3 Years Anniversary – Rebellious Issue

1 

3 YEARS ANNIVERSARY

6 

Editor-in-Chief 

Fashion Editor 

Art Director 

Art Editors 

Music Editor 

Assistant Music Editor 

Movie Editor 

Fashion Assistant 

UK Fashion Editor 

Translation / 

Proofreading 

Marcel Schlutt 

mschlutt@kaltblut-magazine.com 

Nicolas Simoneau 

nsimoneau@kaltblut-magazine.com 

Amanda M. Jansson 

ajansson@kaltblut-magazine.com 

Emma E.K. Jones 

ejones@kaltblut-magazine.com 

Amy Heaton 

amyheaton@kaltblut-magazine.com 

Jane Fayle 

jane.fayle@kaltblut-magazine.com 

Friederike Suckert 

friederike.suckert@kaltblut-magazine.com 

Nico Sutor 

nsutor@kaltblut-magazine.com 

Karl Slater 

karlslater@kaltblut-magazine.com 

Amy Heaton, Amanda M.Jansson, 

Happy Birthday to US!!! 

Welcome to KALTBLUT´S new online issue and Happy 

Birthday to us. I still cannot believe that we’ve been here for 

3 whole years now. To celebrate this we decided to publish an 

online issue as a little gift from the team to our loyal readers. 

It has been a long journey till today. And I have to say we have 

learned a lot. Running a magazine is like living in a magazine. 

A 24/7 job.. but we love it. With this birthday issue we wanna 

say thanks to all our readers, friends, artists. Without you we 

would´t be here any more. It is also a little “Good Bye” to the 

old KALTBLUT as you know it. So let’s say HELLO to 2015. 

Happy Birthday to all of us .. and we’ll be seeing each other 

again very soon. With many new surprises! 

“Living in a magazine 

And no disguise your wear can hide 

Living in a magazine 

Face to love 

Style to foreign minds 

Names to buy 

Fashion your life 

Caught in the middle 

With you next to me 

The image is real 

Selling a lie .. Living in a magazine” 

Love from Marcel and The Team 

Suzana Holtgrave / Photographer 

www.suzanaholtgrave.com 

Once again, the Berlin-based photography icon has produced 1 amazing 

editorials for us. Suzana has been part of our journey from the 

very beginning. We are sure you’re familiar with her work. 

Aude Gouaux-Langlois / Musician 

www.soundcloud.com/audegl 

Aude is a Berlin-based composer and vocalist originally from Chartes, 

France. She performs together with our Music Editor Amy Heaton in 

the band Ornis, and has contributed this time to our music section. 

François Cadière / Illustrator 

www.galloismontbrunfabiani.fr/special-projects/francois-cadiere/ 

François is a well-known illustrator/photographer based in Berlin. 

For this collection, François has produced a really sexy Serie for us: 

“La main verte, une histoire de gazon.” 

Model: Elizabeth Ehrlich, Photography by Marcel Schlutt, 

Postproduction by Schlutt & Simoneau 

www.kaltblut-magazine.com 

KALTBLUT Magazine is published by KALTBLUT Media UG, Nicolas Simoneau & Marcel Schlutt 

KALTBLUT MAGAZINE I Büroetage 2 I Linienstraße 13 I 10178 Berlin I Germany

7 

Photo by Marcel Schlutt, Jacket by Nico Sutor, Model is Elizabeth Ehrlich

p.10 

Fashion Story 

p.22 

Music Interview 

p.28 

Art Interview 

p.34 

Fashion Story 

Brothers 

Tricky 

Mattia Caracciolo 

Chloé 

8 

p.118 

Fashion Story + Interview 

p.126 

Art Interview 

p.132 

Fashion Story 

p.138 

Fashion Story 

One to Watch: 

Rora Chow 

Maya Fuhr 

There‘s a Rebel 

Ruin 

p.150 


White Lung 

p.44 


p.58 

Art Interview 

Matija Cop 

Eylul Aslan 

p.154 

Photo Story 

p.168 

Fashion Story 

Military Commissariat 

Neon Revolution 

p.68 

Fashion Story 

p.78 


p.80 

Article 

p.82 

Fashion 

p.92 

Art Interview 

OH! Russia! 

Röyksopp 

Dear Bad Bed Buck 

Outsider 

Yoh Nagao 

p.180 

p.182 

Fashion Story 

p.190 

Portrait 

p.198 

Interview + Fashion Story 

p.212 

Music Interviews 

Must-Have 

Unfinished Business 

Nevena Katalina 

Elizabeth Ehrlich 

Sleek Rebellion 

p.102 

Interviews 

p.106 


Into Brackets 

Charli XCX 

p.216 

Fashion Story 

p.222 


Armageddon 

Miss Platnum 

p.108 

Fashion Story 

An Angel Will Die!

9 

p.232 

Photo Story 

Laurence Philomène 

p.242 

Article 

p.244 

p.248 

Interviews 

Rebels On Screen 

Must Wear 

Fashionclash 

Maastricht 

p.260 Yo Calle 

Fashion Story 

p.272 

Fashion Story 

p.278 


Iara 

Expand yours 

eardrums 

p.282 

Interviews 

p.286 Benoit Jammes 

Art Interview 

p.292 

Fashion Story 

Teddy Boys 

p.302 Women Want 

Fashion Story 

Berlin faces 

you should know 

p.308 Show & Order 

Fashion Interview 

p.310 La Main Verte 

Illustration 

p.324 Six Revolution 

Article 

p.326 

Art Interview 

Frank Kortan 

p.334 


p.342 


p.346 

Interview 

Self Made 

Introducing 

Luizo Vega 

Photo by Marcel Schlutt, Model is Elizabeth Ehrlich

Photographer: Darius Lucaciu 

Production: Julian Burlacu 

Styling: Kevin Morocutti 

Grooming: Julian Burlacu 

Models: David Weber / Wiener Models 

Karl Diwisch / Wiener Models 

Florian Luger / Stellamodels 

Serge Rivava/ Stellamodels 

Photo Assistant: Marcus Gotzmann 

Production Assistant: Susi Stadlbauer 

ROTHE 

10

RS 

11 

Outfits – Stylist Own 

Jacket (David) – Diesel

12 

Karl: Hat – Stylist Own , Shirt – Stylist Own , Pullover – Diesel

Florian & David 

Outfits - Stylist Own 

13

David 

Jacket – Diesel 

Shirt & Trousers – Stylist Own 

14

Florian 

Coat – Stylist Own 

Shirt – Diesel 

Trousers – Stylist Own 

16

Serge 

Outfit – Stylist Own 

17

Karl & David 

Leather jacket – Diesel 

Shirt – Diesel 

Trousers – Stylist Own 

18

20 

David: Pullover – Diesel , Trousers – Diesel , Braces – Stylist Own

22 

When KALTBLUT met 

TRICKY 

Interview by Aude Gouaux-Langlois

23 

Tricky needs no formal 

introduction, although we 

will say that the aim of 

this interview was to 

rediscover the discography 

of one of music’s most 

unpredictable characters. 

His latest album, ‘Adrian 

Thaws’ is a vivid, 

attention-grabbing set 

of songs which roam from 

hip hop to house, jazz to 

blues, rock to reggae. It 

was recorded in Tricky’s 

home studio in London, 

where he’s living again 

after almost two decades 

in New York, Los Angeles 

and Paris, and features an 

international crew of 

collaborators: 

Francesca Belmonte, Nneka, 

Mykki Blanco, Bella Gotti, 

Tirzah, Blue Daisy and 

Oh Land. We came to meet 

Tricky on a warm summer 

afternoon in Berlin, 

offering him themes of 

interest to discuss, 

sharing thoughts, ideas 

and inspiration. We are 

printing the interview 

exactly as it happened, 

with no editing—because to 

edit Tricky’s words would 

remove there very essence.

Success 

“Because success needs killing 

Murder is media 

Forced laugh, forged autograph 

First my body, now my corpse 

Those men will break your bones 

Don’t know how to build stable homes” 

Broken Homes (Angels with dirty faces – 1998) 

24 

Choosing what do you think 

success is. Success is being 

at the top of the charts or 

having money. I’ve had both 

those things and I wasn’t 

happy Success is being happy. 

So like for instance, 

Kanye West would consider 

himself successful. For me to 

have his life is like a horror 

movie. Just to be him is 

the worst thing I could imagine. 

So I think success is 

happiness, not money, not 

fame. The other day my friend 

showed me Kanye West played 

in England and he got booed 

off stage not because the 

show was bad but because he 

went into a 20 minutes conversation 

about himself and 

he said “I am video director, 

I am producer, I am a 

clothing designer, I’m this 

I’m that” so I think a lot 

of people are confused what 

success is. Success is being 

happy. Success is a delusion. 

It’s like fame. Fame is 

a disease. That’s the trouble 

with the music industry right 

now. It is about being a celebrity; 

it is not about music 

even. So success is with 

your family, your friends, 

people you love and growing: 

I want to become a better 

person. My music doesn’t 

matter so much if I grow as 

a person, my music will grow. 

So that’s what I’ve realised 

in the couple of years. 

I just stopped smoking weed. 

I smoke a bit now and again 

but like normally, when I got 

to Germany yesterday I’d got 

weed or hashish now I just 

don’t cause I want to grow, 

I want something new. I’ve 

been smoking weed more than 

half of my life so success 

is about learning and growing 

but I think because there are 

reality shows and stuffs like 

that, people have got success 

the wrong way. 

War and distance 

“I take a trip to Gaza 

It’s really love I’m after” 

My Palestine Love (Adrian Thaws – 2014) 

Most guys have a girlfriend and their biggest 

worry is: is that girl cheating on 

me, is she flirting or they argue about basic 

stuffs. And I just thought, imagine if 

you were going out with a girl in Palestine, 

you’d be worry if she’s safe everyday. 

You know You see couples argue about 

nothing: I see friend arguing with their 

girlfriend about the most stupidest thing 

and I just thought if I was in love with 

a girl in Palestine, it is much more to 

think about, like they haven’t got clean 

water to drink over there… So I think it 

is more important we forget think while 

around, we get lost in our own little 

world. My Palestine love is being in 

love with someone being in a war zone and 

hoping she’s ok. I imagined calling her 

and she didn’t answer the phone for a couple of days, you’re wondering 

if she’s alive. So that song is about there are a lot more 

important things than us going on. I think we just forget about 

things. Especially musicians. Bob Marley, John Lennon and Jimi Hendrix, 

they used to sing about stuffs, about love, politics. Now, I 

heard a song the other day - I can’t remember the name of the song 

- but he was saying “I’ve got much more money this guy had” and 

he’s talking about his stacks money, he’s got money. I just don’t 

get that. Art is twitting, number 1. These Chris Prine guy, and 

Kanye West… I just don’t understand it! I think if you doing music, 

you’re doing it for other people, you ain’t doing it for yourself. 

Like, I met a guy who was in a coma. His parents played him my music 

while he was in a coma and he came out of it and I actually met 

the kid. And I met a woman who was pregnant and she played my music 

to her unborn child. I think that’s why musicians are there: not 

for just a success and the fame, but when things are going on in 

the world and you’re supposed to have an opinion because as a musician 

you have a voice and you should say something with that. If 

you have a gift, you are lucky to be a musician. I feel very lucky 

to be a musician, I travel around the world, I get to meet people, 

I do shows, I’ve never have to work a day in my life. It’s very 

lucky! But I think musicians forget they’re lucky then they think 

they are talented or they think they are special and I thought that 

music should be a message. So what’s going on now in Palestine Israel 

is a terrorist state. For instance, a suicide bomber: no one 

would agree with that right If you say to the average person on 

the street: a suicide bomber, they say: no, that’s wrong! So, it is 

not wrong to send missiles and kill women and children Palestine, 

they are supposed to be the terrorists but Israel is the biggest 

terrorist state. For instance, Hitler… There are lost of documentaries 

about him. He is supposed to be the evil man in the world 

Bush, his father, Obama, make him look like a fucking priest. They 

killed millions of people. But we focus about someone like Hitler. 

The only difference between Bush, Obama and Hitler is Hitler 

didn’t lie to your face. Hitler was like “Fuck it, I want to take 

over everything, fuck you.” Bush and Obama, they just lie about it. 

I think art should be talking about politics, it should be saying 

something. But the trouble is if you talk about stuffs like Palestine 

you won’t get into the charts because the media is controlled. 

We are living in a controlled state now. This is why they want one 

rule () government to say you are going to get kill or destroy 

your name with scandals. Malcolm X, JFK, Robert Kennedy. Anybody 

who says anything gets killed or they won’t get radio play.

25 

Money 

“And no one sings the blues 

Everyone sings the greens 

Someone said keep your eye on the prize 

How you lose the dream” 

For Real (Juxtapose – 1999) 

My friend DJ Milo, who started The 

Wild Bunch, he was the creator of 

Massive Attack but he left cause 

he didn’t want to do a major record 

deal, and he always used to 

say to me when I was younger: “keep 

your eye on the prize” cause I was 

getting into troubles and he says 

“keep your eye on the prize”. I’ve 

never really cared for money, it 

just means nothing to me. For instance, 

I’ve been doing this over 

20 years, I rent an apartment. I 

used to own a house in New York. 

I sold it. I’ve no possessions in 

my house. I’ve got a few pictures, 

personal possessions and stuff but 

I have no furniture, I own nothing. 

I have my studio, that’s what 

I own. So, money is just an illusion 

really. Money is one of the 

big problems we have, you know It 

doesn’t really exist. The federal 

(reserved) banks in America print 

money when they want to and that’s 

an other way of controlling people. 

If you put enough adverts and 

promote enough things and you make 

people want things, they go out 

and they work. So it is like slave 

trade you know. Money is to me a 

big problem. I don’t care about 

it. People say to me I throw money 

around… If my friend needs money, 

I’ll pay for their food. Some of 

them say you can’t keep buying them 

but it ain’t like being generous! 

I just don’t give a fuck. What are 

you going to worry about it I’ve 

set my kid from school; I paid for 

her to go in a school. She’s finished 

now. That’s my only responsibility 

in life. Now, who gives a 

fuck Who cares It means nothing 

to me. 

Threatened freedom of speech 

“And when you speak out they shoot you down 

Where are all the good men they’re not around” 

Nicotine Love (Adrian Thaws – 2014) 

Yeah that’s the same thing. It’s like “the sample in that 

is more comet, who created the slums in the ghetto whose 

you’re livin” People who speak are gonna get shot down. 

You know John Lennon for instance or Marley: it is not 

as simple as a crazy guy killed him. Governments have used 

assassination for hundreds of years and if you speak out 

you get shot down or you don’t get radio play, this is 

the same thing. You can’t be a major artist! For instance 

Jay-Z talks about selling drugs and women. Jay Z has never 

been a drug dealer in his life: never, never, never! He’s 

never been a criminal and he’s never been a gangster. He’s 

a nice guy, I’ve met him. But I’ve met people who’ve known 

him: he’s never done any of all those things he talks 

about on record. But if he start to talk about politics 

and he starts to talk about Obama or Bush, he wouldn’t be 

so famous. He couldn’t be the level he is at now. And for 

instance you got Beyonce singing for Obama. Now, for me, 

if you are a musician, how would you go and sing for this 

devil Obama, if he walked in now, I wouldn’t shake his 

hand for a million dollars. I want to tell him : you are a 

devil, you’re a liar and you don’t care about anybody except 

your own power. And I am really into documentaries, 

I watch documentaries about revolutionary people: they 

are the most courageous people. Even more than JFK, his 

younger brother, Bobby Kennedy, was such a brave man. Malcolm 

X was such a brave man. Do you know what Bobby Kennedy 

got shot in his head and before he was dying, he’s 

lead on the floor and he said “is everybody ok” Right 

That’s just brave. And he knew he’s gonna get killed. Malcolm 

X as well. They asked Malcolm X on TV once: “Do you 

ever worry about your safety” and he said “Yeah, I’m dead 

already!” But to carry on doing that, that’s real courage 

because you’re standing for people, you’re fighting for 

people. That’s my heroes, people like Bobby Kennedy, Malcolm 

X, Martin Luther King, Black Panther Movement. You 

know revolutionary people who don’t just sit, make their 

money everyday and then go home and live their safe life. 

There are a lot of problems in the world but if you speak 

out, you get shot down. And it might be by assassination 

or it might be a scandal. You know, if you say the wrong 

thing, they set you up in a scandal. Right now we’ve got 

pedophiles running the world! And then it’s like, how many 

politicians are pedophiles There is like pedophiles rules 

which can’t get touched cause they are so many powerful 

people involved and they are protected by judges or by the 

police but if you speak out you get shot down, you get put 

in prison or they cause a scandal around you. For

instance, I’ll meet a girl, go to 

my hotel room and she says she’s 

been raped. They set you up. Basically, 

if you speak out, they 

shoot you down. 

Did you feel that your freedom 

of speech was threatened when you 

were involved in a major company 

With Island record, it was a 

very good time. But with Domino, 

it was not so much freedom of 

speech. With Domino, I would have 

to ask permission if I could mix 

my own record so I’d do the demo, 

then Laurence would come over 

(I was living in Paris at the 

time) and sit down in the studio 

and listen to tell me if I’m 

ready to mix. Laurence has never 

made a record in his life. How 

can he tell me That happened a 

couple of times and just started 

to dislike him. I mean he’s 

never done anything to me but I 

started hating him. I couldn’t 

even look at him anymore. And 

even then, it was just the best 

thing ever. Now, with the German 

company, I do a record and I 

mix when I’m ready then I send 

them the finished product. I just 

do what I have to do. Do you 

know what it is like social media 

almost right Social media is 

good but it gives stupid people 

a room to speak. I was listening 

to Janis Joplin on Youtube 

and someone wrote: “oh this is 

26 

shit” or something like that. And I want to say to that person: 

“What have you done Can you do an album Don’t speak on 

something you can’t do!” So Domino… It is supposed to be an 

independent company but it wasn’t really independent. They 

were about singles, getting into the charts and selling a lot 

of records. Now the company I am with, are like “Obviously we 

don’t want to lose money but we don’ t care about going into 

the charts, that’s not our game” My manager would say that to 

me. And that’s how I feel! But to have a manager who is supposed 

to be the one pushing you to make money cause he gets 

20% and he’s like “it doesn’t matter”…! Domino kept playing 

that game. I said to Laurence once - do you know, making 

small conversation - as he was in the studio to see Franz 

Ferdinand : what have you been up to” And he goes: “ I’ve 

just went to see Franz Ferdinand” and I said “They’re recording 

an album, are they finished” And he goes :”Yeah, but we 

just don’t get the singles” So they’d finished their album, 

but they’re working on the singles. That means that you’re 

working for radio. To me, that’s too much pressure. If someone’s 

career relies on singles, what if you just can’t make 

top 10s anymore Well, you give up I’m lucky; my career 

isn’t based around top 10 singles. So I got real freedom now. 

Now, it is like we don’t have to sell millions of records. We 

just have to do a good record, do a good artwork, do a good 

product. Touch people’s soul: that’s what I got to do. 

This is not a non-productive way of work from your label, on 

the contrary! Indeed, you recorded this album while you were 

touring for your last album False Idols. 

Yeah! My manager laughed at me! He is like “oh, we’ve got 

another Tricky record now! Already” And he respects me for 

being like I am. He knows I love making music. And I love it 

even more as when I started. So, he loves my passion and he 

jokes about it. I produced Francesca’s album, it come sour 

in January. And he finds it funny! He knows Massive Attack’s 

manager and we talking about them and I just said like “wow 

they took 5, 6 years to make a record” But if you’re a musician 

- no disrespect to Massive Attack - but if you make music 

and this is your life, what have you been doing that 5 or

6 years Playing golf, playing football 

If I’m a musician, this is what 

I do: I make music. So anytime I don’t 

have to be on tour, I make music cause 

I love making it. So I can’t understand 

what an artist will do in those 

5 years. Cause it don’t take 5 years 

to make an album, that’s impossible 

so you must be doing something else! 

Maybe you’re enjoying your money… When 

I don’t go in the studio for 4 months 

if I am touring, I start getting edgy, 

and I start feeling uncomfortable. 

It’s like a drug. So I can’t understand 

what do you do in your life for 

5 years I’ve given up. For example, I 

haven’t been the best father because 

I’ve always been working. You know I 

am getting better at it but I’ve give 

up friendships, relationships for my 

music cause I love it so much. Some 

people I know would say I’m selfish 

cause all I think about is my music. 

So it’s not even being productive, 

this is what I love to do. I can’t do 

anything else so I have to do it. And, 

I could be driven in a car and a lyric 

would come in my head. I can’t wait 5 

years! I want to hear on something, I 

want to do it. So it is not just being 

productive, it is all I can do. It is 

like eating, breathing, you don’t stop 

doing those things for 5 years cause 

you’ll die. You know If I stop making 

music, I’ll perish. 

Will you tour with the same musicians 

as on False Idols 

For my next album, I am gonna go to 

Bulgaria just because it is a cool 

place and then I’ll come to Berlin. 

And usually, I work with people by accident. 

Like bumping into people. So 

I might do a show and I see someone, 

someone might come up to me on the 

street… So a lot of it is by natural 

meeting people and bumping into them. 

So I never know! 

Speaking of natural meeting, we tend 

to push people s boundaries by making 

them play what s written on the 

score. And at some point, we get tired 

of pushing boundaries whether it could 

easier and more natural to be gardening 

skills that are already there, 

asleep. 

Yeah! I don’t make music. Music makes 

me. I am not in control of anything. 

That’s why I never wrote as block. I 

don’t make a song but the song makes 

me. So I have no problem. I could go 

in the studio now and create something. 

People say ‘“a gift, someone 

has a gift” But you got to realise 

that an art is not your gift. You 

might have learned to play an instrument, 

you might have learned to be a 

writer but it is not your gift. You 

are not in control of it. 

27 

Police force 

“Don’t like the police ‘cause they kick and they punch 

God bless all the stress and the stress comes at once” 

Council Estate (Knowle West Boy – 2008) 

I was funny enough I just went back to Bristol for the 

carnival. And I was with loads of northwest guys, like 

about 20 of them. I went to school with some of their dads 

and it was just amazing! For instance, when i was younger, 

the police used to just chase us even when we didn’t 

do anything. Chase us, get us into the van and beat us. 

Just because we were from the wrong neighborhood. Not even 

cause we’re black or cause we come from northwest… And 

I’ve met some good policemen but 80% of them are violent, 

fascist. It’s like the 3rd Reich: most of them are Nazis. 

They make oath to the Queen of England right But it is 

not to protect people. People still don’t realise. They 

get beat up in police cells all the time. If you’re from 

a certain area, you know what’s going on. Police terrorise 

people. I’ve met some police that were bigger criminals 

than any criminal I’ve ever met. So, I’ve always come from 

an area where it’s them and us. In my family, if somebody 

does something and I tell the police, my family would never 

talk to me again. There are some good policemen, but 

the average policeman to me, is like a violent fug .So I 

grew up being chased by the police, I’ve been beat up by 

the police. So that’s how i just see them. You know And 

northwest guys don’t like the police. They just don’t like 

the police! Even if you’ve never been beat up or you’ve 

never have a problem with the police, you do not like the 

police. I’ve been arrested or been told some things by 

certain police and if they didn’t have their uniforms and 

they weren’t policemen, they could not restrain me. There 

is nothing you could do to me physically but you got your 

button, you got your gun and your uniform. But without 

that, I could slap you around; I could treat you like a 

baby. That’s an annoying thing as well! Me and my friends 

used to get a joke: a lot of police, they used to get bullied 

in schools, and now, they’re taking it out on someone 

else because they were terrorised in schools. And now they 

have authority and they want to use that authority terrorising 

other people. 

Then, if the rebel attitude paid off, how would it look 

like to you 

Public enemy! That’s like being a rebel and it paying off. 

Cause they’re still there after all their long career and 

they’re still fighting the power. So I’d say, Public Enemy 

are a good example for rebels who lasted and done well. 

Immerse yourself in the legendary sounds 

of Tricky at www.trickysite.com

28 

Mattia Caracciolo 

Artwork Good Enough To Eat

29 

When I first saw Mattia’s 

food collage designs, it 

put such a smile on face I 

knew I had to try to contact 

him. It’s a really simple idea to mix 

food and drawing, but Mattia does it in 

such a way, that it’s almost a bit sexy – 

brimming over with hilarious nuances. 

Interview by Nicolas Simoneau 

KALTBLUT: Mattia, how did you come up with the idea 

to create a food collage 

Mattia: The idea came from me & Veronica Veronesi, 

owner of (galleria +) oltredimore, we spent an entire 

day in her house with a team thinking about a connection 

between food, art and fashion and then came out 

the food project “UNDRESSING”. 

KALTBLUT: When you start with a new illustration, 

which element comes first, the food or the drawing 

Mattia: It all comes from a piece of food. While I look at 

it I start to imagine how to turn it into a character, then 

I draw on a paper putting the piece of food on the drawing 

and I take a picture to share on the social network. 

At the end I choose a title or write a short story and 

then post it along with the picture.

30 

KALTBLUT: How do select the 

types of food that you will 

use 

Mattia: It depends, usually in 

the morning or when I go out 

for lunch or dinner or just a 

meal, but I don’t choose the 

food, I let the food choose 

where the project will go. 

KALTBLUT: Your illustration 

style is really close to fashion. 

What is your relationship to 

the fashion industry 

Mattia: I’ve been always interested 

in fashion and in 

fashion illustration, I consider 

myself a fashion flaneur: I 

like to take it into consideration 

while I’m drawing but 

then again I’m not too much 

focused on it. Sometimes I 

like to put some inspiration 

from style and fashion into 

my work but it’s not necessarily 

a major feature, even if you 

can note a fashion influence 

in some of my drawings. 

KALTBLUT: Aside from food, 

where do you find your inspiration 

Mattia: People, people and 

people around me! Bologna is 

a melting pot of styles, and 

they’re all living together in 

this small but beautiful and 

enchanting city, that’s why I 

like it here. I also pick some 

inspirations from the social 

network, I do lot of research 

of beautiful pictures on tumblr 

or I use my facebook/ 

instagram contacts as inspiration 

for my creations. 

KALTBLUT: How did you get 

into illustration in first place

31 

Mattia: I wanted to become 

a fashion designer first, but 

I realised I wasn’t really into 

that kind of world, then I 

thought about illustration 

and I found myself really 

comfortable in this field, 

even if I consider myself a 

contemporary drawing artist 

and storyteller. 

KALTBLUT: You use a lot of 

stencils. Is it the only medium 

that you use 

Mattia: It’s definitely one of 

them yes, but I mostly use 

crayon and pen. 

KALTBLUT: So it looks like 

food is not your only focus, 

there are also some moustaches 

and tattoos! 

Mattia: I love the moustache! 

It reminds me of Tom of 

Finland which, is one of my 

most inspiring artist for the 

male stereotype. I also have 

passion for tattoos, I’d love 

to entirely cover both my 

arms with a little patience! 

KALTBLUT: You live in Italy, 

Bologna. How will you describe 

the art scene there 

Mattia: Bologna is full of 

events, festivals, concerts, 

fair and parties. It’s nice 

because you can find the 

inspiration everywhere and 

it’s easy to get around because 

it’s not so big as Milan 

or Rome. 

KALTBLUT: What are your 

current projects or plans for 

the future 

Mattia: To conquer the world

32 

“I’ve been 

always 

interested in 

fashion and in 

fashion 

illustration, 

I consider 

myself a 

fashion 

flaneur”

33 

Explore more about Mattia’s 

project via his online portfolio: 

www.mattiacaracciolo.tumblr.com

35 

CHLOÉ 

Photographer: Alice Berg 

Model: Chloé Fraçois 

Stylist: Clément L’Hommet pour le Collectif Parisien 

MUA: Aline Macouin 

Hair: Quentin Guyen 

Assistant stylist: Clara Dumont 

Top: DyLAn BOBineAU

TOP & SHOrT: ALiCe DeBeUCkeLAere 

36

JACkeT: DyLAn BOBineAU, TOP: MArGAUx GivOiS 

37

38 

Lin

39 

kS - SkirT: ASTriD DUPUy, THiS PAGe - JACkeT: DyLAn BOBineAU, TOP: MArGAUx GivOiS, PAnTS: MATHiLDe JeAnninGrOS

CHeMiSe: DyLAn BOBineAU, PAnTALOn: ASTriD DUPUy

43 

SkirT: ASTriD DUPUy

ild Child - 

44 

Photography and concept by Suzana Holtgrave 

www.suzanaholtgrave.com 

Styling by Marta Eva Jurin 

Make up by Ana Rajic 

Hair by Mijo Majhen 

Models are Monika Hirzin @Mega Models 

Maja Matkovic, Damir Seric @Midiken 

Patrik Cvetko @Ak Models 

Lovro Perisa @IM Studio Model Management 

Marko Plukavec 

Fashion by Matija Cop, Wildfox and Unif

Matija Cop 

45 

From Croatia 

to France. 

Conversations 

with Avant-Garde 

designer Matija 

Cop! The future 

of fashion.

KALTBLUT: Hello Matija. Welcome to KALTBLUT and 

congratulations for the successful year as a young 

designer. Tell us what is your vision with your design 

Matija Cop: My wish is to redefine certain postulates 

of fashion design. I do this through my own way of 

designing. I have only just begun, but I’m exploring the 

various possibilities of fashion design as a contemporary 

interdisciplinary medium. 

KALTBLUT: What I like the most about your designs is 

the mix of Avant-Garde vs futuristic style. Where do you 

get your inspiration from 

Matija Cop: I often get my inspiration from literature, 

architecture and philosophy, from new ideas. My work 

can certainly be characterized as futuristic, but what’s 

interesting is that I don’t deal with futuristic themes 

per se; it’s probably the impression you get because of 

the high-tech material which I use in my projects. 

