Text Hung Tran
“I’d clean out Vivienne Westwood in my Galliano gown,” she sung, as her arms held on anxiously to a swinging anchor. I was eleven years old when Gwen Stefani released “Rich Girl,” a catchy, gloriously choreographed video with lyrics written in the counterfactual conditional. Stefani, of course, had just embarked on what would become a hugely successful solo career. The irony flew straight over my head: her hypothetical penury, her culturally appropriative art direction, becoming clear only in hindsight. This was my first introduction to Galliano, and by extension, Dior. I spent the next few years researching and trying to make sense of this couturier, whose tinged, stately accent and flared moustache became its own caricature. And these weren’t exactly fun days for me—there was a lot of self-policing and self-preservation, as any boy who likes other boys would know. Galliano, to me, was the most magnificent, charismatic man in the world. Shameless about it, too.
Perhaps too shameless about it. His flamboyant flair wasn’t limited to the theatre of his runway presentations; theatre built itself around him. Prestige were mistook for promise, and mixed with alcohol, sleeping pills and stress—which Galliano claims contributed to his downward spiral—anti-Semitic vitriol was recorded on camera. Not just offensive, but cause for criminal conviction in France. Galliano’s departure from Dior has been well documented. No summary, and certainly no apologies, will be offered here. But since then, Galliano has undergone drug and alcohol rehabilitation; extended formal apologies to, and received welcome from, the Anti-Defamation League; as well as a brief residency at Oscar de la Renta’s studio. Earlier this year, Galliano became creative director of Russian perfume retailer L’Etoile.
Maison Martin Margiela, on the other hand, weaponized anonymity as a lucrative form of cultural cool. Kanye West dropped the name in a song, H&M dropped it in stores a year later, and the purists dropped their jaws. Some screamed sacrilege; some couldn’t wait to tell their friends that they had known about the brand pre-Kanye. And people actually suffered a sleepless night in the cold to buy the clothes in stores. Yet, it wasn’t the first time that the avant-garde lifted the smoke screen: Comme des Garcons and Viktor & Rolf—majority owned, with Maison Martin Margiela, by Italian company Only The Brave (OTB)—had already partnered with H&M. The difference this time, though, was that Martin Margiela himself had no influence over the operation, having departed from his namesake company in 2009. The founder would have detested the collection, the bastardisation of his genius watered down and hyped up for empty profit. All conjecture, of course—Martin doesn’t do interviews.
Maison Martin Margiela Fall/Winter 2007
This is precisely the current complaint: it’s about integrity and honour. Or something. Certainly, there must be some referential nod to founding designers, but there comes a point where retrospection turns reactionary. Alexander McQueen famously despised Givenchy, or at least, the aristocratic aestheticism that kept the house and its licenses buoyant. He later stated that his contract “was not conducive to creativity,” unsurprising for a brash Englishman at a company founded by French nobility. There was also controversy when Raf Simons, whose creative epiphany struck when he attended his first Maison Martin Margiela show in 1989, joined Jil Sander: Simons had never formally designed women’s ready-to-wear. Poetry, punk and pragmatism united beautifully. And, of course, there’s Hedi Slimane, whose borderline pathological disregard for the late Saint Laurent still raises eyebrows. That, and profits.
Maison Martin Margiela simply isn’t what it used to be. That spirit of collective contribution has been sullied by imperiousness; that organic sense of stealth has lost its gloss. Eric Wilson, fashion news director at InStyle, describes being banned by the company for reporting on Martin Margiela’s departure in 2009: “As an example of just how seriously the company took its policy of anonymity, after reporting on Margiela’s departure, I found myself banned from its presentations.” White has always been used by the design team to enforce uniformity, to erase individuality and specificity. The layers of context—of race, colour theory—can be unfolded endlessly, but it’s the lack of hierarchy that distinguishes the house. But even Margiela isn’t immune to the natural order. “When I returned after a few seasons in the penalty box…the mood had shifted,” Wilson writes. “Before, there had been no seating assignments, so the lowliest assistant could be in the front row, and editors in chief gladly sat in the back to witness whatever Margiela’s team had dreamed up. Now editors sit in assigned seats.”
