deluxxdigital.comI SSU E 21 • SEPTEM BER 201 3

D Z H U S • B E V Z A • S T A N L E Y D O N W O O D • N I C K G E N T R YG O L D F R A P P • T O R R E S • M A S A M I N A R U O • Y U J I I N A G A K I

K O U T A R O U WA S H I Z A K I • M A S A H A M A N O I • Y O S H I T A K A K O N OF E D E R I C A S I M O N I • J U N YA S U I • Y U J I WA T A N A B E

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d e l u x x d i g i t a l . c o m i s a u n i q u e o n l i n e p u b l i c a t i o n w h i c h o f f e r s a c r e a t i v e p l a t f o r m f o r t h e l a t e s t u p - a n d - c o m i n g a r t i s t s t o s h o w c a s e

t h e i r w o r k . W i t h h i g h l y c r e a t i v e f a s h i o n p h o t o g r a p h y , t o g e t h e r w i t h f e a t u r e s a n d i n t e r v i e w s o n f a s h i o n , m u s i c , a r t a n d c u l t u r e , t h e s e e l e m e n t s b l e n d t o f o r m t h e i n c o m p a r a b l e c r e a t i v i t y t h a t i s

d e l u x x d i g i t a l . c o m

I f y o u w o u l d l i k e t o s u b m i t w o r k f o r f u t u r e i s s u e s p l e a s e c o n t a c t :

i n f o @ d e l u x x d i g i t a l . c o mw w w . d e l u x x d i g i t a l . c o m

d e s i g n & a r t d i r e c t i o n : S T E P H E N J L E E f r o n t c o v e r : M A S A M I N A R U O

D Z H U S

B E V Z A

S T A N L E Y D O N W O O D

N I C K G E N T R Y

G O L D F R A P P

T O R R E S

M A S A M I N A R U O

Y U J I I N A G A K I

K O U T A R O U WA S H I Z A K I

M A S A H A M A N O I

Y O S H I T A K A K O N O

F E D E R I C A S I M O N I

J U N YA S U I

Y U J I WA T A N A B E

CONTENTS[ ]

Your AW13 collection, “Overground”, was influenced by the solid and edgy structure of industrial objects. Was there one point in particular that you could say was the main point of inspiration?The idea of the collection mainly derives from the Soviet monumentalism. What I was inspired by is not a particular building but the whole system of cult installations left from the bygone totalitarian epoch. Austere factories and solemn memorials, ceremonial palaces and erecting obelisks – tremendous yet naive, they soar nostalgically above abandoned expanses, like ghostly shadows of the country that no longer exists.

Does this influence affect how you think about the design process?I perceive any object through the prism of its structure. Thus, the architectural theme of the collection is an allegoric interpretation of my worldview. I analysed shapes and elements of monumental constructions and tried my best to embody their principles in the silhouettes and cut of my designs.

How would you define your city’s fashion?I am based in Kiev, the capital of Ukraine. Street fashion in the city is very diverse. Although most of the local dwellers are happy with casual outfits, you will meet many trendy people here, as well as eccentric individuals, hipsters and representatives of subcultures. Talking about the fashion industry as such, Ukraine is now famous for talented emerging designers showing a bold and extraordinary approach to fashion. Nevertheless, Kiev’s upper class prefer glamorous pieces from

world-famous ready-to-wear labels to local brands’ progressive designs.

How do you balance creativity with commerce?That is a very relevant matter for me now. My collections have been rather conceptual than commercial so far. As I develop my creative and managing skills, my brand’s philosophy gets more sophisticated. I have never aimed at producing a work of art, which is very different from my comprehension of fashion, which is why now, having more worshipers than customers, I feel disappointed with how far from my priorities it is. In my mind, fashion is meant to supplement people with appearance for their own inner world. A designer piece does not make sense unless it is a perfect match for at least one person. My next collection is going to be more utilitarian, yet remain typical of DZHUS’ style, so that more people who admire my designs could bring themselves to wear those.

Who inspires you most in fashion?New designers do. Top brands never show as desperate craving for innovations and knowledge of universal truth, which leaves a much stronger impression than a high level of professionalism.

Where do you see yourself in 5 years’ time?I have never dreamt of a bombastic show within the framework of an international fashion week, and I will be confused if that changes. What would totally meet my expectations is having limited consignments of my designs stocked at concept stores in London, Amsterdam, Antwerp and Berlin.