KALTBLUT: You are from Croatia. How much has Croatia 

influenced your work 

Matija Cop: Seeing that Croatia is a relatively young 

and unstructured country, that chaos which Croatia 

finds itself in influenced my work. In a chaotic system 

you have to define and introduce some kind of order, 

you have to set the foundations. I am trying to r 

eevaluate the idea of fashion and to form it/define it 

on my own. 

KALTBLUT: What kind of material do you work with 

And where do you find it 

Matija Cop: I often use technical materials which are 

not traditionally used in the fashion industry. I sometimes 

stumble upon them by accident in some store 

selling construction materials, and sometimes I 

deliberately order materials from factories. 

KALTBLUT: You are graduate student of Fashion Design 

at the Faculty of Textile Design of the University in 

Zagreb. Have you always wanted to be a fashion designer 

Matija Cop: I’ve always wanted to do what I do now. I 

never how to call it, but now I know. I wanted to shape 

the body, man. To be co-creator of the idea of man in a 

contemporary world. 

KALTBLUT: What was the first piece you have ever 

designed And what was it for 

Matija Cop: The first fashion piece I’ve ever made was a 

completely transparent dress made of soft Plexiglas. I 

made it for my first exhibition during my second year at 

the Faculty. The dress was a part of the “Transparent 

Dreams” series. It was a very general project, which I 

created myself. 

KALTBLUT: Can you tell us how did you grow up in 

Croatia

48 

“I’ve always 

wanted to do 

what I do now. 

I never how to 

call it, but now 

I know. 

I wanted to 

shape the body, 

man. To be 

co-creator of the 

idea of man in 

a contemporary 

world”

Matija Cop: My growing up was 

pretty standard regardless of the 

situation Croatia was in at the time. 

As a kid I did dancing, later I was 

into athletics, in which I was very 

successful: the junior representative 

for Croatia – and by the way, I 

still hold the national junior 200 m 

indoor record. 

KALTBLUT: I have read some where 

that you first studied Croatian 

Philology at the Faculty of Philosophy. 

Why that And what happened that 

you started with fashion 

Matija Cop: Yes, I first studied 

Croatian language and literature 

at the Faculty of Humanities and 

Social Sciences in Zagreb. Partly 

because the idea of literature 

attracts me. Studying man through 

the art of words. After a few years 

there, I realized that such a way of 

expression wasn’t the best for me 

and that I should try and turn to 

visual interpreting of man. 

KALTBLUT: Let´s talk about the 

fashion scene in Croatia. Is there a 

big fashion world And which designer 

inspired you the most from Croatia 

Matija Cop: Croatia is a small 

country, so naturally the fashion 

scene is small as well. However, 

there is a lot of good designers 

here despite of that. I think that 

in this contemporary age location 

is not that important. I don’t think 

that there is necessarily an exclusively 

Croatian fashion scene; there 

is a lot of designers who do their 

work outside Croatia as well, even 

though they do business here. 

KALTBLUT: A lot of young designers 

are leaving there countries to be 

successful somewhere else. You are 

based in Paris now. What made you to 

move to France 

Matija Cop: After Zagreb I went to 

Sweden for a semester and I briefly 

stayed in Paris, after which I returned 

to Zagreb so I could work on 

a new and very elaborate project 

with my mentor Jasminka Končić. 

A lot of designers that want to be 

part of an already established fashion 

scene leave for the fashion centers 

because, obviously, there they 

will most likely accomplish that. 

50 

KALTBLUT: Why is Paris still the place to be for a 

fashion designer with the Avant-garde or high-end 

product 

Matija Cop: Paris is open to new things, perhaps 

more than the rest of the fashion centers. 

It contains a fashion culture which is rarely seen 

anywhere else. 

KALTBLUT: What is the most difficult aspect 

of running your own fashion label 

The production, sales, advertising or all 

the new “ friends” you have when you started 

to be successful 

Matija Cop: For me the hardest part is the 

production; I strive to produce a product in a new 

way using unconventional methods and 

technology. Because of that the production part 

takes longer than usual. 

KALTBLUT: How important is Facebook and all the 

social media for a young label Are you using it to 

promote your fashion 

Matija Cop: Social networks are very important 

and it’s thanks to them that the location of the 

fashion “brand” is losing its significance. 

In Croatia I can now easily contact anyone from 

anywhere; it is a fantastic way of connecting. 

KALTBLUT: If you have to name 3 designers who 

influenced your work the most. Who would it be 

And why 

Matija Cop: It’s hard for me to say who influenced 

my work as a whole. It would be easier to say who 

is influencing my current creative process. As I do 

projects that differ greatly amongst themselves. 

KALTBLUT: The perfect Matija Cop customer is 

Matija Cop: I don’t have a perfect customer. I don’t 

bother with that. I think my products are very open 

and that they adapt to various identities. 

KALTBLUT: Are there any famous persons you want 

them to wear your designs 

Matija Cop: It would be amazing to see perhaps 

Tilda Swinton wearing a design, although it would 

also be interesting to see some completely nonavant-garde 

persons wearing them. 

KALTBLUT: You have worked with Lady Gaga for her 

„G.U.Y“. How did that happened And how 

important is it for a young designer to be worn from 

such a pop-icon 

Matija Cop: Collaborating with Lady Gaga is very 

important to me because I consider her extremely 

relevant today. It is a great honor to be recognized 

and trusted in by her.

56 

KALTBLUT: Our very own photographer Suzana Holtgrave produced the editorial for this interview. 

I think she is a genius. Have you ever met her in person What do you think about her work 

Matija Cop: Yes, I met Suzana in Zagreb and I fell in love with both her work and personality. 

She is very open and unconventional, which is why I agreed to work with her in the first place. 

KALTBLUT: If you have the chance to give young designers an advice. What would you say to them 

It is your chance now: 

Matija Cop: Do what you want with yourself! 

Interview by Marcel Schlutt

Eylul Aslan 

Interview by Amanda M Jansson and Emma E K Jones 

Eylul Aslan is genius. The young photographer from 

Istanbul, currently residing in Berlin, understands 

how to take a photo that really matters. Often 

abstract and obscure, she has developed a fantastic 

trademark style that perfectly reflects her 

enchanting personality. That of an artist who knows 

what she wants. And we know what we want. 

We want more of Eylul Aslan!

59 

KALTBLUT: How did you start photographing 

Do you remember the 

first picture you took and loved 

Eylul Aslan: I started when I 

was around 17 my mother 

gave me her old camera, 

Nikon f90x which I still use 

and it is my favorite actually! 

My mother used to take 

photos of me all the time 

when I was little and I think 

it was just a part of my growing 

up and eventually I got 

interested in it as well. And 

I was always interested in 

creative activities and games 

at school, my mother was 

always encouraging and after 

having tried drawing and 

painting I stuck with photography 

because it made me 

the happiest. I think the first 

photo that I was proud of was 

the one of these two cousins 

whose heads and hair and 

shoulders we can see in the 

photo and we were on top of a 

high building so there is also 

the skyline in the background. 

KALTBLUT: How did you develop 

your unique style 

Eylul Aslan: First of all thank 

you for finding my style 

unique. I think that is the nicest 

compliment to hear because 

I am really impressed 

when I see unique photos 

from different photographers 

and I feel the most comfortable 

if I am taking a photo that 

is truly me (whatever that 

means, I cannot really explain 

but it needs to feel right to 

me for me to like it and take 

it). And I think it ends up being 

“unique” because I do not 

push the button until I know 

it is exactly what I want. And 

I am often good at knowing 

what I want. So I guess in the 

end it is all about staying true 

to myself. 

KALTBLUT: You come from Istanbul 

and now live in Berlin. How 

does this change your perspective 

Or does it Why or why not

63 

Eylul Aslan: I would like to 

believe photography was 

always a way for me to 

escape the norms of the 

society that I was born and 

raised in. I was not accepted 

(of course by most 

of my close friends and 

my mother I was) by the 

general society as the way 

I am. Turkish society has 

its own strict rules and if 

you do not fit the profile, 

you are considered an 

outsider and you always 

feel rejected. Individuality 

is not appreciated, 

people expect you to (and 

not necessarily only as 

a woman, men have a lot 

of problems considering 

this) live your life according 

to what is accepted 

in the society meaning, if 

you are a girl, you need to 

get married and have kids 

and cook for your husband 

while he works all day 

and brings home money. 

There is a lot of pressure 

on people and they end up 

making decisions to make 

others happy and they do 

not know what to do with 

themselves and they end 

up being very unhappy. 

The two societies are 

very different from each 

other, and the biggest difference 

is that people here 

are much more free, they 

are respected as individuals 

while in Turkey you cannot 

find that so easily. I do 

not mean to talk bad about 

my country, it is just not a 

good place for me to live 

and express myself in, not 

only as an artist but just 

as a human being. When I 

lived in Istanbul, I had to 

make sure the girls I was 

taking photos of ,were 

not showing their faces 

because they were worried 

about being recognized 

by their father or brother 

or boyfriend. Because it 

would not be appropriate 

for a girl to be in photos. 

But when I moved to Berlin 

that changed very quickly 

people here are not worried 

about such things. 

It took me a while to get 

used to this. But it is very 

inspiring to have a mix of 

both these experiences. 

KALTBLUT: What influences do 

you have What inspires you 

How do these images show up 

in your head 

Eylul Aslan: I do have really 

interesting and intriguing 

dreams when I sleep and 

I do end up remembering 

them most of the time 

and they do serve as some 

kind of inspiration to me 

when I am taking photos. 

And I love to have a sense 

of humor, I like it when my 

photos are kind of funny. I 

also really like telling stories, 

I like making people 

think and imagine and it is 

nice to see that everyone 

finds her/his own interpretation 

for my photos. 

But I feel like I am inspired 

by everything around me 

- anything that takes my 

attention. I sometimes get 

ideas for photos and then 

I take notes of them in my 

notebook to check later 

when I have a photo shoot 

but sometimes it is also 

very spontaneous. 

KALTBLUT: I often hear about 

how you revolutionize photography. 

What do you think about 

it Was it your goal Or how 

do you feel when you hear it 

Eylul Aslan: Honestly, I had 

no idea people thought 

this about my photos but 

hey, that is a wonderful 

thing to hear, thank you! 

I take photos because it 

makes me happy, it is as 

simple as that and if it 

influences other people 

and what they think about 

things and if it changes 

something, I must admit it 

is a wonderful feeling. But I 

really would not say I am doing 

any of it that intentionally 

it is just like life itself! It 

just happens! 

KALTBLUT: If you had to name a 

few people that you think are rebels 

in art, who would you come 

up with and why 

Eylul Aslan: I would say Guy 

Bourdin because he had a 

truly unique style and he 

was never worried about 

being commercial or appealing 

to the mainstream taste, 

he just did his thing And I 

would probably say the same 

for any other artist who was 

loyal to their own voice. 

KALTBLUT: How important is 

revolution in art 

Eylul Aslan: I think it is important 

to do fresh, new and 

intriguing things, because it 

gets uninteresting when it 

has already been done but 

this point of view is also very 

greedy and sometimes there 

is beauty in repetition as 

well... 

KALTBLUT: This issue is all about 

rebels. What would you as a 

person rebel against 

Eylul Aslan: I guess I would 

say against the inequality of 

women in the world. 

KALTBLUT: What are you currently 

working on Something 

specific 

Eylul Aslan: My first photography 

book TRAUERWEIDE 

came out last year by Editions 

du LIC and now I am 

working on a second small 

book that will be published 

by Editions Bessard in Paris. 

It will definitely have something 

do with the difficulties, 

beauties, wonders and pains 

of being a woman but we 

have not agreed on the exact 

idea yet.

“Turkish 

society has its 

own strict rules 

and if you do 

not fit the 

profile, you are 

considered an 

outsider” 

65

67 

www.septemberlion.com

OH! 

68 

RUSSIA! 

Model is Annabel 

@Ultra Models Russia 

Photography by Sheluhin Sergey 

www.sheluhin.tumblr.com 

Styling by Evgeny Gvozdeva 

Make up & Hair by Ksenia Shostko

69 

Headband, armour - Mosfilm costume 

Necklace - Topshop 

Bracelets - Six 

Gloves - Vintage 

Skirt - Urban Outfitters

Headband - Beyond Retro 

Blouse - Trends Brands 

Belt - Topshop 

Trouders - Humana 

71

Chain armour and gloves - Vintage 

Dress - Temperley London 

Headband - &Other Stories 

Necklaces - Zara, Kenneth Jay Lane 

Belt - Beyond Retro 

Socks - Calzedonia 

Loafers - Zara 

72

75 

Coat - vintage 

Hat - Humana 

Skirt - Monki 

Belt - Beyond Retro

76 

Jacket, helmet - Mosfilm costume 

Body - American Apparel 

Skirt - Incity 

Necklace - &Other Stories

78 

Röyksopp 

The Inevitable End is only just the beginning 

Intro by Jane Fayle 

Interview by Aude Gouaux-Langlois 

The title for Röyksopp’s latest album 

The Inevitable End may sound 

a little bleak but don’t be too concerned; 

with strength in their efforts 

not to repeat themselves perhaps a 

creative hiatus is the perfect way to 

scope out further direction looking 

forward into the future. Coming just 

a few months after their collaborative 

EP, Do It Again with Swedish-pop 

goddess Robyn bringing them back 

from their downtime after their 2010 

album, Senior. Torbjørn Brundtland 

and Svein Berge pride themselves 

on creating sound that is timeless 

– and are now looking to branch out 

into a more experimental means of 

music making. 

Now having five bodies of work since their first album Melody A.M in 2001 

whereby, the duo began building on creating a name and sound in the electronic 

music scene – each album has corresponded in the growth and direction 

of the Röyksopp of today. The Inevitable End isn’t about club banging 

tunes but rather a stick your headphones in and listen type of album. 

Don’t be mistaken this doesn’t take away from the album’s power and succinct 

down-tempo beats. A smooth clean listen that doesn’t give away too 

much although it seems the album has taken a bit of a beating from critics 

in comparison to their previous sound. 

The 17 track LP carries a controlled feel throughout with a list of collaborations 

that work perfectly with the nature of the album. Once again working 

with Robyn for their track ‘Rong’, perfectly placed in the middle of the album 

this electro-pop clash sets the tone for a gentle mix of tracks to create 

the formation of The Inevitable End. Ambiguous plans to showcase their 

music in new and profound ways including a focus on visuals and one-off 

recordings, we caught up with our favourite Norwegian electro duo to find 

out more about their future plans.

79 

KALTBLUT: The Inevitable End swings 

between various musical genres, moods 

and sounds, which make it accessible to 

a broad selection of music lovers. I personally 

enjoyed the production and the 

work on synthesiser sounds. Is this part 

of the Röyksopp touch 

Röyksopp: Thanks! It is obviously 

very deliberate, we think that it is 

important to have a broad soundscape 

to make the music sound interesting 

to us. We both have a very 

eclectic taste ourselves. It always 

has been like that: we like to be 

influenced. If we make a track, we 

will mix different elements. We like 

diversity, particularly by making an 

album. Another side of it is that we 

get so easily bored, so we wanted 

our album to be a journey. We’ve 

worked with analogue synthesizers 

since the beginning; it is kind of 

our trademark. We also used a real 

drum-kit, piano and guitar. “Thank 

you” and “You Know I Have To Go” 

are very analogue-based, on the 

other hand, “Monument” is mixed 

digitally. In general, this album has 

a more dynamic mix rather than 

being all side-chained, we love that 

but is not fun anymore since it became 

trendy—so we kept lots of 

space in the mix. 

KALTBLUT: You just mentioned the word 

“journey”, would you say that The Inevitable 

End unfolds a story 

Röyksopp: This word sounds awful, 

but yes, we like the concept! We 

tried to do that in the past, to create 

an experience although it has never 

been as narrative as this one. 

KALTBLUT: On your website you describe 

The Inevitable End as a swansong to the 

typical album format. Can you reassure 

us that you won’t be leaving the music 

scene What do you have in mind for the 

future 

Röyksopp: We are just leaving the 

traditional album format but we will 

continue doing music! We made six 

studio albums that we are happy 

with: we feel that we said what we 

wanted to say and explored enough 

in this format. We make music out 

of pure love. Some of our favourite 

artists such as Daft 

Punk, also took different 

roads from time 

to time but they didn’t 

quit. We want to be 

the same and focus on 

different formats: EPs 

for instance. There are 

so many other things 

we want to do. As an 

example, instead of 

doing a 12 track minimal 

techno album, we 

might put out an EP of 

3 or 4 tracks and just 

present the very best 

we can do—it’s time to 

dive into another musical 

genre we haven’t 

explored yet. 

KALTBLUT: I thought of 

Daft Punk or Sébastien 

Tellier when I listened to 

The Inevitable End. Do you 

share a certain mind-set 

with these artists 

Röyksopp: Yes, we do! 

Sébastien Tellier was 

our support act in 2005 

and 2006. We met 

Daft Punk and we see 

a shared closeness— 

without intentionally 

copying one another— 

they often did things 

similar to how we did 

and vice versa. 

KALTBLUT: You are working 

a lot with vocalists. Does 

the track call for a singer 

or do you write it especially 

with someone in mind 

Röyksopp: Sometimes a 

musical idea is linked 

to a singer from the 

start. “Running To The 

Sea” was especially 

written for Susanne 

Sundfør. We even 

transposed the song 

so that it perfectly 

suits her voice. On the 

other hand, we wrote 

other tracks without 

knowing who will sing 

them. There is no 

set rule. 

KALTBLUT: Your lyrics 

juxtapose with the music, 

or to put it simply, you 

write dark poetry over 

lighthearted sounds. Can 

you tell us more about this 

contrast 

Röyksopp: We really 

enjoy duality in music. 

For instance, when you 

have an energy with a 

certain drive and the 

lyrics really contrasts. 

The track “Rong” has 

this duality, the words 

are harsh but the music 

creates the opposite 

mood. We really 

appreciate that. 

“We are leaving the 

traditional album format 

but we will continue 

doing music, it’s time to 

dive into another 

musical genre we haven’t 

explored yet ” 

KALTBLUT: Are you planning 

to go back on tour 

Röyksopp: Yes at some 

point in the new year 

definitely but we 

haven’t decided yet. 

We have been touring 

with Robyn and we’ve 

been working on this 

album—we now want 

to sit down and do 

some music together. 

Explore the sounds of Röyksopp’s album The Inevitable End 

at www.royksopp.com and soundcloud.com/royksopp

Dear Bad Bed Bug, 

81 

Here is a letter to let you know why being cool or kewl is so uncool- or 

unkewl if you prefer, and why it’s not cool trying to be cool. We know 

you are on the internet, and Facebook and Tumblr and Instagram and everyone 

out there is soo cool and you do get tempted to be a cool one as 

well. Because it seems unless you are cool you are nothing and nobody, 

you get not enough thumb ups or what you’d refer to as “likes” and practically 

you don’t exist. DON’T DO IT! 

We know you might envy these cool people and do anything to become one of 

them. To get to a 200 likes. That sort of stuff. But take a moment to reflect 

on this. If you wanna be modern cool be prepared to not give a shit 

about the place you go to and forget about having fun, because you are 

there to show off your cool new outfit and to be hanging out with other 

cool people you don’t like or even hate and obviously take pictures on 

your mobile phone- whether smart or not it remains a mobile phone- because 

these are the rules of being a social media semi-celebrity and the 

only things that matter. 

Then come the status updates, that must be as constant as breathing. You 

are not cool unless you post every 5 to inform someone that you need nail 

polish, a battery charger, someone to eat with because being cool must 

somehow imply anybody cares what you need and is dying to serve you. Or 

to let the world know “when you open the window and there is sky...” or 

“when your little brother hits you on the head...”, “when you turn on 

your mac and there is Tumblr...”. When. Yes, then what Are you really 

interested in the whens of the cools Do you have enough whens to share 

Another reason you should not strive to become a known social media persona 

and hence very cool is the fact that this means you need to forget 

all you’ve ever spent time thinking about. It is simply not part of light 

speed online coolness. Perhaps all your female friends find it easy to 

talk about their period and maybe you really don’t mind a guy in a dress 

and thinks that’s normal and fine. But no. Internet cool means thinking 

you’re breaking ground by singing period songs and making a whole big 

fuss about the right of a guy to a dress. That’s all fine, yeah, but do 

you think cool people who wanna convince themselves they are soo progressive 

and forward thinking when they are clearly not, ever pause to think 

that the only people they ever reach or impress is people dumb enough to 

already consider them mega cool They don’t. 

Finally, it is no longer considered cool to actually do something in 

your life, whatever that is. What counts instead, is posing for 2 hours 

in front of your own camera to achieve the perfectly cool Facebook picture. 

In a world where self portraits have been replaced with selfies and 

art with webcam collages, cool has become the new mainstream. Cool is the 

biggest trend and thanks to Tumblr viral everyone has access to cool and 

is becoming more or less cool. Now, do you remember when being mainstream 

and the same as everyone else was reaaally uncool Yes. We know you do. 

And that won’t ever change by labeling it cool. In the end, the most embarrassing 

of it all The likes. Likes are thumb ups. Disguised but still 

nothing but thumb ups. And we know you remember how you cringed every 

time someone gave you a thumb up! Because initially, it was the gesture 

of the uncool! But today’s cool is all about collecting them. 

We hope you see why you must not be cool/kewl now. If you still don’t, 

you know all you need to go for and as long as you stay in front of your 

computer screen, leave your house only to take pics with other coolies, 

and not let your brain work, you will do just fine! 

Love, Amanda & Emma

82 

OUTSIDER 

Photographer: Jus Vun www.jusvun.com 

Model : Taiki Takahashi @ Elite Homme Paris 

Wardrobe Stylist: Daiki Ushijima 

Make-up Artist: Yuko Tamiya 

Wardrobe Styling Assistant: Izumi Horikoshi 

Photographer Assistant: Naoto Kudo 

Jacket M.a+ @Lift étage Shirt Thom Krom @Via Bus Stop Museum Sunglass Vintage @ Sullen Ring Tatsuhiko Nishibata@XANADU TOKYO

Jacket/Tricot Comme des Garçons Homme 

Shirt Daniel Andresen @Lift étage 

Pants M.a+ @Lift étage 

Hat WACKO MARIA 

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Coat & Pants M.a+ @Lift étage 

Headwear F.M.Mauvaise @ XANADU TOKYO 

Sunglass Junior Gaultier @ Sullen 

Gloves Ralph Lauren 

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Gilet, Shirt & Pants Daniel Andresen @Lift étage 

Sunglass Sullen 

Ring Tatsuhiko Nishibata @XANADU TOKYO 

Sunglasses Junior Gaultier @Sullen 

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Black Vest Rick Owens 

Cardigan Transvestite @XANADU TOKYO 

White Shirt Keisuke Nakamura 

Necklace Black Triangle Design @ XANADU TOKYO 

Shoes Dr.Martens 

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Hat & Shoes Christian Dada long 

Tanktop, Corset & Bracelet DressedUndressed @The Wall Showroom 

Inner Keisuke Nakamura 

Necklace Black Triangle Design @ XANADU TOKYO 

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Long Sleeve Ninja Mask Sweater Boris Bidjan Saberi 

Hooded Cardigan Rick Owens 

Coat Kishida Miki @XANADU TOKYO 

Pants M.a+ @Lift étage 

Ring Exist @XANADU TOKYO

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Hooded Coat, Pants & Belt M.a+ by Maurizio Amadei @Lift étage

92 

Yoh 

Nagao 

Yoh Nagao’s work 

explodes before 

your very eyes. 

It’s full of 

colour, full of 

details. The 

characters are 

built up of thousands 

of different 

elements that fit 

perfectly all 

together, like 

puzzle. It’s a new 

Horse Cruising, Collage, Acrylic, Marker, Ballpoint on Paper, 1456mm x 1030mm, 2014 

way to see 

collages. It’s the 

quintessence of 

pop in a frame. 

Interview by Nicolas Simoneau

Kaltblut: You have a serious graphic design 

background. How did you make your way to the 

collage world 

Yoh Nagao: When I was struggling to express 

what I’m now designing a long time ago, I just 

tried to do what I used to do at work when I 

was a graphic designer. To make the shape of 

my imagination real, think composition, place 

images, draw lines and put colours. Creating 

art is editing information for me to move towards 

what I want to express. At the same time 

I have to sort my imagination according to the 

order of process, yes – it is definitely kind 

of editing. 

Kaltblut: What is your favourite technique to 

use 

Yoh Nagao: Collage, acrylic, marker and pen. 

Kaltblut: You are based between Japan and Germany. 

How do each of these countries inspire 

you 

Yoh Nagao: I lived in Japan more than 30

Collaboration work with Photographer Monolo Ty, Acrylic, Collage, Marker, Ballpoint on paper, 695mm x 498mm, 2013

95 

years, so being outside is 

good to have new experiences, 

also the biggest difference 

is artists are more accepted 

in the society in Berlin. I 

say Berlin is friendly to artists, 

and there’s a lot of 

nature and a laid-back atmosphere 

which gives me time to 

relax and space to think about 

the idea of masterpieces with 

less stress. Time flies so outrageously 

fast in Japan, and 

there is more stress. 

Kaltblut: Graphically speaking, 

how would you describe 

the difference between both 

countries 

Yoh Nagao: Japanese taste 

is more fancy and characterbased, 

like pop and catchy, 

the images give you so much 

information at once, and it is 

too much for me, because there 

is no space to think or feel 

it, the messages are just coming 

into your sight and throw 

what they want to say at you. 

Germany’s taste is cool and 

calm, they catch the eye as 

well, but they give you the 

time to think and feel. Although 

sometimes a bit too 

calm for me – could be a bit 

more playful and pop. 

Kaltblut: I have the feeling 

that collages are becoming 

fashionable the last few 

years. Do you have any advice 

for someone who would like to 

start creating some 

Yoh Nagao: I personally think 

there are so many different 

art expressions, and the 

trends are changing frequently, 

but actually it is easy to 

make collage, but the point 

is what for why what is the 

difference so if somebody 

want to try something with 

collage, yeah do it, but perhaps 

it’s too late because 

it is getting popular. They 

should find something different 

style of their own. 

Kaltblut: What is your relationship 

with fashion 

Yoh Nagao: It is desire to change, kind of close to costume 

playing from my Japanese cultural background perspective – 

people want to be someone, want to look cool in their own way 

and make a difference between others. I express something in 

my art through fashion materials and images. 

Kaltblut: Do you think that graphics always have to be relative 

with fashion 

“Rebel is sort of 

pioneer people for 

me, who broke general 

commons and 

stereotypical minds, 

also leads people to 

beat big system” 

Yoh Nagao: Yes, I think so - at first sight the colour is very 

important for any graphic impact so I would say, artists can’t 

cut a pattern of clothing, without considering the graphic use 

of colour in the design. In fashion production, I think there 

is the pattern maker and the designer - but why not a visual 

artist for colour and pattern/artwork If I got the chance, I 

wanna do something like that seriously. 

Kaltblut: Are there any other domains which you would like to 

work with 

Yoh Nagao: Definitely music, including the musician’s costume 

and stage set. 

Kaltblut: You ve participate in a lot of exhibitions, and your 

work has been shown in a lot of places. Do you feel a certain 

pressure to create a lot of pieces in a short amount of time 

Yoh Nagao: I personally used to not feel any pressure to make 

lots of piece in short time. I was eager and even feeling 

lucky to be participating in so many exhibitions before – in 

many group shows and art events in Japan, Hong Kong, London, 

Paris, Berlin, Zurich, NY etc. However, I’m not sure if I was 

exhibiting my pieces with full of satisfaction at all the exhibitions. 

As my style is currently developing, it is getting 

harder to keep making in a short time. So now I prefer 

to spend more time to make masterpieces with more satisfaction 

and less pressure.

Falling Cherry, Acrylic on Paper, 1030mm x 728mm, 2014 

96

97 

Company comes to you, Collage, Acrylic on Paper, 1030mm x 728mm, 2014

Field Strolling, Collage, Acrylic, Marker, Ballpoint on Paper, 1456mm x 1030mm, 2014 

98

99 

Kaltblut: Your work is extremely 

colourful. What inspires you the 

most 

Yoh Nagao: I usually do not have 

much colour on the images until I 

start to work on the piece, the colours 

start falling like raindrops 

when I start to think about it. 

Kaltblut: Do you always have a 

clear idea of what the final result 

will be when you start a piece 

Yoh Nagao: I have to fix the entire 

composition and motives, the rest 

of the output is unpredictable, because 

I trust my instinct. Otherwise 

the final piece could be finished 

before it’s finished. The image map 

is changeable during the process as 

long as I’m expressing what I want 

to tell, I can take any route, or 

any winding road to the finish. 

Kaltblut: Is there any artist you d 

really like to collaborate with 

Yoh Nagao: Ummmm, not really with 

living artists. I wish I could collaborate 

with Hokusai, Dali, Monet 

if they are still alive. To be honest, 

I’d love to collaborate with 

musicians or fashion brands. SBTRKT, 

FALCONS, XXYYXX, KANYE WEST, FLYING 

LOTUS, KENZO, VERSARCH, GIVENCHY, 

Y-3. 

Kaltblut: Do you have any mentor, 

an artist that truly inspires you 

Yoh Nagao: Not really, I really 

don’t have specific artist who inspires 

my style. Maybe this is a 

bit weird, I kind of avoid to see 

too many arts. I want to focus on 

what I’m doing rather than get inspired. 

Kaltblut: The theme of the issue is 

Rebel . Who is your favourite rebellious 

figure and why 

Yoh Nagao: Rebel is sort of pioneer 

people for me, who broke general 

commons and stereotypical minds, 

also leads people to beat big system. 

