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Spicy Apocalipse by Jackson Araujo / Future Reflections: brazilian fashion by Luigi Torre and the future of haute-couture by Rafael Nascimento Carvalho (...) | A conversation with Facundo Guerra by Zeca Gera-ce from Estudio Xingu, a conversation with Romain Bernadie James by Rafael Nascimento Carvalho, a conversarion with Prada girl Nadine Ponce by Mar-

cela Jacobina | Art file #2 The light painting of Mariana Colombo |

Style file #1 / Angelica Erthal photographed by Eudes Santana / Ashton photo

graphed by Ben & Zie / Berthold Ro-thas photographed by Christopher Hall

/ New Generation Maurício Somenzari and Adriana Tristão by Gê Prado / Pedro Nobrega & Cris Herr-mann by Pablo Saborido / Paloma

Dreher in Janaina Osada collection by Hugo Toni / Berthold Rothas by

Christopher Hall / Nihilist Youth byAlexandra Waespi / VISUAL EXTASIS:

Wu Lyf

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MASTHEAD |

Creative director/Founder: ROMEU SILVEIRAEditor-in-chief: ANDRÉ RODRIGUES

Fashion director: LUIGI TORREArt director: ROMEU SILVEIRA

Editorial assistant: RAFAEL CARVALHO

Typeface: Futura

Editorial contributors: Jackson Araujo

Zeca Gerace @ Estudio Xingu

Photography contributors:Pablo Saborido

Fernando MazzaHugo Toni

Yuri SardenbergChristopher Hall

Ge PradoMariana Colombo

Romulo SoaresPH Almeida

Eudes SantanaBen & Zie

Alexandra WaespiDavid K. Shields

Fashion contributos:Igi Ayedun

Ben BrouilletMarcela JacobinaCandince Nelson

Rogerio S.Omar Campbell

Akemah C.Imogen Wilson

Evelin Hernandez

Special thanks to:

Way ModelAlpha GroupFord Models

U+MAG is an independent brazilian digital magazine that has been active since 2004. A place dedicated to creative people, rising talents, thinkers and a modern view on what’s past, what’s happening and what’s next.

REWIND/FORWARD. A CONTEMPORARY REMIX.

Truss photographed by PH AlmeidaTom Boy photographed by

Fernando MazzaTHE LONDON RISEby Rafael Carvalho

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2012

Spicy Apocalipse by Jackson Araujo / Future Reflections: brazilian fashion by Luigi Torre and the future of haute-couture by Rafael Nascimento Carvalho (...) | A conversation with Facundo Guerra by Zeca Gera-ce from Estudio Xingu, a conversation with Romain Bernadie James by Rafael Nascimento Carvalho, a conversarion with Prada girl Nadine Ponce by Mar-

cela Jacobina | Art file #2 The light painting of Mariana Colombo |

Style file #1 / Angelica Erthal photographed by Eudes Santana / Ashton photo

graphed by Ben & Zie / Berthold Ro-thas photographed by Christopher Hall

/ New Generation Maurício Somenzari and Adriana Tristão by Gê Prado / Pedro Nobrega & Cris Herr-mann by Pablo Saborido / Paloma

Dreher in Janaina Osada collection by Hugo Toni / Berthold Rothas by

Christopher Hall / Nihilist Youth byAlexandra Waespi / VISUAL EXTASIS:

Wu Lyf

Sum

mar

y ___

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Truss photographed by PH AlmeidaTom Boy photographed by

Fernando MazzaTHE LONDON RISEby Rafael Carvalho

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Everything that happens, will happ

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O APOCALIPSE É APIMENTADO

Para os que teimam em insistir que tudo vai acabar em 2012, vale lembrar que a velha

ideia de mundo concebida com a Revolução Industrial foi literalmente por terra desde a queda das Torres Gêmeas, em setembro de

2001.

A esperada minimalista odisseia no espaço não veio do caso amoroso de uma nave

inteligente e seu computador autoritário e egocêntrico, mas foi concebida com todos os pecados numa retrógrada cerimônia tribal-religiosa, disparando homens como mísseis em aviões tradicionais, derrubando bastiões capitalistas feitos castelos de areia e fumaça.

Naquela imagem sensacional e chocante se desenhava aquilo que em outras matas já era de conhecimento público do homem comum, cidadão da floresta: o poder, assim como o dinheiro, mudou de mão e a comunicação boca-a-boca, livremente, ganhava status de

revolução.

Dava-se o parto do novo Ser Tropical, o Macunaíma das mídias alternativas, o Canalha

Global, antropofágico em suas vontades de compartilhar livremente a criatividade como verdadeira arma de transformação possível para um mundo sequelado por sua própria

Natureza.

Com sua metralhadora de LED, a nova forma de vida Tropicanalha surge atenta a dois

poderosos drivers, lampejos de criatividade na compreensão de uma transformação cultural

miscigenada, irreversível e democrática.

O primeiro: “O mundo será uma grande cidade”.

Segundo dados da ONU, estima-se que até o ano de 2050, quase 80% da população da Terra residirá em centros urbanos. Aplicando as estimativas mais conservadoras às atuais

tendências demográficas, a população humana vai aumentar em cerca de 3 bilhões de pessoas, o que, em última análise nos faz crer que o mundo será mesmo uma grande

cidade, incorporando o campo e as periferias, assim como seu modo de vida, linguagens estéticas e expressões comportamentais.

O segundo: “O mundo está ficando cada vez mais quente”.

A organização “The Climate Reality Project” (que sucedeu a “Alliance for Climate

Protection”), lançou em setembro de 2011, a megacampanha mundial “24 Hours of

Reality”, para transmitir a realidade da crise

climática e mobilizar cidadãos para ajudar a solucioná-la.

– Sem utopias a longo prazo, por favor.

É fato. A crise climática não conhece limites políticos. Tempestades violentas e ondas de calor mortais ocorrem com uma frequência assustadora em todo o mundo, o que leva a crer que o planeta está mesmo ficando mais quente, sugerindo paisagens cada vez mais

tropicais para ecossistemas diversos.

Nesse apimentado balaio, nada mais apropriado do que saborear a chegada

definitiva da cultura artística das periferias aos grandes centros urbanos. Se até os

museus se abrem para colecionar artes de muro e questionam o seu papel enquanto

acumuladores de objetos num mundo dominado por arquivos – jpeg, png, pdf, tiff,

mpeg... –, por que não?!

