CONTEMPORARY ART AND LIFESTYLE MAGAZINE FALL 2020
The COLLABORATION ISSUE KERBY JEAN-RAYMOND & DELPHINE DIALLO - ADRIAN CHENG - TOYIN OJIH ODUTOLA - ALEXANDRE ARNAULT & DANIEL ARSHAM - BISA BUTLER - FUTURA2000 & VIRGIL ABLOH WHITEWALL 1 Publication: Whitewall Ship Info: Whitewall IO #: None Whitewall Magazine Issue: 2020-FALLissue 114 East 25th st Ad Type: DPS4CB New York, NY 10010 Client: Christian Dior Couture - 439556-05 B: = 21” x 14” Attn: Laurent Moisi Project: 2020 Dior Couture T: = 20.5” x 13.75” T: release link email Campaign: FALL Issue Bonus S: = 20” x 13.25” E: [email protected] Creative: FALL RTW Women Proofs: 1 AE: LL
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FROM THE EDITOR
I send this issue to print with a heavy heart again. Here in the U.S., protests continue, reinvigorated by the senseless shooting of another Black man, Jacob Blake, in Kenosha, Wisconsin. As Blake lies in a hospital, unsure whether he’ll be able to walk again, inexplicably handcuffed to his bed, a young white man has shot and killed two protestors with an openly carried gun, while police did nothing. The men who shot and killed Breonna Taylor in her home have still not been brought to justice. The pandemic rages on in much of the country as the number of dead upticks closer and closer to 200,000. Borders are closed and restrictions on daily life are in place. The presidential election looms large, just a few months away. Some schools have opened while others remain closed for online learning. Caregivers, like myself, are expected to do it all without any support. And yet we have found a way to exist in this new normal, and hopefully here and there, find some bright spots. We have learned to truly value human interaction and connection—even, or especially, with masks on and socially distanced. With that in mind, we’ve put together our very first Collaboration Issue. Many of the conversations you’ll find here took place via Zoom or over the phone. All inevitably reflected on the past few months and how the pandemic has impacted their lives S:13.25” T:13.75”
personally, professionally, and otherwise. B:14” The spring of lockdown in New York gave cover artist Toyin Ojih Odutola time to reflect on her recent magnum opus, “A Countervailing Theory,” which has opened (after being delayed due to COVID-19) at the Barbican in London. Considering the viewer a collaborator and participant in her practice, she sees the changed timing as having been in her favor—the pandemic and recent racial justice movements shedding new light on the narrative. Having first met on the Internet, it was fitting that artist FUTURA2000 and designer Virgil Abloh chatted with each other via Zoom for this issue. They have years of collaborative projects— between them and so many others—under their belt, and the pair shared their thoughts on worthwhile partnerships, the future, and the concept of legacy. Pyer Moss’s Kerby Jean-Raymond, photographed by and in conversation with artist Delphine Diallo, has taken this moment to evaluate his pace and relationship with others. The two discuss how they are trying to show up for the present, a new Black renaissance, and what it means to forgive. We also caught up with R IMOWA’s Alexandre Arnault and recent collaborator, artist Daniel Arsham, who addressed the luxury and now privilege of travel; as well as K11’s Adrian Cheng about the ongoing #LoveWithoutBorders campaign and initiative. We enter the remaining quarter of the year with the hope that change will come, that we will find a way to heal, and that we will be together soon. Until then, we will continue to do the work, share the voices of artists, and find the beauty in our new everyday.
Katy Donoghue EDITOR IN CHIEF
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FROM THE PUBLISHER
This fall issue is a special one, because not only are we learning more and more every day about the new realities of COVID-19, but we are also dedicating more time to the changes and collaborations that have arisen from this unique time. This is why we are for the first time publishing a Collaboration Issue. We are dedicating this publication to creatives who have been joining forces to engage, innovate, and make the world a more inspiring place during these politically and emotionally charged times. This fall also marks a new milestone of creating five different covers with the amazing artist Toyin Ojih Odutola, graffiti legend FUTURA2000, artist Daniel Arsham, designer Kerby Jean-Raymond, and K11’s Adrian Cheng. From designers to artists, and from CEOs to curators, this issue is as diverse, rich, and unique as the world we love. It has been made with hope and resilience in challenging times, and with the knowledge that creativity will always prevail.
Michael Klug & Laurent Moïsi FOUNDER, PUBLISHER, EDITOR AT LARGE COO, ASSOCIATE PUBLISHER
WHITEWALL 14 WHITEWALL 15 COVER IMAGES:
DANIEL ARSHAM PROCESS SHOT FOR THE RIMOWA X DANIEL ARSHAM COLLABORATION; PHOTO BY ARSHAM STUDIO.
TOYIN OJIH ODUTOLA TOYIN OJIH ODUTOLA, TO THE NEXT OUTPOST, 2019, CHARCOAL, PASTEL, AND CHALK ON LINEN OVER DIBOND PANEL, 84 X 50 INCHES, COURTESY OF THE ARTIST AND JACK SHAINMAN GALLERY, NEW YORK. NEWS FUTURA2000 FUTURA 2000, THE GOOD, THE BAD, THE UGLY, 1991, AEROSOL ON WHAT TO SEE, DO, BUY, AND WEAR THIS SEASON. CANVAS, 210 X 270 CENTIMETERS, COURTESY OF THE ARTIST.
KERBY JEAN-RAYMOND KERBY JEAN-RAYMOND IN SEAN JOHN BY PYER MOSS SUIT, 22 PHOTO BY DELPHINE DIALLO. ADRIAN CHENG ADRIAN CHENG, CEO OF NEW WORLD DEVELOPMENT AND FOUNDER OF K11, PHOTO BY SWKIT.
REVIEWS BETTY CATROUX, GIOVANNA CASTIGLIONI, 32 “CALIFORNIA SKY.”
PROFILES YOUNG CHUNG & KIBUM KIM, AURORA JAMES, ALICE WANG, CAMILLE PERRY & HOLLY WRIGHT, ASHTIN BERRY, DEANA HAGGAG, 38 TIFFANY DERRY, JOEONNA BELLORADO-SAMUELS, MYRTIS BEDOLLA.
TO WATCH 48 JAMMIE HOLMES, GRACE LYNNE HAYNES, CLOTILDE JIMÉNEZ.
FOCUS ANDRE WALKER, FE NOEL, INI ARCHIBONG, 54 LEELEE CHAN, HERON PRESTON. Trevor Paglen
Bloom September 10 – November 10, 2020 WHITEWALL PRESENTS 6 Burlington Gardens SPARFELL & OETKER COLLECTION SOAR TOGETHER. London
@PACEGALLERY 66 PACEGALLERY.COM
SUBSCRIBE AT WHITEWALL.ART
WHITEWALL 16 WHITEWALL 17 BISA BUTLER THE ARTIST IS GIVING IDENTITY, HISTORY, AND LEGACY BACK 70 THROUGH HER QUILTED PORTRAITS.
FUTURA2000 & VIRGIL ABLOH OLD FRIENDS WHO MET ON THE INTERNET CONNECT VIA ZOOM 76 TO TALK ABOUT WHAT THE FUTURE MAY HOLD.
