So moving

The fledgling-ish practice of blurring boundaries between fine art and film now has a Berlin address. With its selection of over 600 titles, Image Movement is dedicated entirely to art films. Initiated by gallery Sprüth Magers and designed by artists Rosemarie Trockel and Thea Djordjadze, the store offers artist films and recordings, avant-garde and underground films and a series of “artist’s choice” selections. Film-related talks and screenings take place there regularly.

Image Movement, Oranienburger Str. 18. Mon-Sat 11-7pm.



A PG Rated Frieze

Installation by Elmgreen & Dragset at Frieze, 2011. Photo ©Amy Binding

This year at Frieze it was certainly a lot more reserved than in previous years. Jake and Dino’s Chapman’s “The Milk of Human Weakness” failed to bring the shock factor to the growing crowds, with most of the White Cube’s visitors focusing on Marc Quinn’s “Zombie Boy”. Christian Jankowski’s over hyped “The Finest Art on Water”, 2011 only attracted groups of envious men whilst their wives and girlfriends went off to look at actual art around the fair. Pierre Huyghe’s “Recollection” suffered a few hiccups with immigration on the way over but in the end created a “semi quiet room” in the hectic World of Frieze. Unfortunately though, the noise from the overcrowded canteen proved too much for the secluded room to be labeled peaceful.

Installation by Pierre Huyghe at Frieze, 2011. Photo ©Amy Binding

 Aside from the low points of the fair there were also many highlights, including Michael Landy’s “Credit Card Destroying Machine”, Laure Prouvost’s witty plaques dotted around the fair in sometimes the most unusual of places, and Do Ho Suh’s absolutely stunning work “Cause and Effect” which was comprised of lots of little acrylic men resting on each others shoulders. Elmgreen & Dragset were also hot on everyone’s tongues with their morbid real life morgue installation, really bringing the lighthearted levels down a notch or two! It was a good thing that neon tubes were in abundance picking up the fairly somber mood with Tracey Emin leading the way, but also not forgetting Glenn Ligon’s provocative “Warm Broad Glow II” and Frame artist “Jung Lee” holding their corner in the battle of the neons.

Installation by Tracy Emin at Frieze, 2011. Photo ©Amy Binding

All in all, this entire Frieze was a tamer, less sexy and shocking Frieze that we have all grown to love, but yet had some key pieces that we will not be forgetting anytime soon.

Photos by Amy Binding.

Kira Lillie’s spiritual aesthetics

Diane Pernet’s fourth edition of ASVOFF was not only a good opportunity to discover promising fashion short-films, but also to meet the artists behind them. In this context, we met the photographer and jewellery designer Kira Lillie, who recently added ‘film maker’ to her list of hyphens. After establishing herself in Milan’s fashion scene, the photographer settled in Paris in order to start her very own jewellery line VKLillie. Fully made out of passion, VKLillie is a creative collaboration of Kira and her mother Vanessa. Inspired by her hippie upbringing in California and the artisanal and Native American knowledge inherited from her grandmother, Kira and Vanessa started with a small line of medicine bags. These small hand-made leather pouches are decorated with semi-precious stones on the outside and filled with healing stones like quartz, jade and amber on the inside. Winner of this year’s ASOFF festival Beauty Prize for the film Waters, sleek decided to bring Kira Lillie’s view on fashion out from the shade and into the spotlight:

sleek: You’re a fashion photographer and you run the jewellery brand VKLillie. Now you started out as a film-maker, too. What’s your approach to fashion?
Kira Lillie:
I have a whole different strategy to the market than most anyone else working in this industry: I don’t care if it’s selling, how many orders I made during Fashion Week, or what shops am I selling in. I really want to keep it special. My mother does the production in Wyoming and I do a part of the design here. It’s about unique medicine bags, made out of precious stones that are full of energy. It’s about very small and personal hand-made collections, I’m not interested in commercial approaches.

sleek: Waters is a very dream-like film, combining a stream of consciousness narration with a touch of superstition. Like an ode to the natural spirit. How important is spirituality to the understanding of the film?
: I wouldn’t call it superstition. I just wanted to give a spiritual context to the film, as most of the time, fashion related movies or advertisements don’t go beyond fashion and remain on the surface. I wanted to bring my own politics into fashion by addressing some big question marks in our society.

