Maud Traon is a ground-breaking jewellery artist who launched her new collection into the world of fashion by combining precious and unexpected materials. Instantly creating an innovative approach to jewellery design, Traon’s variety of craft techniques used help to convey dynamic, imaginative themes of dream landscape and fantasy. This collection see’s her expand on her trademark concepts of explosive colour fusions and surprising usage of mixed-media, effortlessly creating otherworldly jewellery at its finest.
Have you always wanted to be a Jewellery designer?
Oh, no! It kind of happened really.
When did you realise that jewellery making was your calling?
I had a shy start at making jewellery. So I started a course an afternoon a week while studying Communication in Paris, it soon started to be the only thing I was looking forward to doing. At the end of the academic year I decided that was it, I left everything and started to do jewellery.
You launched your career by studying Communications and Jewellery in Paris and then came to London in 2005 for an MA. How do you think the two cities have influenced your unique style?
The cultural differences had a massive impact on my work. One of the first projects I started, when I first arrived in London, was on packet of crisps. I had an ambiguous attraction to them. They represented at the same time the junk, the bad, but such a natural thing to snack on here. It almost started to become a symbol of freedom to me. The other thing about them was the vibrant colour of the packets, that I at any point could relate to food or something edible. So I suppose this complex relationship between fake and real, the confusion between the inside and the outside, is something that is still very present in my work. And of course a fascination for colours.
Describe the process of creating a piece of your jewellery, how do you go about designing them and who creates the actual piece?
I create the pieces, they are all handmade. Concerning the design that is a tricky question. I have in fact started sketching only very recently, but I collect lots of things. From pizza flyers and wrapping paper of chocolate bars, to tacky object. And I am permanently chasing unusual glitter…stone shapes with interesting colours. I suppose the act of collecting on such a regular basis creates informal thoughts and guidelines that very often become the starting point of a piece.
What are your favourite materials to work with?
I would say glitter. But I guess it is more the entire process of making really.
A series that really stands out is ‘Dreams: Rings and other shocking things’ where each piece is so flamboyant and complex that it looks like it could be found in space. Where did the inspiration for that come from?
[By thinking] what ring would I wear on my “I want to be a princess” day? In an imaginary ideal planet, where the Milky Way would create stardust for us to wear. A way to escape the reality of the inevitable value system.
What is next on the horizon for you?
I will take part to an exhibition at the Musée des Arts Décoratifs in Paris next September and [I] will take part in Goldsmith’s Fair next October.
How do you hope Maud Traon will evolve?
For the moment I am really happy being able to present jewellery collections, as well as some more artistic and more exhibition based work. And I truly hope to be able to maintain this balance, as to me these two directions are really feeding each other.
Words / Caroline Schmitt
Follow Caroline on Twitter @caro_schmitt
It’s no coincidence that two young designers, independent of each other, launched debut collections focusing on organic fabrics and eco-friendly production methods. Sustainability has been a hot topic within the industry for some time.
Now, consumers are paying attention, especially following the tragic deaths of more than 1,000 Bangladeshi workers after the collapse of an apparel factory. The subsequent outcry has raised questions over fashion companies’ sourcing strategies and the general green-ness of modern-day fashion. For designers Bobby Kolade and Mats Rombaut, going green was never in question. They are part of a new generation making a blueprint for the future with eco-friendly fashion.
Both Kolade and Rombaut spotlighted bark cloth in their AW13 collections shown in Berlin and Paris, respectively. The fabric is one of the oldest known unwoven textiles and UNESCO included it in an Intangible Cultural Heritage list in 2008. “Surprisingly soft” is Rombaut’s description of the fabric. Lifted carefully off of fig trees, the inner bark is boiled before being beaten soft with several wooden mallets. The bark harvesting is limited to once a year, and only specially trained craftsmen know how to manipulate it into the soft and usable end-product. “The combination of the long process, the craftsmanship and its history makes bark cloth the epitome of a luxury product,” says Kolade.
