This season, the themes are goddesses, fine porcelain and… Lee Radziwill makes a sublime and subliminal appearance.

Giambattista Valli Haute Couture 5

the gaze of my cat upon me this morning”

Charlotte Rampling by Antoine Asseraf for Vogue.fr,

See the full interview on Charlotte Rampling’s exhibition at Maison Européenne de la Photographie on Vogue.fr.

Photo by 2010 photo winner Yann Gross, look by 2011 fashion winner Léa Peckre.

Design duo Viktor & Rolf ? Stills photographer and Ricard award finalist Erwan Frotin ? Mugler men’s designer Romain Kremer ? Fashion photographer Sølve Sundsbø ? ANDAM 2011 prize winner Anthony Vaccarello ? Lacoste designer Felipe Oliveira Baptista ? All these people have one thing in common – their work was all launched into the spotlight through the Hyères fashion and photography festival, which is now going into its 27th edition.

As a contestant, you must register by November 26th and send your application package by December 5, 2011. Your work will then be reviewed by a jury of fashion, art and photography professionals (including in the past Azzedine Alaia, Nan Goldin, Riccardo Tisci, Peter Knap, Karl Lagerfeld, Viviane Sassen, Dries Van Noten, Tim Walker, Christian Lacroix…).

If you make it past the first rounds of selection, you’ll be given production help for your collection, flown to the Hyères,  given the chance to meet and talk with the 2012 juries, and have the famous Hyères team produce a gallery show of your pictures or a fashion show of your collection, in or around the unique setting of the avant-garde Villa Noailles, once vacation home to the likes of Dali and Cocteau…

And of course, the best part: my little finger tells me this year there will be even more prizes…

In case that wasn’t enough, here’s everything you need to know about Hyères in 2 minutes 6 seconds.

Villa Noailles
2012 Contest guidelines & registration
Registration deadline: November 26th, 2011
Submission deadline: December 5th, 2011

As she appears in his upcoming film, THE BELOVED as well as Lee Tamahori’s DEVIL’S DOUBLE, we were commissioned to do an interview and video portrait we did for Vogue Italia, out on August 1st 2011. Here is an exclusive teaser out-take, where Ludivine plays for us the imagined role of TERMINATRICE, in a Versace dress.

TERMINATRICE. Music OUTLANDS by Daft Punk.

Set to Daft Punk’s TRON soundtrack, TERMINATRICE is one of the 5 teasers René and I directed for the video portrait of Ludivine. Set in the new and newly-starred Jean-François Piège gastronomic restaurant (designed by India Mahdavi and M/M) and adjoining Thoumieux hotel, Ludivine offered to us one very full day of her very full schedule between 2 trips to Cannes…

The last thing that stimulated her ? Meeting Robert de Niro.
More on August 1st.

DREAM. Music ANTIPHONIE by Discodeine. Dress, Valentino. Launched on Un Nouveau Ideal. 

ALIEN. Music GLASS JAR by Gang Gang Dance. Trench, Burberry. Launched on Fashion Copious. 

CRISE. Music SECRETLY by Skung Anansie. Dress, Fendi. Launched on Jules Fashion. 

IT GIRL. Music YOU KNOW WHAT I MEAN by Cults. Top, Giambatista Valli. Launched on Hiromi's Journal inTime. 

DIRECTED by Antoine Asseraf & René Habermacher

STYLED by Lydia Lobe Elessa
Assisted by Edwina Ramade

HAIR by Karin Bigler @ D and V
MAKE-UP by Yacine Diallo @ Artlist

PRODUCTION The Stimuleye
Production Assistant – Lynsey Peisinger

FILMED AT Hotel Thoumieux, Paris

THANK YOU
Jean-François Piège
Lisa Kajita
First Floor

“An artist should avoid going to the studio every day”

STUDIO
Last night was the last performance in Manchester.

Everyone in the cast and crew will soon be returning to their “normal” life, wherever it may be around the globe, to their city, their apartment, their studio.

Over the last week, seven exhausting nights, the play is ending.
It has been seen by Viktor & Rolf, Riccardo Tisci, the director of the MoMA and many others.

But fear not, it will return, soon, somewhere else around the globe.

“An artist should be erotic”

Marina's 6th commandment. Photo by René Habermacher.

DICK
This is not a dick.
It’s a strap-on.
It’s strapped on a man, Andy.

In the play, Andy masturbates while wearing a mask of Marina, as she flirts with him.