ADRIAN CHENG THE CEO OF NEW WORLD DEVELOPMENT AND FOUNDER OF K11 IS 82 PROMOTING LOVE AND LEADERSHIP WITHOUT BORDERS.
KERBY JEAN-RAYMOND & DELPHINE DIALLO THE FASHION DESIGNER AND ARTIST ARE BOTH DRIVEN BY A 90 DESIRE TO RECLAIM THE NARRATIVE OF BLACK CREATIVITY.
TOYIN OJIH ODUTOLA THE ARTIST PRESENTS “A COUNTERVAILING THEORY” AT THE 100 BARBICAN THIS FALL.
NIGO THE STREETWEAR DESIGNER COLLABORATES WITH VIRGIL ABLOH 108 FOR LOUIS VUITTON MEN’S.
ALEXANDRE ARNAULT & DANIEL ARSHAM THE CEO OF RIMOWA AND THE ARTIST IN CONVERSATION 114 AROUND THE DREAM AND UTILITY OF TRAVEL. SUBSCRIBE AT WHITEWALL.ART
WHITEWALL 18 WHITEWALL 19 FRIEDMAN BENDA 515 W 26TH STREET FOUNDER, CEO, EDITOR AT LARGE Michael Klug – [email protected] NEW YORK, NY 10001 EDITOR IN CHIEF Katy Donoghue – [email protected] FRIEDMANBENDA.COM COO, ASSOCIATE PUBLISHER Laurent Moïsi – [email protected]
CREATIVE DIRECTOR marion guggenheim
SENIOR EDITOR Eliza JordaN – [email protected] INI ARCHIBONG DANIEL ARSHAM
COPY EDITOR Kristin M. Jones ANDREA BRANZI ESTUDIO CAMPANA
WORDS Katy Donoghue - Pearl Fontaine - Allison Jeffries - Eliza Jordan - Taylor Rose - Julian Thurtell - Elizabeth Williamson - Sarah Young WENDELL CASTLE BYUNG HOON CHOI IMAGES Steve Benisty - Delphine Diallo
ADVISORS PAUL COCKSEDGE CARMEN D’APOLLONIO RENAUD DUTREIL, PATRICE KLUG, THOMAS MONDO, ALESSIO SCALABRINI, STUART SUNDLUN
EDITORIAL ASSISTANT PEARL FONTAINE ANDILE DYALVANE NAJLA EL ZEIN SOCIAL MEDIA INTERN Jade Alexandre ACCOUNTING BRUNO GAMBONE GT2P (GREAT THINGS TO PEOPLE) Mark A. Silver CPA, PC 3182 Monterey Drive - Merrick, New York 11566
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© WHITEWALL MAGAZINE. REPRODUCTION WITHOUT WRITTEN PERMISSION OF WHITEWALL IS PROHIBITED. ETTORE SOTTSASS FAYE TOOGOOD Whitewall does not assume any responsibility for any inaccuracy of information contained herein. Whitewall magazine contains facts, views, opinions, and statements of third parties, visitors, and other organizations. Sky Art Media, Inc., its parents, affiliates, and subsidiaries do not represent or endorse the accuracy or reliability of any advice, opinion, statement, or other information, displayed or distributed through Whitewall magazine. You acknowledge that any reliance upon any such advice, opinions, statement, or other information shall be at your sole risk and you agree that Sky Art Media, Inc., its parents, affiliates, and subsidiaries shall not be held responsible or liable, directly or indi- rectly, for any loss or damage caused or alleged to have been caused in any way whatsoever related to any advice, opinions, statements, or other information displayed or distributed in Whitewall magazine. JONATHAN TRAYTE MARCEL WANDERS LEBBEUS WOODS THADDEUS WOLFE
WHITEWALL 20 WHITEWALL 21 CONTRIBUTORS DELPHINE FUTURA2000 DIALLO A pioneer when graffiti met the formal gallery ecosystem, the artist FUTURA2000, born as Leonard Hilton McGurr, was known as early as Delphine Diallo is a Brooklyn-based French and Senegalese visual artist the 1970s for his radical approach in the street, introducing abstraction to and photographer. She graduated from Académie Charpentier in Paris in what was an entirely letter-based discipline. His work on canvas caught 1999 before working in the music industry for seven years as a special attention in the 1980s, and established him as a leading voice within a effect motion artist, video editor, and graphic designer. In 2008, she moved wider art movement that included the likes of Jean-Michel Basquiat, Keith to New York to explore her own practice after giving up a corporate art Haring, and Kenny Scharf. As an artist who also has a dedicated commercial director role in Paris. Diallo was mentored by the acclaimed photographer practice and product brand, Futura Laboratories, he has collaborated with and artist Peter Beard, and she immerses herself in anthropology, mythology, partners such as Louis Vuitton, Comme des Garçons, Chanel, Nike, OFF- religion, science, and martial arts to release her mind. Her work takes her WHITE, and Levi’s. FUTURA has also designed iconic album packaging to remote areas, as she insists on spending intimate time with her subjects for musicians such as The Clash and DJ Krush, and provided performance to better be able to represent their most innate energy. Wherever she can, visuals for Lupe Fiasco and Virgil Abloh. Diallo combines artistry with activism, pushing the many possibilities of empowering women, youth, and cultural minorities through visual provocation. Courtesy of Delphine Diallo. Portrait by Miss Wangy. ALEXANDRE KERBY JEAN- ARNAULT RAYMOND Alexandre Arnault is the CEO and president of RIMOWA, a leader in the premium luggage space. The brand was founded in 1898 in Cologne, Germany, Kerby Jean-Raymond got his start in fashion at the age of 14. In 2013, after and joined the LVMH Group in January 2017. Arnault played a critical role in working in the industry as a designer and pattern maker for 11 years, Jean- sourcing the acquisition and worked on its successful completion. Since then, Raymond founded his own label, Pyer Moss, which is sold at exclusive high- he has played an integral part in reinventing what it means to be a luxury brand end boutiques worldwide. Jean-Raymond has been featured on the Forbes in 2019 as one of the youngest executives in fashion and design. He is already 30 Under 30 list, Elle’s 7 Most Wanted Designers list, and the Crain’s 40 making waves in the luxury space with his ambitious activations and plans Under 40 list. He has won the ADC Young Guns Award, the FGI Rising Star for the timeless brand, including a complete branding overhaul in June 2018; Award, and Ebony’s Future 15 Award, and in 2018 he was nominated for a series of collaborations with like-minded brands that sit at the intersection The CFDA’s 2018 Swarovski Award for Emerging Talent. As a fine artist, of travel, experience, and modern, functional luxury such as OFF-WHITE, Jean-Raymond had his sculpture Aquos featured at the Museum of Modern FENDI, and Supreme (which sold out in a mere 16 seconds); and its first-ever Art in New York for the “Is Fashion Modern?” exhibition. global integrated campaign to mark RIMOWA’s 120-year anniversary. Portrait by Karl Lagerfeld. Kerby Jean-Raymond in Sean John by Pyer Moss Suit, photo by Delphine Diallo. DANIEL VIRGIL ARSHAM ABLOH
In his work, the New York–based artist Daniel Arsham explores the fields Born in Rockford, Illinois, Virgil Abloh is a multi-hyphenate creative who of fine art, architecture, performance, design, and film. Arsham’s uchronic often rejects the classification of creativity. He operates in the realms of art, aesthetics revolves around his concept of fictional archaeology. Working design, and culture in conjunction with advocacy, mentoring, and philanthropy in sculpture, architecture, drawing, and film, he creates and crystallizes in the spaces he occupies. After earning a degree in civil engineering from ambiguous in-between spaces or situations, and further stages what he the University of Wisconsin-Madison, he completed a master’s degree in refers to as future relics of the present. Always iconic, most of the objects architecture at the Illinois Institute of Technology (IIT), Chicago. At IIT, that he turns into stone refer to the late-20th century or millennial era, when while studying a Bauhaus design curriculum devised by Mies van der Rohe, technological obsolescence unprecedentedly accelerated along with the digital Abloh began to craft the principles of his broader art practice. The Museum of dematerialization of our world. While the present, the future, and the past Contemporary Art Chicago presented a major traveling survey of Abloh’s work poetically collide in his haunted yet playful visions between romanticism and in summer 2019—one of the highest-attended exhibitions in the museum’s Pop art, Arsham also experiments with the timelessness of certain symbols and history. Currently, Abloh is the chief creative director and founder of OFF- gestures across cultures. WHITE™ and men’s artistic director at Louis Vuitton, among other endeavors. Portrait by Guillaume Ziccarelli, courtesy of Daniel Arsham Studio and Galerie Perrotin. Portrait by Alessio Segala.
