intermi sion01

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Indhold

05velkommen

06fund

18my obsessions

26hovedskud

42pierre hardy

50banks

violette

52number (n)ine

30psychin the south land

Indhold

14my playlist

48studio

28scent

VEKOM

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MENL

Endelig har vi skabt det magasin, vi har talt om længe, og som vi har savnet på den danske magasin-scene. Et magasin som vil handle om ´vores´ Køben-havn og de mænd og kvinder fra bl.a. New York, London og Paris, som inspirerer os indenfor mode, kunst, film og musik. Vores 1st issue fylder 44 sid-er og er produceret i København, New York og Paris siden april. I interviewet med den franske designer Pierre Hardy prøver vi bl.a. at finde ud af, om vi nogensinde vil se ham designe briller, som vi er mange, der har efterspurgt. Magnus Berger, redak-tør på The Last Magazine fra New York, poserer i vores obsession feature med et udvalg af sine yn-dlingsguitarer, som han har samlet på fra han var ung teenager i Sverige. Intermissions moderedaktør Jesper Hentze deler sin obsession med nøje udvalgte jakker fra Dior Homme by Hedi Slimane.Vi har desuden skudt første del af vores ongoing Kbh portrætserie, som inkluderer både ansigter fra den nye generation og nogle af de mere etablerede kunstnere, designere og musikere. Vi har også nået at komme omkring 5 musikstudier i LA og skyde nogle af de mest cool indiebands. Ellers kan du læse om NY kunstner Banks Violette, sommerens dufte, 3 unge fund som vi tror på indenfor musik, foto og film samt fotograf Luke Irons, der tager en sidste af-sked med modellen Randy Johnston, som døde på tra-gisk vis sidste efterår.

Daniel Magnussen

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fund

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hayesAlder 17

Beskæftigelse Studerende/musiker bor New York, NY

Karrieremål At dele min musik med så mange men-

nesker som muligt

Inspirationskilder Pablo Hon-ey, Sam Cooke, Sun Giant

EP, Jack Kerouac

Igangværende projekt Ind-spilningen af en selvpro-

duceret LP

Helte Ralph Waldo Emerson, Odysseus

Største bedrift Sker ude i fremtiden

Det bedste ved new york Alt kan ske

Yndlingsguitar Min akustiske Seagull

Favoritsted for live optræden The Rockwood Music Hall

Rejser aldrig uden iPod, en bog, en ekstra t-shirt

Sidst læst Er i gang med One Hundred Years of Soli-tude, og elsker den in-

dtil videre

Barndomshelte Wolverine, Marthin Luther King Jr.,

Bruce Springsteen

Værste mareridt En tilbage-vendende drøm om en tysk

poltergeist

Afhængig af At rejse, mad fra dineren, fremmede

sprog.

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p eblese

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christian

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bryll eAlder 24

Beskæftigelse Model bor New York, NY

Hvorfor ny “The land of opportuni-

ties...” Det er en by, der aldrig

sover

Kunne ikke leve uden frihed til...

Favorit fiktiv figur Dorian Gray

Favorit karakter af kød og blod Som karak-

ter, Jack Nichol-son

Mest inspirerende person(er) Penn, Ave-don, Newton, Bai-

ley, Lindbergh

Mest inspirerende sted Paris

Det bedste ved køben-havn Familie og

venner

Titelsang “I’ve got the world on a

string” - Frank Sinatra

Yndlingsplade Singles collection: The

London Years - The Rolling Stones

Indbegrebet af god stil Jeg kan ikke op-

summere eller de-finere ‘god stil’, dette er person-ligt. Stil er et billede, vi alle

lever igennem, man kan lade sig in-fluere af mange

forskellige medier såsom musik, film, kunst og mode. Men hellere være sig selv og omfavne

diverse referenc-er.

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emma

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leth Alder 19Virke Jeg vil bestræbe mig på at skabe film, som jeg selv elsker.

Vigtig bedrift Min vigtigste bedrift ser jeg stadig frem til.

Værste mareridt Jeg elsker at drømme og have mare-ridt, det gode ved dem er jo, at man vågner igen og er tilbage i virkeligheden. I den virkelige verden ville mit værste mareridt nok være, at verden gik un-der.

Enghave plads eller den lille hav-frue Enghave Plads Vi bor på Sønderboulevard, og jeg er vokset op på Vester-bro og har en kæmpe kærlighed til Istedgade og alt, hvad der hører til.

Græd sidst Jeg vågnede af, at det tordnede, og jeg var apropos drømme midt i en rigtig god én. Jeg var så forvirret, at jeg begyndte at græde, og sagde til Anders, at jeg havde en fornem-melse af, at vi alle skulle dø.

Lykkelig nårJeg spiser min kærestes hjemmelavede tartar. Når jeg besøger min far i sit sommer-hus. Når mine katte sover under dynen med os om natten. Jeg er et meget lykkeligt ungt menneske, da jeg har været god til at få mit

liv præcis, som jeg vil have det. Stort set. Det har selvfølgelig også sine konsekvenser at flytte hjemmefra som 16-årig.

