

film and music gives me the opportunity to play a

bit in that world.

What have been some of your most influential

producers?

Now, I’d say Haroumi Hosono, Yasuaki Shimizu

(responsible for Mariah Shinzo

No Tobira) and Robin

Millar (“the man

behind Sade”).

Like design,

Japanese

producers

during

the 80s

around

the

time

when a

“Susan and

I probably

share a few

attributes. She enjoys the

sensation of gently touching

ferns, and having

nice clean

socks. She takes comfort

in banality and

procedural pleasures.”

lot of great Roland analog gear was being made was

a super interesting time for production in Japanese

electronic pop music. When I was younger I would

buy soundtracks for documentaries about Africa

before getting into 90s grunge and dance music

in a big way. I took a lot of influence from The

Cranberries, Sugar Cubes, Smashing Pumpkins

and Ace of Base when I was a teen.

Did you start producing music at an early

age? What type music was “in” when you were

growing up? Did you take any part in the music

scene at the time?

I started learning to read and play music at

around eight years old. My first instrument was

the trumpet and I played in the jazz band and

orchestra. I was also in the school vocal ensembles

and choirs. I picked up guitar around fourteen

heavily influenced by my older brother’s grunge

rock band Whirling Pit. I played my first gig as

soon as I was old enough to enter a pub at eighteen

supporting one of my brother’s bands. I played just

acoustic guitar, and most likely strummed terribly

angsty teenage songs. I was active in the folk, poprock

scene in Sydney through my early twenties

before really discovering and defining my own style

which came with time and practice. But also with

collecting records and starting to DJ after several

trips to Japan. The bands that I considered “in”

when I was growing up were Regurgitator (great

90s Australian band!), Beastie Boys, Smashing

Pumpkins, Chemical Brothers, PJ Harvey… We

watched a late night music video show called

RAGE (which still exists!) to discover new cool

bands, and we’d have to tape them to VHS to

make cool video playlists. This is before YouTube.

I’d also tape stuff off the radio to make mixtapes.

What would be a dream collaborative project for

you? Co-producer, music, artist, photographer,

etc.

I would love to work with Sean Nicholas Savage

and write a duet album. I don’t know how our

voices would sound together but he’s such an

amazing songwriter, and prolific too. An unsung

hero of this generation. There are so many Japanese

producers I’d love to work with. I’ve never heard

a live drum sound quite like Shintaro Sakamoto

achieves and I would love to learn how he does it.

In terms of video and photo I would absolutely

love to work with artist Charlie White. His work

influenced my music videos for Secretly Susan.

How would you describe your music in three

words?

Just ask Susan.

The most influential piece of art you’ve heard/

seen?

Something I still have a visceral memory of was

Ryoji Ikea’s Test Pattern. I experienced that in

Tokyo last year. And prior to that I’d say Teshima

Art Museum near Naoshima in the Seto Sea,

Japan. It was the biggest emotional impact

architecture has ever had on me. And it brought

tears to my eyes. Don’t Google it, if you haven’t

been just go.

The last song you listened to?

I just had rehearsal with NO ZU so the last song I

listened to was live Ui Yia Uia: https://soundcloud.

com/chaptermusic/no-zu-ui-yia-uia

Secretly Susan is out now on Remote Control Records.


How far is Athens from Berlin, Garissa from Paris or Palmyra from Baltimore?

There is a negative situation that today’s societies avoid to realize, projecting it

only as an unfortunate exception of a decadent periphery. The pressure applied

on social classes, regions, countries or whole continents, doesn’t threat the

alleged ideals of our world, it only proves them to be false. If it was reason that

gave birth to these ideals, then reason is wrong. If logic was invoked in what

divides us today, then logic is invalid. If rationality is the authority that handles

our reality, then rationality is incorrect.

It is not a passive denial but a conscious rejection.


IN DREAMS | Uninterpreted

Dreams and other Divinations

- A photographic series

By Petros Koublis

Hardly through these watery

spheres shall we perceive, with

sighs, our ancestral heaven; at

intervals even we shall cease

altogether to behold it.

By this disastrous sentence direct

vision is denied to us; we can see

only by the aid of the outer light;

these are but holes that we possess,

not eyes.

Orphic fragment from the

Hermetic Corpus 2nd century AD


A Mythology of the Unseen

The human spirit perpetually unfolds like a wavy veil, frail but confident,

with a fragile but tenacious persistence in its sinuous movement. For every

new part which is revealed through this curvy progression, another one

becomes hidden, partially distorted and eventually forgotten, unreachable,

such as the foregone realities of our origin. For, in this case, our awareness

is not subject only to a rational and precious knowledge built upon

the foundations of reasoning, but also a matter of how accurately and

intimately we perceive the ancestral parts of the human experience, these

fundamental fragments that are getting covered by the veil, the links of the

past that hold together the chain of our spirit’s evolution.

For even reason itself unfolded gradually. It first tried to methodically express

everything through unified theories that were including both rational

conclusions about the physical world and philosophical assumptions about

the intelligible one as well. These unified theories were attempting an

ambitious balance between a mere scientific thought and the metaphysical

ideas which dominated the world during the ancient times, resulting both

in what became the foundation of modern science but also in a complicated

corpus of mystical allegories and obscured interpretations over the

human experience.

There are limits to our perception, therefore we are not able to fully perceive

what is essentially mind-independent, free of form, shape and definition.

We are bound to keep addressing a mental version of reality, limited

28


within the confines of our understanding. Through Mythology the human

spirit could philosophically approach those remote areas of a system much

bigger than what we are able to perceive. As if through Myths, our spirit is

able to overcome the boundaries of the mind and expose our intuition to a

much greater reality, letting us lift the veil for a moment and feel what lies

underneath. These primordial narratives are not attempting an interpretation

of the unknown, but they offer an accumulation of the human

experience, they talk about the history of the Psyche or, as Freud described

it, the distorted vestiges of the wish-fantasies of whole nations, the age-long

dreams of young humanity. Then, in the form of a lucid dream, they reveal

the archetypes that connect us with the most distant areas of our spirit,

where the seeds of our evolution were first planted into the fertile soil of

imagination.

Everything seems to have emerged from the realms of a dream, a parallel

universe in space and time without any observers but our own intuition.

A world without observers is a world without definitions and therefore

things are defined not by the way they appear but by the way they are.

Infinite and incomprehensible to our senses. This is where every new idea

arises from, within this vast realm of possibilities, so that everything is

interpreted and experienced in a new way every time we manage to push

the boundaries of our understanding a bit further. Myths continue to echo

a signal sent from the very first pulse of humanity, like a dream hanging

between the oblivion of a distant past and the revelation of a secret future,

in a world that breathes life into a new reality every time we look at it.

Because we were given the ability to dream beyond our vision.

Keep up with Petros’s work at

www.petroskoublis.com


32

It’


Safe To Say

s Backseat

Dig The

You Dig The

Photography: Marc Huth

Production & Styling: Anita Krizanovic

Model: Sandra S @ M4 Models

Hair & Make Up: Kati Mertsch

Hair & Make Up Assistant: Reeve Baker

Photo Assistant: Nico Ernst

Photo Assistant: Yannie Pöpperling

Top: commeonveut available at ecole Boutique

Earrings: Stilnest

Hat: Tiger of Sweden

Panty: Tres Bonjour

Vest: Tiger of Sweden

Tights: Falke


34

Tights: Falke

Top: Riani

Skirt: Riani

Vest: minimum

Hat: Stylists Own

Earrings: lolaandgrace

Ring: Sabrina Dehoff


Dress: Antonia Goy

Jacket: Stine Goya

Panty: Tres Bonjour

Tights: Falke

Stockings & Necklace: DSTM

Shoes: Kennel & Schmenger


Top: Augustin Teboul

Leggins: Augustin Teboul

Jacket: Tiger Of Sweden

Braclets: Coccinelle

Eaarings: lolaandgrace

Shoes: Hien Le

36


Skirt: Riani

Body: minimum

Jacket: Kling

Stola: Annie P

Necklace: Éecole Boutique


38Necklace: lolaandgrace


Tights customized as a Top: Falke

Jacket: Marina Hörmanseder

Tights: Falke

Sunglasses: Chloé

Earrings: Sabrina Dehoff


Meet me at the

For the past

few years,

KALTBLUT has

been invited to

take the front

row seat during

some of the

most famous

and inspiring

catwalks from

around the

world. We

have traveled

from Fashion

Philosophy

FashionWeek

Poland in

Lodz to

London, Paris,

ModaLisboa in

Portugal, Milan

and New York

and Berlin.

Here are some

of our favourite

looks from the

runway for the

Fall/Winter

season 2015-

16. Selected by

Marcel Schlutt

and Anita

Krizanovic

Alexander

Wang

David

Catalan

J.W.

Anderson

GUCCI

40Givenchy

Haider

Ackermann

ca


COMME

des GARÇONS

Luis

Carvalho

KTZ

Patrick

De Padua

Vivienne

Westwood

Sopopular

twalk


PAUL

SPOT ON

WA

AK

Paul Waak is a Berlin-based illustrator, and graduated from the well renowned

Universität der Künste (UdK) in 2014.

Paul’s creations are bizarre and dark-sided, not really children-friendly. He

isn’t in denial about the complexity and diversity of our reality and wants to

show us the counterpart of our perfect beauty, perfect body saturated world.

Dark tones, deformed bodies, these alternative humanoids are not what we

would want to see on a daily basis, nevertheless they are important to our

maturing, awareness and open-mindness.

“VERTEX MAXIMUS”, his upcoming book, is a constructed like a children’s

ABC-book. Each letter represent a word, and each word illustrated by a dark

humor comic book style story composition, directly out of Paul’s unique and

42

twisted mind. Do not miss it!

Keep up with Paul’s work at

www.paulwaak.de


INTERVIEW

46


ARI

VERSLUIS

Interview by Michelle Hèlena Janssen

Always when I encounter Ari it is as though he pierces through a person’s very existence

just by looking at them. Simply by seeing their clothing, or behaviour. How they talk or

walk. He’s always watching. The Rotterdam based photographer is famous for his work on

Exactitudes, documenting the “codes” of different groups. For 20 years he’s been recording

individuals as they are and therefore creating an anthropological record of humanity. He

knows all about subcultures, and their history. We talked about youth culture, Berlin,

punk and a new generation of refugees.

At first I wanted to talk about Exactitudes, but

you’re involved in so much more than that.

Like Encounters, what’s that about?

Encounters is another concept series which

depicts makeshift studio interventions which

changes perspective and widens the lens for a

broader chronology next to Exactitudes.

It has to do with the fact that I see a lot of people

who are worth portraying because I think it’s

of general historical interest to do so, but not

with the perspective of Exactitudes. Exactitudes is

about uniformed identities, an anthropological

record of people’s attempt to distinguish

themselves from others by assuming a group

identity.

But it’s only for 10 to 15 percent of people

who will fit into this concept of group identity.

The Encounters series are more personal and

instinctive, where Exactitudes is more a real

collaboration and ongoing discussion on style

and identity with Ellie Uyttenbroek, the profiler

of the series.

Over the years I photographed and archived lots

of good and interesting appearances, who never

really got the right exposure. With Encounters

I am expanding this method by building some

pop-up studio’s in divergent cities to purely look

at individuals and their narrative. This happens

literally on the streets, instead of the internet.

Because It’s all about information beyond

revolution and globalization nowadays,

youngsters from different cities like Stockholm,

Milan or St. Petersburg all act the same;

differences in style are fairly marginal. Apparently

we live in such a controversial individualistic

time now that the quest of a group belonging has

changed.

On the internet, people are connecting with

people with the same interests and ideas.

Do you see any subcultures starting on the

internet?

It definitely happens on the internet. But I’m

someone who wants to see and experience in

reality how someone looks, smells, speaks or

how his/her posture is. It’s about realness. I’m

very convinced and analogue about that – “it’s

not what you wear, it’s how you wear it”, the

whole attitude. I’m looking for that presence and

shifting attitudes in Encounters, and of course

with Exactitudes as well, but on a different

level. In the end, anyone can wear an outfit, and

Instagram hiss ass off but if you don’t feel what

you wear and don’t know how to rock, it makes

no sense at all.

Like trends?

A trend can evolve into a subculture if it runs for

a longer time but it really has to do with attitude.

