http://pitchzine.com PITCH // ISSUE #17 Tue, 28 May 2013 06:47:40 +0000 http://pitchzine.com en http://pitchzine.com/SMALL-HOUSE-BOOKS http://pitchzine.com/following/pitchzine.com/SMALL-HOUSE-BOOKS Tue, 28 May 2013 06:47:40 +0000 PITCH // ISSUE #17 5701103 SMALL HOUSE BOOKS <img src="http://payload170.cargocollective.com/1/2/95585/5701103/IMAGE-3.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701103/IMAGE-3_o.jpg" data-mid="30890419" border="0" align="left"/><img src="http://payload170.cargocollective.com/1/2/95585/5701103/quote2.jpg" width="399" height="137" width_o="399" height_o="137" src_o="http://payload170.cargocollective.com/1/2/95585/5701103/quote2_o.jpg" data-mid="30890363" border="0" align="left"/> Words by Anthony Thomas Given the state of the print media industry, publishing limited run photo and art books hardly seems a logical, let alone viable, endeavour. Fortunately, under Small House Books, Charlie Hillhouse does exactly that. Arriving at the QCA trained photographer’s live-in studio nestled in the heart of Paddington, I’m met with a lush, vertically aligned landscape, the sound of a hip-hop mix tape looping in the background and greetings from a reserved but warm Hillhouse. Conceptualising a niche publishing venture may seem absurd to most, let alone continuing to develop and actualise the idea. This may lead you to believe that Small House’s relative success is the design of an elaborate marketing scheme. Incorrect. “Before my final year (at uni) I started collating all of my photographs and putting them into books. I wanted a holiday project to see if I could do it and really enjoyed the process. Once that happened and I finished the first one, I kept thinking about the next one and the one after that.” <img src="http://payload170.cargocollective.com/1/2/95585/5701103/image-2.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701103/image-2_o.jpg" data-mid="30890382" border="0" align="left"/><img src="http://payload170.cargocollective.com/1/2/95585/5701103/quote1.jpg" width="399" height="104" width_o="399" height_o="104" src_o="http://payload170.cargocollective.com/1/2/95585/5701103/quote1_o.jpg" data-mid="30910637" border="0" align="left"/> Hillhouse and Small House Books are one and the same. "It's my life. The things I find interesting and intriguing." His almost seamless integration of passion and work is an enviable situation for most but one he is reluctant to admit, much less bask in with gaudy satisfaction. "I just go along with it. Whatever happens, happens. I don't really plan it, one thing leads to another. I get really excited about something and just have to do it." Three years on, Hillhouse has released upwards of fifteen books, not all his own work either. In fact, he revels in the opportunity to work with other artists, leveraging the small nature of his operation to construct a dynamic, highly collaborative work culture. Though perhaps time-consuming, the unified approach to creation bears remarkable results. I’m curious to know what attracts him to work on certain projects. “I have to have some kind of affinity to the work. I've never published anything where someone has just come to me with something they want published. It's about working together. All the projects are very organic in the way they evolve. I don't want it to be me just creating something. I want them to feel like they are a part of this process. It's not about me just doing my own thing and putting books out. I've never worked that way with Small House books. I want the people I work with to share the enjoyment of having their work as a physical object.” Each project runs between 50-100 copies. Small House Books, the collector's item perhaps? "Sure. It's also less fuss if you're running smaller prints. When money isn't the goal you can do what you want. With Small House there is the freedom to do solely what you want, there's no pressure to raise huge amounts of funds. If it doesn't go that well then it's not the end of the world.” A refreshing ethic given the torrents of kitsch-art drowning contemporary culture. But is keeping this aesthetic a long-term goal? "Yes. It's purely about making the object, not thinking about the best way to sell or market it. Maybe the project isn't the greatest but it's something we wanted to do at that time.” <img src="http://payload170.cargocollective.com/1/2/95585/5701103/image-4.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701103/image-4_o.jpg" data-mid="30890489" border="0" align="left"/><img src="http://payload170.cargocollective.com/1/2/95585/5701103/quote3.jpg" width="399" height="137" width_o="399" height_o="137" src_o="http://payload170.cargocollective.com/1/2/95585/5701103/quote3_o.jpg" data-mid="30890424" border="0" align="left"/> Hillhouse also utilises a Risograph printer for appropriate projects, an interesting addition to his practise. Firing up his baby, a soft hum permeates. Describing it as a glorified photocopier, he goes onto explain that, "Using soy-based inks, it prints one colour at a time which allows for its own aesthetic that I can then play with. Sometimes it works for a project, sometimes it doesn't." He pokes around his studio for a moment and pulls out a small green zine called Waiya. The title features a body of work taken by Hillhouse himself while travelling through Tokyo. "The risograph really allows experimentation with the colour drums in the printer without the insane price tag." In this case, the photographs have been manipulated to stunning effect, the varying hues of the image highlighted by the corresponding tone of green. Before I leave, Hillhouse shows me through his vast personal collection of art books, records and zines. Pulling Mike Mills and Paul Kookier publications from the wall-sized bookshelf and flicking through them with careful affection, he offers considered and intelligent opinions on art, design and music in an off the record conversation. Refreshing, culturally aware and immersive - the insight into his persona beyond the professional context is remarkable. Devoid of gimmicks, Hillhouse and Small House Books shine equally as underground icons in their own right. Who said publishing is dead? http://smallhousebooks.com/ http://charliehillhouse.com/ SMALL HOUSE BOOKS Words by Anthony Thomas Given the state of the print media industry, publishing limited run photo and art books hardly seems a logical, let... http://pitchzine.com/LUKASZ-WIERZBOWSKI http://pitchzine.com/following/pitchzine.com/LUKASZ-WIERZBOWSKI Tue, 28 May 2013 06:47:39 +0000 PITCH // ISSUE #17 5701062 LUKASZ WIERZBOWSKI <img src="http://payload170.cargocollective.com/1/2/95585/5701062/image01.