Thursday, 5 September 2013

Marlo Kronberg Interview for A Shaded View on Fashion

Dear Diane and Shaded Viewers, 
The term professional networking mostly conjures up memories of formal cocktail parties, uptight board meetings or in some amusing instances, drunken nightclub encounters. Now, one online platform is looking to change that.
Enter Creators Connect, a multi-faceted online community for one-off and long term creative collaborations, all housed under twelve different categories ranging from digital to holistic endeavors. This week marks the relaunch of the site with a slick new template courtesy of Common Space Studio.
Just in time for the event, Creators Connect founder and CEO Marlo Kronberg sat down to discuss how dubious Craigslist postings sowed the seeds for the project, the advantages of digital networking and why creative collaboration brings out the genius in everyone.

What inspired you to start Creators Connect?

The idea initially came to me when I first moved to NYC in 2009. I wanted to be a magazine editor and was doing all of these magazine internships, feeling like my ideas had no currency. I desperately wanted to start my own magazine called Subbacultcha, with each issue infiltrating a different international subculture – from Japanese Ganguro girls, to shamans, to gypsies to international Elvis impersonators. Basically the raddest magazine in the world. Unfortunately, I didn’t necessarily know the people yet who wanted to make this happen with me. I felt like my big idea was going to waste. 

Around this time, I was also always looking for ways to help out on photo shoots and films in order to broaden my horizons and support people who were doing things I believed in. I would search the Craigslist creative gigs section, but it was always full of postings looking for nude models (not in the good way) or video hoes. It was then that I first thought, “I wish there was a trustworthy, tasteful place online where people could post looking for creative collaborators”. Then I got a job as features editor at OAK NYC’s magazine, OAKAZINE, and we were always looking for stylists, make up artists, writers, etc. Again, I constantly wished my dream website existed.

I know my purpose in life is to help and support people in making their ideas a reality. I’ve always thought I was a fin de siecle salon den mother in a past life. It all kind of clicked one day that this crazy website idea might, in fact, be my true path. The rest is history. 

What is the concept behind the site? 

People who get into a creative flow on a regular basis are happier and when you find somebody you gibe with on the creative wavelength it’s an incredibly intense and sacred relationship.  There are a million websites for finding romantic relationships – why none for finding creative kindreds? I want Creators Connect to be a champion for all humans who want to make cool things happen and meet like-minded people.

Even if someone already has a tight-knit network of really talented friends, sometimes that special person who will take their work and ideas to the next level is across the ocean. That’s why Creators Connect is international and you can see whether a posting accepts locals only or international collaborators. 

It’s really important for different kinds of creators to cross-pollinate and help each other out. In this day and age, all the creative disciplines are getting increasingly bridged and informing each other. Because of this, we have categories for photography, music, film, writing/editing, fashion, web/digital, design/fabrication, performance, holistic, food/drink, and etc, and postings can be posted to more than one category. 

The main thing when formulating how this site would function was that I wanted it to be really simple, with no need to put together a portfolio or answer a million questions. If you need someone for a project immediately, you post on Creators Connect and people who are available or interested will respond. You will get results. Plus, we’re invite only and people have to write about themselves in order to be considered for membership so there’s no spammers or shady stuff going on. There are profiles too, so users can further gauge if a poster is a good creative match before contacting them. 

What makes Creators Connect unique in comparison to regular networking tactics?

A lot of creative collaborators meet each other by chance, which is an inviolably beautiful thing, but we’re in the age of the internet. It’s normal these days to first connect with lifelong friends online. The old John Lennon and Paul McCartney meeting as teenagers in Liverpool story is rare, and a lot of people are not reaching their potential or making their great ideas happen because they don’t have the right people around them yet, helping and inspiring them to get to the next level.

Also, if you’re an introvert or lack conviction in your ideas, sometimes it’s hard to immediately attract all the people you need in your life. Creators Connect makes it easier to get started on the ideas you might be too shy or unsure of to actually approach people about. 

Plus, sometimes you have a very specific need and here you have a shot at finding someone who might not be in your friend group but would be willing to help you out in exchange for being a part of something they believe in.
What is it about the art of collaboration that you find so inspiring yourself?

Creative collaboration brings out the genius in everyone. Creative partnership is a lot like romantic love, and just as important in my opinion. To get the same references, to share the same sensibilities or have complementary sensibilities, to build off of each other and end up with something bigger and more powerful than both of you – that’s magic.

How can people get involved and what plans are lined up for this project develop in the future?

Email us at with some info about yourself to be considered for invitation. We soft launched in March and have close to 800 members now. Recently Alec Friedman, who is the epitome of a creative connector, came on board to shape and build a Creators Connect brand culture. We have our insanely beautiful relaunch coming out this week and some other interesting things up our sleeve to be revealed soon.
Hopefully some time in the near future we’ll branch out into an online magazine showcasing the work of our users and put on more events that champion the creative community. Eventually I hope Creators Connect grows to be a huge champion of creative communities around the world and a source of inspiration to many. ¡Viva la Creación!