In that manner it’s about a certain boldness and

discipline, you should for example have the guts

to become a real vegan or really party for 36

hours non-stop.

For example in Berlin…

Exactly, Berlin is still heaven for that. If there’s

anything controversial and counter-culture, it’s

the element and concept of time. The fact that

you lose your sense of time in a 36-40 hour party,


is so at odds with this world, where

everything up to every minute of your

life is arranged. Your smartphone keeps

you on track, people keep looking you

up. It’s the chronos time and kairos

time. If you suddenly disappear for 40

hours, that’s pretty intense nowadays.

Yeah you’re always connected except

for that “time” of going out. It’s what

I experience aswell; the only time

I’m not connected is when I go out,

especially in Berlin. KALTBLUT is

situated in Berlin, but I hear people

say it’s not the same as it used to be.

Maybe the expats, like me, have a lot

to do with it, do you experience it

differently than before?

What I notice is that all these

internationals come to Berlin to

reinvent it. They want to recreate a

sort of party atmosphere and that

actually makes it even a little boring,

because the same old tune is being

repeated and mono-cultured over and

over again, so to speak. Fashion and

trends are all very cyclical, but the

rotating time is faster now. Accelerated

returns. Every 5 or 6 years everything

is reinvented again, and then the

current young generation thinks it’s

completely new. If you look at it from

a distance, it’s rooted in a much longer

tradition. It’s really nice to go in- and

out [berlin] because then you can see

it better, you keep a certain distance.

“See the drama, don’t wanna live it -

constantly”.

What characterizes Berlin though,

is that it’s a city of freedom. Youth

doesn’t have to rebel so much anymore,

you can manifest what you want

to be, feel and believe in. Those are

absolute characteristics of subcultures.

It has a certain element, which yields

culture, music, appearances and all

sorts of magnificent transitions which

are important to let a subculture live.

That’s what I always perceive in Berlin,

unlike many other cities that all have

other problems. It’s pretty amazing

and unique that it goes on even the

reinvented mode of the expats. If you

look at the former youth cultures it

was always about rebelling and I think

in Berlin that’s not the case anymore,

it’s more about celebrating now.

48

What I often see, like the kids

trying to reinvent Berlin, is that we

romanticize a certain subculture

from the past, and that it’ll become

a [FASHION]trend rather than a

redefined subculture. Like Gabbers,

a large subculture that started in the

Netherlands. The higher “educated”

culture takes inspiration from lower

cultures, but for what, rebelling?

We used to think that intelligentsia

originated counterculture. At a certain

point it turned around, it did not come

from intelligence, but was powered

by lower classes. I always felt that the


eal noteworthy youth cultures are by

definition working class. You don’t

have to think about it. “I just want to

shave my head and listen 200 BPM’S,

period!” It’s not an intellectual process

at all, it’s an urge. Other people will try

to intellectualise it, and that was the

problem with Gabber, they couldn’t.

They didn’t know what to do with it

and that’s why it took so long. They

didn’t even dare to go to those parties

so everything they wrote about it came

from 2nd or 3rd hand.

The reason why the Gabber worked so

well in the intellectual environment

with Exactitudes, and not only in the

Netherlands but over the whole world,

is because we didn’t have a story. We

just portrayed them to show that

they’re just dudes full of adrenaline,

nothing more than that.

I just think that youth cultures are not

that relevant anymore. Generational

branding or thinking in a specific

group from 18 to 22, it makes no

sense. 5-YEAR-OLD kids are going

to yoga classes in LA and there are 60

year old longboarders in Berlin, so

what the hell are we talking about. It’s

the revolution of our time, everything

is possible.

Why do you think this happens?

We’re living in a fast lane. If you think

you’re on to something then there’s

already a new group who think the

exact the opposite. That’s the tragedy

of being young. When you’re part of a

youth culture you think you’re a king,

but you will fastly realize other kings

are waiting to take your throne.

If you think you’re unique and you see

there are 7 million other people doing

just the same, you strive for something

else or you go totally normcore. And

now we have a whole additional

layer of gender on top, which is

very political. You can see it in for

example skinhead culture. It’s a very

tough look, but now that ultra macho

masculine thing can be combined with

a dress.

A lot of interesting things are

happening with gender, some people

even strive to be gender-neutral.

And they all have their own sets of

behavior and rules. In Amsterdam

androgyny will have another look then

in London. The thing about this time

is that we have a huge generalisation,

you can be aware of everything

through the internet, but this also

results in very diversified upcoming

micro-communities instead of oldschool

subcultures.

Well, your last Exactitudes series are

from 2014 though, are you working

on a new one?

Not really, we are more in a reflective

mode.


What about punk?

Punk never dies.

These times don’t really feel like punk though.

It’s a whole different era now. I always think it’s so fascinating that kids look back with nostalgia

to what other generations did. Punk, however, was so strong in appearances that it’s very logical

that new generations continue to play with it, and that’s what’s happening.

If you’re sensitive to style and youth culture and all those aspects, you now have an enormous

map of fashion theories. That was not the case years ago, you just bought your i-D magazine at

the kiosk and that was it.

Now, you can trace back all the codes of every youth culture there ever was. Those codes are

being decoded, altered, cut and reassembled into a new language now. That’s the punk of today.

It can have the appearance but is completely different.

It might be more substantive than appearance.

Yeah there is certainly a kind of intellectual layer.

Punk never dies indeed.

But it was very intense. When I first saw punk in London, I think I was 18 or 19, it scared the

hell out of me.

Were you punk?

Half a year after.

With a mohawk?

Yeah everything, I went to the Sex Pistols in Paradiso and I was sold. Destroy everything,

moshpits, it really was a revolution, I didn’t give a shit, spraying graffiti everywhere, lovely. No

future.

This generation might not be so radical. Our generation doesn’t really go against the grain;

we post things on Facebook and share, but not in real time. We don’t agree with a lot of

things but at the same time we don’t have riots.

True, but you should change your perspective; you speak from the perspective of a white

“privileged” girl. That’s becoming a problem because what’s really happening in the Paris

banlieues, radicalisation or anything to do with radical islam is really something different. You

can see a lot of cross-cultural shifts, for example in fashion.

We are poorly informed of all those codes in terms of clothing. You can tell whether an African

woman is Muslim or not, or whether she comes from a Parisian or Brussels enclave by what

bag she’s wearing. In Berlin this is very much ignored, these cross-pollinations of subcultures.

Clothes work as a wonderful indicator and as a language. It’s the ‘coolness’ of the muslim guy

in streets that we respect him. The fact that the lengths for guys go over the knees as long as

a djellaba, those are the centimeters of importance in fashion. That’s what fashion has always

been about but it has changed to the guy. There’s more of a revolution in men’s fashion in where

you can notice cultural transition. Women have gone from midi to maxi to mini and now you

can walk around in your naked butt.

Not on Instagram though. The guidelines of Instagram work as a new kind of Bible. They

prohibit to express yourselves.

What is it with Instagram, do they have some sort of holy jury? So don’t hide behind your

fucking Instagram but use your tits as machine-guns, as Lydia Lunch said. Freedom is very

relative.

Keep up with Ari’s work at

www.ariversluis.com

50


V o y a g e

Welcome to KALTBLUT´s new rubric “Voyage, Voyage“. From now on, we

will take you with us on trips around the world. Let’s start with one of the most

beautiful countries in the world: Portugal. For a few years I have been traveling

to Portugal for ModaLisboa, the fashion event in the South of Europe. Every

time I’m there I go on a little trip through the country. And I lost my heart in

Portugal. What I like the most about Portugal is the rich history. I mean, what

would the world be without the brave men of Portugal who travelled around

the world, 4-5 hundred years ago? Let´s face it, Europe would look different

nowadays without these people. Portugal has been named many times as the

poorest region of Europe, and yes, maybe there is some truth in it, but for me

Portugal is just pure magic. The nature wows me everytime. The beach and

the coast, the mountains. The food. Art and fashion. But most of all, Portugal

is rich of the most lovable people with a big heart. The people there are proud,

strong, sexy and always with a big smile on their face! Portugal is a forgotten

kingdom. And now, where Autumn has just arrived here in Europe, you should

book a trip to places like Lisbon, Porto or the Alentejo Region.

History

Portugal became its own

kingdom in 1139 but was

Napoleonic Wars. It lost

its largest colony, Brazil, in

1822. In 1910, Portugal

not officially recognized became a Republic, and in

until 1143. The border with

Spain has been almost the

same since the 13th century.

Fishing and trade with other

1926, a military group took

control of the country from

the Portuguese 1st Republic.

This began a time of rule

countries are important by fascist governments that

here.

Portugal was important

in world exploration for

two reasons. Henry the

Navigator, a prince from

Portugal, was very interested

52

in exploration. Inventions

in navigation led to a bigger

knowledge of geography.

This world exploration began

the Portuguese Empire.

Portugal was a world power

during the 15th and 16th

centuries. However, it lost

a lot of money soon after

this. The city of Lisbon was

destroyed in an earthquake

in 1755. The country

was occupied during the

lasted until 1974. That year,

a peaceful left-wing army

coup, called the Carnation

Revolution, happened.

The coup changed how the

country was run. Portugal

went into the European

Union in 1986. The capital

and largest city is Lisbon.

Lisbon

Lisbon is the hub of a

multifaceted area that

appeals to different tastes

and senses. In a city that has

been influenced by many

different far-off cultures

over time, there is still a

village feel in each historic

neighbourhood. Stroll

through the Pombaline

grid of streets in the Baixa

district that opens on to the

Tagus in Praça do Comércio,

then follow the river to

discover some of the city’s

most beautiful parts: the

monumental area of Belém

with its World Heritage

monuments, the mediaeval

quarters and the latest

contemporary leisure spaces,

such as the Parque das

Nações. If you continue to

the mouth of the river, you’ll

understand why they say

that Lisbon is the centre of a

vast resort. Along the coastal

road you’ll find beaches

and beach resorts that

combine villas and hotels

from the beginning of the

20th century with marinas,

terraces and excellent golf

courses. Further along the

coast you’ll come across

world-renowned surfing


V o y a g e

beaches, but also the palaces scattered

across the cultural landscape of

Sintra, a World Heritage Site. The

wide variety of landscapes and

heritage is always close by, whether

to the north or south of the capital.

With beaches, natural parks, cultural

routes and accommodation for all

tastes, it is hard to escape the Lisbon

region on a visit to Portugal.

Porto and the North

It was in the Porto and in the North

regions that Portugal was founded in

the 12th century and the Portuguese

became a people and a nation. Porto,

a World Heritage city, is the gateway

and departure point for a journey

across the natural and cultural

diversity of the region. It is known for

the Port wine which is shipped from

here all over the world, but also for

a heritage which combines ancient

churches and monuments, such as

the Cathedral and the Church of São

Francisco, and modern buildings,

such as Casa da Música and the

Serralves Museum. And also for its

School of Architecture which bred

Favorite spots in Lisbon

1. A Vida Portuguese Store. An amazing store with vintage and

1950´s Portugues products. An eclectic store that holds only Portuguese

brands and products for the home; from hand-made olive oil

soaps to home decor, shoes, pantry, pastry, vintage posters.

2. São Pedro de Alcantara Terrace. At this spot you have the most

amazing view over Lisbon. Sit down, have a coffee and just enjoy

Portugal pure.

Favorite spots in Porto

1. One of the must-see buildings

is the Casa da Música concert

hall built by Dutch architect

Rem Koolhaas with Office for

Metropolitan Architecture as

part of Porto’s project for the

European Capital of Culture in

2001, and functions as Porto’s

landmark since finished four

years late in 2005 and with costs

of 100 Million Euros well spent.

2. The Lello Library best known

for being the interior inspiration

for the Harry Potter movies. This

is a must go place for all book

lovers.

names like Álvaro Siza Vieira and

Eduardo Souto de Moura, both

winners of the Pritzker Prize.

The region is crossed by the River

Douro which enters Portugal between

the ravines and mountains of the

interior to flow through the entire

World Heritage landscape where the

Port and Douro wines are produced.