[ ]D Z H U S

What are the advantages of living and designing in Kiev and what challenges have you faced as a young designer?The fashion industry in Kiev is very supportive of new designers, so that has been fantastic. In Ukraine it’s somewhat easy to get known and I know a lot of people in the fashion industry, but it has been a challenge to get noticed outside of Ukraine. I think that’s a big challenge especially for Ukrainian designers… I’m now working on building BEVZA outside of Ukraine now I have an established foundation.

Do you have a specific research process when you start a new collection? I normally have a specific idea in mind before starting the research process, and then I will begin research to get a better idea of what I want to create. Following that, I start experimenting with materials and silhouettes until I have a finished piece of work that I’m completely happy with. I usually have a handful of ‘signature’ pieces which I build the collection around.

Can you explain the inspiration behind your Resort 2014 collection? And how this came about?The collection is inspired by meditation and anything and everything subtle, beautiful and sophisticated. I wanted to really define the BEVZA aesthetic, so I decided to use a subtle palette and very clean-cut, simple cuts.

What kind of woman do you have in mind when designing your clothes?A woman who is young and sophisticated, and who enjoys simplicity and being able to wear comfortable, versatile clothes… I always hope that she is also a little creative to ensure she can pair our pieces together in a unique way, creating beautiful ensembles. I think of a brave woman with good taste and her own unique style. I think of a personality.

Do you find it easy to mix simplicity with creativity?I think you sometimes need more creativity to create something simple while maintaining a distinct aesthetic and concept. It’s something I really enjoy doing, so it now seems easy as I put a lot of time into researching my ideas before I start designing.

What is next for BEVZA? I’m now working on my Spring/Summer 2014 collection which will be released during Ukraine Fashion Week at the beginning of October. Following that, we will of course start exhibiting and obtaining stockists, which is always a really exciting time!

[ ]BEVZA

Your latest exhibition “Far Away is Close at Hand in Images of Elsewhere” is a great title, could you explain how this came about?It is a great title, but it’s not of my own invention. It was painted on a wall outside Paddington station, and I remember seeing it there years ago; it’s gone now, along with so much other great graffiti. Buffed by the enemies of Romance. Anyway, the sentence really stuck in my mind for years; I did flyposters of it in the 90s, but it’s only recently that I found out more about it. It was first painted on Christmas Eve, 1974, by two blokes called Dave and Geoff. The first part of it is from a poem by Robert Graves, and the second bit is by Ruth Padel, a poet who was at Oxford with the two painters. There’s loads more to this story; I’ve written about it at probably tedious length on my stupid blog. (www.slowlydownward.com/anonews.html)

Was it a difficult process to decide which pieces to include in the exhibition?Not really. I pretty much knew what was going to be in it; it was just actually doing the work that was the problem. I’d started this body of work in about 2009 whilst Radiohead were recording The King of Limbs. During the process of painting I got Nigel Godrich to take loads of photos of the work-in-progress with his new camera, a Canon EOS. The camera was an incredible piece of technology, and I got so into the photos of the unfinished paintings that I ended up using them for the artwork that went with the record. Because the artwork was basically a newspaper, printed using newspaper-printing techniques on crappy newsprint paper the photos looked amazing. Anyway, the upshot of all this was that I didn’t finish the fucking paintings until about two days ago, in 2013. I guess I really needed a deadline, which is what the exhibition provided...

D e l u x x d i g i t a l c a u g h t u p w i t h R a d i o h e a d ’s i n - h o u s e a r t i s t S t a n l e y D o n w o o d a s h e r e t u r n s t o T h e O u t s i d e r s L o n d o n w i t h a h a u n t i n g a n d h u g e l y a p p e a l i n g e x h i b i t i o n o f a r t w o r k s w h i c h w i l l r u n f r o m 2 0 t h S e p t e m b e r – S a t u r d a y 1 9 t h O c t o b e r 2 0 1 3

[ ]S T A N L E YDONWOOD

Did the echoing soundtrack of Radiohead’s King of Limbs album play a large part in the inspiration of this work?Very much so. I’d started out on the artwork by deciding to use oil paint for the first time, and also attempting to emulate the smeared photorealism perfected by Gerhard Richter. This was a colossal mistake, as I had no idea how to do either. After about six months of increasing misery I was sitting in the recording studio while the band listened through to what they had so far, and it was immense. It was like sitting in a clearing in a Northern European forest, the sort of environment that has inspired stories like Hansel & Gretel and Baba Yaga, with huge overarching trees painted in bright colours, a kind of cathedral of sound, deep in the depths of the woods. So that’s what I tried to paint.