A música, a mais plena das artes por seu caráter impalpável, serve como divisor de águas nessa nova cartografia cataclísmica que se estabelece, reproduzindo de forma

espontânea novos sons, ritmos, cruzamentos de culturas, resultado do acúmulo cotidiano de

informação e mobilidade.

É assim com o Technobrega do Pará, que derruba outros muros estéticos e econômicos e prega a cultura livre da troca e da pirataria como linha mestra de pensamento e produção.

Para Hermano Vianna, o Technobrega é “Kraftwerk de palafita”, relacionando a

tecnologia industrial alemã com a arquitetura amazônica de sobrevivência; um quebra-

cabeças ao gosto do puxadinho, de tempero bem brasileiro.

Nesse igarapé de emoções, Gaby Amarantos é catapultada à categoria de diva,

personificando o sonho de tantos youtubers ao se transformar numa estrela pop da periferia,

no som da batida crescente da Classe C, pronta pra samplear.

O novo apocalipse está de vento em popa, à bordo dos voos, circulando livremente na Internet. Quente, como quer as novas temperaturas. Urbano, como sinaliza a

invasão da periferias.

– Bota pimenta murupi. Um bocadinho mais.

por Jackson Araujo

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cause and cons

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caus

e and

consequence

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cause and cons

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Basquiat

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Romain Bernardie-James is a 32 years old Paris based photogra-pher and the man behind The Imagers, a company he started with a friend aiming to reveal new talents for the industry. Must make clear that photography is just part of the job for him. Romain star-ted shooting in 2007 and his analog images soon spread among

fashion insiders, pleasing publications such as Dazed & Confused and i-D and clients like Puma and Diesel. Point and shoot philosophy provided him great life shots of friends and strangers, as well as travel pictures from around the globe. For the past days Paris Fashion Week had been keeping Romain very busy, but he

managed to find time for a quick conversation with us and also shared some photographs of his work. Enjoy.

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by Luigi Torre

A few weeks before the beginning of Bra-zilian AW12 show season, designer Ronaldo Fraga cau-sed quite a steer with the announcement the he would not be showing at this la-test edition of São Paulo Fashion Week (SPFW). “Fashion is dead – at least as we know it”, was his ex-planation. Now, 53 shows later, his state-ment proves more re-levant then ever.

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After a Fashion Rio filled with recycled trends, SPFW still left is mark as the creative force

in the Brazilian show season. But this times, without any powerful image or intense emo-tion. Without taking risk or experimenting in

any given way, designers showed themselves extremely product driven, leaving the creative

part behind.

Just as any player in the global fashion in-dustry, local designers are feeling the ever-in-creasing commercial pressure of this business.

This might help understand why, although good and beautiful collections were present-

ed, the feeling after the season was somewhat vague or empty of meaning.

One could very well appreciate the studies of pattern cutting and proportion Alexander

Herchcovitch showed for his AW12 collection. The mix of light and heavy materials, the struc-

tured volumes against the soft and delicate lace, the industrial versus the artisanal, the ba-

roque juxtaposed to the modern all captured the on going mood of fashion towards excess and practical simplicity. But the overall effect was kind of shallow, without the wit sense of humor or the deep interpretations his works

always provides.

But who could blame him? Fashion is getting so reality, or better, commercial obsessed

lately that any hint of spectacle or dreamy image might sound as risky business. Has

anyone notices the absence of fashion show-manship after the demise of Galliano and the

death of McQueen?

At the same time, fashion needs to seek evolu-tion and newness, and good collections keep

coming up.

Women, and of all ages, will sure find safety and style assurance with the sports inspired collection Sarah Kawasaki showed at Huis Clos (one of her best since taking the helm as creative director). The good mix of light

double-wool knit with traditional lace in gilded hues was enhanced by the precision of cut and contemporary proportion on classical

items. The trench-coat turned into a sexy dress, or the high waist trousers and the never too

short or too long velvet dress all gave a sense of sexiness without compromising the female

comfort.

Young people with a mindset raised with sus-tainable ideas in a digital world will definitely

find resonance of their principles on the e-brigades army Osklen sent down the runway. With spike decorated platform sneakers, mili-tary prints and bright colored fluffy sweaters, the brand evoked a 90’s rave attitude with a

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multi-layred multi-texture look that, with rich and 100% green

material updated the sleek urban silhouette the brand may

call its own.

Reinaldo Lourenço with a neo-gothic collection approached

a new expression of luxury. A true sense of design, high-

quality materials and exclusive hand finishing touches were re-

sponsible for enriching the sexy image of the wool and leather

dresses decorated vinyl and velvet panels and finished with fur stoles. With simple shapes,

tailoring reference and an obscure and mysterious atmo-sphere the collection had the

right amount of refinement, but with just a hint of the tension

and urgency of the street.

At Ellus the intelligent and non-obvious use of lace and leather

(two big trends this seaoson) proved also incredible appeal-

ing, just as the multi-cultured urban collection Cavalera

presented in prefect harmony with the rich cultural scene of São Paulo or the college like

look at Triton.

But fashion shows are in es-sence spectacles, and as so, it

must be somewhat theatrical or at least a bit alluring and

imaginative. There’s not to say highly conceptual and out of this world clothes are a must,

but an intriguing fresh ap-proach upon any given subject

or context, to say the least, should be mandatory.

Extremely commercial and product driven collections work

well in a showroom or small presentation. In a runway

show they almost always fail to communicate any relevant and meaningful message and thus the lack of impact images and

emotions. They simply don’t tell any story.

That’s why Maria Bonita’s col-lection stood out this season.

With her usual fabric research and minimalist approach,

designer Danielle Jensen took us to a trip around north region

of Brazil. Taking inspiration from simple life of the local workers she

draw practical non-complicated shapes and loose silhouettes.

From the rich fauna and floral, then, came the hairy texture of

the elongated coats, the fish like fringes, the latex sequins and the

fish-shaped lace. But what is most compelling about this collection is that it is at the same time regional

and international, and with a global appealing image perfectly in tune with the ongoing mood of

a simple practical style.

