LOUIS XIII Rare Cask de Rémy Martin

A charity auction selling a rare cask to help children suffering from life-threatening heart diseases, raised over £50,000 in Central London yesterday. On Wednesday May 22, 50 guests took part in an auction at Dartmouth House in Mayfair to support the charity ‘Chain of Hope.’

The main subject of the gathering was a Louis XIII Rare Cask 42,6, which is named after its 42.6 % alcohol content. A luxurious beverage, which has a note of gingerbread, ginger and tobacco leaf. There is a limited edition of only 738 decanters available worldwide, they will be commercially available at Harrods and Hedonism Wines from June for RRP £20,000.

Lord Jeffrey Archer held the auction that aimed to made the public aware of the charity Chain of Hope. It provides corrective surgery for children with heart diseases, and the kind of treatment that they would otherwise not have access to, as well as forming volunteer teams to expand to developing countries like Mozambique, Uganda or Ethiopia.

Find out more about Louis XIII at louisxiii-cognac.com

Please support ‘Chain of Hope’ by simply clicking here

Surrounded by scrumptious delights and dressed in even sweeter treats, here marks the fusion of food and fashion with a multimedia shoot exclusively for Schön!. A cool concept created by Dionne Loftus and Frankie Pike puts their talents on show, with Loftus at the helm of the video, directing and editing the tasty fashion film, while Pike heads up the photography, a formidable if not highly palatable force. We quickly see how the sugary-sweet can turn a little sour, as Ladurée’s finest are smashed, Lola’s Cupcakes crushed and Marc Jacobs’ Diet Coke given an erupting ice-cream float. The delectable styling from Tomas .C. Toth, treats us with the likes of Richard Nicoll, Christian Lacroix, and Fred Butler. Today you will forget the diet and feast on fashion.

Photography / Frankie
Shirt / Universal Works, T-shirt / KTZ, Belt / Antipodium, Bag / Fred Butler

Photography / Frankie Pike
Left: Cat Suit / KTZ, Bag / Fred Butler
Right: Shirt / House of Nines, Vest / T.Lipop, Coat / Agi & Sam

Photography / Frankie
Left, Him: Shirt / Bobby Abley, Shirt / Christian Lacroix, Coat / Agi & Sam, Shorts / Agi & Sam
Her: Shirt / Agi & Sam
Right: Dress / Richard Nicoll, Bra / Jane Bowler, Skirt / Heohwan Simulation, Gloves / Bas Kosters

This online exclusive has been produced by:
Directed & Edited / Dionne Loftus
Photography / Frankie Pike
Styling / Tomas. C. Toth
Hair / Takanori Yamaguchi
Make Up / Ellie Tobin
Set / Angus Buchanan
2nd Camera / Noëmie Bottiau
Music / The Fall – Eat Yourself Fitter
Models /
Curt @ Nevs Model Agency
Georgie @ Profile Model Management

For more incredible editorials check out the latest issue of Schön!

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Photography by Nina Kadatko

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.

Photography by Nina Kadatko

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.

Photography by Nina Kadatko

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.

Photography by Nina Kadatko

Words / Caroline Schmitt
Follow Caroline on Twitter @caro_schmitt

Photography by Virgili-Jubero

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.

Photography by William Minke

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.

Photography by Virgili Jubero

Words / Lars Byrresen Petersen
Follow him on Twitter @LarsLaLa

Photography by Kay Riechers

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.

Photography by Kay Riechers

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.

Photography by Kay Riechers

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”

Photography by Kay Riechers

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

Photography by Hermoine Macura

The humanitarian crisis currently unfolding in the Arab world, as a result of the Syrian civil war, has resulted in millions of refugees fleeing for their lives to countries such as Jordan and Lebanon. Schön! meets with Hermoine Macura and Sara Semlitsch, two photographers who are documenting the crimes against humanity in their latest photographic exhibition ‘VICTIMS OF WAR’.

Photography by Sara Semlitsch

Tell us about your background?

Hermoine: I am the first Australian female English speaking TV News Anchor in the Middle East and CEO of STRAIGHT STREET MEDIA. My portfolio over the last ten years in the Arab world includes; the delivery of live-to-air news bulletins, and a variety of other shows including the three hour live launch of the Burj Khalifa and Maak Ya Lebanon -a programme that raised 55 million dirhams to help people caught in the conflict. My first book, FACES OF THE MIDDLE EAST, was published in 2010.

Sara: I’m originally from Graz, Austria and come from an artistic family. During my time in the Arab world I have created several art collections and designed award winning books such as Women of the UAE. Most of my work involves fashion and luxury brands, however this project was something that was really important to me as a woman and how as a photographer I can use my craft to educate and impact the world.

What is the VICTIMS OF WAR (VOW) project?

Hermoine: VICTIMS OF WAR is a trans-media photo journalism project that aims to redefine our interpretation and understanding of continued conflict in the Arab world through the eyes of the victims caught in various conflicts in the region.

Sara: The project focuses on women and children and also victims of sexual based violence. We also partnered with the UNHCR to gain access to several sites where refugees are being cared for such as in Jordan and in Lebanon.

