4 hypnotica i ue - DERZEIT fashion week berlin daily

Issue �
4
Fashion Week Berlin Daily
MICHAEL MANN
& MADLENE
latex necklace
by Seelenkleid www.seelenkleid.com
14
17
18
T RO N :
L e gac
y
___
J OAC H I M
B E S___
S IN G
C AT WA LK
R E V___
IE W S
Envisioning
a digital world
fashion
& fallen fledglings
Kaviar Gauche, Esther
Perbandt & Michalsky
� Begins now the dance – the Dance of the Hunger of Kaa. Sit
still and watch.« He turned twice or thrice in a big circle, weaving his head from right to left. Then he began making loops and
figures of eight with his body, and soft, oozy triangles that melted
into squares and five-sided figures, and coiled mounds, wnever
resting, never hurrying, and never stopping his low humming song.
It grew darker and darker, till at last the dragging, shifting coils
disappeared, but they could hear the rustle of the scales. (...)
» Bandar-log can ye stir foot or hand without my order? Speak! �
� Without thy order we cannot stir foot or hand, O Kaa! «� Good!
Come all one pace nearer to me.�”Rudyard Kipling, “The Jungle Book”, 1894
the
HYPNOTICA
IUE
D E R Z E I T / Fashion Week Berlin Daily
� 4 / 22.01.2011
Frills, ruffles, sequins. Dip-dyed silk, mohair knit and cashmere meshes. Did this
season’s outfits lure you, lull you, lead you on to a different state of mind?
Yet? Get yourself together for Fashion Week Berlin’s last day. As for DERZEIT’s
office team, the moment you read this: We will already be done. But trust us
we feel hypnotized – or let’s say pixelated. We’ve had the stars shine onto
our laptops and seen the sun rise every morning. But nevertheless – HYPNOTICA – here it comes: Madlene’s eyes vs. Michael Mann’s lense, inside Mr.
Bessing’s head, taking a trip into the world of �Tron� and: Lala Berlin’s Leyla
Piedayesh talks... See you tonight! And: We’ll be back in July! your DERZEIT team
MODERN GRACE GREY – THE GEOMETRY OF BEAUTY.
HYPNO
TICA
J oachim MU eller-Ruchholtz
German photographer Joachim Müller-Ruchholtz
lives in London and his work clearly shows the
influences of the two countries: His aesthetics are a
mixture between German simplicity and British
roughness but ever reigned by his dogma: clarity.
He worked for ID, Exit Magazine and many more.
Watch out for this name!
www.joachimmuellerruchholtz.com
SVEN H AU SH ERR
___
IUE 4
Weekends are overrated:
going out on Mondays is
the thing – now even
more with the new
weekly party Cinéma at
.HBC. This is where
Sven a.k.a Svenster is
playing a weird mix of exotica, rare tunes and gangster Hip-Hop. The rest of
the time he’s definitely a jack of all trades involved in millions of projects. So
don’t miss him – spinning tracks at our party tonight at Picknick.
DERZEIT Imprint
Collection
MODERN GRACE GREY
Villeroy&Boch Premium Bone Porcelain tableware stands for excellent quality and distinctive design.
Gentle curves combine with geometric forms to create a feeling of timeless elegance.
The Modern Grace Grey pattern easily sets tasteful accents in combination with the white tones of Modern Grace.
WWW.VILLEROY-BOCH.COM
managing editor
& graphic design
ALICE KUHN
fashion director
Sebastiano
Ragusa
senior editors
SONJA STÖSSEL
Nina Trippel
event
SVEN HA USHERR
MICHAEL müller
copy editor
Colin McKenna
Elizabeth Rushe
printed by
Berliner
Zeitungsdruck
art director / fonts
MANUEL
SCHIBLI
editors
alexandra
kruse
Anne postrach
design
Dominik
bachmann
Jessica Barthel
daily photography
Volker
eichenhofer
FAMMIVEDERE
Kay strasser
contributors: Joachim Bessing, Jacco Bos,Cecilia Bourgueil, Lena
Emery, Amos Fricke, Nicolas Kantor, Reinhard Keck, Martina Kix,
Cathy Lara, Jonas Lindström, Michael Mann, Stefan Milev,
Joachim Müller Ruchholtz, Florian Glaessel, Claudia Schibli,
Annina Luzie Schmid, Tom Strohmetz, Nicole Urbschat, Christoph
Varga, Philipp Verheyen, Sharon Welzel,Thore Wetzel, Marcus Woeller
DERZEIT is published by
Alice Kuhn
& Manuel Schibli
TVT-21-R133-11_ModernGrace_FashionWeek_233x322_IsoN_engl_new.indd 1
P A G E 3 / t h e HY P NO T I C A i s s u e
18.01.2011 14:59:05 Uhr
CONTRI
BUTORS
M A D L E NE
___
Our team is working
under the toughest
conditions: Madlene’s
face was completely
blackened and checkered with coloured
points. Then she had to
lie down and follow
weird instructions like:
“Open your eyes, close
them, now again
slooooowly open …
stop!” When she finally
hurried to the train to
get to her math test on
time, her face still wore
a black hue. We don’t
know if she passed
(finger’s still crossed.)
