ShoesSoles

2009-11-05T15:54:00.001-08:00

www.steinbeisser-in.blogspot.com

2009-07-11T09:07:00.001-07:00

©Martin Kullik&Alexander Koch
Alentejo Cover published in UP (TAP in-flight) Magazine #21
concept,production&styling Martin Kullik photography Alexander Koch model Lucia Tresova and Nicolai Sarbib

2009-06-14T15:01:00.000-07:00

©Martin Kullik&Alexander Koch
Moscow Cover published in UP (TAP in-flight) Magazine #20
concept,production&styling Martin Kullik photography Alexander Koch model Lucia Tresova

2009-06-01T01:33:00.000-07:00

©Martin Kullik&Alexander Koch
Florianopolis Cover published in UP (TAP in-flight) Magazine #19
production&styling Martin Kullik photography Alexander Koch model Lucas Vajda

2009-05-21T04:56:00.000-07:00

©Martin Kullik
Face B. Kaleidoscope. Mykro Mag. published in Revista Metal #15
text&interview Martin Kullik

2009-04-29T06:42:00.000-07:00

©Martin Kullik&Alexander Koch
Veneza Cover published in UP (TAP in-flight) Magazine #18
concept,production&styling Martin Kullik photography Alexander Koch model Maria Santos

MODALISBOA - OUR FAVORITE DESIGNERS

2009-04-28T09:39:00.000-07:00

ModaLisboa | Estoril’s 32nd edition took place at the Cascais’ Citadel during 12 to 15 of March. Heartcore as main theme calling in energy, vitality and creativity for all those who are naturally affectionate, who improve, who believe and who insist. This edition seemed to express the very turning point of Lisbon Fashion Week as a platform.

Portuguese fashion designers have shown once more that the scene has more inventive spirit, creativity and stability then expected. As traditional values are still in charge for the creative way of thinking of many designers, others have mastered in harmony to step out and relocate their image. Fascination and determination. High are the piles of ideas which understated the fact of exact realization. Development is conditioned, due to small investments and showcasing difficulties since years.

Inspired by the Surma tribe from Ethiopia, Alexandra Moura brought her shaded vision on men and women wear. Black shapes detailed with imposing make-up and straw, wood and flower worked hats. Cloth less, natural, elegant, structured, partly slim waist and large shoulders.

Dino Alves showcases a typical style of Portuguese women working in cleaning and farming. The Zona Centro collection is defined by a woman who wears an apron on top of the trousers, with slippers, socks, wool coat and constructs this way randomly in an exuberant image without esthetically concerns.

Luis Buchinho's attention has been wandering in to deep constructivism, controlling the technique of shaping soft and stronger knitwear. The difference in use of materials is essential while colors and shapes are adjusted. We talk with the designer.

Do your collections reflect your mood?
Completely. I’m usually in a good one, and that’s how I want people to feel when they see the collection.

How would you visualize the perfect individual wearing your designs?
A strong personality is a perfect starting point.

How far is reality from your design?
They’re actually quite close. I think that when you mix the conceptual with the “I want that” appeal, you’re in heaven. I like to work with boundaries so reality is actually the beginning of everything.

Do you consider your existence of importance?
Yes. At least, for me it’s very important.

In continuation of his last collection, Aleksandar Protic developed artisanal details in incorporated dark colored leathers. The difference is about losing the importance of geometry and instead gaining retro-inspired strong linear cuts.

Lidija Kolovrat has long been noticed to be Lisbons source of re-innovation. In the latest collection ZerotoeighT her expression wanders towards accessories, slim fitted silhouettes with written statements and the final catwalk performance including a outfitted quality control'man.

Lidija describe your vision?
ZerotoeighT. I started with 0, is like to start when there is nothing, zero-ness. I liked the feeling. 0 twist ∞ back 8. And by carrying on, this was an inspiration, geometrical shapes circle - o. Parallel was going on reevaluation and searching for objects that include those new possibilities. I can describe the process in this words: volume thinking flat volume, space limited surface, illusion space between relative function happiness dream, possible absurd image memory use-ability.

Tracing back your time! When and where do you spot the highlights?
From this collection mainly bags, bag-scarf, jewelery, ties, accessories with a special use-ability.

Have you been often in competition?
If I compete it's with me and my imagination.

Do you consider your existence of importance?
I consider important to exist. To love and therefore to create.

published 22 April 2009 on www.revistametal.com

AMSTERDAM - INTERVIEW WITH LEVI VAN VELUW

2009-04-18T23:55:00.000-07:00

Dear Diane and Shaded Viewers,

Levi van Veluw's photo series are self-portraits, drawn and photographed as a one-man-process. The stylistic visual impact has brought van Veluw a larger scaled showcase in several locations across Europe, China and USA. His works constitutes elemental transfers, modification of the face and the combination with other elements to create a third visual image. Forgotten features and the creating of invisibility by darkness and light generating resources have been explored for the latest series, Light.

INTERVIEW WITH LEVI VAN VELUW:

- For how long have you been working as a photographer?

I never really worked as a photographer, I only make autonomous art, photo's, sculptures, videos, etc. but I did do some assignments a year ago.

- Please tell us about your work?

The images that I make consist often of unlogical combinations, materials, patterns, colors, forms, with my head as the only constant factor. Each element is consciously chosen so as to affect a pre-determined transformation. By playing with the value of each material and by using them for a purpose that was not originally intended for them, I construct within the image, in a very small way, a different perspective of the world.

In most cases it is my head that is the carrier of these transformations and combinations. The expressionless, and almost universal face, allows the viewer to project himself onto the work. Because the works have really existed and have not been digitally manipulated, each image contains a short history of a performance.

The commonplace notion of the ‘aesthetic’ image is that which is free of unsatisfactory characteristics and general human imperfections. This in my opinion is the most superficial form of beauty. In my work I attempt to create a different form of aesthetic. The unusual and unimpressive materials, traces of glue and other imperfections that exist in the production of the work are what form the aesthetic value in my image. This revaluation of these normally insignificant elements only occurs because they now exist in a new context that distances them from their original circumstances and associations.

The concept for ‘Carpet’ emerged from an argument I had had with a friend. Having calmed down, I began to ask whether my stance in the heated discussion had been correct. The empty and displeasing feeling that accompanied this reflection, raised the question whether being hypocritical was really so bad. The realization that everything has another side has become a point of interest in my work. If you can even inspect an atom from two sided then surely my opinion must have its counterpoint. But where do you stand and what are you if you are never right? (Maar waar sta je en wat ben je als je nooit gelijk hebt? – snap deze zin niet) I became more and more aware that all objects, materials, events are assigned a commonly held value, but that this valuation could just as easily be different. It was those elements that nobody had an opinion about that then became most interesting to me. Because they seem to contain little meaning to people, they are malleable and can easily have their perceptions about them altered.

My work amounts to small researches into the valuations we assign to the things around us and the associations they engender in this way. Although these underlying reasons are not immediately apparent in the work, a very specific unsettling reaction is invoked in the viewer. Although the cause of this reaction is a mere piece of grey carpet, it is logical that people react to it in this way as the viewer is essentially forced to review his commonly-held notions about this material. The image succeeds in shifting the viewer’s perception, be it in a very small way and about an unimportant subject.

- How came you started doing self portraits?

In the beginning it was a practical choice. But during the last 2 years it became a statement. Repetition is a theme I find very interesting as you can use it for different ends. For example, by using the same head and facial expression, the person slowly becomes of secondary importance to the form.The elements that remain constant lose their value and the elements that change, become the subject of the work. In this way I create a shift in the hierarchy of values.

- Do you push forward?

Definitely, that's the most important part of my work.

- Do you believe in individual or in group movements?

I believe in both, but if you make autonomous art, It's all about the individual.

- Does the Netherlands provide you with a satisfying feed-back?

Yes it does, but I got more feedback from foreign countries.

- Where do you feel home?

At home, Arnhem and at my studio near Arnhem.

- Would you ever work with living elements on your face?

I have no idea, but I keep every option open.

- Did you ever had long hair?

Yes I did, but not really long, it was about 4 years ago.

- In your early stage appears the work with Erwin Olaf. How do you keep this experience in your memory?

You have to ask that to an scientist, but the experience was really positive. He was the first person that bought my work.

- Important ingredients for your creative being?

I work in a really quiet surrounding. My studio is based on a industrial area with lots of trees and near a small village.

- Does fashion stimulate you?

Yes it does, I would like to make a one-time collection in the future.

- Do you ignore?

Too many compliments.

- Do you make believe?

I hope so.

- Your latest work deals with the electromagnetic field, visible and invisible lines and textures in the dark. Please describe the context-concept.

In my latest photographic series, the visibility of this creative process is reduced. Under the working title ‘Light', I covered my head with strokes of light generating foil. Photographed in total darkness, the highly radiant bright blue light produced by this material, allow it to stand out as an autonomous object. Forgotten are the features my face, only its shape remains discernible in the route that each stroke of light takes. Light becomes form and it stands free from any ‘original' subject. It is this ‘invisibility' of the production processes that creates the freedom in this image.

- Do you feel the materials?

Of course, else I wouldn't have used them. It's all about my own fascinations.

- Photography enlarged by Film making?

I don't want to get stuck to one medium, so making or directing films would be a great step in the future. But you can't do everything at the same time, so I have to be patient.

- What will be the next step in your career?

Besides personal steps and choices that an artist has to make, I would like to create more work. Using other mediums and techniques. But my personal development/growth is the most important one.