WHITEWALL 22 WHITEWALL 23 NEWS
1. 2.
3. 4.
BUBBLES & 5. BAUBLES
1. AUVERE’s new Cage cocktail ring is handcrafted from 11 grams of solid gold and holds a round 2.3-carat ruby in a dramatic matrix. 2. Hermès’s latest Arceau Into the Canadian Wild watch combines craftsmanship, art, and nature and is available in two limited-edition series of 24 pieces each. 3. Dom Pérignon’s Vintage 2010 release in September marks the first under the house’s new Chef de Cave, Vincent Chaperon. 4. Jaeger-LeCoultre dazzles with two new diamond-set Calibre 101 high jewelry watch- es, the Snowdrop and the Bangle. 5. Roger Dubuis and Lamborghini revealed a one-of-a-kind timepiece, the Excalibur Essenza SCV12, unveiling it simultaneously with the new SCV12 hypercar.
WHITEWALL 24 WHITEWALL 25 NEWS 1. 2.
3.
4. 5.
INTERIOR 6. REFRESH
1. This September, LOEWE launches its first “Home Scents” collection, including candles, room sprays, rattan diffusers, and soaps in 11 garden-inspired scents. 2. This November, designer Maximilian Eicke will introduce his “Ghost” glassware collection of tumblers, highballs, and vases. 3. For Cassina, designer Lee Broom created the Maestro chair, inspired by his love of music, in three fin- ishes and 30 Dedar upholstery colorways. 4. Faye Toogood’s solo exhibition “Assemblage 6: Unlearning” is at Friedman Benda from September 10 to October 17, showcasing her model-making for product design. (Pictured: Faye Toogood, Wire Card Chair, photo by Angus Mill, courtesy of Friedman Benda and Faye Toogood.) 5. Bisazza debuts a collaborative mosaic collection with Fornasetti this season, featuring the Ortensia, Bocca, Serratura, and Soli a Capri patterns in large-format for the first time. 6. From October 24 , 2020 to March 7, 2021, Fondation Cartier will present “Sarah Sze: Night into Day,” including new mixed-media installations and an augmented reality experience. (Pictured: Installation pro- totype in the studio for the exhibition “Night into Day” at Fondation Cartier, photo by Sarah Sze Studio, © Sarah Sze.)
WHITEWALL 26 WHITEWALL 27 NEWS 1. Freedom should be free. 2. 3. THE GREAT ACCESSORY
1. Balmain and Cire Trudon commemorate Parisian luxury and a longstanding relationship with the limited-edition scented Ernesto candle in two sizes. 2. On view through January 16, 2021, at Museo Salvatore Ferragamo in Florence—and online at Ferragamo.com—is the house’s “Sustainable Thinking” exhibition. 3. Occhii’s Fall/Winter 2020 collection “Unreplicable Garments” features hand- knit, quilted, and patchworked pieces made of both sourced and recycled mate- rials. 4. In September, Coach and the Estate of Jean-Michel Basquiat are debuting a collaborative capsule collection reimagined with the artist’s work. (Photo licensed by Artestar New York, courtesy of the Estate of Jean-Michel Basquiat.) 5. Penned by Dior’s milliner Stephen Jones, Dior Hats takes the reader on a jour- ney through 70 years of Christian Dior’s favorite accessory.
4. 5.
a national nonprofit designed to combat mass incarceration by disrupting the money bail system – one person at a time
bailproject.org/donate
WHITEWALL 28 WHITEWALL 29 NEWS: COLLABORATIONS BVLGARI X AMBUSH
Bvlgari’s latest capsule collection, “Serpenti Through the Eyes of Ambush,” created with Ambush creative director Yoon Ahn, includes three new bag styles and a handful of bold accessories. (Pictured: Ambush x Bvlgari Top Handle shoulder bag in bright blue, photo by Tyler Mitchell, courtesy of Bvlgari.) THE INVISIBLE COLLECTION
The Invisible Collection is revealing its first American designer on the platform, Kelly Behun, with a X KELLY BEHUN collection of bespoke outdoor furniture pieces like mosaic tables and bleached mahogany chairs. BOMBAY SAPPHIRE VEUVE CLICQUOT X X HEBRU BRANTLEY
The artist Hebru Brantley was enlisted by Bombay Sapphire to design the first-ever artist- YAYOI KUSAMA designed bottle in North America, with sales benefiting the Chicago chapter of Black Lives Matter.
In October, Veuve Clicquot Champagne debuts its collaboration with Yayoi Kusama to highlight a new bottle of La Grande Dame 2012 with a limited-edition Kusama-designed bottle and gift box.
WHITEWALL 30 WHITEWALL 31 NEWS: COLLABORATIONS BYREDO X ISAMAYA FFRENCH
This October, Byredo launches its first-ever makeup collection created in collaboration with makeup artist Isamaya Ffrench. (Portrait by Marcus Ohlsson.)
LIGNE ROSET X PHILIPPE NIGRO
Continuing their long-standing collaborative spirit, Ligne Roset welcomed Philippe Nigro back to unveil the “Hémicycle” collection, featuring an S-shaped conversation chair and two-seater styles. (Portrait of Philippe Nigro by Mercedes Jaen Ruiz.)
WHITEWALL 32 WHITEWALL 33 REVIEWS
WW: Do you have some favorite pieces Yves Saint Laurent designed for you?
BC: What is interesting about a piece of clothing is not that it was made for you, but it is the way you appropriate it, the way you mix it with other pieces. It is when you define your own style that a garment becomes truly yours. I do it with a lot of spontaneity, because I like when the result does not seem so obvious, even if in the end, I always dress the same way—a pair of black jeans, with a T-shirt and leather jacket.
WW: Are there any particular memories in a specific look or garment you could share?