Tonight is the last night to see this, as it is the last night the play is performed in Manchester.

“An artist should stay for long periods of time at exploding volcanoes”

Marina's fifth commandment. Photo by René Habermacher.

THE WIG
This is the wig of Willem Dafoe when it’s not on Willem Dafoe.
It’s in the make up room.

In the play, Willem appears as a demonic, cartoonish narrator, meticulously going through Marina’s life chronologically, year after year.

“Enemies are very important”

Marina's fourth commandment. Photo by René Habermacher.

THE SNAKE
After an energetic premiere, the play keeps running until the 16th.

One of the cast we havent yet introduced is Daisy, the boa constrictor.
Like bruno’s predecessor was stiffy, Daisy replaced the rolled-up blanket used for rehearsals.

She naps in her well temperated box towards the minutes of spotlight.
It was difficult to find a hotel for her, says David the “snake-man”, so many houses had refused them shelter…

Daisy and David. Photo by René Habermacher.

Marina Abramović backstage in the make up. Photography by René Habermacher

GOOD LUCK FOR THE PREMIERE EVERYONE!

Marina, Willem, Bob, Carlos and the Serbian girls.
Only a few more hours left to marinate, before the feast.

The stage doors. The note is to be taken very serious. Photography by René Habermacher.

Today Marina had her shaman coming from Santa Fe, New Mexico, in order to clear any bad spirits in the theater.

Magick is in the air, the mood has eased the morning following the preview.
Some eruptions excluded.

Willem Dafoe noting remarks on his text. Photography by René Habermacher.

Preparations in the Make up rooms. Photography by René Habermacher.

After all, the puzzle of endless rehearsed scenes makes sense now, its emotional power in effect to captivate both spectators and cast.

As the premiere nears, the ticket office and press department whirl faster.

During breaks, we hear big names to will attend.
They have to be seated the right way. Tickets are limited and getting sparse.

Carlos Soto. Photography by René Habermacher

Marina Abramović and Antony Hegarty. Photography by René Habermacher.

The Serbian girls, that form the chorus with peasant songs, cook and cater everyone with traditional baked beans.

The longer they marinate, the better they are supposed to get. Though the longer you leave the beans to marinate, the higher the risk of having your portion snapped away – perhaps we should put name tags on the glasses in the backstage fridge?

Anyway, it’s all about MARINAting. The effect is, it melts on the tongue….

Marina riding on her wooden horse Bruno. Bruno is a darling, but not too comfortable... Photography by René Habermacher.

Svetlana sings the chorus while the soldiers shout parts of Marinas artist's manifesto. Photography by René Habermacher.

Life And Death Of Marina Abramovic
at Manchester International Festival
July 9 – 16, 2011.

“An artist should not make themselves into an idol”

Marina's commandment III. Photo by Lynsey Peisinger.

MINI-MARINA
Mini-Marina is a doll that wears Marina’s own, real hair.

It just flew in from New York City.

The costume department is working on dressing Mini-Marina for the premiere…

Life And Death Of Marina Abramovic
at Manchester International Festival
July 9 – 16, 2011.

“An artist has to be aware of his own mortality”

Marina's Commandment II. Photo by Lynsey Peisinger.

MASK
Its raining in Manchester. Although sometimes not.

The first preview went on stage under the roof of that building where his architect threw himself from his landmark tower to death.
Marina thinks there must be some energy left from this.

At Marina’s funeral, who do you expect to see in the coffin? Marina, obviously. Since we have three people in both of Marina’s funeral scenes, they decided to make everyone wear “Marina masks” so that everyone would look like her.

We call them “Marina Death Masks”. They looked much more morbid before they put makeup on them…

Four more days to go until the premiere. The rehearsals proceed until late at night with great concentration. After four weeks of work, the cast, creative team and crew are almost ready for the first preview tonight. Bob Wilson, Marina Abramovic, Willem Dafoe and Antony Hegarty. An ensemble this beautiful doesn’t happen very often, perhaps just once in a lifetime.

The premiere is just hours away. Bob is orchestrating his cast and crew and the multi chromatic illumination of the play. Antony continues to conduct the music, snapping the tempo for the band while singing on stage. Willem recites his text in an endless mantra, a flood of whispers. His face and body moving through their various expressions. There is tension under the roof of the Lyric Theatre at the Lowry in Manchester. There have been troubles and tears and there have been shiny moments of camaraderie and playfulness, all in an effort to tell you a story. The story of Marina’s life. It is a story that will carve out a space for her in your heart forever…

Now, we go into our last rehearsal before the preview. The vultures are flying, Marina is slipping into her red, feathered dress and Bob….well, Bob is setting light cues.