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701062/image01_o.jpg" data-mid="30879614" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5701062/quote1.jpg" width="399" height="134" width_o="399" height_o="134" src_o="http://payload170.cargocollective.com/1/2/95585/5701062/quote1_o.jpg" data-mid="30879634" border="0" align="left"/> Words by Chloë Cooper Five years ago, Polish Psychology student Lukasz Wierzbowski was time-rich and bored. Knowing that only the boring are truly ever bored, Wierzbowski set out on an endeavour to do something creative that would give him instant joy. And so from boredom was born a new identity and fervent passion - Photography. Since then, Wierzbowski has been featured in such publications as Dazed Digital, Frankie and Neon and boasts high profile clients Urban Outfitters, Pull & Bear and Penguin Books not to mention numerous gallery showcases and his new printed photography book Sequin Covered Swans. Achievements aside, it’s not hard to understand the appeal. Wierzbowski has a unique talent for capturing a wide array of raw human emotions not usually portrayed in photography. A combination of quirky, unusual and sometimes awkward poses as well as unique settings and props would easily seem staged and insincere when employed by other photographers. After all, it’s one thing to take photographs which employ these unusual themes, and it’s another to make your audience truly believe them. But there is never any doubt when viewing Wierzbowski’s images that these are the real deal. A girl headbanging over a grapefruit, conversations with dinosaurs, intimate relationships with statues, ritualistic environment interactions, gravity defying hair and the tangle of subjects with everyday objects. However seemingly absurd the environment and interaction may seem, the deep conviction emanating from every single image wrenches out an unexpected emotion and makes you feel as though you are spying on a private moment rather than looking at a preconceived image. Wierzbowski describes his work as “The lovedance of human, and it’s environment.” I couldn’t agree more. <img src="http://payload170.cargocollective.com/1/2/95585/5701062/image-2.jpg" width="670" height="460" width_o="800" height_o="550" src_o="http://payload170.cargocollective.com/1/2/95585/5701062/image-2_o.jpg" data-mid="30879666" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5701062/quote2.jpg" width="399" height="106" width_o="399" height_o="106" src_o="http://payload170.cargocollective.com/1/2/95585/5701062/quote2_o.jpg" data-mid="30879705" border="0" align="left"/> Perhaps Wierzbowski’s experience dabbling with the human psyche has given him an unmatched edge when it comes to the portrayal of real human beings. He explains that the knowledge gained through his psychology studies does help him to communicate and get the right connection with his models. But it’s much more than an education related influence. It would foolish to ignore other factors, the most significant of these being his native country. Snow covered fields, 70’s style interiors, and wooden panelling all feature heavily in Wierzbowski’s photography lending a nostalgic atmosphere through their incredible colour combinations and unusual patterns. “growing up in Poland] was a total experience. Watching MTV in a room totally covered in wooden panels, with colour carpet and even more colourful sofa. It seems a little surreal from a perspective. I guess I just couldn’t imagine living anywhere else” explains Wierzbowski. “The memory of these days lives in my imagination, lazy summer days spent at picking berries in the woods or my grandma’s yellow curtains.” <img src="http://payload170.cargocollective.com/1/2/95585/5701062/image-3.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701062/image-3_o.jpg" data-mid="30879852" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5701062/quote3.jpg" width="399" height="106" width_o="399" height_o="106" src_o="http://payload170.cargocollective.com/1/2/95585/5701062/quote3_o.jpg" data-mid="30879886" border="0" align="left"/> Another aspect which contributes to the raw, unedited quality of Wierzbowski’s work is his employment of film over digital technology. He explains his love of film as “The mystery of the final result. Digital brings results so fast that you don’t have the time to process it. Using analog makes you more selective. You wait for the perfect moment instead of pressing the shutter each second as it often happens with digital. The imperfection of the captured moment is much more interesting.” This process of waiting for the perfect moment is possibly what gives Wierzbowski’s work such an intimate and personal vibe. “Picking the moment that just feels right is super exciting. I encourage my models to let loose and forget about any kind of posing. I want the moment to be real and not recreated.” Whilst finding the right moment is just one element of the process, choosing the right location is just as important and has led to some interesting and unexpected events for Wierzbowski such as getting lost in the middle of a forest, finding abandoned buildings and getting locked out on a dizzying rooftop. It’s the excitement of never truly knowing what the end result of a shoot will be that creates such a rush for Wierzbowski who injects this intense energy into every shot. Currently working on a series of fashion and personal projects as well as basking in the afterglow of his book release, it’s all guns blazing for Wierzbowski. And while it’s all a matter of following his attuned instincts, the only thing Wierzbowski must remember is to bring the film and the rest will take care of itself. When asked what he believes makes a photograph truly great, Wierzbowski replies “If it sticks to our minds for more than a while, it means the photo is good. Our everyday life is filled with images, and after a while we seem to remember only the ones that somehow get under our skin for some reason.” With striking human resonance and an ingrained sense of truth, I don’t believe we will be forgetting Lukasz Wierzbowski’s photographs for some time to come. http://sequin-covered-swans.tumblr.com/ LUKASZ WIERZBOWSKI Words by Chloë Cooper Five years ago, Polish Psychology student Lukasz Wierzbowski was time-rich and bored. Knowing that only the boring... http://pitchzine.com/TIN-ED http://pitchzine.com/following/pitchzine.com/TIN-ED Tue, 28 May 2013 06:47:39 +0000 PITCH // ISSUE #17 5701020 TIN & ED <img src="http://payload170.cargocollective.com/1/2/95585/5701020/image-3.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701020/image-3_o.jpg" data-mid="30889366" border="0" align="left"/> Words by Madeleine Stack Tin and Ed make things. They make big things for big clients – MTV, Nike, and Telstra, just to name a few – and small things for small clients. No matter the project, they manage to keep all the charm and whimsy of their personal work intact. From humble beginnings as uni buddies working on a punk rock magazine together, the pair have built up a stellar reputation and impressive stable of clients, whilst maintaining a practice true to their punk beginnings. <img src="http://payload170.cargocollective.com/1/2/95585/5701020/image-2.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701020/image-2_o.jpg" data-mid="30889392" border="0" align="left"/> Mere ‘graphic design’ seems like an understatement when confronted with the vast array of projects in their repertoire. These have included everything from high-exposure advertising campaigns to installation, photography, and off-the-cuff personal projects embarked upon for no reason but to create. After being invited into their wild and wonderful workspace courtesy of Paul Barbera’s photographs in Where They Create, it’s easy to see that minimalism isn’t exactly their style, with their office stuffed with doodles, bright colours, and toys. The thread running through much of their work is that of a fantastical world – a place where the viewer can lose themselves and get swept away. It’s little wonder, then, that the big companies have come knocking for a piece of the magic. <img src="http://payload170.cargocollective.com/1/2/95585/5701020/image-1.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701020/image-1_o.jpg" data-mid="30889433" border="0" align="left"/> However, dabbling in the worlds of advertising, publishing, the visual arts, dance, fashion and architecture, it’s clear that Tin & Ed aren’t content with being the next graphic design wunderkinds. Aiming to strike the perfect balance between big-budget commercial projects and personal interests, the pair have created a playful world where the element of the handmade is paramount. http://www.tinanded.com.au/ TIN & ED Words by Madeleine Stack Tin and Ed make things. They make big things for big clients – MTV, Nike, and Telstra, just to name a few – and small... http://pitchzine.com/KLAUS-GOODS http://pitchzine.com/following/pitchzine.com/KLAUS-GOODS Tue, 28 May 2013 06:47:37 +0000 PITCH // ISSUE #17 5700807 KLAUS GOODS <img src="http://payload170.cargocollective.com/1/2/95585/5700807/image-2.