It is from here that the wine is sent

to the lodges at Vila Nova de Gaia,

as the cruises touring the region

make their way upriver. In this area

of mountains and natural parks, the

region’s heritage is seen in its castles,

such as the one in Guimarães, and

the shrines and churches which

are the stage for pilgrimages in the

summer. You will find the Baroque

architecture of Northern Portugal in

its stone and gilded carvings side by

side with rural chapels. In its cities,

which retain a human scale, such as

Viana do Castelo, Braga, Lamego,

Chaves and Vila Real, and in the

manor houses and stately halls, you

will find the genuine Portuguese

people, who like to share their table,

their customs and traditions.

Alentejo Region

The vastness of the landscape is

dotted with cork oaks and olive

trees that withstand time. Santarém

is a natural viewpoint over the

immensity of the Tagus. Here

and there, you find a walled town,

such as Marvão or Monsaraz, or an

ancient dolmen to recall the magic

of the place. Around the hills, low,

whitewashed houses stand on small

knolls, castles evoke battles and

conquests and the yards and gardens

are witness to the Arab influences

which shaped the people and nature.

In the Alentejo the power of the land

marks the time and cities like Elvas

and Évora, listed as World Heritage

by UNESCO, show the tenacity of

the people. Perhaps this is the reason

that culture and spirituality take

on a singular character here. These

memories of the past are also shared

by other cities, such as Santarém,

Portalegre and Beja, and in the

former Jewish quarters, particularly

in Castelo de Vide. The flat land

makes hiking and cycling easy,

though horses are also part of the

landscape. You can combine these

rides with birdwatching and, in dams

such as Alqueva, with the tranquillity

of the waters or stargazing. But you

must also explore the coast. The

landscape here is hilly and rugged,

with small sheltered coves between


V o y a g e

the cliffs, many of which are ideal

for surfing. You will also breathe

the scents of the countryside here,

the aromatic herbs that season the

fish, seafood and other regional fare

to be accompanied by the region’s

excellent wines.

Food

I lost my heart in Portugal, and not

only because of the warm welcome

from the people there, the food is just

amazing. If you ever go to Portugal,

you need to eat fish or one of the

typical sweets. Portugal is a seafaring

nation with a well-developed fishing

industry and this is reflected in the

amount of fish and seafood eaten.

The country has Europe’s highest fish

consumption per capita and is among

the top four in the world for this

indicator. Fish is served grilled, boiled

(including poached and simmered),

would become less important, and

the performers became merely

singers (fadistas). Maria Severa -

Fado-Singer (1820-1846) The 19th

century’s most renowned fadista was

Maria Severa. More recently Amália

Rodrigues, known as the “Rainha

do Fado” (“Queen of Fado”) was

most influential in popularizing Fado

worldwide. Fado performances today

may be accompanied by a string

quartet or a full orchestra. If you have

the chance to visit a Fado concert on

your trip: GO!! I’m sure you will be

blown away.

Where to sleep?

Every time I’m in Portugal I sleep

in the most beautiful places. If you

go on a trip there you should sleep

at least one night in a Pousadas de

Portugal. The Pousadas of Portugal

had their origin in the 40’s, when

fried or deep-fried, stewed (often in

clay pot cooking) or even roasted.

Foremost, amongst these is bacalhau

(cod), which is the type of fish most

consumed in Portugal. Love it! Have

you ever eaten a Pastéis de Nata?

No?? Oh you should! Many of the

country’s typical pastries were created

in the monasteries during the Middle

Ages, by nuns and monks, then sold

as a means of supplementing their

income.

54

Fado

This kind of music is pure magic,

full of soul and pain but also hope.

Fado appeared during the early 19th

century in Lisbon, and is believed to

have its origins in the port districts

like Alfama, Mouraria and Bairro

Alto. There are many theories about

the origin of Fado. Some trace its

origins or influences to “cantigas de

amigo” (friends songs) and possibly

ancient Moorish influence, but none

conclusive. Fado typically employs

the Dorian mode (natural minor

scale), Ionian mode (natural major),

sometimes switching between

the two during a melody or verse

change, more recently the Phrygian

mode (common in Middle Eastern

and Flamenco music), which is not

considered a traditional feature of this

genre. A particular stylistic trait of

Fado is the use of rubato, where the

music pauses at the end of a phrase

and the singer holds the note for

dramatic effect.

The music uses double time rhythm

and triple time (waltz style). Fado

performers in the middle of the 19th

century were mainly from urban

working class and sailors, who not

only sang, but also danced and beat

the fado. During the second half of

the 19th century, the African rhythms

the first Regional Pousadas were built

to provide visitors with board and

accommodation, in keeping with the

style and traditions of each region. In

the 50’s, a new concept of Pousada

were created; The Historic Pousadas

are located in carefully restored

monuments. Pousadas are a visitors

option with a uniqueness that keeps

the flame of Portuguese hospitality

alight. Situated in castles, monasteries,

fortresses and places of special natural

beauty from the North to the South

and in the islands, the Pousadas of

Portugal are real treasures of our

History. Pousadas of Portugal have

kept alive the original objectives of a

unique cultural experience through

the respect shown in the restoration

of their national architectural heritage

adapted to modern demands of

comfort and well-being. Places that

offer a fascinating journey through

the Portuguese culture as well as

traditions and art. In the Pousadas

there is always a story or a secret to

tell, a legend or a tradition to recount.

Text by Marcel Schlutt

Photos by Marcel Schlutt & Mike Van Der Ent Pasarella


BLK DNM Camel Coat for boys

The new Sony a7S II Camera

NICE STUFF

Cole Haan Brown Wayland Backpack

Toni & Guy Hairproducts - Glamour Collection

Raumfeld Stereo L WiFi tower speakers

Jacky Hi Boots

by United Nudes

Things

that make

you

go

mmmmm

Must have items and without them you will suck.

Selected by Marcel Schlutt

MÜHLE - Razor set

Becky Sunglasses by Monki

J.F Schwarzlose Perfume

Urbanears Plattan

ADV-Wireless Headphones

Veja Esplar Low

Leather Copper

Levi´s Beanie

ASOS Coat in Patch Faux Fur for girls

Nike Air Max 90 LTHR

Nike air Max 90 Ultra Essential


DELUXE

Branden

Top by Our Legacy

Necklaces by Pyrrha

Bracelets by Tateossian

Larissa

Top by Ji Cheng

Dress by Mini Tran

Necklace by Pebble

Rings by Gemporia

56

Photography Karl Slater

Styling Bo Yeon

Makeup Isabell Boettcher

Hair Kristopher Smith

Models are Larissa Goldner @Nevs Models

& Branden Kennedy @Select Models

Special Thanks to Orestes Economou

& Portia Shaw from Pop PR


Top by Gina Bacconi

Jewellery by Pebble


Suit by Richard Anderson

Savile Row

Shirt by HunterGather

Cross necklace by Pebble

Necklace by Pyrrha

Midi ring by Ekria

All Jewellery by Pebble

58


Branden

Sleeveless Jacket by

HunterGather

Trouser by Wood Wood

Chain by Culietta

Larissa

Top by Jean pierre Braganza

Skirt by Manish Arora

Gold Pendant by Ekria

All jewellery by Pebble


Larissa

Dress by Mini Tran

Jacket by Ji Cheng

Necklaces by Pebble

Rings by Gemporia, Joubi, Ekria


Branden

Top by Avorio

Trouser by Broken Fab

Larissa

Top by Manish Arora

Trouser by Georgia Hardinge

Mask by Manish Arora

Rings by Pebble


Photography by Suzana Holtgrave

Interview by Nicola Phillips

Production by Marcel Schlutt + Nico Sutor

Styling by Anita Krizanovic

Hair and make up by Timo Bloom

Set Assistant Vivian Mönch

INTERVIEW

Body by DSTM

62


Peaches

BLOODY HELL!

Leather mask by Marina Hoermanseder

Body by DSTM

For almost two decades Peaches has deservedly earned the title of Queen of electroclash. Brushing away stereotypes,

gender norms and presenting her own philosophy, whether it be in an Abe Lincoln hat with matching beard,

sequined hot pants, golden jumpsuit topped off with a dildo, or a dress adorned with several dozen breasts,

performance artist and musician Merrill Nisker worked on new album ‘Rub’ with Vice cooler, follow up to 2009’s

‘I Feel Cream’, with a last minute appearance at YOSISSY! Festival, Berlin this year before her extensive ‘Rub’

tour. As the cover star of our new ‘Rough It Up’ collection we couldn’t think of a more fitting spokesperson to express

freedom of expression, having your own agenda, and being proud of being whoever the fuck you want to be.


You’ve been living in Berlin for years now,

what persuaded you to move in the first

place?

I was travelling around Europe and Berlin

seemed like a cool place, it had some really

weird underground places. I went to one place,

which is now a Pan Asian food spot, and there

was just people doing kind of, whatever they

wanted in this space, and they let me perform

there, and I dunno, it just seemed like a place

that was open and it had a lot of potential

where I could enjoy myself.

Do you think it still has potential now?

Hell yeah! Way more. You can still find

crazy shit and do whatever you want. People

complain, but they shouldn’t because there’s

way worse cities you could be in. There’s things

you can do here that you can’t anywhere else.

Even some of the clubs. I recently went to a

night at Kit-Cat Club, it’s incredible. Even for

the sheer fact that they’ll let you drink out of

a glass by a pool! You can’t do that anywhere

else, nevermind have sex and do whatever you

want, wherever you want. Or you know, act

any way that you want. Even in L.A. you can’t

swim in the pool without a shirt on, or naked,

you have to have the proper bathing suit on or

they’ll kick you out. No glassware, no running.

It’s just the tolerance here, there’s no hysteria,

it’s like if something happens then we’ll work

on it. It’s not like, “Oh my god! Somebody’s in

the pool naked!”. You know? I remember that

night, some guy was just riding his bike and fell

off. No one was like, “have you got insurance?”.

Five people just got him back up and sent him

on his way. People just want to live. Let’s not

call the police on each other.

Did you record the new album ‘Rub’ here in

Berlin?

No, in L.A. I’m living between there and

Berlin. I’ve lived in Berlin for around 15 years

now, but I bought a little house over in L.A.

with a garage, and that’s where I recorded it.

This album, like the last, doesn’t have any

guitars in it, is there a reason for that?

We did try some guitar, it just didn’t work.

There was actually this really good song that I

did with Nick Zinner together, and it wasn’t

actually that we didn’t love it, but Adult Swim

they do the Summer Singles so we were like,

okay maybe we can work on that song, so we

did and it ended up being really good. So that’s

got a lot of guitars in it, but it’s not on the

album.

Could you tell me a little about your book?

There was a photographer, Holger Talinski,

he was fresh out of photography school and

just a skater kid, and just started getting into

taking pictures at shows, and then more and

more he asked if he could take a picture of me

smoking a joint, a picture of me sleeping, a

picture of me meeting my parents, you know,

just pictures like that. So over four years we

had a big collection and started editing them

together, because I can’t you know, just let him

do what he wanted to do, but I let him insert

my aesthetic too which was important because

I’m the subject of the book.

We had a very different aesthetic actually,

64

because a lot of the pictures he took were not

completely in focus, but I just thought that

they captured something real and something

raw. And he really liked the technical aspect, so

it was really good to work together and I think

we understood each other after laying tonnes

of pictures on the living room floor, going

over and over, “Why don’t you like this one?”

he would ask. We never really fought but we

definitely had different opinions.

Were there thousands of photos?

Yeah! There are still thousands, and sometimes

now I’ll say “Hey, do you have that picture of

me in that purple jacket?” or whatever it is,

and then we’ll look at it and think, “Fuck, why

didn’t that picture going in the book?”. There’s

just so many.

I love how he’s captured every single concert

you played and caught nearly every single

moment on stage and behind it.

Yeah and you know, beyond backstage, the

duality of the human and the superhuman.

Do you think you’d allow him to continue

his work?

Erm, I mean he has started to take a few more

pictures of me. I think it’s nothing that you

want to force.

I read the part in your book about Yoko Ono

on her 80th birthday, that must have been

incredible!

She came to Berlin with The Plastic Ono band

to do a concert, and they asked me to pick my

favourite Yoko song so that we could perform

it. I thought that, you know, there would be

other people asked to do this but I was the

only one. That was really bizarre. And then she

asked me to do the ‘Cut Piece’, which is almost

50 years old. She originally did it in 1965. It’s

incredible because it’s a very, very strong piece

that’s lasted a long time. You think it’s such a

simple idea, but then if you’re involved in it, it’s

incredibly powerful.