- Will your work be available for a wider public in the future?

It already is. The work is well known in foreign countries and the publicity is enormous. There is lots of interest from, the art world, fashion, design, but also newspapers which have nothing to do with art.

- What do you believe in?

Individuality.

Kindly,

Martin Kullik
published 16 April 2009 on www.ashadedviewonfashion.com

2009-04-15T11:22:00.000-07:00

©Martin Kullik & Ei Ei Kyaw
Pan//Gestalt Effect published in Dif Magazine #60
post-production work by Joana Machado
styling Martin Kullik & Ei Ei Kyaw photography Ei Ei Kyaw modeling Martin Kullik

2009-04-03T04:11:00.000-07:00

©Modalisboa
ZerotoeighT by Lidija Kolovrat
Fall/Winter'09/oo Collection
Creative Consultant and Stylist Martin Kullik

DIANE PERNET’s ASVOFF2.

2009-04-03T04:07:00.000-07:00

A Shaded View on Fashion Film is a unique traveling presentation of short films and videos from around the world regarding fashion, style and beauty. Curated by Diane Pernet. ASVOFF seeks to unveil the best moving images from international filmmakers, artists, photographers and designers who investigate the intersection of fashion and film. Launched in September 2008 at the national museum of Paris, Jeu de Paume. ASVOFF is the only curated, annual film presentation of its kind and is now entering its 2nd year. Out of the 200 submissions, only 30 films passed the test by a jury comprised of Danièle Hibon, Eric Tong Cuong, Hélène Ségol, Laurent Goumarre and Magali Aubert. Criteria for the films included a running time of 30 seconds to five minutes and a centralized theme around fashion, style, and/or beauty that expresses a unique thought which contribute to the artistry behind the fashion and film industries.

INTERVIEW WITH DIANE PERNET:

- How came your passion towards photography and film?
Film is something that I’ve had a passion for almost since birth. I was a reportage photographer for a while and in a way I guess I still am. I studied and got my degree in documentary filmmaking. John Cassavetes , Pasolini, Rainer Werner Fasssbinder, Luis Bunuel, Visconti, Fellini, Antonioni, Akira Kurasawa, Trauffaut, Hitchcock, Orson Welles, Satyajit Ray, they all helped to form my appreciation for film.

- What do you like about cinema?
I like the way I can enter another universe. Film has a wonderful way of transporting you and if it is really good, you forget everything else in the world for that limited period of time. I love fiction and I love documentary which I find more extraordinary than fiction. I adore all films by Errol Morris from The Fog of War to Fast, Cheap and Out of Control. I loved Capturing the Freedmans by Andrew Jarecki .

- Was the ASVOFF a pioneer in the Fashion Film Festival branch?
Before ASVOFF I did another fashion film festival called You Wear it Well with a collaborator from LA, that was just a 90 minute curated program. ASVOFF is a 3 day film festival but sometimes travels as the 90 minute program. I’m definitely a pioneer in the fashion film festival category. In London Marketa Uhlirova has a wonderful festival called Film and Fashion, I had a film on Bernhard Willhelm in that but it is more academic and films in history than contemporary films like ASVOFF.

- What would you exclaim about the ASVOFF2?
The next edition will be launched either in the end of September or first week in October, it is not sure yet. We will have a screening on October 8th at the Pompidou Center but that is not the launch. We have a great jury lined up: Nan Goldin, Maria de Medeiros (actress/director), Eric Tong Cuong (producer and creator of BETC and La Chose), Helene Segol, Wanda Productions and Laurent Goumarre of France Culture. There will be one fashion designer but that is not confirmed yet. This year we are adding two more categories : music videos and advertisements where fashion plays a central role.

- What happens to the contributions after the official presentation?
The festival travels for a year. So far the first edition has been screened in Paris at the Jeu de Paume, in BIlbao at the Guggenheim Museum, Seoul, Korea, Mexico City, Riga, Latvia, Rome. I leave for Tokyo today where it will screen for 6 days at Rise X Cinema, it will be in the Festival d’Hyeres in the south of France. Then it will travel to Vienna and Sao Paulo in June. Probably to Poland in June as well.

- If you look at the ASVOFF, where do you see it in 5 years?
I would like to see a constant growth and development to my international festival. I would like it to screen in the same locations as the major film festivals, off schedule during Cannes, Tribeca, Venice, Berlin, etc.

- What is your ambition?
To keep doing what I love to do which is making films and growing my festival.

- What makes you feel inspired?
Life.

- What does fiction mean to you?
I love documentaries. I love fiction. Are we talking about fiction vs reality?

- Young creative people and there projects are highly supported and promoted with your help. What is the objective?
Only to support and promote talents that I believe in. I think the internet is the best platform to help them get their message out to the rest of the planet. I was a designer for 13 years, I know what it is like to be independent, I’m still independent.

- Do you like to encourage people?
Yes, if they have talent.

- Does everything has to be prepared and well studied?
Not really, I think more about instinct. Of course there are skills required no matter what you do. If you have great vision but not great skills then you hire people that have the skills you need and don’t have, it could be a good camera man, an editor a lighting person or a great patternmaker or seamstress. It’s the ideas that are most important, the technical skills you can buy.

- How extensive are your teachings?
If you mean what is the reach of my blog, that could be considered teaching, there are 160,000 readers a month, approximately, it depends on the month.

- What elements of your knowledge do you share?
I share what ever I think is interesting , it can be art, fashion, music, travel, architecture, anything. I think that generosity is one of the best qualities one can have.

- What do you look for in fashion?
Something that makes me react. I love beauty but ugliness can also bring an emotion. I think it is important that if you are a designer or a filmmaker that what is most important is that you actually have something original to say.

- Why did you stop designing yourself?
I did not stop because I did not want to design. I stopped because I could not stand living in NYC watching crime get out of control, people dying from aids every day. I did not enjoy living like that and I moved to Paris and did not have the means to start my business up all over again. I never lost a love for fashion or design.

- How do you invest your time?
I have a film festival that takes up a lot of my time, I have a blog, I am the co-editor in chief for ZOO Magazine, I am a consultant for the White Club in Milan, I am the talent scout for the Festival d’Hyeres in the South of France, I make their films of the making of with Antoine Asseraf and a team. I teach twice a year, well, less and less because I just don’t have the time. I travel extensively with my festival and for my blog covering fashion around the globe.

- Have you found a goal in life? Have you reached it?
I do what I love and I love what I do, is that a goal, I don’t know that is just how I’ve chosen to live my life. I enjoy the luxury of freedom.

- How do you think people should respond to the current economic climate?
I’ve always lived a simple life so it’s not that personally I need a huge adjustment. I think clients will buy less unnecessary items and that, as we saw this season, forces designers to be more creative to propose something that is so unbelievably magnificant that people have to reach into their pockets and buy. Otherwise go through your closets and reinvent your old clothes. Recession dressing. We just have to all carry on, wonderful things can come out of a crisis. It’s about re-evaluating what is important. It does not have to all be doom and gloom.

- Thank you Diane. All the best for you

Kindly,

Martin Kullik

credits (in order of appearance):

Wode by Boudicca, photo Justin Smith | Mr. Pearl by Diane Pernet, photo Michael James O’Brie | The Cockettes by David Weissman and Bill Weber, photo Freiwald | Mary Jane by Jessica Miltrani | Don’t Blink! by Francesco Carrozzini | Mareunrol’s Detective by Kristine Kursiss | Hong by Wing Shya and Sean Kunjambu | Portrait of Diane Pernet by Miguel Villalobos

published 21 March 2009 on www.mykromag.com/blog

AMSTERDAM - MYKROMAG INTERVIEWED

2009-04-03T03:56:00.000-07:00

Dear Diane and Shaded Viewers,

This new source of inspiration has been a long time coming. The emerging online magazine, MykroMag was officially established in the beginning of the year and will soon be accessible to the public. Founder and Editor-in-Chief Sonny Groo talks about the mykro universe, its special focus on mixing generations and the passion behind a good publication.

I AM A NEW CONCEPT. A CONCEPT WE BELIEVE IN. OBVIOUSLY.

I AM NOT A FASHION MAGAZINE.
I AM A SHOWCASE FOR TALENT, WHETHER THAT IS IN FASHION, ART OR MUSIC. OR COOKING. WHY NOT?

I AM NOT CREATED TO PROVIDE MY READERS WITH TOO MUCH INFORMATION.
I AM CREATED TO MAKE PEOPLE THINK, INVESTIGATE, RESEARCH AND DISCUSS MY FEATURED SUBJECTS. LESS CAN BE MORE, I CAN BE MORE.

I AM NOT LEAD BY PREDICTABILITY. I AM ABOUT THAT ONE SURPRISING EDGE OR DIFFERENT ANGLE. WE ALL LIKE A SURPRISE, DON’T WE?

I AM NOT ABOUT THE LATEST TRENDS AND MUST-HAVES. OR IT-GIRLS FOR THAT MATTER.
I AM ALL ABOUT INSPIRING, INTRIGUING, REAL PEOPLE, STORIES AND PROJECTS WE BELIEVE IN.

I AM NOT FOR SALE.
I AM EXCLUSIVELY SENT OUT TO A SELECTED NUMBER OF INSPIRING PEOPLE. DESIGNERS, BLOGGERS, BUYERS, PHOTOGRAPHERS, EDITORS, YOU NAME IT.