For example, David Lynch (same 

birthday as mine), Spike Jones, 

Nagisa Oshima are my favourite movie 

director. Animation artists are 

Katsuhiro Otomo, Hayao Miyazaki, I 

like rebellious heroes and heroins 

in their animations. 

www.yohnagao.com

100 

Girl with Accessoires, Collage, Acrylic, Marker, Ballpoint on Paper, 550mm x 400mm, 2014

101

102 

Into 

Text and illustrations by Marianne Jacquet, www.wrangelkiez.org 

#rebel 

We have everything, some even have too much of everything, too much liberty, too many options, too much frustration, too much fear of losing, 

of gaining, of being different, of being the same, of being “normal”, or simply being. Rebelling is the act of detaching yourself from the pack, 

for your own good and for your own survival. Rebels are questioning the rules and sometimes, they are building what is not yet in existence. 

#unfollow 

What happens when the people embrace their self-proclaimed hyper individuality The following artists are the most WANTED. They create 

regardless of the context with talent and the nu-rebel must have quality, #humility. 

HEARING THINGS THAT WERE NOT THERE 

FELIX KUBIN is a sound doctor, an inventor born in 1969 from Hamburg and iconic figure of the German underground electronic music since the 80‘s. 

Co-founder of the noise band Klangkrieg, Kubin is a researcher who kept blending medium, bringing film music in theatre, art and also radio play in a 

natural playful punk spirit that never was so actual. 

KALTBLUT: What have you not done yet 

Felix: I haven‘t climbed the Etna Volcano to eat a 

fennel. 

KALTBLUT: What would your own declaration of 

Independence open with 

Felix: “Good morning you assholes!“ 

KALTBLUT: Who is still carrying on with the rebellion today 

Felix: Sleaford Mods. 

KALTBLUT: Machine vs Human who are you betting on 

Felix: Humans, cause they can laugh when they fail. Maybe an electric 

iron can do the same, but it‘s out of fashion. Do you iron things I like 

wrinkles. Not being ironic. 

KALTBLUT: Would you like to be a dictator 

Felix: Yes, a dictator of viruses. 

KALTBLUT : Is control fascinating 

Felix: We‘re all falling in a big black void. 

KALTBLUT: What was missing when you started 

doing music 

Felix: People of my age interested in my music. 

KALTBLUT: What is missing today 

Felix: There is an ongoing devaluation of music 

and literature due to the digital age. I miss a natural 

respect for this work, like you would respect 

the work of a doctor. 

KALTBLUT: Underground is more exposed and accessible 

with the internet flux, do you feel mainstream 

or is it a victory 

Felix: Underground in internet is an empty basket. 

You need to meet people, share nights and 

thoughts with them, create things together, have 

social contacts. When the internet came to existence, 

I said that it will become a colourful (commercial) 

catalogue. I think, I was right. It‘s for 

buyers and collectors. 

KALTBLUT: Does it make you feel old 

Felix: How do you „feel“ old 

www.felixkubin.com

103 

SEEING THINGS THE WAY THEY ARE BUT THROUGH A GUN SIGHT 

SCOTT KING is an English visual artist and graphic designer born in 1969. Acclaimed as an art editor for I-D Magazine amongst others, his work exhibited 

at the MOMA in New York, and plays with the notion of pop culture, politics and power. 

KALTBLUT: Your art is related 

a lot to your own history, 

when does personal become 

public 

Scott King: I suppose, as 

soon as you choose to put 

it in the ‚public sphere‘. Almost 

everything that was 

once personal is now public 

isn‘t it Thanks to social media 

- and particularly Twitter 

- every thought that flashes 

through anyone‘s mind can 

become instant public property; 

whole lives lived out 

via phone and computer 

screens, all condensed into 

140 character segments. 

But yes, there is an element 

of ‚the confessional‘ to what 

I do, hopefully I don‘t bore 

people too much with it, 

there‘s nothing worse than 

some dreary artist sharing 

their angst is there 

KALTBLUT: Is your artist 

name a fictional character 

Scott King: Scott King 

you mean No, it‘s my 

real name. I always think 

it makes me sound like a 

Country‘n‘Western singer. 

KALTBLUT: What do rock 

stars and politicians have in 

common 

Scott King: They are both 

egotists, I guess. No matter 

how ‚righteous‘ they are, 

they are both involved in 

some form of public theatre, 

so must be egotists to some 

degree. 

KALTBLUT: Between advertising 

and political statement, 

is there a will to mute 

the picture 

Scott King: Everyone tries 

to control the picture, don‘t 

they That‘s the genius of 

YouTube. 

KALTBLUT: If we can’t trust 

the hippies, shall we trust the 

artists And shall we trust the 

press 

Scott King: I wouldn‘t trust 

anyone, not unless I know 

them intimately. 

KALTBLUT: Which newspaper 

comes with your break- 

fast 

Scott King: That‘s a nice thought - I wish I did that - 

I usually don‘t have breakfast or a newspaper. But 

on Sundays I always buy The Observer - then I lay 

on the sofa for an hour saying „What a load of shit. 

This fucking paper is crap - why do they review the 

same books over and over again Who care about a 

gastro-pub in Wiltshire Look at that idiot showing 

off his ‚architect designed‘ second home in Suffolk 

- you all must die!“. 

KALTBLUT: Fonts or typography have never been so 

popular, do you believe this resurgence announces the 

return of propaganda 

Scott King: That‘s an interesting point, though probably 

not really true. But the notion of propaganda 

- or at least the notion of ‚direct communication‘ is 

perhaps something that is becoming increasingly 

essential in a world that is now flooded with endless 

information. 

KALTBLUT: Do you want your art to be understood by 

the largest crowd or only to do entrism into the media 

control tower 

Scott King: Given a choice, I‘d always choose the 

crowd over an elite ... a small crowd, anyway. 

KALTBLUT: You said that good art has to look easy, 

sometimes you almost give the feeling of a certain nonchalance, 

how do you distance yourself 

Scott King: I meant that people who are really ‚good 

at art‘ have the ability to make things look very easy 

- same in fiction, same in music - but 

these things rarely are easy - it‘s very 

difficult to make something look easy 

and simultaneously convincing. I‘m 

not sure I do distance myself do I 

KALTBLUT: What was your very first 

job 

Scott King: My first ever job (when 

I was 17) was stacking shelves in a 

local supermarket - I hated it - used 

to stink, I got the sack, thankfully. My 

first proper job was as a designer at 

i-D magazine. 

KALTBLUT: What is the most important 

stuff 

Scott King: Ideas - the need to keep 

having and making them. 

www.scottking.co.uk

104 

NOT FITTING =/= NOT FIGHTING 

REVERSO is an eloquent name chosen by a South American performer based in Berlin to explore forms and gender shifting. Armed with is attitude as a piece 

of art, Reverso is not fitting on purpose to remind us that being is a work in progress. 

KALTBLUT: What is performance to you 

Reverso: A necessity to amalgamate and 

differentiate the many „personas“ inhabiting 

me in order to reflect „them“ as an 

imagery that expresses certain actions 

as rituals of total destruction and creation. 

A means of interfering the triviality 

of existing „at times“. 

KALTBLUT: When you embody a character 

do you get in trouble 

Reverso: If you let yourself be taken completely 

by one of those inner characters 

without any resistance, yes you might. 

Its the visceral part of performing a piece 

that is intrinsically confronting you 

with a different self. Those Personas 

have a life of „their“ own. So It also depends 

how you define control. Those characters 

reflect a particular imagery, emotion, 

response and need . It all needs to occur 

like in a „Happening „, where control is non 

existing. 

KALTBLUT: What inspired you as a rebel figure 

Reverso: I was a teenager who was against the conformism 

and the uniforms of a very prolong dictatorship. 

I spent my youth drinking on the streets 

learning how to tough out my own skin up while 

conquering a little piece of free mind and speech. 

KALTBLUT: What are you fighting for 

Reverso: The brutality of an ignorant and intolerant 

mind. 

KALTBLUT: What oppresses you 

Reverso: Sleep paralysis. 

KALTBLUT: Define authority 

Reverso: The worst type of human arrogance. 

KALTBLUT: Define Art 

Reverso: Autonomous, Risk, Today. 

KALTBLUT: Define Yourself 

Reverso: Reverso. 

www.myspace.com/performerreverso

KALTBLUT: Your music doesn’t feature any 

dialogue, you are songwriters without words, 

why 

Roll The Dice: Usually when you write 

songs, you usually have the intro,chorus, 

bridge, versus, it is a classic way to compose. 

For us, it is more challenging to write 

without using words. The melody has 

to carry all the 

narrative and the 

emotion, we let 

the music speak. 

We wanted to do 

something we 

have not done before. 

The next album 

might be only 

words. [laughs] 

105 

MAKING YOUR OWN WAY WHILE 

GAMBLING WITH FATE 

ROLL THE DICE is a Swedish band from Stockholm composed of Peder Mannerfelt and Malcolm Pardon. 

Compared to Tangerin Dream and Cluster, the duo who also toured with Fever Ray has grown 

their own way with a very cinematic 3rd Album “Until Silence” released on the Leaf Label. Roll the 

Dice leaves their music free of lyrics – regardless of the streaming trends. 

KALTBLUT: Do 

you believe in fate 

Roll The Dice: Yes 

and No. You can 

do your best to 

get things where 

you want them 

to be but at the 

end it is always 

a gamble. From 

the 1st album to 

the 2nd we have 

let things happen, 

switching 

label and so on, 

we did not force 

anything. 

KALTBLUT: Your 

two characters 

look like common 

men in a survival 

state, is the normcore 

anti-hero the 

new rebel 

Roll The Dice: For 

us the characters 

are not that important, 

they are 

in the mix of the big picture on stage. We 

are not rock stars, or spacey characters in 

our daily life so it is fun to give yourself a 

character to project in when you perform. 

We try to make something that we think is 

different, that not so many people do, so 

it is small tiny rebel alike. 

KALTBLUT: Your music is really apocalyptic, 

but even rebels must keep the face up. 

What are your feel-good tricks 

Malcolm: We have a dynamic between us, we joke with each other. We are not 

as serious as we sound. We are not walking around thinking that the world is 

going to end tomorrow. 

Peter: But it is [laughs]. We talk a lot, like anyone else, hanging out with our 

kids, doing very regular day to day life things. 

KALTBLUT: Is your music reflecting the world around you 

Roll The Dice: These two characters were workers in the first album and now 

become soldiers. I guess you can always apply it to the news specifically with 

what is happening now in Europe at the moment. 

KALTBLUT: One word for the environment 

Roll The Dice: Change (to the better) 

KALTBLUT: One word for the youth 

Roll The Dice: Perseverence 

KALTBLUT: One word for the machine 

Roll The Dice: Sit (you are not alive) 

KALTBLUT: One last word 

Roll The Dice: Thanks 

www.rollthedicesthlm.com

CHARLI XCX 

NEXT GENERATION GIRLPOWER 

Photo by Dan Curwin 

It’s about freedom and a reckless 

nature, doing what you want and 

playing by your own rules. This 

seems to be the motto for English 

superstar Charli XCX, her career 

has taken off with a bang and has 

seen her work with some of the 

biggest names on the music scene. 

After her collaboration with Iggy 

Azalea on the hit tune ‘Fancy’ along 

with a bunch of other addictive 

tracks - she has truly made a name 

for herself in the world of pop. 

There is strong spirit that just oozes 

out of her with her like it or lump 

it attitude we just can’t seem to get 

enough of this British pop icon. 

Her latest album ‘Sucker’ contains 

a rampant amount of girl power that echoes throughout 

with in your face songs that keep you coming back 

for more. From the sounds of her title tracks such as 

‘Breaking Up’ and ‘Break the Rules’ Charli XCX, takes 

you back to your youth with a playful edge. Charli XCX 

along with a number of other musical names seem 

to be shaping a new path between alternate pop and 

mainstream. The 22 year-old artist has a direction that 

shows she knows what she wants and she is definitely 

going to get it. Not fumbling on the the way she wants 

to be perceived her lyrics depict her mischievous side 

that shines through to create such an enigmatic and 

rebellious character. 

From her days as a club kid singing at illegal raves her 

musical journey has been one of a kind and has seen 

a clear evolution in her music with her non-stop approach 

to every aspect of her work. The number one 

rebel on our radar with her signature red lips and dark 

pop princess style we just had to catch up and talk 

about everything Charli XCX.

107 

KALTBLUT: Our new issue is based on the theme of REBEL and 

we love everything about the attitude, the lifestyle and the 

ideals. What does the word rebel mean to you 

CHARLI XCX: EVERYTHING!! I think everyone is a rebel at heart. 

Rebellion means freedom to me and taking control. 

KALTBLUT: You’ve started touring… Can you tell us Is there 

one city you think you will let loose in 

CHARLI XCX: I think I’ll definitely let loose on my European tour 

with Katy Perry! You guys definitely know how to party!!! It will 

probably be Amsterdam (laughs). 

KALTBLUT: All your songs have quite a rebellious nature to 

them from the lyrics to music videos and everything in between... 

Is that something that you carry into your real life 

CHARLI XCX: I mean, like I said I think everyone is a rebel to a 

certain extent. I just like to live my life by my rules, not by anyone 

elses. I have my own style of doing things and I like that. 

KALTBLUT: Starting your career in music at such a young age 

how do you feel it has evolved since you first started 

“I think everyone 

is a rebel at heart. 

Rebellion means 

freedom to me 

and taking 

control” 

CHARLI XCX: London definitely has an edge but whether it resonates 

in my music I’m not sure. I haven’t spent much time there 

whilst making the album. I recorded most of the record in Sweden. 

That’s definitely my favourite place to make music. They just 

get me there... 

CHARLI XCX: A lot. I think I have definitely become a better and 

more diverse songwriter. When I was younger I just wanted to 

make party music and music I could play at these illegal raves 

where I was performing. Then I wanted to make emotional pop 

songs with my first album ‘True Romance’, and now on my second 

album ‘Sucker’ – it feels a lot more raw, more wild, more guitar 

lead and more alive. This feels like a pussy power record! 

KALTBLUT: Your track ‘Boom Clap’ was used in the film ‘The 

Fault in our Stars’ that’s a pretty big deal... How did that come 

about 

CHARLI XCX: The people who were organising the sound track hit 

me up and said they liked my song. I didn’t know anything about 

the ‘Fault in our Stars’ at that time so I read the book and watched 

the film and realised it was something I wanted to be a part of, so 

i let them use ‘Boom Clap’ in the movie. I’m glad it happened! 

KALTBLUT: When you step into your music are you stepping 

into another world or do your lyrics come from everyday situations 

KALTBLUT: What can we expect from your latest album ‘Sucker’ 

CHARLI XCX: Pussy power and hard core pop songs! It’s a girl 

power record and I made it for kick ass girls. 

KALTBLUT: Would you say you are a goth-pop princess or do 

you see your persona in a different light 

CHARLI XCX: I’m not sure. Maybe thats what I was when I was 

younger but now I‘m a rockstar (laughs)! 

KALTBLUT: This year has flown by and you’ve clearly achieved 

a lot in 2014 so please tell us what is coming up next for Charli 

XCX 

CHARLI XCX: Releasing my new album in 2015 in January, which 

I’m so excited about and then touring with Katy Perry in February 

and March. 

Interview by Jane Fayle 

CHARLI XCX: It’s a mixture of both things. Sometimes it’s a heightened 

reality and sometimes it’s real life. Most songs on this album 

are totally real. I feel like I had a lot to say on this album mainly 

about the music industry as well as falling in and out of love. 

KALTBLUT: You’ve worked with some super huge names in 

music I think we would be here for a while if I was to name 

them all... What’s the collaboration you’re most proud of 

CHARLI XCX: My collaboration with Iggy Azalea was very fun. She 

is such a talent and a hard worker and I’m so happy for her success. 

There are also some collaborations I can’t talk about yet that 

I’m very excited about. I was also really happy that Lorde asked 

me to be a part of the ‘Hunger Games’ soundtrack. I worked on a 

song with a lot of my close friends for it and a collaboration with 

Simon Le Bon from ‘Duran Duran’ came out the other side. It’s 

something very different from anything I’ve done before - very 

soft and subtle. 

KALTBLUT: Do you think London has an edge that resonates 

in your music or do you find your inspiration and voice somewhere 

else 

www.charlixcxmusic.com

108 

Model is Elena Mitinskaїa 

Hair, Make-up and all fashion by Alisa Gagarina www.alisagagarina.com 

Photography by Sanz Lénaïc www.sanzlena.com 

Assistant photographer: Belyaeva Elena 

An angel 

will die 

Covered 

in white

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One To Watch: 

Rora Chow 

Photography: Karl Slater www.karlslater.com 

Stylist: Katia Bololia www.katiabololia.com 

Hair Stylist: Brady Lea using Tigi www.brady-lea.com 

Make up Artist: Rebecca Muir using MAC Cosmetics 

Model: Jessica P @ Models 1 

Fashion: Rora Chow 

Photography Assistant: Arturas Bondarciukas 

Special thanks to Orestes Economou 

23 year old, British born Rora Chow 

and first class graduate from Westminster 

is Kaltblut Magazines ones 

to watch. We take a moment to find 

out the inspirations, aspirations 

and the journey that led her to create 

the beautiful collection that we 

show today.

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120 

KALTBLUT: Tell us a bit 

about your collection and 

the influences and what 

inspired you to come to 

these fantastic final garments 

we see here. 

Rora Chow: At the beginning 

I was looking at a lot of 

different graphic artists like 

Franco Bergani and Bridget 

Riley. They work a lot with 

line and colour so this led 

me to stripes - I wanted to 

use stripes in a different way, 

by deconstructing them. 

I had an idea of making big 

garments out of ribbons using 

draping so that it wasn’t 

a really structured; all unraveling 

in some way, very 

organic looking. 

The most difficult part of the 

collection was to translate 

that idea into a real garment. 

What I wanted to achieve 

was when you can’t tell if the 

garment is a jacket or dress. 

Drawing that line between 

something super conceptual 

and something that is a 

wearable garment. 

That’s where I used colour 

blocking and the printed 

stripes came in. My goal was 

to make it ether more confusing 

or define some parts. 

The idea is not about making 

it complicated to wear, 

but when you see each 

finished look you can’t really 

tell where each garment 

begins or ends. There was 

a big issue with my finished 

edges because they were 

all fraying… I like the raw 

edges because I’m looking 

at something that is graphic. 

In your mind you think ‘ok 

this is what the looks are going 

to look like’, but Its not 

until the fitting you see what 

works and what doesn’t. 

You’re still making toile’s as 

your making final garments. 

Its just another way to see 

how each look is going to 

work together. 

KALTBLUT: The patterns 

must have been crazy! 

How did you manage to 

keep them organized 

Rora Chow: I made a lot of 

stuff myself! A lot of things 

I didn’t decide until I was 

making the final item. I only 

had two garments made by 

a seamstress. There is where 

I saved a lot of money. 

KALTBLUT: Do you feel 

your collection evolved 

through you making it 

yourself 

Rora Chow: Definitely, because 

I had to decide where 

the pieces were going. I 

had to think, was it worth 

me spending the money 

and time to explain to someone 

how to make my vision 

only for it to come back and 

not being right It was just 

easier for me to make it myself. 

To other people it looks 

complicated because you 

don’t know where to even 

begin, but because I know 

how it’s made I think its simple. 

Its not until you have to 

explain to someone is when 

you realize how complicated 

it actually is. 

KALTBLUT: Who would 

you say is the woman you 

envision wearing your 

range

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Rora Chow: She has to be 

tall, (laughs) I don’t know if 

I could place her in a city, 

but she just has to be someone 

who wears what she 

wants. I feel like the collection 

doesn’t really reference 

a time or a type of woman in 

particular. I just wanted the 

garments to be complicated 

using colour and cut. 

KALTBLUT: Would you say 

you see it more as wearable 

art 

Rora Chow: I designed the 

collection to be more of a collector’s 

piece. I would love to 

see some one on the street 

wearing my designs, but the 

concept was never based on 

a customer. 

KALTBLUT: You have a lot 

of contrasting colours and 

a lot of them wouldn’t necessarily 

match. Was this 

something taken from the 

artists who inspired you 

Rora Chow: Not directly, 

it was more influenced by 

Bridget Riley and her weird 

colour combinations of pink 

and green. Also working 

with Rejina Pyo and Hussein 

Chalayan who both use a lot 

of colour in their collections 

made me realize you can go 

for it and do what you want. 

KALTBLUT: Tell us a bit 

about your experiences 

while interning. 

Rora Chow: One internship 

was at Rejina Pyo, she’s a 

new designer. 

I definitely wanted to work 

with her just because one 

she was a new designer so I 

got a lot of responsibility, not 

just cutting up fabric. I was 

helping her do research and 

also going though the whole 

design process and even 

making some of the final garments 

as well. Seeing everything 

from the beginning to 

the final product. Its just really 

exciting seeing her then 

and seeing her now. She’s 

grown so quickly. 

KALTBLUT: Fantastic, so 

lets get to know a little 

more about you. 

123 

Rora Chow: Both my parents 

are Chinese, but my mum is 

from Brunei (Southeast Asia). 

We lived there when I was 

11 for about 3 years, then we 

came back to England. 

KALTBLUT: Would you say 

that you draw inspiration 

from your heritage 

Rora Chow: Definitely part 

of me as a person, but I don’t 

think it comes into my work 

that much, its not really 

something I draw inspiration 

from. 

KALTBLUT: So, now you live 

in London 

Rora Chow: I’m based in 

Bethnal Green (East London). 

I like where I live, 

there’s so many different 

cultures, and also there’s so 

many creative people there. 

KALTBLUT: East London is 

the hub of creative talent 

in London, does that influence 

you 

Rora Chow: Definitely I feel 

like I’m a part of it. When you 

choose a place to live it really 

does influence you as a parson. 

KALTBLUT: In East London 

its known for the night life 

and cool fashion parties, do 

„I definitely take 

risks. I don’t 

think anything 

is impossible“ 

you go out around there 

Rora Chow: Yeah, we do 

go out in East London but 

I don’t normally follow the 

fashion crowd, I just go out to 

have fun. 

KALTBLUT: Is your aspiration 

to have your own label 

Rora Chow: Sadly no! I just 

think there are so many other 

people that want it more; it’s 

not something I’ve set out to 

do even when I started university. 

In my year out that 

really cemented that for me. 

I want to work somewhere 

where there’s a great team of 

people with you and you just 

create together something 

that looks amazing at the 

end of the day. 

KALTBLUT: What makes 

you different as a designer 

Rora Chow: I definitely take 

risks. I don’t think anything is 

impossible. When you’re designing 

you have a vision of 

what you want. Some people 

struggle with translating that 

into a final garment, but I personally 

enjoy that process. 

KALTBLUT: What’s the 

dream 

Rora Chow: I would love to 

travel. Working in a different 

country would be amazing. 

Paris! But I love London and 

want to be here for now. 

KALTBLUT: What advise 

would you give to someone 

who’s looking to get into 

fashion design 

Rora Chow: Save up loads 

on money! 

It’s hard and you have to be 

a really strong person to be 

able to do it in the first place. 

You have to really want it to 

do fashion. You have to be 

rich, especially now that the 

fees have gone up. 

Now it just expected that 

you’re going to come out of 

university with a huge debt. 

KALTBLUT: Describe your 

self in 5 words. 

Rora Chow: Honest, positive, 

creative, organized, and a 

realist.

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Maya Fuhr

127 

Maya Fuhr is a 

young Toronto based 

photographer we 

keep falling in 

love with. Her intimate 

photographs 

of friends, her 

striking snaps of 

everyday life and 

her beautifully 

awkward editorials 

have established 

her as an artist 

and rebel photographer 

with a very 

personal perspective 

on things. A 

person who doesn’t 

like authority, 

Maya spoke to us 

about how she first 

got into photography, 

artists she 

admires and what 

inspires her. 

Exclusively for 

KALTBLUT’s birthday 

issue she had a 

session with gorgeous 

Paris from 

Plutino.

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KALTBLUT: How did you begin 

photographing Do you 

remember what it was you 

really wanted to shoot 

129 

Maya: I began photography 

because when I was younger 

I get completely overwhelmed 

by how fast life 

was going and I was afraid 

the beauty I saw would be 

forgotten.. I’d constantly 

write in my journal to 

document my life, so when 

I got a camera it was like 

retiring from writing and 

into visuals. 

KALTBLUT: As a female 

photographer, would you 

identify yourself as a 

feminist too 

Maya: Yes, I believe in 

the equality of sexesalways 

have. 

KALTBLUT: Which female 

artists do you look up to 

when it comes to revolutionizing 

art 

Maya: I really love Marina 

Abramovic and her performance 

art. It’s spiritual 

and not just something 

beautiful to look at. 

Watching her really provokes 

something deep inside 

me. As a young female 

in the 70s, she used her 

body as her medium- something 

that female artists 

are doing now more than 

ever. But no one is quite 

like Marina- She wasn’t 

just about being naked and 

having a nice body. She 

really pushed her body’s 

limits and spiritually 

transformed. 

KALTBLUT: Is there a theme 

or subject you would never 

agree to shooting 

Maya: I don’t think I’d 

ever shoot a wedding. Too 

much pressure! 

KALTBLUT: In photography 

we do think you are a 

rebel. But how do are you 

as a person

Maya: I guess I’m a bit 

of a rebel. I most 

definitely don’t like 

authority. 

KALTBLUT: Where do you 

get inspiration from How 

do you plan a shoot 

Maya: I get inspiration 

from moments I experience, 

colours and 

textures.Strange objects, 

unique looking people. 

I plan a shoot by choosing 

my subject and then 

I plan accordingly to how 

they come across to me 

I’ll picture them in a 

specific outfit or 

colour pallet. I won’t 

take a photo unless they 

come across naturally. 

To be honest I don’t 

really plan much in 

shoots- I like being 

spontaneous and then, 

everything happens 

organically for the most 

part! 

KALTBLUT: What are you 

currently obsessed with 

Maya: I’m obsessed with 

cuddling. 

Interview by Amanda M Jansson and Emma E K Jones 

www.mayafuhr.com

There 

dee 

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Jacket & Shirt Christian Benner 

Pants Isaac B 

Shoes Adidas

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’s a rebel lying 

p in my soul 

Photographer: Marcus Cooper 

Stylist: Christian Benner 

Hair: Christopher Dylan for jOYCEBONELLi Agency 

Grooming: Caitlin Wooters 

Model: Duncan Pyke @ Soul

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Jacket Levis 

Pants Isaac B 

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Jacket Levis 

Pants Isaac B 

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Jacket Levis 

Pants Isaac B 

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Ruin 

Photography: Rut Sigurðardóttir 

www.rutsig.com 

Model: Cleo Schätzle 

Hair and Make up: Isabel Lima Pimentel 

Styling: Veronika Doroscheva 

www.vanillachina.tumblr.com 

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Top: Issever Bahri Skirt: Hildur Yeoman Socks: Oroblu Booties: Malin Bernreuther

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Green cropped top: Martin Niklas Wieser Trousers: Hildur Yeoman Rings: Margherita 

Opposite page Crochet vest: Hildur Yeoman Bracelet: Vintage Ring: Margherita

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Coat: Issever Bahri Embroidered fringe dress: Hildur Yeoman Socks: Oroblu Boots: Model’s own 

Opposite page Blouse: Michael Sontag Hand painted vinyl coat: Hildur Yeomann

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Cropped top: Martin Niklas Wieser Vest: Vladimir Karaleev Trousers: Hildur Yeoman Boots: Model’s own

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Cropped top: Martin Niklas Wieser Vest: Vladimir Karaleev Trousers: Hildur Yeoman 

Opposite page Embroidered top and printed body: Hildur Yeoman

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Embroidered top and printed body: Hildur Yeoman 

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White Lu 

You’ve probably heard of White Lung, but if you haven’t already 

then you need to take a listen to their latest album 

‘Deep Fantasy’, which was released earlier this year. They 

are a rock band who got together in Vancouver in 2006 

and their loud and uncompromising sound means this 

album needs to be turned up and blasted. It’s addictive 

to say the very least and their 2014 world tour saw them 

play at some super cool venues across the planet. While 

it’s easy to make comparison’s, White Lung are unique 

in all senses of the word and their music will smack you 

across the face and keep you coming back for more. 

White Lung are the genetic makeup of a DIY punk band 

who has brought something back to the scene with their 

toughness and power. Producing a modern twist on a 

cult style that is supercharged and relentless. With a full 

force energy and hardcore vocals to match their sound 

has clearly evolved allowing for the groups growth and 

direction. KALTBLUT caught up with White Lung to talk 

about their musical process, the influences behind their 

lyrics and the new album.

ng 

REBEL 

HEARTS 

KALTBLUT: How do you like 

Berlin Have you played here 

before 

151 

White Lung: Once we played at 

that place, I don’t know what it’s 

called but when you’re unloading 

they make you carry all the beer 

up the stairs, the bands have to 

do it too - I feel like they were lying, 

but it was like a warehouse. 

It’s crazy with all the street art 

everywhere. 

KALTBLUT: Our collection is all 

about rebellion this time, and 

your music is pretty fitting for 

that - what drives the aggression 

behind your sound Do 

you feel like you need to compromise 

to reach a more commercial 

audience 

Kenny: I don’t really see it as 

much of a compromise, because 

if you’re making music then 

you should want it to reach as 

many people as possible and 

you should want as many people 

to hear it I think, if you’re only 

keeping it to yourself and this 

niche audience of like DIY scene 

or whatever you’re almost like 

preaching to the converted already. 

Mich: If you don’t feel like you’re 

compromising anything in the 

process with your own thing 

that you’re trying to create then 

what’s wrong. If you felt like you 

were and you weren’t happy then 

that’s a whole other story. 