Did Yoko approach you personally to do it?

Yeah, she asked me to do it for Meltdown

festival that she was curating. It’s funny because

I’m so in your face and in control of everything,

so this is the most vulnerable I’ve ever been

on stage. I didn’t move at all, I didn’t talk at

all. And I actually got a performance from

the audience because people were coming up

and approach me, some people would cut off

parts of their clothes and offer it to me, people

wanted to talk to me about stuff, people would

be perverted and cut particular areas of my

clothing away. And the audience would also

respond to all of this happening too.

Was this the first time that you’ve been

involved in performance art in this way?

I find what I do is very close to performance

art, and I don’t get shy about it and I think that

it’s important, but that’s the first time that I

was still and quiet on stage.

Did you ever think that you’d be this big of

an influence?

I never really thought about having a musical

career. I just thought about combining music,

like Riot Grrrl and electro, and making it this

electronic rock force. This really strong, good

repetitive force. I was just trying to experiment

with all of these different things, and then it

just seemed to be a gateway into the next 15

years of music. And attitudes too! And also

when I was expressing, it was with not just

sexuality. Basically my philosophy, or whatever

you want to call it, is just to make sure people

feel comfortable in their body, whatever body

that is. Whatever combination of femininity or

masculinity they have, without being bullied

or feeling ashamed or feeling like they have to

hide it. There’s so many things in our world,

religion, sociological pathways in jobs and

politics, that take us away from this. And this

is the most important thing that we need to

know, you just need to be yourself. I wanted to

be myself, so that’s the way I like to express it.

I like that you’ve expressed your philosophy

in this entire rock opera of yours too.

Yeah, ‘Peaches Does Herself’. I actually, after

high school, went to theatre school, I wanted

to be a theatre director. I wanted to make cool

musical, like The Who’s ‘Tommy’ or ‘Phantom

of the Paradise’, ‘Rocky Horror Picture Show’,

the cool ones. And then I quickly got very

disillusioned with theatre, it’s kind of always

like a step back, and also working with so many

people I felt like I wasn’t going to be able to

focus on what I wanted to do, like getting the

actor to do this, or getting the lighting correct.


“Basically my

philosophy, or

whatever you want

to call it, is just to

make sure people

feel comfortable

in their body,

whatever body

that is.”

Body by Marina Hoermanseder


So I quit. And then I found music, and I experimented

and then I happened upon Peaches, where I continued for

ten years and then a theatre asked me to do a production,

which was really funny because I never thought about

making a cool musical again. And then I was like, “Oh!

There’s my cool musical!”, the sort of research of what I’ve

done the past ten years during all of my performances and

what I’ve said, my iconography. So it was quite exciting to

do that. And who doesn’t want a cool musical?

Would you do another musical, or performance type

piece?

I don’t know, I’m really enjoying making the videos for the

album. I mean, I’ve made videos for every album, and my

first album I made seven using Super8 so they were really

like performance pieces. It’s really fun this time around

because I have my own record company now, and it’s my

own money, but it’s even more like there’s no infrastructure

for where videos should take place. They’re just short films

that you want to do. You can go as hardcore as you want.

Do you have any ideas for your next videos?

Yeah I’ve already done six for the new album. The girl in

the video with the laser for a butt plug, that was Empress

Stah.It was all her act and she asked me to write a song

for it. I wrote the song and then I asked if I could make a

video for it.

Will all of your videos have a theme running through

them?

I’m trying to make them have some sort of connection,

but there’s so many different ways of working. It’s even

incredible that I’ll get them out before the album is

released because the last album took two years for all the

videos, so yeah. But the whole thing probably won’t be a

cohesive movie or something.

Body by DSTM

Hollywood tends to be ageist towards women, do you

think the music industry is similar?

Fuck yeah! I think that Hollywood is fighting back in a

really good way though. Like Meryl Streep has started a

new foundation for women over 40 to screenwrite. So

you know, things like that are really cool. And I think that

now women who have power are doing really cool things

with it, it’s getting better, but it’s still like a bit weird. This

comedienne, she was like “Remember when Sally Field

was Tom Hanks’ girlfriend and all of a sudden she was

Tom Hanks’ mother?” You know like, the men get to stay

young. Let’s say some young actor is in his 20s, then he’s

45 but the women are still in their 20s, it’s just like a weird

standard that doesn’t make any sense. It perpetuates this

image of women in this certain way.

Have you gotten into Amy Schumer at all? She’s a really

great comedienne and she did this one skit on her TV

show called “The Last Fuckable Day”, with Tina Fey, Julia

Louis-Dreyfus, and Patricia Arquette. Amy happens upon

them while they’re all sitting down celebrating something,

and she’s like “Wow, I love all ya’ll, what are you doing?”

and Tina is like, “Oh well, we’re just celebrating Julia

Louis-Dreyfus’ Last Fuckable Day!” and of course, she asks

what it is. “Oh you know, it’s the day where Hollywood

tells you that you’re not fuckable anymore”. Julia is just

sat there, looking all excited, saying how she’s going

to stay home and knit, and she’s looking forward to it.

Amy asks, “Does this happen to men?”, and they all just

started laughing like she’s crazy. I relate a lot to female

comediennes, especially the older ones. They’re kicking ass

at the moment with their cutting humour.

66

Would you do another collaborative type project, like

the one you did with The Flaming Lips?

Yeah I mean I love doing side projects, like the Peaches

Christ Superstar thing. It’s good. It keeps you going. I like

doing other projects on the side because I can go back to

what I was doing and enjoy it more.

Out of all of your videos and tours, do you have a

favourite outfit?

I like a lot of outfits of mine. I really like the pink leather

outfit, that’s got really big shoulders almost like teeth.

Yeah, I really like that. I like walking on people wearing

that.

Do you wear it out occasionally?

Yeah sometimes. But I try and get new outfits.

What pisses you off?

What pisses me off is just not feeling like I’m in the right

space to do what I want to do.

Keep up with peaches on www.peachesrocks.com


Bedtime Stories

By Michelle Hèlena Janssen

KALTBLUT gets intimate! Introducing Bedroom Stories for the first time. KALTBLUT meets people on the street that captivate

us and wants to get a little more personal, invading their personal space. We think your bedroom is your most vulnerable place,

and that’s what makes it that much more interesting. Get to know young pioneers from different cities, starting in Amsterdam

and Berlin. We’ll be documenting and exposing their secret bedroom stories for you.

Name Wout Dullaert

Age 22

Zodiac sign Aries

Lives in Rotterdam

Zodiac sign traits

Having Capricorn as ascendant makes me passionate,

enterprising, energetic, ambitious and warm, but I’m also a

smart-alec, bossy and highly aware of my strengths.

What inspires you?

Pastis bottles, flora, foreign cigarette packaging, exceptionally

good food and Warhol’s

68

philosophy.

Who would like to be if you could choose anyone else?

Donna Summer, to witness the rise of disco at the labor of my own hands, such an inspiration for the world

What’s the strangest thing that happened in your bedroom?

Everyone dances naked in their room after showers, right? So I was doing my very own interpretation of some vogueing-ish dance, while my neighbor across

the street was throwing a baby shower, so I had an audience of women overly exposed to hormones applauding me, that was fun.

What’s your favorite spot in Berlin?

To be completely honest, I’m not in Berlin often enough to decide on a favorite spot. However, my #1 spot in the world is the waterside at Le Bouveret in

Switzerland, along the lake Geneva. Enclosed in the Alps, you feel like you’re in the 60’s because of all the white/yellow striped canopies and rich old people.

No better place to pull out your speedos than there.


Name Esmay

Age: 23

Zodiac sign: Pisces

NEW IN

Lives in: Amsterdam

Zodiac sign traits

Imaginative, intuitive, emotional, empathy, analytical, passionate, patient,

dualistic, observing, escapist

What inspires you?

The human body

Who would you like to be if you could choose anyone else? Julia Roberts

What’s the strangest thing that happened in your bedroom?

Having sex for an art project

What’s your favorite spot in Berlin?

My best friend’s house.

Name Thomas

Age 26

Zodiac sign Pisces

Lives in Hoorn

Zodiac sign traits

Actually I have close to zero

characteristics of Pisces, but a

lot of my ascendant Gemini:

I’m a thinker and love to

communicate and exchange

ideas. I’m rational, but can be

doubtful and have a hard time

making choices. Also, some

people might think I’m superficial,

because I’m very social

but don’t get too personal

with people I barely know.

What inspires you?

Music & people.

Who would like to be if you

could choose anyone else?

Jack Sparrow.

What’s the strangest thing

that happened in your

bedroom?

My cat. He’s a weird, funny

little creature.

What’s your favorite spot in

Berlin?

YAAM.


FASHION

STORY

70

Jacket Japan Rags BLO H BRANDO

Shirt EDWIN D.I.E Denim Shirt

Pants Cross Jeans Taperd Blake

Glasses Stylist own

Watch G-Shock GA-110 NM-3AER


A Tough

GUY

Photography by Bernhard Musil

Model is Dominik Berberich @Modelfabrik

Hair and make up by Timo Bloom

Styling by Nico Sutor

Production and Concept by Marcel Schlutt

Location: Blogfabrik Berlin

Special thanks to G-Shock


Sweatshirt BLK DNM Black Sweatshirt60

Knit Pullover Sopopular

Pants BLK DNM Black Leather Pant 25

Watch G-Shock GA-110 NM-2AER

72


Pants BLK DNM Black Leather Pant 25

Shoes New Balance

Watch G-Shock GA-110 NM-4AER


Overall Sopopular Jonathan Overall

Watch G-Shock GA-110 NM-9AER

74


Refugees in film:

a short overview

ESSAY

Text by Friedericke Suckert

It’s 2015 and every day thousands of refugees try to reach the supposedly safe Western Europe. Beneath all the artisans and

doctors, a lot of artists want to live a better life. But how will this be possible? Beside the big amount of money, you need networks

and friends, your aesthetics should work in a different cultural context or fill a new niche. Thinking about all those adversities it’s

time to research all those historic exile artists, their influence and their failures.

The biggest refugee crisis of modern times

took place in 1933-1945. When Nazi Germany

occupied Europe, a lot of Jewish, communist,

LGBTIA*, Sinti and Roma and other people were

forced to flee where ever they could get a visa to.

It’s no secret how much German filmmakers

influenced Hollywood. One of the most important

ones is Marlene Dietrich, who emigrated in 1930

for the „Blue Angel“ by Josef von Sternberg. (Fun

Fact: Hitler’s first camera lady Leni Riefenstahl

also having been one of his favorite girls for this

part.) Dietrich became a legend and a super star,

she supported the U.S. American troops during

World War II and was treated like a traitress in

Germany afterwards. She never returned, although

she worked a lot in Europe. Marlene Dietrich is

one big name for success, but no one really knows

how many actresses and actors failed overseas. A lot

of them were able to live because of the “European

Film Fund”, established in 1938 for the support

of pursued Jewish filmmakers. Times were still

rough, especially for the technicians. The Union

for Film Workers paid a lot of attention that their

U.S. American members still got enough jobs.

The USA in general and Hollywood in particular

didn’t offer a warm welcome to all those refugees

in pure need.

A few were able to work in France in the

beginning of the persecution. Max Ophüls

and Richard Oswald for example, but as the

occupation started they also had to leave.

Fritz Lang, the director of “Metropolis” left

Germany in panic, even though Goebbels loved

his work. He was able to work in Hollywood, also

shot Anti-Nazi-Movies. But still, too many artists

died in German concentration camps.

After the war, only a few of the expats returned

to Germany and tried to process their hurting

and dark experiences, like Peter Lorre and Fritz

Kortner, but after six years of war and twelve

of persecution, the Germans didn’t want to see

anything about the past. They needed Operettes

and comedy, no accusations of their own guilt.

The big film organization in the Soviet Zone

of Germany was called DEFA, a governmental

institution. They didn’t hesitate and exhibited

the crimes of the Nazi regime. “The murderers

are among us” is the first drama, taking place at

the bombed and destroyed Berlin, about the exconcentration

camp prisoner Susanne and an exsoldier,

who try to move past their experiences.