Is music important to your creative process and the way in which you work?Yes, definitely. I do listen to music a lot, although admittedly when things are getting intense it tends to be the same thing again and again and again. I’ve been listening to a lot of dirty Berlin techno in recent weeks, and I might have had enough of that for a while. But I do think that art and music go together, kind of like salt and vinegar. Or death and destruction. Or chalk and cheese. I don’t know. I’ve always listened to music whilst I work though, and it definitely has an effect on my work; for instance, when I was working on the ‘middle section’ of the paintings in this show I listened to a lot of classical music, but later on, towards the end, it was more techno, as I’ve said. And the beginning part was accompanied by earlier versions of the tracks that made their way onto The King of Limbs.

What’s on your studio playlist at the moment?Nothing. I’ve finished painting for a while, and the studio is shrouded in silence. All you can here is the swearing and shouting of the builders in the yard next door, the wail of sirens as the emergency services go about their day, and the insistent cackling of seagulls whilst they poke through the sacks of garbage out the back of the fast food joints.

You have had a hit book entitled Holloway, published by Faber and Faber earlier this year, can you tell us about the initial concept behind the book?Well, that project is behind the other half of the work in ‘Far Away...’, which is about two dozen drawings that sprang from Holloway. Holloway started about two years ago when me, Robert Macfarlane and Dan Richards decided to go down to Dorset to revisit a place that Robert had been to with the late Roger Deakin. We cycled down into a landscape that seemed to be imbued with a kind of melancholic mysteriousness, somewhere that possessed a present-day bucolic beauty that almost completely obscured an ugly past; heretics pursued by believers, the murder and torture of humans by humans. And what happens as a result of this kind of collision of beauty and horror is – and I mean this literally - haunting.

As part of your research for the book you slept out under the cabalistic canopies in south Dorset, can you explain the effect this had on the work? And did this influence your choice of ink and pencil technique?I don’t draw from life at all really, unless I’m on holiday and indulging in my weird habit of drawing ruined or decrepit buildings. But generally I don’t do it, as a conscious decision. I do try to immerse myself in the place instead, to try to soak up as much of my environment as I can – and then attempt to access this immersion afterwards. I used to find that I couldn’t both draw and absorb, so now I don’t bother to try to do both. The drawings that were done specifically for Holloway essentially had to be done in pen & ink as the artwork had to be turned into etched zinc plates. The first edition of the book we printed ourselves, with the Oxford printmaker Richard Lawrence, and we printed it in a really very old-fashioned way, melting down lead to make type, using zinc blocks to print the artwork, getting the books sewn and bound by hand. We only made 277 copies of that first edition, never imagining that it would later become a surprise hit for Faber & Faber.

The techniques and finishes on your prints are incredibly detailed, how involved are you in the printing process and are you constantly looking at developing ways in print that can fully reflect your work?I really like printing; I like the craft aspect to it, and I’m really fascinated by the history of it and how incredibly important it’s been in the progress of civilisation. In the last few years I’ve learned a lot, about relief printing with type, linocuts, woodcuts and so on, and about etching, using copper and ferric chloride. I’ve recently started working with the Centre for Fine Print Research in Bristol, using some extremely modern technology to do some laser-etched work, and looking into reviving a Victorian technique called the Woodburytype Process by utilising 3D printing and hopefully less toxic glazes that those used 150 years ago. The laser etched work will be in the exhibition; it’s pretty amazing really, as it looks more like its been done organically than by a digitally-controlled vaporising beam of excited carbon dioxide.

Are there any further publications or projects in the pipeline?Er, yes. I’m working on a new collection of miserable stories, and I’m doing about two dozen book covers; the novels and stories of JG Ballard, in fact, which is a fantastic job, if a little intimidating. I’m hoping to do Ballard justice, so wish me luck...www.slowlydownward.comwww.theoutsiders.netwww.lazinc.com

I D E N T I T Y A N D C Y B E R C U L T U R E I N S O C I E T Y

Nick Gentry is a British artist from London. Much of his artistic output has been generated with the use of contributed artefacts and materials. He states that through this process “contributor, artist and viewer come closer together”. His art is influenced by the development of consumerism, technology, identity and cyberculture in society, with a distinctive focus on obsolete media.

“His paintings are at once archaeological and haunting... a social art project that turns form and function inside out” Sydney Edelist, Huffington Post Arts.