BC: In 1983, the “Yves Saint Laurent—25 Years of Design” exhibition opened at the Metropolitan Museum in New York. It was the first time that an exhibition was dedicated to a living designer! Diana Vreeland curated the exhibition. For the inauguration, Yves designed me a tuxedo dress with wide black-satin lapels, which in the end gave it a very masculine touch.
WW: Is there a piece you felt the most comfortable or “you” in?
BC: Tuxedos, of course, especially pants tuxedos! It is the perfect balance for me. It felt like second skin being in a tuxedo. I always wear them the same way, naked under the jacket, no shirt, no jewelry, nothing.
WW: What prompted the donation to the Fondation Pierre Bergé—Yves Saint Laurent?
BC: First, because I have a great friendship with Madison Cox, who is the CEO of the Pierre Bergé—Yves Saint Laurent Foundation. Yves and Pierre gave me everything. I had at home like a small museum that my husband, Portrait by © Steven Meisel, courtesy of Saint Laurent. François Catroux, had arranged for me, with all the sublime clothing that I no longer wore. Today they are returning to where they come from, so that Installation view of “Betty Catroux, Yves Saint Laurent: Feminine Singular” (2020) at Musée Yves Saint Laurent Paris, courtesy of Saint Laurent. Yves’s work continues. BC: I was not involved at all. By the way, I discovered the exhibition on the opening day. But I was fully trusting Anthony Vaccarello, to whom Madison WW: Did you discuss with Anthony Vaccarello the selection of pieces in wished to give carte blanche for this exhibition. He understood me very the exhibition? well and perfectly captured the Saint Laurent spirit, which is a mixture of seduction and mystery.
BETTY CATROUX WW: You’ve said that you love to live in your time, that you’re not at all nostalgic for the past. What’s it like, then, to experience looking back at the Ahead of her time, the singular spirit finally pieces in “Féminin Singulier”? feels completely in tune with our era. BC: I hate nostalgia! I never think of the past. I am interested in now. Of course, I feel very emotional when I see all these clothes which remain extremely modern and perfect in proportions, and which are the proof that By Allison Jeffries Yves was a genius. But donating them to the Foundation also relieved me of the past. I look twenty years younger! Earlier this year, “Feminine Singular” opened at Musée Yves Saint me. I sat down with him and he gave me the usual compliments. I found him Laurent Paris. The exhibition celebrates the fashion icon Betty Catroux, very sympathetic, funny, and we kind of looked the same. He asked me to WW: Can you tell us about some of the personal photos included in the show? commonly referred to as Yves Saint Laurent’s double. The two met at walk for him. I laughed at him, when all the girls only dreamt of that. He took Was there a photographer you particularly liked working with? a nightclub in the late sixties and were inseparable from then on. Saint my phone number and never left me again. Laurent responded to Catroux’s masculine, androgynous look, but it was BC: What guides me is the talent. I remember Helmut Newton, Irving Penn, also that they connected morally and mentally, as she told Whitewall WW: What do you think made the two of you click, as friends, and creatively? or Steven Meisel, whose photographs can be found in the exhibit. Meisel recently. made this very beautiful series of photographs in 1993 for the Italian Vogue The YSL pieces on view were selected by the fashion house’s BC: I was androgynous, asexual—it’s something that touched him, for sure. with the Saint Laurent women. There was Catherine Deneuve, Loulou de la creative director, Anthony Vaccarello, and all were recently donated But our resemblance was not only physical; we also looked alike morally, Falaise, Paloma Picasso, and I in a black tuxedo. Recently, David Sims, whom by Catroux. Photos by names like Helmut Newton, Steven Meisel, and mentally, which is quite unbelievable. And where he is very clever is to have I love, photographed me! It was two years ago for a Saint Laurent campaign, Irving Penn accompany the signature clothes—like the tuxedo, jumpsuit, felt that I could be a soul mate. where I was wearing a black leather jacket from Anthony’s men’s collection. and safari jacket—along with personal documents. The show is now I am crazy about this photo! accessible online, having temporarily closed due to the COVID-19 health WW: In terms of style, you’ve said that you’ve always been captivated by crisis. what’s masculine. Why do you think that is? WW: In a recent interview, you said, “In my opinion, the ideal human being Catroux shares with us a few of her memories of Saint Laurent transcends the idea of men on one side and women on the other. I don’t feel BC: below. I have always been like this. I am unlike anyone else, either mentally like a boy or a girl. It’s always been like that.” What do you think of fashion or physically. Too tall, too skinny, too sharp. Besides, I do not like anything and society’s current embrace of blurring gender boundaries? WHITEWALL: How did you first meet Yves Saint Laurent? a woman is supposed to like. All this deeply annoys me. Yes, I am like an anomaly. I always wore jeans, a men’s jacket, even if it came from Monoprix BC: I like the present, in which I feel a thousand times better than fifty years at the start. I only dress in men’s. I feel neither girl nor boy, but more in a ago. I was uncomfortable in my own skin for a long time. It’s been fifteen BETTY CATROUX: It was in a nightclub, Chez Régine, in 1967. There was a Installation view of “Betty Catroux, Yves Saint Laurent: Feminine Singular” (2020) at physical love at first sight. As he was shy, he sent a boy from his table to accost position of seduction dressed as a boy. Musée Yves Saint Laurent Paris, courtesy of Saint Laurent. years that I feel better, because I feel completely in tune with the era that is ours. Finally, like Yves, in a way, I was ahead of my time.
WHITEWALL 34 WHITEWALL 35 REVIEWS
The Bulbo57, courtesy of FLOS. The Bulbo57, courtesy of FLOS. GIOVANNA CASTIGLIONI Reissuing the Bulbo57 with FLOS.
By Taylor Rose
Giovanna Castiglioni grew up surrounded by beautiful objects, often designed by her father and uncle, Achille and Pier Giacomo Castiglioni. Together in their studio in Milan, they dreamed up pieces for Alessi, FLOS, Interflex, Moroso, Kartell, Knoll, and many more. Now the head of the Fondazione Castiglioni and living in her childhood home, Giovanna remembers friends coming over and puzzling at the experimental items there. One in particular was a lighting fixture that took a glass bulb and shortened the neck, enlarged the bubble, and made the filament the focus. It was created for the XI Milan Triennale in 1957. Completely modern for the time, it also featured new technology, not completely safe for production. “It was an experiment, too dangerous for homes. They were very brave and crazy, especially my father,” said Giovanna. So, after the exhibition, it made its way to the Castiglioni home, where four bulbs cast a glowing, warm light above the dining table. Imagined for a domestic interior, when one bubble was installed with another or more, the light is divided between all evenly. That ambient, low-intensity hue was a key element to capture when FLOS set out to reissue the Bulbo57, launching this fall in the U.S. “The warm filament is so beautiful, in the original lamp, and also in the new version today,” said Giovanna. Her father was a longtime collaborator of FLOS, creating icons like the Cocoon, Arco, and Snoopy lamps. Since his passing in 2002, the lighting brand has stayed committed to keeping his contributions to design history alive, while jumping at the opportunity to use new technology to bring past prototypes to life. The challenge in making the Bulbo57 is the filament and the large bubble, according to Giovanna. FLOS used a 255-millimeter-long micro-LED filament suspended by a molybdenum structure in a blown borosilicate glass bulb, offering equally ideal transparency and shock resistance. Hung from the ceiling directly or with nylon wires, the lamp can float solo or in a cluster. “Anywhere you need a warm light,” as Giovanna suggests. The Bulbo57 is a shining example of the Castiglioni brothers’ commandments, which said that design means deconstructing. They were driven by observation and the investigation of why something already exists—in shape or concept. They experimented with new objects, projects, spaces, and even music. “He wanted to make sure everything was designed for a good purpose and reason, not just for a nice shape,” said Giovanna. “He preferred to solve a problem.” She sees the lamp as a representation of the two sides of her father; the lighting source as a well-balanced pair. “For me, he was just a father, just a man. Humble, funny, ironic, and very precise. Smiling, playful, and concentrating. A man with two faces,” she said. “This is why I love the Bulbo.”