At Amapô the urgency of today youth culture was once again the

driving force of the collection. Mixing street references such as the skinhead aesthetic, the 90’s comic book character Tank Girl

and drawings (turned into prints) by artist Eli Sudbrack, they gave

a much needed shot of energy, remembering us about the im-portance of true connections

with your inspirations and, as the soundtrack suggested, that we’re

never gonna survive, unless we get a little crazy.

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Of all fashion cities, London is known not only for its prestigious colleges but also for the

strong support on up-and-coming designers, made possible by initiatives like the British

Fashion Council’s talent identification scheme

The program was officially created in 1993, putting together all the isolated efforts of the Council towar-ds new talents. Most of these actions came through the fashion journalist Sarah Mower, who is now the master head behind the program. Since its creation NewGen has been key in the raise of designers such as Alexander McQueen, Matthew Williamson, Giles

Deacon and Jonathan Saunders.

Each season, a selected number of London young talents are picked out to receive the sponsorship, which consists not only in financial assistance gi-

ven by partner Topshop but also a provided visibi-lity for a whole support network brought together by Sarah herself, including a showroom in Paris. These emerging designers also have the oppor-tunity of presenting their collections on-schedule during London Fashion Week, with an increasing

number of editors interested in attending NewGen shows.

We profiled the six NewGen designers who will present their collections this February on London Fashion Week catwalks. Three of them – David Koma, Holly Fulton and Michael van der Ham – have already been awarded the catwalk sponsorship before, while J.JS Lee, J.W. Anderson (Women) and Simone Ro-cha will debut at LFW official runaways.

NewGen.

by Rafael Carvalho

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Michael Van Der Ham“I like to mix elaborate fabrics with other types of materials such as synthetics or plain textures to off-

set them with each other creating an odd mix”

From: HollandAge: 26

Keywords: mismatching fabrics, collage approach, patchwork, multi-textured looks, clashing colors, asymmetrical dresses

Trajectory: Michael went to a small independent fashion school in his home country, where he studied illustration and drawing for

three years. When he turned 21 he went to London to work for Alexander McQueen and the Sophia Kokosalaki. After that he got

accepted at Central Saint Martin’s Master of Arts (MA) degree. He graduated in 2009 and started showing at London Fashion

Week straight away, receiving later the NewGen sponsorship to show on-schedule. At present Michael’s pieces are stocked over

25 stores worldwide and he also designs for special projects such as tour costumes for Bjork and Tori Armos and capsule collections

for Topshop. For 2012 he’ll present his collections February and September and there’s a non-confirmed pre-collection for June.

Simone Rocha“It’s about taking something classic and historical and con-trasting it with something gritty, creating a fresh look”Age: 25From: IrelandKeywords: sheer panels, deconstructed tailoring, signature sheer sleeves, feminine shirting, Perspex features on acces-sories, cut away detailingTrajectory: Daughter of the Ireland based prestigious de-signer John Rocha, a veteran of LFW, she graduated with a Bachelor of Arts (BA) degree in Fashion from the National College of Art and Design in Dublin. Later she went to London for studying in the acclaimed Central Saint Martin’s College, graduating in 2010 with a MA degree. Simone has debuted at London Fashion Week four seasons ago, although this AW12 will be her first on-schedule show, spon-sored by NewGen after the heavy success and press cover-age of her previous collections. Simone has also designed a capsule collection for Topshop.

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J. W. Anderson“My menswear always takes inspiration from women’s clothing and vice versa. Think tomboy/tomgirl rather than unisex”

From: IrelandAge: 27

Keywords: boy-girl/girl-boy, streamlined cuts, paisley, modern sportive, fringed military boots, pyjama suits, kilts

Trajectory: at a young age Anderson moved from Ireland to US for pursuing an acting career at the Studio Theater in Washington D.C. As it didn’t worked out, Anderson returned to Ireland and worked a while for fashion store Brown Thomas before enrolling at the London College of Fashion, where he met Manuela Pavesi, who offered him a job as visual merchandiser at Prada. After gradu-ating at LCF with a Menswear degree he showed his first collection out-schedule during London Fash-ion Week, eight seasons ago. From the success of his menswear line, which now shows LFW on-schedule, he decided to try womenswear too, hav-ing presented some collections before, although it will be the runway debut for his women line.

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Holly Fulton“I always aim to capture the attention to detail of

couture within a simple, modern silhouette and add my signature embellishments with a variety of unex-

pected materials.”

From: ScotlandAge: 34

Keywords: jewelry, maximalism, layered patterns, art-deco, trompe l’oeil, graphic digital prints, swim-mingwear, Versace and Pucci influences, luxurious lookTrajectory: Holly graduated with a BA in fashion from Edinburgh College of Art in 1999. In 2005, af-ter some jobs, she moved definitely to London for a MA at the Royal College of Art. Just after the grad-uation she worked a while for Lanvin and launched her own brand of fashion and accessories in 2009, debuting at London Fashion Week. She won the British Fashion Award for jewelry, the Elle Style Award 2010 for new designer and the Young De-sign of the Year at Scottish Fashion Awards. Holly has recently designed a collection for asos.com.

David Koma“I have been obsessed with fashion for a long time. I started drawing when I was eight and by thirteen I had already done my first collection”

From: GeorgiaAge: 26

Keywords: heavy embellishment, curve lines, geometries, sculptural shapes, colorful spots, strict silhouette, asymmetry

Trajectory: even when a child David knew he wanted to be a designer. When he finished school he was not old enough to get into Central Saint Martin’s, although he wanted to study there. So he attended Saint-Petersburg Fine Art school until he turned 18 and moved to London. In 2007 he completed his BA (Best Womenswear Collection award of the school) and in 2009 he completed his MA (Harrods De-sign Award for the graduate collection), both at CSM. He presents ever since his

collections at London Fashion Week, achieving later the New-Gen sponsorship and garnering lots of celebrity fans. Last year he designed a premium capsule col-lection for Topshop.

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J JS Lee“London opened up so many opportunities for me. It’s great that

they look after foreign independent designers”

From: South KoreaAge: 32

Keywords: androgyny, minimalism, asymmetry, clean lines, boyish shapes, diagonal lines, tailoring techniques, 20’s

Trajectory: Jackie was born and raised in Seoul, where she worked for five years as a senior Pattern Cutter. Then she moved to London in order to work at KISA, where she stayed for two years before enrolling Central Saint Martin’s Post Graduate Pat-tern Course and later an MA degree at the same college. She graduated and launched her own label in 2010, awarding Har-rods Design Prize. Last season she presented her collection indoor during London Fashion Week through NewGen presentation spon-sorship, and the compliments on her designs have now promoted her to a catwalk sponsorship, which means AW12 will be her first runaway show.