Most of the movies in the new GDR were

communist propaganda, but the rules became

loose year after year. A lot of old novels and Grimm

fairy tales were staged, they’re still legendary,

* Lesbian, Gay, Bi Trans Inter and Asexuell

because of the beautiful and fond settings and the

lovely story telling.

Time goes by and a lot of young directors

and actors/actresses grew up. “The Beatles” and

the “Rolling Stones” changed everything, young

people dreamed of Beat music and freedom. And

they put their dreams on the big screen. “Spur

der Steine/Track of the Stones” in 1966 was rated

as “non-socialistic”, so the director Frank Beyer

wasn’t allowed to work for the DEFA for ten years.

The pressure on the artists grew bigger and bigger,

spies decomposed the scene and so people started

to flee. Especially those who protested against the

expatriation of the singer and songwriter Wolf

Biermann were forced to leave the country and

the creative scene changed a lot. On the other

side of the Wall, a lot of them needed to start a

new career, because no one knew or waited for

them. A few actors like Manfred Krug became TV

stars, but most of them worked on tiny province

stages. Katharina Thalbach, a former Brechtactress,

celebrated big successes, but she was one

in a million, a big talent. Armin Müller-Stahl and

Ulrich Mühe also worked in Hollywood and Punk

icon Nina Hagen was able to start a new life in the

USA, those were the lucky exceptions.

When the Wall came down, most of the expat

film people were left in a grey zone: the East

Germans could forgive them the betrayal, the

West Germans still didn’t know them. So a lot of

them were trapped in a kind of ‘Nostalgia’, did

Cabaret and Boulevard. A functioning network

kind of trapped in a certain circle of insiders. The

prejudice started to fade and the East German

drama schools grew popular again, well known

for their intense and disciplined work with their

protégées.

Another big part of “Exile movies” are the

Iranian directors, who have to face the conservative

Islamic regime.

The Iranian National Film Society was founded

by Esmail Koushan and Farrok Ghaffari in

1949. Iranian movies aren’t like Hollywood or

Bollywood movies: they’re not supposed to be a

big office hit, they’re supposed to be alternative

and aesthetic. Iran was an open minded society, a

lot of young directors were trained in the 1970s.

They travelled around the world, earned a lot of

awards at big European Film Festivals and were

loved for the unique Farsi beauty. That all ended

with the Islamic Revolution in 1979. Ajatollah

Chomeini’s soldiers burned down half of the

theatres in the country, there was no minister for

film anymore and every kind of Western art was

persecuted. In 1975 Iran produced 68 films, in

2005 there were 26..

Nowadays the movies that are allowed are big

commercial hits, stories about the Great Islamic

Revolution or flat romantic comedies.

But the alternative filmmakers are very much

active, there’s a big underground scene. Directors

who are under house arrest make movies with their

smart phones, put them on a USB and smuggle

them to big Festivals like Cannes or Venezia.

The last big success was “Taxi Teheran” by Jafar

Panahi at the Berlinale 2015, where he won the

Golden Bear. It’s about life nowadays, where he’s

surrounded by spies and it’s hard to find a little

niche where he can breathe. Iranian movies are

often a simple observation of life itself. Also a lot

of women are part of this underground scene.

Their kind of story telling is very artistic and often

kind of reflects the classic Persian culture. Like the

work of Shirin Neshat. Most of Iranian don’t want

to leave their country, even though they’re facing

all these restrictions. The bond between them and

their country is to thick. “You can’t make Iranian

movies when you’re not in Iran.”

The new generation of female directors like

Marjane Satrapi (“Persepolis”) and Ana Lily

Amirpour (“A girl walks home alone at night”),

who grew up in Europe and USA combine their

Oriental origins and Western experiences into a

new and more plain style of Persian culture.

European directors with foreign roots are also

a big essential part of our culture! Fatih Akin,

son of a Turkish foreign worker, is one of the

best directors of our times. He shows the conflict

between the Turkish roots and German society in

a brutal way in “Gegen die Wand / Head-on”, but

also the resulting subculture.

The French-Algerian director and actor Kad

Merad is a superstar of French comedy, exposing

the French clichés.

Culture Clash is a beloved and needed genre in

European Film, the Brits are still the masters of it.

Well... The conclusion is: Refugees welcome!

Alignment is a basic ingredient of film making and

storytelling. We always need the input of foreign

cultures and someone who holds a mirror towards

us. Unfortunately, a lot of young artists won’t be

able to develop their creativity if they can’t find

a network or welcoming surrounding. Let’s hope

they do and great things will happen.


Esther Perbandt

T h e B e r l i n Q u e e n o f G l a n d e r o u s F a s h i o n

Interview, styling and photography by Marcel Schlutt, Models are Elizabeth Ehrlich and Jacob Jungenkrüger,

All fashion and hat by Esther Perbandt, Accessoires by Perlensäue, Portrait Esther Perbandt by Birgit Kaulfuss

Esther Perbandt is the leading lady of Berlin fashion. She is one of the few Berliners who are born and raised in

Berlin. Being part of the fashion circus for more then 10 years, her designs have been described many times as

tough, snotty and elegant. And yes, that’s right. Her shows during the Berlin Fashion Week are always one of the

highlights, and it was during this time that I had chat with the designer about her work, why people should stop

talking negative about the fashion scene from our hometown, her time in France, what she thinks about blogging

and dressing famous people.

Hello Esther! Welcome to our KALTBLUT family. We’ve been big fans

of your designs for a couple of years. Your aesthetic has been described

many times as tough, snotty and elegant. How would you name your

style?

It is very hard for me to describe my work. I could find a hundred words

to describe it, but not sure if this is enough. So even worse for me to

give you three words (often asked in interviews). How could you squeeze

a free minded work made for

personalities between 30 and 65

into such a small box? Whatever

three words I would choose, there

are millions of people who feel not

attracted by them. I don’t like that.

Who builds a different drawer, fall

into it himself.

Let´s talk a bit later about your

work. And let´s speak first

about yourself. You were born

and raised in Berlin, right? That

makes you one of the few “real”

Berliners. How was growing up

in Berlin? And what was your

childhood like?

This is true love. I grew up in West

Berlin, so literally on the island,

how we used to say. When I went

with my family to West Germany

during holidays I always got the

feeling of being something very

special. People kept asking how

it is to live on that island. And

everybody seemed to know that

in West Berlin all the cool people

live or move to: The hippies, the

conscientious objector, the rebels,

the musicians....

I remember that it made me

proud. Being a kid in West Berlin

I never felt the borders, but I know

that it was something else for my

parents.

76

It´s now 26 years ago that

the Berlin wall fell, do you

remember what you did that

day? I can remember every

minute, sitting in front of the TV

with my little brother in a city close to Berlin. I still have goosebumps.

I don’t remember how I actually got the news, if I was told by my mother

or from the radio. I came back from school and was supposed to have a

drum set lesson that afternoon but I didn’t go. I didn’t even give notice to

my teacher. I thought there are more important things to do and see this

afternoon. I just went straight away to the Brandenburger Tor and sat there

on the barrier and looked down to the wall of police who still stood there

irritated and didn’t know what to do.

During the early 1990s, you must have been in your teenager years. I

think it must have been an amazing time in Berlin. What did you do

during those years? Have you

been part of the techno music

movement? Or how did you grow

up during your teenager years?

I was not that much part of

the techno scene in Berlin. I

played drums in a political singer

songwriter band of which I, back

then, didn’t even understood the

lyrics myself. Most of the weekends

I spent in our rehearsal cellar and

hung out with the three guys of

my band, half of them at least six

years older than me. During Love

Parade I was mainly working at a

Bungee Jumping like thing called

“Super Swing“. Three sixty metre

high towers that were standing on

Potsdamer Platz, where there was

not one single building back then.

You were hanging in a hang glider

harness between two of the towers.

Another wire pulled you up to the

third tower, sixty metre high. With

a release cord you could loosen

yourself and fall into a super swing.

I had to do show jumping and

get the people ready or jump with

them if people didn’t dare alone.

You had all these crazy freaks from

love parade there. It was a hell of a

time! Despite that, I do somehow

miss all these little illegal bars and

clubs where you had to enter via

a window. There was so much to

discover.

At what point in your early years

did you recognize that fashion and

design is something you love?

I grew up without a television. My

biggest fun was playing with a huge box of garments to dress up. My sister,

Sarah, and I had this box since we were very little, I would say I was only

3 years old. There was one tank top (back then it was a dress for me) in

bright yellow, blue, red and black block stripes. It was my favourite one and


INTERVIEW


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I wanted to wear it all the time over

years (no worries, I don’t remember

that, but I was told). I still have this

piece in my closet. It is somehow

very important to me. When I

look at it, I can still understand

why I loved it so much. Maybe it

is important to me because it was

a first sign. We played with this

box for a very long time, even as

teenagers. I realized that I like to

play with identities. And apparently

I kept on doing that.

Do you remember the first piece

you ever did? And what was it for?

Yes, I made trousers out of an old

millefleur printed cotton. But I

couldn’t wear it, because I ignored

the necessary pattern cut of the

crotch. I was very frustrated. I think

I was 9 or 10 years old.

From that point on, how did your

passion for fashion became an

option for a lifetime job? How

did you learn the basic skills like

sewing etc? Were you self taught?

I kept on trying things myself. And

yes, I did garments for my Barbie

dolls When I was about 12 years

old I had two ideas of a profession:

architect or costume designer. For

becoming an architect I was told

that I am too bad in mathematics,

so I did a school internship with the

costume designer at the Schaubühne

am Lehniner Platz. I couldn’t even

finish it because I became so ill as

I was so shocked at how much a

costume designer needs to work!

I saw my life dream melting away.

But then I decided to switch from

costume to fashion (which was of

course was a much better idea).

During school I started doing

classes in fashion illustration in my

free time, and somehow tha’ts the

story. The rest is known!

You completed a European

Master’s degree in Fashion and

Textile Design and Post-Graduate

study at the IFM – Institut

Francais de la Mode in Paris, why

Paris and not London or New

York or Berlin? How was your

time in France? I can only guess

that it must have been an amazing

time!

To be honest, I think I was

somehow guided. I don’t remember

the moment, where I asked myself,

“Hey Esther, where do you wanna

go?”. The option was there and I

took it. But I do get your point.

If you see my work today you

might think that this fits much

better to New York or London. I

remember that I wrote a message to

my boyfriend who I left behind in

Berlin, the moment when I arrived

in Paris, “I love it, everywhere

is music, the city, the subway

and everybody looks so elegant.”

Paris and France was definitely

the finishing of the raw diamond

concerning style, elegance and

femininity. I did learn so much in

France, the beautiful language of

course, moreover a lot about myself.

But I would not call it amazing all

of the time! They have been very

tough years, the school in Paris has

a very high level and demand, the

apartment was a shithole, I had

no money for going out. I stressed

myself so much that I got very

ill and more and more I lost the

capability of seeing colours and

straight lines.

After your studies you worked

in the design team at Chacok in

the South of France, how did this

happen? And how important was

that time for you to grow as a

designer?

After I finished IFM I had some

job interviews in Paris. One was at

Kenzo, I think it went well, but

before they came back to me I had

the offer from a designer friend to

join him as a design assistant for

Chacok. He also did IFM, but a

year before me, and got hired as

Head of Design. The third new

hired person was a product manager

from Kenzo. Chacok back then

wanted to renovate the image of

the brand which got old with their

customers and we were chosen to

fly down there and rock da house.

It was a 24/7 job. Difficult to enter,

like a virus a company which has

been guided by somehow family

and friends since the 70s. My friend

got fired after one season, there was

no new Head of Design, so I had all

of the sudden the full responsibility

over the design for one season. But

the company didn’t communicate

that and didn’t allow me to go on

the catwalk after the show in Paris.

Still I am doubting if I would have

the balls to do my own business

without that experience.

Cote d’Azur is not a place for young

people. Only work, no friends, no

family, but a high cellphone invoice

caused by my homesickness. I

would still and always say, “Je ne

regrete rien!”

You founded your own fashion

label back in Berlin during 2004,

what made you come back?

Why did you not start your own

business in France?