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700807/image-2_o.jpg" data-mid="30877297" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5700807/quote1.jpg" width="399" height="136" width_o="399" height_o="136" src_o="http://payload170.cargocollective.com/1/2/95585/5700807/quote1_o.jpg" data-mid="30877378" border="0" align="left"/> Words by Taylor Mitchell Melbourne-based, leather and canvas carry goods label, Klaus Goods is the oeuvre of Jennifer Kulas. I spoke to Kulas about her Australian-made products free from labour exploitation, and the steps involved in creating a product that is “ a functional part of the fabric of quotidian life”. Her work focuses on creating objects that will retain relevance and quality. She is intimately involved with each step of the creative process, from sourcing leather or material, to “agonising over the perfect burnishing technique”. Prior to Klaus Goods, Kulas educated herself in textiles and art history. She then gained invaluable experience in the field of design and object construction when she worked as a photography and artist’s assistant at Confetti System in New York. Her comprehension of the technicalities of art is evident in her design philosophy: form follows function, a foundational idea of the Bauhaus school. “It perfectly encapsulates that which I hope to achieve through my work with Klaus goods. The challenge of creating functional goods that aid in daily living,that are a functional part of the fabric of quotidian life, and are not simply ornamental or extraneous. Again, it comes back to this idea of a relevant object, one that is considered and pertinent to its user and ultimately, I hope, loyal and functional for years to come.” <img src="http://payload170.cargocollective.com/1/2/95585/5700807/image-1.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700807/image-1_o.jpg" data-mid="30877414" border="0" align="left"/> Part of this relevance is how an object relates to its environment. All Klaus Goods leather products are made of vegetable tanned leathers. Vegetable tanning is a technique that utilizes the natural preserving qualities of tannins found in organic matter. This process is less harsh on the environment than the common ‘chrome’ tanning. The majority of their products are manufactured from kangaroo leather, a by-product of the Australian meat industry. The notions of sustainable fashion and consumer awareness are embedded in the essence of Klaus Goods. “I think there is a really long way to go in the fashion and manufacturing industry in terms of increasing consumer awareness about the importance of labour-free and local production and considering more sustainable practices and the longevity of quality-made items. This is something that is now widely considered in the food industry with the boon of organic, macrobiotic and locally-grown produce but is something that is still far less discussed and considered when it comes to consumer consciousness of clothing and apparel consumption.” In terms of manufacturing, Kulas is very locally orientated, however, much of her inspiration is imported from her favourite travel destinations. <img src="http://payload170.cargocollective.com/1/2/95585/5700807/image-3.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700807/image-3_o.jpg" data-mid="30879271" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5700807/quote2.jpg" width="399" height="166" width_o="399" height_o="166" src_o="http://payload170.cargocollective.com/1/2/95585/5700807/quote2_o.jpg" data-mid="30879277" border="0" align="left"/> “I find that I am drawn to inspiring elements in so many desperate places it is hard to identify any one thing. Visiting Chandigarh, India; designed by Le Corbusier and his cousin, the attention to detail was humbling. Most recently, visiting Naoshima Island, Japan was incredible.” Kulas is constantly expanding her experiences and education in an effort to perfect her craft. “Working with leather can oftentimes be quite thankless, one wrong punch or cut and a piece can be ruined. It’s challenging and keeps me on my guard.” http://klausgoods.com/ KLAUS GOODS Words by Taylor Mitchell Melbourne-based, leather and canvas carry goods label, Klaus Goods is the oeuvre of Jennifer Kulas. I spoke to Kulas... http://pitchzine.com/MARCUS-HOLLANDS http://pitchzine.com/following/pitchzine.com/MARCUS-HOLLANDS Tue, 28 May 2013 06:47:36 +0000 PITCH // ISSUE #17 5701150 MARCUS HOLLANDS <img src="http://payload170.cargocollective.com/1/2/95585/5701150/image-1.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/image-1_o.jpg" data-mid="30889965" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5701150/quote1.jpg" width="399" height="135" width_o="399" height_o="135" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/quote1_o.jpg" data-mid="30889967" border="0" align="left"/> Words by Anthony Thomas “The Internet creates a hub where anyone can get work up or draw inspiration from so easily. Designers seem to copy other designers rather than finding inspiration and other ideas offline,” says Brisbane-based designer, Marcus Hollands. “I look for things that I haven’t seen. When you see something that isn’t in your face everyday it stands alone, which I think is far more important than having something that blends in.” He continues, expressing a desire to see students focus less on design as a trend and instead the ideas and processes involved. A quick browse of his Behance profile and the CIA-inspired work he created during his 2011 design education echoes this sentiment. Clean and minimalist, it gives new life to a typically mundane, process driven format cleverly leveraging the original form’s reliance on ease of information consumption. The result is practical yet inventive, our pre-programmed association with the familiar layout only adding to the design’s effectiveness. Hollands has been working on art projects, both individual and collaborations, since high school. Though, he says his attraction to design stems from a need for stability. “Not only is art extremely competitive but you’re not guaranteed the lifestyle, regardless of if you are talented or not. Design allows me to continue my love of art but in a (different) way.” <img src="http://payload170.cargocollective.com/1/2/95585/5701150/image-2.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/image-2_o.jpg" data-mid="30890005" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5701150/quote2.jpg" width="399" height="135" width_o="399" height_o="135" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/quote2_o.jpg" data-mid="30890011" border="0" align="left"/> Like all graduates, Hollands was faced with the post-graduation state of limbo after having the quasi-comfort of educational support suddenly replaced by the unnerving demands of reality. However, this period of transitioning life phases bore interesting fruit. “Students sit around bored shitless and start inventing things to do. I think boredom is a really good muse. When you’re at college you’re very much into blogs and looking around at what other people are doing. That’s how I came across FISK.” A string of emails later, Hollands found himself writing for the Californian magazine specialising in showcasing the talent of the global student creative community. The need to maintain productivity and ensure time didn’t become lost in voids of procrastination motivated Hollands to start yet another project, this time in the form of clothing label, Styles. “I wasn’t working and I really needed something to stimulate me, so I just wrote a heap of stuff.” Oh, yeah? “My girlfriend and I used to sit around and think of strange stories and pun, really messed up scenarios, and turned them into shirts. I wasn’t looking to make money, it was just a fun project.” He isn’t lying either. The range to date is cheeky and light-hearted, omniscient of a Tim Colmant/Lazy Oaf collaboration but with a muted approach to colour. This isn’t a bad thing either. <img src="http://payload170.cargocollective.com/1/2/95585/5701150/image-3.