Raised in Uganda, German-Nigerian Bobby Kolade knew the fabric from his childhood. “I’d never considered using it in a collection,” Kolade says, admitting he only rediscovered the textile at a friend’s place. He made bark cloth the reference point for his womenswear collection, calling it ‘Things Fall Apart.’ Bark cloth is a very delicate fabric and a tear or two is to be expected in every delivery, Kolade informs us. Instead of discarding these pieces, he simply used them for inspiration. “The bark cloth pieces you see in the collection have been bonded with wool, to give it stability,” Kolade says.
Rombaut coated the bark cloth he used for his men’s shoe line with Amazon rubber. An organic solution for reinforcing, as well as waterproofing the shoes. Unlike Kolade, Rombaut wasn’t familiar with the fabric and went through four years of researching organic options. “I was researching leather alternatives for a long time, so when a friend introduced me to bark cloth, I immediately knew I wanted to use it,” Rombaut explains. Neither Rombaut nor Kolade would ever use skin in their collections, but while Kolade is eager to develop the fabric, Rombaut is constantly looking for more tenacious fibres.
Oliver Heintz, one of the only bark cloth merchants in Europe (and both Rombaut and Kolade’s supplier), has been pioneering the use of bark cloth, and in 1999 he started his own range of bark cloth textiles named Barktex. “We use a range of technologies (coating, quenching, wetting, lacquers, tanning etc.) which have been adapted from the textile, wood and leather industries. Although “most are hand applied and made in Uganda under rather difficult circumstances and independent from electric power,” Heintz says, he is quite certain that he will one day break the code to providing a resistant bark cloth textile.
Words / Lars Byrresen Petersen
Follow him on Twitter @LarsLaLa
The name Montblanc is synonymous with quality, integrity and innovation. Themes that run through every product, thus resulting in a brand that can always be relied on to be at the forefront of new initiatives. The Montblanc Cultural Foundation is one of such initiatives.
Now with 15 years under their belts, this landmark see’s Montblanc celebrate their years of partnership with the Hamburger Kunsthalle/Galerie der Gegenwart, by the opening of a new exhibition by the talented German artist: Ulla von Brandenburg. Titled Das Versteck des W.L., 2011 (translated to ‘The hiding of W.L.’), the work consists of several sculptures, objects, diverse silhouettes and a 16-mm film curated by Brandenburg’s mysterious alter ego: W.L.
The idea of W.L. is never explicitly explained, neither is what he is hiding from, but through this exhibition we can begin to learn more about this character Brandenburg would like to express. The exhibition is reminiscent of a lot of Ulla von Brandenburg’s work, as she brings in references to archaic notions and certain occult themes. This is overtly present in the film which is projected onto a white wall in a separate room.
While viewing the movie, immediately the tone of the exhibition is changed, as we are shown an ancient ritual being performed in Sardinia. Filmed in one take, we become privy to an intimate and sinister dance -consisting of a circle of men dressed in costumes of Mamuthones and Issadores, taking part in the celebrations of St Antonio in January.
The men portraying the Mamuthones wear black masks, heavy black fur jackets and bells that create a shocking sound with every movement, while the Issadores are shown wearing white masks and appear to not have as much power within the group. Like most of the pieces in the exhibition, each work of art has a sense of mystery surrounding it, linking in with the idea of ‘hiding’ but also ensuring viewers are allowed to speculate themselves. Creating a story around this elusive W.L. and what this character might be trying to articulate.
Another theme surrounding Das versteck des W.L. is the idea of time, a theme which can be intrinsically linked with Montblanc itself. Their handmade unique products are considered pieces to be handed down through generations, thus becoming timeless. With this exhibition though, we see a conscious contrast which Ulla explained, “I really love this kind of ephemeral art -which is also in the theatre, because it’s only here for the second and then it’s done- and so I like this idea to integrate with my shows … that they are only lasting for this moment, and that they are always adapted for every space differently.” This loop is then closed through the mutual acknowledgement of craftsmanship and authenticity found in Ulla’s work and, of course, within the Montblanc brand.
The Montblanc cultural foundation works by supporting projects in the field of contemporary art, be it experimental theatre to classical music. With the art initiative, it sees the brand working with Hamburger Kunsthalle/Galerie der Gegenwart by acquiring a work of art every two years which is then loaned to the museum for 100 years. With the collection already featuring pieces by renowned artists such as Stephen Huber, Sylvie Fleury and Marcel van Eeden, the cultural foundation appears set to continue going from strength to strength.