Mest skræmmende person Mor-deren i filmen “Pro-fondo Rosso” af Dario Argento fra 1975.

Det bedste ved københavn Alt. Jeg kender mange, der flygter til London, Paris eller Berlin. Men jeg elsker det her. Jeg kan godt lide at gå ture på Vestre Kirkeg-ård, det er helt absurd smukt, det er Køben-havns største kirkeg-ård, og den ligger 5 minutters gang fra vores lejlighed. Jeg kan godt lide at holde påskefrokoster der og slappe af med de døde.

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playlist14

Visse spillelister er værd at lytte til. Intermission har fået fingrene i fire styks, der både er eklektiske og kompe-tente i forhold til genrer og perioder. Få indblik i et par tunge NY-redaktørers inspirationskilder og læs, hvad der kan få en cool cat som Freja Beha på dansegulvet.

my15

freje beha erichsen

1. etta james Fool That I Am2. yeah yeah yeahs Dull Life3. yeah yeah yeahs Runaway

4. depeche mode Little Soul5. bob dylan Lay Lady Lay

6. jimi hendrix Bold As Love7. jeff buckley Calling You

8. joe cocker With a Little Help From my Friends9. johnny cash Hurt

10. ella fitzgerald Someone to Watch Over Me

model

1. movado Gangsta for Life2. pressure Love and Affection

3. pressure Ghetto Life4. basement jaxx Raindrops

5. i wayne Book of Life6. collie budz U’re still my light

7. bugle What I’m Gonna Do8. movado 1000 Bill

9. sensational fix I don’t Wanna Go10. howard devoto Rainy Season

gan

g g

ang d

ance

lizzi

bou

gats

os

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jacob brown1. salem Whenusleep2. salem Water3. adiam dymott Pizza4. the sounds Home is Where Your Heart Is5. phoenix 19016. deerhunter Famous Last Words7. peter bjorn & john Blue Period Picasso8. chris garneau No More Pirates9. salem Redlights10. hayes peebles At Ease

features editor, v and vman magazine

1. fever ray When I Grow Up2. joni mitchell Coyote3. the fryars The Ides 4. cocteau twins Song to the Siren5. the kills Last Day of Magic6. golden animals Wind to Wind7. fleetwood mac Gypsy 8. bronksi beat Smalltown Boy9. bonnie prince billy New Partner10. sinead o’connor Black Boys on Mopeds

chri

stop

her

bolle

ned

itor

-in-c

hie

f, inte

rvie

w m

agaz

ine

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obses sionsmy

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obses sions

De fleste folk på denne jord har en lille samler gemt i sig. Her er fem, der tåler dagens lys. Samlingerne er garneret med de ord, ejermændene knyttede til de-

res kære ting.

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Daniel Magnussen er magasinets Creative Di-rector, fordi han har et godt øje. Dette øje finder glæde i bøger og magasiner med visuel og grafisk kvalitet, hvor-for Daniel i en snes år har samlet på den slags. Her følger nogen af dem, der har gjort størst in-dtryk.“Jeg begyndte for alvor at samle på fotobøger

for 7 år siden efter mit første besøg i New York. Favoritforlaget har al-tid været Steidl, som har arbejdet sammen med nogle af mine yndlings-fotografer og -grafikere som Inez Van Lamsweerde/Vinoodh Matadin, Jason Schmidt, Hedi Slimane og Ezra Petronio etc. Her har jeg samlet nogle af favoritterne:”

1: Artist jason schmidt 2: V Best stephen gan3: Berlinhedi slimane 4: Bold and Beautiful ezra petronio5: In the American West richard avedon6: Balenciaga Parisfa-bien baron7: Selected Works ezra petronio/suzanne koller

daniel magnussen: bøger

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marie fisker: Marie Fisker har udgivet et meget rost debutalbum i 2009. Hun har en solid og udsøgt samling af guitarer, som ikke bare pynter, men bruges. Hver guitar har sin helt egen lyd og historie. Hun fandt fem særlige frem til Intermission. En håndfuld seksstrengede med patina og anekdoter støbt i træet.“Min kœreste købte min første guitar. Han gav mig den i fød-selsdagsgave, da jeg fyldte 24. Jeg havde kigget på en del forskellige, men faldt pladask for denne akustiske swing-jazzguitar fra 50’erne. Dengang jeg fik min første guitar, var jeg så glad for den, at den stod i sovevœrel-set de 2 første måneder, mens jeg sov. Indtil jeg vågnede om morgenen og kunne tage den med ind i stuen igen. Ald-rig har jeg oplevet at blive så opslugt af en ting. Nu har jeg dog fået et mere fornuft-igt forhold til den. Jeg bliver ved med at købe guita-rer, fordi jeg efterhånden har brug for flere måder at ud-

trykke min lyd på. Jeg er ikke guitar-samler, fordi de skal hœnge på vœggen, men fordi jeg har fundet glœden i at kunne give musikken forskel-lige nuancer ved forskellige stemninger. Når finanskrisen er ovre, skal jeg nok have en EKO 500 3V guitar fra 60’erne. Mama mia, den er så smuk og klassisk old-school i lyden, hvis man kan finde en i god stand.Min yndlingsguitar er den Har-mony, jeg altid spiller på live. Den er meget levende i lyden og med en mørk og varm klang. Det er en ameri-kansk ‘postordre-guitar’ fra 50’erne, den mest almindelige guitar for sin tid i Amerika. De blev nœrmest spyttet ud varme fra samlebåndet, men jeg elsker den.”

