Marco Klefisch for Italia Independent

Marco Klefisch for Italia Independent

Marco Klefisch seems to be pretty productive in this period, well at least he’s keeping his mind busy on many different projects. This time the concept was realizing Italia Independent Spring Summer 2010 campaign composing a picture with an illustration.
Lapo Elkann – here shot by Alessandro Villata and illustrated by Klefisch – pretty fancys being the face of his own brand. Another Italian L.A. Lapers?

By Elisa Lusso – photography by Alessandro Villata courtesy of Italia Indipendent

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A Shaded View On Fashion Film – ASVOFF – Milano

A Shaded View On Fashion Film – ASVOFF – Milano

After Paris, Mexico City, Seoul, and Moscow, ASVOFF is finally making a stop in Milano. In addition to its annual selection, its Milan addition for the festival has a section dedicated to the theme of “light”, chosen by Diane Pernet, curator and creator of the festival. All the videos comissioned by Diane Pernet in collaboration with Italian Vogue will be one minute short. Diane has always believed in the video as a form of contemporary communication capable of cultural blending, as much as tool facilitating free creativity that explores the intersection between fashion and motion.

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The exhibition is coordinated by Federico Poletti and Sara Maino and presents a hundred documentaries and films.The quality is very high, from “Beauty” by the Italian artist Cosimo Terlizzi, to “Sunshowers” (the Festival trailer) by the videomakers Leverock Elisha Smith and “Auguries Of Innocence” from New York based videomaker Jason Last.

By Stefania Seoni – video courtesy of ASVOFF – images courtesy of Jacopo Turrini.

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Radio / Immagini Spezzate

Radio / Immagini Spezzate

Exploring the places of manufactures and handicrafts’s recovery from Lebanon – Beirut – to United Arab Emirates – Dubai -, Tommaso Garner and Giorgio Di Salvo are two travelers called by RADIO to tell what they saw in that lands, collect images and elaborate them as they were kind of foreign correspondents. Next step is juxstaposing the pictures afterwards to provoke and highlight the override of the dialectic between production and committent.
RADIO is a project conceived by 2DM illustrator Marco Klefisch, an exhibition area selecting audio and video publications from “guest owners” every two months. Don’t miss “Immagini Spezzate” from May 27th at RADIO, via Pestalozzi 4, Milan from 6pm.

By Elisa Lusso – image courtesy of Radio

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Visions from the future – Iridescent Worlds

Visions from the future – Iridescent Worlds

Challenging space and time has always been one of the overriding aims of Science Fiction, as well as the starting point from which the plot of the story should unfold its events. Well, at least this process worked in late 60s when science fiction was born, before the actual computer diffusion and domination. Instead, our multi-media era is distinguished by the raising of masses’ power of expression and interaction, which blew up very quickly and in quite unexpected ways considering the Internet, the new technologies and the audio-visual improvements.

The role of science and fiction thus becomes crucial nowadays, tracing our everyday reality. Curious? Get this new-media visual experience and delve into the issue through “Visions from the future – Iridiscent Worlds” – an international competition of video and live media presented by Cronosfera (May 28th – 29th – 30th, Turin, Italy).

Now that Science Fiction has become part of our everyday life and we’re actually experiencing it, we can say that there’s no fiction anymore, while science, instead, has extremely grown up.

By Elisa Lusso – images courtesy of Cronosfera Festival

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Adidas Originals/ Mamy Rock!

Adidas Originals / Mamy Rock!

Who had the chance yesterday night to listen Ruth Flowers a.k.a. Mamy Rock dj set would probably tell you she rocks. Indeed! 70 years old grandma from Bristol, once retired and widowed, Ruth Flowers realized her wish to be a dj after attending his grandson birthday in a club.
An unusual mix of techno with fifties sounds is what characterizes Mamy Rock’s musical choice. Wanna try? Her last EP “Still Rocking” is now in stores, while her last night performance at Magazzini Generali presented By Adidas Originals and Istituto Marangoni is surely becoming an event to remember.

By Elisa Lusso – Images Courtesy of Adidas Originals

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Ana Murillas – L’ Uomo Vogue

Ana Murillas – L’ Uomo Vogue

Portuguese football player Simão Pedro Fonseca Sabrosa a.k.a. Simão is featured inside last Italian L’Uomo Vogue with a couple of shots by Daniel Riera, styled by our passionate Ana Murillas. Midfiel player inside Atlético Madrid – all the times antagonist of the other county town team Real Madrid – Simão naturally fits these mediterranean colors and mood.

By Elisa Lusso – Ph. Daniel Riera – Courtesy of L’Uomo Vogue

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Petri’s not dead, the Buffalo boys return

Petri’s Not Dead, The Buffalo Boys Return

In this picture – Stylist Olivier Rizzo evokes Buffalo Style for Arena Homme +

Ray Petri, probably the most influential stylist of all times, may have died in 1989, but his aesthetic legacy still lives on. You can see it all around you, from menswear fashion to music videos, on all levels, everywhere.