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Terence Koh

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A change in the weather is sufficient to recreate the world and ourselves.

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A change in the weather is sufficient to recreate the world and ourselves.

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All clothes by Alê BrittoBracelet by Ivan Ribeiro

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Clothes by Danilo Costa

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Dress by Walerio AraujoTrousers and shirt by Der Metropol

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All clothes by Der Metropol

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All clothes by Der Metropol

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All clothes by Jacinto

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All clothes by Weider Silveiro

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Recycle Cycle Recy

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Maurício Somenzari and Adriana Tristão

are two Brazilian de-signers on the making. Studying fashion design at FAAP fashion cour-se, both have already gained some notoriety through several fashion contests (which they have always been pla-ced between the 3 con-testants). He is focused on a heavy charcter--esque menswear, filled with historical references but attached to current demands, while she is a true enthusiast of the minimal aesthetic, with a queen inclination to new-classics. Here we present you their latest creations.

Photography by Gê Prado / Fashion edition by Luigi Torre

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Adr

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driana Tristão

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Maurício Som

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Maurício Somenzari

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by Rafael Nascimento de Carvalho

Truth is industry has not become aware of a crisis just now. Back in the 80’s, Gianni Versace was invited to take part on the haute couture schedule in order to bring oxygen to this already agonizing sector. Ver-sace debut show took place on the Ritz Hotel and its spectacle features (as well as the VIP guests) brought huge media attention to the haute couture week – by that time, it was refreshing. In the 90’s, McQueen at Givenchy and Galliano at Dior made sure to follow up with the spectacle.Two decades after, economy landscape had changed and most of the names in couture had become part of luxury conglomerates eager to make p profit, not just creative experiences. The calendar that once held dozens of designers had been reduced to a three day or so left, with recent departures of Lacroix, Saint -Laurent, Versace and Ungaro.

Curiously, there’s not much to complain about if we look at the potential numbers, as wealthy individuals in Middle East get ever wealthier and new couture markets arise in India, China and Russia. Supply and Demand graphic says couture should stay. But not necessarily stay the same. If the world is supposed to end in 2012, for haute couture it might be quite the opposite. After a while of anachronistic feeling, Paris couture week, which happened this January, sounds relevant again; at least more than it has done for the past years. Desig-ners proved the ability of catching the attention of a new generation of couture clientele by offering more contemporary pieces, including a lot of daywear, and talking about couture demise sounds more like specula-tion than expectation now. When Chambre Syndicale presented, last year, a Haute Couture like fashion week in Singapore (mainly with past collection pieces), this wise move gained a lot of front rows for this season. And after an extreme-ly profitable collection for H&M, guess what, Versace gets back for couture. We have to admit, though: blame most of that (neces-sary) freshness on the increasing number of new desig-ners showing its collections on the week. In an impres-sively short span of time these newcomers have went from anonymous intern positions to Paris catwalks. Here we profiled three couture young designers that promise to hold our attention in the coming years.

These have been confused years for haute couture and the demi-se of this very specific branch of fashion has been tossed around for some time. November last year, Daphne Guin-ness told The Telegraph haute-couture is a dying art form as we were lo-sing all the manpower able to do it. Ms. Guin-ness may not be the most rightly guru for the industry, but the (sorro-wful) coincidence is that, couple weeks later, Mr. François Lesage – the key artist behind most of couturiers embroideries – died at the age of 82. Another man down for the business of fashion.

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Maxime Simoens_The 27 years old French born designer has joined the Haute Couture calendar three seasons ago with a début collection inspired by Marie Antoinette – ‘This, Madame, is Versailles’. His childhood dream, actually, was to be film--maker, and it took a Madonna performance costume by Jean-Paul Gaultier to make him change his mind. He was introduced to the Chambre Syndicale by Jean Charles de Castelbajac and became the first designer to take part on CTR fashion week without having shown on runway before. Until then he had developed very good selling ‘couture like’ ready-to-wear collections (also ready--to-wear priced) for his label Maxime Simoens, founded in 2009 in the middle of recession, although no catwalk was involved. Even though pieces are not made by measure, they are entirely handmade and his atelier offers some custom-ma-de services for the clients – as Maxime puts it, the border between couture and luxury ready-to-wear is becoming thinner and he does a ‘living in the moment’ kind of work, whose quality stands out for why he has acquainted so much at such young age. In his front row we may find not only an increasing number of influential fashion editors and usual buyers, but an in-creasing presence of pop-culture icons, such as singer Beth Ditto and actress Rachel McAdams, who the designer dres-sed for Cannes Festival. That and the fact he also dressed Beyónce for the cover of her latest album awarded him the nickname of “Hollywood couturier” in the industry circles. His relationship with pop culture happens to be a two way street, as it’s also a customary source of inspiration for the designer; his first line was a tribute to Michael Jackson and his Marie Antoinette had clear rocker undertones in a So-fia Coppola style, not to mention the F. W Murnau’s movie Nosferatu as the starting point for his second CTR collec-tion and, now, Gaspard Noé’s Enter the Void for SS12.

Bouchra JahrarShe was born in Cannes, France, but the Moroccan origin makes her another Arab talent embraced by the Parisienne couture, following the steps of Elie Saab, Zuhair Murad, Georges Chakra and Rabih Kayrouz. Her trajectory reminds in a way the fairy tale in which a little girl watches her older sisters sew their own clothes and fall in love for the technique. Bouchra was hired by Balenciaga still under Joseph Thimister, but soon after Nicolas Guèsquiere assumed as creative director and she worked side by side with him. After ten years of Balenciaga she worked eighteen months for Christian Lacroix and witnessed the maison collapses. It was this sad collapse that, on the other hand, pushed Bouchra to create her own brand. It may be hard to believe, but this former Lacroix employee happens to be a very minimalist couturier. Just like Maxime, she stands in the grey area be-tween couture and luxe ready-to-wear. As she does most of the work herself (from sketching

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to sewing), that basically means she can do outfits by order and also design pieces to be stored in retailers – you’ll find a lot of her at London Browns bouti-que. Miles away from the red carpet trends, she epitomizes the very calm spirit of mo-dern women tailoring. We haven’t seen a talented French female designer emerge in a while, and couture missed it. Because Bouchra is a forty-something woman who therefore may know better what forty-so-mething women need for their wardrobes. There’s no ostentation or pointless details; she doesn’t want to overload the lines. The forte in Bouchra’s pieces lies exactly on their simple and precise cuts. Still she manages to play creatively with lapels and V-necks within an asymmetric tailo-ring. “Timeless” has been tossed around to describe some designs that are nothing but seasonal. In her case, though, the term just might apply.