Robert Wilson instructs Wilem Dafoe in Gunplays. Photo by René Habermacher


How Willem plays the gun. Photography by René Habermacher


And finally on stage: "Bruno" as Marina calls him is the new Horse that replaces "Stiffy".
So here Bruno, Willem and Marina. Photography by René Habermacher

“An artist should have friends that lift their spirits”

Marina's commandment I . Picture by Lynsey Peisinger.

STIFFY
The first three weeks of rehearsals were held in a rehearsal space where we used temporary props and stand-in animals.

Stiffy (aptly named by Willem Dafoe) was Marina’s stand in horse. We miss Stiffy now that we are at the theatre and the “real” horse has arrived.

He had a very wide body and Marina had to walk like a cowboy after sitting on him for too long.
But he was good to Marina for those weeks.

Life And Death Of Marina Abramovic
at Manchester International Festival
July 9 – 16, 2011.

The Stimuleye is proud to be announce the upcoming series “The Life and Death of Marina Abramovitch” – MIF Daily Diary.

Under the direction of Robert Wilson, and with the participation of Antony Hegarty, Willem Dafoe and, of course, Marina Abramovic, this exceptional performance will run July 9 to 16, 2011 at Manchester International Festival, but you’ll be able to follow all the preparations right here, on the The Stimuleye.

Stay tuned…

Willem Dafoe, Marina Abramovic, Antony Hegarty and Robert Wilson. Photo by Antony Crook.

Life And Death Of Marina Abramovic
at Manchester International Festival
July 9 – 16, 2011.

She was discovered by the legendary illustrator Antonio Lopez, whom she considers to be one of the great influences in her life, as well as a very close friend. She inspired and collaborated closely in the design studios, with Christian Lacroix, John Galliano and Jean Paul Gaultier. Suzanne von Aichinger posed for iconic photographers Serge Lutens, Paolo Roversi, Mario Testino, Jean Loup Sieff, Ali Madhavi, David Seidner, and strutted down the catwalks of Yves St Laurent, Thierry Mugler, Claude Montana, Gianni Versace, Christian Dior (Galliano) , Hermes, Martin Margiela, John Galliano, Jean Paul Gaultier.

In Greek mythology, the Sirens with the irresistible charm of their song, lured mariners to their destruction on the rocks surrounding their island..

In modern mythology, Sirens are dressed in Rick Owens, pose for photographer René Habermacher and share their secrets and thoughts on current and past affairs with Stimuleye Filep Motwary…

SUZANNE VON AICHINGER feature, is a collaboration between Un nouVeau iDEAL and THE STIMULEYE
Fashion Editor : Ines Fendri ⎜ Make Up : Akiko Sakamoto ⎜ Hair : Karin Bigler
Production : Lynsey Peisinger for THE STIMULEYE
Special Thanks to Mr Rick Owens and Anne van den Bosche @ Rick Owens Press Office

KALI, Suzanne von Aichinger wears a Rick Owens cape and gloves, all FW2011. Photography by René Habermacher

I always liked her and when we finally became friends, I liked her even more. In the following conversation Suzanne shares her thoughts on fashion, music, talent, the water, mythology and other obscurities. You are about to discover the muse, the model, the artist, the stylist..

I caught her leg on her daybreak between styling for a Vogue photo shoot and organizing a major project.

FILEP MOTWARY: Hi beautiful? So it was very difficult to catch you in the past two months. What have you been up to?

SUZANNE von AICHINGER: I know Filep. I’ve been a little like Houdini…escaping. But for a good reason. I had plenty of work and styling projects

Tell me more about it please. It seems you work non-stop.

It’s been good for me lately. I’ve been styling some perfume campaigns, editorials for Russian Vogue, Italian Vanity Fair, doing photos with Dita, and now I’m preparing another perfume campaign, and a major photo shoot with one of the MOST gorgeous women on the planet.

Oh Gosh, indeed its a lot. You mean the actress, Elisa Sednaoui? Ali posted a shot of her on twitter…

Oh what a beauty Elisa is!!! But, I’m referring to another lady…very iconic. I don’t know if I should say who it is. I don’t like to talk about things before they come out…

I understand. How easy it is for you to collaborate with people. What a concept needs to have in order to get you involved in it?