It’s a stubborn allegiance to the “DNA” of a house that makes much of what we see on the runways look alarmingly familiar, tedious. Change is good; change is something we should welcome, especially if it comes in the gliding form of Galliano, who fuses social history with nuances of sartorial heresy. His work is layered and jagged and introspective, creative origami realised. Nothing good, or at the very least interesting, comes together because it “makes sense.” And really, if rationality is the metric of fashion moving forward, we’d have empty seats and empty ideas. The “DNA” of a house, it seems, is the relic of its early success: imagery immortalised in reference books—Dior’s New Look, Saint Laurent’s Le Smoking tuxedo suit. In basic biology, though, DNA is the genetic encryption that allows organisms to be self-regulating, and self-healing. Margiela could not and will not survive on its own. It needs new blood.
Photography Lucie Rox Model Matt Ardell (FM London) Location London, England
My aunt submitted my photos to DNA Models in New York.
When you wake up in the morning and look in the mirror, what’s the first thought that runs through your head?
I don’t know… I guess about how I want to shave my head or pop my pimples or something. Maybe I need to shave too that day lol.
I really like the emoji for the hearts and the glittery stars. The angel, cloud and pink flowers are my favorites!
If I was in a reality show, I would be in a new season of VH1′s I love New York and I would act as host of the show similar to Chris Harrison on the bachelorette!
Some characteristics I value in myself and others are caring for others and animals and sensitivity to others as well as the ability to stick up for yourself and be who you are. Being creative and having interesting ideas that are unique and your own as well.
What is one advice you would give to your 10-year-old self?
I would tell my 10 year old self to be patient and not grow up too fast because everything will happen when it is supposed to and I would say: your family loves you.
Matt Ardell lives in Brooklyn and attends Fashion Institute of Technology in New York with a major in Fine Art.
Photography Jasmine Maher Styling / Creative Direction Jamie-Maree Shipton Grooming Ellie Tseriotis Models Joel Barker / Luke C
Photography Kacey Jeffers Creative Direction Bianca Carosio Styling Askia Abdull Styling Asst James Scholsr Grooming Michael Chua Models Moses Gurman / Alexander Newman (RED NYC)
Leather trenchcoat Cockpit Tan Sweater BoohooMan Blazer and Mustard trousers HOWE Boots Rodd & Gunn / Navy Peacoat Cockpit Green Sweater BooHoo Man Green trousers HOWEHat and grey sweater Boohoo Man Oversized black coat Suzanne Rae / Oversized two-sided colour coat Suzanne Rae Grey Sweater Boohoo Man Grey Blazer ChapterWoven Coat HOWE Grey Sweater BooHoo Military Coat Cockpit Leather trenchcoat Cockpit Tan Sweater BoohooMan Blazer and Mustard trousers HOWE Boots Rodd & Gunn / Navy Peacoat Cockpit Green Sweater BooHoo Man Green trousers HOWE
Sweater Cockpit Buttonups Chapter Trousers HOWE Belt Calvin Klein Shoes Camper Tan Sweater Boohoo Man Blazer and Mustard trousers HOWE Boots Rodd & Gunn / Green Sweater Boohoo Man Green Trousers HOWE Boots Rodd & Gunn
Photography Virginie Khateeb Model Adrien Lesueur (Elite Models) Location Paris, France
How were you scouted?
At a street in Paris, by the fashion photographer Rainer Torrado. He approached me and presented me to the agencies!
French and English (but very poor!)
If you could be fluent in 3 langauges tomorrow, what will they be?
English, Mandarin and Russian.
I really like le quartier de la Bastille, de l’opéra Garnier and l’avenue des Champs-Elysée.
Who are some of your favourite directors and musicians?
My favourite directors are Hitchcock, Tarantino, Chaplin. Some of my favourite musicians are The Bloody Beetroots, Beny Benassi, Joris Delacroix….