www.ammodelmanagement.com
D E R Z E I T / Fashion Week Berlin Daily
P A G E 4 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
D E R Z E I T / Fashion Week Berlin Daily
� 4 / 22.01.2011
Two
to attend
He isn’t the pattern guy, that’s for
sure. It’s hard to imagine his clothing
to be made of anything else than a
one-color fabric. And while we’re on
the subject of color: He really isn’t
obsessed by the spectrum – because
did you know that Vladimir Karaleev
actually is color blind? But one thing
is damn certain:Vladimir Karaleev is
Mr. Shape. A piece of clothing is already a threedimensional object, but
the Bulgarian-born and Berlin-based
designer elevates this idea to the next
level. His curvy and draped silhouettes look like
objects you can wear. We’re excited to watch his
first show at the tent. Another new name at Bebelplatz catwalk is Irene Luft.The label offers fashion
for women who examine garments carefully: the
classic shapes, perfectly defined proportions and
sophisticated feminity also work from far away but
her take on details and technical quality add up to
clothing for women whom you can’t mess around
with. – NT
Today at the Mercedes-Benz Fashion Week tent
Bebelplatz / Vladimir Karaleev / 10h / Irene Luft 13h
www.vladimirkaraleev.com
www.ireneluft.com
preview
FRIDAY
back
stage
screening
the swedes
by
F A M M I V E D ERE . C O M
Hopes, wishes and desires - Gold is the noble
metal the human dream incarnate. During the 19th
century, the gold rush in America made thousands
of workers quit their industrial jobs to move West
and mine for the shiny little nuggets. Nowadays
you don’t even have to plunder about in the water
to dream – you can simply walk by Galeries Lafayette Berlin, insert your
credit card into a machine and buy a gold
bar while pausing from
designer -shopping on
Friedrichstraße. – MK
GolD
vender
Gold to go-Automat / Galeries Lafayette
Mon - Sat 10h - 20h / Friedrichstr. 76 - 78
10117 Berlin-Mitte
www.galerieslafayette.de
FINale
Today the last
outfits are being
sent down the
runway in the
Mercedes-Benz
Fashion Week tent. But the team is
probably already tinkering with the
upcoming summer season. We prefer
not to go undercover just yet, but are
wishing for the dusk to start, because
it’ll turn into a hot and sweaty night
time. Fully renovated Picknick is
once more DERZEIT’S Fashion
Week closing party location. “Fin”
will turn four floors and four tunes
into one party. So shake your Champagne-soaked bodies to the beats.
We’ll dance along. – AP
FIN / Picknick Club /doors 23h
Dorotheenstr. 90 / 10117 Berlin-Mitte
Coffee ´n
Candycouture
Backyard locations are the place to
be for Berlin fashion designers. The
most renowned is the “Hackesche
Höfe” in Mitte, upgraded for tourists
in the 90’s. Handicraft artwork is
hosted there and – surprise, surprise:
the compulsory Starbucks. For those who
think that overpriced
coffee works best with
High Fashion, check out
Barre | Noire’s showroom in backyard No.3.
– AP
Barre | Noire Showroom
from 11h-20h / BFN Concept Store
Rosenthaler Str. 40/41 / Hackesche Höfe,
Hof III / 10178 Berlin–Mitte
www.barrenoir.de
In case Scandinavian style appeals
to you and watching movies is an
enjoyable activity in your opinion,
then dedicating yourself to Ingmar
Bergman’s complete collection definitely should be on your life’s to
do list. But postpone this til later, it’s
still Fashion Week and there are
some moving images related to that
to watch first: Besides the Camilla
Åkrans exhibition (as previously
introduced in DERZEIT’s Cogito
issue) The Swedish Institute also
hosts an excursion into the world of
fashion film, which for the designers
is becoming more
and more of a complement to shows
and photography.
The program is peeping behind the
curtain of
the
Northern country’s
fashion scene, like
Göran Olsson’s documentary which
casts a light on the
Jolly Good
findus
Hey, who actually decided there is
only one birthday a year? Besides
ones birth certificate, your mother
or all the beloved friends who have
to go present-chasing all over again?
A celebration can at least be held
outside tagged dates on your agenda.
That’s what a group called “Findus
Geburtstag” thinks – they celebrate
their made-up namesake more than
once a year. Under the pretext of a
counter event, the crew hosts an alternative to Bread & Butter, and
held in (Berlin-style, of course) a
former supermarket which offers
enough space for art installations,
catwalks and numerous DJs. So get
out your party hats, paper streamers
and confetti - and raise your glasses!
– AP
But and Better / January 21st – 23rd / from 16h - open end
Tempelhofer Damm 2 / 12101 Berlin-Tempelhof
www.findusgeburtstag.de
working process and backstage, starring some of Sweden’s edgyiest designers like Ann-Sofie Back, Sandra
Backlund or Fifth Avenue Shoe
Repair. So leave your flatscreen
switched off and surrender to Nordic fashion because style-wise,
there’s probably a lesson to learn even for Mitte-people. – NT
Swedish fashion film festival / January 20th - 23rd 2011
Oranienburger Str. 27 / 10117 Berlin
www.si.se/english
P A G E 5 / t h e HY P NO T I C A i s s u e
Word is
by Alexandra Kruse I don’t know
at exactly what point I started
putting on a hysterical drama –
in at least three acts. At times,
my seats weren’t good enough,
the champagne was too warm,
the ravioli too cold. I got myself
worked up into such a tizzy.
Over the course of Fashion
Week, I became a parody of
myself. It was that end of Fashion
Week mood. Only one thing
helped: an atmosphere minus all
the distractions. An evening meal
at a secret locale. Away from
the hustle and bustle of it all, a
Thai restaurant in the West.
Anyway everyone was at Hugo
Boss in the New National Gallery – the great Tilda Swinton,
the even greater Chloe Sevigny
and all the rest (I don’t even
want to talk about my absurd,
totally lame attempt at trying to
get past an army of girls (“We’re
on the guest list”) with ponytails and bright red Hugo lips,
because this attempt of mine was
so pathetic.) So I tried to find
my happiness again by embarking on a party odyssey through
the city. I was still searching for
some fun and ended up in the
Broken Hearts Club, taking place
under the aptly titled theme
�hysterical glamour�, including
glittery ghosts.
Everyone was there, even the
enchanting Chloe (she wore Keith
Haring’s 1986 anti-crack-slogan
T-shirt with the statement �crack
is wack�). But my iPhone hadn’t
made it to the event. The hysterical drama suddenly turned into
distressed silence. In my haste,
I must had left it somewhere.
Chloe even reached for help. We
called God above and explained
my unfortunate situation to him
via those table phones standing around at Ballhaus. Then we
danced till dawn. At some point,
someone tapped my shoulder.
The fat Turkish taxi-driver with
a gold tooth (that’s the real
hysterical glamour!!) was standing
there. He was the one who had
dropped me off. He handed my
phone to me. �This could only be
yours.�”That was the moment I
realized I needed to focus more
on what I was doing. No more
fashion drama.