When speaking with the CEO of Montblanc, Lutz Bethge, he explains why this is so important to Montblanc. “I believe it is the soul of the Montblanc brand, Montblanc has always somehow been linked to art and culture because our roots are of course, within writing. We believe that time has become so precious, that you really have to make sure that you make the most of it … that you take time for the most important things in your life. When it comes to art the only rules they follow is to break the rules, and that is something which is exciting, inspiring and which is what we feel makes life worthwhile”
Ulla Von Brandenburg, Das Versteck des W.L., 2011 will be exhibited at the Hamburger Kunsthalle/Galerie der Gegenwart from May 16th – June 23rd, 2013. After which the artwork will be shown at the Montblanc Gallery in the company’s Hamburg headquarters for a period of two years, before it finds its permanent home at the museum.
For more information please visit: http://www.hamburger-kunsthalle.de/index.php/brandenburg/articles/brandenburg.html
Words / Jade Thompson
Follow her on Twitter @IRWRITER
Efterklang in Danish means “remembrance” or “reverberation” and this word perfectly defines this core three-piece band’s music. The unique mix of indie folk, electronica and synthpop that Rasmus, Casper and Mads perform (with the addition of live band players when they are on tour), makes for a mind blowing experience. Schön! Talks with Rasmus and Casper about inspiration, touring and the future.
Let’s start talking about your new album Piramida. Why did you choose to visit this ghost town and to turn it into the title of your new work? (Piramida is a Russian settlement and coal mining community on the archipelago of Svalbard, in Norway, that was closed in 1998 and has since remained largely abandoned with most of its infrastructure and buildings still in place)
We thought for a long time about the title of the new album, we were not sure we wanted to talk about our trip, ‘cause we didn’t want to make a concept album -we preferred to keep it open. Our idea was to go there just to be inspired and to get started, but then when the project came to an end we looked back to the songs and it made a lot of sense to tell this story and to name the album Piramida
What was your experience like on the trip?
The trip was really intense. They were only 9 days, but full of inspiration. A lot of material came out of that experience. It’s a place that provokes you to think about certain things, like the concept of time, or your own specific identity in your little world. You realize how small you are in the bigger picture. At first you get very scared, but then you become calm and you get used to the idea and it’s a really interesting process.
What inspires you most?
The most inspiring thing is music. We actually picture what we could sound like and it’s an inspiring thought process because you can put so many things in there. Music really edits itself, it’s incredible. We are very lucky ‘cause we are not typecast as a specific kind of band, so we feel so free to experiment. We even like to put ourselves in different spaces and places and think: What kind of music can we make in this hall? Or in this house? Cause we think that music really belongs to a place, so it’s really important for us to find the right place because in this way we get the inspiration we need.
What are the main differences between your previous albums and Piramida?
I think the previous ones were a combination of different layers and in Piramida we gave more space to the individual instruments and used fewer layers. Piramida is a little more focused, condensed and direct. Live performances taught us to give people the opportunity to create their own space into our songs. When we were younger, we just wanted to feel fine and make the craziest record, the most ambitious thing, and that’s what we actually did in our first 3 albums. They are very unique, but I think they are like a perfect sculpture. It’s beautiful to see, but hard to put on as a coat, you know what I mean? So we tried to make something that people could use, it’s a social thing. When you feel the need of making music of course you don’t think of anyone else, but what we are doing now is trying not to overdo it, or make it too nice, ‘cause when you do that you get a little too far from the listeners. We want to create a “space” where people can enter with their own thoughts.
What future projects are you working on?
At the moment many nice people are inviting us to do big and small projects, from an opera, to a tiny music college. We are in contact with a lot of artists from museums, and the theatre and the film world. Music is one thing, but it’s made by sounds and if you take those sounds you can use them in different spaces. We want to make some tests and experiments now. So we will focus on different collaborations, and then we will get back to the studio and make a new album.
For more info please visit: www.efterklang.net
Words / Vincent Urbani
Follow him on Twitter @vincent_urbani
ON THE DAY OF ITS CINEMA RELEASE, SCHÖN! EXPLORES THE COSTUMES OF THIS YEAR’S MOST HIGHLY AWAITED FILM, ‘THE GREAT GATSBY’.
