MEDIA 2012

LAUREN SANTO DOMINGOPhotography DANKO STEINER

There is a gap in the market for international publications. It is both overly saturated with independent and mainstream titles, and lacking a product that provides cultural coverage that is as relevant to the engaged consumer as it is to the creative industry professional. 032c responds to that gap. Published twice annually, we do not reflect a season’s worth of fashion, contemporary art and design; we lay the groundwork for the next. In its content as in its design, 032c aims to be as challenging as it is influential – embodying and celebratingf 21st century visual culture.

Founded in Berlin in 2000, 032c is now distributed in 29 countries. Our opening GLOBAL BRIEFINGS section reflects that diversity of cultural interest, featuring contributions from correspondents on five continents, and addres-sing everything from luxury products to personal histories. Following that, our COVER DOSSIER devotes over 40 pages in text and image to the exploration of a single theme – most recently, to the work of Comme des Garçons’ Rei Kawakubo. At the core of 032c is its UNISEX section, where portraits, inter-views and original essays from today’s most critical culture-makers meet men’s and women’s fashion stories from industry visionaries such as Inez van Lamsweerde and Vinoodh Matadin, Hedi Slimane, Alasdair McLellan, and Juergen Teller. 032c closes with SELECT, a curated survey of new books, accessories, artworks and luxury and product design.

032c has received international acclaim for both its design and editorial scope, including a German LEAD award in 2006 for National Visual Lead Magazine. Financial Times columnist Tyler Brulée has placed 032c among “the best news-papers and magazines from around the world,” while at the New York Times, fashion writer Cathy Horyn called the magazine an “antidote” all that doesn’t inform or surprise. In Fall 2010, 032c Editor-in-Chief Joerg Koch was named in Industrie magazine’s “New Creative Establishment” list as one of fashion’s 50 most influential people.

THE CONCEPT

THE MAGAZINE

UNIQUE. RADICAL. ASPIRATIONAL.

032c, 20th Issue, Berlin Winter 2010/11, “REI KAWAKUBO” Cover: Lauren Santo Domingo by Danko Steiner

032c, 21th Issue, Berlin Summer 2011, “SCOTT CAMPBELL” Cover: Kristen McMenamy by Juergen Teller

032c, 22th Issue, Berlin Winter 2011/12“THE CHERMAYEFF CENTURY”Cover: Irina Kulikova by Juergen Teller

68 69

NNEW

“I want to design clothes that have never yet existed” Rei Kawakubo in Koda, 2008.

OOFFICE´7KH�ÀUVW� WKLQJ� \RX� VKRXOG�NQRZ�DERXW�WKH�&RPPH�GHV�*DUoRQV�KHDGTXDUWHUV�LV�WKDW�LW�RFFXSLHV�ÀYH�ÁRRUV�RI�DQ�RUGLQDU\�RIÀFH�EXLOGLQJ�RQ�D�EXV\�URDG��HDFK�ÁRRU�as drably functional as the next. Nothing to reveal here except its nothingness. There is no receptionist to greet you or to direct you to the appropriate floor. This would only be a problem if you were actually expected at Comme des Garçons, but very few people are welcomed there, and that also applies to family mem bers. ‘’No husbands, boy-friends, wives, daughters – never,’ said -RIIH�� :KLFK� EULQJV� XV� WR� WKH� VHFRQG�thing you should know about Comme des Garçons: it’s a very secretive place.” Cathy Horyn, “Gang of Four,”The New York Times, February 24, 2008

PPATTERNDesign assistants at Comme des Garçons are patterners, and as patterners they must develop a feel not only for shape and texture but also, more tryingly, for what Kawakubo is feeling at the start of a collection, whether she is ‘’happy’’ or ‘’angry,’’ sentiments she rarely com-mu nicates in any detail. As she once ex-plained, ‘’At the start, I am not exactly cer tain what I am thinking myself. It is guesswork with us.’’ What Kawakubo hopes to achieve from this open process is that the patterners will think more intuitively and come up with things that will surprise her. Horyn, 2008.

*“When she uses these abilities as a springboard to think freely and radically, patterns from the basis of her work. ‘Patterns are design. Designing actually begins with patterns.’ The concept is con-veyed to the pattern makers using simple drawings and the nuances of lan guage. Each person’s interpretation comes back to Kawakubo, and an exchange develops from there.