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/image-3_o.jpg" data-mid="30890036" border="0" align="left"/> Now working full-time for design agency, Loud and Clear, Hollands says he has been exposed to an arsenal of new applications of design principles. “We do a lot, it’s great. It’s always different and never boring.” The perfect environment for Hollands to live and breathe his love of branding and identity design. Despite the demands of professional life, Hollands continues to extend his practise with a multitude of side projects not limited to design. “I have recently started painting in my spare time. I (also) do a lot of self-initiated magazines, posters and research projects and am currently in the process of re-doing my portfolio.” This new and improved portfolio contains all the typical commercial work Hollands has completed recently but it’s the inclusion of a personal project called, Remake, that is perhaps most impressive. “Remake is an evaluation of the cultural difference between old and remade science fiction films (and) how time has actually put them in different contexts. You can fold the images of the old and new to make new images. Also with the text, you can fold it together and it reads new lines. The outcome is by combining the old and new you can create new culturally informed characters and outcomes.” Too often designers are discounted as lacking cultural insight; those lost in creativity seem to have no time for the commercial nature of the medium. The irony of this short sighted perception of design is its failure to understand that effectively operating and conveying information in the design-space requires a strong grasp of culture, values and beliefs. “Keeping involved in art is very important. Art and culture. It brings a much broader vision to what you do. Graphic designers should dabble and be interested in as many things as possible so their ideas are very informed and meaningful.” What else is important for designers? “Being humane about what you do is very important. You need to make everyone understand, you can’t have tunnel vision. Seeing some hands went into it and that someone made it, that’s the humane aspect of design.” <img src="http://payload170.cargocollective.com/1/2/95585/5701150/image-4.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/image-4_o.jpg" data-mid="30890061" border="0" align="left"/><img src="http://payload170.cargocollective.com/1/2/95585/5701150/quote3.jpg" width="399" height="135" width_o="399" height_o="135" src_o="http://payload170.cargocollective.com/1/2/95585/5701150/quote3_o.jpg" data-mid="30890064" border="0" align="left"/> In Hollands' opinion you should be able to show your mum, niece or nephew, it doesn’t matter, and they will understand what it is you’re trying to say. With an imminent relocation to Melbourne, Brisbane loses yet another creative prodigy. While Hollands explores greener pastures down south, we will be left following his ascent via the comforting glow of our Macs. Perhaps we can find solace by clinging to the hope the new collection of Styles tees drops before ASAP…because everyone loves a going away present right? http://marcushollands.com http://www.styles-clothing.com MARCUS HOLLANDS Words by Anthony Thomas “The Internet creates a hub where anyone can get work up or draw inspiration from so easily. Designers seem to copy... http://pitchzine.com/HANSEN-GRETEL http://pitchzine.com/following/pitchzine.com/HANSEN-GRETEL Tue, 28 May 2013 06:47:35 +0000 PITCH // ISSUE #17 5700329 HANSEN & GRETEL Creative Direction / Christie Morgan Photography / Ben Murphy Styling / Savannah Young Hair & Make-Up / Rose Moffat Model / Chelsea @ Dallys Fashion Assistant / Blake Tobin Words by Madeleine Russell What was once a great divide between men’s and women’s fashion is slowly closing in, as androgyny becomes a key design aspect to many of Australia’s key brands. Hansen & Gretel is one such brand that has successfully melded androgynous fashion, wearability and affordability. Their A/W 13 collection entitled ‘Window and the Watcher’ showcases the label’s unique understanding of androgynous fashion. Classic designs with intricate prints and fabrics that cross over each gender allows for a line that appeals to a broader range of buyers. In an ever expanding and innovative landscape such as the Australian fashion industry, Hansen & Gretel’s subtle mixture of modern design and classic cuts places them at the forefront of a new design culture. Madeleine Russell sat down with creative director and designer behind the label Ainsley Hansen to discuss the Australian fashion landscape, branding and the labels androgynous undertones. <img src="http://payload170.cargocollective.com/1/2/95585/5700329/image-1.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/image-1_o.jpg" data-mid="30796226" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5700329/quote1.jpg" width="399" height="132" width_o="399" height_o="132" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/quote1_o.jpg" data-mid="30875234" border="0" align="left"/> Tell us about the creative direction behind Window and The Watcher, your A/W 13 collection? ‘Window and the Watcher’ creates an opposing story that straddles the line between fragility and independence. Inner details prevail throughout, signaling the collections namesake. Behind the garments window of layers, the watcher discovers ornate design features from hidden-pocket detailing, and exquisite contrast bindings, to Alchemy embroidered signature prints. Flashes of such unexpected pleasure add a colourful depth and imagination by using the conversion of abstract ideas as a muse for unique, ready-to-wear pieces. Throughout the collection we have used a warm grey jersey as a unique silk lining which has provided an innovative new take on winter suiting. Throughout both genders I have also played with using our signature print, further enhancing the crossover between masculine/feminine shape and form. The collections garment construction is further influenced through staggered, asymmetrical hemlines. Visually striking cutouts, fabrics and paneling create a power-driven mix with a dash of sport lux appeal. What drew you to fashion design? I have always been interested in fashion from a young age. I can’t pin point exactly what it was that drew me towards it, it was just a strong passion that I had. I studied Textiles through high school and it was something I loved that taught me a lot of patience, it was naturally my best subject. I would spend weekends working on projects and it was something that I never got tired of. It almost refueled me. I was also in love with the beauty that surrounded the industry; I would always flick through old magazines a tear out clippings of past super models. <img src="http://payload170.cargocollective.com/1/2/95585/5700329/image-2.