guitarer

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maria leonhardt: skoMaria ejer modeforret-ningen Paristexas, som københavnere med god smag elsker og respe-kterer. Her er der nøje selekteret i, hvad der hænger på stængerne. Indehaveren selv har et dybt kærlighedsforhold til sko.“Mine første sko i sam-lingen var et par Cha-nel-støvler til 10.000 kroner. For knap 11 år siden markerede netop dette køb starten på en seriøs addiction. Jeg kan tydeligt huske, da jeg gik ud af butikken med en gigantisk Cha-nel pose i hånden og var helt høj, fordi jeg aldrig havde ejet noget så extravagant.Det er svært at sige, hvilket par, jeg værd-

sætter mest, men mine nittebesatte bikerboots fra en af Number (N)ine’s tidlige kollek-tioner står højt på listen. De er de per-fekte bikerboots uden sammenligning. Bonusef-fekten er, at når man går, så sætter de af-tryk på jorden med et hjerte og en tåre, jeg håber, de holder evigt.Jeg vil også altid el-ske mine tårnhøje og umuligt smukke ankel-støvler fra Haider Ack-erman. De er smukke, og man får fantastiske ben, når de er på. Beten er bare, at man ikke rigtig kan gå i dem. Jeg havde dem på til fest engang, hvor jeg endte med ikke at kunne bevæge mig for

smerte. I skam gik jeg ud på toilettet for at kravle ud af vin-duet, løbe hjem i bare fødder, skifte sko og vende tilbage til fes-ten. Derfor står de nu på reolen og ser fine ud. Mine drømmesko er de der pokkers Balenciaga plateau harness ankel-støvler fra en ældre kollektion, som er umu-lige at finde. De har stået som fast søgn-ing på min Ebay profil i årevis uden held. Jeg har vurderet en kopi-model i desperation, men det går ikke med en støvle som den. Det er originalen eller intet. Jeg har Olsen-søstrene mistænkt for at have opkøbt dem alle.”

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Jesper Hentze er mo-deredaktør på Inter-mission. Det kom ikke som nogen stor over-raskelse, da han af-slørede en gedigen samling af luksuriøse jakker. Dette er, hvad Jesper havde at sige om dem:

“Her et lille udvalg af nogle af mine jak-ker. Jeg har samlet på dem i omkring fire år. Ud af de viste jak-ker er min favorit læderjakken fra Dior Homme med de fire lom-mer. Jeg synes, den er tidløs. Jeg går al-

tid med jeans til mine jakker eller blazere. For tiden er der in-gen designere, der kan lave det, jeg ønsker inden for herremode, men jeg har dog øje på en læderjakke fra Bal-main.”

jesper hentze: jakker

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magnus berger: Magnus Berger is the editor and cre-ative director of the NY-based Last Magazine. One among many obsessions is his guitar collection. Here he has chosen some of his favorites from his private collection. His passionate stories about his guitars surely is intriguing reading.“There are many things I love about vintage guitars besides just playing them. I like the idea of something handcrafted and patinated by time and previous owners. Guitars needs to be played to remain it’s tone, especially hollow body instruments. It’s sad when you see collectors who don’t play. I started to play when I was about twelve. After a few in-

herited or borrowed instruments I got my own. My first electric gui-tar was a similar “Chiquita” mini guitar that Marty McFly (Michael J Fox) plays in the beginning of “Back to the future”, when he standing in front of the giant amp in Dr Brown’s lab and literarily gets blown away. Come to think of it, The guitar he plays when he is performing at his parents “The enchantment under the sea” dance, is very similar to my Gibson ES-330. All though I’m pretty sure his was a 335. My Gibson ES-330 from 1964 is my favorite of any guitar I have ever played. It’s es-sentially a jazz guitar, but it just has an amazing tone if you crank it,

guitars

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such a rich sound whether you play with distortion or keeping it clean. John Lennon use to play the budget version called Epiph-one casino. I guess that worked out just fine too.Eddie Van Halen made me go cra-zy with custom made guitars with Floyd Rose tremolo in my early teens until I just finally had it with all that crap and got the most basic guitar of them all. The Telecaster is the choice of a lot blues and rock play-ers who just wants the basic, no frills. It’s been played by all the legends. Jonny Greenwood of Radiohead has one, Bruce Springs-teen made it even more iconic on the Born To Run cover. Then of course it’s Keith Richards, the anti guitar hero. He’s just all Rock’n Roll. He is the reason I bought my black Fender Telecaster from 1978. I was in music school and I just had it with all tech-nical stuff we were playing. I got into Keith who had realized that less is more, also in music.