Iris Van Herpen The designer graduated from the prestigious Ar-tEZ Academy for the Arts in her native Holland. Once with her degre-es she carried out an internship with Alexander McQueen, whose style influences pervade her designs, and launched her own first collection in 2007. She presented under her label both in London and Amsterdam Fashion Weeks before Paris and won a slew of Dutch design awards.

As her counterparts, Iris has a personal taste for the aesthetic drama and the ability to create visually stunning designs. Throu-gh the architecture exercises on her outfits and the experimental work with new materials she has attracted the attention not only of the press but also of art curators. Digital Revolution effects can be clearly felt on her technique, which comprises the use of 3D print technology that allows a previous digital designed piece to be carved on any material. For her couture debut, three seasons ago, she partnered with architect Daniel Widrig and rapid prototyping production company MGX by

Materialise. As couture goes high-tech, her precise crafts-manship also denotes a desig-ner who wants to preserve the old techniques.Although she develops a very body-conscious design, weara-bility is not her prime concern. At first sight, she may sound opposed ways to the other newcomer couturiers. Thing is that fashion is not a one way art neither a one way industry. Couture will always have place for someone to push the enve-lope a little further – something that will amaze the editors and prove France still have its savoir-faire. Unlikely other brands, Iris’s spectacle features lie exclusively on her design.

Besides, she seems to know how to balance it in order to survive as a brand. Even with we cannot imagine real clients for some of her runaway pieces other than Lady Gaga or maybe Björk, her footwear collection designed for United Nude turned out to be very good selling. She also designs ready-to-wear pieces in the futuristic line presented on the catwalk; the same high quality work, but lower priced and more wearable. You may even find it online.

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New

Generation ___________________

Light painting by Mariana ColomboLight painting is a photographic technique in which

exposures are made by moving a hand-held light source or by moving the camera. The term light painting also encompasses images lit from outside the frame with

hand-held light sources. Light Painting Photography can be traced back to the year 1914 when Frank Gilbreth, along with his wife Lillian Moller Gilbreth, used small lights and the open shutter of a camera to track the

motion of manufacturing and clerical workers. Man Ray, in his 1935 series “Space Writing,” was the first known

art photographer to use the technique.

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photographedby Yuri

Sardenbergstyling by

Marcela Jacobinafeaturing

Paola Ludtke

___________art direction Yuri Sardenberg and Marcela Jacobina

assist. stylist Julia Pitaluga

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silver lame t-shirt Pedro Flutt silver pants Zara black C

onverse All Star sneakers

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gold sequined t-shirt Talie NKsequined skirt A-TEENwhite converse All Star sneakers

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19 year old native Nadine Ponce is not your typical small town model. Half Brazilian, half German, the new face

superstar spent her childhood crossing the busy streets of São Paulo, climbing tress in Hamburg and the skiing in Zu-rich. After graduating high-school in Switzerland and add-ing two solid Brazilian show seasons to her portfolio, Na-dine was ready for her international début. Taking fashion directors by storm, the brunette beauty landed an exclu-sive deal with Prada and was everywhere from Christo-

pher Kane’s fittings to Dolce & Gabbana’s make up chair and the runways of industry giants such as McQueen,

Miu Miu, Chanel and YSL. We caught up with Ponce as she made a quick working trip to her native São Paulo.

N-a-d-i-n-e

interview by Marcela Jacobinaphotography by Romulo Soaresstyling by Rogerio S.

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Hey Nadine! Thank you for sitting down with us. First of all, U+MAG readers want to know how you be-gan your career.Hey U+MAG! OK, so when I first moved to Switzerland I was very bored. I thought of contacting an agency to see what could happen, but since I was still in school at the time so I didn’t get to do much. The turning point happened a few years later, when I contacted my current agent, who is an old friend of my family, just asking for advice and stuff. He signed me right away with Alpha Group and here I am!

And did you have any interest in fashion before all this happened?I had never thought of being a mod-el before, but I’ve always liked the idea of being in front of the cam-era. I don’t think I was interested in fashion as much as I just really liked to process of dressing up and wear-ing costumes. I remember I loved to go through my grandma’s closet and I would spend hour trying ev-erything on and creating characters and stories in my head. My dream, actually, was to be a doctor. I want-ed to work at the hospital with my granddad, who is a anaesthetist. Then, I decided I wanted to be a vet because I love animals so much. But I don’t think that would’ve worked out. I feel that working with patients demands a more distant and colder personality, otherwise you get too involved in the cases and it can all become really pain-ful. I also considered studying law, because I like helping people. But I also have a good relationship with the arts. I love drawing, painting, I play the piano… I love to explore my imagination. You should’ve seen me in in school during classes, I was always far far away.

Speaking of far far away, tell us about your amazing international season.I had so much fun! I met so many

N-a-d-i-n-e

interview by Marcela Jacobinaphotography by Romulo Soaresstyling by Rogerio S.

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amazing people, from styl-ists to photographers, make up artists and fellow mod-els… I love fashion weeks. I will never forget sitting in front of Russel Marsh’s (casting director for Prada) door in London waiting for the casting to begin while a huge line of girls just got longer and longer behind me. Or being sick back-stage at Acne and running to the bathroom! One of the assistants was kind enough to help me hold-ing my hair (laughs). Also trying not to have a heart attack backstage at Prada with some of the other new girls who had made it to the final casting! I had been up until 4am the night before with the beauty team while they discussed the hair for the show. I also loved walking my second runway show for Prada a few months later in Tokyo. This time, we were all re-laxed and excited. I caught everything on camera!

And what did you do in London, Milan and Paris when you were off-duty? I have a lot of friends in London, and one of them introduced me to THE BOX, one f the most famous clubs in town. It’s a very bizarre place, but in a good way. It became one of my favorite places in London. In Paris, I spent most of the time alone. I went to the Louvre, Galeries Lafayette for a little shopping spree (I had to, it was on SALE!), I went to the movies. I also did a bus tour and a boat tour around the city. And I be-came a fan of this little res-taurant with a cute waiter called Francoise (laughs).