Collaborating with people is my ultimate way of creating. I find the dynamic of working with another or others, stimulating, and proven a successful way of expression for me.

How do you make your choices? Is money an important motive or not always?

There has to be an element that compels me, something that excites my imagination. I also have to feel that I have something relevant to bring to the story. Money is very often not a motive. But, sometimes it is an essential part of creation. We must also live, make a living, etc. You have to know when to give and when to sell!! There is no shame in being paid for a job well done. Andy Warhol considered making money the highest art form. I’m not sure that I adhere to this philosophy, but I don’t love being broke either. I like the freedom that having some cash on hand can procure you.

On the other hand there might be talented people, who would love your contribution but, lets say, cannot afford you. How would you react in such conditions?

I usually say YES to a project, which stimulates me. It’s not about the $$$. It’s about the action. I believe in working with people that I consider talented or kindred spirits. As people of great talent have wanted to work with me, when I had no money to pay them. Just for the sheer joy of seeing an idea become a reality.

I wanted to ask you about the photo shoot you just did with René Habermacher. It’s so iconic, yet in a very special way. How was working with René?

I loved it. We had a beautiful day together, with a great creative team. We wanted to express in this series, something that is based more on personality, than fashion. I feel that there are many stories to be told in my future with René. There is a quality in his vision that is very strong and appealing.

CASSANDRA, Suzanne von Aichinger wears a Rick Owens dress, boots and gloves, all FW2011.
Photography by René Habermacher

Exactly my point. The photographs serve our conversation so right! I’m very happy that Rick Owens was so positive when I contacted him for the garments. He is always so nice to me. Also for the fact that we shot his winter collection which is by far my favorite!

So am I! I LOVE Rick! He is one of my favorites. And, his fashion is timeless. I know that this can sound cliché, but if you have some pieces by Rick from 12 years ago, they are as relevant as pieces that he has made 2 days ago. They don’t go in and out of fashion. They have their own essence and place.

Having in mind that Rick’s clothes are so special, yet the 2000’s are the epitome of diversity. Each designer points out a different outline every season, there is so much choice. How do you see fashion now yourself, as a stylist?

It’s hard for me to answer this. I see many great things happening, no doubt. But, I see a lot of nonsense going on as well. There is not enough power any more in the hands of the creators. Now, big design houses change designers like they change their underwear. Just ridiculous. There is no time for the designer in place to create a brand identity, that he is fired. And very often, they find out that they’ve been fired, by reading about it in the papers.

It’s as if the financial/commercial people at the heads of some houses, envied the position of creator, and wished to usurp it. They believe that they are capable of being the creator. WRONG!!!!

But most of the Houses belong in companies like LVMH or PRADA. I think it’s difficult to be the head designer, no matter where you work if the House belongs to someone else. No? For example Chloe changed designer four times since 2001…

There are, thank goodness, some examples where this situation is working favorably for the house and the designer, like Alber Elbaz at Lanvin, Nicolas Ghesquiere at Balenciaga, Marc Jacobs at Vuitton.

But in many cases, it has been very difficult for the designers. It can be financially rewarding, if you can stay in place for more than a few seasons, but you do sell a part of your soul to the devil. And then you sometimes lose your name, and have stylists imposed upon you to tell you what to do, and how to show your collection, and editors telling you they don’t want to see this or that. It used to be that if anyone tried to tell the big designers what to do, they would be told where to get off. No one dared anyway. They knew better I suppose. 
Now, there are sometimes treated like puppets, and not really given a chance to express themselves. It takes a few years to create a brand identity. I’ve seen some real talent thrown out of houses for no reason. It’s bewildering. There are so many revolving doors, my head spins just thinking of it.

You have my vote on that! How do you see the Gaga phenomenon?

To be honest with you, I don’t see it at all. I choose not to. It’s a lot of hype, that doesn’t really attract my gaze. And, don’t get me wrong; I think that she actually looks pretty cool as a woman. I think that I would like her very much as a person.

I like her too. Finally we have a great performer with a great voice, for a change.

What do you mean? That she has a good voice, or that she has an opinion?

I think she has a great voice, I saw her live with a piano and she rocks. But talking about Gaga, I don’t mean the person, I mean what has been caused to fashion by Gaga wannabes, the interpretation of her…
A great part of fashion as we see it today has become quite vulgar, don’t you think? There is a lack of allure and beauty for the sake of beauty. All is linked with business…

I can’t comment on Gaga. As I said, I know very little about her. If you ask me about The Melvins, I’ll give you a very enlightened answer.