It’s heavy as hell but it’s the most basic, cool piece of Rock’n Roll you will ever need. I re-member this footage when Keith is hitting an attacking fan in the head on stage during a show. Damn, that must have hurt... An-other great piece is the Gibson EB-1 bass which was very popular in the seventies mainly by reg-gae and afro-beat musicians. The Guild all black acoustic just reminds me of Jonny Cash, can’t think of a better excuse. My Har-mony acoustic, I bought for $75 at the flea market. It’s so beat up it barely holds together but it has an amazing tone. Sounds like Django Reinhardt. Well… may-be if he would play it.”

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hovedskudDette er første del af vores københavner-portrætserie. Vi viser hver gang ansigter fra den nye generation af udøvende inden for de æste-tiske kunstarter. Et par af de mere etablerede har også fundet vej, og dette er såmænd konceptet i al sin enkelhed: Et portrætfotografi, et navn og beskæftigelse. Hold øje.

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scentscent

Et nøje kurateret udvalg af dufte. Dette er somme-rens briser fra nogle af de store huse, der fermt har dirigeret og doseret de rette duftnoter, både

til mænd og kvinder.

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psychin the south land

psychin the south land

Los Angeles is weird. You don’t have to be here to know it ei-ther. It’s common knowledge: the whole damn city is a psyche-delic freakshow. It’s natural that these five Angelino bands are all weird in one way or another. Whether they’re fronted by tiny, thrashing Japanese sisters, or they have holed up in the desert or by the beach, or they’repre-occupied with death or sports, Los Angeles is home. Let’s get weird.

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There came a point in time, maybe about 15 or so, when you real-ized that classic rock radio is what it is: a cheesy blend of stoner anthems and MOR balladry. You needed to branch out and find some new jams, so you discovered obscure indie bands and dance mu-sic. Then, when you hit your late 20s, you came full circle and stopped caring what everyone else thought and you dusted off that copy of Bad Company’s 10 From 6 that you listened to while smok-ing out for the first time in the back of your buddy’s Nissan Al-tima. That’s what the Binges are, essentially—the musical manifes-tation of a second time around. “It’s about being comfortable and at peace with yourself and enjoy-ing what you enjoy,” says Binges drummer Travis Smith with laid back California twang. And when you get right down to it, we all enjoy a little of that good ol’ rock ‘n’ roll from time to time. And yet, the Binges aren’t your prototypical rock band; Smith and frontman Dylan Squa-tcho are flanked by the Okai sis-ters—guitarist Mayuko and bassist Tsuzumi—making for an uncommon dynamic. “They just showed up from Tokyo in 1999,” says Smith. “They were playing knuckle-crack-

ing piano in Japan, [but] they’re diehard for ’70s rock ‘n’ roll: Deep Purple, Black Sabbath, AC/DC.” On a whim, Mayuko auditioned for guitar when her boyfriend was called in to try out, and won the part over him. Tsuzumi joined a short while after that. With their major label sound and idiosyncratic look, A&R reps quickly came on to the band, but it was right as the industry was nosediving, and all their offers started to die down or stretch on. So, after waiting on empty promises for years, The Binges decided to self-release their long-shelved debut album this fall. “It [was] only available at Amoeba [Records] in Hollywood, on consignment, which sounds pathet-ic…” says Smith. But again comes the idea that sometimes you need a second chance to really get a hold of something, and there’s no doubt this record will propel the Binges back into the rock strato-sphere.

the binges “rock rewind”

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the entrance band “dark days”

“We have met dark days,” wrote Lestar Bangs in his brilliant ex-egesis of Black Sabbath in 1972. “People will do almost anything to escape from the pall.” War was still raging in Viet Nam, and the heavy doom of Sabbath’s early records hung in the air like a death knell, yet was deeply mor-alistic, mused Bangs. Guy Blakeslee, the frontman for modern day doom-psyche trio, the Entrance Band, felt something akin to that approach during

the writing of Prayer of Death, an album of cabal of Sabbath-like dirges mostly centered on the prognostication of death. “I tried to have it have a positive spin: don’t take life for grant-ed, because death is inevitable,” says Blakeslee, his voice crack-ling with passion over the phone. “Every day the news was about all the stuff around it, but under-lying it there were many deaths—you talk about war, you’re really talking about people killing each

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other. It’s a crass overgeneral-ization, but people weren’t talk-ing about it like that.” All this stems from Blakeslee’s first incarnation of the band, known then as simply Entrance, which was Blakeslee, a six-string and a set of blue-sy songs. “I didn’t want to be from this time period. And it was a practical decision to not have it be too dependent on oth-er people,” says Blakeslee. “It goes back to old school American music. A lot of the gospel and blues singers, they were not only preaching biblical morality, but the idea that everyone’s going to die.” Adding multi-talented bassist Paz Lenchantin and drummer Derek James gave Blakeslee the gravi-tas to cut his history lesson with some slightly more contem-porary influences. “I feel like what we’re doing now is trying to bring it back into a new sound

that includes all the things I was always into,” he says. The Entrance Band of today takes the Charley Patton and Robert John-son influence, a bandwide rever-ence for hardcore punk, a little bit of love for Tom Petty, and a healthy dose of the ghosts of Laurel Canyon circa 1968, and sloshes it all around to create a druggy concoction, albeit an op-timistic one. “The new record has themes that are blatantly positive, about love and political action,” says Blakeslee. “We have a song called ‘MLK,’ paying tribute to what he was about. There may not be a leader like him, but we need to try and live by his example and make sure his works were not in vain.” With this kind of posi-tive songwriting, perhaps dark days and prayers of death may soon give way to exaltations of living and blue skies.