He is best known for his floppy disk paintings and film negative artworks, placing an emphasis on recycling obsolete media and the reuse of personal objects as a central theme. Such artistic works of social commentary have been featured in galleries in the UK, USA and in cities throughout the world. His work has been exhibited alongside established street artists and as such has been linked to the urban art scene in London.scene in London.

Nick has recently exhibited work in “The Many Faces of David Bowie” a group show at the Opera Gallery London.

www.nickgentry.comhttp://instagram.com/nickgentryart

NICK GENTRY[ ]

GOLDFRAPP[ ]Goldfrapp release their stunningly beautiful new album ‘Tales Of Us’ through Mute on 9 September 2013. Their sixth album, ‘Tales Of Us’ is written and produced by band members Alison Goldfrapp and Will Gregory and was recorded at their studio in the English countryside. A sumptuous body of work, ‘Tales Of Us’ has been two years in the crafting and is Goldfrapp’s most narrative, cinematic and intimate recording so far. Nothing in their accomplished back catalogue has hinted at the new lyrical breadth that the band have introduced to ‘Tales Of Us’. All the songs bar one are named in the first person with a cast list of evocative character sketches, the contrary love affairs, the suspense, hallucinations, fairy tales and modern folklores documented and the traces of redemption they find in song take the poetry of Goldfrapp’s delicately considered music somewhere brand new. With its uniquely cinematic narrative, filmmaker Lisa Gunning is creating a compelling and beautiful film to accompany the album, which will be shown in cinemas later this year. The film for ‘Drew’ is the first taster of what’s to follow. Goldfrapp had a busy summer with very special live performances including two shows at the Manchester International Festival in July when performed ‘Tales Of Us’ live for the very first time, accompanied by the Royal Northern College of Music string orchestra. This was followed by the band performing at Somerset House before going on to headline the main stage at Lovebox main stage. The summer shows were a precursor to a European headline tour which runs through October and November. ‘Tales Of Us’ will be available from 9 September on CD, vinyl, digital and a special limited edition boxset that will contain an exclusive disc of bonus material and a photographic hardback book compiled by Goldfrapp.

www.goldfrapp.comwww.mute.com

T A L E S O F U S

[ ]TORRESWhen does a musician finally hit upon his or her particular “sound”? For some, it bursts forth from their body fully formed; for others, it takes months or sometimes years of trial-and-error. For Mackenzie Scott, the singer- songwriter from Nashville who performs under the name Torres, the foundation and framework of her distinctive sound were already in place but it just needed that one crucial final piece. “My family pitched in to get me a Gibson 335 last year for Christmas,” she says. “I didn’t quite find the sound I was looking for until I started playing electric.” Listen to her self-titled debut album and you’ll hear just how crucial that instrument is to her songs now. The delicacy and intimacy that was born from acoustic roots are still there, but now that she’s fully plugged in, her music has intensified, with deeper shades of darkness creeping into the mix.

The album also carries with it a rawness and humanism that only serves to increase the feelings of isolation, longing, fear, guilt, revelation, and resolution that Scott expresses beautifully throughout. Torres was recorded over the course of five days in a Tennessee home owned by fellow singer-songwriter Tony Joe White (he of “Polk Salad Annie” fame), and recorded live to tape with as few overdubs as could be managed. The effect provides the album with a rough-hewn beauty. The cracks that sharpen the edges of songs like the pointed “Jealousy & I” or the drum machine-driven “Chains” gives listeners an even starker look into the heart of these deeply felt songs. And if you lean in close, you might be able to hear the creak of the wooden floors in the house and the hum of the tape machine capturing it all. With Torres, Scott spills every inch of her soul on these tracks, reflecting the joys and sorrows, and the unpredictability and uncertainty of life and love.

If you would like to see Torres live through September, October and November check out:www.torrestorrestorres.com/TOUR www.torrestorrestorres.com

photography: MASAMI NARUOstyling: NORIKO SUGIMOTO

a t d u s k o f J u l y

this pageShirt: STYLISTS OWNPants: KANASHIKAopposite pageShirt dress: MARGARET HOWELL

this pageDress & socks: CARVENopposite pageDress: CARVENBelt: KANASHIKA

this pageSkirt: PETER JENSENopposite pageCoat: KANASHIKADress: CHRISTEL BIBI BLANGSTED

photography: MASAMI NARUOstylist: NORIKO SUGIMOTOhair: FUMIHITO MAEHARAmake up: YUKO MURAKAMImodel: MOLLIE CRUICKSHANK @ SELECT MODELS