D E R Z E I T / Fashion Week Berlin Daily
P A G E 6 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
D E R Z E I T / Fashion Week Berlin Daily
P A G E 7 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
learning
on a jet plane
fetish
Some thoughts on in-flight instructions
n i n a t r i pp e l
lala Berlin
zo o m i n g i n o n
No one wants it near them. At least
not permanently, virtually on their
doorstep. I’m talking about Berlin’s
new airport: Rumor has it that work
might be finishing up sometime in
the course of the coming year. But
it’s the flight routes that are currently dominating discussions in Berlin’s
suburbs and peripheral areas. The
fear of noise from approaching planes is causing more than a few
people’s faces to wrinkle in worry –
for good reason. But I think the
whole issue needs to be viewed from
another perspective as well: We all
need the airport and you can learn
so much by flying! Nonstop to New
York is like the school of life in seven
hours. It starts when you board the
aircraft: “Please switch off all your
electronic devices for take-off and
landing!” Exactly. Silence. During
the trip, and in a broader sense in
general, to embark on a mental journey, you need to be able to concentrate and focus – to block out the
outer world. Turning off the phone
doesn’t just help during Zen meditation. Every new path in life deserves
this type of focus – without any
commentary from the outside world.
Let’s continue with the flight attendants: “In case of a loss of cabin pressure, please pull the oxygen mask
close to nose and mouth. Then assist
people travelling with you.” Selflessness? Helper syndrome? Overrated!
First you need to help yourself and
yes, afterwards, it would be a nice
gesture to offer some oxygen to your
dying neighbor, to offer some reallife help – in whatever situation.
Because what good does it do me
and the rest of the world if I choke to
death? Then I can’t save you any longer. But that shouldn’t mean you
should ignore your surroundings,
because during your board stay
there’s another point when you are
reminded that it’s nice to bear in
mind the person after you: “As a
courtesy to the next passenger may
we suggest you use your towel to
wipe off the washbasin.” YES! It is
For Leyla Piedayesh, fashion wasn’t an obvious choice: Before
starting Lala Berlin seven years ago, the former businessstudent worked as a music editor. Today, Lala Berlin has
established itself among the well-known fashion brands.
by S o n j a St o E s s e l
Which mood influences your designs most?
Freedom, feeling comfortably and sex, pure sex
- well, in a way; but what’s really important is that
you feel comfortable with what you’re wearing,
that you don’t feel dressed up as something that
you aren’t or that doesn’t make you happy.
What does your new collection feel like?
Right now it feels extremely chaotic. I simply
don’t know which vibes have gone bad on this
earth, but we’ve never had as much chaos as
this year. The snow has delayed the deliveries;
modes of transport and brain waves have been
incapacitated. But I’m optimistic: From what
I’ve seen so far everything is going to be fine.
Of course everything has to be taken apart and
done again, but we still have four days to go.
What materials do you use in your new collection?
We’ve got silk, silk chiffon, silk crepes, woolviscose, and we used angora for the first time. I
love angora because it’s so hairy and airy, but its
fluff is a nightmare for people who wear
contact lenses.You’ll also find cashmere, baby
alpaca and super kid mohair; everything is
super kid and baby - sounds cruel as it’s from
the kids, but it’s the softest you can get.
What’s your favourite piece that you have
ever designed?
I don’t have one. It’s a progress. What I designed last year is not as beautiful as what is to
come now. Personally, I prefer our basic items,
blouses and skirts. When I go out I might put
on something special.
If you were to arrange a piece of your collection in a
still life, how would you arrange it?
I think I’d throw it against a wall or make it
swim in the sea, moving flowingly in the water.
Or you just put it on a coat-hanger and light it
from the back, or against a window. Maybe
hang it from the TV tower? From a building,
hung like a puppet on a string?
Do you follow any rituals?
I don’t think that you should stick to rituals
when working creatively or generally to stick to
anything. The process is bound to so many things
like patterns, etc. If you started having rituals,
like having to say hello to each other each
morning or the world will end, then your time
would be consumed with performing rituals.
Where do you produce your collections?
Everywhere. We buy cloth in Italy, then it’s
produced here or in eastern Europe, we produce
cashmere in Italy, but also in India, Greece. Of
course we also produce in Berlin. I started here
with my knitters and we still try to hand as
much over to them as possible so that they’re
always busy. However, this becomes difficult
once you reach quantities which they can’t deal
with. Most of what we produce in Berlin is
knitted wear, either hand knitted or knitted by a
hand knitting machine in low quantities.
If you were turned into a piece of clothing, which one
would you be?
A pair of trousers, very practical. Baggy style is
casual and cool, you can vary the fabrics, you
can go to sleep with them.
And who would wear you?
I would, of course. I’d wear myself.
What do you wish for Berlin as a place for fashion?
That it becomes more professional. What we are
missing is a good infrastructure. We don’t have
enough good pattern makers in town, we don’t
have enough good seamstresses – all these
suppliers are difficult to find. Also, people should
spend more money in this town. But when they
come here, they don’t seem to be willing to
spend much. In my opinion, tourists should
flood our shops and buy them empty. We are
not a city for bargains, just wait! ‡
detail shot of a dress by Lala Berlin
www.lalaberlin.com
photo by
A lice K uhn
nice to wipe down the washbasin for
the next person! But you can interpret the request any way you wish –
be it from one denizen of the earth
to the next – freely along the lines:
Save mother nature, there’s another
generation after you or very practically apply it to a roommate situation:
The obligatory “Fasten your seatbelt”
comes shortly before landing. You
think to yourself that nothing will
happen, but you never know – it can
never hurt to protect your health…
That is followed by the last announcement: “Please remain seated
until all seating signs have been switched off and the aircraft has reached
its final parking position.” Exactly.
You can’t give up shortly before the
end. A bit of patience and that last
moment of logical behavior is sometimes difficult to muster, but salvation
is around the corner.