I AM NOT PRETENTIOUS.
I AM ALSO AVAILABLE ONLINE FOR ALL OTHER PEOPLE.

I AM AVAILABLE ONLINE FROM SPRING 2009. OR IN YOUR MAILBOX, IF YOU’RE LUCKY.

INTERVIEW WITH SONNY GROO:

- Dear Sonny.
Hello Martin!

- What are you up to?
Sleep. I just got back from Paris Fashion Week.

- Are you enjoying the landscape?
Which landscape? Outside my window I only see trees and flats.

- What have you been working on?
We've been quite busy with MykroMag and the stories/features for this upcoming season.

- How come you fell in love with fashion?
I have no idea. I can't remember not loving it or when the magic happened.

- What have been some of the best collaborations you have had?
For MykroMag we've been collaborating with many people. The best ones are the ones that still make me smile.

- Who would you really like to work with?
I would love to work with Helmut Newton or Salvador Dali and of course with Karl Lagerfeld, Karl Templer or Juergen Teller.

- With the constant feeling of over saturation in this branch, how do you manage?
I balance it. If you make things bigger, you also need to make other things smaller.

- Is it important for you to stimulate public opinion?
Very much. I think it's very important to push the limits of people.

- Regarding your new project, please describe the Mykro Mood.
Close collaborations with talented and creative people around the world. Especially since now-a-days the world is getting smaller and smaller through the power of Internet.

- What made you become interested in developing this project?
I love young talent. And you don't very often see them working for the big clients and media. Therefore I would love to show what we're capable of and who knows what will come out of that. It's not that I wanna broadcast the new generation, but I would like to see different generations working together!

- Which will be the use-ability?
Do whatever you want to with it. That's what we want you to.

- Expected and unexpected?
I expect other people, for example other editors to use some of the talent we show. And of course many unexpected things will happen. For example ABC News already called if they could film us during the cover shoot!

- In which way do you see it making statement?
Hopefully people get inspired by MykroMag. Also I hope people see the generations working together.

- You work in cooperation with an interesting amount of individuals. Which functions are attributed? What does each member contribute?
I choose the team very selectively as we need to take our self to the next level and not focus on one way only. So each member knows the MykroMag-vision and feeling, but gives their own edge to this.

- Paris Fashion Week, accompanied by your team, what did you worked on?
We're back now and it was one hectic and crazy week. But a brilliant one as well. We did the whole package from shows to showroom, interviews, talks, meetings, etc. Also pre-organising features we're doing this Summer. For example I'll be leaving to New York.

- Where do you collect your references?
Most people who are part of MykroMag I've met in person. Or got in touch with by Facebook or Myspace.

- How are you planning to upgrade and advance in numbers, dates and facts?
It's all about the power of Internet. For example, 12 selected bloggers will write about MykroMag next month. Together, they receive over 10 million readers a month and that's the start. We're also planning exhibitions, etc.

- Will you deal with advertising?
At the moment, as we also told those who are interested in advertising, we're not up for it yet. We would like to pay attention to a certain brand or client and do something crazy as a feature.

- What in your opinion makes a good Magazine?
I think a good magazine is one you can look at after a year and still find something interesting in there. Also I believe a good magazine is one that is made with love and you can always tell which ones are.

- Tell us your corkscrew?
It's not about left or right, big or small, black or white, it's about the balance. For example, we're doing the feminine menswear or giving a certain mainstream items a twist. Eye catching without screaming for attention. And in that way, we stand out.

- All the best for you and Mykro.
Merci. Dank je.

Kindly,

Martin Kullik

published 19 March 2009 on www.ashadedviewonfashion.com

2009-03-06T02:09:00.000-08:00

©Alexander Koch
Brasília Cover published in UP (TAP in-flight) Magazine #17
co-production Martin Kullik photography Alexander Koch model Sammya Suellen

2009-03-06T02:05:00.000-08:00

©Alexander Koch
London Cover published in UP (TAP in-flight) Magazine #16
co-production Martin Kullik photography Alexander Koch model Sammya Suellen

2009-02-24T01:49:00.000-08:00

©Martin Kullik&Elke Meitzel
James Long - Horse of the Sea published in Revista Metal #14
art direction,styling&interview Martin Kullik photography Elke Meitzel model Rory Jobling

LONDON - INTERVIEW WITH LA JOHNJOSEPH

2009-02-24T01:39:00.000-08:00

Dear Diane and Shaded Viewers,

La JohnJoseph is a transdrogynous, transatlantic performance art darling and protégé of the legendary Penny Arcade. Born Liverpool, 1982, he has created an ever expanding performance style for himself which incorporates academia, burlesque, live art and cabaret but is defined by none of the above. He has appeared right across the USA and Europe, performing Patti Smith songs saturated in wall paint, dancing at strip clubs, opening art fairs, and creating baroque installations in swimming pools. This year he has appeared in Justin Bond's acclaimed West End show Lustre, emceed the Cockettes reunion, opened the Quentin Crisp 100th anniversary celebration at the Southbank Centre, and performed at the Museum of Modern Art in San Francisco, the Spiegeltent in New York, and Berlin's Gallerie Studio Saint Saint. Having returned to London this Winter to present his full-length show I Happen To Like New York at The Leicester Square coming Winter after which he will head to Athens to collaborate on a major new show, ahead of appearances at several European festivals this Summer.

"I Happen To Like New York" is is a trannytastic trans-Atlantic tale of sex, drugs and financial ruin in the world’s favorite city. A one-hour medley of song, cabaret and live art, the show is a collage of New York anthems interspersed with lyrical musings on art, love, and the apocalypse in the city that never sleeps. The overlap between fine art and entertainment draws the shows stylistic references from many disciplines. The scenography is interlocked and cohesive, with every element folding in to expand on the narrative.

INTERVIEW WITH LA JOHNJOSEPH:

- How are you today?

Oh, I’m well thank you Martin, nice to speak with you. Actually I’m exhausted! I’m working on a lot of different projects and they’re all very demanding. I just finished shooting with Faye-Michelle (the show’s costume designer) and before that I was in rehearsal. I also just finished the first draught of a novel and my show, I Happen To Like New York, is back on February the 19th. Somewhere between now and March I’m going to have lunch.

- Would you like a tea?

Yes please, Earl Grey with soy milk and one sugar. I hate cow’s milk, it positively makes me shudder.

- Dark Chocolate too..?

You know, if it’s good stuff, dark chocolate doesn’t have any dairy in it. I’m mad about dark chocolate, I love bitter, peppery tastes. I told an interviewer once that I loved dark chocolate and now people give me bars all the time. People turn up to shows with, it’s the same with lilies. It’s very sweet but a little overwhelming, what will I do with it all?

- Where are you right now?

I’m at my studio in Dalston, thinking about where to spend the Summer. I really want to go to LA, I love it there, everybody has such processed hair they look like they’re wearing wigs.

- How would you describe your scenic interpretations?

For this show they veer between straight forward illustrations and metaphorical reinterpretations. Anna draws the New York skyline behind me at the opening of the show which is a pretty uncomplicated gesture, but later on she spray paints my outline on the wall in gold, which is a reworking of graffiti and icon paintings all at once. She’s versatile.

- Intersexuality and iconography are two main points of your work! Please explain.

Well, living as I do, on the seismic cracks between the widely accepted categories of ‘male’ and ‘female’ it is unsurprising that intersexuality is of interest to me. I’ve been applying this fascination to creating iconography.
Iconography, whether it is early Christian art or Hollywood cinema, exerts such an enormous power over the beholder precisely because those uncomplicated images trigger off endless psychological reactions within the mind of the viewer. This is really the great gift of fascism to the world, looming, paralyzing images that not only express an idea but convince one of its truth instantaneously.
I suppose what I’m trying to do is make powerful images in performance, with my moving body. To steal the power of all those images, the images that have told me what is and is not appropriate for me to do with my body. For me performance art is the ultimate act of liberation.

- What are you working on at the moment?

A lot! I’m writing a new play about the decapitated heads of John the Baptist, Anne Boleyn and Medusa, in conversation. And there’s my novel, and I want to make a record this year too, and I have a BIG Spring project happening which I’m not supposed to talk about. Oh, and a very nice man just started a fan club for me so I’ll be reading a lot of letters from new friends.

- How diverse is your audience?

Pretty diverse, I get a lot of art fags which is cool, and also art grannies which is even cooler, but not really enough lesbians. I don’t know why. I should start marketing directly to them, because they’re my favorite people, I’m a lesbian separatist at heart.

- The y is an incomplete x?

Everything is complete already. Nothing, no thing, no person will ever complete us, that’s just a story spun by romance novelists and advertising agencies.

- What is in your opinion a source of pollution?

Facebook.

- Is there a place or technique for stimulation?

Movies. I can’t help but get turned on by cinema, I always find images to extrapolate from good films, there’s something so pristine and poetic about well crafted movies. I really do think cinema is the American masterpiece, not Moby Dick. I hate that book.

- When do you feel inspired?

Always. I am wildly impatient and could happily work nonstop all day every day. Sometimes I try but it usually ends up with me wandering around in a daze at some ungodly hour crying because I can’t remember all the words to Losing My Mind.

- Which noble title would you go for?

I am not a monarchist. As long as royalty remain purely decorative I can put up with them, they’re good for tourism I hear. Myself, the only title I would ever accept is Old Queen, which I suppose will be mine soon enough.

- Traveling out of orbit?