Something made once is never made D� VHFRQG� WLPH�� 7KLV� XQHTXLYRFDO� VWDWH-ment of intent was made clear at Comme des Garçons for Comme des Garçons 4, a show for Comme des Garçons em-ployees put together in September at WKH� FRPSDQ\·V� KHDG� RIÀFH�� 3DWWHUQV� IRU���� JDUPHQWV� WKDW� KDG� SUHYLRXVO\� EHHQ�produced were displayed in the form of bold, black graphics in a space whose ÁRRU��ZDOOV�DQG�FHLOLQJ�KDG�EHHQ�SDLQWHG�white. Each pattern had been made into a garment using neutral sheeting and GLVSOD\HG� RQ� D� PDQQHTXLQ� WRUVR� SODFHG�next to the corresponding pattern. Set against a stark white background in

a style reminiscent of Andy Warhol’s dance step paintings, the bold graphics seemed to borrow heavily from the pop/conceptual art form. Combined with the almost unbelievable variation of the forms standing like monotone statues in the spaces between the graphics, this resulted in a show that was extremely sophisticated and powerful.

But there was no so-called message or ideological theme there. The entire show consisted of displays of patterns, which take shape only after a process in which Kawakubo gropes around in an ef fort to come up with forms, relying for guidance on the most primal aspect of her work – the images in her head – and of the three-dimensional entities to which these two-dimensional patterns had given rise.

This approach of pursuing to an extreme the autonomy of the garment rather than fitting it to the body finds its ultimate expression in the bold pat-tern experiments and endless studies of the pattern makers. Because the actual form of the pattern is not bound by any conventions such as having to cut along the grain of the fabric, the garment de-velops a shape all of its own. This puts the onus on the person wearing a Comme des Garçons garment in the sense that it tests their ability to make the clothes look good on them.

The overall image depends on the experimentation with the form and the development of the patterns rather than the production of the three-dimensional garments on which they are based. For example, when one sees ‘Ultra-simple’ (October 1992), which despite the gar-ments themselves being varied and com-SOH[� LQ� WKH� H[WUHPH�� LV� D� TXHVW� E\� WKH�de signer to see how many clothes can be made using a minimum of patterns, one realizes that Kawakubo’s concept image is not found on the surface of the clothing, but at deeper level.”

Hasegawa Yuko, Chief Curator, Museum of Contemporary Art, Tokyo, “The Art of Forgetting,” ART iT Magazine, Fall/Winter 2006. Jue

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THE SUPERMODERNIST

On the slanted path

The Shopping Center in Sens, 1967–1970. Photo: Gilles Ehrmann

104 105

LUST NOT LOVE

Text JINA KHAYYER Photography OLIVIER ZAHM

During the golden age of the Rive Gauche, in the Paris of the 1960s, the MONTANA was a gentlemen’s club where Alain Delon and Catherine Deneuve danced cheek to cheek. Having fallen off the radar in the early 1980s,

nobody has dared to reinvent its myth. But last winter the legendary MONTANA reopened with a new host-triumvirate worthy of the old guard: Parisian graffiti artist André, homme-of-all-trades Jean-Yves Le Fur,

and Purple magazine editor Olivier Zahm.

Hannelore wears army green coat and pleated skirt JUNYA WATANABE,silver dress with unzipped head cover HUSSEIN CHALAYAN,vintage silver handbag GEORGE FEBRES from Cherry NYC,black lace gloves LA CRASIA, bone bracelets DELFINA DELETTREZchain bracelet BALENCIAGA

Hannelore wears padded top and skirt BALENCIAGA,silver dress with zipped head cover HUSSEIN CHALAYAN,red leather thigh-high boots CHANEL,vintage silver handbag GEORGE FEBRES from Cherry NYC,bone bracelets DELFINA DELETTREZ,chain bracelet BALENCIAGA

New School: the BMW GINA Light Visionary concept car, revealed in 2008, challenges the basic conceptions of how the industry works. With a flexible fabric-skinned body, it operates more like a zoetic object than a traditional machine.

The 2009 Vision EfficientDynamics concept sports car combines the performance of a BMW M car with the fuel economy of a modern compact car, possibly solving the conflict between emotion and efficiency in automobile design.