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A conversation with Facundo Guerra, the responsible to

refresh the São Paulo nightlife with

clubs like Vegas, Volt, Z Carniceria, Lions

Nightclub, Cine Joia and Yatch

Interview & artwork by Zeca Gerace from Estudio Xingu

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[12:55:01] Xingu: GOOD MORNING!

[12:55:10] Facundo Guerra: hi!

[12:55:21] Xingu: phew, i arrived in time

[12:55:25] Facundo Guerra: ;)

[12:55:32] Facundo Guerra: wanna do it over the phone?

[12:55:36] Xingu: can you?

[12:55:40] Facundo Guerra: or should we do it over here?

[12:55:42] Facundo Guerra: Yes.

[12:56:23] Xingu: you see, since the idea is to have a chat, if we make it here it is going to be published without cut

[12:56:30] Facundo Guerra: nice.

[12:56:33] Facundo Guerra: so here we go.

[12:56:37] Facundo Guerra: Shoot.

[12:57:15] Do iMOrales: let me tell you a little of how it works.

[12:57:18] Facundo Guerra : do it.

[12:57:40] Do iMOrales: this past year i wrote a text about the nightlife to U+MAG, and there i mentioned you and andre almada

[12:58:26] Do iMOrales: so the boys got interested in you, and cine jóia, and everything.

[12:59:35] Do iMOrales: but since people have been overtalking about cine jóia, i think we can have a wider conversation about feelings and surprises of your new businesses. What do you say?

[13:00:15] Facundo Guerra : that’s classy, let’s do it.

[13:00:47] Do iMOrales: you can also ask me any-thing you want.

[13:00:52] Do iMOrales: we can just do whatever we feel like.

[13:01:38] Facundo Guerra : ok. So here it goes: what do you think is the most importante thing when you are establishing a nightclub? What do you think changed in the nightlife in the last decade?[13:01:54] Facundo Guerra : wanna know what? I think i should be making the questions. I will interview you. Let’s trade roles.

[13:01:55] Do iMOrales: fuck!

[13:02:21] Do iMOrales: there are so many things i wanna ask you

[13:02:27] Facundo Guerra : from ni-ghtclub owner to nightclub owner

[13:02:42] Do iMOrales: alright let’s go then

[13:03:32] Do iMOrales: as to your first question, i would answer the nightlife has become more professional, which is some-thing fundamental in a city that wants to have that aspect as one of its main attrac-tions

[13:03:57] Facundo Guerra : i like trading roles with you, because you have always been some sort of rulebreaker in Sao Pau-lo, right?

[13:04:11] Do iMOrales: might be

[13:04:50] Do iMOrales: i was thinking about it the other day, that my experience with Xingu has been artistic, like an art ins-tallation that took two years to fade away

[13:05:06] Do iMOrales: nightlife goes beyond that, you know

[13:05:14] Facundo Guerra : i think thats a great definition, when we look back at it

[13:05:39] Facundo Guerra : Xingu has been a pioneer in many ways. Like the end of an innocence cycle.

[13:06:09] Do iMOrales: i think i got more professional when the studio came by

[13:06:20] Do iMOrales: but we share something that i just LOVE: your mind takes the nightlife to places abandoned in the city

[13:06:47] Facundo Guerra : wanna know something you have taught me?

[13:07:08] Facundo Guerra : the impor-tance of fetish in building up a space

[13:07:36] Facundo Guerra : think about it – all the places i have built were built around some sort of fetish

[13:07:45] Do iMOrales: yes, yes, yes

[13:07:53] Do iMOrales: can you tell me the story of each one of them?

[13:08:05] Facundo Guerra : Vegas,

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Interview & artwork by Zeca Gerace from Estudio Xingu

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everything is bruta-list. Luxury is easy, cheesy. Including ni-ghtclubs. They think luxury is to have more crystal pieces in the room. [13:12:16] Do iMOrales: YOU KNOW I LOVE LUXURY, RIGHT?

[13:12:25] Facundo Guerra : I also love it. But that’s not luxury. Wanna know what luxury is, to me? Luxury is a space that is intelligent. See thin-gs that have been handmade, and not simply bought in a design store.

[13:13:40] Facundo Guerra :

Money can be held by any drug dealer. Money doesn’t necessarily become luxury. I would say luxury is actually born from the lack of money.

[13:15:41] Do iMOrales: do you see yourself as a foreigner?

[13:15:46] Facundo Guerra : no. I think i am more brazilian than many brazilians. Because i chose to be so.

[13:19:17] Do iMOrales: tell me of your teenagehood, about your music experience, the first nightclub you went to...

[13:19:41] Facundo Guerra : i was never a club kid. First time i actually bought a musical album i was, like, 21. I live in a small apartment with other 7 people, there was no pri-vacy, there was no way i could have developed a music taste.

[13:21:59] Facundo Guerra : I had fun on Friday nights, going out on foot in Augusta street to talk to who-res and transexuals. I always hated playboys. I still have this rejection towards rich people. This is my only prejudice: rich people. I dont know why, i see them, i run.

[13:22:54] Do iMOrales: maybe its not the money, but the surroundin-

Conversations ___________________

city fetish. Volt, neon fetish. Z Carniceria, meat fetish. Lions, gentlemen club fetish. Joia, diamond fetish. Yatch, sailor fetish.[13:08:14] Facundo Guerra : Everything came from a certain fetish. Xingu had this primitive thing going on

[13:08:21] Do iMOrales: amazing

[13:08:43] Do iMOrales: tell me something: do you so-metimes wander around the streets looking for hotspots?

[13:08:58] Facundo Guerra : yes.

[13:09:00] Facundo Guerra : i ride my motorcycle.

[13:09:04] Facundo Guerra : have always done that.

[13:09:11] Facundo Guerra : when i see a rental sign, i stop by.

[13:09:17] Facundo Guerra : hop off my ride and get in

[13:09:19] Do iMOrales: is your mind always focused on the space?

[13:09:46] Facundo Guerra: No. It’s focused on the city. SP is made of layers.

[13:09:55] Do iMOrales: what do you feel when you first step into those places?