The exhibitions will be held in Dubai, Qatar and New York. What inspired you to launch VOW?

Sara: It’s clear today that most people have become desensitised to war due to the constant bombardment of graphic images via the media. We would like to change this by showing a different side to the conflict that is not often portrayed on TV. We hope this will stimulate empathy and raise awareness of how much suffering is actually taking place.

What have you covered so far in the Arab world?

Hermoine: I have covered several conflict zones in the Arab world, including Iraq, Lebanon 2006 and Syria. We recently
spent a few days in the Zaatari refugee camp with more than 300,000 refugees including women and children.

Photography by Hermoine Macura

Photography by Sara Semlitsch

Tell us about some of the cases you have uncovered?

Sara: In the Zaatari refugee camp there are hundreds of small kids and women. Some women shared stories of delivering on the borders as they were fleeing persecution. The refugee camps are also full of elderly people who have seen their children killed and houses burnt to the ground. There were several times I had to fight back tears and this really broke my heart to see the elderly having to stay in a refugee camp.

Hermoine: I hate war and the ramifications that it produces. As in many cases I have seen, women and children always suffer the most. Sexual and gender based violence is rampant throughout Syria and among refugees. I interviewed many women and medical workers who shared horrific stories of sexual abuse and sexual violence.

Where will the exhibitions be held?

Sara: We have three exhibitions that will take place globally. We have one that will be held in Dubai, UAE, Qatar and then in New York at the Aperture Gallery. All funds raised from the exhibitions will be donated to humanitarian organisations currently on the ground in Syria and in the surrounding countries.

Hermoine: We have also shot a documentary of real life testimonies and footage in the camps. Each exhibition will have panel discussions with leading experts discussing the facts and informing visitors about the war.

Hermoine Macura and Sara Semlitsch
Photography by Straight Street Media

VICTIMS OF WAR will take place in Dubai, Qatar and New York in the following months;

Dubai: June 2013
Qatar: July 2013
New York: September 2013

Dates and locations will be confirmed on the VICTIMS OF WAR Facebook and Twitter at the end of the month.

For more information please visit: www.victimsofwar.ae

Photography by Vincent Urbani

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.

Photography by Vincent Urbani

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.

Photography by Vincent Urbani

For more info please visit: www.efterklang.net

Words / Vincent Urbani
Follow him on Twitter @vincent_urbani

From the Brooks Brothers limited collection inspired by The Great Gatsby

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.

Left/ Knee-length dress in tulle embroidered in Swarovski crystal by Miu Miu.
Right/ Orange organza dress inspired by the Prada Fall/Winter 2011 collection.

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.”

From The Great Gatsby Collection by Tiffany & Co.

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

Photography courtesy of Hauser Gallery

Hauser Gallery in Zurich is currently exhibiting the solo show “des astrum” by twin brothers Markus and Reto Huber, known as huber.huber. Throughout the series, the artists address the transience of man and nature with a great subtleness that takes a while to identify, but feels perfectly appropriate to its subjects after. Butterflies, rich colours and dreamy illustrations are arranged in collages, drawings, photographs, objects and installations. All of these are cleverly arranged layers, so each piece is its own statement of the ambivalent relationship between civilization and nature.
The main themes of hopes, fears, beliefs, death and failure of mankind is being analysed in an artistic yet quiet way that has a peaceful effect on viewers despite the fact that exploring topics like ‘failure’ are quintessentially destructive.

Photography courtesy of Hauser Gallery

One of the most interesting aspects about the brothers’ works is the way they are inspired: For a previous project ‘Small Bodies I’, they found personal black-and-white photographs of holidays, landscapes, playful horses, fireworks, celebrations and nude women found at flea markets in New York. For Des Astrum, huber.huber follow the same theme by destroying the idyllic atmosphere captured in the images through natural forces, using multi-layered motifs and a vast array of different techniques and materials. The intriguing mix of destruction and peace found in the pieces leaves us unable to draw away from the images, as the art cleverly captures the calm before the storm.

Markus and Reto Huber (*1975) studied Arts at the Zurich University of the Arts (HGKZ). Since beginning to work together in 2005, their work has been exhibited and awarded internationally.

Photography courtesy of Hauser Gallery

For more information please visit: www.hausergallery.ch

Words / Caroline Schmitt
Follow Caroline on Twitter @caro_schmitt

Photography by Samuli Karala

New York based photographer Samuli Karala has created an exclusive editorial for Schön! that shows just how many dimensions one idea can have. Originally from a fashion photography background, the artist interprets femininity as a static and stunning culmination of skin, bones and character with strong Romanic influences. The poses themselves appear to cleverly play on the typical brooding poses that can be found all over Rome, with Karala recreating the form making it all the more interesting. The artistically applied splashes of paint across the lips and down the model’s neck create a striking contrast, highlighting the human within the statue.

Photography by Samuli Karala

Photography by Samuli Karala

This online exclusive has been produced by:
Photography / Samuli Karala
Make-up and hair / Janne Suono
Make-up and hair assistance / Ellen Walge
Model / Triinu @ E.M.A
Post-production / Sinisa Savic, London

For more incredible editorials check out the latest issue of Schön!

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