A film adaptation of one of the greatest American novels of the 20th Century is always going to come under close scrutiny and, with delays to its release date, Baz Luhrmann’s long awaited interpretation of F. Scott Fitzgerald’s ‘The Great Gatsby’ is certainly no exception. Added pressure comes courtesy of a cinema classic: the 1974 version written by Francis Ford Coppola and starring screen icons Robert Redford, Mia Farrow and Bruce Dern. This time around, the leading roles are reprised by Leonardo DiCaprio, Carey Mulligan and Tobey Maguire, whose costumes are as highly anticipated as their performances.
‘The Great Gatsby’ is arguably THE seminal representation of the roaring twenties and the jazz age; its characters drawn from the young, beautiful and rich of Long Island. The 1974 version, with costumes by Ralph Lauren, has inspired countless catwalk collections and with flapper dresses and deco details sashaying down the runways of Gucci, Etro etc. these past few months, Luhrmann’s offering looks set to achieve similar sartorial success. This success can largely be credited to his wife and long-term collaborator, the multi Academy Award and BAFTA winning costume and production designer Catherine Martin.
Once again, fashion brands have played a major role in the creation of the costumes for Fitzgerald’s characters and Martin has chosen them carefully. She decided to collaborate with Miuccia Prada on the sumptuous clothing of the female characters, and together they created a bespoke collection of over 40 unique Miu Miu and Prada cocktail and evening dresses, inspired by runway looks from the last 20 years. “Baz and Miuccia have always connected on their shared fascination with finding modern ways of releasing classic and historical references from the shackles of the past,” explains Martin. “This connection is central to our relationship with Miuccia Prada on ‘The Great Gatsby’, and has connected our vision with hers…We have tried to create an environment that the audience will be subconsciously familiar with, yet separated from.”
A specially designed collection of platinum-set diamond and pearl jewellery from Tiffany & Co perfectly complements the period clothes. As America’s first great jeweller, Tiffany & Co symbolised the glitz and glamour of this golden age and, according to Martin, “seemed the perfect fit for ‘The Great Gatsby’ not only because F. Scott Fitzgerald himself was a customer but also because Louis Comfort Tiffany, the brand’s first Design Director, mixed in the actual Long Island circles described in the novel.” Tiffany & Co even supplied the china, silver and other accessories that adorn the interior of Jay Gatsby’s mansion in the film.
To accompany the cinema release and to celebrate its 175th anniversary, Tiffany & Co will release the Ziegfeld collection in June. Based on the brand’s art deco designs from the 1920s and the daisy motif that is integral to the movie, it includes pieces in sterling silver, black onyx and, of course, ropes of luxurious pearls – a signature of 1920s fashion. The gentlemen have not been forgotten, with black enamel cufflinks and a black onyx signet ring to complete the collection.
Meanwhile, Brooks Brothers has produced more than 500 ensembles for the male characters in the film based on Martin’s designs, many of which were inspired by 1920s items from the brand’s archives. Established in New York in 1818, Brooks Brothers is America’s oldest ready-to-wear retailer and, as Martin points out, is “mentioned numerous times in Fitzgerald’s writings as a representation of the ultimate gentleman’s purveyor of fine clothing to the American man of distinction. It is this most basic and fundamental connection that has made our collaboration so authentic.”
Brooks Brothers has just released a limited edition collection for Spring/Summer based on Martin’s costume designs, including a version of the pink linen suit worn by DiCaprio – a symbol in Fitzgerald’s novel of all that remains naïve and fresh about Gatsby despite his wealth and opulent lifestyle – with the addition of subtle pinstripes. The collection also features bow ties produced using archival fabrics, bowler hats, regatta blazers and even a beech wood walking stick based on the one Gatsby carries in the film.
So ladies and gentlemen, don’t forget that Gatsby style is not reserved for the big screen. Whether it’s pearls or pinstripes, Prada or preppy, this is your chance to grab a piece of costume history for yourselves.