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golden animals “sun & moon”

Life is easier in the des-ert, explains Golden Animals singer/guitarist Tommy Eis-ner. “There are no distrac-tions. Time moves way slower. No one asking you to come to their opening or show or bar or party. There’s space out here for cheap or free and at this stage, being young, try-ing to make music together, we are able to focus more on music than just trying to get by.” It’s a good trade-off for worldly excess and car horns and light-polluted nights—slough off the unneeded and head into the untamed fron-tier. The desert worms it-self into the Golden Animals sound. On last year’s debut album, Free Your Mind and Win a Pony, Eisner and drummer Linda Beecroft built a record that’s cracked and damaged and earthy. But Golden Animals weren’t always lawless desert-dwellers. Beecroft met Eisner, a Swedish expat moments af-ter she arrived in Brooklyn. “On a rainy winter night,” she reminisces. “We bonded imme-diately. We had a hard time staying together because of the law, so we started travel-ing together in Europe. We’d perform on the streets of Par-is—me playing tambourine and Tommy playing acoustic guitar. It wasn’t until I moved to New York I started to play a drum kit.” Eisner and Beecroft married at City Hall in New

York in 2007. “Marriage was our only option to just say-ing goodbye to each other and sticking to our own side of the sea,” says Eisner, “Mar-riage represented the coming down of big wall in front of us, which was immigration try-ing to separate us. We don’t wear rings or consider our-selves to be traditionally husband and wife. Somehow we both share the same vision for what we are creating. It’s a very balanced collaboration—an equilibrium, like the sun and moon.” Later that year, after answering an Internet ad, the duo packed up and headed out to California to housesit for Gordon Kennedy, author of the much-fetishized natural liv-ing guidebook Children of the Sun, at his home on the Salton Sea. “The book explains the history of the ideals that predate what became so inter-twined with the movement in the ’60s,” says Eisner. “The book and Gordon were a perfect introduction for us to south-ern California and more impor-tantly some rules to help the move away from conventions in society.”Now, preparing to embark on a summer tour across the the American south, Beecroft adds, “We have spent a lot of time alone in the wilderness play-ing music together. We want to capture that and bring some-thing real to people.”

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the growlers “growling seas”As the surf off the coast of Or-ange County sweeps the beach, a sunny romanticism sets in. This allows for a warm feeling of re-laxation specific to the beach-front properties of the earth. “We’ve all just been learning this whole process,” says Brooks Nielsen, frontman of the Growl-ers, in a lassez-faire drawl typical to his locale. “No one in the band is in any way really amazing [musically]—if we need a keyboard player, instead of an actual classic pianist, we get a guy who hasn’t played before, be-cause he’s a cool kid.” It trans-

lates into a similarly ramshackle live show. “You just can’t have expectations,” laughs Nielsen. “That thing broke, [guitarist] Matt [Taylor]’s amp drank beer. I forgot this, someone messed up on that.”That isn’t to say the Growl-ers play music that’s amateurish; it’s more just elemental, of the sand and wind and sun. “A lot of the music I like is really ba-sic,” says Nielsen. “The dumbed down aspect, more rootsy stuff, rather than the new gnarly shred-ders.” To keep it simple, the Growlers have carved themselves

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an enclave on the beach, fully fitted with a recording studio. “We’ve been really introverted,” Nielsen explains. “Not that we want to be hibernating—we record, mix, silkscreen, package CDs, do music videos all ourselves—the last one I made really ghetto.” Between the five of them—bassist Scott Montoya, keyboard player Miles Patterson and drummer Bri-an Stewart fill out the band—and despite their lackadaisical at-titudes, they tend to get a lot done. Lately, Growlers have been putting together songs and pack-

aging them as “couples,” a se-ries of EPs leading up to their sophomore album, which is full of mid-tempo anthems that feel like the beach bonfire. But don’t call them psychedelic: “We always kind of joked around about ‘psych’ mu-sic,” says Nielsen. “It’s just kind of funny—the new Britney Spears song is psychedelic to me. I like psychedelics, but we don’t consider our music psych.” No matter what you call it, Growlers are keeping it simple, keeping it real and expecting the unexpect-ed.

