Monday, 17 September 2012

Jean-Pierre Braganza Interview For A Shaded View On Fashion

Dear Diane and Shaded Viewers,
Jean-Pierre Braganza has been a fixture on the London Fashion Week schedule for nearly a decade. Focusing on futuristic digital prints, geometric structure and strong tailoring, the Canadian designer manages to take subjects ranging from faeries to cyber wolds and turn them into a range of wearable yet unique garments, gathering a steady following of devotees along the way. In the following interview, Braganza discusses the inspiration behind his upcoming S/S 13 collection, the beauty of darkness and Freudian theories of creativity...

You first knew that you wanted to do fashion when you started going to runway shows, but was there a certain moment or show in specific that set the ball rolling?
That show in particular, McQueen [pointing to an image of a spray paint covered Shalom Harlow during the S/S 1999 finale on his wall]. It was just groundbreaking. There was something about that particular time that spoke to me and made me want to do it. It was a genuine epiphany; I was studying Fine Arts at York University in Toronto back then. I was chosen to do a solo exhibition in the university hall, but on the day of my show, I found myself more concerned with what I was going to wear that night. I thought to myself, why am I so obsessing over clothes, it's about the artwork. Intuitively, something was telling me to jump boat. But I was very naive to, because I thought, I'd rather be a successful fashion designer than a starving artist. Turns out, it's all a big lie [laughs].
How has your outlook on the industry changed since your runway debut in 2004?
I recently, as in four seasons ago, stepped back. Really, in order to know where you're going, you must know where you've been, like Freud said. I really looked back and concluded that I am more evolutionary than revolutionary. I have rejected that categorising or packaging a season into one particular idea. But there are natural influences and there has to be a cohesion whether I like it or not. Every season has its themes but there are so many facets to the aesthetic of Jean-Pierre Braganza. I choose to constantly explore it in many different ways but always adhering to that idea of evolution. I started out as being rock 'n' roll through and through, even having played drums in a band.
What type of music was it?
Heavy industrial rock. It was such a nothing band though, just me and my mates in high school. But there's always a hard, austere edge to my work because of that heavy metal influence. I'm really harsh in my aesthetics, almost macabre, but you don't see it in the work. Visually, I do like the dark side of life, the aesthetics of the dark and the beauty of things like gargoyles, Renaissance periods and medieval times. There's beauty in anything — that's my philosophy. I get pissed off at bad design, I can't stand it and get very emotional about it, but then I do appreciate things across the spectrum. Regardless of how little creativity there is, I always try to see the beauty in everything.
On that note of past design periods, in your last collection you were referencing Victorian style. What was the idea behind that?
It was an aesthetic choice. I'm a history buff and never really did Victoriana before. God rest his soul, Lee McQueen did it very well, but I wouldn't want to adhere to a theme to that degree. I like to interpret things in my own modern way. The collection started out being very Victorian but as with the nature of my drawing or design, it's constantly evolving as I do it. Maybe it's my Achilles heel, but I don't think a theme should impose itself on the creative process. The process is there for a reason and for artists to develop ideas through it, but I would never want a thought, whether it's a theme or a story, to infringe on not creating something that is beautiful in my mind.
What else inspires you during the creative process?
My religion is Tool. I'm really obsessed with them. The imagery that that band comes up with hits me hard in the heart. H.R. Giger is another hero of mine, Dali of course, the list really goes on. At the moment, I'm delving into abstract art by the very talented Ukrainian artist Zinaida Likhacheva.
She is a beautiful, intelligent woman whom I admire, and our friendship resulted in a collaboration. I'm working on incorporating her unique aesthetic into my prints for S/S 13. She has become my muse and it's amazing to work with such a beautiful and intelligent woman. Her beauty helps my design process. This collection will definitely be for a more mature woman than my previous ones, so the silhouettes will be more accommodating for real women. I'm bringing back some rock elements to it as well, it's going to be  a bit more deconstructed than recently. To sum it up: abstract geometry for a modern woman.