The Great Gatsby is released by Warner Brothers on 16th May 2013. For more information, visit thegreatgatsbymovie.com
Words / Huma Humayun
Follow her on Twitter @londonstylist
I meet WE ARE STANDARD while the Spanish band are performing the sound check for their concert in Madrid, consisting of four talented musicians, the band begin to rehearse material from their newest album ‘day’. Although the club is empty, the psychedelic vibe of their music is contagious, so I take my camera and recorder and I let go…
Why did you choose the word DAY as a title for the new album?
Well, all the other albums were too much oriented towards night and club culture. We wanted to make a ‘wider’ album with songs that you could listen to during the daytime too. Something good for both your Saturday nights, and Tuesday afternoons [laughs].
How would you define WE ARE STANDARD’S music?
Psychedelic pop for sure, we are more house now than the electro we used to be. Our music is a mix of sixties pop, rock and psychedelia.
Which bands influence your music?
The 13th Floor Elevators, The Stones, The Pretty Things, The Electric Prunes, The Clash, Dead in Vegas and the Manchester scene of Primal Scream and Happy Mondays. The Velvet Underground are a great influence too, I have to confess that we started playing thanks to them.
Is there an artist you would like to duet with?
Mmm, maybe Brian Wilson.
What about your tour?
We are touring in Spain now and maybe after that we will start a European tour too, but I can’t confirm any city yet.
Do you prefer performing in small clubs or in big festivals?
I personally prefer small clubs performances to feel the energy of the crowd very close to me, but the rest of the band prefer festivals [laughs].
Would you like to work on a soundtrack? And if so, who would be the perfect director of the movie?
Oh, it would be nice, even [though] I’ve never thought about that. It would be very cool to work with Wes Anderson, cause his movies are just great.
If you could choose any famous director to work on your next music video, who would it be?
Working with David Lynch or with Quentin Tarantino would be such an honour.
What song will you choose for your next single?
We don’t know yet, maybe ‘Something Bigger’, the track that opens our new album.
To find out more about WE ARE STANDARD visit: www.wearestandard.net
Words / Vincent Urbani
Follow him on Twitter @vincent_urbani
The appeal of animated films amongst kids and adults is something that is unlikely to wane. When sequel Kung Fu Panda 2 opened in the UK it beat competition such as The Hangover II and X Men: First Class, and made an excess of £6 million. However, loveable heroes such as Shrek, Po (Kung Fu Panda) and the cast of Madagascar would merely be a 2D sketch if not for the likes of Lead Lighting Artist, Gregory Jennings. Working for major animation studio Dreamworks, we caught up with him to find out more about his intriguing role…
The introduction of CGI has allowed animations to compete with films at the box office – it’s easy for the average person to not understand how much input goes into a feature length animation. Talk us through the Lead Lighting Artist’s role.
It’s hard to describe the full process of CG Animation but it is fairly similar to a regular movie if you forget it is all computer generated. I guess the biggest difference lies in the fact that we have to build everything from scratch which is obviously a very long process. As a Lead Lighter, my job is to establish the look of a sequence – its atmosphere and ambiance, through lighting. The Production Designer and the Art Director would typically hand us some art work with rough colour scripts and indications of what they are looking for, and I am then responsible for transposing this into the movie. For this I place lights in a 3D representation of the shot’s environment, in the same way one would place lights on a movie set.
You’ve worked on some great animations including Rise of the Guardians, Madagascar 3: Europe’s Most Wanted and Kung Fu Panda 2. On average how long does your team have to work on each one?
The team evolves as the movie goes through different stages of production. Usually a small team would start earlier to establish the look and start troubleshooting technical issues but most of the Lighting department would typically spend around a year on a project.
You studied Fine Arts and then moved onto Computer Graphics – when did your fascination with animation begin?
As a kid I was crazy about any kind of animation, be it Disney, Don Bluth, Tex Avery, or even darker things like the Brothers Quay, and as I was studying Fine Arts I started thinking of it more seriously. It turns out that CG was becoming more accessible and mainstream, and from the moment I got my hands on 3d Studio Max I was hooked.
Early in your career you freelanced as a CGI generalist – what inspired you to specialise in visual effects?
I have always felt more involved in what relates to the final look of the image and I think it’s a perfect match for me. I sometimes miss the amount of control I had on other aspects of the shots when I used to be a generalist but [now] I get more time to focus on what I enjoy most!