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RTX “royal rats”

Here are three golden rules to being a hard rock lead singer: 1) obtain, or be born with, swagger and charisma to spare; 2) dance like a maniac, scream like a ban-shee; and 3) qualify as heroin chic. RTX lead singer Jennifer Herrema has enough of rules 1 and 2 that 3 needn’t even enter the conversation (it does anyway—about 10 years ago Herrema took some photos with Steven Meisel for Calvin Klein that practical-ly defined the term). Along with lead guitarist and co-songwriter, Brian McKinley, and the rest of the band, Nadav Eisenman, Kurt Midness and Jaimo Welch, Her-rema’s RTX are one of the heavi-er groups in LA, plugging into a seething mix of psychedelic trash and destructive metal. Herrema takes the inter-view from her hot tub (awesome) and proceeds to explain that she learned “discipline and being part of a team” from the competi-tive sports she played before she graduated early and moved to New York to go to school and join her first band, the much loved Royal Trux, with Neal Michael Hegarty when she was just 16 (awesomer).

But she never lost that competi-tive edge. “I’m a huge Raiders fan,” Herrema admits. It’s clear it’s because the Raiders are the pirate-themed badasses of the NFL. Brutal as a crushing tack-le, RTX’s third album JJ Got Live RATX was released late last year. The “Live” in the title is a ref-erence to the previous album’s pied piper theme, which fea-tured Herrema leading rats to the coast. “In the special story in my head,” says Herrema, “I didn’t want to kill the rats. I wanted to bring them to a place where they could just listen.” A double entendre exists there, too. The album was recorded mostly live in the studio, a departure from their previous approach. “It was in real time,” Herrema says, “I would sing out loud with them [before overdubbing the final vo-cals]. There’s ghost vocal tracks on the record.” RTX are setting a new standard for rock music, leading their fans into a chaot-ic sea of stomping recklessness, where they can just listen (and headbang).

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pier e

I have fallen in love with Pierre Hardy, several times. These are not the words of a “shoe person,” either; I have always been far more likely to swoon at a build-ing or an artwork than at a sti-letto. Perhaps that’s precisely this veteran designer’s appeal – he has created for Dior, Her-mès, Balenciaga and others with a sensibility that channels a dis-tinctly Parisian neo-classicism through a thoroughly avant-garde sensibility, to make shoes that are about as far from pretentious as they are from just casual. And Pierre Hardy is kind to his ad-mirers: his recession-friendly sandals have graced Gap stores for a couple years now, his own bespectacled likeness the retail-er’s billboard advertisements. His newest store opened at Par-is’ Palais Bourbon last February; the 110m2 architectural vision in dark lacquered parquet now houses Hardy’s namesake line of men’s and women’s footwear and bags, in a quiet oasis in the heart of the 7th arrondissement.victoria camblin: So you started your career at christian dior, in the 80s. but at what point in your life did you really start with the shoes? How does one get into that? pierre hardy: When I was a fine

arts student, in Paris, it was like a hobby for me – it was nev-er my plan, like the job that I wanted to do, to be a “shoe de-signer.” I just wanted to draw, to paint, to do sculpture… to do art, basically. I never thought about fashion, it was about ap-plied arts. vb: So how did you make the transition from the “beaux arts” to shoe design? ph: It was just by chance—a friend of mine, who was a de-signer and worked in fashion, had been asked to help this shoe de-signer, and she said, “Why don’t you go? You like to draw shoes.” So I thought I would try. I did this assistant job for a while, but it was just a student job – I never thought that it could be a career. In this period I was very involved in painting and drawing and things like anatomy, art his-tory. This was just for fun. vb: That background really comes out in your shoe designs today, though. What’s distinc-tive about them is not just that they’re beautiful or chic, it’s about something in the quality of the craftsmanship, of the materi-als… ph: Well, I’m not so involved in researching new materials or new effects or whatever. I’m more

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interested in how to put them together. I’m not crazy about strange or very modern materials—because with the shoe it doesn’t work so well. It doesn’t work with the body, it doesn’t work in the process of fabrication. In the end, I’m always working with quite classical materials—basi-cally, it’s all about leather. After that, what interests me is to give new shape, new image, new volume, but using those basics. vb: Of course, you’re known for your classic look, but it’s also somehow quite avant-garde—and very few people would dis-agree with the description of your work as very “French.” ph: Yes! That’s very inter-esting—I would define myself as very French in taste, in a way. And that is very different from Italian taste, for instance, which I love, but I am just not able to do it. It’s another sen-sibility, which is also different from the American way, and so on. So yes, you’re right, I would say I have a very French approach to things. vb: But what do you think it is that makes it so French? Or rather, what makes French style French style? ph: First of all, when I’m in France I don’t necessar-

ily see this “French style” of clothes on the street everywhere. I know that there is a history of this culture of fashion and couture and style, and there al-ways has been. But to be frank, I don’t see so much of it every day. Still, I think part of the quality of this French taste is that it’s always a mix, a balance of something quite classic and that’s supposed to be a little bit loose or negligée… vb: Classicism with one added element of surprise? ph: It’s never everything matching everything else. It’s less pure than straight up clas-sicism. Maybe that’s the interest of this look—it’s sophisticated but not stiff. vb: Perhaps when people think of Parisian style, they think of the women—of that gracefully ag-ing woman wearing Chanel flats on her way to the market… [laughter] But what about French men? ph: It’s about how the clothes come together, this sort of mixture of high classicism and low, worn pieces—you can wonder why Serge Gainsbourg for example is an icon for being elegant when he was much more shabby than any-thing else. He was just wearing old pin-stripe jackets and old Levi’s and a very simple shoe,