Generally in your designs there is a fusion of structured tailoring with futuristic prints. What is it that draws you to this mixture of these almost opposite elements?
Maybe it's ADD, but I don't want to limit myself to one particular aspect of design or aesthetic. I appreciate everything in the history of art and would not want to ever just cover one sole affinity, one sole vision aesthetically or have an empirical vision. I prefer to be more broad in my analysis of the world and interpret a lot of artwork. That can send a mixed message, but I'm lucky because even though I don't feel like I have a distinct style, people do say 'Oh that's very Jean-Pierre' in my approach to design. But to be honest, I've become quite pessimistic in my view of design and art.
Why is that?
We live in a postmodern world that is cannibalising itself. I think we are regurgitating too many ideas, it's stagnant. The only thing that is progressing is technology. And with that there is limitations because we, and especially in my vocation, are limited to just the human form. I used to back in the day, but now I don't like pushing shapes and ideas just for the sake of it. I've evolved into a designer where it has to make sense, it has to have some relationship with the human. It's more about the clothing and finding that intelligence in interpreting something new, or something old and reintroducing it in a new way. That's the responsibility of fashion designers. Some don't really embrace it as opposed to others, but it's crucial to find the client that you design for and to respect them. I didn't from the start, I was quite a dreamer. I designed for the creative journey but then the outcome of that is quite lonely because maybe the odd journalist will think it's groundbreaking or cool but it's just that. That alone doesn't serve a purpose, especially for a guy like me who has created this empire on my own. I wasn't blessed with a silver spoon in my mouth so I had to build it up through blood, sweat and tears and a lot of that is through sales. If it's only groundbreaking, it just won't sell.
What are your thoughts on branching out into Pre-collections? In the retail sense it's quite important but at the same time, this cycle of fashion where you're expected to churn out one thing after the other is a bit insane.
Ideas get diluted and teams will get exhausted. You're absolutely right. It is a sick industry, it's a really fucked up scenario too, doing four collections a year is a genuine mind fuck, especially for a young label. But Pre does make sense financially and it's kind of a simple formula too. You're thinking of a new idea, you subtly introduce it and then in the main line, that's when you truly explore it. It's a bridge really, you amalgamate the bestsellers of the previous season and new ideas of the next season, making it more accessible to the shops. But for the moment, I'm raising my hands and saying I can only do so much. I think it's necessary and healthy to have a life outside of work, yet I'm a walking contradiction because I want it all and to do it all but at the same time still have a life. The truth is, one has to be sacrificed.
Marina Abramovic once did an artist's manifesto stating things such as: the artist should suffer. Do you see yourself as needing a strict space to work in or is it a more organic process?
I've always struggled and I think I always will. That's just the nature of any creative mind. There will always be a struggle no matter what, whether it's monetary of environmentally or really just emotionally. There will always be demons to address and that's kind of how I look at my career. If I weren't working I would just go nuts. And Freud's idea of sublimation, this notion of these inmates addressing their anguish and pain through being prolific in making art, I think that's really in a nutshell what I do. I'm such a workaholic and love doing what I do mainly because it's just me curing my malaise. Without art, the crudeness of reality would make the world unbearable, as George Barnard Shaw would say. But there is a formulaic way, once the seasons kind of meld into each other and you just get into a routine. I'm fortunate or unfortunate to not have that infrastructure and discipline that some mega houses have. A label like mine is so multi-disciplinary, it goes across the board, we all do everything together and that's what I believe in. I create a seasonal family and just love interacting with them, giving them challenges and giving myself challenges and twisting things up. It's part of that process of building collections that I really love. Obviously I'm a benevolent tyrant, I micro-manage, but I do oversee everything. I'm always here, but it's what I love to do.


Read the full interview here.