Do you mind if we talk about your past?

(laughs) Let’s talk about my past Filep.

Tell me about you posing for Ali’s illustrations…You told me on the phone the other day that you were at a friend’s place posing for him…

Indeed for the last few days I’ve been posing for some illustrations, done by Ali Mahdavi and it’s been such a wonderful experience. It reminded me of when I worked with Antonio somehow. We had Lars Nilsson collaborate as art director, and Catherine Baba doing the styling.

I didn’t know that Ali is also an illustrator. He is such a sweetheart

Yes, Ali is a brilliant artist, who graduated from the Beaux Arts de Paris with the highest honors, and he was at one point selected to eventually teach anatomy classes…a great honor in view of the fact that it was the school of Delacroix, Géricault, etc.

Well, Ali is such an impressive and kaleidoscopic personality… How did you guys meet in the first place?

He was a friend of Lars Nilsson who at the time was the first assistant of Christian Lacroix. I thought that he was very moving and beautiful. We have become very close, like brother and sister, and are very inspired by each other. He also has a great sense of the absurd, which corresponds to me very much. it makes me feel at home.

It seems that you are one of those women that men become obsessed with. I know, cause this is what happened to me. At a younger age, when I used to see you on TV, especially doing Lacroix, there was something about you that in a way made me feel like we new each other from before….

Although I’m not very keen in believing past lives and so on… There was something about you.

Oh Filep, first of all, yes, I’ve experienced the feeling of meeting someone that you feel you’ve known forever, transcending time and lifetimes, meetings that happen on other planes, dimensions, dream worlds, which I believe to be as real, if not even more real than the world that we recognize as real.

Is this what happened with Antonio Lopez too?

Antonio was and continues to be a great part of my life and the same goes for almost everyone who had the great fortune of knowing him.

What’s the story behind your relationship?

We met through Bob Starr in NY, who spotted me shopping at Balducci’s, across the vegetable aisle!. I was sent to meet Antonio by Bob Starr. I had heard of him, of course. He was IT! A living legend! So I walked into his studio, and the first thing I saw on the wall was the Andy Warhol portrait of Antonio in the entrance. I was asked to wait in a little area behind a screen and when Antonio came around to introduce himself, he looked me up and down asked me if I wanted to pose for him right away! Of course I said YES! And he put me in a Charles James gown. The “Shrimp or Siren” gown. (…)

When Antonio started to draw me, he became possessed like a demon, making grunting and growling sounds, with his face distorting. He was finding the magic getting in touch with other worldly visions…the essence. It was very powerful! I thought that he was going to attack me, he was so intense in his drawing, so beautiful, and with the first line that came out of his pencil onto the paper, the essence of everything was there. He was a visionary and a genius; as well as his partner Juan Ramos, who held a primordial importance in this dynamic.

I had heard of Antonio and I realized that I was stepping into a world of incredible beauty, creation in the purest sense of the word. These boys were the real deal. And they were so kind, sweet, and lovely. It was sooo glamorous!

Nobody posed better than Antonio. He taught all the major models everything. He was infused with spirit. He saw things that were invisible to mere mortals eyes!

PYTHIA, Suzanne von Aichinger framed in a fur hood by Rick Owens FW2011. Photography by René Habermacher

Well, thought your career, you worked with the most peculiar creators from the fashion fields. I mean… Antonio Lopez, then it was Serge Lutens, then Lacroix, Galliano, Gaultier, Ali Mahdavi… All of these men had a thing with strange beauty… like yours allow me to say. You still work with some of them till this day.

But they’re all so strange, so individual and so strong. Their vision, their work. What do you thing they see in you?

Well, I don’t know if it’s strange beauty, although I take this as a compliment. Antonio once said that I was a classic beauty according to the standards of the great masters, and the sculptures of ancient Greece, and Rome

Yes, this is what my friend Rene told me about you too when I told him I wanted to interview you. We both agreed to what I baptized you: A Siren!

But it’s true that I was never considered to be the girl next door, I never saw myself that way

I preferred a woman with more mystery, and mythological dimension. I always, since CHILDHOOD, was fascinated with Greek mythology, ancient Egypt and magic

So Siren fits then?

Yes, Siren fits very well and swimming is one of my favourite things. I love the water: I miss it. When I haven’t had a chance to swim for a while, I long to meet a body of water again…

I saw some pictures of you in water. You looked ravishing with no make-up on. So lets go back to your story. After Antonio it was Serge?