Space travel is a very peculiar thing isn’t it? I am so deeply in love with the rumor that the moon landings were staged as part of Kennedy’s propaganda war with the USSR. I hope it was, it is such a beautiful piece of footage. A very good friend of mine said recently: “Space is exciting and all, but while people on Earth still don’t have food we should just be writing poems about it.”

- Twist and betray for a sausage?

For a vegetarian I am unhealthily fixated on sausages. They’re so British aren’t they? They are one of the only things I can bear about the United Kingdom actually. Lord I sound like Morrissey don’t I? I had a dream once, that I was Marlene Dietrich, pulling sausages out of my trousers, and from that dream came a whole performance. I recognized that image as being a very witty metaphor for gender performance.

- Betty Boop or Karl Lagerfeld?

I suppose it depends what you need them for doesn’t it? If I needed a new dress I’d ask Ms Boop obviously, you wouldn’t catch me dead in Chanel. All of Mr Lagerfeld’s designs exert a strange power of mummification over the wearers. Everyone who puts on his clothes looks immediately like a waxwork, he really is the Edgar Allan Poe of fashion.

- What would you like to be reincarnated as?

There is no way I’m doing this again.

- Looking forward to see you live! All the best!

Well, fingers crossed, I’ll be in Portugal this year. You should check myspace for details. Or write to that very nice man at my fan club 442-D Lorimer St, #150, Brooklyn, New York, 11206. USA.

La JohnJoseph

"I Happen To Like New York"

Thursday, February the 19th at 8pm

The Leicester Square Theatre, London
www.leicestersquaretheatre.com

Kindly,

Martin Kullik

published 17 February 2009 on www.ashadedviewonfashion.com

AMSTERDAM - INTERVIEW WITH ALEXANDER FIELDEN

2009-02-24T01:23:00.000-08:00

Dear Diane and Shaded Viewers,

Concordiastraat 68 in Utrecht, The Netherlands is base and creative core of Alexander Fielden. The extraordinary handmade shoe manufacturer works skilfully and with care all his unique orders given by people as diverse as we could imagine. Since his early years at the University of Arts in Utrecht the curiosity for shoes has been stoked. In 2004 the BKVB fund applied Fielden a "stipendium" which turned out to be the basis for his presence today. A tense development between customers and shoe designs has been guaranteed since. Tailor-made or mainly unique copies of his own models are focused on the wishes of customers. A new step has been taken.

INTERVIEW WITH ALEXANDER FIELDEN:

- What is your shoe size?

Eur.size: length 43+, width 7.

- How came you started making shoes?

In the time I studied product-design at the Art Academy in Utrecht (HKU), Holland, I worked at a small shoe store called 'La GoDasse'. This little store had a nice collection, first introduction of Campers, a Spanish shoe brand called Snipe and was known for selling the French dessert shoe Palladium. The store died because customers stayed away. In the boring hours I had to do something and started drawing all the shoes we had on Post-its… and never stopped doing that. I was hooked and finally found ground underneath my feet. For two years I studied, next to the art academy, for handmade shoes. Left the art academy, found a working space and got my first client.

- Who are your clients?

They come in all shapes and sizes, Teachers, managers, designers, journalists, even a student, the rich and the less rich. They all have one thing in common they are shoe-lovers, that's for sure. Some can afford it easily, others save up money and pay in terms. I also like to trade; I can do what most people can't and the other way around. All creators have this power to do trading, going back to basics, a fish for two breads, a pair of shoes for a painting. The only disadvantage is these trading projects they always tend to end up behind the paid projects; I need to feed what is the most important thing to me, my boys at home…

- How do you feel by selling your creations?

Feels great! These shoes I make need to be in the world, they're part of it. Sitting on the shelve would be a shame. A lot of my showpieces have that life. They have a few moments of fame in magazines or a catwalk show and end up on the shelf. I hope they live as an inspirational possibility in someones head. But I also can make a pair that will walk a path in the real world with it's new owner and lives a live in crowded pubs, wet streets, on the paddles of a bike and becomes someones favorite shoes… Love doing that.

- Based in Utrecht, how does it work out in the logistic and visible terms?

The visibility has always been there for my shoes. My brother is a brilliant photographer and he has been shooting my shoes professionally from the first one. That's a blessing, because it means I always could provide magazine quality images and that helps getting publicity. A lot of beginning designers make beautiful stuff, but lack the quality of there imagery that can carry there work into the world. It's like playing Bach on a one string cello… Good images of work and the power of internet can bring you all over the world. But most of my customers find me through somebody else; 'oh man, did you see the shoes by Alexander Fielden?' it's that talk that does the job for me.

- Your work is considered creative contemporary design applied on traditional handcraft. Is this combination "kostbaar"?

Yes it is 'kostbaar'. This way I work is time consuming. All the handmade shoes I make are unique so every time I deal with different technicalities and I have to find new ways of solving problems. That takes time, but it has given me a lot of experience.

- How could your shoes become more affordable? Is this something you are concerned about?

At this moment I am developing my first collection, which will be produced. This small mens collection has got the quality but is far more affordable then the handmade stuff I normally make. The fun part is that more people can enjoy my shoes and I can work on several projects at the same time.

- What do you think of the current creative and industrial shoedesign?

For the last ten years, in the larger scale, I think the sneaker industry was the most creative in bringing new ideas to the table. They mixed new materials and industrial possibilities, which gave the shoe designs totally new shapes, but I think this concept now is just reproduced over and over. To be honest I'm not very interested in the shoe market in general, its mass produced booming business, everybody is steeling from everybody. So, I keep my self focussed on the small shoe brands that have the guts to stay close to there own ideas, and stick with it, that brings craftsmanship and authenticity. Like Kei Kagami, Paul Harnden, Sruli Recht, Carol Christian Poell, Christian Peau, Marloes ten Böhmer.

- People talk about economic limitations getting closer. Do you have to deal with this when you create?

Well, my studio Alexander Fielden is my full time busyness, a small but an expending one-mans-company. The ones that are hit by this recession are the rich and their workers, so, I'm not part of this economic recession.

- Do you work commissions?

Most of the time I made measured shoes for private persons, but more and more possibilities are coming to work for other companies. At this moment I'm collaborating with the poetic designer Sruli Recht on his second amazing shoe collection. I'll be resonating on the background of this collection as he will resonate on my collection. This jam-session will be repeated in the future, be on the lookout, its gonna be great!

- What inspires you?

Anything, I constantly try to be inspired by my surroundings and take parts of them as possibilities for making shoe shapes…. Something like that.

But music to me is the door to see these possibilities. I like to listen to music that sounds like moving materials. a lot of electronic music does that, Nemeth, Apparat, Monolake, Thom Yorke, Alva Noto, Ben Frost, but Also Mr. Tom Waits, Jason Molina, Bach, Scarlatti, Arvo Pärt, Ernst Reijseger… and, and, and…

Other artists and designers, Carol Christian Poell, Christian Peau, Young Meagher (Militant Guild Rural Talors), Sruli Recht, Rick Owens, Aitor Throup, Gareth Pugh, Kei Kagami, David Genslers Keystone Design Union, SVSV, Futurecraft, Firma Berlin, Bruno Bordeze, Moma, Paul Harnden, Rene van den Berg, Marloes ten Böhmer, Ilaria Nistri and Hope, Lucy & Bart, Matt W. Moore, Gary Taxalli, Marc Rothko, The Detour, Anna & Janet Graham Johnstone.

- How do you express your visions?

I have been working on the unfinished feel, the roughness and scars, the real life and history. Everything that is generally brushed away and polished I prefer to keep and focus on. The cracks and mis formations in the textures and forms make it feel like there is a life already in these shoes. These 'path walkers' have strong imperfect forms just the way things are in life. I see the beauty in that. They have wrinkles, burn marks, scares as if they already lived a life.
Focusing on this style I find new shapes and characters. This 'feel' will come alive in my coming collection.

Sruli Recht nailed it when he called my shoes 'FutuRustic'.

- "Shadow", "Nailed up", what do you see?

The names that I give to my shoes, mostly come during the making. This always comes to me before finishing the shoe. The names I give are simple, not pretending to have a deep meaning. Sometimes I put words together, Feet+eat= 'Feat' or 'Soul' for sole. I gave the shadows to my handmade collection, because of the colors I see in shadows. It's things standing in less light, which is not black, but some color is still there. If you look closely to the shadow shoes you will see that the leather and the soles ar colored in shades of browns and blues. I like to zoom in on material.

- Your plans to attend and present the first shoe collection in Paris in January 2010 is a certain?

That is the plan, yes.

- Your favourite creation?

That's a tough one… I can't say because to me they are all like stories, they have to be told, some have more to tell like 'Growing up', 'Off the hooks', 'Erroneoustic' and 'Feat', others are more funny, like 'Goofy'. But a favorite, well yes, 'Growing Up' is the best mens shoe I have made so far.

- What is the spirit of wearing a shoe?

Shoes are path walkers, they are the connection between you and mother earth and the way and how you walk your life. When everybody would walk in the same shoes, at the end of wearing no shoe will look the same…

- How would you shape this spirit into a visual context supporting feet?

There's no one way. these shapes already exist, I just dig them out and up.

Kindly,

Martin Kullik

published 3 February 2009 on www.ashadedviewonfashion.com

PARIS MENS FASHION WEEK - STREET STYLE

2009-02-23T10:27:00.000-08:00

Dear Diane and Shaded Viewers,

Photo Courtesy by Darryl Natale for Stil in Berlin. Text by Martin Kullik.