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/image-2_o.jpg" data-mid="30796293" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5700329/quote2.jpg" width="399" height="81" width_o="399" height_o="81" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/quote2_o.jpg" data-mid="30875238" border="0" align="left"/> How did your brand emerge? To be honest I haven’t always wanted my own brand, I never really wanted the pressure. When studying I worked alongside a few higher end labels and saw the struggle they go through on a day-to-day basis. This industry is tough and extremely competitive and our market is very small. I spent a few years really studying the Australian consumer, I wanted to bring them something quirky, with a high-end feel that still maintained an affordable price point, and this exact combination isn’t easy. When I was working for other labels I didn’t have the complete freedom that I wanted, I always had to make budget and design things that were went against my handwriting. After re-branding and launching the label August Street I was able to see the success that came of it, which gave me the confidence to front Hansen & Gretel. How do you feel your designs have altered since you first started in the industry? Defiantly commercially speaking, throughout my time studying we are taught to “think different” push our designs creatively; look at it with an artistic eye. When you get out of collage you need to change your way of thinking, in the end a garment needs to be wearable and be able to sell with in our market. You also have to think about how much it’s going to retail for and its longevity. I have defiantly tailored back my designs I like to think that most of what I design for Hansen & Gretel offers a timeless quality. What experience have you had prior to your own label? Prior to Hansen & Gretel I interned at Josh Goot and worked along side Gary Bigeni, Immediately after graduation, I secured the position of stylist on the hit Foxtel show, Australia’s Next Top Model. In 2009 I decided to get back into design so I went to work in a more commercial environment I really wanted to find out what sold in Australia. I was offered a job designing for Mirage Boutiques, where I launched the label Socialight. During this time I also worked along side Uscari’s designer Krystel Davis, styling and coordinating photo shoots and was heavily involved in the branding of the label. In 2011 I was brought on board to rebrand and re-launch the label August Street that was picked up by leading department store David Jones. How important is branding to you, and how have you gone about branding your collections/label? Branding is so important and it’s very particular. Before launching a brand you really need to make sure it embodies its name. I decided that I wanted to do both a men’s and women’s clothing line that had a quirky aesthetic, hence the name Hansen & Gretel was born. It was a play on words, and I was also able to subtly inject my own name into it. I played on the stories 'Boy & Girl' appeal and it was neither too feminine nor masculine so it kept the androgyny that our brand embodies. For me branding can add a lot of luxury to a label. We place a lot of importance on quality and presentation. It is the one thing that ties a label together. For Hansen & Gretel we make sure from design to the delivery of a product that everything encompasses the vision behind the brand; every button on every garment is branded, the thickness of our swing tag have been carefully though out, the print quality and layout of our lookbook down to the models that are chosen to represent the brand each season. All of these have been chosen with the direct question “does this encompass what our brand Hansen & Gretel stands for?” <img src="http://payload170.cargocollective.com/1/2/95585/5700329/image-3.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/image-3_o.jpg" data-mid="30796370" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5700329/quote3.jpg" width="399" height="105" width_o="399" height_o="105" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/quote3_o.jpg" data-mid="30875248" border="0" align="left"/> Has the Australian fashion industry influenced how and what you design? Absolutely! The Australian fashion scene is very trend based and represents a strong street culture. Australian fashion magazines such as Oyster, photographers such as Byron Spencer & Gavriel Maynard and bloggers such as Carmen Hamilton from Chronicles of Her all continually inspire me. It’s really important to follow what our target market is into. What is it about the Australian fashion industry that you love so much? I don’t think our industry really follows international trends; we have a strong sense of style. Freedom. In what ways do you find your inspiration? In all different places, I really like art, which inspires me a lot. I’m always looking into different concepts, which can really trigger a development of an idea or a print/fabrication within a collection. What part of the creative process do you most enjoy? Defiantly coming up with a concept. Each season it’s always a challenge and you need to see it through from design to the final styling and presentation of the collection. It’s rewarding seeing it in print at the end of the process. Your collections are very androgynous, is that something you have aimed for? It’s not something I consciously try to achieve but I have always loved a good tailored suit or collared shirt. I think androgyny is coming into play more and more as males are becoming more adventurous with their style and are not afraid to wear something that has a low neckline or added length. Do you find it is easier to design for males or females? It’s hard to say, men’s clothing is a lot simpler, in its design construction. The hardest thing is sharing a concept across both genders without it coming across as too masculine or too feminine. For example choosing a print that works across both genders is hard as well as finding appropriate fabrics. I love using silks in my women’s wear but obviously this isn’t going to work across the menswear, so it’s about being smart and finding a suitable substitute. <img src="http://payload170.cargocollective.com/1/2/95585/5700329/image-4.jpg" width="670" height="586" width_o="800" height_o="700" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/image-4_o.jpg" data-mid="30874644" border="0" align="left"/> <img src="http://payload170.cargocollective.com/1/2/95585/5700329/quote4.jpg" width="399" height="105" width_o="399" height_o="105" src_o="http://payload170.cargocollective.com/1/2/95585/5700329/quote4_o.jpg" data-mid="30875251" border="0" align="left"/> What main aesthetic do you try to achieve through each piece? Hansen & Gretel is inspired by the style classics. With each garment we try to produce it with an innovative approach to design and wearability. Our aim is to deliverer high-end quality product at an affordable price point with a dash of avant-garde appeal. Your designs have been featured in RUSSH, Grazia and Oyster, what was it like for such big name magazines to recognize your work? It’s great having their support. Oyster Magazine supports a lot of emerging talent and they have an especially talented team so it’s incredibly satisfying to be recognize by creatives that heavily inspire you. How do you see Hansen & Gretel in the future? For us it’s about continually stimulating our customers. The brand has a solid identity and one that will keep evolving. We are intensifying nationally, and always looking forward into new opportunities. We want to be recognized as a brand that people look toward for a twist on current trend. Hansen and Gretel currently offers consumers ‘runway’ garments within their means –stylistically and financially. Moving forward we plan to establish and place more focus on our menswear line. What career milestones would you like to achieve? For me it’s about pushing Hansen & Gretel to its limits. We would like to see the brand go international and become a household name within the Australian market. I want the brand to be known for staying true to its design aesthetic and a label that both genders can trust will deliver a quality product. http://www.hansenandgretel.com/ HANSEN & GRETEL Creative Direction / Christie Morgan Photography / Ben Murphy Styling / Savannah Young Hair & Make-Up / Rose Moffat Model / Chelsea @ Dallys... http://pitchzine.com/MONK-HOUSE-DESIGN http://pitchzine.com/following/pitchzine.com/MONK-HOUSE-DESIGN Mon, 29 Apr 2013 20:30:15 +0000 PITCH // ISSUE #17 5513662 MONK HOUSE DESIGN <img src="http://payload160.cargocollective.com/1/2/95585/5513662/image-2.