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white, used. His elegance was more about an invention of char-acter, and when he was doing it, he was the only one doing it. Maybe that’s the French taste as well—to mix clothes in a way that builds a new character. vb: You have a huge reper-toire and have designed for so many different labels… ph: Well I try not to do so many! But I think it’s because I’m living from the inside, and on the inside I’m always trying not to do the same thing, to re-peat it again and again. Because basically what I love—and what everybody loves in style—is al-ways more or less the same. It’s always about avoiding repeat-ing the same thing over and over again and finding what you love with new shapes… so it’s inter-esting that you say that I’m working with a big range of shoes because I don’t have this feeling at all! vb: Well you’ve engaged all different kinds of registers, too—there are the major fashion houses like Balenciaga and Her-mès, there’s the Pierre Hardy line, and then, the Gap. And I’m wondering how you negotiate these transitions, from fashion house to high street for instance. ph: It’s just part of the job each time. It’s like an ac-tor taking on different charac-ters. When I’m working on my own collection, it’s like a one-man show—I’m on stage alone. When I’m working with different design-ers, I always try to play with my partner—of course I’ll do it my way, but I always try to un-derstand what the different rules

are, who the people I’m working with are. And it’s very differ-ent; you have to adapt. When I’m working with Nicolas Ghesquière at Balenciaga, it’s a very close collaboration, because we’ve known each other for such a long time. It’s very easy for us to communicate, and to reach what we really want. Because in this case, for example, I’m just try-ing to achieve what he has in his mind. When I’m working for Her-mès it’s totally, totally dif-ferent — because I’m working for a big, old, classic French brand with a big collection, men’s and women’s, with a traditional and a level of quality that is… what it is. Each time there are differ-ent rules, on many many different levels. It’s never the same job. At all. vb: Let’s talk about the Pierre Hardy label… ph: Well I’m now working on a second shop in Paris. And maybe that sounds very normal—he has a shoe brand, he opens a shop—but the shop is very special. It’s like a house. It’s a little piece of space that looks like the world I’m trying to create, basically. The thing about space is that it’s not only a ques-tion of mood, it’s like an idea. Of course, in the end, it’s never exactly what you’ve dreamt about—never exactly. But it’s trying to find an equivalent of what I’m doing in the shoe collection and translate it into space, color, furniture, and so on. vb: Do you have a general interest in architecture? Your shoes have an architectural qual-ity.

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ph: It’s true, I think I pre-fer space and volume to decora-tion, ornamentation… my tastes lean more towards a constructive feeling. But I think that what I love in fashion is that these projects are short-term. I don’t think that I would be able to work on such long projects as ar-chitecture does, which take years and years to realize. So I try to channel this interest in what you call “architecture” but on a dif-ferent scale. vb: It’s the best of both worlds—the instant turnover of fashion, the exploration of space of architecture… Where will the store be? ph: On the left bank, in Paris. The location of my first shop, at the Palais Royal—for me it’s one of the most beauti-ful places in Paris. Because it’s inside and outside. It’s not a street, it’s not a courtyard, it’s not a garden, it’s every-thing together, but quite pro-tected from the rest of the city. It’s in the center, yet there’s no noise… so it’s very unique in a sense. And the place where I’m now planning my second shop is also on a square, and once again it’s like a little center all by itself. And I love this feeling—there are many places like this in Paris. vb: You have your own signa-ture style in photos—as a design-er yourself, how do you approach other designers, how do you craft your personal look? ph: Of course, I buy other designers—I buy Balenciaga, I buy Margela, I buy Jil Sander… also a lot of casual things, like Levi’s, a lot of sneakers, too.

So it’s very mixed, and always quite simple, and quite coherent. Taste is what I’m doing, actu-ally. vb: What about your glasses? ph: The relationship to glasses is a little like the re-lationship to shoes—because it’s something you have to wear. So I think there are two conditions: it’s either the mask you wear to become someone else, and it be-comes a part of your character, or you try to wear something that doesn’t disturb the general or-ganization of your face or your appearance. It’s like shoes: you can chose your shoes to make a big statement—very obviously heavy, bright, or whatever. Or you can choose a shoe that’s very discreet—just a finishing of your silhouette, that disappears, is almost non-existing. So for me the glasses should be there very normally: for me it’s not an ac-cessory; it sits as part of your face. vb: Would you ever consider designing eyewear? ph: Actually, no, I’m not sure I’d want to. Doing glasses puts you into a system. It has to be distributed, manufactured… it’s a big big business, you know? If I were to do it, I would have to reconsider it from a very dif-ferent point of view. A bit more exclusive, or more luxurious, maybe. vb: Any other unrealized proj-ects you might one day want to go into, other than eyewear? ph: There are lots of unreal-ized projects! The question for me is not so much, “do I want to go there?” It’s more, “Am I able to go there?”