However, from time to
time seemingly internalized truths
get lost in the haze of one’s mind –
then it’s time to board another aircraft. I still recommend a Jumbo 747200. Why? Okay, I admit it: I’m a
“Fliegersohn”: daughter of a cockpit
crew member and a stewardess. I grew
up closer to airports than icy train
platforms – and when travelling by
air, you don’t have to worry about
missing your stop. I’m only not completely convinced of the message:“In
case of an emergency, illuminated
strips on the floor will guide you there.” I can only hope that when life
gets hairy, the illuminated strips will
guide me in the right direction. For
that reason, I recommend that you
pay careful attention next time the
ladies and gentlemen in the aisles run
through their acrobatic exercises. It
might be a lesson for life. ¬
JULIA
b y J OA C HI M M U LLER R U C HHOL T Z
Julia Hafstrom at IMG // Styling: Anders Sølvsten Thomsen // Hair: Chi Wong at Jed Root
Make-up: Gemma Smith-Edhouse at Streeters
Originally published in EXIT Magazine
D E R Z E I T / Fashion Week Berlin Daily
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D E R Z E I T / Fashion Week Berlin Daily
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P A G E 9 / t h e HY P NO T I C A i s s u e
HYPNOTICA IUE
MICHAEL MANN
&MADLENE
body by Falke www.falke.de
harness by Nina Job
blouse
by Dawid Tomaszewski
www.dawid-tomaszewski.com
vest by Nina Job www.ninajob.com
gloves by Nina Peter
www.ninapeter.com
shoes
by Rupert Sanderson
www.rupertsanderson.com
Michael Mann
photography
M AN U EL S C H I B LI
art direction & mask
s e b a s t i a n o r a g us a
styling
Madlene
model / at AM
modelmanagement
TO M S TRO H M ET Z
H y p not i c a
make-up
Cecilia Bourgueil
hair / using
MAC & Sexy Hair
J a cco B o s
styling assistance
ALICE K U H N
backstage photography
dress and shoes by Iris van
Herpen www.irisvanherpen.com
iue �
4
22.1.2011
D E R Z E I T / Fashion Week Berlin Daily
P A G E 1 0 / t h e HY P NO T I C A i s s u e
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D E R Z E I T / Fashion Week Berlin Daily
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SATUR
DAY
Berlin
Please note:
22.
01.
All fashion shows and
trade shows by accreditation/invite/rsvp only!
Some showrooms and
fashion events are open
to the public! Please
check individually!
2011
Catwalk
SHOWS
Marcel ostertag
10h Tent, Bebelplatz
•
DAY &
NIGHT
Gala
Fashion Brunch, 12h
Marriott Hotel
Inge-Beisheim-Platz 1
10785 Berlin-Mitte
Vladimir Karaleev
11.30h Tent, Bebelplatz
•
IRENE LUFT
A d d d r e ss
Collection introduced
by Volksbühne Theater
Ensemble, 17h
Linien Str. 227
10178 Berlin-Mitte
13h Tent, Bebelplatz
Nachtas y l
Play by
Maxim Gorki
19.30h
Schaubühne
Kurfürstendamm 153
10709 Berlin-Charlottenburg
S w e d i sh
F ash i o n
F i l ms
Gallery
Swedish Photography,
19h
Bebelplatz
and offsite
shows
Events, parties,
concerts and more
Maicco
15h Tent, Bebelplatz
•
Stephan Pleger
16.30h Tent, Bebelplatz
•
Black Noir
18h Tent, Bebelplatz
Oranienburger Str. 27
10117 Berlin-Mitte
F N
DERZEIT’s
Fashion Week Closing PARTY
22.01.2011 / at PICKNICK
Dorotheenstrasse 90, 10117 Berlin, from 23h
dance the night away !
F ash i o n
Freak
Party, 20h
HBC
Karl -Liebknecht- Str.9
10178 Berlin-Mitte
T h e K e y. to
Conspiracy Party, 21h
Columbiahalle
Columbiadamm 13
10965 Berlin- Tempelhof
A cht u n g !
G e t P h ys i ca l
Party, 23h
cookies
Friedrichstr. 158
10117 Berlin-Mitte
Pupkulis
& R e b e cca
Concert, 23.30h
Ritter Butzke
Ritterstr. 14
10969 Berlin-Kreuzberg
F I N ! ! ! ! !
DERZEIT Fashion
Week closing Party, 23h
Picknick
Dorotheenstr. 90
10117 Berlin-Mitte
not to
be missed
choice of the day
by the De rzeit team
VLADIMIR
KARALEEV
Draped, curved, folded
distinctive!
The Berlin-based designer’s
premiere at the tent
LUCA
photography S T E F A N M I L E V, art direction M A N U E L S C H I B L I, styling SEBASTIANO RAGUSA , model L U C A G A jd U S at Iconic,
hair LISA Zeitler, make-up TOM STROH METZ, photography assistance D UNJ A A NTI C , backstage D O M I NI K BACHMANN
Luca wears a coat
by Iris van Herpen
www.irisvanherpen.com
Luca’s biggest assets include her world-famous, highly expressive dancing (“unfortunately not popular everywhere”).
D E R Z E I T / Fashion Week Berlin Daily
P A G E 1 3 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
OnGoing
Showroom
A d i das S LV R
at Premium
19 - 20.1. / 10 – 19 h
Luckenwalderstr. 4 – 6
10963 Berlin-Kreuzberg
B arr e | No i r e
Showroom
19. - 21.1. / 10 – 19 h
Berlin Fashion Network
Rosenthaler Str. 40 - 41
10178 Berlin-Mitte
B arocco
co d e
Esmod Showroom
19. - 21.1. / 10 – 18 h
Atrium der Deutschen Bank
Unter den Linden 13 - 15
10117 Berlin-Mitte
C.Neeon
Showroom
20. - 21.1. / 13 – 19 h
Kastanienallee 55
10119 Berlin-Mitte
C o l l e ct
showroom
Contemporary Fashion
19. - 21.1. / 10 – 19 h
L40
Linienstr. 40
10119 Berlin-Mitte
ECO
S howroom
Ecological Fashion,
Cosmetics & Food
20. 1. / 12 – 18 h
Almstadtstr. 35
10119 Berlin-Mitte
Edged
S howroom
Avant - garde to
High Fashion
20. – 22.1. / 11 – 19 h
Torstr.161
10115 Berlin-Mitte
Green
S howroom
Ecological Design
19. - 21.1. / 10 – 20 h
Hotel Adlon
Unter den Linden 77
10117 Berlin-Mitte
Na n a i
showroom
at Premium
19. - 21. 1. / 10 – 19 h
Luckenwalderstr. 4-6
10963 Berlin-Kreuzberg
S howroom
Day s B e r l i n
allover the city
19. – 22. 1. www.cafepalermo.de
P roj e Kt
Galerie
S howroom
Contemporary Fashion
Fair & Presentations
19 – 21. 1. / 11 – 20 h
M agma
Group Exhibition
Veronica Brovall, Emil
Holmer, Jyrki Riekki and
more
7. – 10.7. / 10 – 19 h
T r i k oto n
A/W 2011/12
Showroom/Presentation
20. - 22. 1. / 12 – 19 h
Rob e rt
M app l e thorp e
Retrospective
daily / 10 – 20 h
Glasshouse at HBC
Karl-Liebknecht-Str. 9
10178 Berlin-Mitte
SYSTM Gallery
Torstr. 68
10119 Berlin-Mitte
Daytime
B u t & B e tt e r
Counter Event to B&B
21. - 23.1 / 12 – 22 h
Tempelhofer Damm 2
12101 Berlin-Tempelhof
C ory
A rca n g e l
Exhibition
daily / 12 – 22 h
Hamburger Bahnhof
Invalidenstr. 50-51
10557 Berlin-Mitte
C am i l l a
Å k ra n s
Fashion Photography
Exhibition
20. - 29.1
daily / 12 – 19 h
Gallery Swedish Photography
Oranienburger Str.27
10117 Berlin-Mitte
E n r i co
Dav i d
Exhibition
Mon - Sat / 11 - 18h
Veneklasen Werner Gallery
Rudi-Dutschke-Str. 26
10969 Berlin-Mitte
Monika
Goetz
Exhibition
Tue - Sat / 10 – 18 h
Georg-Kolbe-Museum
Sensburger Allee 25
14055 Berlin
J oh n
Kleckner &
Patr i c k
T u ttof u oco
Exhibition
Tue - Sat / 11 – 18 h
by appointment only
Peres Projects
Große Hamburger Str.17
10115 Berlin-Mitte
A D i ff e r e n t
Ico n
James Dean
Exhibition
daily / 10 – 18 h
From A to B and Bag again.