KnockBack Times for Twin Magazine Blog

Taking its title from the concept of traditional women’s magazines constantly degrading us due to lack of designer wardrobe/überly attractive partner/perfected physical appearance, KnockBack Magazine is an A5-sized package of feminist fun.
Having launched its debut issue with the tagline “The magazine for women who aren’t silly bitches on a diet”, the publication with tongue in cheek humour and razor sharp wit is currently on its sixth issue.
Twin caught up with contributions editor Hilary Hazard to talk about modern feminism, independent zine making and the joys of not taking life too seriously…
As a self-described “anti-Cosmopolitan”, how did KnockBack Magazine come about and what is the mantra behind it?
KnockBack (KB) was started because there weren’t any magazines talking to us. Sure we wear high heels and mascara, but we also have ideas and think being mean about someone because they look bad is worse than looking bad. We value good manners and good times and we were bored of being patronised by women’s media. We also wanted to show that ‘light hearted’ doesn’t have to mean ‘idiotic’ we can do low-brow 
and intelligent and good looking. We can, and we did.
What does feminism mean to you today?
I really don’t know anymore. I thought I had it down and it was just about respect but then a proper feminist kicked me in the shin and now they make me nervous.
KB aims to occupy the middle ground between political feminism – which is all female circumcision and rape statistics* – and women’s pop culture, which is all deodorant and celebrities. They are the two extremes of the female experience, KB is the happy medium.
*not a million miles from the comment I made just before getting kicked in the shin.
Issue themes have ranged from Hardcore to Smoke and Mirrors. How do you decide on the concept of each issue and what is the process of producing an independent zine like?
We use the themes as a guideline to be ignored in the face of something better. The process is a slow one, everything has to be perfect (it isn’t) and everyone has to work hard (we don’t). The problem with working independently, with no advertisers, deadlines or money, is that when we have meetings we also have bottles of wine and parties and lie-ins and days off and roast dinners.
Who are your feminist icons?
Jane Bussman (author of The Worst Date Ever), Tank Girl and my Nan, because they’re fearless and funny and they work hard. My Nan got alopecia when she was 27 so spent her whole life bald as a melon. When we were kids we’d wait until she was in the shower and then steal her wig so she had to chase us while we ran away screaming. She is a tough old broad, but she is also confident and content and that’s a massive challenge for modern women, even skinny ones with pretty hair. Most women spend their whole lives thinking they’re fat and ugly and comparing themselves to people who are thinner and prettier, my Nan just got on with it.
Jane Bussman is a comedy writer who went to Uganda because of a handsome US aid worker and subsequently wrote a book that somehow manages to bridge the gap between comedy and horrific war crimes, corruption and a child army (which is a f*cking big gap). And I like Tank Girl’s shoes.
We find feminist icons in women who are cool to each other and are proud to be women and are good at it. The KB hero is Tina Fey (Liz Lemon), because she’s funny and she loves sandwiches.
Who is the typical KB reader?
Students doing PhD’s in women’s studies, and the editor of The Spectator.
There is always a humorous tone to KB, is this an attempt to put a bit more fun back into the publishing industry?
It’s partly because funny women are something we set out to celebrate, and we really don’t take ourselves seriously at all. But also if we did straight down the line feminism stuff then only feminists would read KB, this isn’t for them, they’ve got forums all over the shop. Plus we’re funny women and it’s ours so it would be weird to make it serious.
What can we expect from the next upcoming issue?
A long wait, a snazzy cover and some jokes (but not as many as we’d like because half the team had babies or got married and everyone’s too exhausted to stay angry).
Last but not least, what are some KB words of wisdom to live by?
If it’s not funny, don’t do it, if it’s not free don’t eat it and f*ck cupcakes.

Read the full article here.