KALTBLUT: How do you all work 

together, is there a separation 

or do you just jam and make 

the tracks 

Kenneth: It was a lot different 

because now there’s only 

three of us and Mich was living 

in LA, and it was different because 

on all the other records 

they all wrote together in room 

sort of bouncing off each other, 

and this time we were all mostly 

completely isolated from each 

other when we were coming up 

with our parts. So it did kind of 

change things because rather 

than have the other guys fill out 

the sound when I was playing 

guitar, I really had to make sure 

that it sounded good altogether 

because there was no one else 

there so it sounds a lot thicker I 

think. 

Mich: Yeah so Heather and I 

lived there together in LA, I love 

it and I live there permanently 

now. We had gotten rid of our 

old bass player and we’d written 

the record just the three of 

us and Heather was gracious 

enough to come and tour with 

us, so Kenny did the bass and 

guitar parts. It was like collaging 

it after you know, and sitting and 

doing a lot of the stuff in the 

studio and really trying to be 

careful with our parts and perfecting 

everything. Kenny mentioned 

this and I think it’s really 

smart, it’s like he said we tried 

to contrast the way that I present 

my vocals which is like very 

straightforward and extra frantic 

with the guitar which makes it really 

thick and really crazy. It was 

more isolated, individual, 

different, meticulous. 

KALTBLUT: Which were you 

most excited about going into 

the new record, the studio 

time or the live gigs 

Mich: Well Heather and I came 

back to Vancouver so we could 

practice and we were practicing 

together and then we realised 

that we’d never played these 

songs together before! We never 

heard what they sounded like 

which was really surreal but it 

picked up really fast. 

Heather: At least they had some 

idea because of when they’d 

been recording them but I had 

to learn a crap load of songs in 

the last minute, with all these 

weird tablatures that Kenny had 

emailed me, but it worked out 

fine I understand how Kenny 

writes so it’s easy for me to learn 

the parts from him really fast but 

I simplify a lot, he plays bass like 

a crazy person [laughs] chords 

sliding all over the place. 

Kenny: I was a little worried cos 

a lot of the parts I wrote sound 

great in the studio but then when 

you play it live it’ll be a load of 

garbage or sound completely 

different so I was quite relieved 

when we played it all together 

finally and it didn’t sound like a 

disaster. 

KALTBLUT: The new album is 

cool, but it’s moving in a more 

rock-inspired direction, was 

this something you talked

about or did it just sort of happen 

organically 

Mich: I think we’re just better at writing 

songs together now because we’ve 

been doing it longer, it just makes 

sense to make better songs - not better 

- but songs that are progressing and 

showing us as being cohesive as a unit 

despite the fact that we didn’t write 

together for the whole process but we’d 

work on our parts and then we’d come 

together for like you know a couple of 

days or whatever and really try to finish 

it. So you’re not just trying to finish 

something for the sake of finishing 

the song like “okay so we’re at the jam 

session so we have to finish 2 songs 

tonight..” screw that you know I actually 

had time to sit there and twirl and 

really go over my words and really edit 

them and think about what I wanted 

to say and Kenny had time to make his 

parts the best he could and Anne had 

time to think about her drums. 

Kenny: Yeah, I liked it a lot, it’s good to 

kind of have space to be able to work 

on things… you know if we’re all together 

playing in our practice room then I’ll 

play something when I’m just messing 

around and then Mich will really like it 

but maybe I hate it but then because 

they already latched onto it I can’t 

change it, so there wasn’t so much of 

that happening this time, I could filter it 

all out before I showed them anything. 

Mich: Exactly, it’s better for Kenny because 

he’s a bit of a perfectionist, it was 

a much better process for us and we’re 

happy that’s it’s done [laughs] 

KALTBLUT: So when you finally got 

together you recorded the whole 

album pretty quick right 

Mich: Yeah we recorded it in 2 sessions, 

but we’ve always done it like 

that though. It’s always just been like 

this is the time frame we have because 

this is the money we can spend and it 

works us because if we’d sat there for 

three months it wouldn’t be the same 

because you’d second guess everything 

and you’d work on everything so much 

it’s like beating a dead horse otherwise, 

but this way there’s this immediate. 

KALTBLUT: There’s also less screaming 

and more singing from your side 

Mish, do you think this will alter 

your stage presence 

Mich: I know when I do my vocals that 

after a certain time, it’s gone you know, 

it just starts to sound urgh. It’s fast it’s 

live and that what it’s supposed to be 

152 

like so this system works well for us. 

Also it’s different now that Heather is 

touring with us because I knew when I 

was writing that Heather would be able 

to sing certain parts with me whereas 

before I always had to rely on my own 

vocal, even if I woauld write triple harmonies 

then I knew it was never going 

to happen live so I would have to pick 

one that worked but now that stuff can 

be recreated on stage whereas it could 

never in the past. 

Heather: I don’t even really play bass, I 

mean now I do but I’m usually a guitarist 

and a singer, so the singing stuff is 

the easiest part for me. 

Mich: Yeah I had a lot of vocal issues 

last year just from touring too much 

so I had to make a conscientious effort 

just to realise that I don’t have that 

range - I’m not a proper singer - but 

have some space and I had to learn 

how to work within it the right way to 

make it happen for me, but we had a 

good producer and he gave me a lot of 

good ideas of how to learn to use my 

voice in a way that didn’t completely 

strain it, so I learned how to sing in a 

way that was in my register and comfortable 

which was nice for me, but still 

relaying that same kind of emotion and 

aggression but not having the same 

scream, but the energy is different 

that’s true because it’s sang in a different 

way and I also felt like the things 

that I was confronting and talking about 

on the album perhaps don’t need to be 

screamed in that way, it just didn’t feel 

right. I also knew like I was saying, going 

into this live with Heather I knew

that I was really going to be able to do 

parts together and it’ll sound so strong 

and I love that, I’m so happy that we 

have that element live now because I’ve 

always really wanted that. 

KALTBLUT: What kinds of influences 

and inspirations were poured into 

the lyrics for ‘Deep Fantasy’ 

Mich: The isolative process really 

helped with the was the subjects 

evolved, and also because the structures 

of the songs and the riffs he was 

sending me were lending themselves 

to melodies that I felt that were more 

rock or pop driven melodies I would 

say rather than just going all over a 

song. I did that a lot on the last record 

too but I felt that on this record it was 

a lot more clear and when you don’t 

153 

have that many lines, or that many 

phrases in your vocals, you really have 

think about exactly what you want to 

say and I really took a lot of time to do 

that because I also was conscious that 

more people would hear this record 

and that if I have a microphone I actually 

want to say something intelligent 

and create some kind of challenge or 

some kind of stir in someone you know, 

nothing drives me more insane than 

people that have a microphone and 

don’t do anything with it, it’s so stupid 

to me — what is the point So I worked 

really hard on the content of the record 

because that was a really important element 

to me, and I’m glad that I had the 

time to do it. 

KALTBLUT: You’ve been pretty critical 

of your own work in the past, do you 

think this is tied up into the fact that 

you’re also a music journalist and 

do you feel happy with the outcome 

of Deep Fantasy 

Mich: Well I can’t speak for the other 

guys but at least for me when you create 

something and your whole life is 

based around creating something or 

creating “art” or music you do it and 

then once it’s finished you’re so happy 

that it’s done and you never want to 

listen to it again, and then when you finally 

do listen to it again you like “I hate 

this, I’m so sick of this, I could have 

done this better if I’d thought about it 

more…” and that was something always 

in the past that I would do with lyrics 

because I would write them so fast that 

I can go back and criticise it, it’s part of 

the process. 

Heather: Those artists that don’t challenge 

themselves are the ones who 

make the same shitty album over and 

over and aren’t interesting and never 

will be. There are tonnes of those kinds 

of bands around. Who cares about 

that 

Kenny: I’m not talking about this record 

right now in that way but I’m sure 

after I’ve had to live with it and had to 

play it so many times on stage that i’ll 

know everything that’s wrong with it. 

Mich: It should be like that, you should 

want things to always be better because 

then you know if you don’t and you’re 

just sitting there satisfied all the time 

then where would go from there You’d 

just be sitting there patting yourself on 

the back like an asshole [laughs]. I think 

that people who are being self-deprecating 

are fishing for compliments 

when they say that they don’t like their 

own work. 

Interview: Amy Heaton 

Photo Credit: Michelle Ford/ Piper Ferguson 

‘Deep Fantasy’ (Domino Records) 

available to buy now: whitelung.tumblr.com

154 

Military Commissariat 

Photography by 

Sergey 

Melnitchenko

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T-shirt, vest and kilt – Q Design & Play 

Neckpiece – Tusk 

Ribbon worn as belt – From a selection, Little India, Chinatown, Bangkok 

Meggings – Zehui 

Fencenet tights – Wolford

T-shirt, vest and kilt – Q Design & Play 

Neckpiece – Tusk 

Ribbon worn as belt – From a selection, Little India, Chinatown, Bangkok 

Meggings – Zehui 

Fencenet tights – Wolford 

Rings (worn throughout) – from a selection, B2S, CentralWorld 

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171

Skirt Suit – Q Design & Play 

Meggings – Adrian 

Scarf – From a selection, B2S, CentralWorld 

172

173

Skirt Suit – Q Design & Play 

Meggings – Adrian 

Neckpiece – TUSK 

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175

T-shirt – Versace 

Jacket and shorts – Q Design and Play 

Meggings - Zehui 

176

Top – Q Design and Play 

Neckpiece – TUSK 

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T shirt and shorts: Q Design and Play 

Meggings - Adrian

MUST 

You certainly can live without these ITEMS, but life is so much More Beautiful with THEM. 

Selected by Marcel Schlutt 

adidas Originals Veritas Mid Two-Tone Mesh 

The two-tone woven mesh pack features 

four iterations of the mid-cut shoe with 

a woven two-tone upper in classic base 

palettes. Furthermore, each colourway 

features a tonal 3-stripes logo and 

concealed laces sitting atop of a contrasting 

white midsole. Logo branding 

on the midsole and tongue round out 

the design, resulting in a simple and 

straightfoward offering from the 

iconic brand. 

www.adidas.com 

Freitag - The All Tarp Star 

F251 KOWALSKI is the Naked Bike 

among backpacks and the Max Bill of 

FREITAG’S recycled tarp bags. It’s 

wearable art that’s weatherproof and 

ready for whatever the day may bring. 

www.freitag.ch 

Philips Fidelio HTL9100 

Philips Fidelio Obsessed with sound! The HTL9100 

is Philips’ first sound-bar with real surround 

sound from wireless detachable speakers. Enjoy 

the freedom of casual and temporary placement 

of the surround speakers just when you need it. 

www.philips.de 

Xperia Z2 Tablet 

Super-slim. Ultra-light. Using premium 

materials and with minute attention to 

detail, the Xperia Z2 tablet offers Sony’s 

signature design in a waterproof package. 

OmniBalance design creates symmetry 

in all directions, making the tablet a 

pleasure to handle at all angles – and with 

unique details including an aluminium 

power button and durable tempered glass 

on the front, this tablet exudes quality 

you’ll be proud of. 

www.sonymobile.com

Fame On You Paris - Shirt 75 

Launched in 2009, the Parisian brand Fame 

On You has already made its mark in the 

very closed and competitive fashion 

sphere. Fame On You’s bold and edgy 

graphics have redefined the fashion of 

t-shirts, placing it on a completely new 

level. Girls the Paris 75 shirt from the 

SS15 collection is just for you. 

www.fameonyouparis.com 

Casio’s G-Shock GPW-1000 

We are in love! Regular globetrotters may find it a 

hassle to adjust their watches each time they cross 

timezones. Casio’s G-Shock GPW-1000 will save you 

that chore and, perhaps, also that If-it’s-Tuesdaythis-must-be-Belgium 

sense of dislocation. The 

GPW-1000 has the world’s first hybrid timekeeping 

system, according to Casio, which uses both Global 

Positioning System (GPS) and Casio’s Multi Band 6 

technology. 

www.casio-europe.com 

Edwin Primo Jacket Camo 

Valentine Gauthier Sweat Tricolore 

de- 

Colour blocking at its best. The french 

signer Valentine Gauthier founded 

her brand in 2007 in Paris and is 

by now one of the most successful 

young french designers. Her focus 

is on the creation of contrasts, 

which are mixed with different 

patterns to create an impressive 

artwork. 

www.valentinegauthier.com 

Edwin is an authentic denim brand 

priding itself on innovation and 

craftsmanship, utilising 

exclusive fabrics and fabrication, 

unique technology, 

hand wash 

processes, and continual 

progression in 

design and fit. Our 

favorite from the 

AW14-15 collection 

is the camouflage 

jacket. 

www.edwineurope.com 

ABURY leather bags are meticulously handcrafted 

by master craftsmen using premium 

materials. The desert saffron shopper bag is 

handmade in Morocco out of finest goat leather. 

www.abury.net 

Book: “If I Stay” by Gayle Forman 

ABURY Free People Shopper Bag 

The critically acclaimed, bestselling novel 

from Gayle Forman, author of “Where She 

Went”, “Just One Day” 

is a good choice for a 

long weekend in bed. 

In the blink of an eye 

everything changes. 

Seventeen year-old Mia 

has no memory of the 

accident; she can only 

recall what happened 

afterwards, watching 

her own damaged body 

being taken from the 

wreck. Little by little she 

struggles to put together 

the pieces, to figure out 

what she has lost, what 

she has left, and the very 

difficult choice she must 

make.

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Unfinished Business 

Photography: Karl Slater www.karlslater.com 

Stylist: Rickardo Mattocks-Maxwell www.rickardomaxwell.com 

Hair Stylist: Chrysostomos Chamalidis Using Bubble and Bubble 

Makeup Artist: Cee Cee Nulty Using MAC Cosmetics 

Model: Jośe Wickert @ AMCK Models 

Photography Assistant: Arturas Bondarciukas 

Photography Assistant: Viktor Awuse 

Assistant stylist: Luke Haynes 

Retouching: Orestes Economou

183 

Jacket and gilet Xi Lin 

Trousers Vidur

Jacket, jumper and trousers Hunter Gather 

Chain Tessa Edwards 

Boots Alex Mattson x CAT Footwear 

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Top and fur cropped tee Tessa Edwards 

Trousers Hunter Gather 

Shorts Clara Martin 

Shoes Loake

Jacket Smith Wykes 

Cardigan The Kopples 

Trousers Beau Homme 

Shoes Nicolas Kirkwood 

Hat Kay Kwok 

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187 

Shirt Xi Lin 

Trousers YMC 

Top (worn as apron) Tessa Edwards 

Shoes Nicolas Kirkwood

Suit The kopples 

Tee Tessa Edwards 

Shoes Loake 

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Suit Beau Homme 

Choker Christian Cowan Sanluis 

Shoes Nickolas Kirkwood 

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Nevena Katalina 

KALTBLUT is my personal 

online art encyclopaedia 

of the 21 century. 

I am an artist and 

the opportunity to represent 

something like 

this is very important. 

Not only for myself or 

the magazine, but also for interaction between 

different countries, cities, places 

and people. But most importantly is that 

it is a really great art journey and experience. 

The thing I most like about KALTL- 

BUT magazine is this variety of choice, 

the way that is presented by different and 

great things. Featured artists, content 

and everything else is simple and unique. 

You can read it online, buy it or share it 

with others. For me your magazine is like 

an creative home and inspiration to every 

day artist. Since I am a graphic designer 

and also a illustrator, I try a lot to experiment 

with different types of every kind of 

art. Things I usually like is definitely found 

in your magazine – and to be a part in this 

3 year birthday issue means that I am a 

part of the family. 

shapes to create a stylized outline of a person. Beside portraits I am a big fan of architecture 

and the usage of a different approach with angles, shapes, position and also 

colour influence on backgrounds.We are living in a very fast world, surrounded by 

virtual reality, android communication, mass media, human and internet interaction – 

with the space around them constantly in some sort of flux. It is almost impossible to 

imagine that this fact of our everyday lives is not somehow understood by onlookers. 

Since I am now done with my studies, I know for sure that I would love to work in an 

creative agency that provides successful type of different design. I am a type of person 

who knows exactly what she wants. I can say for myself that I am an expert when 

it comes to challenging something new in design and illustration. I am also always 

looking for something new, innovative and creative. I like to research and to combine 

things, from surrealistic dream portraits to straight-up colour/shape explosions, that 

is who I am. Also I am looking forward to be a teaching assistant in the near future and 

would love to share my knowledge about design with the same enthusiast as I am. 

www.behance.net/Nevena_Katalina 

Growing up I was truly obsessed with 

pencils, papers and sketches. My grandparents 

were also designers (fashion and 

industrial) and taught me everything I 

know. After high school I finished Faculty 

of Information Technology and Design, in 

my hometown Banja Luka, as a Bachelor 

of Graphic Design. Then this year 2014, I 

moved to Novi Sad in Serbia to finish my 

master studies in field of Graphic Communications 

– subject: poster and the 

title of thesis was: Aestheticization of 

Yugoslavian monuments on poster. This 

master thesis implies to show through 

a survey the impact of what the monuments 

have left on the culture, what is 

their message, and finally what is the relationship 

between man and monuments. 

Since day one, I knew that I was going to 

be a mix of a good designer/illustrator. 

I like to work hard, especially when I have 

a good idea and concept. Currently I am 

obsessed with portraits. I like simple but 

powerful connection between portraits 

and illustration. Some of my series of portraits 

usually present female figure, face 

or silhouette. I try a lot to experiment 

with abstract and geometric lines and

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Elizabeth Ehrl

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Coat by Franziska Michael 

Necklace by Forever 21 

Shoes: Models own 

ich 

Photography by Marcel Schlutt 

Styling and Make up by Nico Sutor 

Assistant: Nicolas Simoneau and Nicolas Heimburger 

Interview by Marcel Schlutt and Nico Sutor 

Location: Maritim Hotel Heringsdorf/Usedom 

www.maritim-usedom.de

200 

KALTBLUT: We love you! You ve been our muse for 

years and we have had many shootings with you. We 

hope you know how much we love you. So tell us who 

is your muse 

Elizabeth: Hey KALTBLUT! First of all - I love YOU 

for being like you are - different! My personal muse 

is ‘Tank Girl’ - she’s fantastic, a real fighter! You 

could say she’s one of my heroes.. a strong girl 

who’s doing what she wants. With love. 

KALTBLUT: Who discovered you 

Who do we have to thank 

Elizabeth: Aiiiii... good question. In my life 3 

scouts have asked me to work as a model. They discovered 

me when I was 13, 15 and 19. But ‘cause 

I felt more like a fancy boy I didn’t get back to 

them. Suddenly all of my friends pushed me to see my 

potential. Then I met a photographer who became my 

boyfriend.. I began to realize, that my way to be a 

girl in front of the camera had already started. So 

I followed that way. 

KALTBLUT: You don t work with a model agency. 

Why is that and how is this working 

Elizabeth: Yes, I never had an agency. Simply because 

it was working very well without. Once I was 

in touch with ‘Woman Management’ in Milan. I decided 

to stay in Berlin, doing arty stuff and enjoying 

the Berlin-Love-Summer. It´s like in a movie. I go 

out and I meet the right people to walk some steps 

with me. My wish always was, to be myself and live 

in harmony. Maybe I had good karma, ‘cause after 

2 years working as model I had so many good shoots 

and famous photographers on my ‘done’ list, that I 

thought - with an agency I ‘d never have had that 

crazy ‘factory girl’ life. At that point a big kiss 

to Thomas Dellert and all the artists who believed 

in me - without an agency but because of me. 

KALTBLUT: There are many labels in the fashion business, 

for models: size zero, plus size model, real 

women. What label would you give yourself 

Elizabeth: I never wanted to be labeled but I always 

hear how they say she is the natural one - the amazone. 

I just want to be real, wanna show how to be 

completely yourself, in love with everything around 

you. Call me ‘trashy-funky-normal sized-naturegirl’. 

At my business Elizabeth Ehrlich is my label. 

KALTBLUT: As a model you see a lot of fashion. 

What’s your perfect outfit And do you have a secret 

weapon for bad days 

Elizabeth: First of all 

you need BOOTS! Boots are 

my big love and combined 

with tight high waisted 

pants, something spiritual 

like crystals (I always 

have a crystal chain 

around the belt loop) 

and a trashy shirt or 

cozy sweater you should 

be well prepared for the 

world - the perfect outfit 

should make you feel 

safe. Bad days don’t exist.. 

(but I have to say 

Karl Lagerfeld is wrong 

with his jogging trousers 

hate thing.. if you have 

no problem with showing 

your character to 

the world you should wear 

whatever the fuck you 

need to feel good). 

KALTBLUT: You worked with 

many known photographers 

like Ellen von Unwerth. 

How is it to work with an 

icon like her 

Elizabeth: The funny 

thing was, it was her 

birthday and I didn´t 

even know who she was. 

At that time I lived as a 

muse together with Tommy 

Dollar. He was the assistant 

of Andy Warhol and a 

friend of Jimmy Hendrix, 

Madonna and co. I thought 

I had already met the 

coolest guy on earth. But 

with Ellen von Unwerth my 

world and thinking about 

‘icons’ changed completely. 

She was great! What a 

relaxed and funny woman. 

We had a lot of fun and 

at that moment I realized 

that she must be one 

of the best photographers 

alive. I just felt very 

proud of the trust I feel 

in my life. Live in trust 

and all your dreams come 

true.

Dress by Franziska Michael, Shoes by Dr. Martens 

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“It was so much 

fun working with 

Elisabeth, she is 

bursting with life 

and looks 

fantastic in 

every picture” 

Ellen von Unwerth 

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Leather Jumpsuit by Rau Berlin

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Dress by ep_anoui 

Shoes: Models own 

Sunglasses by Cast Eyewear

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Swimsuit by Nico Sutor 

Clutch by ASOS

Shirt and leggings by Nico Sutor, Shoes by Dr. Martens 

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Dress by Nico Sutor, Jacket by K.O.I, Shoes by Dr. Martens 

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KALTBLUT: What was your favorite shooting so far 

Elizabeth: I have lots of favourite shoots but at the 

end I would always say, that the most amazing moments 

I had were the once with Oliver Rath. We are like one 

soul in 2 bodies and you can see that in the way we 

joke, in the way we show sensitivity and sensuality. 

KALTBLUT: And the worst And why 

Elizabeth: The worst shoot or job I had was for Breitling. 

One week in Dubai and I felt like an empty 

doll on a big playground for the fat, lonely, rich 

man... I knew, that I had done that only for the money. 

Nobody should give his lifetime for money. 

KALTBLUT: How would your dream shooting look like 

Elizabeth: OK - if you read this, dear dream shoot, 

please call me! We would travel to the most mystical 

places on earth. And show in a natural (naked) 

way, how wonderful the humans could look in paradise. 

A mix between Victoria Secret sexyness and fairytale 

atmosphere. Or another dream shoot would look like a 

surrealistic-future-love-scene... Or just a classic 

black and white shoot with an interesting story ‘behind 

the picture’. 

KALTBLUT: Describe your perfect day off: 

Elizabeth: Ahahhha! Caro Cult, one of my best 

friends, would tell you now: “Liz must be the heaviest 

chiller in our galaxy.” Yes. I love to read, 

write and listen to every kind of melancholic music. 

Call me Dr. Freaky & Miss Romantic - when I have a 

day off, you only meet me on the dancefloor at ‘Kater 

blau’ or at home - floating through my sweet universe. 

KALTBLUT: What is your biggest sin 

Elizabeth: My biggest sin is to have not written the 

book, I already finished in my head yet. 

KALTBLUT: Our theme for your shooting and film was 

#REBELS! What makes you a rebel What are you rebellious 

about 

Elizabeth: When I was a child a lot happened to me 

and my mother. It was a dangerous time in my life but 

I’m thankful for all the challenges my soul needed 

to experience/undergo. Sometimes I feel the eyes of 

the people on me, thinking ‘she’s a rebel’ - but what 

I am actually, is a free soul. That makes me rebellious- 

looking like for people who aren’t free. Maybe 

because of her jobs.. not made for them. Maybe because 

they want something, seemingly, far away. When 

you love yourself and believe in life, then others 

can believe in you, and life will too.

Leggings by Nico Sutor, Shoes by Dr. Martens 

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Headpiece by Zillmann, Dress by Franziska Michael, Leggings by Nico Sutor

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Crown by Zillmann 

Dress by Nico Sutor 

Jacket by Burton 

Knitted top by Marc Stone 

Shoes by Dr. Martens 

Sunglasses by Cast Eyewear

211

The aggressive brash and outspoken musicians 

may be the kinds of rebels that draw the most 

attention to themselves these days, but that’s 

not to say that rebellion can’t bubble and see 

the below the surface of a slick veneer with just 

the same amount of ferocity and edge. 

This is what we at KALTBLUT call: 

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SLEEK REBELLION 

Gazelle Twin 

Moving away from the ethereal soundscapes 

of ‘The Entire City’ towards an 

altogether more perverse concoction 

of sonic influencers, Brighton-based 

composer Elizabeth Bernholz talks to 

KALTBLUT about her second album ‘Unflesh’ 

and her proclamations against the 

overwhelming nature of the consumerist 

culture in which we blindly exist today. 

From childhood nightmares to clinical 

supermarket checkouts her intensely 

experimental new offering invites you to 

delve down deep into those hidden corners 

of depravity we all hide within ourselves, 

shed our skins and explore what’s 

going on beneath the surface. 

Interview: Amy Heaton 

KALTBLUT: Your album, ‘The Entire City’ 

is the soundscape which accompanied a 

very poignant time in my own personal 

story of Berlin, and I first experienced 

your sound live in the Berghain which was 

an intense experience I have always treasured! 

How was it to return to Berlin again 

with the new material this time 

Gazelle Twin : That’s a great pleasure to 

hear. Thank you. That was only my third 

show as Gazelle Twin, and it was still very 

much in an experimental place and very 

fragile, so it was quite terrifying to be 

there. To return this year was a total joy 

having passed on another opportunity 

last year to play with The Haxan Cloak 

and William Basinkski! The community at 

Berghain are always so inviting and hospitable 

to me. I love playing the space and 

to the Berlin crowd too. They’re very embracing 

and uninhibited. The new material 

really allows a greater level of movement 

and performance so I personally enjoyed 

performing more this time. I’ll hopefully be 

back again before too long. 

KALTBLUT: Your sound has evolved/contorted 

with the Anti-Body EP, it seems 

more controlled or focused into a short 

sharp burst. Was this an intentional move 

as it was a shorter release, or was your 

composition process similar to before 

Gazelle Twin : Yes it’s very deliberate. I’m 

relatively young in the world of electronic 

music. I mean that in terms of experience 

and development rather than my actual 

age! I’m very drawn to severe textual contrasts, 

that also applies to music, as well 

as thought, ideas, symbols. It’s even better 

when those contrasts form connections 

you hadn’t expected. Anti Body is from 

the new record and very much typifies 

the overall balance of light and dark. The 

process has been very different this time 

around though. Far simpler I have moved 

out of the shadows, so to speak. The music 

and live show rely on far less now, in every 

way and that’s very satisfying. It makes 

room for other things to happen. 

KALTBLUT: Speaking of which, could you 

tell me a little bit more about this Do you 

usually push forward with the vocals first 

or is the whole creation of the tracks an 

overlapping of sounds and textures 

Gazelle Twin : Sometimes the process is 

simultaneous, no particular method, but I

wanted this record to feel more 

beat and bass led, so that usually 

came first in most cases. The 

vocals came quite naturally on 

most tracks since they’re all fairly 

sparse and simple. It’s all very 

instinctive so that can be hard 

to recall or even describe really. 

It’s a bit like trying to describe in 

detail how you make your body 

walk. Most of the time you don’t 

think about it, you just do it. 

KALTBLUT: Can we expect a 

similar musical direction for 

“UNFLESH” when it is released 

The flashes of techno, the industrial 

edge 

Gazelle Twin : Yes, there’s a lot 

of energy and adrenalin going 

on. I was ready to make a faster, 

more intense LP as soon as I was 

done with The Entire City. Partly 

to give myself the chance to 

have a better time on stage. But 

it comes from a very personal 

place. There’s a balance though, 

of slower, gentler songs too. It’s 

important to have those contrasts 

and time to breathe. 

introversion, fear or aggression, 

sadness etc. 

KALTBLUT: The language you 

are using in and around the new 

material is rather visceral and 

physical, bringing to mind clinical 

imagery. Could you tell us a 

bit about how you formed this 

concept 

Gazelle Twin : My songs aren’t 

usually just about one thing. 

Simultaneous meanings tend 

to emerge which is quite interesting 

since I don’t know how 

that happens. What dictates my 

lyrics and themes is what I’m 

interested in or experiencing at 

a given moment and then I follow 

a completely me journey 

tinct visual picture of something 

violent and supernatural, in a 

very everyday place. I had found 

footage of earthquakes in supermarkets, 

which I found fascinating 

because it looked like the 

things in the shelves were taking 

on a malign life of their own 

which have the songs origin a 

greater meaning. I wanted to explore 

that idea. Esther was really 

open to anything and just shot it 

on the sly in local supermarkets. 

The milk stuff was part of the 

visual clash of textures/forms 

and of course milk has a very 

ancient, strange property to me. 

It’s the stuff of life. As potent as 

blood. I find these primal things 

merge well with contemporary 

settings, which is generally what 

out of that experience and the 

chance to think and listen and 

ponder human behaviour at its 

must extreme and bizarre. 

KALTBLUT: As far as remixes 

and collaborations go, are there 

any artists you have set your 

sights on to work with in the 

near future 

Gazelle Twin : There is a project 

I can’t mention but which I’m 

quite excited about, if it works 

out. It’s with an artist who really 

influenced me whilst writing 

the new record, so it would 

be a great circle to draw in that 

respect. Lots hangs on circumstances 

and timing with that 

though. I have done a few col- 

KALTBLUT: When I saw your 

live show, it very much felt as 

though you had created a persona 

on stage, and that this was an 

almost separate entity through 

which you could totally express 

artistic ideas separately from 

your personal sphere. Would 

you agree this is how you feel 

about the project 

GAZELLE TWIN : That’s accurate 

although, I’d say this time, 

with the visual/performance side 

there is actually more of myself 

in there. It’s a bit more physical 

and playful. Confrontational 

even... 