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Jack Dahl ejer det grafiske bu-reau Homework, som nok kan skrive et par nævneværdige klienter på porteføljen. Jack har blandt an-det tidligere arbejdet for Self Service Magazine og Jil Sander og skaber i det daglige graf-isk design, så det kan mærkes og forstås.Hvor lang tid bruger du i snit på dit arbejdsst-ed?Indtil for nyligt brugte jeg måske for lang tid på kontoret. Men privat arbejder jeg også ofte på mere personlige projekter.Hvad betyder dine omgivelser, når du arbejder?Mine omgivelser betyder en hel del. Lys, ro og plads på bordene — også på min skærms skrivebord. hvordan afspejler dit job sig i dit arbejdsrum? Enten i form af orden og struktur (men med et fyldt hoved). Andre gange i form af rod (men med et mere roligt hoved,ville jeg ønske jeg kunne sige).Hvad kan du ikke arbejde uden?Øjne og hænder. Computer og musik. Kærlighed og mod. Intu-ition, indsigt, oversigt og ud-sigt.Hvad ville du redde, hvis en tsunami, et jord-skælv eller et fly stod for døren?Andre mennesker i bygningen. Men hvis nu alle var i sikkerhed, så helt klart min arbejds-back-up,

et par portfolios og min hemmeli-ge kasse.Hvem gad du godt arbejde sammen med?Det var jeg engang rigtig god til at besvare, jeg havde altid en ny gulerod og drømmeprojekt. Jeg er netop ved at afsluttte et arbe-jde med Casey Spooner på Fischer-spooners nye album Entertainment. Lang og møgspændende proces. Af læremestre på toppen ville jeg gerne have mødt Herb Lubalin [art director, grafisk designer og ty-pographer 1918-1981]. Eller Ezra Petronio [red: Petronio Associ-ates, Paris], hvor jeg år tilbage fik scoret mig en god designt-jans. Jeg vil for øvrigt gerne arbejde med flere kunstnere, og starter til sommer på 2 nye kun-stbøger for Aya Takano og Klara Kristalova for Galerie Perrotin I Paris/Miami. Jeg gad også godt finde nye japanske forbindels-er. Rei Kawakubo har altid været et forbillede. Men jeg indrømmer blankt, at Madonna nok alligevel ville være skæggere end Bjørk…eller hvad?Kaos eller orden?Jack eller kaos?

studio: jack dahl

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banks viole teBanks Violette er en kunstner, der leverer kommentarer til vor samtid med tyngde og ikonisk gennemslagskraft.Banks Violettes kunst er ikke let forgængelig og skal sjældent forstås som et enkeltstående værk. Den Ny-baserede skulptør, tegner og maler griber om vor sociale samtid med sort pensel

og voldstemaer. Hans opvækst i Ithaca ansporede en hang til det uskønne og makabre og formede hans kunstsprog. I Banks møder man en kunstner med en uomtv-istelig fortælleevne. Med evner der når langt ud over New Yorks scene, rammer hans kunst os københavnske bysbørn, dér hvor den skal.

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WHEN YOU’RE FINISHED CHANGING, YOU’RE FINISHEDNumber (N)ine lukker og slukker. Intermission følger til dørs. Number (N)ines sidste kollek-tion A Closed Feeling kommer i butikkerne til efteråret, de-refter lukker det legendariske mærke ned. Et lige så stort tab for modeverdenen som Hedi Sli-manes exit fra Dior Homme. Num-ber (N)ine formåede at skabe sig en position indenfor herremoden som ingen kunne måle sig med. De klare referencer til fortidens ikoner gjorde at kollektionerne skilte sig ud og skabte en magi omkring mærket. Blandt andet er kollektionen her på siden in-spireret af Gus Van Sants film My Own Private Idaho. Der var historier bag kollektionerne, hvilket gjorde dem mindeværdige og gjorde at de ikke blot fors-vandt i glemslen. En gennemgående inspiration for designeren bag, Takahiro Mi-yashita, var hans fascination af Amerika og han brugte landets ikoner som musikerne Axl Rose, Kurt Cobain og Johnny Cash til at opbygge et univers omkring. Selvom referencerne var utrolig nøjagtige blev det ikke utrovær-digt, for gennem alle kollek-

tioner kunne man fornemme at der var et klart aftryk af Number (N)ine. Mærket har formået at opre-tholde en mystik omkring sig ved ikke at overeksponere sig selv eller på nogen måde gå en kom-merciel vej. Hans butikker er aldrig placeret åbenlyse sted-er, men gemt på obskure sted-er i storbyer som Tokyo og New York. Number (N)ine var ikke kun et ledende mærke i Japan, men tværtimod i hele verden. Det var kreativitet, inspiration og gennemført god stil. Number (N)ine vil blive savnet og er et stort tab for modeverdenen. re-daktionen

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WHEN YOU’RE FINISHED CHANGING, YOU’RE FINISHED

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