this pageJacket & skirt: RYO HIMUROopposite pageShirt: THE VINTAGE SHOWROOM

photography: YUJI INAGAKI styling: TATSUYA SHIMADA

d a n c i n g f l o w e r

Coat & pants: 99%ISShirts: FACETASM

Hat: AMERICAN APPAREL

this pageright,Dress: FACETASMSocks: AMERICAN APPAREL Boots: UNDER GROUNDleft, Top: FACETASMSkirt: AKIRANAKASocks: AMERICAN APPARELBoots: GEORGE COXopposite pageCoat: UNDER COVERHat: AMERICAN APPAREL

this pageright,Dress & glass: G.V.G.V.left,Top & glass BY G.V.G.V.opposite pageCoat & shirts: AKIRANAKAHat: AMERICAN APPARELSocks: HAPPY SOCKSBoots: GEORGE COX

this pageright,Dress, stole & gloves: MAMESocks: HAPPY SOCKSBoots: GEORGE COXleft,Dress, stole & groves: MAMESocks: HAPPY SOCKS Boots: UNDER GROUNDopposite pageCoat: MIKIO SAKABEHat: AMERICAN APPAREL Sun glass: ATTRACTIONSSocks: HAPPY SOCKS Boots: UNDER GROUND

photography: YUJI INAGAKIstylist: TATSUYA SHIMADAhair: YUSUKE UKAImake up: KANAKO YOSHIDA using MAC stylist assistant: AYA MATSUDA

this pageboth models,Shirts & pants: DARIOopposite pageright,Top: CHRISTIAN DADASkirt: G.V.G.V.Hat: AMERICAN APPARELNecklace: STYLIST OWNleft,Top: CHRISTIAN DADASkirt: AKIRANAKA Hat: AMERICAN APPARELNecklace: STYLIST OWN

photography: KOUTAROU WASHIZAKIstyling: MAYUMI MATABA

d o w n i n t h e p a r k

photography: KOUTAROU WASHIZAKIstylist: MAYUMI MATABA

hair: FUMI MAEHARAmake up: MISATO WASHIZAKI

all of the clothes are: HIROKO NAKAJIMAShoes: STYLIST OWN

photography: MASA HAMANOIstyling: TOMOHIRO HANADA

b e g i n n i n gright, Hat: STYLIST OWNJacket: FILIPPA KShirt: WON HUNDREDPocket square: ROKITleft, Shirt: FILIPPA K

this pageright,

Jacket: FILIPPA KShirt: MATTHEW MILLERT-shirt: WON HUNDRED

Tie: BEYOND RETROTrousers: HARDY AMIES

Sunglasses: DRIES VAN NOTTENopposite page

left,Jacket: HARDY AMIES

Shirt: MATTHEW MILLERTie: BEYOND RETROPocket square: ROKIT

this pageright, Hat: STYLIST OWNShirt: WON HUNDREDTrousers: FOXHALLSocks: STYLIST OWNShoes: ROKITleft, Jacket: FILIPPA KShirt: WON HUNDREDSocks: STYLIST OWNShoes: HARDY AMIESPocket square: ROKITopposite pageShirt: P.J PAUL & JOETrousers: YOHJI YAMAMOTOHat: CA4LAShoes: N CHEN4Necklace: STYLIST OWN

this pageJacket: FILIPPA K

Shirt: WON HUNDREDTrousers: PAUL & JOE HOMME

Sunglasses: LINDA FARROWopposite page

right,shirt: WON HUNDRED

Suspender: BEYOND RETROTrousers & shoes: HARDY AMIES

Socks: STYLISTS OWNleft,

Shirt: ROKITSuspender: BEYOND RETRO

Trousers: HARDY AMIESSocks: STYLISTS OWN

Shoes: BEYOND RETRO

photography: MASA HAMANOIwww.masatoshi-hamanoi.netstylist: TOMOHIRO HANADA www.tomohiro-hanada-t1e3.squarespace.comgrooming: MAI KODAMAwww.maikmakeup.commodel: DONALD CARMICHAEL HASSAN TAIZ @ D1 MODELS

right,Suit & shoes: HARDY AMIESShirt: MATTHEW MILLERTie: BEYOND RETROPocket square: ROKITleft,Suit & waist coat & tie: HARDY AMIESShirt: STYLISTS OWNShoes: BEYOND RETRO