Kindly,

Martin Kullik

Andrew Dryden, 24 - Architect from Copenhagen

Hat Label Under Construction
Jacket, T-shirts, Pants, Boots and Gloves Rick Owens
Scarf Faliero Sarti

- With what objective are you attending Paris Fashion Week?

I was attending to assist in a few buys for a friend's store in Los Angeles.

- The show you appreciate and liked the best?

I have really enjoyed collections by Number(N)ine, Rick Owens, Damir Doma and Ann Demeulemeester. But Best of Show would be a toss up between N9 and Rick.

- A personal or professional hint.
There's nothing glamorous about being an architect. But I am reminded of a Billy Cosby quote,''I don't know the key to success, but the key to failure is trying to please everybody."

Igor Dewe, 18 - Stylist from Paris

Jacket, Cut-off Shorts, Leather Shirt and Tights Vintage

Shoes Doc MartensDoc Martens

Sockes Lanvin

Belt Marc Jacobs

Brooch Yves Saint Laurent

- With what objective are you attending Paris Fashion Week?

For partying and have fun.

- The show you appreciate and liked the best?

Gareth Pugh!!!! I loved it.

- A personal or professional hint?

Be yourself!Daniel Thawley, 20 - Model and Stylist from London

Hat Vintage

Hoodie, Shirts, and Pants Rick Owens

Boots and Pendant Ann Demeulemeester
Scarf Self-made

Gloves Marc Jacobs

Bracelet Dior

- With what objective are you attending Paris Fashion Week?
Assisting the buyer of Assin in Sydney and Melbourne, Australia.

- The show you appreciate and liked the best?
It is a very close match between Rick Owens and Ann Demeulemeester, but I have to say for excitement factor Rick was the best, but for pure beauty and romanticism, Ann took my breath away.

- A personal or professional hint?

Go your own way and dress how you love, don't let trends get in the way of your own look. Wear the designers you love, not the ones on Vogues top ten for '09. Mix and match until your hearts content, as all is fair in fashion when you dress like yourself and dont look like a try hard. Michael Tintiuc, 19 - Model from Moldova

Jacket, Bag, and Sweater Self-made

Jeans Levi's

Shoes Carlo Pazolini

- With what objective are you attending Paris Fashion Week?
I am at the fashion week 'cause I model.

- The show you appreciate and liked the best?
The best shows Ann Demeulemeester and Gareth Pugh.

- A personal or professional hint?
Just be yourself...!Jean-Paul Paula, 22 - Stylist and Editor of Mykro Magazine from Amsterdam

Jacket Thierry Mugler

Shirt Vintage

Shoes and Rubber Tights Zara

Bag Top Shop

Sunglasses Martin Margiela

- With what objective are you attending Paris Fashion Week?
To see the shows! Meet some friends and make some pictures to write some articles.

- The show you appreciate and liked the best?

Gareth Pugh by far!

- A personal or professional hint?

Look good feel better don't try just do.

published 28 January 2009 on www.ashadedviewonfashion.com

PARIS MENS FASHION WEEK - DAY 4 (Lanvin, Wooyoungmi, Masatomo, Dior Homme, Julius and Romain Kremer)

2009-02-23T10:00:00.000-08:00

Dear Diane and Shaded Viewers,

The fourth and last day at Paris Mens Fashion Week started with a traditional trademark seduced in contradictions, Wooyoungmi's fascinating zip details, pink transparency in Romain Kremer and ended in the big excitement at the Gareth Pugh show.

Lucas Ossendrijver continues his journey taking Lanvin into a world of luxurious romanticism, he brings back confident clothing with a soft silk touch. He especially excels in details like the combination boot-sneaker and the mixture of traditional/techno fabrics driving the garments in an unbelievably well constructed way. The sometimes unfinished look gave a certain charm in the long-lasting clean Lanvin look.

Wooyoungmi incoorporated the zipper as a detail in different ways of constructing trousers but the way of elongating and deforming the shapes by creating detailed openings was rather brilliant. Further more she played with lenghts where cardigans almost looked like dresses, minimal pieces had an extreme functionality and accessories including scarfs and Mongolian hats combined beautifully as did the shoes from Belgian brand Elsa.

Masatomo presented a take-away extravagance on exposing celebrities in wild animal prints and glitter. The little subtility and unfunctional gaming took away the final bit of interest.

The third Kris van Assche show for Dior Homme attracted many celebrities for obvious reasons. Silhouettes were large and slim with spacious trousers that folded around the waist followed by long lean shapes. The collection included long shirts, bomber jackets, neck pieces and zipper details. New looks included a strapping jacket and an overlapping blazer worn giving another dimension to Dior. The atmosphere heated up with hundreds of red-lights and Malcolm Mc Larens remixed soundtrack.

Julius offered a brooding gloomy coordination of darkness with every now and then a touch of colour, the leather accessories and heavy boots put the look altogether. Long Shaped t-shirts were treated and destroyed and highly styled with long and short cut outerwear. Leather, Leather, Leather.

The Out of the Box feeling was to be expected at Romain Kremers latest presentation. Transparency in mostly oversized and colourful, open creations put the focus on the nuditiy of the body. It might not be the easiest collection to wear but it clearly has carved out its own space. Plastic. Gym.

kindly,

Martin Kullik

Martin Margiela (Day 3)

Lanvin

Wooyoungmi

Masatomo

Dior Homme

Julius

Romain Kremer

published 27 January 2009 on www.ashadedviewonfashion.com

PARIS MENS FASHION WEEK - DAY 3 (Mihara Yasuhiro, Maison Martin Margiela, Kazuyuki Kumagai and Damir Doma)

2009-02-23T09:47:00.000-08:00

Dear Diane and Shaded Viewers,

The third day at Paris Mens Fashion Week stimulated the quest for the unknown. Mihara Yasuhiro provided an energetic discharge, remarkable performances by Attachment and Damir Doma.

The journey that Mihara Yasuhiro took exploded into an extremely wearable and valuable collection. Clothes are put in context, each single piece brings up a part of memory. Garments carry the scars of a traveller, some repaired and reinforced to continue the journey. The shoewear is heavy and strong, ready to take on. New ideals translate structure and silhouette in special effects.

10 + 14 + 11 + 22 + 8 = Maison Martin Margiela elongated in identification line-up rooms sets of suspects, a modern Gangster movie with difficulties in creating a reasonable wardrobe.

Dressed up and trimmed down. Wrinkled and distressed leather layered in darkness. Wearable shadows without a shine throught. Kazuyuki Kumagai approached on a safe and insecure way punk, rock and underground culture.

Twisting. Tying. Draping. Connected to the earth, fluid desert. Lonely adventure in monochromatic islands of either black or white. No Gadgets, no luxury. On your own. In a length of feminine touches giving strength to basics, Damir Doma is climbing the tree.

Kindly,

Martin Kullik

Mihara Yasuhiro

Martin Margiela

Kazuyuki Kumagai Attachment

Damir Doma

published 25 January 2009 on www.ashadedviewonfashion.com

PARIS MENS FASHION WEEK - DAY 2 (Blaak, Thierry Mugler, Rick Owens and Juun J)

2009-02-23T09:32:00.000-08:00

Dear Diane and Shaded Viewers,

The second day at Paris Mens Fashion Week brought back to the balance. The attitude. The silhouette. The layering. Similarities and differences in shows and approaches. Confident masculine consumers stimulated by elaborated Juun J. and Thierry Mugler highlighted to either love or hate.

Blaak showed a very wearable collection, it was subtle and gentle. Fine developed details in garments and fibers, ocassional bright colours and a edgy young mood crossed the collection.

The Mugler man has been redefined by Rosemary Rodriguez to envisage a natural class gangster dandy. Little specific in appearence the image did not achieved charm.

Gloomy monochromatic atmosphere with mysteriously worked layerings and repetitions. Rick Owens model choice was precise and punkish. Precious leather surrounding.

Juun J. played with the looseness of trousers, slim silhouettes for coats and a lots of space for capes. The confidence was truly visible in creating an accessory collection with Chris&Tibor and the 'futuritage' sportive debut line of sunglasses in collaboration with Linda Farrow.

Kindly,

Martin Kullik

Blaak

Thierry Mugler

Rick Owens

Juun J.

published 24 January 2009 on www.ashadedviewonfashion.com

PARIS MENS FASHION WEEK - DAY 1 (Hugo Boss, Gaspard Yurkievich, Veronique Branquinho and Henrik Vibskov)

2009-02-23T09:16:00.000-08:00

Dear Diane and Shaded Viewers,

The first day at Paris Mens Fashion Week started with a renewed edge of the Hugo image, Henrik Vibskov in his best and a light situation of disorientation.

Bruno Pieters second show for Hugo is guiding the brand visually into a new direction. His inspiration from German Expressionism moved into the collection in different combinations of shapes and lines. Check and herringbone patterns essentially in black and white. Standout details the fine geometric cuts. Mirrors. Mohair. Matrix.

Gaspard Yurkievich reinterpreted folk of different backgrounds intensified by graphic lines, as a continuation.

A colourful, confident, unconventional and eccentric dandy was presented by Veronique Branquinho. The collective unifying strength was althought provided by Dez Mona with a vibrant live performance.

Yohji Yamamoto showed a continuos line of structuring and deconstructing, overlayering in good vibe. Faithful to his own style.