Autocenter
Eldenaerstr. 34
10247 Berlin-Friedrichshain
C/O
Oranienburger Str. 35-36
10117 Berlin-Mitte
S w e d i sh
F ash i o n
F i l ms
Swedish Fashion
Goes Berlin
20. - 23.1.
daily / 17 - 19 h
BREE – The Bag. Sincerely Yours. www.bree.com
BREE_derzeit_68x95.indd 4
07.01.11 11:48
Gallery Swedish Photography
Oranienburger Str. 27
10117 Berlin-Mitte
J u e rg e n
teller
‘Paradise’
Exhibition
Tue - Sat / 10 - 18h
Pariser Platz 4a
10117 Berlin-Mitte
Trade
show
br i ght
20. - 22.1 / 10 – 18 h
Normannenstr.19
10365 Berlin-Friedrichshain
Premium
19. - 21.1 / 10 – 19 h
Station Berlin
Luckenwalder Str. 4
10963 Berlin-Kreuzberg
Premium
Men
18. - 21.1 / 10 – 19 h
Station Berlin
Luckenwalder Str. 4
10963 Berlin-Kreuzberg
seek
at pr e m i u m
19. – 21. 1. / 10 – 19 h
Station Berlin
Luckenwalder Str. 4
10963 Berlin-Kreuzberg
T h e k e y. to
20. - 22. 1. / 10 – 20 h
Columbiahalle
Columbiadamm 13
10965 Berlin-Tempelhof
Pariser Platz 4a
10117 Berlin-Mitte
T W EL V E calendar available at VOO store ! ! !
D E R Z E I T / Fashion Week Berlin Daily
� 4 / 22.01.2011
DE-RETRO
FICATION
OF A
DIGITAL
WORLD
P A G E 1 4 / t h e HY P NO T I C A i s s u e
»Just because you can do
anything you want, doesn‘t
mean it‘s a good thing.«
Joseph
Kosinski
director
When did you first watch the original “Tron”?
I didn’t see it in 1982, when it came out, but one or two
years later on video tape. I was about nine years old. I
remember it was very unique looking and very different
from anything I’d seen back then.
What role did fashion play in the creation of the grid-world?
It’s a very important part as the costumes had to feel like
they were an integral part of the world, like they were part
of the architecture and the vehicles. In fact, in the light
cycle match, the suits blend directly into the bikes. We
innovated in the costumes because I wanted to create suits
that were illuminated. All the suits have battery packs and
inverters and remote controls and everything is built into a
thin suit that has to hug the body. Our costume budget was
probably one of the biggest ever on feature films because of
all the technology that’s embedded in them.
Are there any current trends in the computer game industry that
influenced the film?
I’ve done a couple of television advertisements for games
before I worked on this movie. Particularly the seamless
combination of digital, computer generated elements and
live action elements was something that I had done in video
game commercials. I used a couple of shots from up and
behind a vehicle like in a racing game to give it that gamelike feel. But ultimately, I really approached it as a film and
not so much as a game.
Did you enjoy it?
I didn’t get it because it was such a conceptual movie. It’s
not so much of an adventure movie and conceptually, it
was ten years ahead of its time. But it stuck with me
because it was so odd compared to everything else. My
favourite movies at that point were “Star Wars” and
“Raiders of the Lost Ark”.
1982 was a pretty exciting year for the DERZEIT-team. Some of us were still learning the
very essentials of human existence; others
were born or created in that year. Not
surprisingly, none of us attended the premiere
of Disney’s sci-fi production Tron. Yet, we’ve
all been influenced by the designs envisioned
by Steven Lisberger, Moebius and their team.
Almost twenty years later and after more than
three years of production time, its sequel
»Tron: Legacy«”premiered in Berlin. We were
curious. Can the sequel step up to the iconic
design of its predecessor? Director Joseph
Kosinski and concept vehicle designer (!)
Daniel Simon answered our questions.
Did it ever cross your mind to simplify the designs instead of
embellishing them?
I hopefully didn’t embellish them. We certainly added a
little bit of complexity, but I tried to keep the simplicity of
the design inherent in it, even though it became more
realistic. We added switches to make the machines feel more
real. I tried to preserve that minimalistic style, because it
was important that the world seemed more real than in the
first film.
Do you invest as much in your own fashion style?
I try not to put a lot of creative energy into my own dress, I
prefer to put that energy into the work I do. I’m not a very
extravagant dresser.
derzeit vs tron legacy
by SON J A
S T OESSEL
D E R Z E I T / Fashion Week Berlin Daily
What’s the difference in the way the original and the 2010-sequel
were produced?