The World Through the Lens of Lucy Luscombe for Twin Magazine blog

Lately we’ve been glued to our screens thanks to the work of film writer/director/producer Lucy Luscombe, who has recently garnered accolades such as the BFI Future Film Award and Outstanding Female Talent Award at Underwire Festival for her work. From the trials and tribulations of a young gymnast in Candy Girl to late night occurrences in a Dalston kebab shop inAgain Sometime, the CSM graduate’s films offers a captivatingly honest insight into the everyday challenges of human existence.
Twin spoke to the promising talent about her earnest beginnings, the inspirational factor of failure and the future of the British film industry…

What initially sparked your interest in film?

I’ve always been interested in ‘moments’; creating or recreating them. I remember finding a lot of fleeting situations/moments significant growing up and sounding pretty spacey when trying to explain why. In film you can take that moment, light it, slow it down, blow it up and say ‘that’s why’. Equally, if you’re told ‘don’t sweat the small stuff’ a lot, film is a good place to sweat it.

What was the first piece of cinematic work you ever made?

I made a lot of questionable video art at St Martins: a lot of raw meat, wedding dresses and Bataille. Pretty earnest stuff. A highlight was ‘My womb/ the mosh pit (Beat down)’. Not sure how cinematic it was.

Sum up your style of directing in three words.

One. More. Take.

How has working as an actress informed your work?

I know how to talk to people and get the performance I need. I don’t force anything because I know what that feels like as a performer. I’m better at reading the person when they walk through the door and knowing what they can give me or what they can’t – that’s the foundation and the performance is the surprise.

From late nights in Dalston to coming-of-age flicks, there is a very personal sense to your work. How much of your films would you say is autobiographical and where do you get the inspiration for your work from?

I’d like to think my work is quite human and that comes from a personal place or from listening to people, properly. I suppose I’ve also always been fascinated by failure – it’s managed to seep through a lot of pieces and like anyone who’s serious about making art and making sacrifices for it, they’ll know that’s personal.

Since your early beginnings, how have you seen the London film industry develop?

The old gatekeepers have lost a bit of dough and there are new exciting funding bodies who want to make interesting work, whether it’s through brave brands or online magazines. Specifically in features, where once you needed a lot of money, there is now cheap equipment that allows you to tell the story you want without going through a funding application process that wants to know everything from your grandparents’ ethnicity to your sexual orientation. Theres a ‘get up and go’ mindset emerging, most notably from filmmakers such as Tom Schkolnik (The Comedian). Sure, there’s an issue with quality control but there are great curators out there . If you wanted to make ‘The Fast and the Furious UK edition’, however, I think the British film industry would be a bad place to start.

In the day and age of rom coms and reality television, how important do you think it is for film to tackle serious subject matter such as human existence, identity and disillusion?

There has always been banal entertainment and who am I to tell Joe Bloggs what he should watch when he gets home, I don’t know what kind of day he’s had, and if it’s been pretty shitty I wouldn’t judge him for watching TOWIE to switch off. Film/television/theatre/musicals can offer an interlude to be numbed or moved, enlightened or educated. My interest lies in questions of human existence, identity and disillusion, but that’s my privilege and laughing at Kim Kardashian’s swollen ankles is Joe Bloggs’s.

What are your future projects, goals and plans?

I’ve got some music videos and a fashion film coming out which I’m pretty excited about. There’s also a beautiful short story I’m adapting to keep me fresh while developing a feature.

The Y-3 Anthology for Dazed Digital

Founded in 2003, Y-3 (the 'Y' representing Yohji and the '3' corresponding with Adidas' three iconic stripes) was one of the first labels to actually design sportswear, as opposed to purely looking at its functionality. Apart from fusing innovative sportswear technology with Yamamoto’s avant-garde creations, Y-3 also embarks upon artistic projects season after season, including floating runways and laser light shows. The brand’s latest endeavour sees Y-3 packaged into 150 square metres of futuristic retail space for the label’s second London store in Covent Garden, which opens today.
In honour of the label’s tenth anniversary, Dazed Digital looks back at the untold stories behind the most striking campaigns in Y-3’s history.
SS09Photography by Craig McDean
The “synthetic energy” of urban life is reflected in the surveillance camera-like imagery and colour-saturated cityscapes of McDean’s campaign, echoing the Dan Flavin-esque presentation of the SS 09 collection.
SS10Photography by Alasdair McLellan
Coinciding with the 2010 World Cup, this campaign features laser-cut pieces inspired by the moment when a soccer ball hits the net and is presented on the likes of Zinedine Zidane and Mr. Yamamoto himself.
AW05Photography by Matt Jones
They say there’s no second chance to make a first impression and Y-3’s premiere campaign, shot in the Peruvian desert, did not disappoint. Jones’ energetic photography fittingly sets the collection’s work wear details, eastern folklore-inspired colour palette, soft nappa leathers and constructivism-derived prints against a barren landscape backdrop. 