KALTBLUT: To what extent do 

you consider your stage show a 

theatrical representation of your 

music It seemed fluid and alive. 

How do you go about creating 

this atmosphere 

Gazelle Twin : It’s important for 

me to have that separation in the 

physical sense, on stage, from 

my everyday life. I’m the type of 

person that thrives on the challenge 

of pushing my inhibitions 

aside, but I can only really do this 

confidently in a different character 

with a set of distinct rules. 

That’s why it becomes addictive 

I suppose. When I write, record 

or perform, I just go into myself 

as deeply and honestly as I can, 

and try to express what’s there, 

whether it’s a feeling of wildness, 

with it. The last 3 years have 

been a culmination of medical 

experiences, illness, reflection 

on my own history and a sense 

that I’m striving to purge some 

of my difficult past, and liberate 

myself. Also I just have a fascination 

with things like anatomy and 

science, history, evolution and 

the way human development has 

dictated our cultural lives - it’s 

products, our habits. 

KALTBLUT: Your videos are also 

carefully curated and weave 

in and out of your tracks with 

ease. “Belly Of The Beast” is no 

exception, where did you and 

Esther Springett get the inspiration 

for this one 

Gazelle Twin : Early on when I 

wrote the song It was a very dis- 

all my work is about, if I want to 

be that reductive! 

KALTBLUT: Although I always 

associate your music with the 

cityscape because of my personal 

attachment to it, how 

does living by the sea influence 

your music, if at all 

Gazelle Twin : I spend very little 

time outdoors generally. I’m 

a classic introvert most of the 

time, an occasional extrovert. 

My world is mostly internalised, 

and I get lost in research and 

books, films, video games etc. 

I’m not sure really how much it 

affects me being in Brighton. It’s 

hard to really tell what things 

have an effect. I commute a lot 

to London and certainly get a lot 

laborations in the last few years, 

which I enjoy as it’s a break from 

me for a while! But I’m actually 

just looking forward to getting 

another set of recordings together 

whilst I’m in the zone of 

creativity and chipping away at 

a sound and image that feels so 

rewarding to create. 

www.gazelletwin.com

214 

stal in Paris even if we feel at home 

here and are not ready to leave. 

KALTBLUT: How would you describe 

the musician’s life there 

TC: Most artists pass Paris at some 

point so in this sense its good. As 

I imagine all bigger citys there is 

hard to find decent conditions for 

rehearsals and studios. 

KALTBLUT: This collection is entitled 

“Rebel”. In its entry in the 

dictionary, we can find the following 

description: “a rebel is a person 

who refuses allegiance to, resists 

or rises against a government or a 

ruler” As a band who takes references 

in the 80s, how does this 

speak to you 

Tristesse Contemporaine 

TC: Dont know if we are a rebel 

band. We never labeled ourself this 

way. We dont participate in the 

mainstream society very much so in 

that sense we are maybe outsiders 

rather then rebels. We concentrate 

more on what we want to do then 

concentrate on rulers. If there are 

rulers we have managed to ignore 

them without loosing very much 

energy 

Through friendship and affinities, 

Narumi, Léo and Maik decide to 

start a band back in 2009. They 

need to record everything as quick 

as possible in oder to keep the 

spontaneity, the inventively and 

the strength of the sketches. The 

demos coming out of theses sessions 

don’t sound like anything 

else even if the ghosts of the 

Talking Heads (“”Fear of Music”), 

the Young Marble Giant (“Collossal 

Youth”) and the Cure (“17 

Seconds”) are still hanging over/ 

casting on their music. Now it is 

time for a band-name. Searching/ 

Exploring in an old book archive, 

Léo just stand still discovering the 

book of Hippolyte Fierens Gevaert 

whose title is La tristesse contemporaine: 

essai sur les grands 

courants moraux et intellectuels 

du XIXe siècle (the contemporary 

sadness; essai on the great moral 

and intellectual thinkings) Tristesse 

Contemporaine will be a 

French band consisting in foreigners, 

a band of “back seat drivers” 

as they like to define themselves. 

The contemporary sadness will be 

the one of the exiles. 

Photography : Yuji Watanabe 

Styling : Ayako Iijima 

Hair : Jonathan Dadoun (B4 Agency) 

Make-Up : Fanny Maurer (B4 Agency) 

Post-Production : Argiris Maipas 

Interview: Aude Gouaux-Langlois 

KALTBLUT: Tristesse Contemporaine is the title of an 

obscure French sociology book of the 19th century. 

Was it an encounter with this book that lead you to 

pick it as the band name 

Tristesse Contemporaine: I (Leo) saw this book when I 

was working in a second-hand bookshop. I liked the title 

and took note of it. When we where looking for a name 

this came up and we all liked the sound of it. I’ve never 

actually read more then the first few pages but it is on 

my to do list. 

KALTBLUT: You all come from different countries and 

musical circles. Can you tell me more about how you 

started the band 

TC: We were all active in other Paris based bands and 

spent much time together so after a few jams trying 

things we more or less just ended up having a band. 

KALTBLUT: With the band now based in Paris, how 

does the city help to define your musical style 

TC: It probably have an effect even though we all have 

english music culture upbringing: the cure, primal 

scream, Young marble giants etc we have probably gotten 

influenced by the Paris musical life and labels like 

Dirty, Tigersushi and Kill the dj. By their artists and Also 

since they have parties for about the last 10 - 15 years 

,inviting djs and live act like optimo, people from kompakt 

comeme etc which have been a big part of our more 

current influences. 

KALTBLUT: Would you say that the city, its history and/ 

or its language is an inspiration for you 

TC: Paris has a strong cultural history from many different 

epoques and still is an important city in europe. Its a 

privilege to live in a city that gives importance to culture 

and has a proud history. However today The museums 

are more popular than clubs. The bars and clubs are 

under hard pressure to stay silent and I think that there 

have to be a balance between the respect for the elder 

and the importance of staying relevant for future artists. 

Today its not an obvious choice for a young artist to in- 

KALTBLUT: Some musicians feel 

a urge to get their voice raised 

when they disagree and use music 

as a medium to get things said out 

loud. Does this fall within an approach 

in your band 

TC: We are not a political band and 

the combination art and politics 

are rarely successful. Successful art 

goes way deeper than political slogans. 

Not to say that politics have 

no importance but its not art. 

KALTBLUT: Who is/are rebel 

figure(s) to you 

TC: Morrissey 

KALTBLUT: What are your plans 

for the near future Will we see 

you on tour or can we wait for a 

third album 

TC: We are altering concerts and 

working on our 3rd album and the 

album should be finished in the 

autumn. We have great memories 

from Germany and would of course 

love to come back. 

soundcloud.com/tristesse-contemporaine

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Together We Get It On, 

Armageddon 

Art Direction & Photography - Casper Fitzhue 

www.casperfitzhue.co.uk 

In a world vectorised by Ventral is Golden 

www.cargocollective.com/ventral 

Models are Alex Ifimov, Ionut Atanasiu / Alexandru and Emanuel@ MRA 

www.mramodels.ro 

Make Up: Mihaela Cherciu 

Hair: Alex Ifimov 

Lighting Assistant: Vasile Ventoniuc 

Retouching: Ian Hall 

A very special thanks to the people at EQUESTRIA 

www.equestria.ro/en/ 

who lent us their majestic horses. 

Emanuel@ MRA as Pestillence All fashion by Lanaa 

www.lanaa.ro

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Ionut Atanasiu as The White Rider All fashion by Alexandru Nimurad 

www.behance.net/nimurad 

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Alex Ifimov as Death All fashion by Diana Bobina 

www.behance.net/DianaBobina 

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Alexandru@ MRA as War All fashion by Zarug 

www.zarug.eu 

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221

STRAIGHT IN THE EYE WITH 

MISS PLATNUM 

Photography by Bedrnhard Musil www.be-musil.com 

Styling by Anita Krizanovic www.anitakrizanovic.com 

Hair and Make up by Pascale Jean-Louis using Mac Cosmetics 

Photography assistant: Friederike Suckert 

Team Nico Sutor and Sam Kavanagh, Marcel Schlutt 

Special thanks to CAKE STUDIO Berlin www.cakestudioberlin.com 

Jacket: Minimum, Blouse: Zara , Top: Models Own, Necklace: Perlensäue, Scarf: Antonia Goy, Earrings, Braclet and Ring: Gucci

223 

The German R’n’B scene found its queen with the voice of Ruth 

Renner and her upfront compositions under the name of Miss 

Platnum. Born in Romania but based out of Berlin, Miss Platnum’s 

career kicked off when she bound together hiphop and 

Balkan beat culture in 2007 with her world famous songs “Give 

Me the Food” soon followed by the epic hit “Mercedes Benz” in 

2009 on the album “The Sweetest Hangover” (Four Music). 

Invited to share the mic with the likes of Peter Fox, Yasha and Materia, Ruth 

became a major reference in the German pop landscape. She brilliantly shifted 

from her fictive ironic character into a straightforward empowered female 

figure with a new album “Glück and Benzin” out on Four Music/Sony BMG. 

Keeping the faith up against machism, revealing her deep face, sharp style 

and accurate taste, Ruth is no longer under cover but out in the open and celebrating 

10 years of music activity and passion this year. Her career twist is 

a real inspiration and also made us wonder: isn’t being true to yourself the 

mark of a real rebellion 

KALTBLUT: What is the message 

of your last album Glück und Benzin 

– a little snipe at the privileged 

classes 

Miss Platnum: I come from Romania, 

the people there have to struggle a lot 

and the political situation was very bad 

but I have always experienced that they 

live their lives as if it is the last day and 

were having the greatest parties. It is 

more about the feeling that it does not 

matter if your life is good or bad, you 

can still make the best out of the situation. 

It might be a little desperate but 

sometimes despair forces you to enjoy 

the moment. 

KALTBLUT: You wrote the entire 

album in German, is it an easier to 

express deep feelings than in English 

Miss Platnum: Yes it is definitely, the 

German language is very precise, sometimes 

too much so. I had to be careful 

to not get too precise to keep the emotional 

touch. If you wanted to, you could 

get into every single detail. I found it 

very emotional. Some say it is hard but 

I don’t think so. Rhythm wise, I had to 

look for the word that fit me and fit the 

way I am singing. I cannot sing every 

song in German, a Leena song for example 

would not work for me. We tried 

to write 80’s style songs, very on point with not so many lyrics, and it sounded 

funny. I need something poetic so I surrounded myself with people who helped 

me to pick the right words when I was writing the lyrics. 

KALTBLUT: How do Romanian people react to your music 

Miss Platnum: I did not perform this album yet there but the previous ones, were 

well received. They were very happy that there a young face representing them 

and showing another side of Romania. Here in Germany when I say where I am 

from, I always hear the cliche about the Romanian people cleaning the car window 

in Kottbusser Tor. That ‘s one part, but I have been to Bucharest to shoot the 

99 problem video and it is such a beautiful flourishing city. It is really growing, it 

has such a great energy. People are burning to get out there and to change it. It is a 

beautiful country and I am very proud to be Romanian. 

KALTBLUT: You arrived in Germany when you were 8 years old, you 

must have multiple roots, do you feel more like European Citizen 

Miss Platnum: Yes I feel very European! I would not say that I am German or 

completely Romanian either but rather something inbetween. Here in Berlin I 

feel pretty much at home. You can find this feeling at every corner because here 

people are having different kind of mixes and bring them into their lives jobs and 

creativity. I don’t know where else would I live in Germany – I really like it here. 

KALTBLUT: Do you think you could ever live in any other country 

Miss Platnum: I love Italy for the temper and attitude, they really live their lives 

passionately. They have great food, a beautiful country and they are surrounded 

by the sea. I don’t know if I could live there. I could imagine doing a world journey 

and check out all kind of places and see where else it is possible to live. Berlin is 

always home somehow. 

KALTBLUT: Your visuals on the album Glück and Bezin are almost chic 

propaganda, are you preparing an album like a soldier prepare a war 

Catching eyes is half of the music nowadays, is it not

224 

Cape: ep_anoui, Blouse: Michael Sontag, Headpiece: Augustin Teboul, Hat: H&M, Watch + Braclet: Gucci, Earrings: Mari Couci, Necklace: Perlensäue, Ring: M

aria Black 

225

Miss Platnum: This was the task. Before 

I felt like the music had always a red line 

but I realised that people were confused 

because I had all kind of hairstyle, hair 

colours, types of clothing. I looked completely 

different all the time. For this 

album, I wanted to show the people who 

I really am and not have so many disturbing 

elements. I was looking for an 

art director who would work with me on 

all the visuals the same way a producer 

would work on the music. It felt like 

we were doing two albums at the same 

time. I am very happy that you can see 

it. 

KALTBLUT: You wear a lot of Tata 

Christiane in your video clips, do 

you have a special relationship 

with the Berlin underground fashion 

scene 

Miss Platnum: I really love Tata Christiane’s 

work, she was supporting me from 

the first moment of the campaign on 

this album. I also like Sabrina Dehoff, 

she is Berlin based too, makes great 

accessories and does very nice jewellery. 

Otherwise I am always looking for 

people or friends who I find on the way. 

Sometimes it is just a happy accident. 

KALTBLUT: Do you pick the designers 

yourself 

Miss Platnum: Yes I have my word in 

everything, it is very important to me. 

KALTBLUT: Art is the land of lies! 

You created a character Chefa, isn’t 

it paradoxical that you had to do a 

statement for being real Is being 

yourself as a woman in her thirties 

the real political act 

Miss Platinum: Not totally, when I used 

to sing in English, Miss Platinum was 

a fictive character, it was like a second 

skin that I had to pull off to get to what 

I really wanted to do and how I wanted 

people to see me. It is very tricky when 

you play with a character because people 

react a lot to what you say. You have 

to stay in control of your image all the 

time. For instance, before I would be 

wearing fur on stage and heavy jewellery 

while being completely normal during 

interviews. It was kind confusing. So 

I got rid of the character so people can 

look inside me for real. 

KALTBLUT: There are still some 

soft bling bling and R’n’B vibes in 

your music and attitude though 

226 

Miss Platnum: Of course, everywhere, this still belongs to me. Before I felt that 

I had to put on something to be safe and stronger. I just don’t need it anymore, I 

have the confidence now to stand there and be more naked and feel good about it. 

KALTBLUT: 2009 was all about ‘Mercedes Benz’ and yet women still 

have to fight to drive a car in certain countries, what revolts you about 

being a woman in daily life 

Miss Platnum: I have this kind of theme that a strong woman can sometimes 

switch the roles. I even talk about it on the Album in ’99 Problems’ when saying “I 

have 99 problems but the man isn’t one” – I am putting myself in the same situation 

as Jay Z saying “the bitch isn’t one”. Here the bitch is a man. I really like to 

play with these kind of images and role reversals that women should put their 

trousers on, so to speak. You don’t have to be bossy or walk around like a man. You 

could still be a woman but If you really want to get somewhere then you should 

fight for it. I am in a very privileged position, I live in Berlin, I feel pretty free. I 

can do what I want and still sometimes, I have to fight for it. Still sometimes, I am 

standing alone in front of men and I have to push a little harder. I believe that if 

we would stop thinking too much gender-like then it would be easier. 

KALTBLUT: What kind of guerrilla girl are you 

M.I.A or D.E.N .A 

Miss Platnum: I love M.I.A’s music. D.E.N.A. might be influenced by M.I.A even 

me I am influenced by her. I like them both. 

KALTBLUT: Do you know the BURKA BLUE GROUP 

Miss Platinum: Sounds great, it is the best to fight with creativity and they found a 

way to get to what they wanna do. 

KALTBLUT: Is your album also a love letter to Germany and your fans 

Miss Platnum: I was singing in English and touring all over Europe but still, I was 

feeling at home in Germany where the biggest fan base is. I thought why not do 

something that everyone can understand Everyone can understand every word 

that I am singing, and yet people were saying “oh it’s so melancholic and kind of 

sad before you were more singing about the party” but actually in the former album 

also had sad songs. I always represented both sides. 

KALTBLUT: Who is your favourite rebel German pop singer 

Miss Platnum: It is actually a band from Austria called Bilderbuch. I really adore 

them. They have the greatest music and lyrics, it is very on point and not flat. They 

remind me a bit of Falko. The music is very modern, it’s like rock meeting Kanye 

West. 

KALTBLUT: Berlin is the city of electronic music who will be the lucky 

artist to make a remix of your album 

Miss Platnum: I have a great remix from “Letzer Tanz” by Andy from Mouse on 

Mars and plenty are flying around from different people from drum n bass to 

hiphop. Some people approached me and it is always great to hear what other 

people make out of your music. 

KALTBLUT: Your production has evolved since the Lila Wolken EP with 

Yasha and Materia. Where was the electronic influence coming from 

on Glück and Bezin 

Miss Platnum: They are bands that I like to listen to every once in a while, like Disclosure, 

James Blake or Little Dragon, but honestly when I am concentrated on the 

music I try not to listen to any kind of music because it is somehow disturbing. If 

you are in the studio having the headphones on all day, when you go home, you do 

not want to listen to music.

227 

“I believe that if 

we would stop 

thinking too 

much genderlike 

then it would 

be easier” 

Dress: Guido Maria Kretschmer, Jacket: deepmello, Hat: Jeonga Choi, Belts: Esther Perbandt, Gloves: Karl Lagerfeld, 

Ring + Watch: Gucci, Necklace: Oasis, Earrings: Perlensäue, Shoes: Lena Hoschek

228 

Blazer: Zara, Scarf: Tiger Of Sweden, Top: Models Own, Braclets: Stylists Own, Necklace + Earrings: Mari Couci, Headpiece: Perlensäue, Hat: Minimum

229

230 

Vest + Scarf: Karl Lagerfeld, Cape: Glaw, Top: Monki, Necklace (white): Zara, Necklace (black) Oasis, Earrings, Braclet + Ring: Gucci, Rings: Maria Black, Shoes: Len

231 

KALTBLUT: What do you do after a long studio 

session 

Miss Platnum: Concentrating on listening for so long can 

be pretty intense so I try to go out and have a nice diner or I 

relax, I do sport or go for a walk. 

KALTBLUT: This new album is more urban, are you 

following the street art scene 

Miss Platnum: There is graffiti all over Berlin and I know 

some of these artists. I got so used to see it everywhere. 

There is a friend of mine that does the AARGH figure, he 

made a movie also with his figure. I think that urban music 

gets me more, I have discovered the new album of Kendrick 

Lamar or Frank Ocean that I really love. 

KALTBLUT: How did you know that music was your 

path and that you could make it your life 

Miss Platnum: First people were telling me, it helps when 

you are younger. Then, there was this moment where I was 

doing a lot of jobs. Once I was singing for a car brand, I was 

in front of all these people facing the stage and nobody cares 

about you, nobody cares about what you sing, in what language, 

whatever you do. Back in the day, I thought, ok this is 

good money but if I keep on doing this I will destroy myself. 

So I quit the security of it get myself a computer, a sound 

card, and started recording. I looked for people to help me 

writing songs and discovered that I really love to record 

myself and produce. I guess it saved me when sides jobs were 

sucking out all my energy. Now I know that it is the best 

decision I have ever made, because it doesn’t matter if I am 

standing in front of twenty people or five thousand, if they 

are listening to me and giving something back than I am 

fine, it is the reason why I’m doing music. 

Interview by Marianne Jacquet 

a Hoschek 

www.glückundbenzin.com

Laurence Philomène

Colour Studies

Canadian photographer and artist Laurence Philomène is 

a rebel in her own might and despite her young age, she 

surely knows how to revolutionize photography. She has 

been featured in KALTBLUT before, with several of her girlhood 

exploring series as well as feminine identities work. 

For our rebel issue she has produced bold bright nudes of 

three basic colours and how they reflect on her models, 

their personality and skin.

238

239 

www.laurencephilomene.com 

Yellow I Model I Esmee 

Blue I Model I Fatine 

Pink I Model I Edwin

242 

Are there are any real rebels in Hollywood or other commercial film businesses 

anymore Although there are a lot of Bravehearts, Ferris’ and Erin 

Brockovichs out there. Rebels are Hollywoods darlings, being rebellious 

brings you an Oscar. If you’re a white rebel. Or maybe gay. And ugly. Or 

coming of age. Being a rebel is kind of an image, even when you’re able to buy an 

island, because you’ve got a big deal with Disney Studios. 

No, the real outsiders are the anti-heroes. They don’t fit in, are losers, but sometimes 

they kick ass. Everybody’s able to be one, no matter which gender you 

are or prefer. You can be a nuts taxi driver (Robert de Niro) or a chilled dude 

(Jeff Bridges). You can practice revenge in a yellow suit (Uma Thurman) or give 

your unborn away (Ellen Paige). Movies about anti-heroes are often made with a 

low budget and a lot of passion. All you need is a good script and motivated actors. 

Nobody will ever forget the little girl (Natalie Portman) and the killer who 

protected her (Jean Reno). That film created an intense and new perspective on 

friendship and how girls should behave after a heavy loss. An anti-hero simply 

cannot deal with live. They try to erase a part of their brain (Jim Carrey), because 

love hurts too much. We recognise ourselves in them, they’re closer to our dark 

emotional reality than a Marvel Comic guy. All that movies create a special look, 

experimental and like a picture book of the director’s head. And can also influence 

fashion (Jean Seberg). Even with a face like a smashed potato (Mickey Rourke) you 

can be a fashion icon. It’s even not necessary to be nice and fool everyone with a 

disturbing mockumentary (Joaquin Phoenix). 

a face – and we should not forget the 

big, trashy and very affecting directors 

like John Waters, who tried to establish 

the smelling cinema. Andy Warhol, 

his movies sometimes last eight hours 

without any plot and Rosa von Praunheim, 

who gave gay men a face with 

The Cohen Brothers only show guys who bath in self-pity and still everybody loves 

their movies. It’s always an ultimate story about a big loser. Some show a cruel 

world and revolutionise humour (Charlie Chaplin). Anti-heroes do not change 

the world, but maybe our point of view and there will always be enough of them, 

since so many actors started their own film productions. Sean Penn, Clint Eastwood 

and at least Drew Barrymore, who produced “Donnie Darko”. Teenager in 

general need someone different. Someone who dances against the system (John 

Travolta and Kevin Bacon) or is on the road and throws one trip after another 

(Dennis Hopper). The resulting mass hysteria is called the “Werther-Effect”, named 

after the book published 1774 by Johann Wolfgang von Goethe. In this novel the 

young Werther commits suicide, because his beloved Lotte doesn’t share his feelings. 

After that book a lot of young men dressed like Werther and many tried to 

kill themselves. Every decade has a Werther. James Dean may be the most famous. 

Rebellious women are hard to find, because most of the time they slip into the cliche 

of a Diva. So one of the first anti-heroines was Scarlett O’Hara, the annoying 

girl from Alabama. Boyish girls like Mary Stuart-Masterson in “Some Kind of Wonderful” 

had their big time in the eighties and early nineties. Grunge established 

the anti-heroines. They were brutal and fucked up in “13” or “Fun” and somehow 

independent. Being a queer teenager was almost impossible to do without alternative 

role models like “Tank Girl”. Chloë Sevigny’s important, because she’s an actress 

that doesn’t care about gender roles or commercial success. “Hit and miss” 

is her last big success and again she astounded everyone. And not to forget about 

Tilda Swinton, the queen of gender bender. The other side of that coin is Angelina 

Jolie, the super mum, who made a virtue of necessity as Maleficent. 

And nobody will ever forget “Shrek”, the grumpy Ogre and his jerky friend the 

donkey. It’s one of the most successful animated movie of all times, although it 

doesn’t serve a cute expectation. Some actors always stay in their image. Like Marlon 

Brando, who used his image to fight against racism and denied an Oscar as 

protest against the policy of the United States against the native americans. Mickey 

Rourke shortly jumped into the ring again! Kristen Stewart, the girl that never 

smiles, is able to do any movie she wants to, because people hate her already. 

Jennifer Lawrence is the nerdy darling, who can’t even walk appropriate onto a 

stage, but she’s collecting awards with that. France’s Avantgarde created a whole 

generation of rebels with the Film Noir and Nouvelle Vague. Alain Delon, Jean-Paul 

Belmondo and Jeanne Moreau where their faces, Jean-Luc Godard, Claude Chabrol 

and François Truffaut their inventors. Mostly in black and white, the films are 

very calm and experimental, playing with light and deep philosophical ideas about 

loss and death. They established the savior-vivre for the youth without future. 

Protesting against the war in Vietnam and Korea was a big motor, especially in 

the USA. “Full Metal Jacket” or “Apocalypse now” gave the the traumatized youth 

his documentary “Not the gay man is 

pervert, it’s the surrounding he’s living 

in”. Okay, I would say, these are rebels, 

they created a niche in between the 

straight main culture. Gus van Sant tells 

intense stories about addicted youngsters. 

Larry Clark shocked parents with 

“Kids”, although he only transferred 

his own teenage years into the nineties. 

Sophia Ford Coppola’s characters 

are always lost. Yes, the anti-hero is a 

constant in our society, we need him 

as a valve for our insecurities or as our 

doubtful leaders. So, I come to the conclusion 

that everybody should try to be 

a little more anti, that’s rebel enough.

243 

Rebels 

On Screen 

Text by Friederike Suckert

MUST 

244 

Selected by Marcel Schlutt 

I have a love and hate relationship with trends. On the one hand I’m a firm believer that style trumps fashion and I love to see 

what is new and exciting every season as well. On the other hand trends definitely influence they way we dress. It is always good to 

update your style and keep it current, so that’s where the SS15 collections come in. From London, to Paris, to Lisbon, to Berlin and 

Lodz - the SS15 collections have landed. And it is time to think about: What should a man and a woman wear in 2015. 

3.1 Phillip Lim Julian Zigerli Nuno Gama

245 

Nicomede Talavera Odeur Walter van Beirendonck

246 

Christopher Raeburn Alexandra Moura JC De Castelbajac

247 

Iris van Herpen Odio Kas Kryst

248 

THE FASHIONCLASH 

MAASTRICHT GANG. 

Interviews by Marcel Schlutt 

Editorial - Photography by Oliver Rauh www.oliverrauh.com 

Styling and concept by Marcel Schlutt and Oliver Rauh 

Retouch by www.elektronische-schoehnheit.de 

Models are Alexander Kaymer and Sven V. 

Runway photos by Mike van der Ent Pasarella www.pasarella.eu

249 

For a few seasons now, I am traveling 

once a year to my favorite fashion festival 

here in Europe. And I am proud to 

see myself as part of the FASHIONCLASH 

Maastricht family. FASHIONCLASH Festival 

is an initiative of the FASHIONCLASH 

foundation and its artistic directors 

Branko Popovic, Laurens Hamacher and 

Nawie Kuiper. The goal of FASHIONCLASH 

is to connect emerging talent, various 

disciplines, and cultures and reach 

audience abroad through fashion. FASH- 

IONCLASH provides the platform by developing 

and organizing projects and 

events. I think it is one of the most 

honest fashion events. Branco, Nawie 

and Laurens are supporting young talents 

like no one else. During the last 

edition back in summer 2014 I teamed 

up with photographer Oliver Rauh for a 

little backstage shooting. We chose 3 

of our favorite designers directly from 

the catwalk. May I introduce you to the 

future of European fashion ZWYRD, Petra 

Ptackova and Hana Frišonsová. I had a 

little chat with them about their work 

and visions. Plus I talked to Branko 

from FASHIONCLASH about the upcoming 

edition in June 2015. You can submit 

your work now and perhaps be the first 

designer winning the FASHIONCLASH Festival 

award - worth 5.000 Euros. Or the 

KALTBLUT Award. But first let´s talk to 

the FASHIONCLASH MAASTRICHT GANG.


250 

NAME Hana Frišonsová 

AGE 27 

COUNTRY Czech Republic 

LABEL HANA FRISONSOVA 

FOUNDED 2010 

WEB www.hanafrisonsova.com 

KALTBLUT: Tell us something about yourself. 

Where are you from And how did you 

grow up 

HANA: I’m a Czech designer based in 

Prague and I come from the mountains of 

northern Bohemia. The city was always 

quite depressive and raw for me, but nature 

is amazing there. It’s a great contrast 

- I could not live there but I think it reflects 

into some things I do.. 

KALTBLUT: How did you became a fashion 

designer Was that something you always 

wanted to do 

HANA: I always loved touching fabrics, my 

mum taught me hand techniques, also I 

was good in maths and logistics… 

everything just mixed together and here 

we go! But I cannot say that was my 

childhood dream. 

KALTBLUT: Did you go to a fashion school 

And if so to which one If not: How did you 

start to design 

HANA: I studied at Technical University of 

Liberec, there they discovered the first 

nanotextiles and it’s a great technical 

background there. You can study fashion 

there as well, and I had specialized in 

design and technology – because I liked 

the process and not so much the drawing. 

During the studies I discovered that I have 

something to say and that I can express 

myself using the technical base and my 

visions. 

KALTBLUT: What was the first item you 

have ever designed And what for 

HANA: During my studies I made a lot of 

crazy things for myself or some friends 

but in the business - After university I 

started collaborating with a businessman, 

who supported me in my beginning, so I 

began with basic - strong collar - well fit 

- white women shirts.


KALTBLUT: Your collection is offering lots of great pieces. How long have 

you worked on it And what was your inspiration 

HANA: It was crystalizing for a long time, just waiting to be implemented 

into a collection. For me it’s a very organic process and I really enjoyed 

it. The production itself was about 2-3 months but I worked full time as a 

visual merchandiser so I crocheted all the time before and after work. 