After my time in France I definitely

needed some time to recover and

came back to Berlin to recharge my

batteries. My plan was actually to

go back to Paris and apply for jobs

over there, I never had in mind to

start my own business. That was

in spring 2003. Running around

Berlin I felt the dynamic in the

fashion scene which got bigger

during that time: It was the first


or second season of Bread and

Butter and Premium and there

was definitely something in the

air. Moreover, I was fed up with

homesickness and decided to

stay. Despite the dynamic and

the scent in the air there was no

job to find. So luckily, with the

biggest portion of naivety which

you can find on this planet, I

started the label Esther Perbandt.

No business plan, no money, no

idea, but a little funny collection

which was back then still crazily

colourful.

Starting a new brand is a lot

of work; sleepless nights and

lots of power is needed. How

did it work out for you in the

beginning? Did you got any

support from family, friends

and business people?

I didn’t know any business

people, but I did have a lot of

support by friends and family.

Not in a financial way, but

psychologically and manpower

wise. My mother always

supported me in my creative

ideas. My stepfather was not at

all happy about my decision. He

probably guessed that I would

have 15 very hard years in front

of me. Luckily I didn’t know

that.

Was there ever a point where

you questioned yourself? Did

you always think that you were

doing the right thing? And if

so, how do you deal with those

things in your mind?

Oh yes, my atelier always had

and has a nick name, ‘Palace of

Tears’. I was questioning it a

lot, I was desperate, I was left

without any power, but I always

thought, “What else can I do? I

have to do this, and I will fight

for it and one day it will work

out.” Friends did ask, “how can

you still sleep at night?” Luckily

I do sleep like a stone, whatever

happens. Probably it’s what helps

me surviving, lots of sleep!

As I mentioned before, your

design has been labeled with

many names like tough,

elegant, avantgarde and so on.

How much of Berlin is part of

your fashion vision? And what

makes Berlin the perfect place

for your inspiration?

Berlin is my root, so it is

definitely part of it. I was

born here, I have experienced

important historic moments

here and the feeling that Berlin

is something special hasn’t left

me yet, although of course

it has changed a lot, and not

only in a good way. But I guess

that it is rather the root, which

is delivering me the juice for

inspiration, than the actual

physical presence here.

Let´s talk about your AW15-

16 collection. The collection is

named “I believe in miracles”.

What do you want to tell us

with that name? What was the

inspiration for this collection?

This sentence is a very important

one for me. I do believe in

miracles. They do happen.

Otherwise I could not explain

why I and my label are still on

the market. There are a lot of

people who do believe in me,

who trust me, who push me

forward. This is also miracle like

and I am more than grateful fort

that. Besides the collection was

dedicated to the seven million

analphabeths in Germany.

Reading a book makes me feel

alive, and it’s hard to imagine

that so many people are not able

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to share this pleasure. From that

background I had the idea with

the black catwalk and the models

walking with long wooden

sticks with attached chalk at

the end. While pulling these

sticks behind them, they left

lines and marks on the catwalk

and somehow write. With this

show I supported the charitable

association, ‘Kopf Hand und

Fuss’, which is developing the

first app for analphbets.

When you start to work on a

new collection, how does it

begin? What do your work days

look like during this process?

Oh this is really unromantic.

There is not a fixed time when

to start. I mean there should

be one, but as there is always

so much to do parallel, this

date is being pushed again and

again. Often a new collection

starts with a title. I am very

easily hooked by words. Then

this title gives me the overall

atmosphere for the collection.

But you have to imagine that

rather like a new chapter in a

diary. You don’t really see later

what you read. Then I continue

first with styles and details, but

in general it is always an Esther

Perbandt collection and I am

not reinventing the wheel. Even

during the last weeks before

finishing a collection I am

mainly sitting in front of the

computer all day long and doing

daily business.

You do menswear and also

womenswear, who is easier to

please with fashion? The boys

or the girls?

The guys are the severe critics

but the more challenging ones.

Unfortunately a lot of women

spend a lot of money for

garments no matter how they

are made or produced. Most

important fact: they feel sexy

in it. Luckily, I don’t deal that

much with those species, as

my garments are rarely sexy by

themselves. The piece becomes

sexy by the woman who is

wearing it and who is making

is curious to discover what is

underneath.

For the AW collection, can

you tell us with what kind of

material you worked with?

And where do you find your

garments and material?

I always work mainly with

natural material: wool, cotton,

viscose, silk or newer fibres like

hemp, milk, bamboo. I try to

get them mainly from Italy or

France as I try to produce my

products as much as my business

allows it in a sustainable way.

Unfortunately I can’t control

where my suppliers always get

their fabrics from. I find my

material on fabric fairs with

suppliers I have worked with for

a long time already.

You unveiled this collection

during Berlin Fashion Week

at the famous tent, but I also

know the year before you

showed your collection at

Volksbühne with an amazing

show. We all know that there

is a lot of bad talking about

the Berlin Fashion Week, what

do you think about the local

fashion festival? And how

important is it for you as a

designer to show there?

I am fed up with people talking

negative about Berlin. They

should shut up because they are


killing our energy. People shouldn’t be surprised if one

day there are no designers left in Berlin. There are still

a large amount of designers who work their arse off to

keep up the image of the free creative city Berlin. They

make great presentations and shows, small concepts, big

concepts in great offsite locations or even like I did, try

to change the boring band-conveyor handling in the tent.

I had my very first bad critic from the Tagesspiegel last

fashion week. They apparently send someone to watch

fashion and fashion events who doesn’t like fashion and

has no spirit of creativity. It was quite interesting for me

to deal with that critic as it was the first one I’ve had in

my career so far. Of course it did hurt, but this person

didn’t leave one good comment on any of the designers.

I really ask myself what his intention was. To eliminate

Berlin of designers? No problem, he is heading the right

way.

I am also fed up with discussions about Berlin becoming

the new fashion metropolis. I wish Berlin more self

confidence, it’s a great city with a lot of potential. I

recently saw a film about the crazy free minded art

projects in the 90s in Berlin. There is still a little bit

left of it, but not much. In our permanent ambition to

become like someone else, like another city, like another

fashion metropolis, we risk to lose the very last part of it.

Do you think German designers get enough support

from the Government? Or German magazines? When I

look to London or France there is so much support for

fashion, but I have the feeling, here in Germany, no

one cares. Even the German Fashion Council founded

by Christiane Arp is a joke. The same old people are

part of it. The same designers get pushed. I am kind of

bored of this..

There are a few projects and support from the

government, for sure it might not be comparable with

London or Paris, but it would be unfair to say that there

is nothing. Some years ago we were complaining that the

government support cake is divided into far too many

tiny cake pieces which only helps designers to survive

one more week. I was always asking to shape bigger cake

pieces in order to build up a few designers which will

one day become big and carry the figurehead of Berlin.

And to decide which ones that should be, was not in my

hands. We all have our favourite ones, no matter what,

and probably it’s something very human to act according

to that. I’ve had hundreds of interns by now and there

were ones I really loved, there were ones I did like a lot

and there were ones who I liked less. I can’t avoid it. Of course for an organization like that

one, I do wish a bit more of objectivity. But once again, a cage full of humans. There are two

options, you can either accept that or waste time and energy complaining about it. I don’t think

that you change a single thing with screaming loudly, at least this is not my method. If you are

not in the chosen inner circle, you just carry on being diligent and find other people to support

you.

My nickname

is ‘Granny’

not because of my age,

but because I am somehow a very old

fashioned person.

Let´s talk about the bloggers on Facebook and Instagram. My point is that social media

and bloggers are killing quality. I even think that some designers are just designing for a

photo on Instagram and not for customers. What are your thoughts about it? How close

do you work with bloggers and how important are they for a designer nowadays?

I totally understand your opinion and I did / do have the same in general. I empasise in

general, because my opinion is changing or has to change. There are millions of blogs which

have basically no quality at all, but there are also quite a lot which do help the designers. My

nickname is ‘Granny’, not because of my age, but because I am somehow a very old fashioned

person. I would describe myself as someone who needs a long time to follow quick changes

in technologies and trends. I love gentlemen and good behaviour in a funny way I like the

‘Knigge’ book and I stick to good and old values. I was resenting blogs and blog requests for

quite a long time, because I just didn’t want to understand it. I am now slowly getting myself

into it, just because I see how important it gets. I don’t work closely with any bloggers but I

could imagine to build up an inspiring cooperation with someone who has the same approach.

Can you name 3 MUST HAVE items for the autumn/winter season for each fashion lover?

Oh I am sorry, I definitely can not. First of all I do not care that much about trends. I hardly

check them myself. This is a way of rescuing me from getting insecure about my own way of

thinking and my work and also rescuing me from copying. Most creative people are very sensitive

and open-cell like. They get easily hooked by beautiful things, words, atmospheres. Sometimes

without realising it you soak something like a sponge, you digest it and you make it to something

else or sometimes something very similar. But second and maybe more important, I don’t want to

tell someone what to wear. We are not living in a dictatorship. I am more than happy if I hit the

taste of various people with my designs. But what a sad term actually this is: A must have!

I know that many actors and musicians are wearing your designs. Is there any famous person

you would love to design for? And if so, why that person?

I get quite a lot of requests from talent agencies, asking if I would like to dress one of their clients.

I rarely agree as most of the time it is a person in an agency who believes that this might fit. But in

the end those people just look dressed up and personality and the garments don’t melt into each

other. You can right away tell, that they would never wear something like that in their free time.

I would like those people like musicians and actors or whoever to discover my style themselves.

Then it becomes an authentic story for both. I know that this is the much longer way to get

publicity but I do prefer it that way. To answer your question, of course I do dream of some great

personalities and I am sure our ways will cross one day.

Esther, thank you very much for your time and the interview. We can not wait to follow you

on your journey in the fashion world. Where do you see yourself and your brand in 2030?

Oh wow, well I can’t avoid dreaming sometimes of myself in 2030 laying in my garden of my little

house in the south of France (which I am dreaming of owning then) and writing a book. But let’s

be honest, I would be bored after two weeks latest. Having my own brand is my life, my dream,

my baby. I will still be there, bigger, stronger, wiser. And the brand will have more products,

more sales points, more concepts, more fantastic big projects with inspiring people. I am so much

looking forward to it.


Archie Fitzgerald

When we discovered Archie Fitzgerald’s work for

the first time we were obsessing within minutes.

From England, to Berlin to Melbourne, this is an

artist whose work is so mindblowingly fucked up

it gets you really hooked. The inspiration behind

it partly explains that: serial killers, paedophiles,

rapists, internet freaks, anything wrong in people’s

heads. Read on about what’s happening in the

head of one of the greatest illustrators of all time!

Interview by Emma E K Jones & Amanda M Jansson

Do you remember the first thing

you ever draw and liked? What was

it?

When I was in primary school I

would draw ‘cool dude’ characters

over and over again. They would

all have like adidas t shirts and

sunglasses and a beard and hat like

Ali G. Not sure why I liked drawing

them so much, I didn’t dress like that

at all. Then I got into bands like Less

Than Jake and NOFX and would

copy their CD covers and stuff.

How did you decide on becoming

an illustrator eventually?

I would never say that I’ve decided

to be an illustrator and I wouldn’t

even say I’m an illustrator. I did

study illustration and most of my

work is drawn but it’s not illustrating

anything apart from my own ideas,

apart from the occasion when I draw

something for someone else. I’m

not great at making 3D stuff and

don’t enjoy it that much and I find

painting a bit annoying so drawing

with pen and ink is what works for

me.

How do you come up with the

stories you illustrate to? Where do

you get inspiration from?

I come up with them in my head

but I do take influence from various

things. It depends what I’m into at

the time, at the moment I’m quite

into the deep web and weird stuff that

goes on through the internet and the

people that inhabit it. Paedophiles,

stalkers, drug dealers, cam girls, and

people addicted to the internet who

never leave the house like hardcore

gamers and porn addicts. Other stuff

I get inspiration from is weird people

like serial killers and rapists and also

books and films and stuff in my own

life…

In terms of drawing, what are your

major influences?

Two big people that influenced me

a lot especially when I was around

16/17 would definitely be Ralph

Steadman and Basquiat. I got really

into Henrik Drescher’s work later

on and other illustrators like that

but now I don’t take much influence

from other drawers/illustrators.

Visual stuff that inspires my work

these days is more like 60s/70s

magazine/book covers and graphic

design like Tadanori Yokoo, Asian

art, 70s sci-fi art, surrealist stuff and

weird disturbing internet things I

find.