AW08Photography by Mario Sorrenti
Sorrenti’s graphic imagery solidifies the sleek urbanite feel of Y-3’s functional yet elegant aesthetic. The black and white garments represent a pure Yohji design mentality, the three stripes make a cheeky right corner appearance and legendary creative director and Y-3 collaborator Doug Lloyd gives the imagery his quintessential polish as well. 
SS12Photography by Collier Schorr
Schorr describes her collage campaign as being “inspired by the modernist literature and architecture that is in itself a fusion of political and architectural mantras, both dreamy and concrete”. Entitled ‘The Precipice’, the resulting imagery explores the relationship between the human body and its environment through a fictious travelogue and 1960s Brasília.
AW09Photography by Craig McDean
Karmen Pedaru (dressed in the season’s sharply-executed menswear) makes her way through a giant video landscape for McDean’s take on the interplay between fantasy and reality, natural exploration and the electronic age.
SS13Photography by Pierre Debusschere
The soft silhouettes of the season melt into one trippy structure thanks to the techniques of visual artist and Dazed Collaborator Pierre Debusschere, showing off the creative’s Iceland - and Northern Lights - inspired digital work alongside the styling of Jay Massacret.
AW12Photography by Collier Schorr
Seeing as Yamamoto’s collections have traversed us from places like Mongolia to England, it was only a matter of time before a Y-3 campaign explored the art of travel. ‘Beneath, Between, Beyond’ combines the landscape photography of David Benjamin Sherry with Schorr’s depiction of two internally daydreaming travellers, capturing the sense of losing oneself in both travel and love.
Photography by Mario Sorrenti
Through stark, black and white photography, Sorrenti delves into the purist side of things for his first Y-3 campaign. Despite the collection’s initial designs of digital floral prints and billowing shapes, the final images possess an undeniably sharp and precise focus. 
SS06Photography by Matt Jones
Jones’ last campaign for Y-3 was inspired by the most pivotal dance movements of the 20th century, from New York disco to Argentinian tango (energised with a splash of fiery orange nonetheless). The athletic collection didn’t only mark a collaboration with Adidas global creative director Michael Michalsky, but also marked the brand’s first show in New York.
AW11Photography by Alasdair McLellan
AW11 proved to be another showcase of McLellan’s trademark British sensibility and taste for subcultures - after all, the man did get his start depicting club goers in Leeds during the late 90s. This time, his army of choice are wool coat-cocooned models, photographed in the gritty surroundings of Hudson River Park.

The Denim is in the Details for Twin Magazine blog

Whether it was workwear overalls, slashed punk jeans or Daisy Duke cutoffs, denim has always been labelled as the most democratic of fabrics. However, since its founding in 2003, Superfine has managed to propel this everyday basic to stylish new heights, gaining a cult like status among premium denim fans. The brand’s SS 13 collection ‘War & Peace’ puts a light yet luxurious spin on utilitarian dressing with camouflage-printed leather trousers, chambray chino jumpsuits and cargo jodhpurs.
Twin spoke to its founder Lucy Pinter about political fashion, the label’s upcoming ten year anniversary and what puts the ‘super’ in Superfine…

What inspired you to start Superfine?

I was a stylist in London and wanted a skinny jean to work with (and wear). I also wanted something clean; at that time there were only distressed bootlegs available. The Ramones were my inspiration.

You mentioned the importance of the SS 13 collection reflecting our tumultuous times. Should fashion be political?

Good question. To be honest I usually avoid any politics in my work but last season it just seemed difficult to avoid, as the doom was everywhere. Usually for me it’s about something simple. Fashion is not conceptual or deep. I make what I want to wear. That’s it. But I totally understand and respect people that bring political statements to their work. It can be a good way to voice your opinion.

How would you sum up the collection in one sentence?

A strong, vibrant, rock ‘n’ roll collection with military feel.

What were the challenges of creating this season’s range?

The colours were completely new. I had agents screaming for them so I went for it, but it’s a challenge to see such strong colours in development. I’m more into neutrals in general. We also had some heavy laundry trips and getting the washes right was challenging.

Superfine started off as a very denim-focused brand. What has the process of broadening its design horizons been like?

It’s been a very natural progression to be honest. Again, it’s just about what I like to wear. Denim will always be my first love, but I do love covering all bases. It’s more challenging to design a full collection.

What makes the perfect pair of jeans and what do high-end brands offer that the high street cannot?

A perfect pair of jeans is the jean that makes you feel good, the one you throw on with anything for any event. It’s about the fit, wash and details. High end brands (mine anyway) offer a small manufacturing feel that huge production can’t — it’s in the details. Superfine has lasered print pocket linings in good fabrics (the print design changes every season), we have personalised zips in different colour zip tape for each collection, use the highest quality fabrics and don’t bulk buy cheap. I think it’s absolutely incomparable.

What projects do you have lined up for the future?

We have a 10 year anniversary coming up. Watch this space!