My favourite websites are Youtube and Facebook.
How much time do you spend online each day?
I spend about 3 hours online each day… except when I am playing online games I might spend a little bit more time than usual!
At the moment, I don’t have any tattoos. But I definitely think I will not get a dolphin or “Maman pour la vie!” (laughs)
The fifth installment of MULTIPLIED, the UK’s only art fair dedicated to contemporary prints and editions, will return to Christie’s South Kensington this autumn. From 17-20 October 2014, the Fair will take place during Frieze Week, one of the most important periods in the contemporary art calendar. The following are our top selections from the upcoming art fair.
Phyllis Galembo, Portfolio “Masquerade A Decade”, 2 original colour prints on Fuji Cristal professional paper, 2010, signed and numbered edition 60. Courtesy of Galerie Alex Daniels-Reflex Amsterdam and Phyllis Galembo
For more than 20 years photographer Phyllis Galembo has travelled to Africa and Haiti documenting the art of the masquerade. What is it about masks? “It’s the creativity,” says Galembo. “It’s not just the mask. It’s about the entire ensemble and the uniqueness of ritual dress.” In making her images, Galembo travels to both cities and remote villages and, with the help of a guide, puts her ear to the ground in search of masquerade ceremonies. She sets up lights and tripod facing a wall, a fence, the side of a house, and allows her subjects to position themselves. She shoots one roll of 12 frames. That’s it. “Either I have it, or I don’t,” she says. More often than not, she does.
Caroline Kha studied Fine Arts at the National Art School in Sydney, Australia. She was awarded an artist residency at the Florence Trust in 2009 and currently works in London. Kha’s process uses traditional media, found assemblages and online projects to explore potentials for narratives, interactions and dialogue with audiences. Her recent works are forms of meditations, drawing on archetypal imagery, symbols and connections to culture, place, nature and identity.
Slinkachu, Balancing Act, 2011, Khayelitsha Township, Cape Town, South Africa. C-Type print, Fuji Crystal Archive paper, signed, edition of 20, 530 x 800 mm, edition of 10, 800 x 1200 mm, edition of 5, 1200 x 1800 mm, mounted on aluminium. Courtesy of Andipa Gallery
The anonymous 33 year old artist going by the moniker, Slinkachu, started his ‘Little People Project’ in 2006. It involves the remodelling and painting of miniature model train set characters, which is then placed, photographed and left on the street. The street-based side of his work plays with the notion of surprise and the London-based artist seeks to encourage city-dwellers to be more aware of their surroundings. The scenes he sets up, more evident through the photography and the titles given to these scenes, reflect the loneliness and melancholy of living in a big city, almost being lost and overwhelmed. Underneath this however, there is always some humour.
Andrew Moore, a large format photographer for more than 35 years, is best known for his portfolios on Cuba, Russia, Times Square, and Detroit. Moore’s work synthesizes the documentary style and traditions of fine art into multi- layered historical narratives. At night he would wander the neighborhood taking pictures of the construction of the South Street Seaport, which kindled an interest in documenting “life in flux,” he said. “I like places in transformation, the process of becoming and changing.”
Location Christie’s South Kensington 85 Old Brompton Road, London, SW7 3LD
Admission is free
Opening dates and hours
Friday 17 October 9.00am – 7.00pm
Saturday 18 October 11.00am – 7.00pm
Sunday 19 October 11.00am – 6.00pm
Monday 20 October 9.00am – 5.00pm
Text Callum Riley
Lil Jon – Bend Ova (Feat. Tyga)
This video is just weird. Starting with a parody of American sitcoms like All In The Family, it all kicks off when a pre-teen boy enters and excitedly tells his parents that he opened a portal to another world. Cue several minutes of madness, featuring solid gold drummers, the grandfather riding a pimped out mobility scooter and even Lil Jon’s face imposed onto Michealangelo’s The Creation Of Adam. Tyga & Lil Jon don’t make physical appearances, instead appearing on television screens throughout the video, but with all the chaos in the this video it’s hard to see where they would fit in.