photography: YOSHITAKA KONOstylist: FIONA FAGAN

c i t y b r e a k

Dress: EUDON CHOIShirt: TOPSHOP

Shoes: ACNE

this pageDress: EUDON CHOIShirt: TOPSHOP Shoes: ACNEopposite pageSkirt: EUDON CHOIShoes: WHISTLES

this pageShirt: ONE TEA SPOONTrousers: EUDON CHOIopposite pageDress: EUDON CHOI Shoes: WHISTLES

this pageTrousers: EUDON CHOITop and bra: AMERICAN APPAREL Shoes: TOPSHOPopposite pageDress: WHISTLESSocks and shoes: TOPSHOP

photography: YOSHITAKA KONO @ HUNCHstyling: FIONA FAGAN @ HUNCHhair & make up: FACE ADDICT HAIR JUNKIEmodel: VIKA @ M&P

Black shirt with lace details: CRISTINA MIRALDIGray & black long dress: MISURACA

photography: FEDERICA SIMONI stylist: IRENE DE SANTIS

e n j o y t h e s i l e n c e

this pageHat: MARZIGreen jacket with belt: TONELLOopposite page: White top & long skirt: RAOUL

this pageHat: MARZITransparent shirt: ALESSIA XOCCATOLeather pleated skirt: TIBILeather shoes: ROBERT CERGERIEopposite page:Jacket: ALBINOAsymmetric dress: ILARIA NISTRIShoes: ROBERT CLERGERIE

this page Hat: BORSALINOJacket: ROBERTO FRAGATADress: ANN DEMEULEMEESTERTrousers: GIVENCHYopposite pageBlack top: ALEXANDER WANGWhite skirt double layer: ANGELOS FRENTZOSBlack rubber bracelet: ALIENINABlack wedge worked: KALLISTÉ

Jacket & pleated leather skirt: TIBIWhite shirt: ALBINO

photography: FEDERICA SIMONIstyling: IRENE DE SANTISmake up: NICOLETTA CAUSAhair: ANA RODRIGUEZ LAGUNA model: JESSICA DURANTE @ ELITE

photography: JUN YASUIstyling: KEISUKE WATANABE

p e a c e a n d n o i s e

T-shirt: FRANK SHOW Skirt: TORY BURCHHat: +8 PARIS ROCKScarf: MILA SCHÖN

this pageTops: RITSUKO SHIRAHAMA

Pants: MILA SCHÖNBracelet: HOSS

Ring: SHUN OKUBOopposite page

Jacket: +8 PARIS ROCKPants & Shoes: RITSUKO SHIRAHAMA

Brooch: SHUN OKUBO

this pageDress: MILA SCHÖN

Hat: RITSUKO SHIRAHAMAShoes: DKNY

opposite pageTops & Pants: TORY BURCH

Shoes: DKNY

this pageDress: RYUZO NAKATAopposite page: Tops: MILA SCHÖN

photography: JUN YASUIwww.junyasui.comstyling: KEISUKE WATANABEmake up: MAKI KOJIMA @ JUICE & JUICYwww.makikojima.comhair: SACHI YAMASHITAwww.hairsachiyamashita.commodel: CHLOE @ SATORU JAPANwww.satorujapan.co.jp

photography: YUJI WATANABEstyling: JNSN

M O N O C H R O M A T I C

Dress: ALEXANDER WANG at Montaigne MarketEmbroidered Short: ON AURA TOUT VU

this pageTrousers: DIESELTop: NEVRA KARACA N°7Shoes: MAISON MARTIN MARGIELAopposite pageFur & leather jacket: JITROISCorset: CHROMATBoots: FEMININE ET MASCULINEPanties: SANS COMPLEXE

this pageLeather jacket: SAINT LAURENT Paris at Montaigne MarketEmbroidered Trousers: ETIENNE JEANSONFringe Necklace: TANIA ZEKKOUT at Mise En CageBelt: ON AURA TOUT VUShoes: WALTER STEIGERopposite pageJacket: ISABEL BENANATOHarness: ZANA BAYNETrousers: COSTUME NATIONALShoes: COSTUME NATIONAL

this pageLeather dress: JEAN PAUL GAULTIERBoots: JEAN PAUL GAULTIERNecklace: ON AURA TOUT VUopposite pageDress: AUGUSTIN TEBOUL

photography: YUJI WATANABEstyling: JNSNhair & make up: AMELIE SALOMONpost production: ARGIRIS MAIPASmodel: MARION VILLALARD @ UP MODELSstyling assistant: AGATHE COLARD

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