Sunniva wears chain bracelet BALENCIAGA

ARCHETYP

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Ouray, Colorado

Text CARSON CHAN

Photography BRIAN GOLDSTONE

000 000

In 20 years, ARC’TERYX took outdoor clothing to an extreme level of perfection, setting the golden standard for an entire industry. With VEILANCE, a fashion-oriented line created in 2009, the company from Van-couver is bringing its advanced brand of performance to the ci ty. Is menswear ready? Desig-ner CONROY NACHTIGALL is in charge of the task.

Twombly’s wife Tatiana stretches out in front of

Hyperion (To Keats) (1962) while the artist poses in a

European mode. Had Twombly crossed a class line and abandoned the

proletarian role of the artist?

2 TRAPS SUPERMAX

116 117

Sterling ruby iS a one-man

bauhauS. based in los angeles,

he maintains an artistic practice in

a range of media: from painting and

sculpture to collage, from photogra-

phy and cera mics to, most recently,

clothing and interior design. From his

studio – one of the city’s largest –

emerge objects that seem to be frag-

mented ruins of the future, extract-

ed from another world. they seem

less the work of a single man than

the remnants of a dystopian society.

“Post-humanist”, “schizophre nic” and

“hyper-masculine” are just some of

the terms used to describe his ins-

WDOODWLRQV�ÀOOHG�ZLWK�EUXWDO�VWUXFWXUHV��SKDOOLF� VWDODJPLWHV�� JUDIÀWL�GH IDFHG�can vases, gnarled ceramics, and

other caustic inventions of form.

if his fascination with the repres-

sive overtones of minimalism, archi-

tec ture and the history of abstrac-

tion seem extreme, they are. ruby’s

practice is as intense as it is diverse,

as visceral as it is unapologetically

obsessive. there are few american

artists of his generation that have so

successfully exploited the limits of

scale. Such boldness extends to his

gallery program. he mounted a se-

ries of exhibitions entitled SuPer-

maX (2005, 2006, 2008), and his lat-

est exhibition in new york, 2 traPS,

consisted of two massive works – a

VWDFN� RI� VROLWDU\� FRQÀQHPHQW� FDJHV�RU� ´SLJSHQVµ� DQG� D� PRGLÀHG� SDUW\�bus – which were transported from

/RV�$QJHOHV� WR�1HZ�<RUN�RQ�ÁDWEHG�trucks. So unnerving was their tan-

dem presence that i felt the need to

ask him why he was in terested in lit-

HUDO�FRQÀQHPHQW�

I. How did your interest in repressive architecture begin?i started thinking about the SuPer-

maX prison systems, with their meth-

ods of incarceration without rehabi-

litation, as a beacon of the end. the

SuPermaX prison is architecturally

constructed for control, and to keep

prisoners in permanent lockdown. i

look at SuPermaX penitentiaries as

being an allegory for a contemporary

hell. this has led to works in which

there is tension between an abso-

lute repressive state and a liberated

state.

Had you ever been inside a prison before?Well, you can’t really take a tour of

a SuPermaX prison. to me the

SuPermaX penitentiaries are an

in accessible parallel world. they ex-

ist here and now, in america. there

is no redemption, only a static state

of detainment as opposed to cor-

rection. not only is this a criminal

phenomenon but it is also a social

phenomenon. i also started thinking

Interview STEVEN PULIMOODPhotography HEDI SLIMANE

Courtesy of taka ishii gallery and the Pace gallery Courtesy of taka ishii gallery and the Pace gallery Courtesy of taka ishii gallery and the Pace gallery

Sterling ruby

heartthrob eXhauSt,

2010, bronze

Sterling ruby

heaDtreKKerS 2, 2010

Collage on orange paper

Sterling ruby

VamPire 9, 2010

)DEULF�ZLWK�ÀEHU�ÀOOGENERATIONAlasdair McLELLAN

Lara, 2008

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PREDATORPROVOKESMILEVISVIMFREE INTERNATIONAL LABORATORYICONOCLASTVENETIAN VANDALMOREY-3Walton Ford; An Encounter with Du Chaillu, 2009Watercolor, gouache, ink, and pencil on paper242.6 x 152.4 cm © Walton Ford

KANDINSKYKRONENHALLESAVOIR FAIRESOIE PIRATESEXED-UPLA PERLA1978TANGIERSAPPHIREBULGARIDOUBLESEXUSPRADALE CORBUSIERMOIRÉMACABREEVERYDAY SCI-FICÉLINETASCHENVUITTONPERFORMANCESURPLUSLEATHERBRASSCOURAGEEYESORPHEUSKRUTIKOVSTONED EVERYDAY SCI-FIBALENCIAGAPRINGLEPVCJEAN GENETDONALD JUDDCALVIN KLEIN