Bulbo57 at Fondazione A Castiglioni, photo by Ramak Fazel, courtesy of FLOS. WHITEWALL 36 WHITEWALL 37 REVIEWS
Courtesy of Fendi.
JV: I believe it’s moments like this that I’m able to remind myself that every loss, failure, and wrong decision I’ve made in my career has led me here. Personally, I’m excited to see my work on various mediums I’ve yet to practice with.
Courtesy of Fendi. WW: Fendi is known for its Italian craftsmanship and rich heritage. What did you want to make sure and highlight from the brand’s DNA with each piece?
JV: I think the brand’s DNA is what believed in me and my artwork to be displayed on their products. We didn’t need to make sure of anything. “CALIFORNIA SKY” The story wrote itself. Joshua Vides puts his spin on Fendi accessories inspired by the Golden State. WW: Silvia, do you have a favorite piece? SVF: My favorites are the pieces with the sky backdrops and the little By Eliza Jordan white cotton bowling dress. It feels very cartoonish. WW: Joshua, you built a portfolio on Instagram and credit the platform Joshua Vides has cultivated a recognizable creative style with only two JOSHUA VIDES: I’ve titled the concept “Reality to Idea.” Almost for the exposure it has given you. How do you feel social media is shaping colors—black and white. With smooth, bold lines, typically drawn on everything that surrounds us all began as an idea on a piece of paper, a the businesses of art and fashion? with a thick black marker, the Los Angeles–based artist punctuates blank canvas, a Post-it note. Utilizing the thick black strokes to emphasize the spaces, bringing an idea to reality. pen or pencil, when painting objects or spaces in this style, drives the JV: Just like anything else in life, Instagram has its pros and cons. Artists, We’ve seen his mark on an array of atypical canvases—shoes, mind to view the final object as a flat image due to its contrast and lack designers, and creatives in general that know how to use the app as a tool cars, mirrors, and guitars—with outlined details drawing us in. His of shadow. are succeeding because they’re creating a unique world people can click work has also been the main attraction, inviting the public in to explore on and relate to. Instagram gives you the opportunity to display your immersive sets and scenes like basketball courts, hotel hallways, WW: Tell us a bit about “California Sky.” Where did you begin? lifestyle or creativity in front of millions in a matter of seconds. People boutiques, and even chapels in the desert. are constantly looking for something new, and tomorrow might just be SVF: The “California Sky” collection is tailored with a sense of For his latest project, he’s collaborated with the luxury fashion the day everyone discovers your world. house Fendi. Under the design direction of Silvia Venturini Fendi, the playfulness, and we have integrated pieces more suited for the beach to reflect the California lifestyle. It’s glamorous yet eccentric for the client brand’s new collection “California Sky” features accessories accented by WW: After you launched your brand in 2009, you began consulting in who wants to have fun. Vides. Whitewall spoke with Fendi and Vides about working side by side 2017 and were left exhausted. You mentioned around that time you had on “California Sky,” how Vides is using color for the first time, and why an “aha” moment, watching Abstract and seeing Tinker Hatfield not JV: I was sitting in a design room with Silvia Venturini Fendi. She made art is a forever sport. show his sketches. Afterward, you immediately spray-painted a pair of it very clear that the staple logos and patterns needed to be incorporated. Reebok shoes white and began drawing on them. It was your first piece. After that, she allowed me to draw for hours. She’d come back in the WHITEWALL: Silvia, what initially drew you to Joshua? Take us back to that moment and tell us how that shaped you. room, see my progress, tell me what she liked, and would let me continue. SILVIA VENTURINI FENDI: I was drawn to Joshua for the emotion he can Knowing this collection would be releasing in the summer, the flower JV: I could answer this, but it would take me the rest of the day. I’ll show just using a black marker. His art is an entire world. pattern seemed appropriate with a slight color added to resemble the sky, simply say that I was born to create. What is happening now is only one making it the first time I’ve publicly added color to my work. chapter of an extremely long novel. Art is a sport. Some days I’m great WW: Joshua, tell us a bit about your signature artistic style—black-and- and some days I’m terrible. Regardless, I will continue to push my idea white creations that look 2-D. WW: What does collaborating with a brand like Fendi personally mean to you? Courtesy of Fendi. of art through my work forever.
WHITEWALL 38 WHITEWALL 39 PROFILES YC & KK: The artists have always shaped the trajectory of Commonwealth the 88 percent of overall sales for white-owned businesses. And Black and Council. They literally built this space. Gala Porras-Kim built and tore people spend trillions of dollars in this country every year, but yet represent down the walls in the galleries and scraped the floors. She learned HTML an insignificant fraction of how these companies allocate their purchasing overnight to make a website. EJ Hill tended the drinks at openings. There are power. I also calculated that Black people comprise almost 15 percent of the permanent interventions in the space: Julie Tolentino with Pigpen inscribed American population, and that’s how I came to this number. We’re simply the cinderblock that replaced a broken wall; Cayetano Ferrer designed a asking for equal representation when it comes to shelf space. lighting system in conversation with the broken slats exposed in the ceiling. I believe the Pledge is one way major retailers—businesses that This might all read as corny mythology, and it is. It is also all true. have a big economic influence, such as Target, Whole Foods, and Shopbop— And we mention it because, though we have perhaps grown from that DIY can seek out and invest in brands they may have previously turned a blind approach, the ethos that history shaped, the emotional and communitarian eye to. The support from these major retailers will help these brands grow labor/investment, remains. We do not have some official voting committee when they are seeking outside investment or when they are walking into a and collectively decide on everything together, but we do connect with the bank. What we are asking is not that tough, and we are here to help these artists in our everyday lives, and those conversations inform the decision- retailers attain that 15 percent with clear and attainable goals. making. First, they need to take stock of where they are and complete an audit of their business. Then, they need to take ownership of where they ww: How have the past few months impacted that future? currently stand and figure out how they got there. Last, they need to take action—commit to achieving a minimum of 15 percent, set a deadline to YC & KK: It sounds hackneyed, but the shutdown has allowed for us to get achieve this, and put a system in play where they can be held accountable. It Commonwealth and Council family portrait at Elysian Park, Los Angeles, 2019, photo by Ruben Diaz, off the capitalist treadmill and re-root ourselves in what we want to pursue could take a few years, but we are here to help lay out that plan and strategy courtesy of the artists and Commonwealth and Council, Los Angeles. and champion (and how). Since we began representing artists and engaging and we have some of the most. more directly with the art fair/biennial circuit a couple of years ago, it often felt like we were just trying to stay above water. We are not sure if we will WW: What retailers have already signed on? radically change what we have been doing day-to-day necessarily, but every decision and action will be more intentional. We are trying to imagine how AURORA JAMES AJ: We are thrilled that Sephora, Rent the Runway, and West Elm have we can co-invest in our collective future, as a gallery and for the individual committed to the 15 Percent Pledge. As the first major global design home YOUNG CHUNG artists. Asking big business to take the 15 retailer to commit to the Pledge, West Elm is another major milestone for us. WW: How has it impacted your relationship with your artists? Percent Pledge. WW: What other retailers haven’t signed on yet that you’re hoping will, that can make a big difference for Black businesses within their industry? YC & KK: 2020 has allowed us to recommit to a collective future together. As By Eliza Jordan with many galleries, we started having Zoom check-ins through COVID. AJ: Photos by Steve Benisty Target, Whole Foods, Net-A-Porter, Moda Operandi, Shopbop, and & KIBUM KIM Now they are weekly and have become a forum for us to imagine together the Matches are just some I’d like to step up