The inspiration comes from everything that I do – I love making my own 

characters, it’s always somehow connected to science fiction. I like the 

psychological aspects of modern technology combined with old traditional 

techniques and atmosphere. In this FUTUHERO collection there is a mix 

of characters with many passions across science and culture. There is a 

group of people discovering a travel across dimensions and time – since 

they see so much, they study other cultures and they become multidisciplinary 

and they have great passion for all the discoveries. The collection is 

very dynamical and everyone can choose what matches their personality. 

Because of the time/cultural/science mix –It all sounds like super-bigchaos 

just like the universe is, but part of it is also one strong cosmic 

harmony when you put everything together. 

KALTBLUT: What kind of materials did you use for this collection And what 

is your favourite fabric to work with 

HANA: I work here with natural recycled and hand crafted fabrics in combination 

with functional, protective and laboratory pieces. I like crochet from 

cotton residues and hand dyeing - both some techniques which I hate in 

the ethno/natural style but I think everything ugly can be used in another 

way and it’s a challenge! 

KALTBLUT: What we miss in Germany is young, talented fashion designers 

getting government support . What’s your experiences in that field Do you 

get support from your goverment/school or family 

HANA: Good point but I have to disappoint you, fashion is not really supported 

here at all and I mean it. There are some new initiatives which are 

looking for investors to build some background for designers, so I hope 

it will work better. Also you can win some fashion awards, but still it’s not 

enough to make production and start a business. In 2011 I got a donation at 

Vienna’s festival for fashion and photography and there were among others 

also prizes for fashion marketing, so it was great to see some strong 

support there. Last two years I had a full time job to get some money for my 

collections, but then you have not much time left to produce selling pieces. 

My parents are also supporting me but I would like to find another way to 

work. 

KALTBLUT: I have seen your collection during the last FASHIONCLASH in 

Maastricht. Is it your first time here And how important is a fashion festival 

like FASHIONCLASH for a young designer 

HANA: I visited FASHIONCLASH for the second time – in 2013 I participated 

at the exhibition with the multi-colored knitted ODDITY collection. I love the 

connection with other spheres such as art, design and performance. It’s 

like a big crossroad full of many visions, still very well organized so it’s not 

chaotic at all and it can be a great start up. It’s the best creative atmosphere 

and I’m very grateful to have been part of it. 

KALTBLUT: Where else have you shown your 

collection 

HANA: I had a performance and exhibitions 

in Prague, but I wasn’t part of any fashion 

week here. Now I’m working on the production 

of the new collection for AW 2015. 

KALTBLUT: Where can we buy your designs 

Online shops Stores 

HANA: At the moment I just became a 

freelancer to produce collections for sale 

as well – finally! So everything is at the 

beginning again. You can always contact 

me directly through my website - now I’m 

working on a online shop and I will be part 

of some stores in Prague for a beginning. 

Stay tuned for further news.. 

KALTBLUT: Where do you see yourself in 10 

years. As a label and as a designer 

HANA: Sure, I would like to use my knowledge 

in the future as well, hope I will make 

some progress in every direction I chose. 

I also want to create window displays and 

other installations so I would like to continue 

with the retail design as well. In ten 

years many things can happen and this is 

my direction. 

KALTBLUT: You are based in Prague ! The 

typical style of your country, what is it for 

you 

HANA: The textile industry was great here 

but most of the companies could not resist 

the modern pressure and the Asian market. 

At the moment there are some great 

projects to connect designers with Czech 

companies to show the majority of the 

population that it is better to buy a Czech 

item than a foreign cheap production. Czech 

designers, having problems with production 

and support, mostly use a lot of hand techniques 

or minimalist graphic shapes. Here it 

is not typical to use many colors and prints 

but the new generation is very open to everything 

new so I’m really looking forward 

to where it is going. Historically, it has been 

rumored that Czechs have golden hands 

and I like that some of my friends are really 

relying on knowledge of hand techniques. 

My mom also taught me many of them so I 

like using them in another contexts.


NAME Petra Ptackova 

AGE 27 

COUNTRY Czech Republic/France 

LABEL Petra Ptackova 

FOUNDED 2011 

WEB www.petraptackova.com 

KALTBLUT: Tell us something about yourself. Where 

are you from And how did you grow up 

Petra: I was born in Prague which has made me 

perceive old history and tradition as the most beautiful 

thing. Everybody sees something else in the same 

things. My point of view is that Prague is a magical 

city full of amazing hidden places with fantastic legends 

behind. This has really influenced my approach 

to art. I see myself as one of the happiest kids on 

Earth. Even though I don’t come from a rich background 

or my family doesn’t work in any interesting 

field I´ve always had enough of love which still affects 

my work, the person I am. The freedom that has been 

always given to me let me find my own way to the art. 

I found the way through passion that is stronger than 

anything. 

KALTBLUT: How did you become a fashion designer 

Was that something you always wanted to do 

Petra: I´ve always had the need to express all the 

crazy sensations and that explosion of images, colors 

and sounds in my head. And I found satisfaction in 

any form of art. I can’t imagine one whole day of my 

life without music, dance, movement! Fashion is a 

statement of it all! It’s connected to the human body 

which never stops to attract my attention. I´ve been 

painting since the age of 5 and I still love it, but the 

form would never become complex without the human 

body. That is so unique about fashion. It is us! 

KALTBLUT: Did you go to a fashion school And if so to 

which one If not: How did you start to design 

Petra: AAAh, me being a student…some people were 

simply not born to study. I´ve tried, I fell in love with 

an old traditional Parisian school specialized in Couture 

Techniques and a bit different approach, Ecole de 

la Chambre Syndicale de la Couture Parisienne. I still 

do wanna finish that mission, but once I had an accident 

as a stunt woman while shooting some TV series 

in Germany, I had to cut off everything, do to surgery 

and I had to respect my health. It took me a year to 

get back to life. A painful and very substantial year of 

building up values. Then suddenly I couldn’t go back 

to school. I´ve started focusing too much on my own 

projects as a designer and I didn’t want to give it away. But in the end… 

who needs a degree…we are not a field of flowers where each looks the 

same and there is no right or wrong direction! 

KALTBLUT: What was the first item you have ever designed And what for 

Petra: Something terribly awesome and creative. I guess I destroyed and 

deconstructed my first real fleece coat…My mum didn’t appreciate it. 

KALTBLUT: Your collection is offering lots of great pieces. How long have 

you worked on it And what was your inspiration 

Petra: The longer I do this job the less time for every new collection I 

have…but it’s for a good reason, with every new collection I see some 

progress- in the creative process, in the point of view but also in realizing 

what is my vision and where I want the label to move to. 

This AW14 took me 2-3 months of endless intensive work. It is inspired 

by my world that I describe as a form of Magic Realism. I created a fictive 

world for my fictive story. Friends experience a big adventure while traveling 

the world to find a hidden cave with a monster guarding the treasure. 

Treasure personifies knowledge, a new understanding of who we are and 

how to make our life valuable. 

KALTBLUT: What kind of materials did you use for this collection And what 

is your favorite fabric to work with 

Petra: Mainly natural materials. Wool in interesting styles mixed with 

cashmere, cotton, then silk balance the whole collection has a touch of 

lightness. But I always try to somehow work with the fabric before I use it 

or even better I like to make my own fabric. 

KALTBLUT: What we miss in Germany is young, talented fashion designers 

getting government support . What’s your experience in that field Do you 

get support from your government/school or family 

Petra: Neither one of it. Fashion design generally is not considered to be 

important for our culture nor as a form of art. But in my point of view as I 

travel a lot I can see some progress when I come back to Prague at least 

in people’s approach. But when it already happens and somebody tries 

to make a high level and meaningful event such Mercedes Benz Prague 

fashion weekend that has showed many young designers this SS15 season, 

there are still people that won’t see the difference and don’t support the 

right thing even though the event was successful. 

Lets say politely that our government is consisted of many wrong people 

that create a jungle of different animals where they mostly aim to feed 

themselves and their friends as well. But we are not the only country dealing 

with this. Beside that, my family gives me the biggest support yet it’s 

not financial. Since I spend big part of a year abroad where I could hardly 

keep the label up, my mum and bro are irreplaceable part of my crew, they 

help me with everything. 

KALTBLUT: I have seen your collection during the last FASHIONCLASH in 

Maastricht. Is it your first time here And how important is a fashion festival 

like FASHIONCLASH for a young designer 

Petra: This was my second time and I enjoyed it even more. We need 

events like that. It gives artists from different fields of fashion the chance 

to introduce themselves to an international audience, good press and the 

chance to understand that even in fashion industry people can be real and 

nice and that even though they must be tough they 

can have a good time with these guys and after the 

hard work it all pays off. Plus the participation fee 

for such a service is very friendly. 

KALTBLUT: Where else have you shown your collection 

Petra: This year I showed in LFW as a part of 

IFS(International Fashion Showcase), MBFW Madrid, 

MBFW San Jose, CR and I presented my work 

in Amsterdam FW MODEFABRIEK as a selected designer 

in NEXT PLATFORM. With my new SS15 I had 

my first showroom in Paris FW and showcased in 

MBFW in Prague, where I got international buyers. 

KALTBLUT: Where can we buy your designs Online 

shops Stores 

Petra: Recently I sell mostly through London based 

platform NOT JUST A LABEL but some part of SS15 

will be available in Barcelona and I am still discussing 

some other interesting stores in London.

MAASTRICHT 

253 

GANG. 

KALTBLUT: Where do you see yourself 

in 10 years. As a label and as 

a designer 

Petra: I imagine my label as a 

statement of new style balancing 

between street and high fashion 

telling the story of my world of 

“Magic Realism”. Pieces made 

in highest quality that continue 

telling the story through the legacy 

of traditional techniques. A label 

that’s got a stable name in the 

international market and is very 

exclusive. A label that loves collaborations 

that pushes the vision 

forward and gives space for new 

directions so the customer is 

never bored. Me as a designer being 

happy and still able to keep up 

the fresh open mind to be able to 

open my eyes as wide as possible 

to create truly with the same passion 

I have now, maybe to create 

in more clever ways with millions 

of new experiences but with the 

same passion. Because my design 

is nothing but me and my personality 

is what stands behind it all. 

KALTBLUT: You are based in Paris ! 

The typical style of your country, 

what is this for you 

Petra: My life is split between 

Paris and Prague, but most of the 

year I spend traveling everywhere 

the wind brings me to. 

So I feel, being quite an international 

person where every place 

is as important as each little piece 

of a puzzle, my world becomes 

complex. Every place affects my 

work so much, each in a different 

way! That’s a great test of knowing 

myself. Otherwise I risk losing my 

own thing among all the styles, 

cultures, different points of view 

and so much inspiration. Style in 

the Czech Republic…I would say 

we still need time to grow up and 

find our own way…and some 

stable platform where we can 

learn how to grow.


254 

NAME Grzegorz 

AGE 21 

COUNTRY Poland 

LABEL ZWYRD 

FOUNDED 2013 

WEB www.zwyrd.tumblr.com


KALTBLUT: Tell us something about yourself. 

Where are you from And how did you grow up 

Grzegorz: I’m from Poland. I grew up in a small 

village in the southern area of my country, 

called Poraj. 

KALTBLUT: How did you became a fashion designer 

Was that something you always wanted 

to do 

Grzegorz: In my life, I always wanted to do 

things which are important to me, something 

that I could do with passion. For me it was: 

design, art, skateboarding, playing/listening 

to music. It was and still is my world, where I 

can show my real personality. I remember that 

I started being interested in clothes and styles, 

when I was around 11 years old. A repercussion 

of my skateboarding passion was my dressing 

style. 

KALTBLUT: Did you go to a fashion school And 

if so to which one If not: How did you start to 

design 

Grzegorz: Currently, I am in the third year of 

fashion design studies, at Academy of Arts in 

Łódz. 

KALTBLUT: What was the first item you have ever 

designed And what for 

Grzegorz: It was a blouse with giant hood made 

of black and silver futuristic fabrics, for the first 

project at my academy. 

KALTBLUT: Your collection is offering lots of 

great pieces. How long have you worked on it 

And what was your inspiration 

Grzegorz: It takes a while to design a whole collection, 

but the final effect has a great sense for 

me. I get inspiration especially from music, it 

sets my mood for the collection I’m working on. 

After that, I’m looking for pictures which fit my 

ideas and reflections, then finally, I’m ready to 

create my own collection. 

KALTBLUT: What kind of materials did you use 

for this collection And what is your favorite 

fabric to work with 

Grzegorz: I used denim, polyester, cotton. I don’t 

have a favorite one. I love these which inspire 

me at the moment. 

KALTBLUT: What we miss in Germany is young, 

talented fashion designers getting government 

support . What’s your experience in that field 

Do you get support from your government/ 

school or family 

Grzegorz: The government of my country 

doesn’t care a lot about fashion designers, 

especially the young ones. I have to do everything 

on my own. The only help I have I receive 

from my parents and people with whom I’m 

working on my collections. 

KALTBLUT: I have seen your collection during 

the last FASHIONCLASH in Maastricht. Is it 

your first time here And how important is a 

fashion festival like FASHIONCLASH for a young 

designer 

Grzegorz: Yes, this is my first time in Maastricht. 

This is very important for me, because I 

can show my collection abroad, to a new, big 

group of people. 

KALTBLUT: Where else have you shown your 

collection 

Grzegorz: Fashion Week Poland. 

KALTBLUT: Where can we buy your designs 

Online shops Stores 

Grzegorz: www.mustache.pl 

KALTBLUT: Where do you see yourself in 10 

years. As a label and as a designer 

Grzegorz: Time will show. 

KALTBLUT: You are based in Poraj! The typical 

style of your country, what is it for you 

Grzegorz: I think, one of the biggest problems 

in our country is that people really don’t care 

about clothing that much. Even if they care, 

it’s super boring, cause everybody is afraid 

what other people would say about them. In 

that case, they are wearing usual clothing. 

Of course, there are some expectation, but 

although it happens, it’s only to show other 

people that you have enough money to buy 

something expensive. Not because it’s something 

special for you, but it has a big logo, and 

everyone will recognize that it costs a lot. It’s 

totally the opposite of the way of thinking that I 

have when it comes to fashion.

THE FASHIONCLASH MAASTRICHT GANG. 

www.fashionclash.nl 

256 

5 Minutes with Branko Popovic 

Art Director of FASHIONCLASH 

“FASHIONCLASH Festival 

2015, the 7th edition of 

the international and interdisciplinary 

fashion 

festival takes place June 

11 – 14 in Maastricht. 

FASHIONCLASH Festival 

consists of various program 

components where 

designers and artists 

can register for. The 

festival program will be 

compiled based on a selection 

of the received 

applications. 

The chosen theme for the 

7th edition is GENDER and 

this will be expressed 

throughout various projects 

and activities 

within the festival. Designers 

are invited to 

reflect and show their 

vision on ‘gender in 

fashion’. The 4-day festival 

program with fashion 

shows, exhibitions, 

fashion film, theatre 

and dance performances, 

pop-up stores, lectures, 

workshops and the Side 

Program, gives promising 

talent from all over the 

world the opportunity to 

show their work to a diverse 

international audience 

and industry professionals. 

The festival 

is a reflection of what 

is going on within the 

international fashion 

scene in the new generation 

of designers; imagination 

of the zeitgeist 

of contemporary fashion 

design through the eyes 

of the new generation of 

designers and artists. 

FASHIONCLASH Festival is 

an unique opportunity to 

discover new talent and 

to get inspired by the 

art of fashion.” 

Deadline for submission is 1st of March 

2015. More information and application 

form here: www.fashionclash.nl/ 

open-call-for-entries-for-fashionclashfestival-2015/ 

Photo taken from www.networkedblogs.com

257 

KALTBLUT: I am so excited for the upcoming new FASHIONCLASH 

edition in June 2015. And like always I love the theme. This 

time it is GENDER. So, please tell me: What is the idea behind 

the GENDER theme and who came up with it 

Branko: Actually we decided already last year to take ‘gender’ for 2015 edition because there where several 

things going on at that time concerning this topic. It started when we where invited to do something for 

Maastricht Colors You in connection to Roze Zaterdag 2015 (Pink Saturday). Maastricht is elected to host this 

annual event in 2015. Next to that there was a great initiative called ‘Performing Gender’, an international 

project co-developed by one of our partners The Dutch Dance Festival. This led to an early decision for 

gender theme. In the meantime our eyes are aways on recent developments in society varying from work of 

designers to Conchita Wurst and injustice and discrimination that is sadly still present in our society. Now 

that we dived into the topic and research we realize even more how inspiring this is and how relevant it is 

to create a dialogue about gender. What is so beautiful about gender is that it is so undefined and not fixed. 

We could spend a lifetime talking about it. If there is one thing so related to fashion and every designer 

should think about it is gender. Why is it that we generally still speak of womenswear / menswear. It is ok 

that there is a ‘boyfriend jeans’ but what if men start wearing girlfriend jeans. And who came up with rules, 

values and norms that are dividing society to men and women in almost everything. Fashion is a party and 

everyone should be free to express themselves however they want to. Thankfully we are all different and 

that is beautiful. The under title for the festival’s theme is therefore, ‘Gender - celebration of self expression 

and diversity’. FASHIONCLASH Festival invites designers and artists to also dive into the theme of ‘gender’, 

to research it and to express their ideas and visions through their work. 

KALTBLUT: The theme for the last edition was focused around 

Age and Dance. I have seen some great performances on the runway. 

What can we expect for the GENDER theme 

Branko: At this very moment we are in the middle of the exciting process of developing projects, ideas 

concerning gender. Each edition we also cooperate with other organizations and in the starting phase this 

requires time because we also have to find finances to fund this projects. The theme of gender will be 

expressed in several festival components. Firstly in the exhibition that will be curated with work related to 

the topic. There will be for sure several catwalk performances developed in cooperation with theatre performers 

and choreographers. Nina Willems, theatre performer and initiator of VerWeven project will develop 

‘VerWeven - Gender edition’. We are working on ideas for a gender inspired fashion film and of course the 

festival campaign will be gender based. On the other hand we also believe that there should be room for 

spontaneous projects and experiments. There is an open call for most of the festival program, we are looking 

forward to see what new generation of talents has to say about gender. 

KALTBLUT: There are some new features also coming up for 2015. 

Like the FASHIONCLASH festival award, the KALTBLUT award .. 

Can you tell us what is the idea behind to put different kind 

of awards into the program 

Branko: Since few years we are thinking about implementing awards in the festival because we feel that 

this is the right next step to do. Some designers are already referring to the festival as a contest because 

each year we get more and more applications and selected designers are really happy when they get selected. 

Festival is getting more popular, for many designers participation at FASHIONCLASH Festival means 

a lot in their starting career. We want to contribute to talent development, stimulate designers and artists to 

create new work and reward those emerging talents who deserve an extra push. 

KALTBLUT: Beside the fashion shows your festival is also well 

known for the side program. For 2015 we will see an exhibition 

again Also pop up stores all over Maastricht 

Branko: Yes, FASHIONCLASH Side Program is there to stay. In fact we are developing more events and activities 

for the Side Program. Next to the festival program on the main location (fashion shows, market and 

gender exhibition) there will be an extensive program spread around the town. In the Side Program there 

will be pop-up stores, designers in stores Fashion Film Night Out at Lumiere Cinema, Meet the Maker event 

in cooperation with Bureau Europa, lectures and fashion talks about Gender and new project called ‘Showpieces’, 

which is an multidisciplinary exhibition where designers are asked to present their standout piece 

of work ‘their Showpiece’. Side Program is a route created in cooperation with several boutiques, entrepreneurs 

and institutions in Maastricht such as Coffeelovers, De Bijenkorf, Stijl Maastricht, PL Line, Mayfair, Le 

Marais Deux & Koffie, Restaurant ‘O’ and many more. 

KALTBLUT: Let´s imagine I am 

a young designer. How can I be 

part of the festival And how 

do you choose at the end how 

is part of it 

Branko: FASHIONCLASH festival starts with an open 

call for new generation designers. Designers can 

choose from several program components and 

submit work for one or more parts. We make this 

process quite accessible for designers. 

KALTBLUT: Normally the Mercedes 

Benz Fashion Week and 

Co are taking a lot of money 

to be part of it. How much do 

I have to pay to be part in 

Maastricht And what is included 

in the prize 

Branko: Participation in Exhibition and Side Program 

is for free and for the fashion show and market a 

ask a small one time participation fee for selected 

designers. The fee for the market 200 euro excl. VAT 

for the stand and we don’t take commission for sold 

items. For the fashion show the fee is from 200 - 

300 depending on amount of outfits designer wants 

to show. All participants get access to the festival 

for free and receive free license and HR images. 

Furthermore FASHIONCLASH takes care of backstage 

facilities, hair and make-up, choreography, 

food and drinks backstage, international pr, feature 

in festival catalogue and now also a chance to win 

awards. 

KALTBLUT: So, you also take 

care of models, make up etc 

So all together it is a good 

chance for a young label to 

show their collection to the 

world. I know that you also 

invite international press 

each season. Who will be there 

in summer 

Branko: First of all our media partners like KALT- 

BLUT of course, Dash Magazine, Team Peter Stigter, 

Arts Thread and other relevant media that are also 

focusing on emerging designers like ASVOF, Vogue 

Talents, Vogue Netherlands, Belmodo, Idol Magazine 

and so on. We do not invite only press but also 

of other platforms such as MUUSE and Not Just a 

Label, buyers, and representatives of other fashion 

events. We have official partnerships with FashionPhilosophy 

Fashion Week Poland, ModaLisboa, 

Serbia Fashion Week and designSUPERMARKET 

Prague. 

KALTBLUT: I know that your 

festival gets a lot of support 

also from the government. 

Which is rare.. How close do 

you work with public offices 

of Maastricht And how important 

is this kind of support

THE FASHIONCLASH MAASTRICHT GANG. 

Laurens Hamacher, 

Nawie Kuiper und 

Branko Popovic 

258 

Branko: FASHIONCLASH is a non-profit organization with focus just on new generation of designers. To be 

able to create a platform for talent development and an accessible and affordable stage we need all the 

support we can get. Nowadays it is very hard to find sponsors and without government support it would be 

very difficult or maybe impossible to create such an idealistic and avant-garde festival. We work closely 

with city of Maastricht and Province of Limburg. They support us but in return we also have loads of administration 

and we have to meet their desires and policies. 

KALTBLUT: You are traveling a lot to other fashion events 

around the globe. And sometimes you are picking designers 

from there to show their work in Maastricht. Why that And 

what is the idea behind 

Branko: We believe in strength of collaborations and that we can achieve more when we connect. Working 

with other events creates a broader network for FASHIONCLASH but most of all for our designers. We want 

to grow and develop a wide international network. When a designer participates in our festival they become 

part of the ‘FASHIONCLASH family’ and we try to keep contact and to involve designers in other events and 

projects. Next to the our annual festival FASHIONCLASH platform is active through out the whole year and 

this is thanks to these cooperations. This year was a very furtive year for our platform. We did a project in 

Cape Town in August, we presented 11 Dutch designers at Cologne Fashion Days, we are bringing 5 designers 

to designSUPERMARKET Prague, etc. 

KALTBLUT: I know Nawie and Laurens and you are the heads of 

FASHIONCLASH. But how big is the team in general and is there 

a chance for students to work with you for the next edition 

Branko: The core team of FASHIONCLASH is really just the three of us and a group of interns that we gather 

each year. We offer a variety of internships for students who want to gain experience or look for a place to 

to their master thesis and paper. 

Photo by Peter Stigter 

KALTBLUT: I really 

can´t wait for summer 

2015. It looks like 

we are going to see 

some great art and 

fashion again. Do you 

have a wish for the 

future of FASHION- 

CLASH 

Branko: We wish to grow, to stay relevant 

and ahead of time and to keep 

connecting through the art of fashion. 

We wish to be able to continue this 

path we took seven years ago and to 

become the most important platform 

for the new generation of talents. 

KALTBLUT: Thank you 

for your time. And 

also a big thanks 

from me, my team and 

our readers that 

KALTBLUT is part of 

FASHIONCLASH. See you 

soon. 

Branko: Thank you Marcel and 

KALTBLUT team for your wonderful 

support!

Spectacular programme with 

More than 100 talents from all over the world. 

(The Netherlands) 

fashion shows / exhibition / performances / designer market and more 

7 th edition of 

the international and interdisciplinary 

fashion festival in Maastricht 

web 

fashionclash.nl

Shirt – Denham 

Sweater – Adidas 

Jeans Jacket – Levi’s 

Sweat Trousers – K1x 

Shoes – Palladium 

260

YO 

261 

CALLE 

Photography: Lukasz Wolejko-Wolejszo 

Styling: Fabiana Vardaro @Basics Berlin 

Model: Madhuri @Mega Models 

Hair and Make up: Saskia Krause @Basics Berlin

Overall – Lee 

Top – Bagaz 

Bomber Jacket – Adidas 

Shoes – Adidas 

Ring – Maria Black 

262

Jacket – Levi’s 

Shirt – Levi’s 

T shirt – Wood Wood 

Trousers – Wood Wood 

Shoes – Palladium 

Backpack – K1x 

Headphones – Philips 

Earrings – Pernille Corydon 

Watch – Nixon 

263

Jeans Shirt – Carharrt 

Cropped Top – Franziska Michael 

Jeans vest – Levi’s 


Hat – Franziska Michael 

Watch – Gshock 

Earrings – Pernille Corydon 

264

265

266 

Coat – Franziska Michael 

Top – Adidas 

Tank Top – K1x 

Jeans – Lee 

Socks – Reef 

Shoes – Vans 

Basketball – k1x

267 

Bomber Jacket – K1x 

Shirt – Lee 

Body – Eleven Paris 

Trousers – Franziska Michael 

Socks – Vans 

Shoes – Adidas Jeans – 5Preview

268 

Jacket – Tiger of Sweden 

Shirt – Carharrt 

Jeans – Carharrt 

Shoes – Vans

Jeans Jacket – Levi’s 

Cropped sweatshirt – Eleven Paris 

Leggings – Adidas 


Hat – Vans 

watch – G-Shock 

269

Tshirt – Michael Sontag 

Shirt – Levi’s 

Sweatpants – Adidas 

Shoes – Vans 

Hat – K1x 

270

271

272 

IARA 

Photographer: Tania Feghali 

Model: Iara@Next Model Menagement Paris 

Stylist: Marie Revelut 

Make Up /Hair: Marina Fialkina @B4Agency 

shirt by CLARISSE HIERAIX I Skirt by Repetto I shoes by SUECOMMA BONNIE I Jacket toreador by Chez Michelle&Leon vintage

273 

Carnivore Chocker by Annelise Michelson I Top by Chez Michelle&Leon Vintage Paris I Skirt by Corrie Nielsen

hat by DONIA ALLEGUE I dress by CORRIE NIELSEN I boots by Vic Matie 

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276 

Dress by Dsquared 2 I Glove by Aristide I Bag by Kenzo vintage I Torero hat by Chez Michelle&Leon Vintage Paris

277 

Dress by ALEXANDRE DELIMA I Underwear by Eres

EXPAND YOUR 

The Amazing Snakeheads 

Dale Barclay is pissed. He’s pissed that he can’t shake 

the memories of a former lover. And he’s pissed that he 

can’t find his knife. And what do you do when you’re pissed 

about both of these things You write some pretty epic 

songs. 

Bursting with gritty and 

sometimes intimidating 

emotions, Amphetamine 

Ballads is the debut album 

from The Amazing 

Snakeheads. Giving us a 

glimpse into the Glaswegian 

rock ‘n’ roll underground 

scene, Dale Barclay, 

William Coombe and 

Jordan Hutchinson are a 

force not to be reckoned 

with. 

‘Nighttime’ is the intro 

that True Blood should’ve 

had - and I’m not just saying 

that because the previous 

song is titled ‘I’m A 

Vampire’, the song genuinely 

has a moonshine, 

Louisiana kind of feel. 

Dale’s promises to take 

me dancing are probably 

the most threatening I’ve 

ever heard. They’re also 

pretty exciting. His heavily 

Glaswegian accent 

compliments the thuds of 

the bass and the spooky, 

almost tongue in cheek 

Halloween feel. 

Carrying on with the dark, 

macabre feel ‘Here It Comes Again’ is a definite influence 

of something found on QOTSA’s ‘Songs for the Deaf’ album 

and then with the sudden thrashing of symbols and guitar 

rifts I’m reminded of Metric’s ‘Monster Hospital’. 

‘Flatlining’ and ‘Memories’ go hand in hand together with 

lyrics such as “No more hate, no more hope” and “Take 

it by both hands and shake it” I just can’t tell if it’s impending 

doom or the jagged remains of a seriously bad 

breakup. Either way it’s a brilliant lead up to the rockabilly 

style of ‘Where Is My Knife” Filled with guitar solos and 

the thumping march of the drums, Dale takes on a slightly 

more sadistic tone - a complete turn around compared to 

the next song in the sequence. ‘Every Guy Wants To Be 

Her Baby’ is a jazzy, soulful and blues filled track, it could 

almost be mistaken for the background music to a raunchy 

black and white detective 

movie. 

‘Heading For Heartbreak’ 

is probably the album’s 

highlight for me. Dale 

starts cool, composed, 

completely together. And 

then he totally loses his 

shit. Growling through 

gritted teeth “I’ve given 

everything I’ve got” you 

can just imagine him spit 

those venomous lyrics live 

on stage. 

Being the aged mosher 

at heart, Amphetamine 

Ballads reminds me of 

finally finding that type of 

gig you always wanted to 

go to. The one where you 

go to feel that intensity. 

Feel genuinely frightened 

by the performance. Feel 

slightly fearful of getting 

knocked unconscious by a 

flying beer bottle. Getting 

dragged into a mosh pit. 