I love to connect with artists who have very powerful vision like Serge Lutens, who is another incredible genius, and uncompromising in his vision or with Christian Lacroix, for whom I was one of his muses for the Haute Couture. It was a lovely time. Christian Lacroix, along with Claude Montana at Lanvin, brought the focus back to Haute Couture, which at that time had taken second place. Because of the great creators of the 80’s, such as Claude, Mugler, Alaia, Comme des Garcons, etc He had a very beautiful moment and important impact. Couture became alive again! It was so opulent

He was my second love after Montana. I was devastated when his House closed down. Lacroix always impressed me with his elegant frivolousness.

He had a very beautiful moment and important impact. Couture became alive again!

Yes, I agree on this one. So special and also very a sweet person. Very human. I interviewed him about a year ago. I still go back and read our conversation from time to time or exchanging emails.

His weakness was the ready to wear..

If only his Couture vision had been translated in a better way, to the RTW, it would have made more sense. I feel it is very sad and wrong for his house to close. Indeed a big mistake that there was no support there.

I so agree. It seems strange not to have been supported by the government or anyone who could buy the house. It’s a shame.

Shame!

SPHINX, Suzanne von Aichinger wears a jacket by Rick Owens FW2011. Photography by René Habermacher

And how did you end up with Galliano and Gaultier?

Well, after Lacroix, I was taking acting classes with a geat teacher, who had worked with James Dean, Elia Kazan, was the husband of Carole Baker (Baby Doll) Tenesse Williams, etc..

John was starting his first HC collection at Givenchy, and was looking for a muse. He didn’t care for the women that he was being introduced to. She had to be an actress, know how to move, be this and that. Basically, someone who could feed his imaginary. Lars Nilsson told the person at Givenchy, “Oh, just call Suzanne!” very simple..

So he wanted something more than a simple model.. But you ended up having more responsibilities there in the end…?

Of course! John wanted magic, inspiration. My job was to help them see the thing that they were looking for! By movement, voices, speaking, provoking. I also brought my own style, style elements, my experience, which at some points in my life, I thought to be quite absurd. I love to daydream and play. I love to make up different personages and create situations that amuse my friends and me. We would be very obsessive about things. When I started to work with John, I realized that all of this play-acting and invention had a purpose. He was receiving all of this and feeding off of it. And the exchange was mutual. His enthusiasm fed me, so that I could give even more.

Did you find it hard serving the role of the muse? Difficult?

it was fun and flowed beautifully, very rewarding as well. John was incredibly generous. And, when he trusted you and your vision, he really gave his full trust. So I was a part of his creative team. He was intelligent and had confidence in his team to delegate. Very rare!! The hard part was manoeuvring through some in house politics, and dealing with jealousy of some co-workers.

SIREN, Suzanne von Aichinger in a dress and gloves by Rick Owens FW2011. Photography by René Habermacher

How long was your collaboration? You walked his show for Summer 2011, you had the last exit. correct?

We worked together for 4 or 5 years..? And yes, I did his last show, and closed the show! What a great honour, because it was a show about his muses. It was a very emotional experience for me, because I hadn’t been back to the house of Galliano in 10 years, and to see all the people who work there, whom I hadn’t seen in such a long time. All those friendly faces… and Steven Robinson no longer there..

We were all genuinely moved, and happy to see one another again. It was really beautiful. I lived the best years of Galliano. Saw his great ascension. It was an incredible time with many stories to tell. Truly, I feel blessed to have worked so closely with such a brilliant magical man.

Gaultier was before Galliano or after?

Jean-Paul came after John. I was working with Maria Luisa for a brief moment- another very educational experience- when I got a phone call from Lionel Vermeil, who said that Jean Paul would like to work with me on his Couture collection, and if I was interested. Of course I was! So I started to do a few fittings for him, and manipulated the “toiles” and shifted them around to what felt right.

I had a point of view and strong opinion, and wasn’t afraid or intimidated to say what I felt. Jean Paul needed this. This was the reason why Lionel wanted me there in the first place. So Jean Paul asked me to do consulting mainly for Gaultier Paris, his haute couture collection. It was great!

I think all creators who are important need this

Yes, I think so too! You must have a woman involved in the creation. We are after all the ones who will be wearing the clothes.

Do you mind if I ask you about your music? Well I dont know much about it but I saw some videos on YouTube and its pretty intense. They way you perform with the rest of your team – Its three different music groups right?