The first film was shot in black-and-white 70mm and
they used the plates to colour-tint different frames. So
it’s a very hand-made, animated style, which required a
lot of manual labour. In our film, I tried to use digital
tools to make it look as real as possible. It’s the inverse
effect: They were using real sets to create a digital world
and we were using digital tools to make something that
felt real.
The original “Tron” advanced some technical developments. Was
there also any vision back in the 80s that has been proven wrong?
Some of the die-hard fans were upset that not everyone is
wearing helmets in our film. The reason they wore helmets
in the first film wasn’t because the director liked the
helmets, but because they couldn’t trace the shapes around
hair in the original film, that would have been too difficult.
So he made everyone put a helmet on. Obviously now we
don’t have that limitation.
How would you describe the aesthetic of the film and what made
you go for this look?
The film certainly inherited a minimalistic style from the
first movie. The original “Tron” was so simple because they
just didn’t have the computer power to create this complex
world. But I really liked the minimalism and I loved the
designs of Syd Mead and Moebius. It’s a big reason why the
movie has lasted that long even though the visual effects are
dated: because the designs are timeless. I really wanted to
preserve that in this movie.
As you pointed out, you previously shot commercials. Do you get
the feeling that the aesthetics of advertisement and blockbuster films
have become more similar?
I don’t think of them as separate worlds. I always tried to
approach the commercials I did with the highest kind of
artistic sensibility. It’s all creativity, whether it is a film, a
commercial or a short film – my approach is always the
same. The directors I looked up to growing up – Ridley
Scott and David Fincher – were guys who came from the
commercial world. Perhaps there is a connection in a deep
aesthetic that I’m drawn to.
How do you think computers will change aesthetics in the future?
The beauty of these digital tools is that there are no boundaries any more, no limitations of the physical world. If you
can dream it, you can build it. In that way, it’s a very freeing
tool. On the other hand, just because you can do anything
you want, it doesn’t always mean that it’s a good thing. I feel
lucky that I have a design-based education (NB Kosinski
studied architecture) and I think it’s important that people
understand the fundamentals of art, art history and design
aesthetics so that when you get the opportunity to do whatever you want, you’ve got some sort of foundation or point
of view to approach it.
Would you wish for a parallel world
like the grid to become real?
There are certainly some interest-
P A G E 1 5 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
ing aspects of novel
escapism that would be
fun to go to and to be
able to experience some
of the adventures it
offers, but as a permanent place to live I prefer
the world we live in.
What are your favourite
science fiction films?
Obviously Stanley
Kubrick’s “2001”, it’s
probably everyone’s
favourite. I was a huge “Star Wars” fan, too. I
prefer the originals because they were the ones
I grew up with as a kid, but I admire that
George Lucas is really pushing the technology
to try and tell new stories. We’ve had such great
science fiction in the last few years. It’s good to
see this genre coming back. It was a big thing
in the 80’s and it’s good to see it returning.
20 years from now, what do you think people will
remember of “Tron Legacy”?
Hopefully, they’ll remember it as my first of
many films (laughs). I’m sure that by that point
the technology will have advanced and that it
will look as antiquated as the original Tron
movie does now. Hopefully it’s remembered for
being ambitious, for trying to push the envelope of its time. ×
DANIEL
SIMON
concept vehicle
designer
What do you really think that the car of the future will look like?
I’m happy that we don’t have flying cars because people
drive like idiots, so I’d rather have an accident on the street
than up there. So I think cars are pretty good.
What vehicle do you drive yourself?
You would expect the craziest thing, but I drive a boring
white Volkswagen in L.A. In Berlin I had a sports spider, it’s
very low and open, I had to wear a helmet. Some people
may have seen me: It was bright and yellow, always caused a
big stir in the streets. I tried to get a similar car in the U.S.,
but the streets are very bad in L.A., the air is bad and the
insurance-situation is not as good as in Germany.
How did you get the job on “Tron Legacy”?
I always designed cars, even as a three-year-old. Only it was
not called designing but doodling. Sorry what was the
question? – The designer wrote me an email in 2008. He
had seen my book “Cosmic Motors” and wanted the same
“feel” in his film. L.A. is full of people who want to work in
film, they do student films, interviews, castings – and he just
calls me! I lived in Berlin back then - I love Berlin, coolest
city ever.
How did the visuals of the original “Tron” influence your work for
the current film?
They developed a visual and graphical style which is lost
these days. With all the new technologies, especially 3D,
people drift away in madness to create something unseen but
they create a disaster of graphics and chaos. I love simplicity,
D E R Z E I T / Fashion Week Berlin Daily
� 4 / 22.01.2011
P A G E 1 6 / t h e HY P NO T I C A i s s u e
D E R Z E I T / Fashion Week Berlin Daily
� 4 / 22.01.2011
because it’s probably the hardest. Isn’t there a saying: “Leaving
away is the hardest part”? That goes especially for Hollywood
films, where you’d expect explosions and spectacular scenes
and then we come and try to make a designy film and still sell
a lot of tickets. That was pretty daring.
Hypnotica
How do you design vehicles that are never meant for production?
You make believe that they are meant for production. In
Tron-world, they are in production. For me, it’s as real as the
car that drives me to the premier tonight.
Homeless Divas - Why Fashion
Doesn‘t Have nor Need a Place of
its Own - Now or in the Future
But you don’t have to think about security issues like you would
have to if you were designing a car meant for driving in the streets.
The limits are the same but less serious.You have to consider other limits, for example: How is the actor visible on
camera? Or is my design getting too loud compared to the
actor, because the actor is still the most important person;
how will a boy or a girl understand this thing? Vehicles
make you think of guys, but especially with the bike, I tried
to bring in a certain sex appeal; the surface looks almost like
music, elegant, maybe erotic.
What’s your favourite design?
I have a few babies in the film, I raised all of them and could
never pick my favourite child, that’s impossble. I have a
hate-love relationship with the big jet. I still have nightmares because it was the most difficult one. The work
stretched over a year, the script kept changing, I had to do
more and more, my first design was too speedy, it needed
more elegance, it was horrible.
Isn’t it sometimes frustrating that your designs will always be based
in theory, never meant to be more than a visual effect?