Louise Bourgeois, Nature Study, 1996. Courtesy of Nationalgalerie, Staatliche Museen zu Berlin; Sammlung Scharf-Gerstenberg

229

“The magazine fuses art and architecture, literature, urban studies and fashion in ways that can make one forget how depressing a visit to a newsstand has become.”– The New York Times Magazine, New York

“032c is undoubtedly the most style-defining German magazine abroad.”– Frankfurter Allgemeine Sonntagszeitung, Frankfurt

“Dedicated to the celebration of ideas.”– i-D, London

“Revue ultra-pointue.”– Vogue, Paris

“Below the radar of the mainstream, but required reading for the movers and doyennes of the art and fashion world, ... successfully finding a niche while serving as a glimpse of the future of a publishing industry in flux.”– International Herald Tribune, Paris

“Nell’epoca così ascetica di Internet, questa rivista vuole risvegliare i sensi.”– L’Espresso, Rome

“Nothing escapes the magazine’s rigorous quality control or attention to detail, from its gradual embracing of fashion stories to the unique side-binding.”– Wallpaper, London

THE RESONANCE

AGYNESS DEYNPhotography ALASDAIR MCLELLAN

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032c is distributed internationally to select art bookstores, fashion boutiques, and luxury departement stores. 032c is regularly exhibited and featured in store events.Special deals with boutique hotels in New York, Paris, London, and Tokyo. Free subscriptions for select art colleges’ libraries worldwide. Free mail-outs to media multiplicators.

From architects to hoteliers, artists to collectors, and journalists to media barons, 032c’s readers are the makers, icons, and iconoclasts of all that is cutting-edge in art, fashion, and media today. Our consistently thought- provoking content attracts a demanding audience beyond what is typical of traditional fashion titles: 032c is simply the only magazine that makes as much sense at Art Basel Miami Beach as it does in London’s Dover Street Market, a New York Barnes and Noble, an architecture school in central Moscow. This readership reflects 032c’s belief that there is no limit to the consumer-profile capable of creating, influencing, and responding to global trends.

WOMAN

45%

18–24 YEARS

23%

MAN

55%

25–34 YEARS

35%

35–44 YEARS

27%

45+ YEARS

15%

THE READERSHIP THE CIRCULATION

THE TARGETED READERSHIP

032c Magazine reserves the right to reject any advertisement at any time and for any reason at its discretion. All advertisements must be clearly recognisable with a trademark or the advertiser’s insignia. Advertising materials received by 032c Magazine are presumed accurate and approved for print by advertisers and advertising agencies. All files must be accompanied by a match print. 032c Magazine will not be held responsible for printed production errors. The advertising agency, jointly and singularly, assumes the liability for the payment and charges for materials published in the magazine at their discretion or on their behalf. All bookings must be accompanied by a written insertion order to guarantee insertion. Cancellations must be received 4 weeks prior to artwork deadline or are payable in full.

No.23 Summer 2012Publishing Date: 27.04.12Material Deadline: 25.03.2012Booking Deadline: 21.03.2012

No 24 Winter 2012/13Publishing Date: 29.09.2012Material Deadline: 25.08.2012Booking Deadline: 21.08.2012

Single Page (200 mm ! 270 mm) " 5000Double-Page Spread (400 mm ! 270 mm) " 9600Back Cover " 15.000Front Inside Cover " 12.000Back Inside Cover " 10.000Page-Specified Position +10% Agency Discount 10%

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Head Office 032c workshop, Brunnenstr. 9, 10119 Berlin, GermanyManaging Director: Sandra von Mayer-Myrtenhain +49 (0)30 / 440 509 80, Fax +49 (0)30 / 440 509 81, office@032c.com www.032c.com

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CONTACT

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032c Magazine

Editor-in-chief/Creative Director:Joerg Koch

Art Director:Mike Meiré

Fashion Director:Tamara Rothstein

Managing Director:Sandra von Mayer-Myrtenhain

Publishing House:032c WorkshopBrunnenstr.910119 BerlinGermanytel +49 30 44050980fax +49 30 44050981

Photography ALASDAIR McLELLAN Styling OLIVIER RIZZO