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/image-2_o.jpg" data-mid="29694991" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513662/quote1.jpg" width="399" height="105" width_o="399" height_o="105" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/quote1_o.jpg" data-mid="29695076" border="0" align="left"/> Words by Laura Perm-Jardin Photographs by Maggie Beatrice It’s hard to imagine that only eight years ago one could walk down any of Melbourne’s chicest inner city districts, let alone Lygon Street and feel a distinct lack of clothing stores. Whilst the Lygon we know now is densely populated with glossy designer concessions and quirky cafes so minuscule that they could fit in a match box, for a bright eyed and bushy tailed Roula Tzidras trudging around her East Brunswick home was a completely different world. A refreshing step away from perfectly manicured Stepford-esque store fronts and Fembot shop assistants trained to bark out up-selling techniques - you can think of Monk House Design as less of an independent ‘boutique’ (although I wouldn’t call them that to their faces, they hate that word) and more of a sans-snobbery space where where you won’t be put in the naughty corner for touching anything. <img src="http://payload160.cargocollective.com/1/2/95585/5513662/image-1.jpg" width="670" height="566" width_o="800" height_o="677" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/image-1_o.jpg" data-mid="29694947" border="0" align="left"/> Much like a monk who devotes his entire life to the contemplation of a higher deity, Roula Tzidras and her power partner Justine Ellis have spent much of their lives promoting forward thinking design and spreading it’s way of life. 102 Lygon Street is the home of Monk House Design, a small boutique with a big reputation that proudly stocks a range of design-focused, fresh local labels and international gems. In addition to the myraid of meticulously chosen garments, Monk House also stocks a distinctively curated selection of accessories, jewellery, books, art and homewares from independent craftspeople, publishers and artists. The store - complete with a hand-crafted, elongated clothes horse and an ample wooden ‘cabinet of curiosities’ works as more of a personal Wunderkammer than any usual retail offering. The muted, sparse space is constantly fringed with ever changing installations and accessories - emphasizing anything from apothecary to small and easily manageable wildernesses. The store front is often occupied with some sort of artist or designer collaboration - whether it currently incorporates the craftism movement or rotating cabbage images - well your guess is as good as mine. Whilst the main focus is on practical, contemporary, and classic the Monk House girls add that it’s more about dressing well, feeling comfortable and supporting quality. It’s about transcending the seasons and trends of suburban fast fashion in a friendly, unassuming atmosphere. <img src="http://payload160.cargocollective.com/1/2/95585/5513662/image-4.jpg" width="670" height="565" width_o="800" height_o="675" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/image-4_o.jpg" data-mid="29695207" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513662/image-5.jpg" width="399" height="168" width_o="399" height_o="168" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/image-5_o.jpg" data-mid="29695331" border="0" align="left"/> It was whilst rollin’ around her hood that Roula saw the potential the leafy inner city suburb housed and felt the distinct gap for purveyors of design-savvy, forward thinking, high quality products. Roused by the desire to open her own offering and having previously conquered a course in garment construction and design, she decided to combine turn her passion (accentuated by many boughts of feverish op-shopping) into her own project just ‘for the love of it.’ With years of experience for working for like-minded retailers in Melbourne under her belt, Roula joined circles with Justine Ellis and began to form the Monk House Design family, seeking out staff members of varied skills and experiences to bring a freshness to the group. Having surrounded themselves with fellow creatives, it wasn’t long until Roula’s more creative friends and associates rushed to Monk House’s aid with stock and support. Mixing business with pleasure has always said to come with it’s challenges, and for the team the biggest struggle was how to include creative pursuits whilst ensuring the business remained viable. The Monk House Team have really seemed to have struck the perfect balance - the pull of the attention grabbing installations attract pedestrian traffic, and have even stopped some in their tracks whilst similarly serving as a nice way to share the aesthetics and ideas behind a featured brand. The installations serve as a perfect excuse for the team to work closely with their favorite brands and labels - a big draw card as most of the labels stocked at Monk House are labels that the staff love, admire and want. Roula and Justine work amongst a tight knit group of staff who contribute to helping the pair chose what to stock. Each staff member is involved in their own design related fields and are thus exposed to different things within the fashion and design world. The one thing they have in common is that they are all weak at the knees for well executed design, and often pitch things to one another - the level of excitement and enthusiasm in the room being the core decider of it a product will be stocked or not. <img src="http://payload160.cargocollective.com/1/2/95585/5513662/image-5jpg.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/image-5jpg_o.jpg" data-mid="29695433" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513662/quote2.jpg" width="399" height="168" width_o="399" height_o="168" src_o="http://payload160.cargocollective.com/1/2/95585/5513662/quote2_o.jpg" data-mid="29695474" border="0" align="left"/> Luckily for those of us who aren’t in a correct geographic alignment (or even if you live in Melbourne and are a recluse for fear of the occasional bought of irrational weather) Monk House Design launched their online store way back in 2009, realizing people live very busy lives and often don’t even have time to shop, before dropping. For those of us who can’t pop our heads to bear witness to the ever changing retail landscape, Monk House have a pretty active blogging presence with some neat snaps if you’d like to be kept in the loop. If you’re down in East Brunswick any time soon, we highly recommend making Monk Design House your home by popping your head in every now and again - Monk House are soon changing their stripes to leave bigger and bolder markings on the Melbourne design community. http://monkhousedesign.com/ MONK HOUSE DESIGN Words by Laura Perm-Jardin