Henrik Vibskov is blending colours in a new way. The shapes are a contrasting matter of not taking things too serious. Fun is in the air. Details surprise for their conceptual presence. Looking at this hamster while inside the impeller makes us think of an attraction alike candyshop.

kindly,

Martin Kullik

HUGO Hugo Boss

Gaspard Yurkievich

Veronique Branquinho

Yohji Yamamoto

Henrik Vibskov

published 23 January 2009 on www.ashadedviewonfashion.com

LISBON - INTERVIEW WITH LIDIJA KOLOVRAT

2009-02-23T09:05:00.000-08:00

Dear Diane and Shaded Viewers,

Bosnian born artist, designer, healer and teacher Lidija Kolovrat is based since 1990 in Lisbon, Portugal. Her local studio is platform for sale, research, work and discoveries. Working womenswear and accessories since her early years in Zagreb, Lidija started showing her first entire menswear collection in march 2006 on the Lisbon Fashion Week. With a strong, innovative and crashing vision her menswear has been around for now almost three years. Intrigued by what will follow I invited Lidija for an interview with past, present and future perspectives.

INTERVIEW WITH LIDIJA KOLOVRAT:

- Your work is considered multidisciplinaire. How would you describe yourself?

I like everything, specially if I observe it entirely. I like to exercise the inherent nature that goes, flows and talks in objects.

- How would you consider your lifestyle?

Learning, going from stage to stage, place to place, idea to idea and that's my lifestyle. Squeeking, crying, experiencing.

- How about your twist?

In the moment you see the point I like to bring the opposite point. When somebody bores you, you decide to make as if it actually interest you. Things become playful and therefore brings challenge. You bring qualities of other people and give them something that they can appreciate, make a young and innocent toy that talks to your memory. What you do is what you are.

- Please describe your vision on menswear?

I'm creating my new consciousness. Design, fancyness, not over functional but it makes you work. Not just a piece that can make positions, it makes your body concious. A little bit of yoga. If somebody buys my clothes, it is like if somebody puts a piece of the best chocolate in his mouth and it goes to his memory. Creating a platform of unpredictability. You can have your coat but you can also take it off and give it to your neighbour. Don't just put on a nice piece of clothing. Challenge language and mood. A little bit of change in structure is advisable. Smart things. The attitude for design, you sharp and define.

- How would you picture/visualize the perfect man wearing your designs?

First, if he would be perfect he would be already perfectly dressed. I really like to feel the moment it happens that he becomes perfectly natural. What I see for me is done, then I need to go until I find a new source of inspiration and approach it.

- How came you are not as visible as people could expect?

I work more inwardly. The need of growing is also changing, there was a time where I didn't need a big audience, I was very busy in a circle where I could follow my own experiences and its close reflections. Exchanging work, feeding my learning.

- What is your target?

I am interested in developing projects that use marketing to spot the paradox.

- Would you like to aim Paris as show and business target?

I still didn't think of it very seriously.

- What's going on in your opinion in international menswear?

It is getting much more colourful.

- Can you handle fashion well?

I don't take fashion as my lifestyle, it is a expression. I try to find the right words, because I don't want to sound like a vegetarian. Fashion is a nice field where you can actually express and melt art, politics, human behaviour, social need and if it is for that i'm intrested to explore.

- Repetitive innovation or innovative repetition?

I like both.

- What have you been working on at the moment?

I'm designing something that maybe can make people happier.

Kindly,

Martin Kullik

published 1 January 2009 on www.ashadedviewonfashion.com

LISBON - ALEXANDER KOCH 'INSULAR' EXHIBITION

2009-02-23T08:55:00.000-08:00

Dear Diane and Shaded Viewers,

Alexander Koch presented recently his "Insular" exhibition at Lx Factory in Lisbon. "Insular" is the name given to a 10 photographs collection featuring cenic dance performances covered in black and white ambience. Creating frontiers, barriers and confrontations between frictioning bodies. The photographer shows two ballet dancers as models, through body movement are created different perspectives of the human being. Photographs are altering in between images of one single body creating a individualistic view of an isolated island and two bodies in proper tension. Besides the scenic envolvement single dance acts in each image transforming into one unique shape.

Berlin-born fashion photographer Alexander Koch started his career at the young age of 15, as an assistant of photography to Will McBride, Clive Davis, Josef Moran and Dilip Meta. In '84 he creates the multicultural project Bomba Colori, a stage for performances, art gallery, bar, photography and film studios. Lecturer for Photography at the Fine Arts University of Berlin, reporter for Reuters and Magnum and founder of the biggest european athlete model agency. His work ranges from advertising, architecture, fashion and industrial photography to photo-reports and artwork. In parallel he has been showing several individual and collective art exhibitions in galleries and museums in Britain, Germany, Israel and Portugal. In 1994 he moves to work in Portugal and in 1998 open his Lisbon studio.

INTERVIEW WITH ALEXANDER KOCH:

- "Insular" is showing a collection of 10 photographs. Is the symbolic meaning of numbers and colours a unifying element of this work?

The number itself has no meaning. I made this selection because they express the best connecting act between both characters, the story is fluid. Throught selecting sizes 3x5m, 2x2m and 1x2m a bigger selection wouldn't have allowed it to breathe. Pictures are black and white, in this case they define and balance. "Insular" is about invisible barriers and elements of separation that appear or happen to cross in our lives. Some are annoying, provoking in us resistance and anger, others have useful or protecting functions.

- When and how was this project concretized?

In the last 3 years, a real pliers birth. My last exhibition was '95 in Porto, since then other old works have been reexhibited. "Insular" happened to be the first exhibition with new work, since '95. I'm more then happy about the result and satisfied to have this child finally out on the streets.

- The connection between location, your first exhibition in Lisbon and "Insular" itself are of importance?

No, the idea behind existed a long time in my head, i had to realize how to concretize and give form and body to this story.

- What is your feeling towards b&w photography?

Colours help in many cases. When the language, regarding form and expression, is complete and colours don't add anything to this element it can be considered a dispensable tool.

- What can we expect next?

My next project is already done. Concerning the reflection of big in small, the way we see and rediscover memories in mikrokosmos. I won't say anymore.
I am also working on a theme for a new project which will envolve many more working days at home until reaching the final forming point.

kindly,

Martin Kullik

published 11 December 2008 on www.ashadedviewonfashion.com

LONDON - WALTER RAES | WALTERWORKS

2009-02-23T08:47:00.000-08:00

Dear Diane and Shaded Viewers,

South London based Walter Raes open the doors to talk about past, present and future. Once, he used to work in a flower shop, when Hillary Alexander and Isabella Blow became attentive of his talent. Since 2000 Walter is exercising skills to capture, involve and make curious minds travel. Frequently retired from fashion, searching for isolation and practicing. Lack of knowledge and technic are providing him the ability of inventing, creative stimulation. Shoes and Boots express his fetiche. Senses react upon garments, materials, foldings and bandings. Walters newest construction is a golden pallet dinning table that aims to perform on the Turner Prize next year.

INTERVIEW WITH WALTER RAES:

- Considering yourself Artist, Conceptualist and Craftsman, where do you fuse?

I would love to think i am an artist... yeah i am, fuck why not, seen worse people doing stuff, get big praises and been hailed as artists. I am an artist who takes a ordinary all day object and turn it around to create a new concept and meaning for it, so people can see in it a different kind of beauty.

- How would you describe your work?

Witty. It is always a good feeling when i display my work at shows or shop windows, to see people approach then recognize it and smile.

- Would you consider your work unique?

There must be more humans like me (we are not alone out there) but i haven't come across them, so maybe yeah!

- How do you process into the final stage of creation/execution?

Usually i think about the creation i am going to make for at least three or four weeks in my head over and over again, so when it comes to executing it only takes a day or two to create from beginning to the end.

- Where do you search for inspiration?

Everywhere. Look around you, if i make a short trip to London, in a ten minutes walk there is stuff and ideas in bundles. The tube is always good, very relaxing, not during rush hour.

- Has creativity become substituted by a random way of making profit?

That is always a danger, you know we live by our circumstances, sometimes you have no choice. I have been lucky so far, if one does not have to think about daily strife, you can free your mind be creative like a child again.

- How can you stand out nowadays?

Be yourself for as long as you can, don't grow up creatively.

- Are people intrested in purchasing?

Well yeah, slow progress but as soon we get more and more publicity things will go far!

- Thinking or Designing?

I always do the two at the same time, i will be making something and then go hold on. This would work and it will have nothing to do with what i am working on. So when i get a new idea i usually get a object that has to do with the new design and nail it on the wall in my studio. When i look at it i can think and think about it. I have to stop doing this because my wall and brain is full, so i have to make space and concretize some of them.

- Abstract realism or suggestive of improvisation?

Real suggestive abstract improvisation.

- What are you working on at the moment?

In these hard times i am creating the ultimate bling, it is a golden pallet dinning table.

- Which target does it claim?

I would just show that this ordinary object can become a thing of beauty and envy, so we stand still and think harder before discarding it. Been working on it for weeks. Made me appreciate the time and effort that went in it to make a pallet.

- Do you have a task to fulfill?

We have to slow down, stop and think, appreciate the plastic bottle, newspaper, carrier bag, because at this rate it won't last. There is so much of everything, i believe we can stop world production for a month and not feel it, but would be good for the planet

- Can we recycle inspiration?