Your work is very bold. Did this

ever cause you any trouble?

Not as of yet. I think it’s so fictional

and surreal looking that people don’t

take the disgusting sex and stuff too

seriously.

Are there any other forms of art

that you would be interested in

experimenting with?

Yeah for sure, at the moment my

other main project I’ve been working

on is music. I have a cheap midi

keyboard and logic and I’ve been

making weird music and writing

songs and stories to go with them

that I want to perform when they’re

ready. The stories and subject matter

is very similar to my drawings so I’m

a bit worried that when people hear

some of the fucked up stuff coming

from my mouth they might take

offence but I’ll have to wait and see.

Also with my drawings I want to

incorporate installation to add more

to the experience when I exhibit so

that is something I’m going to be

working on soon.

What’s the most annoying thing

someone can say about your work

and why?

That it’s funny. Sometimes people

have seen my work somewhere

and think it’s hilarious and that’s

annoying! I guess the reason why is

because I don’t think it’s funny and

there’s nothing about it that’s meant

to be funny.


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Have you ever exhibited your work?

How did it feel?

Yeah I’ve done exhibited in Bristol a few times and

Berlin a bunch of times. I love it it’s great, one

of the most satisfying moments when you’ve been

making work is when people come and enjoy it.

What are you currently working on? An

exhibition perhaps?

Yeah well I’m currently working on a few things.

The first thing is the music I mentioned earlier, I

want to record some of it soon and work on being

ready to do some stuff live. I have a screen printed

zine which is going to be coming out around

September published by Culture Commune and

I’m working on a zine that will be published by

Re:Surgo. And yeah I’m trying to get an exhibition

in Melbourne so been writing some proposals and

things for an exhibition I really want to do.

Keep up with Archie’s work at

www.archiefitzgerald.com

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Some Lik

Top: Oasis Trousers: Oasis Leathertop: Oasis Jacket: Meindl Necklace: By Malene

90 Maya M (@ Pearlmanagement)

Lucio

Anita Krizanovic


e It HOt

Birger Earrings: By Malene Birger Braclet: lolaandgrace Shoes: Kennel & Schmenger

Aru & Franco Erre

(Photography)

(Production & Styling)

Patricia Piatke

(Hair & Make Up)


Dress: Stills Blouse: Filippa K Cape: Asos Coat: Tiger Of Sweden Shoes: Bobby Kolade

Ring: By Malene Birger Earrings: lolaandgrace Tights: Falke

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Dress: By Malene Birger

Skirt: Oasis

Top: Augustin Teboul

Cardigan: DOUUOD

Vest: Joseph

Bag: Dr Martens

Shoes: Tommy Hilfiger

Braclets: Coccinelle

Earrings: lolaandgrace


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Pullover: Filippa K Skirt, jacket & bag: Marina Hörmanseder Sunglasses: Chloé Earrings:


lolaandgrace Tights: Falke


Dress: By Malene Birger Top: Augustin Teboul Cardigan: DOUUOD Vest: Joseph

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Bag: Dr Martens Earrings: lolaandgrace


Coat: Annie P Sunglasses: Salvatore Ferragamo


Pullover: By Malene Birger Skirt: By Malene Birger Top: Annie P Coat: Annie P Bag: Coccinelle

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Necklace: Tommy Hilfiger Watch: Tommy Hilfiger


INTERVIEW

Prodromos

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Emmanouilids

Interview by Amanda M Jansson & Emma E K Jones

Prodromos Emmanouilids is an analogue photographer from Greece, who

can capture anything he wants and always make it feel special and bear

his signature. With an immense archive, he luckily continues snapping

and is unstoppable when it comes to capturing the right moment. His

photographs are rough, honest, unpretentious and still breathtakingly

beautiful.

How did you begin with your photography?

I began photographing as a schoolboy on trips.

My first film I shot at the age of 12. Since then

I spent all my money in films capturing every

special school and family event.

What are your influences? What has shaped

you as a photographer?

I can’t really speak about my influences. I’m yet

very confused. For sure my biggest influence is

nature. Nature not only as countryside but like

we often say “natural beauty” etc. Secondly, the

civilized society we live in. What shaped me as

a photographer? Suffering, pain, love, a huge

amount of them changed me from a young

person into a grown man, so as a photographer

too, giving me the current form.

How do your surroundings and daily routine

affect you as an artist?

I get inspired by them. I use them in my

pictures. I use faces, people, landscapes, items,

activities, ideas, everything my surrounding

contains. Although sometimes I express only

my feelings I still have to use my environment.

How difficult or easy is it to shooting nude?

I love capturing nude bodies. I love the skin.

The only difficulty shooting someone nude is

in making the model feel really comfortable in

front of the lens. My aim is to make him look

at my lens like gazing into my eyes.

What is your working progress?

How do you plan and go ahead with your

projects?

No specific working progress. I’m

experimenting constantly. I try lots of stuff. My

basic line of planning is go as natural as can be.

This issue’s theme is rough it up. Did it ever

get rough for you while shooting?

Well, nothing ever got rough during any

shooting, BUT there were moments where I

got really rough and I captured myself in this

situation, “bloody” moments.

Would you describe yourself as a rough

person? In which sense?

I’m a very patient person and rarely lose my

patience. But when l’ve lost my temper I’m

getting very rough. Also I prefer to consider

myself rough in more personal moments such

as in bed.

What’s the best and worst you ever heard

about your work?

The worst thing I’ve ever heard about my

photography is when I visited a friend holding

my then new camera, a lubitel2, and he told me

“What is this old thing around your neck? And

tell me that you spent money just for taking

old photographs?” On the other hand someone

who I admire so much, once while looking at

my pictures said “impressive… interesting how

your vision develops as the years go by.”

In your work you push boundaries. Is that so

in your daily life as well?

In my work just like in my personal life I

feel free. I prefer to think that there are no

boundaries. The only limit I put is human

existence. I don’t like to push people against

their will. “Our freedom ends, where another’s

freedom begins.”

Have you ever been caught or seen by anyone

while shooting nude outdoors? What did you

do or what would do?

Luckily, I’ve never been caught while shooting

nude outdoor. I’m always very careful and

prepared, I ask for directions. When I choose

a location it has to be familiar to me. I need

to know if people are passing by or how often,

what time I have to take the shoot. I remember

once on a Greek holiday while I was returning

home from work I was passing trough Greek

Olympic facilities, a place where there is

always lots of people but not on a Greek bank

holiday. So it was my chance to take my nude

self-portrait. My only problem was the security

car passing every 5 minutes. I calculated

everything, I set up all the rest and the right

moment I took the shot. It took more than five

minutes, I saw the car several times but I took

my clothes off only once. Although I’ve been

seen once or maybe more often while taking

nude self-portraits, nothing bad happens,

people changed their course and let me alone,

that’s all!


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What do double exposures of yourself mean?

What is your thought behind it?

Well done! very interesting question. To be

honest I’ve never thought of this. Double

exposures? At first it was an experimental

process. I really loved the aesthetics of the

result. Reminded me of some kind of painting.

Now, I believe it is the most interesting part

of my work cause it does not provide all the

information that clearly. Kind of mysterious.

My double exposures don’t mean anything

more special than others’. It’s a way of

displaying more than one feeling of a person in

one single frame. Also it’s turned into a way of

exposing someone naked without his identity

being recognized, this has made it a lot easier to

find models to pose naked.

How do you look for models? Is it easy

finding people to pose for you?

All my models are people I know, they are

friends, friends’ friends, lovers etc. When I

meet a person and find it interesting in my

way I always suggest him/her to pose for me. I

present to him/her a part of my work to show

and make him/her complete a picture of the

potential result. Sometimes, it happens the

other way round. People look at my work and

ask me first if I want to take pictures of them.

This gives me quite a pleasure. It’s so important

to me when people like my work and ask to

be part of it. It means trust! In general it’s not

easy at all finding people to pose for me. Most

people are hesitating to be exposed in nude.

Greek society still is conservative with nudity,

people believe if they get exposed this way it

may cause them problems in their daily life.

How does the political situation in Greece

affect your work as an artist?

Greece has been facing a big political and

economical crisis in the past years. It is very

difficult for most of people, as it is for me

too. Things like finding a job, paying your

bills, health insurance, even your food can be

and are our daily problems. The hard part are

politicians, everyone is disappointed in them

over and over the past few years. The hopes

are fading and struggling with your problems

is getting harder and harder. When the state

isn’t supportive, you lose your will to fight and

this is what makes your daily struggles more

difficult. So I think my work is an escape

window from this hard situation in Greece. It

makes me forget the difficulties and transfers

me to another world, giving me a reason to

continue fighting in the real one. That’s why

while looking at my pictures you can see

beautiful men, naked bodies, love, sex, children

toys, sea, sky, beautiful sceneries. I prefer to

capture anything that doesn’t remind me of my

daily struggles. I am not thinking of my work

as a political act, but more of a way to not be

political.

What are you working on at the moment?

I’m thinking of starting to capture female

figures. Lately, I spent most of my time with

women, especially lesbians who became very

good friends. I realized that these girls are really

beautiful. A beauty reflected from the inner

one. So I feel the need to capture that beauty!

Stalk Podromos on

www.in-public.tumblr.com


FUTURE JEFF MILLS

UPwith

Interview by Marianne Jacquet Photo by Yoko Uozumi

Jeff Mills is a visionary artist from Detroit born in 1963 and a legend of

the electronic music scene. Together with Juan Atkins, Derrick Mau and

Kevin Sanderson, he contributed to build what became Techno Music.

Following his creative instinct for more than 2 decades, Mills has

explored the dimensions of sound far beyond the club culture. His career

is an example of artistic freedom and ethics. It is hard not to mention his

involvement with the collective, Underground Resistance, that set the

techno music free from social discriminations and distributed the sound

of Detroit all around the world. Since 1992, Jeff Mills is releasing his

music, Cine-Mix and film productions on his label Axis records.

The constant appetite for the future and novelty of this former student

in Architecture lead Jeff Mills to break with the patterns of music genres

and art conventions. Answering to the invitation of the Louvres in Paris,

Jeff Mills succeeded in ennobling techno music alongside the pianist

Mikhaïl Rudy with whom he performed « When Time Splits » in front

of the psychedelic masterpiece film « l’Enfer » of Henri-Georges Clouzot

Jeff is presenting, on September 25th, a second opus of the « Exhibitionist

2 », a DVD and record but above all an opportunity to enter the maestro’s

mind and the core of the machine. Mills explains to us his vision on his

artistic and scientific collaborations starting now - FUTURE UP!

Interview Opening track:

Terry Riley by Africa Express

Beside the incredible fascination

of watching the artist in motion

whilst creating, the Exhibitionist

2 has a strong didactic aspect, is it

a desire to present Techno music

as a more accessible medium to a

larger public?

Yes, exactly. My objective is to show

the creative process from beginning

to end and how everything is pulled

together in the form that most

people here it. The “track” or the

“mix” I think by showing this will

allow for a better understanding,

and hopefully, a better appreciation

of the art form and genre.

The diversity of your work, is

close to a researcher, always out

framing to another environment,

your approach to music is almost

anthropological. Have you ever

wished to quit music for physics?

No, I’m quite occupied with trying

to figure out how to describe things

through Music. It’s more than a

full time job! I think that the usage

of translating subjects of certain

relevant topics gives more value to

the purpose of music. If we can do

more with music, then as societies,

we’ll might consider music more

seriously, rather than always for

entertainment. If we can all agree

that we need music, then it’ll be

around for as long as possible.

Do you think that it is a duty to

educate and communicate on

a more intellectual level and to

ennoble Techno music?

Yes. I also believe that producer

have a certain amount of

responsibility to try and bring

something new to their listeners.

That, at some point in the course of

their careers and work, an effort to

go beyond what is expected should

be normal. They should feel free

to do that and not confined by the

opinions of the public and media.

You have built in your career a

bridge between the club scene

and its industrial background

and some of the most respected

cultural institutions, are you

fighting the dichotomy between

these two worlds are embracing it?

I have no problems working at both

levels. In fact, I’m learning a great

deal from other ones and applying it

to the other. These new experiences

are shaping the way I perceive and

what I strongly believe to be of

substance. As an artists, I could not

asked for anything more than this.

When you are improvising on

your instrument, is it the same

mindset that drives you when you

are performing on a film score?