Photographs by Maggie Beatrice It’s hard to imagine that only eight years ago one could walk down any of... http://pitchzine.com/CELESTE-TESORIERO http://pitchzine.com/following/pitchzine.com/CELESTE-TESORIERO Mon, 29 Apr 2013 20:25:36 +0000 PITCH // ISSUE #17 5513645 CELESTE TESORIERO Photography / Danni Ogilvie Art Direction / Kate Stein Styling / Blake Tobin Hair & Make-up / Gorgi Jacobson Model / Brianna Thompson (Unsigned) Concept & Graphic Design / Christie Morgan Words by Taylor Mitchell The romance of nature and the nature of romance. Sydney-based clothing and jewellery designer Celeste Tesoriero is fascinated by both. "They are the things that I am constantly questioning, constantly admiring, constantly craving. I find nature to be terribly romantic." This captivation with the timeless and the raw is embodied in Celeste’s brand. <img src="http://payload160.cargocollective.com/1/2/95585/5513645/image-1.jpg" width="670" height="528" width_o="800" height_o="631" src_o="http://payload160.cargocollective.com/1/2/95585/5513645/image-1_o.jpg" data-mid="29695994" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513645/quote1.jpg" width="399" height="108" width_o="399" height_o="108" src_o="http://payload160.cargocollective.com/1/2/95585/5513645/quote1_o.jpg" data-mid="29695996" border="0" align="left"/> After studying design then spending five years working for various labels before starting her own, Celeste gained insight into the industry beyond ‘the chic and silky top layer’. This has resulted in apparel that captures all the fresh energy typical of a new designer, but devoid of the usual hint of amateurism. Her current collection is classic with an urban twist. She focuses on simple and subtle detailing, creating wearable forms with luxe fabric. The way she describes her craft reminds me of an article I read on ‘the biology of being in love’. Scientists likened love to cravings like hunger or thirst rather than emotions. Celeste appears to be ravenous for the act of living. <img src="http://payload160.cargocollective.com/1/2/95585/5513645/image-2.jpg" width="670" height="528" width_o="800" height_o="631" src_o="http://payload160.cargocollective.com/1/2/95585/5513645/image-2_o.jpg" data-mid="29696095" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/2/95585/5513645/quote2.jpg" width="399" height="137" width_o="399" height_o="137" src_o="http://payload160.cargocollective.com/1/2/95585/5513645/quote2_o.jpg" data-mid="29696097" border="0" align="left"/> "I don’t just dry up of inspiration" she says. "I think for me, I have a natural curiousness and hunger for life. I fall in love with anything. I fall in love every day. It’s that passion that keeps me finding things that connect. Once that passion is gone, well, then I’ll just hire someone else who still has it (joking)." This lifestyle should be exhausting, but apparently she has never been one for standing still. "At times I’m way too ambitious. Even in school, one of my more horrible teachers used to call me the jack of all trades and the master of none." Celeste has since found a channel for her ambitions, pouring them into the maze like passageways of the design process. "A lot of people find the craziness of the market at the moment a threat, where I am seeing it as an opportunity. People are much more aware of fabric content, quality, and good fits now. It only makes sense that they would rather invest in a timeless piece they know will last and that was designed with love." <img src="http://payload160.cargocollective.com/1/2/95585/5513645/image-3.jpg" width="670" height="528" width_o="800" height_o="631" src_o="http://payload160.cargocollective.com/1/2/95585/5513645/image-3_o.jpg" data-mid="29696350" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/2/95585/5513645/quote3.jpg" width="399" height="162" width_o="399" height_o="162" src_o="http://payload160.cargocollective.com/1/2/95585/5513645/quote3_o.jpg" data-mid="29696353" border="0" align="left"/> We’ve found Celeste inspired, in love (with everything) and surprisingly relaxed. "I used to take every opportunity as it came, but now I prefer to evaluate it and make sure it will lead me to where I want to go in the long run. I’m slowly pulling my fingers out of too many pies… Sorry that sounded really awful, what a strange way to end an interview." http://www.celestetesoriero.com/ CELESTE TESORIERO Photography / Danni Ogilvie Art Direction / Kate Stein Styling / Blake Tobin Hair & Make-up / Gorgi Jacobson Model / Brianna Thompson... http://pitchzine.com/LAB-DE-STU http://pitchzine.com/following/pitchzine.com/LAB-DE-STU Mon, 29 Apr 2013 20:21:46 +0000 PITCH // ISSUE #17 5513633 LAB DE STU <img src="http://payload160.cargocollective.com/1/2/95585/5513633/5.jpg" width="670" height="579" width_o="670" height_o="579" src_o="http://payload160.cargocollective.com/1/2/95585/5513633/5_o.jpg" data-mid="30206992" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513633/quote1.jpg" width="399" height="137" width_o="399" height_o="137" src_o="http://payload160.cargocollective.com/1/2/95585/5513633/quote1_o.jpg" data-mid="30206656" border="0" align="left"/> Words by Christie Morgan Sustainability, simplicity, ethical, successful. These are a few words that come to mind when gazing over the vast amount of work from Melbourne-based design collective Lab De Stu’s outstanding portfolio. We recently spoke to one part of the four, Andre Hnatojko to discuss influence, the Australian design industry, Lab De Stu’s recent success and the challenges they have faced as a collective over the past two years. The four parts of the collective; Adam Lynch, Andre Hnatojko, Dale Hardiman & Nico Evans met through university 2011, attempting to find the ever challenging medium between the Australian design industry and international industries. “The four of us met during university back in 2011. (We were) Made aware of how small the design industry is in Australia compared to internationally, we had the strong belief of working together, helping out your neighbour and power in numbers - and this was why the collective was created. We don’t just work within the four of us anymore, we are branching out and working with the industry to bring awareness to what is happening in Australia.” The collective have come from a number of different backgrounds, which essentially gives a greater understanding of the numerous influences throughout their work. As Hnatojko explains, the reason of mixing ideas and influences has proven to work quite successfully in their favour. <img src="http://payload160.cargocollective.com/1/2/95585/5513633/image-1.