Losing a shoe. A tooth. 

The Amazing Snakeheads 

have perfectly created 

the soundtrack to one of 

those gigs your mum was 

always scared of you going 

to. It’s gritty, menacing and soulful. And the album is 

out now. 

www.theamazingsnakeheads.tumblr.com 

“Amphetamine Ballads is the soundtrack to the dark corners 

of nightclubs and those dimly lit alleyways off the 

main drag. The smell of smoke and liquor pervades everything. 

Recorded at night time at The Green Door Studio in 

Glasgow, this is a subterranean record – an album that can 

show you round the parts of a city that come alive after 

dark.” 

Text by Nicola Phillips

EARDRUMS 

Ben Wash 

What’s in a name Can you judge a 

book by it’s cover What’s face value 

worth 

King’s Head Records dropped Ben 

Wash’s debut LP - Snob Rock. Sitting 

with the label in their Miami office, 

amongst intangible conversation of 

our “modern music culture condition”, 

it became increasingly clear that this 

groups agenda was not to climb the 

top of the aesthetic market, but rather 

to produce lasting culture that would 

re-define an age dominated by wasted 

teens frequenting EDM concerts for 

the party rather than the musical experience. 

The intention here is not to 

shame the rave life; if you listen to 

Snob Rock, you quickly realizes that 

it feeds directly off of the rave life. 

Though, while most culture today is 

disposable, Ben Wash has no intentions 

of letting you toss him away for 

the next hype machine pick. 

“Snob Rock, is a lifestyle” defined by 

an upbringing tied to the likes of Apex 

Twin and Amnesiac, defined by an upbringing 

shepherded through the failures 

of the punk rock revolution, which 

indeed, was never televised. And, 

through these embryonic influences, 

and for these embryonic influences, 

Ben Wash has crafted an album that 

seems free of all its predecessors. Currently, I’m sitting on a plane, Spirit Airlines 

to be exact, so you know there’s a 50/50 chance this shit’s ditching in the 

Atlantic and I’ll be swimming the rest of the way. Coursing through my headphone 

wire, into my ears and leaking into the ears of the annoyed baby-boomers 

that surround me, ‘Emma Watson Walks In’ makes me feel at ease with that 

statement. As if all I would need to make that swim would be my headphones 

to keep working. The endlessly horny violence that is on display in Snob Rock 

is a testament to the very brutal emotions that have kept man alive and well on 

this rock for all this time. If the caveman was brutal, Ben Wash is a caveman. 

Pulled away from the emotional sustenance of the album, tracks like ‘She Told 

You To Piss Off’ and ‘Fornicate to Pergury’ exacerbate the conflict at heart that 

can be seen throughout. To what end does music provide metaphorical peace 

and to what end does it provide metaphorical war Music provides neither. 

Rather, it provides an outlet by which you express your own perspective. Bring 

joy to Ben Wash, and Ben Wash brings joy back to you. 

Bring violence to Ben Wash, and he’ll help you tie up your 

victim. Snob Rock is not only a way by which the creator 

lives, but a way by which you too, can live, and die, if you so 

choose. 

For all the electronic music that populates our digital lives, 

Ben Wash brings something new, something fresh, to the 

table; slammed down, demanding attention, attentive and 

aware of itself. It brings an influence that is often misappropriated 

for shock value. And in classic fashion, it stays true 

to itself, and it’s creator. It stays true to you, the listener, and 

tickles interest without waltzing too far from the source of 

power. 

www.soundcloud.com/benwash 

Text by Andrew Prieto

EXPAND YOUR EARDRUMS 

C.A.R 

Some of you may know Chloè 

Raunet as the lead singer of 

London electronic-wave band 

Battant. Now going solo she 

has taken on the pseudonym 

C.A.R and has just released her 

debut album, My Friend in late 

October. Her new title stands 

for ‘Choosing Acronyms Randomly’ 

and is a beautiful blend 

of what Raunet describes as 

“wonky electronic.” Collaborating 

with some incredible musicians 

throughout her musical 

journey, Chloè Raunet makes 

music on the French label Kill 

the DJ along with co-hosting 

the fortnightly Latete Atoto 

show on NTS Radio amongst 

other things in her busy schedule. 

The musical flow was one 

that followed suit from former 

band Battant albeit a little 

daunting, Raunet believes her 

process has been very natural. 

“Everything about C.A.R. has 

been totally organic - I didn’t 

really think anything through 

or have a particular direction 

in mind when I sat down and 

started to write,” she says. Her 

new project manifests a sound 

not dissimilar to that of a 60’s 

girl band. Raunet’s lyrics come 

in a variety of shades from the 

likes of sarcasm and touches 

of pessimism on tracks such 

as ‘Glock’d’ and ‘A Ticket’ to the 

light hearted melody of ‘Ten 

Steps Up’. Wrapped in poetic 

substance C.A.R is the creation 

of something truly unique, inspired 

by personal experiences 

it gives off a certain familiarity. 

With a number of performances 

following the release of the 

album Raunet says she loves 

interacting with the audience, 

“you never quite know how it’s 

going to go down and every 

show is different.” When asking 

about any potential surprises 

coming up for her gigs Raunet 

just laughs and says “you’ll 

just have to wait and see.” 

Already working on her next album Raunet has big plans for 2015, not stopping to 

take a breath she thinks her new material will be out soon. Her strength and ability 

shines through in her music and proves she is a force to be reckoned with, not matter 

what she takes on. Raunet says “I have also sung on a couple of Red Axes tracks and 

worked a bit with Manfredas.” C.A.R has grown with such a pure formation encompassing 

a revolutionary independence that clearly brings My Friend to life making for a 

true album. 

www.soundcloud.com/c_a_r 

Text by Jane Fayle

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BERLIN 

Faces 

By Fleur Helluin 

“When it comes to the future, 

there are three kinds of people: 

those who let it happen, those 

who make it happen, and those 

who wonder what happened.” 

John M. Richardson. 

KALTBLUT is here to introduce 

you to some of the kind 

who make it happen. They are 

extraordinary, creative, outstanding, 

special, notable and 

unique and they will change 

the world soon. That’s why we 

have to keep an eye on these 

three people and you better do 

the same. 

Photo by Marcel Schlutt

KALTBLUT: I remember you told me incredible stories of your 

first years in Berlin. Can you tell us about the first time you 

crossed the Wall 

Gaby Billa-Günther: The first time I crossed the wall was in 

December 1989, on foot with a friend at Checkpoint Charlie. 

I didn’t know what to expect, but we walked without a map all 

the way to Alexanderplatz. It was all very grey, yet romantic 

and fascinating, bullet holes everywhere, bad smelly air but I 

was all taken in by this ‚forgotten by time‘ communist place. 

When at Alexanderplatz, we had some lunch and drinks, 

and we couldn’t believe how cheap it all was. Nobody talked 

to us really but looked at us with interest. This was my first 

experience in the East of Berlin as a tourist. The next time I 

was there, was to party in Prenzlauer Berg, and we met many 

young people who were very open and interested in us as 

Australians – we were once exotic to them. I was actually really 

impressed by their punk bars, their squats and their DIY 

attitude about how to get a club, a party or a bar happening. 

There were many deserted spaces that people were using to 

create many cultural events at. After realising how exciting 

the East was and was going to become, we decided to move 

there in February 1990. We were given a 6 months visa which 

made it easier to come in and out as the borders and checkpoints 

were still operating, so we were amongst the first 

foreigners to be living in the East. We told them we came by 

boats to Europe, and they believed us. [laughs] 

KALTBLUT: What are some of your fondest memories of that 

time in your life 

Gaby Billa-Günther: One of my fondest memories about 

being in the East was when the money changed over, the 1st 

July 1990. We were trying to get as drunk as much with the 

Ost-Marks we had left, so we went on a pub crawl throughout 

P-Berg, getting drunk and literally giving away our last 

east marks to all restaurants and bars. The next day, there 

was no more such a cheap living here and the supermarkets 

were full overnight with all the products we knew from 

the West. Most we got rather sad when the reality hit. Also, 

when we saw the Rolling Stones in Weissensee. We didn’t 

have tickets just like most people from the East, we were 

outside the gates, listening. It was in May 1990. Then after 

one song we saw they opened the gates to the show. Mick 

Jagger requested they let everyone in for free to mark the 

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Wall coming down. We left 

all our beers and picnic gear 

we had and ran inside alongside 

another 1 million people. 

It was a great concert and 

thanks to Mick Jagger a concert 

for many east berliners 

to remember forever. 

KALTBLUT: When can we 

read your book 

Gaby Billa-Günther: My 

book is in the making, and 

will contain plenty more of 

these tales of adventure. It 

has many personal stories 

and anecdotes about my time 

here in Berlin in the early 

90’s. I wanted to capture the 

times as seen through my 

eyes as a foreigner, yet as a 

witness to the whole process 

of Berlin changing. The wonderful 

people I met, the times 

of the clubs, the squats, the 

protests, the gentrification 

of the East already unfolding, 

yet also comment on the utopian 

nature of the times and 

the edgy music and artistic 

actions that took place in 

the many unused and empty 

buildings. I don‘t want to glorify 

the times yet just record 

them and tell my personal 

stories of self discovery and 

‚growing up‘. When it‘s ready 

I hope to get it published and 

distributed. I plan to finish it 

by early next year if all goes 

to plan. 

KALTBLUT: Is being a rebel 

still rebellious 

Gaby Billa-Günther: Being 

a rebel IS IT STILL rebellious 

[laughs] Are you 

calling me a rebel I have 

always been one but I really 

learnt to be one here in 

Berlin after the wall came 

down. Here I learnt not to be 

afraid to speak up and really 

be myself and create always 

something that has a meaning 

beyond entertainment. 

If that is still the case today 

YES: it is. We need rebellion 

more than ever in my opinion. 

If we don‘t have it, then we 

become tools of the system 

and consumers rather than 

movers and shakers. It’s 

important to remember that 

rebellion has no borders. It 

just takes courage and confidence 

in ones lifestyle to be 

different and an individual 

with her or his own mind and 

path. 

KALTBLUT: You‘re extremely 

knowledgeable and a fine connoisseur 

of the Berlin scene, 

who‘s the biggest badass out 

there 

Gaby Billa-Günther: OH MY 

GOD, there are so many of 

them, but my personal favourite 

badass in the recent past 

and still now have been the 

queens of the electro scene 

such as Cobra Killer, Team 

Plastique, Mignon, Peaches, 

Boy From Brazil, and now 

It’s hard to say, maybe Company 

Fuck because I love his 

performance style and his 

nasty loud beats. I also love 

Khan too for that reason and 

DJ Jimmy Trash as well as 

for nasty dirty sounds I like 

Kaltes and Friends and Pani 

K. 

KALTBLUT: I saw some pics of 

your son of facebook the other 

day, it was really sweet. Are 

you trying to teach him some 

of your ideas 

Gaby Billa-Günther: 

Regarding my son, he is a 

musician and a very creative 

type. He was in punk band 

CHECKMATES when he was 

only 11, playing guitar and 

singing, influenced by music 

we listen to at home. When 

he turned 15, he discovered 

computer programs and 

old school hiphop and rap. 

Now he is the main producer 

and beat maker of the crew 

LINGUA CREW BERLIN. I 

always guided him through 

life with advice and support 

and didn‘t brainwash him to 

be who he is today. He is his 

own person, and makes up 

his own mind about the world 

around him. I always taught 

him to question everything 

he sees and experiences, and 

tune into them rather than 

ignore his environment. He 

responds to it through his 

music as much as I respond 

to it through my writing and 

performances. I must say 

I am glad he turned out as 

a creative soul rather than 

snub it and become a banker. 

He rebelled in his own 

way: through graffiti, beats 

and being a smart arse too. 

A lot like me really. Somebody 

told me once: PEOPLE 

LIKE YOU should have more 

kids [laughs]. I took that as 

a compliment of course and 

the fact that I manage it all 

motherhood, creativity, writer, 

political awareness and 

a working woman, makes me 

proud and happy. 

Check Lady Gaby‘s music at: www.soundcloud.com/lady-gaby

Friederike Schmitz 

is young, yet seems 

to be on her way 

to becoming one 

of the top thinkers 

in Germany, and 

maybe even Europe. 

On the outside 

she‘s far from the 

stereotypical rebellious 

girl, but you 

know how it goes 

- don‘t judge the 

rebel by the size of 

its Harley. In fact, 

she is a fierce and 

unyielding force to 

be reckoned with. 

Photo by Hannes Jung 

KALTBLUT: Rike, you‘ve been engaged 

in a very active scene that defends animal 

rights. Do you think it‘s the last frontier 

of the ‚someone‘s right‘ movements 

Friederike: In a way, yes, because I 

don’t think there’s anything more to 

fight for over and above the liberation 

of all human and other animals. Then 

again, we shouldn’t think of it as happening 

in clear chronology since the 

struggles for equal rights for humans 

are obviously very far from achieving 

their goals. 

KALTBLUT: How far would you go for 

your ideas 

Friederike: I’m working on stepping 

out of my comfort zone more often. 

KALTBLUT: Can you tell us about the 

book you‘ve released ‘Tierethik - Grundlagentexte 

Herausgegeben’ 

Friederike: It’s a collection of papers 

most of which were originally in English 

and have been translated for the 

volume. They aim to represent the most 

important and interesting positions in 

the current debate on animal ethics. 

KALTBLUT: Who‘s your favourite rebel 

Friederike: I’m not sure if I like the 

word ‘rebel’ much, it sounds a lot like 

James Dean and a merely symbolic 

rebellion, besides – the most potent 

rebels today are typically nowhere near 

as hot. 

KALTBLUT: What are you fighting for 

Friederike: In the most general terms: a 

world without oppression and exploitation. 

Explore the debate further by visiting Friederike Schmitz‘s blog here: www.frieschmitz.blogsport.de

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www.florian-wowretzko.com

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Benoit 

Jammes 

French artist Benoit Jammes likes to build, to cut, and to use his hands 

to create beautiful artworks. HIs tapes series is full of spirit, colour and 

secret stories. His work is all about having fun and that’s what makes 

his art so enjoyable to explore. 

Interview By Nicolas Simoneau

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Kaltblut: Hello 

Benoit, could you 

tell us about how 

you started working 

with tapes 

Benoit: When I 

found a bunch 

of old cassettes 

at home, even 

just seeing them 

there took me 

back to the 80’s, 

reminded me 

of when I was a 

kid. In any case, 

I couldn’t play 

them any more so 

resurrecting them 

seemed like a 

good idea... it was 

sound, it became 

visual! I am pretty 

sure they are 

more happy now 

than in the shoebox 

where I found 

them. 

Kaltblut: Did the 

tapes have any 

special meaning 

for you 

computer, doing digital artworks or 

photography, but making art by hand 

was such a pleasant discovery. 

Kaltblut: How do you choose the 

theme that you going to work with for 

your pieces 

Benoit: Themes are linked to everything 

I like and that could inspire me, 

such as cartoons, music or movies. I 

want to make sure my work connects 

with the audience immediately – that’s 

what makes it fun to enjoy. 

Kaltblut: When you start a new piece, 

are you first starting with an idea or 

theme, and then the tapes evolve, or is the tape always the 

start for you 

Benoit: The start is always the idea and then I think about 

the way to fit in the cassettes according to the theme. I 

spend a lot of time looking for some cool details to add 

atmosphere that could match with the original idea. 

Kaltblut: Many of your pieces are created in 3D. What kind 

of materials do you use to build onto your tapes 

Benoit: It’s all about cutting and painting you know, but I 

will say that I have discovered some manufacture secrets 

since I started the series. 

Kaltblut: I have a strange feeling that you are a touch nostalgic 

about the 90’s – am I right 

Benoit: It’s all 

about nostalgia. 

I had such good 

moments listening 

to my cassette 

records in my 

room when I was 

young or walking 

in the street, 

and I’m surely not 

the only one; so 

you could see this 

work as a kind of 

tribute to this little 

collector object 

I think. 

Kaltblut: Did you 

ever attend an art 

school 

Benoit: I never 

went to art school 

but I have always 

been interested in 

creations, whatever 

it might be. 

Before cassette 

tapes, I mostly 

worked with the 

“The start is always the 

idea and then I think 

about the way to fit in 

the cassettes according 

to the theme”

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Benoit: I’m from the 80’s so cassette 

tapes are really great part of 

my childhood and 90’s was such 

a creative and funny period. I think 

that without internet we were 

more inventive and free to create. 

I try to bring back this feeling of 

artistic freedom, although I’m as 

addicted as everyone else to blogs 

or all the stuff you can discover on 

the web. 

Kaltblut: Can you imagine yourself 

working with another medium, or 

are you going stick to the tapes 

for now 

Benoit: I work other mediums but 

this cassette series is the most 

famous of my artworks, thanks to 

internet once again. I work at the 

moment with wood for example, 

but I like very much painting and 

photography too. 

Kaltblut: Do you have any mentor, 

another artist that inspires you 

Benoit: There are so many people 

who have such great talent, but 

currently I follow Henrique Olivera, 

Alex Trochut or Jean Julien. 

Kaltblut: Talking about inspirations, 

what do you feed on the 

most for your pieces 

Benoit: Inspiration is everywhere 

around me: people, cartoons, news 

or movies – anything could bring 

me some great ideas. 

Kaltblut: What does the word “Rebel” 

mean to you 

Benoit: I imagine some rock band 

breaking guitars live on stage – but 

then that seems to sounds pretty 

90’s again, right [laughs] 

Kaltblut: Do you think that to go 

further, every rule has to broken 

Benoit: Rules are there to be broken, 

life is a sort of game. 

Kaltblut: Any big projects coming 

up you want to tell us about 

Benoit: Some other cool things are 

coming, yes... wait and see and follow 

me on: 

www.benoitjammes.com

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TEDDY 

BOYS 

Creative Director & Stylist: Nicole Helm 

www.nicole-helm.wix.com/nicolehelm 

Photographer: Nicky Johnston 

www.nickyjohnston.co.uk 

Photographer Assistant: Matt Monfredi 

Models: Tom & Jim @Elite 

Make-Up: Mus Emin 

Hair: Shaun Mkintosch 

JIM - JACKET: RASHA SWAIS, 

SHIRT: JENNY SCHWARTZ, 

SHORTS: HIROAKI KANAI, 

NECKLACE: PHILIP MICHAEL JACOBSON

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TOM- JUMPER & TROUSERS: HIROAKI KANAI 

BELT: PRIVATE

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TOM - JACKET: RASHA SWAIS 

TROUSERS: JENNY SCHWARTZ 

SHOES: ASK THE MISSUS 

JIM - JACKET: JENNY SCHWARTZ 

TROUSERS: RASHA SWAIS 

GLOVES: HIROAKI KANAI

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JIM - JACKET & TROUSERS: RASHA SWAIS 

POLO: PHILIP MICHAEL JACOBSON 

TOM - JACKET & T-SHIRT: JENNY SCHWARTZ 

TROUSERS: RASHA SWAIS

TOM - JACKET : JENNY SCHWARTZ 

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JIM - JACKET: RASHA SWAIS 

POLO: PHILIP MICHAEL JACOBSON 

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JIM - JUMPER: SING YU STARCHAN 

JUMPER, TROUSERS 

& SHOES: HIROAKI KANAI 


SHIRT: PHILIP MICHAEL JACOBOSON 


TIE: HIROAKI KANAI

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JIM - JACKET: RASHA SWAIS 

JUMPER & TIE: HIROAKI KANAI 


SHOES: HIROAKI KANAI 


SHORTS: PHILIP MICHAEL JACOBSON 

SHOES: OFFICE

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SHIRT: JENNY SCHWARTZ 

TROUSERS & SHOES: HIROAKI KANAI 

TIE: PRIVATE 

JIM - JUMPER: RASHA SWAIS 

POLO: SING YU STARCHAN 

SHIRT: PHILIP MICHAEL JACOBSON 

SHOES: OFFICE

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No7 

SHOWANDORDER.COM

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Women 

Want 

Photography: Mike van der Ent Pasarella 

Make-up & Styling: Adriana van der Ent Pasarella 

Model: Kim Fraenk @De Boekers 

Jeans: Zara 

Swim Suit: Bershka 

Accessories: Bershka 

Shoes: Zara 

www.pasarella.eu

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SHOW & ORDER Berlin 

An interview with Verena Malta 

19.01 till 21.01.2015 at Kraftwerk Berlin-Mitte 

The SHOW & ORDER Tradeshow is a must be event for all fashion lovers during Berlin Fashion Week. Twice a year 

Verena Malta and her team are presenting a variety of carefully chosen brands. I had a little chat with the founder of 

SHOW & ORDER Verena Malta about her event and why Berlin is an exciting place to be for fashion lovers. 

KALTBLUT: Hi Verena. I hope you are 

feeling great. There are only a few 

weeks to the start of the seventh SHOW 

& ORDER Berlin Fashion Week. I can 

imagine what kind of stress you must 

be going through at the moment. What 

does your workday look like 

Verena: Ever since our daughter was born, 

my workday has generally slightly changed 

- a day with more than 24 hours would be 

more than welcome. Since my exhibition is 

personally curated, contacting people and 

individual exchange with exhibitors and 

brands are some of my main . 

KALTBLUT: You are the founder and 

leader of the SHOW & ORDER. How did 

you get the idea of establish a fashion 

show/exhibition 

Verena: Well, I’ve been for 15 years in this 

trade and I know how this industry works. 

I have built up Bread & Butter in 2000 and 

2010 Supreme in Dusseldorf in 2010. At 

some point I thought to myself, why always 

others, why not implementing my own visions. 

KALTBLUT: What makes SHOW & ORDER so special and how does it stand out 

from all the other shows during Fashion Week 

Verena: SHOW & ORDER with a variety of carefully chosen brands and selective individuality, 

combines a trendy selection of exclusive labels, newcomers and talents. It is cozy, 

chic and cool- In an urban location: The power plant in Berlin-Mitte. A platform for inspiration 

and for upcoming brands. Here you can discovered- and that’s something we stand 

for- what is important and up and coming. We bring the most interesting styles and the best 

must-haves -this is the perfect spot for fashion-hunters and collectors . 

KALTBLUT: You’re also responsible for the selection of designers that are 

shown at SHOW & ORDER Or is there a team behind the decisions And how 

big is the team around you 

Verena: Of course, they are the heart of the fair. My team, international trend scouts and 

word of mouth are all present. Of course I have a strong team around me, without their 

help our overall approach would not work. Our team small but fantastic - knowledgeable 

and motivated. 

KALTBLUT: Every time you have a motto for the SHOW & ORDER. This time it is 

“CHASE & DISCOVER”. Does this motto apply to yourself And does each SHOW 

& ORDER have its own motto 

Verena: Yes, we are looking for each season’s personality. The decision will be made during

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KALTBLUT: Is the fair free for everyone 

Or do you have to be a buyer, 

fashion editor, etc. 

Verena: SHOW & ORDER is a fair for specialists. 

Entrance is reserved for special visitors, 

buyers and press representatives of the 

textile industry. 

KALTBLUT: Bread & Butter really have 

to struggle with their image. Also, I 

have a feeling there are always fewer 

visitors there. What will you do differently 

and where do you see the future 

of SHOW & ORDER 

Verena: Well, it’s hard to judge other 

events, but I think it is important to offer 

different fairs for different fields, to enable 

the purchaser to choose between more commercial 

options and a finer label selection. 

This rule applies to all events, naturally from 

Bread & Butter for denim and Sportswear to 

Berlin. 

KALTBLUT: How important is fashion 

to you as a person Do you have any 

favorite designers And if so, which 

ones 

our creative team meetings. It is always and again an exciting process and gives the exhibition 

a certain direction. 

KALTBLUT: There have already been 6 SHOW & ORDER so far. Looking back 

to the last three or four years: has the fashion market changed Lately I have 

a growing feeling that young people do not care that much for labels fashion 

fairs but do their own PR instead - on social media channels such as Facebook 

and Co. 

Verena: We cannot confirm this for this season. We’ve never had so many young and cool 

brands such les D’arcs, Noble Project, Ron Abraham, Edithetmoi, Roboty Recne, East Block 

Design, RAVN . . 

KALTBLUT: Also, the Berlin Fashion Week is always considered dead and is internationally 

ridiculed because the major labels are no longer interested. What 

makes Berlin so special, especially for SHOW & ORDER 

Verena: Berlin is a super popular international hot spot! A never sleeping place full of 

inspiration and discovery. During Berlin Fashion Week the city is buzzing with creativity, 

passion and energy. During Fashion Week are stimulating conversations, new ideas and 

interesting People inevitable. 

KALTBLUT: Are there any plans on your side with SHOW & ORDER regarding 

other Fashion Weeks in other cities / countries Or are you very happy here in 

Berlin 

Verena: Sure, I love Celine purses, 

Givenchy and Valentino . . . and who in our 

industry doesn’t But nothing must be taken 

too seriously! 

KALTBLUT: I’ve read that you’re young 

mother. Has being a mother changed 

your views on the fashion world I 

can imagine this whole fashion circus 

doesn’t seem so big anymore when you 

have other priorities 

Verena: Yes, it’s true . . . everything is relative! 

. . . . Even the Céline purses. 

KALTBLUT: Thanks for the interview. 

We are very happy to be part of the 

next SHOW & ORDER. 

Verena: I thank you and welcome to our 

SHOW & ORDER family. To a great time in 

Berlin! 

Verena: We love Berlin. And we do belong here, and so does our exhibition and fashion fair 

as well. 

KALTBLUT: SHOW & ORDER takes place in Kraftwerk Mitte. One of my favorite 

places here in Berlin. How did it happen that your show was held there 

Verena: Exactly! It’s my favorite location as well and it fits us perfectly - I get goosebumps 

every time! The location and the harmony it creates with the unique charm of the brands. 

You can enjoy the uncomplicated ambience of the power plant. Visiting us is always a super 

pleasant experience. 

Interview by Marcel Schlutt 

www.showandorder.de

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www.galloismontbrunfabiani.fr/special-projects/francois-cadiere/

Six 

Revolutions 

By Amanda M. Jansson & Emma E. K. Jones 

By definition, art is more than creative skill and imagination, more than 

conveying powerful emotions. Art, in time, has come to be a synonymous 

to rebelling against the status quo, a way of changing the way we look 

at things, the way we think and perceive, art is revolution itself. For any 

work of art to be considered such, and not just a mere exhibition of skill, 

it has to be changing or challenging the world as we know it. In this rebelling 

issue, we are going to introduce you to some art movements that 

might be well- or lesser- known but have changed the artscape beyond 

recognition and have revolutionized ideas and reception in ways you 

can’t imagine. In random order:

1. Art Brut 

Often referred to as art of the insane, 

Art Brut is the French equivalent 

of Outsider Art, a term coined 

by French painter and sculptor 

Jeanne Dubuffet to describe Raw 

Art that is created by people outside 

the “art world” or work outside 

known art standards. Initially, it 

began with an interest in the work 

of mental patients in hospitals, art 

made for the artist and indifferent 

to cultural influences. What characterizes 

this work is autonomy, 

self-sufficiency, a lack of interest in 

commercialism. The work springs 

from the creator’s solitude and 

pure authentic creative impulses, 

redefining culture outside the 

given borders of mainstream culture 

that seeks to embrace every 

art revolution thus robbing it of its 

power. Needless to say, there is no 

precise way to establish what can 

be referred to as Art Brut, which 

means that many early 20th century 

movements, such as Dada, 

Cubism, or Futurism include work 

that could be easily considered Art 

Brut. 

2. Bauhaus 

Bauhaus brings specific things to 

mind: Concrete, glass, clear lines, 

lots of white. The Bauhaus was an 

art school founded in Weimar, Germany 

in 1919 by architect, Walter 

Gropius. His ambitious aim was to 

find a way of blending art, design 

and industry. And he successfully 

did, expanding it to all forms of art 

and related fields. From painting to 

interior design. After the school was 

closed down by the Nazi regime, its 

ideas continued spreading, eventually 

leading reshaping the entire 

field of architecture and design, 

but also painting and most important 

of all, it reshaped our aesthetics 

and freed the creative process 

by making it possible for art to use 

material otherwise not intended for 

art but industry, paving the way for 

functionalism and questioning the 

strict lines between what is permitted 

to be part of art. 

3. Surrealism 

The colossus among every art revolutions, 

a very broad term, the 

avant-garde, is an early 1920s art 

movement that is actually an explosion 

and destruction of everything 

known in art up to that point. 

A term coined by Apollinaire, it is 

short for a war against art, as it 

was understood and repressed at 

the time. Surrealist art is one of the 

most challenging and philosophical 

movements that touches upon 

many others, such as Dada or Cubism, 

it shows no respect for reality 

as we know it, and feasting on the 

unconscious it creates works that 

initially appear to be horrifying 

because the viewer fails to make 

sense at once. Anti-thetical to the 

whole concept of art as it is often 

understood, with its radicalism it 

has managed to make people uneasy, 

to make people question and 

to create some of the most permanently 

haunting nightmares. 

4. The Renaissance 

As the term suggest, a rebirth is reshaping 

in itself. A cultural movement 

that lasted from the 14th to 

the 17th century, and brought a rereading 

of classical art while supporting 

innovation in all fields. While 

Renaissance has become an example 

of classical art to us, you have to 

keep in mind that it is a movement 

that was born in the aftermath of 

the Black Death, amidst cultural 

and political upheaval, poverty and 

exploitation. As such, it reached 

back to the Antique to put an end 

to paintings of hell and portraits of 

kings and to promote humanism 

with a tendency towards realism, 

yet always bigger and more beautiful 

than that, transforming and 

setting new standards, emphasizing 

on paganism, old religions and 

mythology, education, and science 

in most complex schemes and arrangements. 