What process of your job do you enjoy the most?
I like being at the end of the production line! It can become nerve-wracking at times when other departments you depend on delay their schedules and you are in crunch time, but having control over the final image is very interesting and rewarding. I also enjoy the balance of technical and artistic work that keeps me entertained throughout the day!
Do you envisage staying in lighting for the foreseeable future or do you have ambitions to explore other areas?
I don’t have anything clearly planned in the near future but I am becoming more and more interested in digital sculpting, as well as visual development. I am not considering either of these from a professional standpoint, but it’s very important for me to constantly keep busy and learn new things.
What projects do you have in the pipeline?
I’m not allowed to talk about upcoming projects at Dreamworks – sorry, but in my spare time I am working on a series of digital sculptures with reference to the work of Franz Xaver Messerschmidt and I have a photo book in the making.
What advice would you give to someone who has an interest in VFX as a career?
I think we are only at the start of CG and we still have worlds of possibilities to explore, whether in realism or in abstract form. Be adventurous, curious, open-minded and be dedicated to your art!
Which film would you love to see as an animation?
This might seem strange but I’d like to see something like The Cabinet of Dr. Caligari or Fahrenheit 451 adapted in animation. CG is mostly used to create fairy tale creatures, robots and lost worlds but I wish we would explore other genres. Both these movies are very modern in many ways and it isn’t that hard to imagine a modern interpretation. A graphic novel I would like to see being animated is ‘Domu’ by Katsuhiro Otomo. Epic in all regards!
To view more of Gregs’ work please visit: www.greg-jennings.com
Words / Ihunna Eberendu
Follow her on Twitter @ihunnamatata
Master creator of a delicious sounding and indeed, looking, electronic pop-type rap, Israel’s Adi Ulmansky is conquering our post-dubstep planet. Sugar sweet with her candy-coiffure, Schön! talks inspirations and aspirations with the young lady who is proving – along with the likes of Azealia, Iggy, Brooke and Grimes – that girls really do run the world.
You have noted Radiohead as a huge inspiration to you – what is it about their sound that has influenced your own?
I don’t think that the influence that Radiohead has had on my music is something you can actually hear in what I do. It’s more that they made me realize I am into electronic music. I was always into guitars and drums but once I heard ‘Kid A’ – I just fell in love with electronic music and the whole aspect of producing.
Who else do you cite as inspiration?
I am inspired by a lot of art and artists, from fashion to visuals and music. I think musically I’m really inspired by a lot of rappers like Missy Elliott, Angel Haze, Danny Brown and also by a lot of producers like Hudson Mohawke, Rusty and Diplo.
You are one third of the band Lorena B – what drew you to pursue a solo career right now?
I am proud of the music we achieved as a band, the things we accomplished and all the fans we got in Israel; but I’ve always worked on other stuff in parallel, like the collaborations with Borgore [‘Someone Else's’ and ‘Why Does It Feel’]. Working on my own music gives me a way to express exactly what I want to, without having to compromise on anything. It [working as a solo artist] is much harder and much more stressful, but on the other side it is much more rewarding!
What is the Israeli music scene like at the moment? Are there any other artists we should be looking out for?
Israel is very small so there aren’t a lot of musicians, but I must say that those who are out there are doing really cool things and lots of them are very unique. I especially love Battering Trio and Tiger Love.
You have a unique style which transcends your music to your videos and general appearance – is image important to the overall brand of Adi Ulmansky?
I think image is a part of the whole thing which is Adi Ulmansky. I’m here for the whole package – it’s not only music and not only fashion – it’s a way of living, an attitude, something that I live and breathe each and every day that comes out through what I create.
Video plays a huge role in your music, you have worked with filmmaker Vania Heymann and co-directed with Ori Sinai – do you enjoy this aspect of creating?
The videos are as important as the music, and I really enjoy taking part in building the whole visual side of things. I also directed with a friend called Nir Perry, for a new video which was just released – ‘My Heart’ – and it’s such an amazing feeling to see how your idea becomes a reality.
There are some strong female rappers/producers coming out at the moment (Grimes/Iggy Azalea/Brooke Candy/Azealia Banks) are you proud to be a girl in the music industry right now?