The brain is a visual effect. I don’t even know what real is. I
can’t believe that all we see and touch here is made of
materials that come from this earth. Nothing really makes
any sense for me at all, so this is the smallest issue for me. At
least my designs don’t get rusty.
Would you say there’s a different approach in innovation between
US and Europe?
Innovation is networking and the barriers are much lower
in the US. They don’t say “Sie”, everybody is just “you”. I
got some deals done with people because there was no
b y J o a c h i m B e s s i n g Germania, at
difficulty with certain respect forms. There are other forms
of respect. That speeds up innovation in an interesting way.
What’s the difference between American and European aesthetics?
The Americans think very highly of Europeans.Whenever
something is elegant or sophisticated, they say it has a European
touch. But it’s relative because when I’m in Europe, I think
something Asian is delicate and sophisticated. In L.A., everything is very baggy. If you are too fashionable, you feel weird.
Then you have to say: Hey, it’s a European cut, relax. Stylewise, I
like it here much better. But then again, it’s relative. In the
business district of Tokyo, it’s like a fashion show every day. I felt
very trashy with my ripped jeans and sneakers. In Berlin, you
look like a tax guy if you wear a “sophisticated outfit”.
What was your most horrible design failure?
My biggest design crime was how I dressed until I was
twenty. I remember I had a red jeans combo – a red shirt
and a pair of jeans - and I felt good in it! I still don’t know
what I was thinking.
And on the film?
No crimes on“Tron”. It’s a perfect world.
You only say that because the PR-person just walked in.
Yes, that’s right. It’s bad luck – you can write that! √
»I always designed cars, even as a
three-year-old. Only it was not called
designing but doodling.«
the centre of Adolf Hitler’s delusion
of the “Third Reich”, had quite a lot
to offer constructionwise. A Ministry
of Fashion, a hall or stadium dedicated to presenting the fashion trends
of the Third Reich, however, was
something neither the dictator
himself nor his architect, Albert
Speer, intended.
In George Orwell’s novel
“Nineteen-Eighty-Four”, the author
invents a Ministry of Truth and a
Ministry of Love – but doesn’t mention fashion as an institution. Aldous
Huxley? Nope. In “Do Androids
dream of electric Sheep?”, the novel
by Philip K. Dick that served as a
basis for “Blade Runner”, fashion
isn’t mentioned either. “The Fifth
Element” by Luc Besson shows a
clear vision of the fashion of the future (thanks to Jean Paul Gaultier) –
still, it is not discussed in this science
fiction film either.
“ Te r m i n a t o r ” , “ M a d
Max”, “Dune”: Our imagination
leads us to believe that a future in the
sense of Goethe’s “Onward - across
graves!” will only exist after everything has been laid in ashes. Postapocalyptic fashion? There is only
one trend we can foresee considering
the material situation: leather – tobacco-hued or noir, stainless steel
rivets, potentially loose-knit, like in
mail shirts but made from shoddy
wool or similar tow, and: boots, boots,
boots.The only good news is: At least
in the future high heels of any kind
will finally be outdated!
Looking at fashion visions
of the future in science fiction is relevant, because there has never been
a place for fashion, there is none today, nor, as our analysis shows, will
there be one in the future. Fashion
has to simply happen – just like this
other ever-changing entity: love. Shit
happens, fashion quite does so, too.
Fashion – it sounds so bloody authoritative. As if it had a license, or the
capacity to exercise power on us.
To make us do what?
To seduce us.
We want to abandon ourselves to fashion – to lavishly spend
ourselves and our money – therefore,
fashion mustn’t be definable. It
doesn’t need a definite article, nor a
gender. And certainly not a home.
During that hot summer
two years ago, just before the beginning of Fashion Week, I went to
P A G E 1 7 / t h e HY P NO T I C A i s s u e
gin, tonic water and orange juice – a
delicious refreshment at the height of
summer.
We spent the afternoon on
the terrace, in the shade of the sunblind. Angelica told me about her
plan to rent Berlin Tempelhof Airport together with the fashion entrepreneur Patrick Hellmann, to create
a homestead for an advanced Fashion
Week under her – Angelica’s – aegis.
The events in the white tent on the
former site of the book burning, we
agreed, would remain provincial.
None of the members of the professional group Angelica tenderly calls
Fashion Family – international fashion journalists – ever show up at
these events. Neither Carine Roitfeld, nor Anna Wintour, Alexandra
Shulman, Grace Coddington, Hamish Bowles, Kazuhiro Saito and or
and. Not even Andrew Leon Talley.
Or Olivier Zahm. And with fashion
it’s like with Jesus Christ: If not even
three members of the Fashion Family come to Bebelplatz, fashion is left
outside, or as we say in German, in
illustration by
front of the door – yes: that particular
J uana R obles
tent does have doors, mind you.
Nothing against tents – it
suits the nomadic moving of the faPotsdam to visit Angelica BlechIt had fallen from a nest
shion family well, traveling from
schmidt. She – for 24 years the edi- located on the frame of the sunblind
Europe to the United States and back
tor-in-chief of the German edition above Angelica’s terrace. She’d put it
and forth to refuel with fashion, folof Vogue magazine – always comes on the cardboard to take a picture of
lowing a calendar significantly ahead
to my mind first when I hear some- it. In front of the desk sat Angelica‘s
of the world’s standard time. If there
one use the word diva. She lives only cat – waiting, waking? With cats you
was an Institute of Fashion in New
a few hundred meters – beeline – never know. I suggested feeding the
York or, as seems natural, in Paris or
from Wolfgang Joop. She led me to doomed nestling to the cat. Angelica
Milan, with an architecture providing
her office, an extremely spacious pas- lit a cigarette. Out of the question.
the most beautiful halls for the shows
sage room. On the bookshelf com- We had no way of knowing what the
of the most highly gifted fashion designers – wouldn’t one of them inevitably organize their show “offsite”,
in the abandoned hall of a shipping
company on the industrial port? Isn’t
this all part of fashion as much as first
row and catwalk: Not only is fashion
itself a diva, but it is one created by
other divas?