Scottish born Petri, grew up in Australia before escaping back to London in 1969, a turning point for music and fashion, or more likely the point of no return with the emergence of the punk and countercultures. Only ten years later, England had become all about style clans, from Punk to New Wave, from Acid Sportswear to New Romantic, from Rude Boys to Mods, from Ragamuffins to East Indians, it all met in the streets, on their way to the many clubs, and Petri was there in the middle, picking elements from here and there, establishing a savant fashion mix. His vision was going further than just dressing up models, he over viewed the whole concept, and did everything but taking the picture. Everything we have now as a base of menswear stylistic approach is of his creation: mix the muscly bulky models and replaced them with teenagers from the real world, out the total looks and instead dive into wide and wild influences pairing Italian tailoring and Jamaican style with bicycle messengers sports gear. A now common recipe to almost any photo shoot found in fashion magazines, the boxer shorts and combat boots, the underwear and tailoring, and so on. But most of all, he built a sexual tension unlike anyone had managed before into his looks. It is an edgy balance of tough and sweet with attitude, part of his obsession for bad boys.
His work deeply impacted street culture, with his contribution to magazines as The Face and i-D, and his works with the likes of Bowie and Neneh Cherry, and it all came together under the name of Buffalo, a name apparently borrowed from the security staff at Paris 80′s club Les Bains Douches, where large men wore army bomber jackets with “Buffalo” written on them.

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Now, can you even think of one denim label whose menswear advertising owes nothing to Petri? You can’t, can’t you. Well, that’s because Petri’s Not Dead.

Over two decades later, everyone quotes Buffalo (making it almost meaningless), as an easy way to label anything slightly modern and mixed culture for advertising agencies. Most often, nevertheless, its citing feels empty, because the subcultures and countercultures Petri quoted devolved into ruins of themselves or even became purely mainstream styles, copied over and over ad infinitum. Overdose. There will not be a new Buffalo unless we see new countercultures emerging, a hope that seems increasingly unlikely these days. We can only keep hoping, and give our support to new movements coming up, fingers crossed…

By Alban Adam – image courtesy of Arena Homme + and The Face.

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Guest Interviw n°16 – Mr. Olu Michael Odukoya

Guest Interviw n°16 – Mr. Olu Michael Odukoya


Ciao Olu, would you please introduce yourself & Kilimanjaro Magazine?
My full name is Olu Michael Odukoya, born to a Nigerian family. I spent my teenage years traveling from one African country to another with friends. I studied film and photography a long time ago, worked as a an official artist before deciding to use printed matter as a way of communicating Art, Love and Everyday Life.

Kilimanjaro is a printed project dedicated to visual pleasure and experimental editorials. The driving idea is to create an ‘idealist’ magazine, and is not really based on any specific market or angle. We strive to mix a bit of design, photography, style and un-provocative thoughts to create something that says something from nothing. It has a romantic punk attitude – that is, it creates without any obvious restrictions; it’s something free. The conclusions are drawn by the audience: it could be art to someone, while another might consider it a magazine.

I believe in freestyle and organic creative direction. We live in a very tight environment in which things shift from one end to the other. A designer becomes a photographer, artists become celebrities, and so on. ‘Untitled’ is the future, and kilimanjaro provides a platform to explore this.

When was it that you realized that you wanted to work in the art/publishing industry?
Since I was a kid I’ve loved collecting magazines, especially Playboys and Right On (an American teen mag). I like the sense of movement and time that magazines hold. Before going to art school I wanted to be an optician and I did actually work as a dispensing optician while still curating Kilimanjaro. It was a strange profession. Dispensing optician by day, Artist by night. Then kilimanjaro continued to get stronger and bigger, so I reluctantly became the full-time unofficial art director.

Art, love, everyday life and…?
Yes, Art, love and everyday life. The ethos of kilimanjaro is my greatest achievement because over the years when I first used this language within a printed context (2003) and now I see on newsstands that magazine publication entitled ‘Love’ as and some new magazines using everyday life as their ethos to the idea behind the publications.

It’s all about love to me. My work is very thoughtful and my art direction is a very generous way I communicate with my audience.
I like to create things that make you go ‘wow, thats nice,’ and never use shock factor or over-intelligence in my work.
I like to produce things that people think they could invent themselves.

Speaking of, Love seems to be a recurrent theme on the pages of Kilimanjaro (your payoff, issue #3, #4, #9).
Is it purely coincidence?

Love always finds a way – Ask The Beatles – “All You Need is Love”.

What’s your approach to the curation of your magazine’s contents?
I work on kilimanjaro like an artist making a piece of Art. It’s all about the process to me, while the end product is the less intriguing aspect. Since the magazine is not intended to report on conventional editorial content, its quite an interesting concept to make something up that you believe in sharing with people and they buy into it.