Well.. i can!

kindly,

Martin Kullik published 8 December 2008 on www.ashadedviewonfashion.com

Zurich - Blickfang

2009-02-23T08:36:00.000-08:00

Dear Diane and Shaded Viewers,

Blickfang - Design Trade Show for Furniture, Interior, Fashion and Jewellery with a range of young creativity. Established in 1993, inaugurated its first spot in Stuttgart, later on Zurich (1997), Vienna (2004) and Tokyo (2006). Each fair presents 150 to 220 designers selected by location, giving the audience the possibility of personal advising and information by first hand.

The 12th Edition, held recently at the Congress House in Zurich, focused on West Switzerland design display at 'L`Espace Romandie' and portuguese creatives shown in the 'Lisbon City Corner'. With a diverse program including Competitions for Students, Light Shows, Design for Kids, Fashion Shows, Conferences and Design Award, the Blickfang masters to capture the audience.

Cornelia Troesch, showed in her traditional way of making a very own vision of pottery. Forms, colours, style, technic and handling surfaces are richly worked. Forming unit concentrating on the substance with a cheery-ironic accent.

Winner of the "best product design award" on last edition held in Vienna, Lara Torres got invited to represent and integrate as one of six designers the Lisbon City Corner. In her new collection, latex in silver finishings is worked on old watches and garments. Lara states: "The present is ancient, because everything from the past was in the present when it existed, and so i have an antique dealer's fondness for things precisely because they belong to the present(...)" Bernardo Soares (Fernando Pessoa), The Book of Disquiet.

Eigenheim Design, a german based company, work interior gadgets and objects. Swiss design team Postfossil create conceptual pieces in a frame of Post-Fossil Fuel Age. Local curiosity: Eclectic,Werdmuehlestr. 7 and Vestibule, Spiegelgasse 13.

kindly,

Martin Kullik

Cornelia Troesch

Lara Torres

Eigenheim Design

Postfossil

Eclectic

Vestibule

published 4 December 2008 on www.ashadedviewonfashion.com

LONDON - SCREENING OF "LOSING HER" | LATE AT TATE BRITAIN

2009-02-23T08:13:00.000-08:00

Dear Diane and Shaded Viewers,

Friday the 7th November, the short film "Losing Her", written, produced and directed by James Killough screened at the main hall of Late at Tate Britain. The story of Helen (Catherine Walker) who lost her grandmother (Rita Davies) in the Tate Britain museum, finds something magical in the company of little Jenny (Shannon Wake) and the girl's father, Carson (William Houston). With a brief "The Past Is Not What You Remember" this short drama, filmed and screened in the interior and exterior of Tate Britain, reveals a powerful creative photographic direction. The next film, "Hatter", a drama/thriller in which a journalist reveals the secrets of a hedonistic fashion designer, is currently in production and will be released in 2009.

INTERVIEW WITH JAMES KILLOUGH:

- What was the idea behind "Losing Her"?

I was in Paris with my life partner Jonathan (as opposed to my creative partner Rain Li, who shot the film — we all live together, though, often happily) and I had terrible, crushing writer's block. Couldn't write a thing. Jonathan teaches creative writing, so in desperation I asked him what I needed to do. He had me write a short story every day we were there. The first day we were walking past the Louvre and I imagined a woman who had lost her mother in the museum, except she's being followed by a sinister security guard. Of course there was a twist to this story because I'm twisted so my work should be, too; haute bourgeois and whacky. The next day I wrote a story about a little girl named Cat, who was just like a cat in the sense that, like great art, she was a force of nature and wasn't subject to mundane human laws of behavior. Then my sister wanted to produce a film with me to see if she wanted to make films at all, so I gave her the main museum story. She loved it so being the obedient older brother I scripted it. I folded in the Cat story into the main story because I wanted to open the film up a bit from the museum environment and experiment with stylized visual techniques, especially certain CGI effects. (Needless to say, my sister hasn't made a film with me since. She's now designing organic liners for baby strollers, but she's a very good producer so we're hopeful she'll come back.)

- Filmed and screened at Tate Britain. Was it important to keep the location compact?

It was meant to be filmed in New York, but the odd thing about Americans is that while they are great philanthropists, their institutions do not support the arts. But the British institutions do, even though Europeans in general aren't as philanthropic as Americans because since World War II they've come to rely on their governments to take care of things like that. So for economic reasons — the museums in New York were 5 times the price — and because I am based in London, we shot it here. We approached Tate Britain first, but we really didn't think we'd get it. However, they liked the script and gave us unprecedented access to the museum. The National Gallery was interested, too, but wanted 50 pounds an hour more — still ridiculously cheap compared to New York. But once we shot it, they didn't want to know anything more about it; there is a big difference that fine art people see between filmed entertainment and art, so the curators at Tate initially weren't interested in showing it. Then the management of both Tates saw the film at a special screening in New York in May and brought it to London to be screened "in situ," or where it was created. This is the dream that Rain Li and I shared when we were actually filming it. She said, "Wouldn't it be amazing if we could put a screen up over these columns and project it there?" It might have taken 2 years to realize this vision, but the experience of sharing our film with the 4,721 people who came to the Late at Tate screening was just magical.

- What will happen to the project now?

It finishes its festival run at the Bahamas International Film Festival in December. We're probably going to distribute it on DVD via the Tate gift shop, and maybe we can get it on TV at some point. The film will have more interest and value when my feature film HATTER is made and released.

- Do you feel challenged by creating a dramatic and/or thrilling ambience?

It is very difficult to make a film physically and logistically, even if it is only half an hour long. As you probably noted, the production values in LOSING HER are worthy of a feature film. Had I trusted Rain Li more, I would have just written a longer script and kept shooting, which is what she wanted me to do. But I wasn't confident enough to do that at the time. LOSING HER is sort of my doctoral thesis, it marks my transition from writer-producer to writer-DIRECTOR-producer. All directors have to prove ourselves first in a small way before we get the millions the make the Big Picture. In terms of creating a piece like this or the forthcoming HATTER, no, to be honest it's not a challenge. It's a joy. It's something I do naturally, something I want to do, that I've trained for my whole life, my vocation. I am very blessed to have my dreams fulfilled.

- "Hatter" is your new project (currently in production). What can you tell us about it?

HATTER is nutty, smutty, naughty, edgy, powerful, gorgeous. If my projects are my children, then I love all of them equally, but in different ways. There's no doubt HATTER is my problem child — it's very difficult to get made, even with the people attached, and when it is made next year, it will have a limited audience and many detractors. It will grow and survive by word of mouth. One of the challenges is HATTER is something people have never seen before. It's so much about fashion that it is a work of fashion. Film and fashion love each other and inspire each other, but they don't really understand what the other really is. I come from a fashion background, but I made the transition to film years ago so I've really just incorporated what I've observed on a very visceral level, not on a superficial one like Altman's horrific "Prêt-a-porter." What a turd that was, he had no clue what he was talking about. The story of HATTER is about the world's most influential fashion designer, Matt Hatter, who has an interview with a journalist, Alice, in his amazing loft, which is a converted theater featuring a massive, complex video installation that continually changes. This is important because we are riffing on the Mad Tea Party scene from Alice in Wonderland, so the video projections that surround the characters create the trippy wonderland environment. Our Alice has information about Hatter that he doesn't want the world to know, so he decides she can't live and things spiral out of control from there. In terms of personality, Hatter is sort of a cross between Galliano and McQueen with a bit of Tom Ford thrown in. Alan Cumming, who is playing the lead role, doesn't like the reference to Tom Ford, he would rather just play it as a combo of the first two. The actress who is going to play Alice keeps changing and will probably continue to change for a while. Rebecca Romijn has been attached since the beginning, but then she went off and got pregnant with twins, which as we know is VERY pregnant; I'm not sure she's had them yet. The part requires extreme nudity. But the financial crunch-a-thon has meant we are delayed so maybe Rebecca will pop the kids out, grab a nanny, do a few abdominal exercises, starve her body back into shape and join us again, you never know. We're talking to Sienna Miller as well .... Well, not really talking so much right now as lazily tapping out Morse code messages with her agent. Whatever happens, HATTER the film should be a kick in the pants, visually revolutionary because again I'm collaborating with Rain Li. At the very least, anyone involved in fashion or interested in it will enjoy it.

All the best. Kindly,

Martin Kullik

published 12 November 2008 on www.ashadedviewonfashion.com

LISBON FASHION WEEK - REFLASHION

2009-02-23T07:44:00.000-08:00

Dear Diane and Shaded Viewers,

"Reflashion" was the 31st Edition Theme of Modalisboa/Lisbon Fashion Week held in Cascais Citadel during 9, 10, 11 and 12 of October.
On the first day, Alexandra Moura presented a mixed man/woman collection taking inspiration from Wolf Vostell. Floating décollage technique putting stabile structures in question, rounded and light silhouettes in a beige/black coloured ambience. Followed by Lidija Kolovrat's refined subtle-seductive menswear, wrapped in fluid animated shapes, she explains “the obvious sexual dimorphism of beetles with their developed weapons are used in fight and if it is lost they die without mating”.
Second day, Dino Alves presented his "be transparent" man/woman collection. The idea of creating a sensual clean image through showing heart and honesty in irregular, undefined and tight fittings. Ana Salazar closed with a womenswear collection in generally wide and oversized silhouettes, operating volumes, fabric manipulation and accentuate jewelry created by Valentim Quaresma (ITS #7 Accessories Winner).
Saturday, White-Tent by Pedro Noronha and Evgenia Tabakova, present on Modalisboa for the third time focus on womenswear. Well-known for their minimal shape, oversized hoodies and detailed hidden elements. Luis Buchinho ended with a female collection approached on "Reptile World". Hybrid patterning by taking morphology on reptile shapes and jungle atmosphere.
Last day, Lara Torres "Sinopsis" woman collection created an effect between memory and clothing. Pieces with a sculptural character fragmented and re-builded by memory with the use of latex, linon and plaster.
The in collaboration with Nokia created Lab.Life Conferences were this seasons newest element, Filipa Homem, Miguel Flor and Susana Cabrito took the chair to teach a lesson.

kindly,

Martin Kullik

Alexandra Moura

Lidija Kolovrat

Lara Torres

Dino Alves

Ana Salazar

published 20 October 2008 on www.ashadedviewonfashion.com

DAY 6 - LAST DAY LONDON FASHION WEEK - MAN

2009-02-11T04:44:00.000-08:00

Dear Diane and Shaded Viewers,

The 7th season of MAN closed the last day of shows at London Fashion Week.