A.P.C. + Nikesday for Twin Magazine Blog

A.P.C. has teamed up with Nike for a collection of casually cool kicks.
The brand founded by Jean Touitou in 1987 has garnered a cult following thanks to its minimalist but covetable styles. Putting a French spin on the sportswear brand’s timeless Dunk and Air Max styles, the collaboration brings a more sophisticated touch to the wardrobe staple, thanks to muted colours such as navy, ecru and brown, plus suede paneling.
Following the A.P.C. mantra of the most desirable wardrobe items being those that whisper instead of shout, we say strike while the iron is hot.
A.P.C. + Nike launches tomorrow and will be available exclusively through A.P.C.‘s retail stores and online shop.

Read the full article here.

Louise Gray x Topshop for Twin Magazine Blog

Originally from Fraserburgh, Scotland, Louise Gray has managed to make herself stand out amongst the sea of young designers in London thanks to her eye-catching designs and punky fun attitude.
From towering mohawks and geometric prints for A/W 12 to her quirkily clashing dresses for S/S 11, the designer’s creations always manage to be a refreshing addition to the RTW circuit.
Gray’s latest project is a clothing and makeup collaboration with high street giant Topshop. “I’ve captured the woman I emulate in the show and the idea that individualism and expressing yourself through fashion is cool,” she says. This concept translates into a range of fully sequined shift dresses, jogging trousers and T-shirts, alongside lipsticks, blushes and eyeliners in fluorescent hues.
Whether you prefer to dress down each standout piece with casual basics or decide to go for a head to toe Louis Gray look, take a cue from the designer herself and simply “have fun with it”.
Louise Gray for Topshop will be available on August 23 in stores and online.

Read the full article here.

En Vogue With Van Vogue for Twin Magazine Blog

With attitude by the bucketful and insanely catchy songs like 212, Azealia Banks has undoubtedly left her mark on the music industry. It looks like she is no less short of conquering the world of fashion as well.
Already counting the likes of Karl Lagerfeld as fan and having performed at Chanel’s pop up store party in Tokyo, the rap star can now include the house of Alexander Wang on her list of fashion collaborations. For the new Fall 2012 T by Alexander Wang campaign video directed by Daniel Jackson and styled by Alastair McKimm, the 21-year-old performs her latest songVan Vogue whilst decked out in the brand’s casually cool threads.
It seems that the world can’t get enough of Azealia Banks right now and with projects and tunes like this, it’s easy to see why.

Read the full article here.

Avicii x Ralph Lauren Denim Supply for Twin Magazine Blog

Ralph Lauren is a brand that has always been synonymous with traditional Americana style. However, thanks to its Denim & Supply diffusion line and the resulting collaboration with EDM recording artist Avicii, the household label shows that an urban aesthetic is just as much part of its repertoire.
The 22-year-old DJ not only stars as the face of the Fall 2012 collection, but has also created an exclusive remix of his new single Silhouettes for the accompanying campaign film.
Showcasing an effortlessly relaxed style throughout, the brand proves that it can do contemporary just as well as classic.

Read the full article here.

Keeping It Cool Sevigny Style for Twin Magazine Blog

If anyone can make the Seventies look modern again, it would have to be Chloë Sevigny.
Clad in psychedlic print silk shirts, boyfriend cut blazers, mirror-appliqué minidresses and chunky loafers, the queen of indie cinema and quirky fashion stars as the face of Miu Miu’s A/W 12 campaign and short film, shot by Mert Alas and Marcus Piggott. It may be Miuccia Prada’s fine tuning in cut, fabric and colour or just simply the fact that the 37-year-old actress can pull off anything and everything she wears, but despite its references there is not an ounce of retro stiffness to this collection.
Backed by the nonchalant tunes of American pop duo Phanotgram, the accompanyng video exudes the same wonderfully laissez-faire attitude of coolness. Having previously fronted the brand’s S/S 96 campaign, it becomes clear that even 16 years on, Sevigny’s still got it.

Read the full article here.