In some way, the curation process is quite tricky, as I can’t make up bullshit because its a printed matter and the mistakes have to be lived with. Also making the magazine involves some good research works and heavy thoughts on how to produce it in print. Then, it just happens and we flow with it. I have to say that the contributors of kilimanjaro are the main stars of the project, not me. I am blessed to have worked with some very talented people over the years.

Kilimanjaro’s printing format is unusual (96 x 68 cm). Is it just a matter of identity, or did you choose such a massive layout for other reasons?
Identity was one of the factors, but I did not want to be a magazine. I like the idea of posters, and after all these years the format is not really relevant anymore. Many other magazine have tried big format, then it fails. None are conceived as posters. Some old school vibes…..

Is there anyone you dream could work with you as a Kilimanjaro contributor?
I have actually worked with a lot of people I would love to have worked with but still i would love to work with the incredible Roni Horn… (artist from Hauser and Wirth). She rocks.

Looking backwards, how would you describe Kilimanjaro’s evolution?
My independent manifesto works. It still reaches people and I have been doing it since 2003. Self published – not overcrowded advertising – the people that buy it support it. Still inspiring a lot of nobodies and somebodies. Still trying to make interesting print work in this Digital Age.

You started Kilimanjaro with your own funds back in 2004 and things have changed drastically since then.
What is, in your opinion, the present and the future of the publishing industry?

I think Bi annual is definitely in at the moment. The content of printed matter should feel like there is thought and property thats worth keeping. The monthly magazine format is less effective because blogs have supplanted them in some ways. I think its really a great time for printed matter because all the junk ad space magazines are going off the shelves .
It was just too much, this-everyone-who’s-got-a-Macbook-can=be-an-art-director kind of thing. So it a good time for projects like kilimanjaro and other die hard publishers.

It feels much easier now and there is no overly patronizing independent magazine conference and seminars which makes it a commercial underground. Back in the days I couldn’t even put kilimanjaro in art bookshops because it was too Avant Garde or because it doesn’t carry a household name artist on the cover. Now all those artists are celebrities and now people want a change. It’s happening in fashion, politics, media and I’m sure its going to happen in art soon. Still happy to be here and I’m thankful for all the people / contributors that support the project and make this project exist.

What’s your (and Kilimanjaro’s) strategy for survival?
Don’t sell out! Make things yourself. Lose the traditional ways of making magazine it costs too much money. Invest your ideas around you.
Make a good sincere publication and let people come to you. Be patient if it does not work it does not mean it’s not good.

How do you think recession has affected the art industry? Creativity?
It a blessing! Things where not right before, it was all money money!
I will say this: make what you can afford! For kilimanjaro it has been a great time. Now a lot of people could get together and make something based on the creativity. It’s also a fresh start for the newcomers. I want new contributors with new energy to collaborate with. You might probably just have been sacked from a job you hated anyway. Now you have no excuse.

Interview by Enrico Grigoletti.
Editorial supervising by Tag Christof – image courtesy of
Kilimangiaro Magazine

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Oppure II / Fashion towards New Media

Oppure II / Fashion towards New Media

“Fashion moves towards the new media” is the subheading of the second round of “Oppure”, an exhibition curated by Federico Sarica, who wisely put together some young artists working within the fashion industry: 3 fashion photographers – Stefano Galuzzi, Ilaria Orsini and Van Mossevelde+N – a director, Luca Merli and 3 fashion stylists – Rossana Passalacqua, Roberta Rusconi and Tanya Jones.

One time, they would have been called ‘insiders’, but since the fashion social sharing phenomenon puts everyone in the front row and down to the backstages, insiders just don’t exist anymore, that’s why we need another aesthetic evolution. Generically documenting a story that acts on a timeline instead of photography steady poses, filming thus becomes an immediate choice to go through this transformation.
Oppure is opening its doors on friday 14th May at 8 p.m. at
Spazio Monotono, Vicenza (Italy).

By Elisa Lusso - images courtesy of Stefano Galuzzi, Ilaria Orsini, Luca Merli.

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The Coppolas

The Coppolas
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“Let’s keep it in the family”. Well, we are not sure if those were the right words, but it’ funny to think that the famous and celebrity-daughter filmmaker Sofia Coppola spoke like this to her boyfriend Thomas Mars, the leader of the tres chic french band Phoenix.

Sofia needed him for the soundtrack for her last movie, “Somewhere” – which will be featured worldwide in theatres from next September – and the proper mood she was looking for had to sound close to Phoenix’s tune “Love like a Sunset”.

Easy thing to do, just ask Thomas’ band to write some music for her.
Said and done. For Phoenix’ s guitarist Christian Mazzalai the final score sounds “very minimal”. We’ll see. And listen.

By Alexio Biacchi

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