and take the Pledge. These retailers next era for Commonwealth and Council (at times through arguments and have a big economic influence. We want them to seek out and invest in brands Making a gallery more like a family. tears and vulnerability). This year actually marks the 10-year anniversary Since 2013, Brother Vellies has amplified the voices of artisans around they may have previously turned a blind eye to. The support from these for the space. We have come a long way since that apartment show in the world. The label founded by Aurora James has helped to preserve the major retailers will help these brands grow when they are seeking outside October 2010, perhaps farther than any of us could have dared imagine. craftsmanship of international artisans by ensuring access to workshops, investment or when they are walking into a bank. If Target, Shopbop, and By Elizabeth Williamson But we are now mapping out the next ten years. We have all agreed that equal pay, and employment backed by United Nations standards. Whole Foods follow Sephora’s lead—the four brands we originally called our dream is not just to keep the course and grow and mature into a bigger Over the past several months, with many small businesses on—we can effectively funnel $14.5 billion back into the Black community. “blue-chip” commercial gallery. We would like to reimagine what a gallery affected by the COVID-19 pandemic, James has expanded her mission. Commonwealth and Council began as an artist-run space in a Los Angeles and community of/for artists can be. Hence the summer school we began in Through Brother Vellies, she began a delivery program of ethically made one-bedroom apartment, named for its original location. The goal, as WW: What does being a Black female business owner today mean to you? August is a starting point for exploring alternative models for art education, goods called Something Special. described by founder Young Chung and partner Kibum Kim, was never to something that grew out of years-long conversations among some of our And then, in the wake of racial injustice protests around the become something that already existed, but instead to provide a platform AJ: I think this is true every day—Black women have had to work twice as artists. We are also thinking around what art will look like after 2020: Will world, James launched the 15 Percent Pledge—a nonprofit organization for voices not included elsewhere. Its development has been based on a hard to get half as many opportunities. we be tied to solo gallery shows for artists every three, four years? Or will art that calls on large corporations to dedicate 15 percent of their shelf space to foundation of mutual commitment and support. In 2016 it began to formally live beyond gallery walls and engage the public in different ways? We don’t Black-owned businesses. Whitewall spoke with James about the power of represent a small group of artists. have the answers worked out, but it has been invigorating to deliberate and purchasing and how the idea of luxury is changing to reflect what matters As its experimental programming has grown in critical acclaim and process together. today. collector recognition, Chung and Kim have continued to encourage “artistic freedom without censorship or compromise.” They spoke with Whitewall WHITEWALL: What was your idea for Something Special? about creating a space where artists can feel like they belong. AURORA JAMES: As the pandemic was growing, we started thinking about WHITEWALL: Commonwealth and Council has a familial, collective feel. Why what the Brother Vellies community needed at a time when leaving your is that important for you and the artists you represent? home wasn’t an option. We worked on creating small batch items that we hoped would bring beauty and comfort into the lives of our community— YOUNG CHUNG & KIBUM KIM: There could be a lot of subduing of one’s ego and this grew to become Something Special. By signing up to the program, for the sake of others. We encourage collective care and well-being through our Something Special community members receive a little surprise every our emphasis on hospitality and generosity. It can all sound pretentious and month. We started with the At Home Mug, which I use every morning convoluted, but we’ve earnestly walked the walk to try to manifest this reality to slow-stir my coffee and is handmade by our artisans in Oaxaca, then for us. The nuanced truth remains to be heard through the testimonials of we sent a beautiful handmade hanging vase, which was followed by a all those who have come through our doors. For now, there is nothing more thoughtfully designed bowl to burn the sweetgrass that came with it. We rewarding than hearing one of our artists promote and engage lovingly with also are so excited about our Cloud Socks. another artist in our program and sharing resources for the collective benefit. I think that the idea of luxury is changing, and that people . are starting to equate luxury more with process and brand values and WW: How do you maintain an artist-centric path that is sustainable? sustainability than they are with logos. YC & KK: We by no means have the answers to what sustainability will entail WW: In support of economic equality, the 15 Percent Pledge is a nonprofit for smaller galleries and artist economics (especially in 2020), but we are organization that encourages major retailers to allocate 15 percent of shelf thinking about how we would like to define and protect a space for ourselves space to Black-owned businesses. How did you arrive at this? in the art world. This has been an ongoing subject of discussion in our weekly gallery Zooms. It is all getting hashed out still, but some ideas being explored AJ: As a business owner, I am especially torn up by how much Black include sharing of wealth and resources through a collective trust and co- businesses are suffering because of the pandemic. Studies say that 40 percent ownership in tangible assets/physical space. Installation view of Beatriz Cortez and rafa esparza’s “Pasado Mañana,” 2018, photo by of Black-owned businesses will not survive beyond this. Ruben Diaz, courtesy of the artists and Commonwealth and Council, Los Angeles. We started looking at some statistics and noticed that Black-owned WW: How do your artists determine the future of the gallery? businesses represent a mere 1.3 percent of total U.S. sales, in comparison to
WHITEWALL 40 WHITEWALL 41 PROFILES WW: What does responsible design look like for you? in. A lot of people work from home, and we’re flexible in terms of how people AW: We weigh the look and feel of the material, the longevity and durability, with are working. It’s realistic. We wanted to work with other people, and not just the impact that it has. We use naturally derived, renewable, or recycled materials have them work for us. wherever possible. We’re committed to engineering the basic components of our sneakers so that the function and aesthetics are built in the design process, not by WW: Can you tell us how TOVE maps out responsible sourcing and a complex manufacturing processes that create unnecessary waste. We also hope transparent supply chain? to operationally collect and recycle ILYSM products that have reached the end of their life span, and recycle the materials into other products. HW: We’ve been lucky with a small team, so we have open dialogues about We also work with an incredible start-up factory that pays its workers how we source and drive and dictate what fabrics we want to work with. Silk much more than a “living” wage. It’s really exciting to see a model for ethical, and organic cottons are such a big part of our story since they can degrade, so sustainable manufacturing being iterated alongside us as we grow. We embrace we wanted those to be made in a sustainable way. technology and how we can use technology to improve upon the manufacturing And that’s in everything that we do—from the tissue paper in our process and its impact—not just on the environment, but also on the lives of the packaging, which comes from a sustainably managed forest, to clothing and people it touches each step of the way. the bags we send everything out in. We work with the best European mills, and Another thing we’re working on right now is related to our supply they’re very transparent with their process. It’s quite clear for us to see, and to chain. We’ve experienced supply chain and manufacturing setbacks due to pass on that information to our buyers. COVID-19 and have had to rely on a lot of airfreight, which has a significant carbon footprint. We buy carbon offset credits, but we’re also now splitting our CP: People want to know where it’s coming from and how it’s produced. It’s shipments between air and ocean and hope to refine our production and delivery Portrait of Camille Perry and Holly Wright by Harry Crowder. really transparent where the fabric is coming from—where it’s produced and to reduce air shipping overall. its carbon footprint.