It is only natural that 

this revolution in art did not limit 

itself to a country but embraces the 

whole of Europe, producing most 

versatile works. 

5. Pop Art 

This is one form of art known to 

everyone, sometimes without realizing 

it, and present in everyday 

life, as the name would suggest. A 

movement going back to the UK of 

the early 50s and becoming massive 

in the States some years later, 

is bringing popular culture, such 

as advertising or daily objects into 

the realms of fine art. What it challenges 

most is our attitude towards 

art. Material that we are familiar 

with is ripped from its known context 

and placed into a completely 

new and strange one. With the use 

of irony, kitsch objects are transformed 

into some of the highest 

priced pieces of art. Emerging as 

a response to elitist art, Pop art 

has had a major impact on art and 

aesthetics in making it social and 

in allowing it to take questioning 

and disregarding forms further 

and in producing lots of new art 

movements that followed. 

6. Fauvism 

Having emerged during the Finde-siecle, 

Fauvism just had to be a 

poster child for changing worlds, 

for new ideas, it had to be bold 

and daring. Born during a period 

of reinventing a more sinister crazy 

world, searching for the psyche, 

the being over the seeming, Fauvism 

renounced all representational 

and realistic values of prevailing 

Impressionism and became one 

of the most colourful and intense 

modern movements. The style 

of “the wild beasts” opened new 

ways with work of bright striking 

colours and wild brushwork, while 

it really emphasized on minimalism, 

abstraction, and wild forms. 

In fauvism- often referred to as 

a segment of expressionism- and 

its distortion of perception, lie the 

roots of minimalism, modernism, 

and the avant-garde.

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FRANK 

KORTAN 

ODD JUGGLER, 35 x 40 cm, oil on wood, 2009 

Frank Kortan can easily work for several months on a painting. Which is 

understandable when you see the amount of detail in his work and the way it 

is executed. Frank works in this surrealist style and with Trompe-l’oeil 

techniques that aren’t so commonly seen in the contemporary art world. 

There is something really Dali-esque in Frank’s work, who easily refers to 

Salvador Dali as an inspiration. Each of his pieces has a full story to tell.

CONFIDENTIAL JOURNEY OF JOHANN SEBASTIAN TO NORTHERN INDIA, 60 x 80 cm, oil on wood, 2009

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KALTBLUT: You were born in Prague, Czech Republic but you are now residing 

in Germany. Why did you decide to move here 

Frank Kortan: As I did not in agree with the communistic political situation in Czech 

in 1984, my wife and I decided to emigrate. Such escape was really very risky, because 

as you know the borders to all western countries were completely closed at that time. 

After a very dangerous and adventurous way through Yugoslavia and Italy we arrived 

in Switzerland, in Tessino. After one year we moved from Switzerland to Germany. 

KALTBLUT: You are a well established and renowned painter. When did 

you first realise that painting was your calling 

Frank Kortan: My interest in the arts in general was always there, I was painting 

from an early age, however I wanted to become a musician previously and I have also 

tried this in the past. Nevertheless after arrival to Germany I felt painting would be a 

more interesting pursuit. Therefore I started to study classical painting. 

KALTBLUT: You are now specialised in oil painting. How did you find out 

that it was the perfect medium for you 

Frank Kortan: Oil painting is a royal discipline and it has always fascinated me. The 

advantage of this technique is you can paint so long as you want and the painting can 

be finished in quality you wish. 

KALTBLUT: You are using techniques such as surrealism and also a lot of 

trompe-l’oeil which creates a most impressive effect. Was it an easy path 

getting to this point in your career 

Frank Kortan: This combination of surrealism and trompe-l’oeil is not usual, but 

very interesting for me. In principal there are two opposite poles, on one side you have 

surrealism which is expression of soul, emotions and imagination and on the other 

side you have exact depiction of painted objects, which must persuade and seize the 

viewer. 

KALTBLUT: Looking at your work, one could say that Salvador Dali is an 

inspiration for you – what is it about his work or his character that you 

find so appealing 

Frank Kortan: I am sure most of surrealistic 

artists were inspired by Salvador 

Dali, no wonder, as he was one of the 

first surrealists. In my opinion the really 

first one was Hieronymus Bosch. It was 

a mystery for me for a long time, that he 

was not pursued by middle age inquisition, 

the answer is very easy – he lived 

and worked before this horrible period. 

KALTBLUT: Aside from Dali, what 

or who are your other sources of 

inspiration 

Frank Kortan: In principal all interesting 

historical or current personalities 

and it does not matter if it concerns literature, 

music or painting art, e.g. Frank 

Zappa, Johann Sebastian Bach, Count 

Basie, Franz Kafka, Gabriel Marcia Marquez, 

Jacques Poirier, Philippe de Champagne 

or Gerard Dou. However further 

important source is for me traveling of 

all over the world and to meet interesting 

people. 

KALTBLUT: Most of your paintings 

are really like a story which unfolds 

are you look into them. Let’s 

take “CONFIDENTIAL JOURNEY OF 

JOHANN SEBASTIAN TO NORTH- 

ERN INDIA” – I’m really intrigued 

by this particular painting – How 

was the creative process Did you 

know exactly what the painting 

would feature before you started 

Frank Kortan: Mostly I have a concrete 

idea how the composition will look 

like and which objects will be integrated. 

In case of Bach painting there is a hidden 

critic of our society that has not really 

changed since Bach-age. Human worthiness 

is not perceiving positively and 

everytime when I remember Bach I am 

asking myself whether we deserve him 

This genius was not appreciated during 

his whole life and was forgotten for 100 

years after his death. He never left Germany 

and died in a big poverty. Current 

society is handling such big personalities 

in similar way, who should deserve 

the attention, does not get it and nobody 

knows them. On the other side our social 

medias are celebrating so called “superstars”, 

but no one will know these superstar 

in 50 years. Bach is known all over 

the world and in my composition I sent 

him allegorical on a promotion tour to 

India, traveling on an elephant, what 

would be worthy for such a giant. 

THE HAPPY COUPLE, 60 x 50 cm, oil on wood, 2008

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KALTBLUT: In general, could you try to explain 

us what your process is when you create 

a painting – from the initial idea to the 

final touch 

Frank Kortan: I study very intensively the given 

theme, I read books, I pay attention on correct objects 

that are integrated in the painting, e.g. when 

I am create a renaissance painting, there are only 

components, ornaments, and animals which belong 

only to the given epoch. 

KALTBLUT: I noticed that a lot of bodies are 

transformed in your work – cut, mixed up, 

extended, deformed, what does this represent 

for you 

Frank Kortan: In this current time many people 

are “tuning” their body, they reduce or increase some 

body parts and if they do it excessively this can look 

very grotesque as it is shown in my pictures. 

SIGMUND IN THOUGHTS, 40 x 50 cm, oil on wood, 2010 

“Mostly it takes 

several months, 

sometimes 

longer, it 

depends on the 

content of the 

composition” 

KALTBLUT: You only work on 2 different mediums: 

wood and canvas. Why do you only 

choose to work with those two 

Frank Kortan: Currently I am working exclusively 

on wood which I prepare according to the 

guideline of old masters, this technique is proven 

for hundreds of years. The result is an extremely 

smooth surface of wood that allows me to paint finest 

details. 

KALTBLUT: How much time does it take you 

to complete one of your paintings 

Frank Kortan: Mostly it takes several months, 

sometimes longer, it depends on the content of the 

composition. 

CELEBRATORY DREAM OF AN YOUNG ANESTHESIST, 50 x 60.5 cm, oil on wood, 2008 

KALTBLUT: Are you in the same state of mind 

when you do commissioned work and when 

you paint for yourself

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ALBRECHTS WEDDING CAMPAIGN INTO ITALY, 53 x 63,6 cm, oil on wood, 2002

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ATTRACTED CHERRY ENGEL, 60 x 70 cm, oil on wood, 2010 

Frank Kortan: There is some difference, 

when I paint free works I am totally 

independent concerning subject and 

components. To meet each new client is 

always a big challenge for me, because I 

never know what kind of wishes and requirements 

regarding the composition 

they will have and which I will accept of 

course. My clients come to me because 

they know my works and they want to 

be portrayed in “Kortan style”, which is a 

great honor for me. 

KALTBLUT: What is the signification 

of this red yarn that runs across 

several of your paintings 

Frank Kortan: Red yarn has only aesthetics 

significance, it connects some 

times some components and relieves the 

composition. 

KALTBLUT: What kind of advice 

would you give to someone who desires 

to start painting 

Frank Kortan: Find the best teacher, 

have endurance and be humble. 

Interview by Nicolas Simoneau 

www.frank-kortan.com

PALACE OF BLISSFUL FATE, 95 x 125 cm, oil on wood, 2011

THE LADY WITH A CHAMELEON AND BUTTERFLIES, 70 x 100 cm, oil on wood, 2005

SELF MADE 

334 

By Gianfranco Villegas 

Photography by Marcelo Arena www.marcellorenaphotography.allyou.net 

Models: Raphael and Pedro @Elite Milan, Michelle @WhyNot 

Make up and Hair: Elena Gentile 

Grooming: Cecilia Consolini 

I have been following the work of Gianfranco Villegas and his label SELF MADE for a few 

years. And in a very special way I always feel proud of him, when I see his designs on 

different blogs or in magazines. He is one of those young designers who know to bring 

menswear to another level. My explanation for his outstanding work is where he is coming 

from and all the fights he had to fight in his early years. Born in Italy but with a Phillippine 

background he knows how to mix different cultures and styles. You can see and feel it in his 

work. He knows how to mix different materials. There are many new and young designers 

out there on the way to be big names in the future fashion world. But Gianfranco has it all. 

The full package! I had a little chat with the designer about his life, the strong connection 

to his mother and for sure his vision as a fashion designer. I am also proud to present an 

exclusive editorial showing his menswear collection PRE-FW 15/16 for the first time online. 

Interview by Marcel Schlutt

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KALTBLUT: Hello Gianfranco! And welcome to our 3 

Years BDAY Issue. I am very proud to present your new 

menswear collection in this editorial. Tell us something 

about your collection What is your vision 

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Gianfranco: Hello! Thank you guys for this great opportunity! 

It’s a big pleasure for me! And Happy B-Day!!! 

This is the PRE-collection FW15 before my presentation 

of the whole collection FW 15/16 during the next edition 

of “PITTI UOMO” in Florence. For this collection I kept on 

looking at my own life and own experiences to find the 

new theme of the collection. 

KALTBLUT: In your press release you are writing that the 

main character for the collection is your „Hero“ your 

mom. So you must have a very strong connection to 

your mom. Why is she your hero 

Gianfranco: Yes that’s correct, I wouldn’t be here and 

the person that I am today. I grew up alone with her 

without a father and without any help but just with her 

working hard. She’s not only my Hero, but she’s THE 

Hero of my whole family, she left the Philippines at the 

age of 18 alone to come here to Italy and try to find a 

better life, because she came from a very poor family 

living in a poor suburb of Manila. And after a few years 

she brought the rest of my family here to Italy. 

KALTBLUT: You were born and you grew up in Florence 

alone with your mother. And I know you guys had a hard 

time. Is this the reason why your label is named Self 

Made You are both strong fighters right 

Gianfranco: Yes, that’s the main reason of “SELF MADE”. 

I also have it tattooed on my chest because it is something 

that I really feel inside of me. That’s the main thing 

that built up the person that I am today. All these years 

I didn’t have anything for free, I started to work at the 

age of 14 in a small internet point for 3 € for an hour! 

And then to keep studying fashion I kept on working as 

a salesman in different boutiques during my little free 

time. 

KALTBLUT: Being in this situation must be hard. When 

did you realize that maybe fashion is your future How 

did it start 

Gianfranco: Everything came naturally, because when 

I was 5 years old, my aunt was cleaning house at the 

“Allegri” family, the prestigious Italian raincoats brand. 

And so I spent lots of time with these people. They 

were bringing me around and into their company etc. 

And then I started to love menswear in general. When I 

was 12 years old I started to follow Raf Simons and the 

first Hedi Slimane.. and that’s it. Then I was lucky that I 

was living in the same city with the prestigious fashion 

school of Polimoda, so I decided to try it and everything 

started! 

KALTBLUT: What was the first item you designed And 

who was the lucky one to wear it 

Gianfranco: I can’t really remember but I think that was 

a T-shirt and I think my best friend still has it!

KALTBLUT: Most of the designers are more into womenswear. 

Why do you do menswear Is it easier to 

design for boys 

Gianfranco: Everything came naturally, since I was 

really young as I explained before, the early 2000’s 

Raf Simons era became immediately a cult for me and 

I was already into menswear only. I was not buying 

magazines with fashion in general, but magazines like 

Arena Homme+ 

KALTBLUT: How was your time at fashion school 

Gianfranco: I graduated from Polimoda in Florence, I 

had a really nice and hard working time there but I’m 

happy for that because I learnt a lot there and I met 

people who were trusting me and that’s always nice and 

stimulates you a lot. 

“She’s THE 

Hero of 

my whole 

family” 

KALTBLUT: When you left school .. How hard or easy was 

it for a young designer to make the first steps in the 

fashion world I have been a fan of your work from the 

very beginning. I can only guess that it went good for 

you. Right 

Gianfranco: It has been super hard because once you’re 

outside of school, you’re alone! with your own s**t! But 

I think that that’s the most important period where you 

understand that you really want to do that for the rest of 

your life. You’re starting to learn things that you never 

heard about before, you have to start to think about how 

to make money and how to survive. Well I’m always 

thinking about the fact that if something has to happen 

it will happen, that’s why I keep on going my own way 

and then we’ll see. It hasn’t been easy for me. I had to 

fight and work hard and I keep on doing it, and I also 

have to thank people like you dear Marcel, or great 

photographers, stylists who trusted me and supported 

me from the very beginning. 

KALTBLUT: Let´s talk about the new FW 15-16 collection. 

Tell us what kind of materials did you use for this collection 

And where do you buy your garment from 

Gianfranco: Also for this collection I decided to mix my 

two cultures, the Italian precious tailoring culture and 

the Hip-Hop streetwear Philippine culture. That’s why 

you can see bombers made out of fine cashmere or 

virgin wool, or tailored coats based on a pattern of a 

parka made out of shearling mixed with fine wool/silk. 

I also like to transform natural fabrics into technical 

fabrics, for example I created this neoprene effect fabric 

but made out of special treatments on leather or on 

wool, or I also have waterproof cotton and wool in the 

collection, or a classical denim jeans but made out of 

wool. For me and for this collection it is all about mixing 

these extreme worlds of street/sports wear and the 

luxury/tailoring wear. And another important thing for 

this season are the graphics, this season I decided to 

leave digital printings and all the graphics that you see 

on the garments are made out of embroideries made by 

antique handmade machines... 

KALTBLUT: I love the colour line. My favorite piece is the 

blue sweater. Which one is yours 

Gianfranco: I’m always attached to my bomber jackets, 

but yes that sweater as well, especially for the colour 

that you will see with the release of the whole collection 

on January that is really important for this season. 

I think that another key piece of this collection is this 

tailored green virgin wool coat that is reversible and 

it becomes a raincoat so even if it’s raining you could 

wear a precious coat. And this aspect came also from 

a personal experience. Because I worked for almost a 

year in Antwerp where the weather is not so nice and 

after this year all my great/precious coats were ruined 

by the rain! 

KALTBLUT: You are presenting the new collection during 

the next “PITTI UOMO 87” - from the 13rd till the 16th of 

January in Florence. With the event “POLIMODATALENT“! 

A “Presentation/Installation” with videos and special 

contents at Villa Favard - Polimoda Fashion Institute. 

Tell us more about it. It sounds exciting. 

Gianfranco: Yes! It’s a great pleasure for me and I have 

to thank my school Polimoda who decided to give me 

this great chance to show my new collection during the 

next edition of “PITTI UOMO”. And for this event along 

with the clothing I will show some special contents 

like videos and picture-installations. It’s very exciting 

because It will be my very first “solo” exhibition. So you 

will see! 

KALTBLUT: Do you do the casting also How do you 

choose your models And what makes a man a perfect 

model for your vision 

Gianfranco: Castings are really important for me, I personally 

choose the models for my projects, because the 

model has to represent the mood of my new collection 

perfectly! I do lots of castings through lots of requests 

to different agencies. My model has to be strong/particular 

and not commercial! A modern way of a “bad 

boy/badass”! 

KALTBLUT: Can you name 5 MUSTHAVE items for a man 

Gianfranco: Bomber jacket, black pants, black/white 

T-shirt, black blazer and sneakers. 

KALTBLUT: Do you have a personal fashion icon Any 

designer you look up to And if so.. Why 

Gianfranco: Margiela for what he did for the fashion 

history and Raf Simons for the Menswear’s history. 

KALTBLUT: Are there any famous boys/men you would 

like to wear your designs 

Gianfranco: I love hip hop music so I would love to 

see my clothing one day on people like Pharrel, Jay-Z, 

JaRule, Snoop Dog etc... 

KALTBLUT: Have you ever seen someone in the street 

wearing your clothing And how was the feeling when 

you saw it 

Gianfranco:Yes, a bomber jacket.. and of course it is 

always nice and it pays back a bit, all your hard work, 

and it gives you more energy. 

KALTBLUT: If you could give any advice to young designers, 

about fashion and being a designer. What would 

you say to them 

Gianfranco: Just believe in what you’re doing and 

always be yourself! 

KALTBLUT: Thank you very much for your time. I cannot 

wait to see your new collection on the runway. 

Gianfranco: Thank You!!! And I hope to see you in Florence! 

www.notjustalabel.com/designer/self-made

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Introducing 

Born in Flamez 

Born in Flamez concurs an element of mystery to say the very least. Posing 

an abundance of questions that have accumulated over this masked artist. 

A non-gendered entity that strikes a political statement in their movement 

to create an idea based around the notion that we shall no longer be ruled 

by the specifics that so often consume us. Discovered by the one and only 

Modeselektor, Born in Flamez keeps you guessing and wanting more. Their 

latest EP ‘Polymorphous’ was released through UnReal Audio in early October 

laying down 4 tracks that cover a range of genres including grimey hiphop 

and industrial pop beats. 

Conjuring feelings and emotions, Born in Flamez gets you thinking without 

adopting a forceful approach. It’s about acceptance through music in 

a new and revolutionary sense of the word. Now with a cult following Born 

in Flamez is working on a number of different projects. The latest includes 

vocals on Robot Koch’s latest track ‘Let Me’ (Feat Curtain Blue & Born in 

Flamez) with his debut EP ‘Tsuki’ set to be released in January 2015. Born in 

Flamez is a collective that obliterates what might be the norm and with a 

transhuman perspective produces a creativeness that moves us into a more 

futuristic world. KALTBLUT caught up with the artist to talk about their EP, 

the reasoning for the lack of identity and some underground artists they are 

loving right now. 

KALTBLUT: The 

EP “Polymorphous” 

was released in early 

October, can you tell 

us a little about your 

journey leading up to 

this point 

Born in Flamez: 

Oh, that road was 

rocky. It was full of 

flamez too. Sometimes 

I was close 

to questioning 

its existence, but 

then it’s a cyborg. 

It doesn’t argue 

emotionally. Even 

though it is polysexual. 

It just won’t 

give the answers 

you would like to 

get. It’s upsetting, 

but also relieving 

in a way. It sets 

you free creatively 

because there are 

no boundaries of 

sound. 

KALTBLUT: What 

are the main themes 

for the lyrical narrative 

coursing through 

the project and why 

Born in Flamez: 

I think the main 

theme is that 

there is no single 

narrative. I 

am a collective. 

Ideas pass through 

me. They will be

343 

transformed or edited but they come 

from other places. There’s no mono in 

polymorphous. The idea of a lyrical one 

to one is strange to me. I cannot grasp 

words as solid. They are liquid, just like 

gender. So even if I would try to convey 

grief, exhaustion, utopia, sexuality or 

some kind of truth, words would fail. 

But I can tell you this: I am furious about 

the state of the world. But I am also in 

love. 

KALTBLUT: In what way do you feel the 

project is “transhuman” and how do the electronic 

textures you’re working with allow you 

to convey this state of mind in your music 

“I am opposed to 

the notion 

of dividing up 

people by their 

gender and 

nationality. 

I want to keep 

the segregatory 

illusion of 

identity out of 

BIF” 

Born in Flamez: Making music is 

manipulation of sounds. Even if I go 

back to playing the piano, or something 

not electronic - I don´t make the actual 

sound and I just trigger it with my playing. 

So all kind of sound stems from interaction. 

I think that music in general is 

transhuman. First of all what you hear, 

read, interpret, stream, like, dance to - is 

coming from other people and it influences 

you and what you do. Or let me put 

it this way: every sound is inter – musical 

like every text is intertextual. You play 

with a harmony, you subconsciously 

borrow something you’ve heard somewhere 

before, you 

can’t make something 

nobody has 

ever done because 

there will always 

be fragments to 

what you do that 

someone else has 

done before you. 

Harmonies from 

Bach, beats from 

London and these 

also have their 

influences. Its 

a cyclical thing 

similar to fashion. 

But then also the 

rooms play their 

roles, the way the 

sound bounces 

back from them, 

software, the gear 

you use, the kind 

of algorithms that 

reverb you use 

was programmed 

to have by someone 

in Canada or 

Singapore whom 

you haven’t even 

met. It all plays 

into the music.

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Electronic music is an even more perfect 

example: take an arpeggiator for example, 

see what it does to the chord or note 

you play. Use a sample someone else 

recorded into her machine. . . you get the 

picture. 

KALTBLUT: You mentioned that Perera 

Elsewhere features on the EP, did you collaborate 

with any other Berlin-based artists during 

its creation 

Born in Flamez: Yes Miss Elsewhere, 

the great, is on it and I collaborated with 

new – Berliner Alberto Troia aka Kyselina 

on the cover artwork. On a next step 

I want to take it cross discipline as I am 

about to collaborate with choreographer/ 

dancer Ayman Harper. But that’s future 

gossip. 

KALTBLUT: We heard that you are currently 

working on a mask design with talented 

artist Augustin Teboul. How did this collaboration 

come about 

available. The pink triangle 

is at the core of what 

BIF is doing. 

KALTBLUT: The launch 

of your EP via UnReal Audio 

who are always on the cutting 

edge of underground sounds 

- are there any other artists 

you’d suggest we wrap our 

ears around at the moment 

Born in Flamez: Definitely. 

So many! Paula 

Temple. She is fucking 

awesome! Also I am starting 

this new project called 

Kepler and Flamez with 

Kepler from the infamous 

Sick Girls. I really really 

love what Cyhpr is making 

right now - his music 

is super cutting edge 

dance music. Then there´s 

this producer in the Netherlands 

called Glass Eyes 

and the whole Zoology 

label posse are hot. I also 

just heard the new EP of 

multi talented Phon.o 

which is kind of queer 

ghetto house. I also lurve 

the new Cut Hands EP out 

on Blackest ever Black 

soon. 

KALTBLUT: Are you planning 

a tour/shows in the 

coming months If so - do you 

have a plan of how your music 

will be presented in its live 

form 

Born in Flamez: Yes I 

am. I will also add a few 

live vocals and I am currently 

rehearsing with 

a drummer for my live 

show in Mexico City at 

Mutek Festival. I will 

share the stage with the 

likes of Planningtorock, 

Andy Stott and Jon Hopkins 

so I’m very excited 

about that. I will play keyboards, 

a bit of piano and 

make lots of noise, plus do 

live vocals and my drummer 

will be on E drums. 

BIF will involve lots of different 

people at different 

points of time. I love playing 

with other musicians 

who do things I don´t – 

thats what music is about. 

Break the boundaries. 

Born in Flamez: I have been trying to 

work with a couple mask designers but 

it was really hard to make them understand 

what I had in mind and where I 

wanted the project to go. Then I got introduced 

to this great stylist Zana at a Dj 

show I played at Chesters one night. We 

talked and I immediately felt like she got 

the picture. She had been working with 

Augustin Teboul for quite a while and 

put us in touch. So I met up with Odely 

and we talked and she immediately got 

it as well. It’s fantastic, I think the mask 

they will make will be breath taking. 

KALTBLUT: Why do you choose to hide 

your face behind the mask 

Born in Flamez: I am opposed to the 

notion of dividing up people by their 

gender and nationality. I want to keep 

the segregatory illusion of identity out 

of BIF. 

KALTBLUT: Can you tell us more about the 

process of combining the 3D pyramid design 

with the EP release 

Born in Flamez: You know BIF is kind 

of bipolar - stuck in the realm between 

the virtual/unreal and the organic. I 

wanted to translate that into the EP, so 

I felt like I wanted people to have something 

to feel and actually touch when 

they listen to the ephemere part of BIF. 

Initially the pyramid was supposed to be 

pink as in the Act Up logo. Unfortunately 

there was no translucent pink glass 

Explore the sonic enigma that is Born in Flamez at soundcloud.com/born-in-flamez 

Intro: Jane Fayle Interview: Amy Heaton Photo Credit: Lisanne Schulze

345 

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346 

The Man 

Luizo Vega was born on 

December 24, 1974. At an 

early age he began his 

studies in the field of art and 

theology in Cordoba, 

Argentina. During his teens 

he became a professional 

athlete and champion. At the 

age of 17, he moved to Buenos 

Aires - for two years 

residing in the Olympic Qualifying 

Committee. A few years 

later he left the sports world 

to studied film, photography 

and theater. He is a model, 

actor, dancer and a muse of 

Bruce La Bruce.

347 

Luizo Vega 

Photography and interview by Kiko Dionisio

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KALTBLUT: What are you working 

on at the moment 

Luizo Vega: I opened Studio V in 

Paris this year. We produce films, 

documentaries, photography, performances 

and happenings. We 

have the support of big artist like 

Pierre& Gilles, Rick Owens, Michel 

Lamy, Bruce La Bruce, Rossy de 

Palma and a lot more .This year we 

presented 5 films and we are working 

on 7 new ones for the next Year. 

A lot of work. A lot of passion. 

KALTBLUT: Who is your favourite 

artist 

Luizo Vega: David Lynch, because 

he has the master level in different 

art expressions, and I love all of his 

art of expressions. 

Luizo Vega: Prometheus by Pierre et Gilles - I worked a lot for that project and all 

went fine. But Gilles was in a very bad mood cause the cinematography was not 

exactly what he wanted, so when he started to destroy part of the decoration, I 

felt really scary, cause I thought we will never finish it. 

KALTBLUT: What was your most embarrassing moment so far 

Luizo Vega: Some months ago, I prepared a performance to pose naked, at the 

Rodin Museum in Paris beside the “Thinker”. I was not expecting anyone to be 

there in the morning, but when we came a lot of people, especially families were 

there. 

KALTBLUT: What do you dislike about the art world 

Luizo Vega: I really dislike when a “famous” artist use and abuse the talents of 

the underground. 

KALTBLUT: What do you love the most 

Luizo Vega: My dog Pepito! Animals in general, there are so pure, no morals. 

KALTBLUT: What is the inspiration for your work 

KALTBLUT: What was your scariest 

experience 

Luizo Vega: Legends, icons and dreams. 

www.luizovega.com

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www.twitter.com/KALTBLUTMAG 

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KALTBLUT Magazine is published by 

KALTBLUT Media UG (haftungsbeschränkt) 

CEO: Nicolas Simoneau, 

Grünbergerstr. 3, 10243 Berlin, 

Germany 

Info 

info@kaltblut-magazine.com 

Photo by Valquire Veljkovic 

Press 

press@kaltblut-magazine.com 

Adverstising 

B.I.R.T.H.D.A.Y 

KALTBLUT is 3 years old already, how time is flying. 

It feels like almost yesterday that Marcel and 

I sat on the sofa with our two laptops and 

just started having fun doing our little magazine 

– not really having a plan at all, but just 

some strong ideas about what we thought 

our identity should represent. Actually it’s 

quite funny that this Rebel Collection coincides 

with the anniversary. It was supposed 

to be released a few months ago, but then 

we realised it was going to be KALTBLUT’s 

birthday in January, so let’s design a reason 

to celebrate! 

When you first think about the typical rebel, 

then you imagine someone who breaks 

the rules, but there are plenty more less 

stereotypical kinds of rebels whose outspoken 

message bubbles beneath the surface – 

I think that we should support them, and 

help them to take it further, pushing the 

boundaries of what it means to be a rebel in 

our modern day society. Sure we need rules, 

rules needs to be broken, and it was clear to 

us when we started out with KALTBLUT 3 

years ago that we wanted to be a bit different 

from the others. We all want to be to different, 

right 

It hasn’t been an easy road, and at times we’ve 

had to fight to keep our ideas, our goals, our 

direction and our values alive – amidst the 

pressure of surviving in this kind of competitive 

industry. For me, that’s rebel enough. 

Having ideas to guide you, and being able to 

follow them. Thinking for yourself, taking 

chances, trying different paths but most of 

all – staying true to your original ambitions. 

We will keep trying, we will keep learning, 

and I’m pretty sure that in 3 more years we’ll 

be somewhere else entirely: maybe in a different 

format, different people around but 

still the same spirit. What define us,, what 

define KALTBLUT Magazine. So Lets’ celebrate, 

happy birthday to us, happy birthday 

to you, happy birthday to everyone who 

makes it possible. 

A good Christmas and an happy year to everyone. 

Yours Nicolas 

advertising@kaltblut-magazine.com 

Events 

events@kaltblut-magazine.com 

All Copyright at KALTBLUT Media UG 

All of KALTBLUT´s contributors are responsible and retain the reproduction rights of their own words and images. 

Reproductions of any kind are prohibited without the permission of the magazine, editor and each contributor.

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CAKE STUDIO BERLIN _ Drontheimerstr.37 _ 13359 Berlin-Wedding 

www.cakestudioberlin.com

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3 Years Anniversary – Rebellious Issue

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