Thundercat + Eric Andre – Tron Song
If Lil Jon’s video was weird then this just transcends all explanation. Essentially serving as a 3 minute love song about his cat, the video is marked by random bursts of violence including police brutality, lazer eyes and even a Mortal Kombat reference. At points, Thundercat can be seen getting freaky with a huge ball of string, and even himself, all whilst dressed up in a Saiyan battle armour costume. As this was directed by Eric Andre from Adult Swim, I would expect nothing less than to see a grown man masturbating and autoerotically asphyxiating himself dressed up as an anime character.
Dad Rocks – Peers
Dad Rocks! is the name of Snaevar Albertsson’s folk rock outfit, churning out sweet, good natured music as he pleases. In the video for Peers, the second single for upcoming album Year Of The Flesh, he takes a leaf out of Bob Dylan’s book, using handmade signs to talk about inspiration in the digital age, and how many musicians find fame through mediums like Soundcloud or Tumblr, much like word of mouth did in previous decades. It’s a heartwarming video for a rousing track that highlights the changes in music over recent times.
M83 – In The Cold I’m Standing
It’s not often that a band release a video for a song released 9 years ago but M83 aren’t your average band. The video for In The Cold I’m Standing released alongside the re-releases of their first 3 studio albums, tells an atmospheric love story all in slo-mo. We spend half the video watching surprisingly entrancing shots of the two leads blowing smoke before finally moving in to kiss. Then an eagle shows up, and then it’s back to kissing for another minute. Another weird and wonderful video but it manages to feel appropriate, the imagery mirroring the oh so intimate track.
Sam Tiba – Déguisement
Sam Tiba is finally striking out on his own, having served as a quarter of electro outfit Club Cheval for years, and in typical form for Bromance Records and its lineup, it’s dark, artistic and menacing. Tiba takes viewers on a ride through a modern take on ancient history. (Not surprising as Tiba once studied the subject.). Viewers may recognise versions of Cerberus, Icarus and even Narcissus. The track is a genre-less piece, having elements of hip hop mixed in with the upbeat synths, but unsettling piano sections and a faceless nun for a protagonist leave us with a very alternative offering that shows just how much of a story can be created with no dialogue, sound or named characters. As Tiba himself says, “colors, shadows and light are the real protagonists of that video”. Nick and Chloe have directed something that is alternative, chilling and engrossing all at once.
Flying Lotus – Never Catch Me (Feat. Kendrick Lamar)
Flying Lotus’ approach to production has always been a bit different to anyone else in hip hop but this thumping hybrid of hip hop and jazz fusion is out there, even at a time where barriers between genres essentially don’t exist anymore. Kendrick’s rhymes are fast, relentless and talking about personal demons, life, death and even destiny, somehow matching up with Fly Lo’s slingshot beats to create a psychedelic experience that we can only hope the rest of “You’re Dead!” will match.
Ibeyi – Mama Says Haim have got some competition for most infectious sister act since, well, Sister Act. Twin sisters Lisa- Kaindé and Naomi Diaz are the daughters of Anga Díaz, and are following in his footsteps, though with a markedly different sound. Signed to XL Recordings with a distinctly mellow and stripped back sound, singing in both English and Yoruba, a West African language that travelled to Cuba through the slave trade, Ibeyi have already achieved cult status among many listeners. Mama Says is slow, soulful and emotional, using only a piano and minimal percussion in such a way that acts like music’s golden boy, Sam Smith appear outright loud and brash by comparison.
Julian Casablancas + The Voidz – Where No Eagles Fly
Julian Casablancas has been a very busy man of late, not only working on a new album with The Strokes, contributing to Daft Punk’s latest album and even starting his second solo album, but even finding the time to start a second band, imaginatively called Julian Casablancas + The Voidz. Where No Eagles Fly is a track that finds itself all over the place, with a bassline that sounds like he’s been listening to too much Joy Division, vocals that swap between the familiar crooning tones of The Strokes to rougher shouting that sounds like a guest spot from Death From Above 1979, even finding the time to add in some synths that really round off this eclectic piece. This should be a complete mess but instead everything works together in a way that has to be listened to be believed.