Music has always, as far back as I can remember, been the NUMBER 1 important outlet and inspiration in my life.

I was obsessed with Snow White when I was a child. The music and story are very deep, profound, dark and romantic.

I always had quite an unusual, and relatively extreme, if not to say advanced taste in music. When I was 10 years old, I was listening to Pink Floyd, Santana, Dylan, Joan Baez, Thelonius Monk, Eartha Kitt, military marching music, and of course the music of Walt Disney.

Then one day, my sister told me about Alice Cooper. At this point my life changed. Everything made sense. Here was a man, so beautiful and his name was Alice. He wore corsets, makeup and high heels, had snakes, and was electrocuted, or hung at a gallows, or decapitated at the end of his shows.

This spoke to me in a way that I had never felt before, I related to this very deeply. I was Alice Cooper. My parents thought it to be a little unusual for a little girl. I wanted my room to be painted black, and thought it to be very Romanesque to sleep in a coffin, like Sarah Bernard.

I LOVE THIS!

I was then also listening to King Crimson, early Genesis (with Peter Gabriel only!), Johnny Winter, The Stooges, Brian Eno, early Roxy Music (the first 5 albums only!), which was quite sophisticated for a child really. I wanted to be a DJ, maybe even a rock star, but I liked the idea of being a male rock star.

But how did you get involved in it finally?

I was making music mixes and compilations. Some of them for Rick Owens actually! And then started to record some of my vocals, doing strange improves, etc…

I met Timo Ellis, who is a multi instrumentalist, prodigy, heard some of these recordings and he loved them, so we did some sessions together, with John Paul Keenon (Japa) an extraordinarily great drummer. I couldn’t believe that these guys would be interested in working on this project!

So we recorded Gluttonius “Roman Style” and I also recorded some things with their band The Netherlands.

When you perform you are in a complete disguise. Why do you hide your beautiful face? Also, like Lopez you become very intense, which is totally opposite from what I got when I first met you. Really impressive I must say..

Yes, I became The Face Of Wool”. I liked to perform this way because hiding my face brought out another dimension and power to the persona. It transcends sex, male or female, a being which is mythological, who can shift the elements, move mountains, etc…

Some people found it sometimes disturbing or scary, but in fact The Face of Wool is a positive, powerful, and very humorous person.

PANDORA, Suzanne von Aichinger all in Rick Owens FW2011. Photography by René Habermacher

Where can someone officially listen to your music?

Anytime. It’s on MySpace. I haven’t performed with the Netherlands for a while because I’m in Paris, and they are in NY. But, truly, they are one of the most prodigious bands on the planet. That is why I wanted to do a piece with you on this band. Very important! One day, people will be talking about this, and they will be hailed as geniuses. I know it. And I am NEVER wrong when I have that feeling.

I also performed with Billy Hough last summer in Provincetown. I had fans even (laughs) so great! He had Michael Cunningham reading poetry, and John Cameron Mitchell (from Hedwig and the Angry Inch) singing, ect

I performed “THE END” by The Doors, and it brought the house down, very haunting, like a witch almost, possessed. Wow it was amazing. Billy and Paul Hough and Sue Goldberg. They rule.

Suzanne I want to see one of these performances.

Well there is no video online of this that I know of. But there is footage, because there is a documentary being made on Billy Hough, who is another very important figure of underground stream of consciousness poet, musician. VERY IMPORTANT!!

And lastly there is THE SUZANNES, which is about film, music and pagan, experimental noise performance…

Named after you I suppose?

Well the name happened by chance. I was with Johnny Blueyes and Seth Kirby and Ana Matronic. We wanted to make a short film and so we went to my friend’s house near Stonehenge, and the vague story -line that we had drawn out, took on a whole other form, and became “The Suzannes”.

What was the last thing that stimulated you?

The collaboration with Haider Ackermann, whom I greatly admire, for Vogue.

Maripol, a Polaroid artist photographer for many decades, will show some of her work titled ‘Riding the Hoods With Maripol’ in her hometown New York. Maripol, the fashion stylist and designer, is best known for creating Madonna’s unforgettable material girl look. She also had an influence on the styles of many other artists of the time, including Grace Jones and Deborah Harry. Maripol moved to New York from France in 1976, where she became a part of the New York clubbing and music scene. In the early 1980s, Maripol was the art director for hip Italian boutique Fiorucci and later opened her own boutique, Maripolitan, in the NoHo area of New York. She directed the documentary film ‘Crack is whack’ on artist Keith Haring and worked as a producer on films such as ‘Downtown 81’ starring Jean-Michel Basquiat and featuring Blondie lead singer Deborah Harry.