The MAN project was created in partnership between Topman Design and Fashion East, collaborating with Paris store colette to showcase and support young menswear designers. Andrea Crews, Christopher Shannon, Hans Madsen and James Long presented their work alongside with Topman's Spring/Summer 2009 collection.

Andrea Crews, Paris based designer collective, showed their interactive concept as an entrance and performance to MAN.

Christopher Shannon is the MAN season's newcomer, featuring his second on schedule LFW show. Within his mainline, a capsule collection for Reebok integrating sport classics elements. Archive hunting on one of UK's biggest sport labels.

Hans Christian Madsen and James Long, both presenting for the second time on MAN. Madsen, showed his "Nordic folklore reinvented" collection, keeping a strong approach on refined scandinavian knitting tradition, mixture of high-tech materials and subtle military and elegant silhouettes. Chromatically dark, the range of grey-scale combined with black and white, a strong but still soft approach on London's MAN. While James Long features strong battle-ready shapes with arabian ornamental influence, his expertise in accessories completed the atmosphere, besides glasses (in collaboration with Fabris Lane) the shoes were simple and amazing.

Topman Design, the sponsor of the show, took inspiration from architect Jean Prouve and cyclist Graeme Obree in matching elements of tailoring with sportswear. In a twist of transparent over-layering mixed with track print effects and a sense of relaxed luxury.

kindly,

Martin Kullik

Christopher Shannon

Hans Christian Madsen

James Long

Topman

published 24 September 2008 on www.ashadedviewonfashion.com

LONDON - KEI KAGAMI COLLECTION PREVIEW S/S 09

2009-02-11T04:10:00.000-08:00

Dear Diane and Shaded Viewers,

Visiting Kei Kagami in his London studio during intense prepares for the new Spring/Summer collection, shown at Tranoi tradeshow from 2 - 5 October during Paris Fashion Week. Mr. Kagami explains his concept as a fusion of human mature and immature nature, sophistication in light coloured shapes with pleats. The experiencing opposition of naive and complex childhood-adult continuities, matching elements of structure in his unique mechanical way. The only lost, Mr. Kagami explains: "i wanted to join printed baby fabrics, it didn't work out".

kindly,

Martin Kullik

published 23 September 2008 on www.ashadedviewonfashion.com

LONDON - INTERVIEW WITH MARIANO VIVANCO

2009-02-11T03:59:00.000-08:00

Dear Diane and Shaded Viewers,

Mariano Vivanco’s new book “Ninetyfive Chapel Market” has recently been launched during the London Fashion Week, in a short interview Mr. Vivanco shares his point of view about work and inspiration.

- Living and working in London for over then 8 years. How are you feeling?

I love it, always feel energized when in London.

- Arriving in London at the turn of the millennium was timewise a good choice?

I had no choice, my intuition was calling! Yes it was great, it felt like a new start in many ways.

- The change was an important step in your career as photographer?

Yes, I re thought everything, and started from scratch... that is why the portraits at 95CM are so important to me.

- How was the market at that time? And your integration?

It is hard for me to judge the market back then because I could not get any work, at all. All I did was model portfolios, day in day out. So that is how I got into the industry here in Europe. It feels however that in the last year the economy is not good.

- How would you describe the current market situation in commercial and editorial?

The commercial sector of photography it is not in a boom. The editorial is however the same as before.

- Your residence in Ninety Five Chapel Market is of great importance, what about this connection?

Yes, it is the residence where I shot all the photos in the book "Ninetyfive Chapel Market".

- You have your very own focus on what you capture, please describe for the audience?

Beauty inside out, a sense of graphic, energy and a special moment. I hope!

- You called your work a "documentation of youth, desire, ambition and cosmopolitan energy of London at the turn of the millennium". A Fascination?

Yes, that is how I felt myself and projected it into the photos, something I left out was my desire for the sensual.. the feeling of sex.

- Is Black and White the most powerful and strong image?

Not necessarily. In my opinion BW is more abstract in a way (what we see in Colour) but in a way it is the most accurate because it can tie in with a particular feeling we want to express or the way we feel.

- Why do you opt mostly for black and white, within a range of grey-scale?

It worked for the project, don’t get me wrong I love love colour, but… my chosen medium at the time was Polaroid Poss/Neg and that was a black and white film. I really miss it.

- Is there something you would like to tell the newcomers in photography and/or modeling?

Don't give up and follow your heart, mind and intuition!

- Thank you for your attention.

kindly,

Martin Kullik

published 29 September 2008 on www.ashadedviewonfashion.com

2008-12-20T09:44:00.000-08:00

©Alexander Koch
Beijing Olimpics for Olimpo Magazine #128 (of the Portuguese Olympic Committee)
photography Alexander Koch wardrobe Martin Kullik athletes Joaquim Videira (fencing), Diana Gomes (swimming), João Costa (shooting), Pedro Povoa (taekwondo), Ana Rente (trampoline), Alvaro Marinho and Miguel Nunes (sailing)

2008-10-11T01:10:00.000-07:00

2008-09-12T00:01:00.000-07:00

©Alexander Koch
Barcelona Cover published in UP (TAP in-flight) Magazine
coordination/styling Martin Kullik wardrobe Lidija Kolovrat & Ana Moreira photography Alexander Koch

2008-04-23T05:15:00.000-07:00

©Modalisboa
Techno-Nature by Lidija Kolovrat
Fall/Winter '08/09 Collection
Head-Assistant Designer and Stylist Martin Kullik

2008-04-23T05:04:00.000-07:00

©Alexander Koch&Lidija Kolovrat
Techno-Nature by Lidija Kolovrat
Advertising Campaign for Fall/Winter 08/09 Collection
styling Lidija Kolovrat & Martin Kullik photography Alexander Koch model Martin Kullik

2008-04-23T03:56:00.000-07:00

©Ricardo Quaresma&Lidija Kolovrat
Passarelle published in Egoista Magazine #32
styling Lidija Kolovrat & Martin Kullik photography Ricardo Quaresma models Lady Bambi, Pedro, Tara, Hugo Garrido, João Fonseca e João Lima

2008-04-22T03:33:00.000-07:00

©Modalisboa
Sun Sand Salt by Lidija Kolovrat
Spring/Summer '08 Collection
Head-Assistant Designer and Stylist Martin Kullik

2008-04-22T02:59:00.000-07:00

©Modalisboa&Wound
Press: Wound Magazine #2
Sun Sand Salt by Lidija Kolovrat
Spring/Summer 08 Collection
Head-Assistant Designer and Stylist Martin Kullik

2008-04-21T11:10:00.000-07:00

2008-04-21T10:53:00.000-07:00

©Modalisboa&Collezioni Sport&Street
Press: Collezioni Sport&Street #45
Hunter by Lidija Kolovrat
Fall/Winter '07/08 Collection
Head-Assistant Designer, Stylist and Model Martin Kullik

©Dif&Ricardo Quaresma
Press: Dif Magazine
Hunter by Lidija Kolovrat
Fall/Winter '07/08 Collection
Head-Assistant Designer, Stylist and Model Martin Kullik

2008-04-21T05:30:00.001-07:00

2008-04-21T04:57:00.000-07:00

©Ricardo Quaresma&Lidija Kolovrat
Accident by Lidija Kolovrat
Advertising Campaign for Spring/Summer '07 Collection
styling Lidija Kolovrat & Martin Kullik photography Ricardo Quaresma model Martin Kullik

©MiniInternational&Thomas Probosch
Press: MINIInternational Magazine #23
Hunter by Lidija Kolovrat
Fall/Winter 07/08 Collection
Head-Assistant Designer, Stylist and Model Martin Kullik

2008-04-20T07:52:00.000-07:00

©Modalisboa
Chocolate Lime on Time by Lidija Kolovrat
Fall/Winter '06/07 Collection
Assistant Designer and Stylist Martin Kullik

2008-04-20T06:47:00.000-07:00

©Ricardo Quaresma&Lidija Kolovrat
Chocolate Lime on Time by Lidija Kolovrat
Advertising Campaign for Fall/Winter '06/07 Collection
styling Lidija Kolovrat & Martin Kullik photography Ricardo Quaresma model Martin Kullik

2008-04-10T07:48:00.000-07:00

©Martin Kullik
Splitter - PAP (End of Course Collection Menswear Fall/Winter 06/07) - Fashion and Textile Design Course at EMP
Concept&Fashion Design Martin Kullik