As we formerly had a theme given by Diane, which was “power”, I wanted to question the influence – or lack of influence – that world religions have on us. Somehow the theme was taken away later on, but I continued to develop the subject, as it just perfectly matched what I had in my mind. This is how I was led to water, as it represents a serious power for us right now. We’re made of water and it’s perhaps the most important resource we have. Then there are the political and economic aspects of water. It’s a controversial subject. I just wanted to fuse these two powerful themes, as water and bathing rituals are used for cleansing and purifying rituals in every religion. I wanted to unify the religions through water.

The film starts with a very dark and strong presence of organised religions and continues with the “softer” but still restrictive native religions, shown in the red shades. The whole process is about how someone purifies oneself of these restrictions, how someone is washing them off. Of course it is very symbolic, but in the end it’s about freedom.

sleek: was it hard to find models who can act?
: I loved working with Bianca O’Brien and Olga Sherer! Bianca is a very self-reflective and self-aware person. She is the narrator in the film. Olga completely shone during the shoot; she just felt the story intuitively, the way she wanted to. I didn’t have to give her any instructions, she just followed her feelings. And it was amazing!

A Shaded View On Fashion Film Festival

Last weekend, fashion priestess Diane Pernet presented the fourth edition of the A Shaded View On Fashion Film Festival (ASVOFF) at the Centre Pompidou. The program included short fashion films by young filmmakers and ambitious fashion designers, and to keep the viewers entertained between the prize announcements, there were music performances by Sullom Voe, Pam Hogg and Rossy de Palma who, all dressed up in sequins, sang memorable interpretations of Spanish lullabies at David Lynch’s recently opened club Silencio.

But everyone’s attention was set on patron and muse Daphne Guinness. Guinness, who was part of the jury, supports young film makers through her own production company and presented two feature films directed by Joseph Lally, in which she acted herself. Her interpretation of Jean Seberg in the film The murder of Jean Seberg was promising, which can not necessarily be said of the seductive model Michael Brager. No, good looks do not cover up bad acting. Also on the jury were notable members of the fashion and film industry, like designer Manish Arora, production designer Thérèse DePrez (Black Swan) and Chris Miller, Co-President at Flower Films (Donnie Darko).

 Within this nourishing environment for film amateurs, some promising ideas could be found: the film Is this real life? by Suzie Q and Leo Siboni for Mastori*Motwary mashed up Youtube classics with Lynch sensibilities, and won the “Young Talent” prize. The stunning costume created for the actress Vanessa Schreiber by the talented duo Mastori*Motwary completed the film’s challenging tightrope balance between eerie aesthetics and obvious jest. Other favourites from the winning films included Praise Brake by Eric Weidt (best soundtrack) that showcased an orgasmic fusion of religious music and fashion, and Onions Don’t Make Me Cry (best actor) by Bryan Adams for the mere presence of Danny Trejo! We do not really understand what kind of relation this short-film may have with fashion, but the self-effacing satire of the Machete star was convincing enough.

The ASVOFF Grand Prize awarded by the network of theatre rooms MK2, went to the UK based music and fashion film-maker Elisha Smith-Levercock. Have a look at what happens when a female bodybuilder goes fashion:

ASVOFF goes Tokyo, at Tabloid Gallery from October 19 to 22! For more infos, visit

Photos by Morganistik

The Frieze Credit Crunch

Michael Landy, 'Credit Card Destroying Machine' (2011). Photo ©Amy Binding

This year at Frieze there was no hiding the fact that the economy is still knee deep in the crisis. However, there was one artist who made visitors open their wallets even before they got to the cafeteria. Michael Landy’s “Credit Card Destroying Machine” 2011, promises the participating spectator a one-of-a-kind “drawing” which has been scribbled out on a signed piece of paper by this large and extremely menacing-looking machine. The art work costs no actual hard earned cash at all, only your credit card. Upon departing with the beloved plastic rectangle, the card is shredded and then spat out to join the growing pile of other buyers’ shredded cards. The drawing itself might only cost a few phone calls to your card issuer (let’s face it, the message of this art work will remain a mere gimmick), but the “Destroying Machine” itself will set you back £120,000.

Seoul was all about the menswear

By Benoit Martinengo

The 23rd edition of Seoul Fashion Week, the most important fashion week in Asia, revealed a surprising characteristic that sets it apart from other major fashion weeks on the global map: In Seoul, the menswear collections are a lot more memorable than the women’s.