WW: What makes for a positive collaboration? WW: How has your time at home amid the coronavirus pandemic impacted your views moving forward? AW: To ILYSM, a positive collaboration with an artist means entering their world, looking at what we’re trying to communicate, and expressing it in their CP: When everything stopped, it gave us a chance to take a breath and reflect language. We hope to continue to work with talented artists early in their career CAMILLE PERRY on everything. For the Spring/Summer 2021 collection, it’s given us a chance and use the collaboration as a vehicle to garner critical attention and traction. We to think about where we produce, fabrics we use, and how we source—all of want to create as much mutual value as possible. those sustainability aspects. There’s talk about slowing down the fashion calendar, and that’s WW: ILYSM aims to shift cultural conversations. What kind of shift in culture are something that was very much on our minds before all of this happened— Portrait of Alice Wang by Will Griffin. you hoping will happen? & HOLLY WRIGHT to not be so beholden to the seasons. Our customer wants that seasonless wardrobe. AW: We’re motivated to shift the balance of power between gatekeepers in the arts and artists. We want to see a more equal and fair playing field. I’m hoping Consciously making clothing that HW: We were exhausted at the point of lockdown. The pace of the industry was that we all move toward letting our actions match our values and supporting the works harder for its wearer. almost a young person’s game. No one had any time to stop and look at what kinds of activists, artists, and businesses that look like the world we want to live they were doing. We want to show a bigger collection twice a year, so we can in! actually build out the collection how we want instead of doing smaller drops. I hope that as we all become more educated and better understand the By Eliza Jordan There’s also been too much waste, and it devalues the work. ALICE WANG experience of marginalized communities, we continue to have open conversations Building connections for with one another; not afraid of being wrong, being held accountable, and Camille Perry and Holly Wright worked together for seven years at the WW: Where do you think the future of fashion is? course-correcting appropriately. I hope that social distancing helps us all hold fashion retailer Topshop. Perry was a buyer and Wright was a designer, artists with mutual values. meaningful connection that much more dearly, and that powerful corporations but both realized there were substantial issues within the fashion industry. CP: Less quantity, better quality. We need to go back to craft, to quality, to and innovative start-ups decide to put their talents and resources toward creating In response, and shortly after each gave birth to her second child, the duo appreciation. Visibility in manufacturing. Hopefully, climate change is a huge Eliza Jordan positive meaning and value in the interactions we have with technology and each founded TOVE last year in London. focus for the industry going forward. other. The conscious luxury label, whose name is derived from a Danish one meaning “strength” and “beauty,” focuses on creating timeless pieces HW: This time has also offered people a chance to look at what they’re buying. Alice Wang grew up dreaming about the high-flying world of WW: What’s next? Many people are finding themselves in different financial positions than before entertainment. She studied film at Yale and co-produced Lena Dunham’s through responsible production. Elegant, understated clothing with clean lines and simple details mirror the contemporary women of today. As mothers, the pandemic. That also means they’re becoming more mindful. first feature film, Tiny Furniture. In her early twenties she shifted gears AW: We just launched our vegan sneaker. It’s knit from polyester yarn recycled Perry and Wright believe that women work hard so their clothing needs to It feels like the future of fashion is tied up in anything that has to do to personally assist music icon Madonna. Subsequently, she assisted from postconsumer water bottles and has a cork and recycled foam sole. We work harder, and modern, quality pieces can do that. with the impact on the planet. It’s now becoming too big of an issue to ignore hotelier Ian Schrager. For Wang, scrappy budgets in film prepared her to also just launched a $99 art store, where we sell merch, prints, and small pieces Whitewall spoke with Perry and Wright about mindfully creating any longer. You have a responsibility, as a brand of any size, to uphold ethics. be an entrepreneur, and assisting public figures gave her global insight. of work by artists that we’ve teamed up with via the #ILYSM4Artists initiative. clothing and what’s new for the brand this fall. Last December, she teamed up with her friend Sara Jaramillo to We’re working on developing new styles and collaborations with artists and CP: It’s also time for brands to start contributing more in terms of giving back. launch the responsible shoe brand ILYSM. The debut design came with brands, exploring the world of AR/VR, and dreaming about what we can create WHITEWALL: How did TOVE come about in May 2019? We had an archive sale this spring with proceeds going to the Women’s Aid. a strong focus on bringing creatives together on an online platform. In with technologies of today and tomorrow! We should be able to contribute in a really positive way to organizations that response to the coronavirus pandemic this spring, the brand launched CAMILLE PERRY: We recognized that we had the same love for things. There are important to us, to our community, and to women. It’s dear to our hearts. #ILYSM4Artists—a $500 weekly grant initiative for artists worldwide was a disparity in the market, and we felt no one was addressing modern that is being developed into a future residency in Brooklyn. feminine pieces, with a focus on quality, craft, and design. We had two Whitewall spoke with Wang about ILYSM and how she’s children each, at very similar times, and it all started to happen organically dedicated to responsible design, creative expression, and connection. after that.
WHITEWALL: How would you describe ILSYM’s community? HOLLY WRIGHT: The gap between premium and luxury kept getting bigger. ALICE WANG: We’re taking a community-first approach. ILYSM’s That was something we wanted to fill. A shift in our lives also caused us to mission is to inspire people to challenge norms and help them lead move away from a big corporate environment and carve out some time for creative, meaningful lives. We believe that fashion can be a vehicle to our families. We wanted to be more present for them. connect everyday objects and experiences with artistic expression. WW: Our shoes allow your feet to feel unconstrained, comfortable, How does being a mother impact the mission of TOVE? and connected to the terrain you’re traversing; connected to an artistic CP: The pieces need to work hard for the wearer. Not only should it be well community. We celebrate freedom, inclusive comfort, and meaningful priced, but it should be a useful piece to have in your wardrobe. And as a connection. We’re designing, manufacturing, and selling sneakers and mother, we need functionality, being able to wear the garment to multiple merch while simultaneously building a platform to support an ecosystem venues and occasions. of artists and elevate new talent. We aim to bring art, adventure, and love We also wanted to create an environment that women want to work to everything we touch. ILYSM Vegan Tabi shoe with recycled polyester upper and cork insole, courtesy of ILYSM. TOVE Fall/Winter 2020, photo by Georgia Devey Smith, courtesy of TOVE.
WHITEWALL 42 WHITEWALL 43 PROFILES WW: You also host Resistance Served—a symposium-style food, beverage, WW: USA has recently added financial planning support and consulting and hospitality conference—each February in New Orleans. How did this services for its fellows. Can you tell us about those added programs and come about? how artists are taking advantage of that? Why that’s been a need?