[13:10:09] Facundo Guerra : sometimes, awe.

[13:10:15] Facundo Guerra : sometimes, pain.

[13:10:16] Do iMOrales: yes, we run away from the ugly things and find pearls[13:10:35] Facundo Guerra : because some of those places were destroyed, abandoned... they represent another city. When life had more beauty. When people still cared for their sur-roundings.

[13:11:27] Facundo Guerra : today

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[13:23:14] Facundo Guerra : let me rephrase that. Its not about the rich people. Its about the people that like to show off their wealth by me-ans of easy social mechanisms, like the Merce-des car, or the Rolex watch, or the Hermès bag.

[13:24:21] Do iMOrales: I like this in you. I remember when we travelled to Rio and you stayed with some of your relatives in the Roci-nha slums.

[13:24:51] Facundo Guerra : When i go to Rio, i still stay there

[13:25:07] Do iMOrales: i was shitting myself everytime i had to pick you up

[13:25:16] Facundo Guerra : i really like the Rocinha slums, i feel better there than i would in the Fasano hotel. Some people think i pretend to be humble. It’s not that... i just dont like the obvious.

[13:37:07] Facundo Guerra : At my clubs, i dont go into the backstage, for example. I dont like to hang there stating that i am the owner of the club... i stay on the floor, with everybody. I hate the VIP area. I always stick to the dance floor, because the private areas are never entirely true.

[13:49:07] Do iMOrales: there is something else i have seen in your clubs, its the lighting.

You just love lights, dont you?

[13:50:29] Facundo Guerra : to me, its the most important aspect of any project. If i cant see

the light, i dont know where to start. Everything comes from the light. The light at the Yatch club, for instance. I just love it! I am so tired of LEDs.

[14:02:26] Facundo Guerra : Fetish. Everything

i do is based on fetish. Isnt that what people are looking for in a nightclub? Sex. People

want to get laid.

[14:02:50] Do iMOrales: feed the other’s dreams

[14:03:28] Facundo Guerra : thats why this line of fe-tish turns out to be

so effective in a nightclub. You just

have to be care-ful not to trespass

the line, unless you want to end up

with a swing club in your hands.

[15:53:07] Facundo Guerra : Yatch was deve-loped around this gay aesthetics, and I am not

talking about the sexual orientation. Because this doesnt matter anymore. Its not something worth discussing in our times. I think both gay

and straight are obsolete concepts.

[16:28:04] Facundo Guerra : Yacht came to be because initially i have been a marine in

the past.

[16:29:05] Facundo Guerra : simple like that: it’s a fetish, you have your own and you know

what im talking about

[16:29:51] Do iMOrales: thats too much fetish

[16:30:06] Facundo Guerra : what? It’s gotta be that way, otherwise we’d both be dead by

now.

[16:30:22] Do iMOrales: its about being in love with the life you lead

[16:30:28] Facundo Guerra : of course it is

[16:30:39] Facundo Guerra : the day i dont love my life anymore, i will just shoot myself in

the head.

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Masculine Fem

inine NYC___________________

Photography by Fernando Mazza Styling by O

mar C

ampbell

Hair Styling by Lizzie

Arneson

Fashion production by Omar Campbell, Mauri-

cio Mariano and Alessan-dro Lazaro

Make-up by Martha Friedlander @ Mac Cos-

metics

Leticia Lamb @ ONE MA-NAGEMENT NY & Caris

Tivel @ Supreme Manage-ment NY

SUN STUDIOS NY Special thanks to: Liliana

Gomes , Sonny Domingos and Paulo Santos

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Shirt: Reiss Vest: Reiss Pants: Acne Choker: Kelacala Q PATALONA: WR VINTAGEShoes: Deena & ozzy

Dress: Helmut Lang Vest: ShreyShoess: Neiman Marcus

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Shirt: Reiss Vest: Reiss Pants: Acne Choker: Kelacala Q PATALONA: WR VINTAGEShoes: Deena & ozzy

Dress: Helmut Lang Vest: ShreyShoess: Neiman Marcus

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Hat: Leza PiazzaShirt: H&MVest: VintageLeather Vest: All Saints

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(Viva Model Paris)

photographed by PH Almeida

styling by Benjamin Brouillet

stylist assistant by Charin Chong

make up by Jacques Uzzardi

make up assistant by Sabrina Salza

coiffeur by Kevin Rajsavong

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top: Jean Paul Gaultier jeans: Iceberg socks: Gaspard Yurkievich shoes: Shiatzy Chen

sunglasses: Eric Johnblazer: Jean Paul Gaultierpants: Jean Paul Gaultier

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top: Jean Paul Gaultierjeans: Iceberg

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top: Hacheskirt: Hache

tights: Gaspard Yirkievichsocs: Stylist’s Own

shoes: G Star Originale

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dress: Hachebracelet: Julien Fournie

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Angelica Erthal

photographed by Eudes Santana with styling by Cas-sia Campos, beauty Gloria Penaranda

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JAQUETA BRAIN & BEASTCOLAR LAZY OAF

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JAQUETA BRAIN & BEASTCOLAR LAZY OAFLEGGING AMERICAN APPARELTÊNIS BERNHARD WILLHELM

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Nihilistic youth

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Nihilistic youth

Photography by Alexandra WaespiStylist: Evelin Hernández

Hair/Makeup: Sergi VilarnauModel: Antonia @ Pearl Model Management

Dress by Ansoho

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Dress by Isabell de Hillerin Tights model’s own Shoes by Vialis

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Sweater by TopshopPants by Adddress

Jacket by Adddress

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Dress by Isabell de HillerinBracelet – Vintage

Ring – VintageShoes - Vialis

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Ashton

Powers

photo

graph

ed by

Ben &

Zie

R-a-w-D-el-

i-r-i-u-m

Styling by Akemah C.

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Ashton

Powers

photo

graph

ed by

Ben &

Zie

Styling by Akemah C.