Korean brand MVIO opened the ?rst day of menswear presenting the “plastic man” collection that conjured up a laboratory environment. Meaning, we saw a mix-and-match parade of coats inspired by lab gowns, white suits, and sun caps that could have been props from a science ?ction movie. Nevertheless, MVIO’s spring/summer collection had a casual vibe with pastel colours, ankle length pants, striking neon details and eye-catching accessories.

Designer Ko Tae Yong of the brand Beyond Closet went with a more comforting theme—a botanical garden. The collection was presented in room resembling a greenhouse, with birds chirping in the background and trees spread around the space. The safari feel that emerged from the use of beige and khaki, and the leaf camouflage patterns in the details was a highlight amongst the looks presented. As in the previous collection, bags played an important role in the show both in terms of size and fabric.

Choi Bum Suk, designer of the brand General Idea that we already loved during the New York Fashion Week showed a St. Tropez themed collection entitled “Garçons de la plage.” General Idea favoured a striking colour palette, mixing materials like knit and cotton on shorts and shirts. The geometric shapes and details of Gingham check completed the collection’s romantic and comfy feel.

Designer Jehee Sheen on the other hand found his inspiration a little closer to home. The wide-legged pants, high shoulder jackets and china-collared pieces refer to the traditional clothes of Buddhist monks. A model opened the show walking barefoot on a white-cobbled catwalk, reminding us that the road of life is indeed rocky. The use of light materials such as linen or jersey and tones of black, white and sand with roomier shapes gave the collection a real peaceful yet powerful feel. With collections always more sophisticated each season, Jehee Sheen is definitely someone to keep an eye on.


Established brand Songzio, which also shows during Paris fashion week, delivered a strong and re?ned spring summer collection using mostly linen and jersey with sharp and modern cuts. Perfectly tailored suits, china-collared jackets, trench coats and other draped pieces of loose fabric paraded in tones of black and white conveying the image of Asian virile beauty.

Featuring Geta-like footwear (Geta are traditional Japanese shoes), shades of grey, black and white, clean cuts and futuristic silhouettes, Groundwave’s show was by far this season’s biggest crowd pleaser. Tailored from materials such as wool, traditional Korean cotton and more surprisingly Hanji, the traditionally handmade Korean paper, this spring/summer collection was perfectly balanced between tradition and modernity. Add to that a perfect casting and a soundtrack from Meredith Monk and you get one of the best shows of this fashion week. (Pictures at the top)




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From London with Love

When London designers come to conquer the runways at Paris Fashion Week, they give the City of Lights a colorful sheen. While the so-called “off” shows might not have the same front row attendance as the shows that dictate the moods for the upcoming season, these shows have certainly proven to be the most advanced ones in terms of spectacle. Lest we forget that the runway, apart from its professional function to showcase the work of leading creators, offers a 10-minute escape into dream universes, where visionary creations can be explored. Pam Hogg and Charlie Le Mindu are the masters of runway spectacle.

Exaggeration and futurism are the core values for the two London-based creators. Pam Hogg no longer needs an introduction. Active in the fashion business since the 80s, she has established her own style by playing with an eccentric look, surrounded by minimalist lines. Meanwhile, the young hairstylist Charlie Le Mindu is experimenting with his all time favorite material on the catwalk: hair. His muse is a cross between Cleopatra, Frida Kahlo and a thing from outer space. We let the young designer define her for you:

sleek: As a stylist, hair has always been your passion, on the catwalk you’re taking it to a whole other level! Dresses were not only made out of hair, but out of fake fingernails too…
Charlie Le Mindu:
Indeed, I wanted to reach this level where fashion and beauty are fusing with each other. And as a matter of fact, most of the time we only pay attention to make-up and maybe hair, but not to other details which define the world of beauty. It’s very important for me to take the world of beauty into the world of fashion and to present it on the catwalk. Most of the times these two worlds are different, beauty is just added to fashion but not perceived on its own. I just wanted to show that both worlds work equally together on a catwalk.

sleek: Your own creations have major references to the golden twenties, there’s a burlesque attitude in your collections. Is this your way of expressing nostalgia?
I just like to work with basics. There are some values and looks that never get out of fashion. I use this type of inspiration as a working template. On this references, I work on my techniques in order to reinterpret them and create them on my own. Basic references are just a most important source of inspiration.