Wang's Way for Twin Magazine Blog

For his A/W 12 collection, Alexander Wang put on quite the visual spectacle – mirrors, supermodel reunions and all – making his minimalist campaign lensed by David Sims and starring Kati Nescher a complete departure, but no less captivating.
The New York designer’s collection, inspired by the surrealist manipulation of fabrics, is presented in simple black and white studio photographs, all the better for highlighting Wang’s clean-lined tailoring and outerwear invigorated by accents such as the Cubist slicing of a high-collared coat or slightly macabre mouth-covering fishnet turtlenecks.
In the span of five short and extremely successful years, Wang has progressed from painfully hip downtown designer to a creator with finesse and these images are just the thing to prove it.

Read the full article here.

London's Opening Ceremony for Twin Magazine Blog

Overly cool brand Opening Ceremony has garnered a cult status through its locations in cities like New York and Tokyo. Luckily for us, London is finally getting a piece of the action, thanks to the launch of label’s first UK shop yesterday. Set in Covent Garden, the 3,000-square-foot pop up store has been opened to coincide with the Olympic Games starting later this month and the company’s ten-year anniversary in September.
The brand has already collaborated with the likes of Chloë Sevigny and Rodarte, but to mark the London O.C. takeover, designers including adidas, Norma Kamali, Topshop, Band of Outsiders, Charles Anastase, Christopher Shannon, House of Holland, Pamela Love and Proenza Schouler have created exclusive capsule collections for the store.
Combined with a selection of rare books curated by the Claire de Rouen team and set in a neon-coloured, geometric shape-decorated landscape courtesy of Studio Toogood, it’s safe to say we have found ourselves a new retail paradise. Let the shopping games begin.

Read the full article here.

Yayoi Kusama x Louis Vuitton for Twin Magazine Blog

At first glance, Yayoi Kusama and the house of Louis Vuitton may not seem like the most harmonious couple. One is an eccentric artist known for her psychedelic installations, the other is a luxurious and world-renowned label under the multi-billion pound LVMH helm. However, just like in one of the Japanes artist’s polka dot paintings, there is more than meets the eye.

Both Kusama and Vuitton embody the idea of plunging oneself headfirst into an artistic vision. As much as the flame red-haired Kusama is an artwork in her own right, the house of Louis Vuitton, under the guidance of Marc Jacobs, has made train journey and carousel ride runway shows a continuously extraordinary event of the Ready To Wear season, year in, year out.
This month sees the release of the duo’s range of clothing, accessories and footwear, all covered in Kusama’s signature polka dot prints, coinciding with the opening of the artist’s exhibition at the Whitney Museum of American Art. On August 24, Kusama’s designs for the house will also take over London department store Selfridges with a 24-window display showcasing the new collection, as well as the transformation of the Concept Store inside, thanks to the artist’s signature giant pumpkins. The idea of fashion being art may seem like a tired cliche, but Yayoi Kusama and Louis Vuitton prove there is still a lot of exciting invigoration to bring to the table.

Read the full article here.

Arizona Muse x G-Star for Twin Magazine Blog

Arizona Muse managed to shoot campaigns for the likes of Prada, Fendi and Yves Saint Laurent almost as soon as she placed foot on her first catwalk four years ago. Since her debut, the 23-year-old’s intense gaze, bold brows and all-around versatility have secured her a spot as one of the highest-ranking models in the industry.
This season, the Tucson-born beauty works her effortlessly cool look to maximum effect as G-Star’s new brand ambassador in the label’s Autumn/Winter 2012 campaign. Photographed by Anton Corbijn against an alpine backdrop, the result is a set of powerful and captivating black and white images. They don’t call her Muse for nothing.

Read the full article here.

The Couture Collective for Twin Magazine Blog

This year’s Autumn/Winter 2012 haute couture shows were another testament to signature style. Be it the modern romance of Valentino’s Maria Grazia Chiuri and Pier Paolo Piccioli or Giambattista Valli’s ever-enticing plays on volume and silhouettes, the one unifying factor  throughout every collection was a representation of each brand’s true essence, underlined by highly-refined tailoring and draping.