No, it’s different. Improvising

is an immediate psychological

response. A gesture based on how

I feel or that I’m convinced I could

accentuate by doing a particular

thing at that precise second or

moment. In scoring film and the

way I manage it, I first memorize

the film and mostly compose off

of my memories of certain scenes.

Then, I’ll watch the film and

measure the length and duration of

the Music in order to make them fit

into each part or scene.

How do you sync with other

humans and other machines?

In Classical performances,

synchronization is managed when

the conductor and musicians hear

a click or pulse sound that’s being

created and generated by my drum

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machine. In djing and applying the

drum machine to records or tracks,

that’s done manually by hand.

Meaning, that the drum machine

is layered on top of existing music

manually. No sync is connected. It’s

very interesting to do this because

each sound source can have their

own tempo and scale (from not

being synced together).

The set up of your studio in

the Exhibitionist 2 is quite

minimalistic, would you say that

« Less is More » but is vintage the

key or do you like to mix all type

of technologies?

I really prefer to use as few

machines and equipment as

possible to make tracks. Having to

consider using them more wisely,

more strategically. In this mind-set,

less is certainly more, but not by for

the sake of making Minimal Music,

but rather because I often feel more

sound simply isn’t needed or I can’t

imagine more than that (at that

moment). The minimal setting

of the scenes in Exhibitionist 2

was thoroughly thought about

and discussed. What I wanted to

do was to either showing a lot of

things or nothing at all. In showing

nothing, I want the viewers to only

concentrate of what’s there because

everything in the frame is for a

reason.

Do you still surprise yourself on a

TR 909?

Yes, there are things that can

happen, or should I say, ways I can

get stuck with situations that I have

to figure a positive way out of. In all

of the drum machine segments, I’m

only using 1 - 4/4 time signature

pattern. Changing, writing/erasing

throughout the segment, but the

machine is much more capable than

that. In most of the scenes, I’m

writing instrument patterns while

playing others at the same time.

You describe the musical process

as a «concept in progress», it is

the development in time of ideas.

Is it why you are multiplying the

film music performances?

Yes, that’s correct. I do not know

the exact term for what I’m doing

by encompassing all my actions

into one swift movement (even

career wise), but to me, it all seems

connected to one another - film,

dance, cinema, djing, music

production, etc. There is no real

distinction between them anymore.

There are different approaches

of the same thing in the DVD.

Programming music is the same

as making it. Being spontaneous

in both situation creates the same

result.

Is the video format more

attractive than a painting or a still

picture?

Each person should decide that, but

I prefer still photographic images

more than anything. There is the

limitation and what this does to the

viewer’s mind that I think is more

important that revealing the whole

passage of preserved reality. We do

not exist and live in stillness, which

is why I think it’s so unique - so

special.

You have closely worked around

the op art and the kinetic light

sculptures of Vasarely when

you performed « When Time

Splits » and « Chronicles of

Possible Worlds ». You more

recently created an exhibition

“WEAPONS A small but potent

collection of music affiliated

avant-garde objects”, would you

consider you curating work as a

psychedelic experience?

Well, I would consider them more

like psychedelic questions on topics

that do not really need an answer.

Sometimes, I think the only thing

that could ruin a great idea is a

comment from someone else.

So, I try to approach this type of

work in a way that takes to aspect

of knowing how people feel from

experiencing it - that the projection

of the work is one way only. There

is a certain amount of freedom by

doing this and I think its plays out

in the way the projects are created.

The Weapons show was exactly this

case. I was told that a concept like

this would not work. A small show

of art and artifacts that included

music, clothing, and many other

things – where the atmosphere

was just as important as the

items themselves. Nothing in the

show tried to convince anyone of

anything. It was just there in Tokyo

for only 4 hours on 1 day.

Watching your mix skills and

your hand choreography in the

«Exhibitionist 2 » is fascinating,

it could be compared to a pianist

passion and paradoxically doesn’t

it also demystifies your persona?

Yes, and this was the purpose of

showing it as closely as possible.

To normalize it so others may

understand and expand upon it.

Music needs a constant flow of free

thinkers and doers. I believe this

is the fastest way to improve and

enrich the art form of Music.

You have contributed to the rise

of a movement and a culture as an

artist and as a label,as a curator,

can we say that you have become

its philosopher?

No, I’m just someone who deeply

believes that music can enhance

people’s lives. That, it can make

them us realize things in ways

where words cannot. I take it very

seriously because I realize that

people are giving their attention

and spending there time and money

to have something special. They can

always be somewhere else, doing

something else.

What would be the best track to

fade out this interview?

Gil Scott Heron - The Revolution

Will Not Be Televised.


106


108

Interview by Nicola Phillips Photography by Kiko Dionisio

Ebony

BONES


From starting her own record label, to touring

with iconic punk outfit The Slits, Ebony Bones is

not interested in following the crowd. The British-

Caribbean singer-songwriter has already built up an

impressive résumé in the last few years – and has come

a long way from her hometown of Brixton, South

London. Influenced by an eclectic mix of post punk,

old-school afro-beats and open minded production

methods, Ebony’s music goes hand in hand with her

killer sense of style, fearless attitude and outspoken

attitude towards breaking down boundaries in the

modern music industry.

You’ve visited Berlin a few

times this year, how have you

found it? Has it lived up to your

expectations?

Berlin is beautiful and definitely

currently flying the flag as the

cultural center of Europe. It’s nice

spending time and playing here as

my dad lived in Berlin during the

60s.

Where are you from originally?

What was it like growing up there?

Was it a place surrounded by

music?

I was born in London and grew up

in Brixton where my dad had a small

vinyl stall selling music. Music has

always served as a soundtrack to my

life

Were there any artists or producers

at this time that really stood out to

you?

I recall loving everything from The

Sex Pistols to Parliament, Siouxsie

Sioux to Grace Jones. But I was

particularly interested in producers,

such as Nile Rodgers and Brian Eno.

What was it like when you first

started producing your own music?

Did you find it difficult? Do any

boundaries exist?

I think it’s important not to consider

boundaries, but to step outside the

circumference of what people expect

you to be in life. Be your own hero.

I’m still growing as a producer and

feel honored anyone cares about my

journey.

Who was the first person you

worked with? Are you self taught

or did you receive training? What’s

the most exciting part of producing

your own music? Is there a certain

key element you can’t do without?

I first collaborated alongside

drummer Rat Scabies from The

Damned and went on tour with

bands like The Slits. Originally I

trained as an actress which I wasn’t

that great at, after a while I realised

I just wasn’t very good at taking

directions. Music represented liberty

to me, something I think most artist

can’t live without.

Does the name Bones refer to “the

bare bones”? Is what we see, what

we get?

Rat Scabies named me Bones. It’s

also the name of an Irish musical

instrument, so I’ve heard


What was it that drove you to

record ‘Behold, a Pale Horse’ in

India?

I had the opportunity to work

with members of The Symphony

Orchestra of India, which I couldn’t

turn down. However parts of the

album were also record in London

for my Smiths cover of ‘What

Difference Does It Make’ alongside

The New London Children’s Choir.

What was it like working with

an orchestra? Did you learn any

valuable lessons?

I learnt that some of the most

amazing string musicians in the

world are living in India, I just

adore the culture clash and cross

pollination of two different sounds

coming together.

You have a new EP coming out,

‘Milk and Honey Part 1’, where

was this recorded? Can we expect

any surprise collaborations on the

album?

Very excited about the EP which

features the amazing Lady Miss Kier

of DeeLite. The EP was recorded in

London and New York.

Will the album be a start to a new

series?

Not sure I’m still working on it, but

sounds amazing so far.

What was it like filming your new

video for ‘Oh Promised Land’?

I think the hardest thing for artists

isn’t making the art, it’s getting it out

once it’s completed. The actual shoot

was a lot of fun and features friends

and members of my label 1984.

What’s it like being involved in

Ray Ban’s Campagin4Life? I saw

the clip with The Russians, do you

think it’s important to “mix up

tradition”?

It was an honour to produce the

soundtrack for Ray Ban’s new

campaign, even nicer that they

asked me to be in it. Tradition has

never appealed to me personally, so

“mixing” it up seemed appropriate

and in line with my ethos artistically.

What was your first live

performance like? Will that

moment of anticipation will ever

subside?

110

I’m always nervous before I go on

stage. Music is perhaps one of the

only things that has the power to

galvanize people. Music and perhaps

sport.

Name a song or an artist that you

could always listen to, no matter

what mood you’re in.

Maybe the B-52s, maybe Public

Enemy, maybe The Smiths, depends

on the day of the week.


What stage would you love to

perform on?

The never ending Stage of Life.

What is your ultimate karaoke

song?

Ebony & Ivory by Paul McCartney

and Stevie Wonder.

Did you ever think you’d be where

you are today?

No not really, partly due to the

deficit of female producers in the

industry, it just didn’t seem like a

realistic aspiration.

What would you say to an aspiring

music producer?

It’s always good to be

underestimated, you can’t lose.

What’s next?

Next year I have a collaboration with

Yoko Ono.

Pick Ebony’s bones at

www.iamebonybones.com


adidas Originals Superstar

Nike HypeFresh

More

Nike Air Max Tavas

sneakers

got

than a

plumber’s

pliers

By Nicolas Simoneau

and Marcel Schlutt

using flim 8 colors

by The Impossible Project

Geox - nebula

Antony Morato High Top

adidas Orginals Tubular

Nike

Kaishi Red

Converse Andy Warhol

adidas Superstar 80s

112

Converse Chuck Taylor

New Balance

Women Elite 580

Premiata Sky


TAKING FASHION BACK TO THE DRAWING BOARD

Photo: David Schulze

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116


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KALTBLUT Magazine is published by

KALTBLUT Media UG (haftungsbeschränkt)

CEO: Nicolas Simoneau,

Grünbergerstr. 3, 10243 Berlin, Germany

Finally, I know. It was about time right?! What

took us so long? Well, we’ve been thinking,

re-thinking, maybe over thinking things, new

directions, possibilities, ideas. And here we are,

brand new on the outside but still the same on

the inside, the spirit lives on! Having Peaches as

a cover gurl, is nothing short of sensational. Not

just because she perfectly fits with our theme

“Rough”. Peaches is free. Peaches does whatever

Peaches wants to do. And nowadays being able

to be really free, I can tell you is not such an easy

thing. So high five and like Peaches says “Put

your dick in the air”. Last time I did it, I caught

a really bad cold - was sick for two weeks - Ouch.

Also black is boring, don’t you think? I mean

wearing black from head to toe is over, assuming

it was in at one point. I am not saying you

should go to Desigual but you know, I’m just

saying try and mix it up a little -finding a middle

ground never hurt anyone. Also, black outfits

all over make you look like weekdays models

and, in this specific case, it is not a good thing.

And please, most important thing, be happy

(like seriously, just a bit at least). There will

always be a reason for you to be sad, stressed

out, annoyed, so for the next minute or so just

push it all out of your mind. Forget about that

Pot Pourri.

shelf in your living room that needed to be fixed

six months ago, forget about this appointment

that you have to make with your dentist,

forget about that bossy chief of yours who is

incompetent and has bad breath. Enjoy yourself.

Be content of your situation. Let’s be satisfied,

let’s love ourselves and love our neighbours.

Love, love may not be the answer to everything

but it definitely helps to grow, to keep going.

I have been living in Germany for 8 years now

and not only do I love it, but that’s my home

now. I’m really proud to see how well Germany

is doing with the refugees lately. The world is

changing, faster than we think, and it won’t

ever be the same again. People leaving the ones

they love behind because of the war. I didn’t

think that I would experience such a thing in

my lifetime. And somehow it feels good to

see that Germany, among other countries, is

helping, saying “come here people, we welcome

you with open arms, and we’ll find a proper

solution later. For now just come and rest.

Come and live.” Love and generosity. Refugees

are not just passing by, they are here to stay.

We are going to be…a new Europe, a stronger

one, a more colourful one, a bigger one. The

world is really changing. And we are -each

and everyone of us- a part of this movement.

Let’s celebrate tomorrow together. And last but not least, thanks to the team, the contributors, to

anyone who’s been around. See you soon and till then “Let me see you put your dick in the air”!

Yours Nicolas

Photo by Suzanna Holtgrave

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