sleek: Although you are French, you opted for London by showing your first collection there in 2009 and now you’re showing on the Parisian catwalk. How come?
I just think Paris is more creative than London regarding fashion. Of course, I love London, it’s young, inspiring and I just love to live there, but Paris is just more professional. You really have a creative result here, plus the quality of the collections is better. The French are still bound to artisanal values, as they’ve been taught to do by couture values. It’s a kind of creativity that I can identify with.

sleek: You’ve collaborated and worked with iconic women like Veruschka, Peaches and Rossy de Palma who closed this show… would you call them your contemporary muses?
‘Muse’ is a big word, most of them are just friends. I’ve always been attracted by very powerful women, with a strong identity. I just love their aesthetics, the way they express themselves.

Photos by Morganistik

Men-Ups by Rion Sabean

Not everything we stumble upon while researching for each issue ends up on the printed page, but that doesn’t mean we can’t still share it with you! Like these hilarious photos by Rion Sabean of Clickandclash that we found while working on the latest issue, XX|XY. “Men-ups!” features men doing pin-up-style poses, proving once again that simple means can sometimes achieve the most biting effects.

Guillaume Henry for Carven

Guillaume Henry is the man of the hour at Paris Fashion Week. His current impact on the French fashion scene is so big that his work for Carven was showcased in two fully packed shows, instead of one. EVERYBODY attended the Jeu de Paume location, from Anna Wintour to Kate Lanphear. The show was delayed because of the little accident at Balenciaga’s before: the benches broke down, sending the whole first row crashing to the floor. Meaning that Guillaume Henry had a tough crowd of irritated editors and buyers on his hands, yet he still managed to lighten things up with a fresh start. It is under Henry’s direction that the dusty couture house swiftly turned into a glamorous ready-to-wear brand. He delivers twisted girly designs, reinventing Carven whilst paying homage to its roots. Carven now more than before, stands for a democratic vision of fashion, appealing to women who identify with freshness and simplicity. sleek spoke to Henry backstage immediately after the show.

sleek: You’re showing a lot of traditional references within Carven’s new spring/summer ready-to-wear collection. Is an artisanal work procedure precious to you, a new way of bounding with the traditional values of Carven?
Guillaume Henry
: I think that tradition matters, because I like to create an authentic collection, and authenticity mostly includes an artisanal way of working. I am always inspired by accessible values, things that are surrounding us, and indeed for this collection I had a big focus on folkloric elements. Some leather dresses were inspired by blacksmith aprons, we even used knitted muslin in this collection, as we tried to use modern fabrics with a traditional twist.

sleek: How would you describe the femininity of your new collection?
: The Carven woman is not a teenager anymore, but not a woman yet; she’s in between these two life phases. In this collection, the pieces are still referring to uniforms, but I also see a girl coming straight out of some tiny villages in the mountains, being more colourful than before, like a girl lost in a carnival somewhere in Eastern Europe.


sleek: Carven first communicated your arrival in a very discreet way: before showcasing your collections through a fashion show, you opted for simple showroom presentations; how come you’re suddenly aiming for fully packed shows? What is the next step in the evolution of the brand?
:  I think we are not disproportional, people like Carven because we made it pretty accessible. I don’t look at my shows like usual catwalks. Carven’s evolution therefore goes on very naturally. I simply don’t see runway models on stage, but rather girls walking around in a certain space I created. “Catwalk” is just not an appropriated word I would use to describe my presentations and to be honest, I don’t think about the future that much. Tomorrow is the next step, so we’ll see!

Photos by Morganistik

Boris Bidjan Saberi meets Some/Things

Jarvis Cocker didn’t wear black! Photo ©Morganistik

It’s not often that you get so many rare and special curiosities gathered in one place all at once, making this cocktail party hosted by Boris Bidjan Saberi and Some/Things a noteworthy excursion from the week’s glitzy events. The fifth edition of Some/Things comes wrapped in scented Rick Owens cashmere, and was presented alongside arty Super-8 movies by shoemaker Paul Harnden and a raw-looking sculpture by Boris Bidjan Saberi, mainly made out of wood and boiled wool. The new issue includes unveiled footage of Rick Owens’ factory and atelier, and the designer’s vision seemed to have dictated the dress code for the evening.