Riding the Hoods With Maripol – Polaroid Exhibition. Opening on Wednesday, May 18 from 6-8pm at Clic Gallery, 424 Broome Street, New York. Maripol will sign copies of her books Maripolarama and Little Red Riding Hood at the opening.

Ferit Kuyas was intrigued by the name of the airport he landed – La Aurora. Aurora, the name of the goddess of dawn, a sign for a new beginning, a name full of optimism. Most of the 3.5 million people populating Greater Guatemala City need that optimism to cope with everyday life. The immense hospitality and friendliness in a city stricken with one of the highest violent crime rates in Latin America left a lasting impression. Kuyas decided to explore and document this fascinating habitat.

Guatemala City was designed by the Spanish after a series of earthquakes destroyed the ancient capital now known as Antigua Guatemala. The City is subdivided into 22 zones. These zones are laid out in a spiral pattern with Zone 1 being the center. The Barrancos – ravines carving their way through the city make topography difficult and dangerous. There is a high crime rate in these places hidden from view.

In January 2011 Kuyas started photographing the city with a fresh and unspoiled eye for its wide range of diverse environments. Without the help of his local fixers this work in progress would not have been possible. Private security firms are guarding most every single place of interest. Kuyas had not imagined how difficult it would be to shoot the urban landscapes he intended. As a result of his persistent efforts we now enjoy a first series of surreal aerial landscapes that somehow evoke the pristine aura of an early holiday morning. Upon a second look however, detail will wreck the deceptive calm and reveal the lurking violence.

Ferit Kuyas spent three weeks in Guatemala City exposing 200 sheets of negative color 4×5 film. He is planning another trip in fall 2011.

Photos ttb – Aurora – Work in Progress from Guatemala City by Ferit Kuyas: Zone 14, February 4, 2011; Puente del Incienso, Zone 7, January 24, 2011; Zone 4, January 20, 2011; Puente de Naranjo, Zone 3, January 26, 2011

“Superficially, this publication might be seen as a catalog of current youth subcultures, a genre that has enjoyed great popularity since the eighties, when young people began splitting up into myriad tribes. But that would be missing the mark. These youth subcultures undoubtedly bear as little comparison with those of the past decades than Lady Gaga does with Diamanda Galás. Distinctive choices in clothing and appearance have no intention of making political, social or cultural statements of the kind that characterized earlier youth subcultures. They do not flaunt a credo, but they do reflect certain moods as cover identities that often change in rapid succession. The reason for this is not just a decline in ideology but even more a shift in the way these young people relate to images. A picture suggests and defines, without being conclusive; such qualities feed into the personality structure of young people driven by yearnings and insecurity. On the Internet, the picture acts as a social interface that not only projects the self, but also invites others to project themselves onto it. This new relationship of self and picture is essentially what the work of Rico Scagliola & Michael Meier is about. The artist duo exploit the sophistication and virtuosity with which young people display themselves, and integrate the imagery and fantasies that they project into their own visual universe. The distinction between document and staging no longer applies; viewers can never be sure whether they are faced with reality or fantasy.” by Martin Jaeggi

Rico Scagliola & Michael Meier “Neue Menschen” published by Edition Patrick Frey, 501 color images, 22 x 31 cm, EUR 58, CHF 78. Book Launch Wednesday, May 4, 8pm, at Exil Zürich.

New York based artist Scott Campbell celebrates his West Coast debut with the exhibition Noblesse Oblige. In his recent work Campbell uses copper, currency, graphite, ink, and neon, to transform tattoo subculture iconography into delicate and tempered work. He employs the familiar blue-collar vernacular of tattoo flash-boards – a skull smoking a cigarette, a skeleton’s hand in a provocative gesture, a single eye emitting a penetrating ray – and highlights the irony that exists within that imagery. Morbid images, rendered in graphite onto the fragile surfaces of ostrich eggshells that represent birth and transformation, point out the delicacy of opposition. The title Noblesse Oblige implies that whoever claims to be noble must conduct their life accordingly, and in a manner that conforms to one’s position. In Campbell’s case, his “nobility” is his tattoo-artist origin, and it is to that position and reputation his compliance is fashioned.

Noblesse Oblige by Scott Campbell, Opening Reception, Saturday, March 19, 6-9pm at OHWOW Gallery, 937 North La Cienega, Los Angeles.