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Ashika Pratt at 62 Models

photogra-phed by David K. Shields

fashion edi-tion by Imo-gen Wilson

Hair: Matt Benns at Stephen Marr Makeup:

Rebecca Casati

___________

MA

URIE A

ND

EVE jum

psuitM

AN

IA M

AN

IA choker

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___________

STOLEN GIRLFRIENDS CLUB DRESSES (one worn on top of another)

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STOLEN GIRLFRIENDS CLUB shirt

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STOLEN GIRLFRIENDS CLUB shirt

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LON

ELY HEA

RTS DRESS

STYLISTS OW

N EA

RRING

S

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LONELY HEARTS DRESSSTYLISTS OWN EARRINGS

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Under the bohemian lightBerthold Rothas @ Fusion Models

NYC inPhotographer

Christopher Hall Styling by Candice Nelson

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Under the bohemian lightBerthold Rothas @ Fusion Models

NYC inPhotographer

Christopher Hall Styling by Candice Nelson

Tee

Ric

hard

Cha

i Sho

rts

Bill

y Re

id B

oots

Mod

el’s

ow

n Br

acel

et -

Perr

y G

arga

no N

eckl

ace

– A

lfred

Ken

ney

& P

erry

Gar

gano

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Tee Richard ChaiShorts Billy Reid

Boots Model’s ownBracelet - Perry Gargano

Necklace – Alfred Kenney & Perry Gargano

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Hen

ley

Tee

Bill

y Re

idSw

eate

r J

ames

Per

seH

at V

inta

ge

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Henley Tee Billy ReidCardigan James Perse

Jeans 7 For All MankindHat Vintage

Tee

Altr

u D

enim

Shi

rt W

oolri

ch H

at V

inta

ge

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Tee

Altr

u D

enim

Shi

rt W

oolri

ch H

at V

inta

ge

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Tee Altru D

enim Shirt W

oolrich Jeans AG

Adriano G

oldschmied H

at Vintage N

ecklace Alfred Kenney &

Perry Gargano

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Tee Altru Hat Vintage Necklace Alfred Kenney & Perry Gargano

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Tee Majestic Filatures ParisFlannel Vince

Jeans & Boots Model’s ownBracelets Perry Gargano

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Hen

ley

Tee

Joe

’s J

eans

& B

oots

Mod

el’s

ow

n H

at V

inta

ge B

race

let P

erry

Gar

gano

Ne-

ckla

ce A

lfred

Ken

ney

& P

erry

Gar

gano

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Henley Tee Billy Reid Cardigan James Perse Jeans 7 For All MankindHat Vintage Necklace Alfred Kenney & Perry Gargano

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Tee Majestic Filatures ParisScarf Model’s own

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Tee Majestic Filatures Paris Jeans 7 For A

ll Mankind Boots &

Scarf Model’s ow

nBracelet Perry G

argano Necklace A

lfred Kenney & Perry G

argano

Tee Majestic H

omm

eJeans A

G A

driano Goldschm

iedBoots M

odel’s own

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Tee Majestic H

omm

eJeans A

G A

driano Goldschm

iedBoots M

odel’s own

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Henley Tee Joe’sHat VintageNecklace Alfred Kenney & Perry Gargano

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WU

LYF

form

ed

in th

e su

m-

mer

of 2

008

in R

usho

lme,

M

anch

este

r an

d co

mpr

ises

“Jea

u” (

Joe

Man

ning

),

“Lun

g” (

Tom

M

cClu

ng),

“E

lle J

aie”

(El

-le

ry R

ober

ts)

and

“Evn

se”

(Eva

ns K

ati).

H

avin

g ca

ught

th

e at

tent

ion

of th

e U

K m

u-sic

indu

stry

an

d pr

ess

af-

ter

mak

ing

a se

ries

of e

ar-

ly r

ecor

din-

gs a

vaila

ble

thro

ugh

thei

r w

ebsit

e, W

U L

YF

Chaos, visual extasis, poetry and destruction by Wu Lyf

___________________________________

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began a monthly residency, entitled “Play Heavy Pop”, at Manchester’s An Outlet coffeehouse in December 2009. The band’s first gig outside of Manchester came in July 2010 at the MIDI Festival on the Fren-

ch Riviera. Subsequent shows include France’s Transmusicales Festival,

Berlin’s Transmediale festival and sold--out headline shows in Glasgow and Lon-

don. In July 2010 the band announced the formation of the Lucifer Youth Foundation, giving new members an illustrated bandit

mask and a 12” single featuring the tracks

“Concrete Gold”

and “Heavy Pop”. The

Chaos, visual extasis, poetry and destruction by Wu Lyf

___________________________________

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band

sta

rted

rec

ordi

ng

thei

r de

but a

lbum

in N

o-ve

mbe

r 20

10 u

sing

the

mon

ey g

ener

ated

by

the

L Y

F m

embe

rshi

p sc

he-

me.

Dec

idin

g ag

ains

t the

co

nven

tiona

l stu

dio

set

up, t

hey

inst

ead

took

ove

r Sa

int P

eter

’s c

hurc

h in

An-

coat

s, M

anch

este

r, to

re-

cord

thei

r al

bum

. The

al-

bum

is s

elf-p

rodu

ced.

The

ba

nd d

eclin

ed a

ll of

fers

fro

m e

stab

lishe

d re

cord

la

bels

and

rele

ased

thei

r de

but a

lbum

, ent

itled

Go

Tell

Fire

To

The

Mou

ntai

n,

them

selv

es o

n 13

Jun

e 20

11 th

roug

h th

e L

Y F

reco

rdin

gs im

prin

t. In

su-

ppor

t of t

he r

ecor

d’s

rele

ase,

the

band

pl

ayed

sev

eral

dat

es

in th

e U

K to

crit

ical

ac

clai

m, c

ulm

inat

ing

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in the curation of the Great Bridgwater

Street Tunnel as part of the Manchester International

Festival.

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This place so lonely but nah don’t set-

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This place so lonely but nah don’t set-

tle down Just hear the beat drown over All this lone-some sound It’s a sad song that makes a man put

Money before lifeA sad song that puts a man for saleA sad song that make a man putMoney before life

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_________________ ___________________Another Day in America_ Lau rie___________

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_________________ ___________________Another Day in America_ Lau rie___________

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ISSUE #96

January/February 2012

2012

Jackson Araujo

Facundo Guerra

Estudio Xingu

Igi Ayedun

Marcela Jacobina

Yuri Sardenberg

Imogen Wilson

Christopher Hall

Fernando Mazza

Casa de Criadores

Hugo Toni

Pina Bausch

David Hockney

Ge Prado

Pablo Saborido

PH Almeida

Cris

Herrm

an p

hoto

grap

hed

by P

ablo

Sab

orid

o