I am really proud to be a female producer and to lead the way, just like Brooke, Iggy, Grimes and Azealia do. I think it’s an amazing change, it’s so fresh and different and the fact that it’s no longer a surprise that a girl knows how to produce feels really good.
What is next for Adi Ulmansky?
I’m currently working on new music and I’m going to do a few festivals in Europe and Israel. Two new videos are on their way as well so, lots of work, and lots of fun!
Adi Ulmansky’s debut mixtape ‘Sh*t Just Got Real’ is out now, for more information visit her website: www.adiulmansky.com
Words / Roxanne Golding
Follow her on Twitter @RoxanneGolding
The Winds of Autumn is a spectacular fashion film by award-winning photographer and film director Hervé Demers. Shot near Victoriaville (two hours north-west from Montreal), Winds of Autumn uses the exquisite Canadian landscape as a background for the work of four designers from Montreal Fashion Week 2013. The 3 minute long video captures a gathering of 150,000 snow geese, a phenomenon which only happens during one week of the year. Coupled with the delicate pieces from Anastasia Lomonova, Martin Lim, Anomal Couture and Helmer, Winds of Autumn bewitchingly combines natural beauty with man-made art, making us fall in love with both all over again.
Recently Hervé Demers has joined the London based production company: Leap Films. No doubt the beginning of an alliance made in cinematic heaven.
This online exclusive has been produced by:
Director, Editor & Colourist / Hervé Demers
Art Direction & Styling / Olivia Leblanc @Folio
Makeup Artist / Julie Bégin @ Gloss
Hair Stylist / Emmanuelle Campolieti @ Gloss
Camera / Hong An Nguyen
Montreal Designers /
Camille @ Folio Montreal
Robin @ Folio Montreal
VFX / Visna Chau
Music / Vincent Fournier-Boisvert
For more incredible editorials check out the latest issue of Schön!
Sue Walker founded Kids London, a children’s modelling agency, in 1996 after having worked as a model herself. Noticing a gap in the market, the agency was born out of Walker’s dedication to providing the modelling world with a wider representation of the children in urban London. Talking to Schön! Sue gives an insight into the person behind the successful company. We discuss the glamour of the 80’s modelling world, starting your own business and making amazing things happen for other families.
You started out as a model, what was that like modelling in the 80’s/90’s?
Less pressure than today’s modelling world, more relaxed, good money, lots of fun and plenty of partying in all the cities. We were young and having fun, seeing the world and earning good money. I had a fantastic time and met some great people…saw many wonderful places.
Do you ever miss modelling?
No. As I grew older and had a child, your priorities change, going away from your children when they are young did not appeal to me.
Starting any new business is hard, what were the biggest problems you faced when you first started out?
You have to believe in yourself to make others believe in you. Also for me, working in an office 10am-6pm, 5 days a week – I just wasn’t used to that kind of life. So I needed to adjust to being committed and to less freedom.
How does your previous career as a model help when running Kids London?
A lot, I’ve lived the life of a model and know what it’s like to go on the castings, the rejection, the effort that is required, the travelling involved. You cannot buy experience.
How has the children’s modelling industry changed since you began your agency?
Its grown so much in the last 15 years, more designers and brands are doing kidswear. It really has turned into a mini adult modelling agency in the sense of advertising. Big campaigns with big name photographers, and edgy editorial shoots, [it's] very stylised. Parents will always spend on their kids more than themselves and retailers recognise that. Also everything in adult fashion you can guarantee a mini me version.
You set out to create an agency that reflected a diverse range of children, has your ethos changed at all since then? If so/not, why?
No my ethos hasn’t changed here in the UK, especially London. We have a huge mix of all races and cultures, which makes for some wonderful/ beautiful faces. I find that more interesting to photograph, for the past few years the top kid models in Kids London have been either Chinese, or mixed race afro Caribbean.
What plans do you have for Kids London in the future?
To continue to strive at being one of the best kid’s agents, and to give people opportunities that they may never have had. I love making amazing things happen for people and families.
What advice would you give to someone trying to start their own modelling agency?
Good luck. It’s very hard work and takes a lot of dedication. With any business it takes over your life which can be difficult if you are also raising a family. You only get out of life what you put in, the same goes with a business.