Twin selects our favourite personal visions of the season…

Bouchra Jarrar
Couture cool is Jarrar’s calling card and although those expecting overtly dramatic ball gowns or extravagant embellishments from couture may be disappointed, her softly draped tunic dresses and forties-esque trench coat top and A-line, knife-pleated skirt combinations add a modern yet elegant touch to the couture circuit. As they say, sometimes less is more.

This season Karl Lagerfeld saw it as his mission to put a new spin on vintage. While the collection managed to revamp classics such as the tweed suit, tea dresses and peter pan collars in a colour palette that included soft shades such as petal rose and cream, its true appeal was in the unmatchable craftsmanship of the house of Chanel. Hundred upon hundreds of hand-sewn sequins and a breathtaking feather, lace and tulle finale dress were just two examples that further solidified the label’s spot at the top of couture pyramid.

Couture week undoubtedly belonged to Raf Simons. Although he might have not been the most obvious successor to Galliano’s theatrical showings, the Belgian designer’s minimalist aesthetic has proved the perfect partner to Christian Dior’s original elegant and strongly feminine designs. Peplum waist tops and dresses paired with straight cut trousers, not to mention the two-sided evening gowns with crystal embellishments put a refreshingly modern spin on New Look-esque silhouettes.

Gambattista Valli
Nymph creatures and a fairytale narrative were woven into every fibre of Valli’s designs. Rich emerald greens and ruby garnet florals were printed on high-necked ruffled cocktail dresses and evening gowns cinched in at the waist with gold ivy belts. With a beautiful play of volume and colour, the collection was an all-round dream.

Riccardo Tisci’s tribal warrior was equipped with face-obscuring sunglasses and menacing dogs, but that didn’t keep the collection from being feminine and alluring, thanks to halter necklines and iridescent ombre fringing. In short, it was a well-balanced mixture of elegance, urbanism and the beauty of nature.
Maison Martin Margiela
In the light of the brand’s upcoming collaboration with high street retailer H&M, some fear that the house of Margiela will succumb to commercialism. However this collection was a piece of avant-garde artistry. From the crystal face masks to the dynamic collages of fabric and textures. Refreshing and original, it proved why Maison Martin Margiela more than deserves a permanent spot on the haute couture schedule.

Midnight blue dresses, fully-sequined, brocade printed and embroidered cocktail pieces, as well as floor-length pleated chiffon gowns made this collection one of typical Valentino glamour, whilst  canary yellow, magenta and blood red added rich pops of colour. In our eyes, Chiuri and Piccioli can do no wrong.

Read the full article here.

Mel Karch Interview for A Shaded View On Fashion

Thirteen years ago, Mel Karch started her career doing black and white reportage photography on the Kings of the Ivory Coast in Africa. After assisting photographers such as Annie Leibovitz and Marc Seliger, she has gone on to work for clients including the New York Times, Japanese Vogue and Kenzo.
Her latest body of work, MOMENTS, which will exhibit at Clic Gallery NY next month, was compiled over the course of 6 years of location scouting for Marie Claire Italy. The result is a glamourised ode to the American landscape, be it in the form of solitary suburbia or Hollywood iconography.
In the following interview, Karch discusses her universe of creativity, biblical influences and inspirational travels...