Kendrick Lamar – i
Kendrick continues his path to world domination and cementing himself as the biggest name in rap with i. This is his first solo release in 2 years and he’s emerged with a completely different sound. Dr Dre’s sparse atmospheric production is nowhere to be found here, instead Kendrick spits out lyrics over a sample of The Isley Brothers’ “Who’s That Lady”, preaching the importance of self love, something he claims is thin on the ground in his home city of Compton. Rather than building on his sound like his mentor Dr Dre, Lamar appears to be pulling a Kanye and changing up his style completely, whilst keeping his honest, down to earth lyrics. If Kendrick keeps this up then his sophomore album could be even more powerful than his debut.
Prince – FUNKNROLL The earth literally quaked when Prince announced that he was released 2 album this year, and he’s clearly been keeping his ear to the ground for what makes a hit at the moment. FUNKNROLL features minimal production that feels like it could be borrowed from DJ Snake or one of his compatriots, but with Prince’s signature vocals and guitars, this is a spacey track that could be infesting clubs all over very soon. The latter half of the track is the highlight however, as the guitars are kicked into overdrive and we even hear synths that wouldn’t feel out of place on a Calvin Harris album. Prince has clearly got a lot left in him and 34 albums into his career, it feels like he could easily hit 100 yet.
“Our ninth issue, VERVE, captures the energetic spirit within the budding talents of today’s creative industry by allowing the contributors’ enthusiasm to speak for themselves and to flourish on these pages.
From Tel Aviv to Melbourne, the work of these young creatives employs a spectrum of both modern and traditional methods in realising their vision. Through exploring the possibilities within the given theme, the dynamism of their creativity is should through the striking balance between the old and the new.
We hope the vigour of creative spirit resonates throughout VERVE, and we thank you for your tremendous support in giving us the opportunity to showcase a new group of photographers, writers, stylists and more.”
Photography Mia Dabrowski Styling Lu Philippe Guilmette Art Direction Florence Tetier Grooming Gilles Degivry / Satoko Watanabe Models Louis Steyaert / Nadine Strittmater
Photography Jeiroh Yanga Styling Julien Alleyne Grooming Malika Belfor Models Philip K
Photography Donald Gjoka Styling Noey Park Grooming Alice Fayre @ MKS Models Kotryna @ IMG Models
Photography Marco van Rijt Styling Jean PaulPaula Model Sunny Janssen
Photography Winter Vandenbrink Styling Shaun Kong Grooming Maria Papadoploulou using Mac Pro / Chrysostomos Chamalidis Models Lydia Graham
Photography SY DELORME Styling Ignazio Arizmendi Grooming Laure Dansou @ Walter Schupfer / Takauki Nukui Models Anthon Wellsjö
Photography Lydia Gorges & Jens Schmidt Styling Patrick Lief / Matt Antasri Grooming Tricia Le Hanne @ Bigoudi Models Merilin Perli
Photography Emma Krist Styling Matt King Grooming Michaela Selway / Mikio Alzawa Models Baylee
Photography Syed Munawir Styling Andrea de Saint Andrieu Grooming Rimi Ura / Jay Kwan / Sora Kuwata Models Jean Lemersre / Hannah Cassidy
Photography Adam Peter Johnson Styling Perceval Vincent Percavalties Grooming Lisa Michalik Models Brieuc Larsonner
Photography Lara Giliberto Styling James V. Thomas / Caroline Daniaud Grooming Nori Takabayashi / Ai Cho Models Alexis Petit / Octave Durand
Photography / Styling Alina Asmus Grooming Yifat Ohayon (makeup) Models Tanya James
Text Erich Kessel Jr.
Interview Hung Tran Images Jonas Lindström
Interview Nadirah Nazaraly Images Jessica Wohl