On that wonderful sumpletely covering a 15-meter large cat would do with it (after all, it was
rear wall, the magazines published by Angelica Blechschmidt’s cat).
mer day the sun just didn’t set (poCondé Nast, of different width but
Angelica placed the card- tentially because we’d started taking
all of them paper white with adhesive board with the fledgling, breathing Sundowners early, alcoholically speabinding. In front of the shelf, a desk, shallowly and rapidly, on top of the king we were already in the next
six or five meters large, with a laptop fridge in the kitchen. It was the high- morning). When the taxi driver rang
est point of her apartment she could at the door, we both inspected the
and a scanner.
“Look,
that
j u s t still access, wispy as she is. With her top of the fridge. The fledgling still
happened”a fledgling lay on a white high heels she constantly tiptoed hadn‘t died.≈
piece of cardboard. Its eyes underne- anyway. What‘s more, the kitchen
ath the bluish, transparent skin were seemed forbidden to the cat. In any
still closed, no feathers, its wings only case, it is hard to imagine the cat of
stumps, a yellow scum around its Angelica Blechschmidt eating. My
beak, saying “feed me”.
hostess prepared two Campari with www.juanarobles.com
» Shit happens,
Fashion quite does so too.�
D E R Z E I T / Fashion Week Berlin Daily
P A G E 1 8 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
D E R Z E I T / Fashion Week Berlin Daily
Esther Perbandt
Anja
Gockel
“I am invariably late for appointments - sometimes as much as two
hours. I've tried to change my ways
but the things that make me late are
too strong, and too pleasing.” That's
what Marylin Monroe once said. And
I totally agree with that. Unfortunately, I didn't make it to the Anja Gockel show this morning. Getting up
at nine in the morning makes me
unhappy in general but to do so for
clouds of tull designed in Düsseldorf,
even depressive. Not worth mentioning exactly what was strong and
pleasing. So, dear Anja, don't be mad
at me. I know it's your anniversary
collec-tion. Plus Lily Cole opened
the show. But, sorry, I didn´t make it.
– AK
catwalk photography by
VOLKER eichenhofer
Fammivedere.com
kay strasser
A penetrating smell fills the air because artist
Marco Pho Grassi is elegically painting or smearing some brown liquid on a glass pane behind the
catwalk.
It’s a brown "sauce", called Bithume, actually used
for sealing roofs.
The mess is turning into a pattern during the
show and the evolving picture does not only
serve as a catwalk-background, but in fact strongly
influenced the whole collection. The beat is somehow dark, gothic and exotic at the same time
– and so is the look.There are straps, lots of braids;
avant-garde sobriety alternates with the soft
woollen charm of organic
cotton. It is, at times, a
little 90's – but I
guess, it’s already
time for a revival.
Incidentally: The
shirts with the slogan "Much broke"
and "I am not a
muse" have huge
potential to become
a Mitte-thing.
– SW
Michael
Michalsky
The size of his ego is considered
immense. However, Michael Michalsky made every effort to distract from
his fashion show: As a circular central-plan building, the Tempodrom is
only partly suitable for setting up a
catwalk. Before the show starts, the
evidently aged Alphaville have to
perform “Forever young” and two
more outdated hits. Furthermore,
Michalsky adds a couple of aged models to the girls and boys presenting
his collection ranging from gray to
white, black and – yes, seriously – aubergine. On top of that follows the
pre-premiere of „Tron: Legacy“ ...
otherwise burdened by a heavy tote
bag. Also on my list of items to buy
next after the show: the complete
Mikenke collection. At this point I
must admit that it would appease my
100% polyester-infected conscience
(eco fashion rocks!), but I also have a
preference for crassly designed tops
that are voluminous wonders, and a
whole series of these tops could be
spotted in my favorite non-colors of
black, white and grey. – AP
His collection “Urban Nomads” started quite well though, with ravishing
pure leather skirts, leather shirts, and
austerly cut suits and simple capes.
But his clientele is not really down
with simplicity, but up for rhinestones, tinsel and fashion stuck between nonchalance and opulence.
After all, Michalsky stays true to
himself and this concept has obviously helped his label to survive the
financial crisis unscathed.
– MW
catwalk
reviews
Kaviar
Gauche
Green
Showroom
I really wasn’t counting on this:
Yesterday afternoon I didn’t only
experience one thing for the first
time, but three: my first trip
to the Adlon, my first moderated (!!!) fashion show, and
the first time I seriously considered buying a backpack: A
model by the green leather
label Royal Blush. I’m certain that it wouldn’t only
look extremely good on my
back, but that it would also
be a fairly healthy alternative
for my posture that was
P A G E 1 9 / t h e HY P NO T I C A i s s u e
� 4 / 22.01.2011
Kaviar Gauche continues to fulfill
all expectations, but I would almost
like to say that what the label leaves
out is the moment of surprise. Elegant, casual, flowing and beautiful.
Well it’s not all that banal after all.
However, for the most part the ideas
stay the same: pantsuits, evening
dresses and long skirts with oversized blazers. But at second glance,
Kaviar Gauche’s strength shimmers
through in the refined styling: Black
dresses are matched with brown
shoes. A latex top suddenly doesn’t
Camilla Norrback
Ida Sjöstedt
Diana Orving
Even though everyone seems to
try really hard: Only a few master the
high art of irony, well, at least in fashion! The Swedish Trio definitely
does so. All three lines feature quotes
of Glam-Italo style, instead of a fur
collar there only is an image of a
chinchilla, woven into a woollen
shirt, as if draped around your neck;
there are pieces that manage to newly interpret the odious aesthetic of
chiffon, too; loads of lace and glitter;
the trio even arranges rhinestones
like epaulettes of a uniform, or make
the woman wearing it look like a
tinkerbell-mer maid-something.
That's how glamour works, dear Ladies
and
Gentlemen
at
Dolce&Versace! P.S.: Favorite piece:
a dark green jumpsuit in velvet.
– SW
look like fetish wear, but simple and
captivatingly elegant and chic. A cape-blazer hybrid and a long, black
evening dress with organza frills trailing off past the knee – when I see
these two items my heart speeds up
for a brief moment. I’m satisfied. –
SR
Berlin Kurfürstendamm 185
Düsseldorf Königsallee 62
Hamburg Neuer Wall 43
Frankfurt Goethestraße 23
München Maximilianstraße 30
jilsandernavy.com
Champagner bei Jil Sander Berlin Kurfürstendamm, 19. bis 22. Januar von 14h bis 19h