Having grown up in Germany and studied in Paris, why did you decide to focus on Americana instead?
The American landscape, architecture and history is where I get most of my inspiration. I started 7 years ago with projects in Los Angeles and New York for Marie Claire Italy. For each assignment I would arrange a separate road trip to find the places I was looking for, For me, the location makes up a big part of the story that I have in mind. It is the place where I will execute my inspiration.
Who do you remember as the first photographer to have a profound impact on you?
About 15 years ago, I discovered a book of Walker Evans and was fascinated by his strong black and white portraits capturing moments in life. But I think I'm more inspired by the history of photography then by any paritcular photographer.
Over time, I have collected a kind of 'reservoir' of images based on memories and dreams, but also different film scenes and dated photos. I am also inspired by the minor details, scenes and light of everyday life- all of these things are a part of every one of us - and painters such as Balthus, Edward Hopper and David Hockney.
What was the most important lesson you learned while assisting photographers such as Annie Leibovitz and Marc Seliger?
I think it is very important to be faithful to one's own style and vision in order to create a universe of work within itself. 
The images for MOMENTS were taken while location scouting for Marie Claire Italy. What was your working experience there like and how did it segue into this photography project?
Accompanying the exhibition is a book containing a selection of 78 colour and black and white polaroid which were taken to prepare for the project, to find the locations where each story could talk place. For the last seven years of the collaboration with Marie Claire Italy (2005-2011), I was lucky enough to visit some of the most beautiful parts of the world.
It was nearly an addiction for me to find the perfect locations for the upcoming shoots, most of which were done in the States. Before each project, I would arrange a separate road trip for myself to find the place for the story I had in my mind. Sometimes I ended up choosing a completely different location from the original idea, but the search itself was such a rich experience and made up a big part of my stories.
When I would go on these trips, to familiarize myself with a place, to find an ideal site, and to pique my curiosity, I would often forget who I was and where I came from. In order to find the right location and to show my progress in the composition of each image, I liked to work with Polaroid Instant Film. These instant images of the idea that I had in mind worked in the same way as a a sketchbook does for a painter, and were also a tremendous help, allowing me to check some technical details before the shoot.
There is a cinematic feeling to your images. What influence does film have on you and what directors inspire you most?
The universe of my work comes from a wish to see and a wish to narrate. I always start with a specific location. The chosen location is the beginning of the story. It is such a wonderful thing to tell stories, and my ideas come from a reservoir of images and scenes from the film in my head. I'm inspired by Ingmar Bergman, David Lynch and Wim Wender to name a few.
Your work has been praised for its "biblical symbolism and dream-like surrealism". How do you see these topics reflected in your work?
The significance of biblical symbolism concerns a particular project earlier on in my career, a triptych consisting of La Pieta, Women With Fish and Jesus Portrait, for which I was awarded the Fuji Prize for Young Fashion Photographers in 2006. I see them as interpreting the bible in a contemporary way.
I think that the minimalistic composition of my images, underlined by a cinematographic lighting, gives them a dream-like surrealism. Each images is a captured moment in life which helps constitute my universe.
What is the creative process behind each image?
When I look back on seven years of work, I think of how beautiful it is to have had the possibility to express oneself in one's own universe of creativity. Creativity is the basis of self-expression. Creation is the birth of something and something cannot come from nothing. It comes from a passion, from a willingness to create something like a painting, a poem, a photograph. Creativity comes from an experience and perspective, from emotion, or from a combination of ideas. Creativity is the desire to express ourselves. To describe these expressions, one must collect experiences, dreams and desires together and mix them with something that comes from inside oneself, a way of seeing the world. The most satisfying thing is to find people who have the same or a similar vision. In my few years of working, I've had the luck to meet several very special people, and I am more than glad to have had this rich experience.
A majority of your images are either black and white or use faded colour. What is the intention behind this, do you feel it gives a sense of timelessness that could not be conveyed otherwise?
Indeed, the desaturated colours give a timelessness to the images and I use it to mix colour and black and white images within stories. I think the black and white images have such a strong appearance, the capturing of the moment being photographed becomes essential.
What are your plans for the future?
I would like to continue doing road trips, traveling and experiencing different situations, filling my reservoir of images. This would be fantastic and a truly natural progression.

MEL KARCH, MOMENTS opens at Clic Gallery NY next month. The accompanying publication is out not and available and


Read the full interview here.