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload160.cargocollective.com/1/2/95585/5513633/image-1_o.jpg" data-mid="30206653" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/2/95585/5513633/quote2.jpg" width="399" height="137" width_o="399" height_o="137" src_o="http://payload160.cargocollective.com/1/2/95585/5513633/quote2_o.jpg" data-mid="30206738" border="0" align="left"/> “The four of us have come from close, but different backgrounds, growing up in Geelong, Bendigo, Melbourne and New Zealand. This is a valuable aspect when we join together, bringing our pasts and past influences together. We are now trying to work with designers and creative people from all around Australia and Internationally, mixing ideas and problem solving methods with each other. Recently exhibiting has introduced us to a small base of designers in Perth and the amazing creativity that is happening out there." It seems amongst working as a collective, other methods of practice have also proven to provide Lab De Stu with success. Experimentation is something that Hnatojko emphasises as a key aspect to working within a group and gaining inspiration for their work. “A few of the things the four of us have in common in terms of inspiration are materials, manufacturing techniques and experimentation. These have always been a common influencing factors and things that we have all bonded over at some point in the past. Currently we are finding inspiration amongst each other while producing a few new conceptual product morphs to exhibit at the upcoming 2013 DESIGNEX exhibition, NEST with Andre Hnatojko’s and Dale Hardiman’s Polly POPPER, a mix between Andre’s internationally received light and Dale’s thriving and organic homewares. Adam lynch and Dale are also working on Mr Dowl Jones, a perfect morph between Adam’s CAD influenced design and Dales mouldable material past. Nico Evans has been working on large scales and reclaimed materials to produce site specific installations, wanting to create heirlooms that will last for centuries, with that being a major sustainable factor when it comes to his work.” <img src="http://payload160.cargocollective.com/1/2/95585/5513633/image-2.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload160.cargocollective.com/1/2/95585/5513633/image-2_o.jpg" data-mid="30206941" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/2/95585/5513633/quote3.jpg" width="399" height="108" width_o="399" height_o="108" src_o="http://payload160.cargocollective.com/1/2/95585/5513633/quote3_o.jpg" data-mid="30207098" border="0" align="left"/> But as everyone is aware, success can come with a number of challenges that have to be overcome frequently. Encouraging opinions, visions and accepting the individual flaws from each of the collective seem to be a natural process for Lab De Stu. “No one (or group) is perfect, and having to work with each other has sometimes proven to be interesting. Although this may be seen as a bad thing, it re-enforces us as individual designers to believe in our own views and visions and to mould them to work with each other and other people." So, where does this leave the collective within the Australian design industry? To Lab De Stu; sustainability is key and will continue to keep these ethics for the rest of the collective’s duration. We’re extremely excited to see what can come out of this talented group of individuals and to push the benchmark of design within Australia. http://labdestu.com.au/ LAB DE STU Words by Christie Morgan Sustainability, simplicity, ethical, successful. These are a few words that come to mind when gazing over the vast amount... http://pitchzine.com/BOWEN-ARICO http://pitchzine.com/following/pitchzine.com/BOWEN-ARICO Mon, 29 Apr 2013 20:19:24 +0000 PITCH // ISSUE #17 5513597 BOWEN ARICO <img src="http://payload160.cargocollective.com/1/2/95585/5513597/image-1.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload160.cargocollective.com/1/2/95585/5513597/image-1_o.jpg" data-mid="29698481" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513597/quote1.jpg" width="399" height="107" width_o="399" height_o="107" src_o="http://payload160.cargocollective.com/1/2/95585/5513597/quote1_o.jpg" data-mid="29698484" border="0" align="left"/> Words by Madeleine Russell Bowen Arico is a Sydney-based freelance photographer. His work is indicative of a future era of photography with stark landscapes and greyscale styling. His images are often set against a blank white canvas. The model stands before you in basic shapes with eyes that pierce through the camera. They make subtle movements and the clothes they wear are electric. You want to buy everything, you want to be them and be in that moment. The asymmetrical shapes and off-center positioning allows the images to feel almost un-fashionable in a very unique and at times confronting way. Bowen’s work translates from studio to location seamlessly. He uses large landscapes of rock, sand and beach. These images are homage not only to the clothes and the model within them but to the landscape behind them. The rock’s hard edges are expressed through the male models dark look and high check bones. He becomes apart of the landscape. The soft rolling sand hills that look as if they could be anywhere in the world provide a clear and juxtaposed backdrop to the cream and nudes of the clothing. <img src="http://payload160.cargocollective.com/1/2/95585/5513597/Dion_Lee_Line_II_S13_Bowen_Arico_09.jpg" width="670" height="488" width_o="800" height_o="583" src_o="http://payload160.cargocollective.com/1/2/95585/5513597/Dion_Lee_Line_II_S13_Bowen_Arico_09_o.jpg" data-mid="29698544" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/2/95585/5513597/quote2.jpg" width="399" height="105" width_o="399" height_o="105" src_o="http://payload160.cargocollective.com/1/2/95585/5513597/quote2_o.jpg" data-mid="29698546" border="0" align="left"/> Switch now to bright neon’s, and blues and reds. Hues that often speak for themselves appear subtle and fleeting. The use of graphics alongside the models and the adding of movement through GIFs gives Bowen’s work an edgy futuristic appeal. Bowen’s love for photography started early. “When I was younger I was obsessed with making sculptures and then photographing them in different settings. It wasn’t until I picked up photography in high school that I realized I was interested in making a career out of it.” He used portraiture as a way to tamper with different mediums and styles, a talent and fixture still evident in his current work. “Growing up I was very attracted to the work of photographer Paolo Roversi. I have always loved his classic portrait approach to fashion, and how you can always tell it is one of his photos even if it’s not credited.” The ideology of clean simplistic images is something Bowen strives to emulate in his own work. “There isn’t much in life that is simplistic, so for me I like to create photos that are uncomplicated.” Natural and clean lighting is used throughout his work to create a beautiful and simplistic effect creating a very subtle and stimulating mood. <img src="http://payload160.cargocollective.com/1/2/95585/5513597/image-2.jpg" width="670" height="502" width_o="800" height_o="600" src_o="http://payload160.cargocollective.com/1/2/95585/5513597/image-2_o.jpg" data-mid="29698646" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/2/95585/5513597/quote3.jpg" width="399" height="134" width_o="399" height_o="134" src_o="http://payload160.cargocollective.com/1/2/95585/5513597/quote3_o.jpg" data-mid="29698648" border="0" align="left"/> As a photographer Bowen uses his models to emulate a feeling, he inspires them to move naturally and create a natural experience through the camera lens. His connection with the subject is a crucial element of his design aesthetic. He showcases their individuality and highlights the differentiated nature of humanity; “for me the most important thing to remember is everyone is different and everyone has different things that make us tick and light up” The spontaneity of his personal work is juxtaposed with that of his commercial work. The design influence of the client creates a more thought out focus. With inspiration from the landscape, music and past Calvin Klein and Jill Sander advertisements Bowen’s commercial work highlights his personal aesthetic whilst putting the product in the forefront through subtly and simplicity. “I love that creatives have the ability to construct and manipulate an image to showcase exactly what or how we want it to be…I really can’t imagine myself doing anything else.” http://www.bowenarico.com/ BOWEN ARICO Words by Madeleine Russell Bowen Arico is a Sydney-based freelance photographer. His work is indicative of a future era of photography with stark...