AB: Resistance Served is a place for us to have these conversations, to DH: Frankly, at this point, I think it is unethical to offer anyone unrestricted educate people, and to have programming that isn’t centered on value support and not give them the option of financial planning resources. I systems of what other people think are valuable. say this as someone whose wellness has improved exponentially with So many in this industry say they love this industry, and while help from financial professionals. Our fellows have worked with CFPs to it may be true, most are talking about the white industry. The problem make plans to manage their tax burdens, pay off debt, save for retirement, is that the American hospitality industry is literally built off of the labor buy properties, et cetera. It’s literally like a “money therapist” who works of Black and Brown bodies, but that’s so rarely acknowledged. Our job with you to accomplish your goals. This program has really solidified for was to make a place where Black people within hospitality could feel like us how intentionally opaque financial systems are in efforts to keep entire they were heard, supported, and could have nuanced conversations. Not a communities struggling and disempowered. conversation where five people of color were put on one stage to talk about diversity, but a conversation about business and land ownership. How WW: Can you tell us about the Berresford Prize and why that was important Black landowners were pushed out of not only owning their land, but out for USA to expand its focus? Can you also share about the latest recipient, of business—like the sugar business and the effects of farming on booze the incredible Linda Goode Bryant? systems. Portrait by Braxton Black of The BMP Film Co. Portrait by Noah Fecks. I don’t think the conversations, even if they’re uncomfortable, DH: We were encouraged by our artists to consider expanding into arts are high-risk. Whenever anything is not exceptional or meets that criteria administration to demonstrate a commitment to the field more widely— of greatness, people become willfully uncomfortable with the idea that artists rely on close relationships with curators, editors, and producers to America may not be what they think it is or they may be more ignorant make their work. So we were excited to honor the network it takes to make than they thought about why systems in our country operate the way that the cultural sector. In 2020, we named Linda Goode Bryant, who is so they do. visionary and cunning. From gallerist to filmmaker to farmer, Linda has Resistance Served is about making a statement that not every spent her life making space for artists and various other communities. She ASHTIN BERRY stake has to look like what stakeholders say it has to be. DEANA HAGGAG is a shape-maker in every sense, and we are so lucky to live in the world alongside her. WW: You also created America’s Table—a movement that aims to make the Demystifying funding for the arts at USA. Changing the hospitality industry for good. hospitality industry and its issues visible—and mentioned its latest push WW: Why do you think it’s important to demystify funding for artists? was to initiate the first-ever hospitality census in October? By Elizabeth Williamson DH: I think there are a lot of misconceptions about how artists make money By Sarah Young AB: Yes. It’s about figuring out ways that we can collectively advance and and where. In the arts, publicity is oftentimes confused for financial security. assist people within the hospitality industry. One of those things is looking Since it was founded in 2006, United States Artists (USA) has awarded $30 Like many other industries of predominantly gig workers, there are so few Ashtin Berry has worked in hospitality from Chicago to Seattle, and at the lack of data on the industry. We’re in the process of campaigning for million in direct support to more than 600 creators. An annual cohort of safety nets for artists. There is little health and unemployment insurance, et from New Orleans to New York. After finding that the restaurant the hospitality census, which is about making people aware of the lack of fellows across artistic and cultural disciplines have been granted unrestricted cetera. It’s important to talk about money so we can utilize funding more industry often doesn’t foster positive work environments or spaces data. And that is what keeps us from being able to pass policy. funds. ethically and holistically. in which to communicate concerns, she decided to pivot into the role So we created the hospitality census, and this will be the first Deana Haggag joined the organization in 2017 as the president and of a consultant, making a more equitable ecosystem for hospitality. time it happens. The idea is to combat the narrative that has been presented CEO, maintaining its mission to reflect the country’s cultural landscape while In 2016, she began creating curriculums for businesses by organizations—like the National Restaurant Organization—about the changing the conversation around the value of labor. Under her leadership, and organizations that struggled to solve sensitive issues related industry, which mostly represents and supports chain restaurants. We are USA has seen its biggest group of fellows yet for 2020, established financial to workers and the workplace. She founded Radical Xchange—a finding small businesses in the industry. planning programs for awardees, and moved quickly to create Artist Relief in company that provides services for clients looking to create events response to COVID-19 along with several other organizations. WW: or messaging for marginalized identities. Her work as a hospitality What would be an ideal hospitality experience? Whitewall spoke with Haggag this summer about demystifying activist and educator is dedicated to safety and honesty, helping to how artists make money and where. create operational models where employees can thrive. Whitewall AB: Where people would make a livable wage, where health insurance is not tied to their job, where there are services that can support them— spoke with Berry about her approach, and why collaboration is all WHITEWALL: How unique are unrestricted grants in philanthropy? about negotiation. like childcare. The ideal industry would also allow people to operate in it however best works for them without judgment. DEANA HAGGAG: In 2006, when United States Artists was founded, we WHITEWALL: How does your background in sociology inform your joined the ranks of several incredible unrestricted funders such as Artadia, WW: work today? What does collaboration mean to you? Foundation for Contemporary Arts, Joan Mitchell Foundation, and more. Since that time, we have seen an increase in unrestricted support in the field. ASHTIN BERRY: My background in sociology informed the variance AB: Collaboration is really about the openness to negotiate needs of both parties. It’s about being transparent. Collaboration is also not sponsorship— But there is certainly room for much more, especially now in a post-COVID of my work—creating operational models and consulting. Sociology world when the future of projects feels so precarious. is about socialization of humans and social theory, so I use that in someone assisting you even though it has no benefit to them. Collaboration is about negotiating social capital. We are saying to the public that we see relation to break down hospitality the way that it has been historically WW: What these fellowships also recognize is that all kinds of labor should harmful, why those systems are the way they are, and how we can each other as people that align in values, even if we are not the same size company. be valued. Not just creative and artistic, but caring for your family, caring reframe. for yourself, et cetera. We read an interview where you talked about how artists especially, when applying for funds, always try to prove that all the WW: What issues do you often see? money will go into artmaking, that they are not inclined to pay themselves. AB: While there are systemic issues, just like there will always be Can you speak to the need to change the conversation around what work/ in society, all hospitality spaces are not created equal. They all have labor is valued? different things that they are facing, and the way that they show up DH: are unique. This is why I believe corporate DEI work—diversity, Yes! Sadly, in the United States, we have a profoundly limiting relationship equity, and inclusion work—hasn’t been successful. to labor and tend to measure our worth predominantly on our productivity Some of the major issues are financial transparency and and abilities to turn a profit. So it makes a lot of sense for anyone—artist or manipulation. But all of the issues within society in general, too— otherwise—to justify that they “deserve” a monetary award or will use it to like gender violence, racial violence, lack of place for people of “keep working.” It’s fundamental to capitalism to make entire communities color, Black people in positions of leadership, how the industry feel unworthy of the relaxation money affords other privileged groups. So, disproportionally affects women of color. Sexism and misogyny, yes, I think it’s due time that we start to detangle all this so that people can which leads to sexual violence. Immigration. We rely on immigration find the care they need in a corrupt system that pushes them too hard with labor—specifically undocumented immigration laborers—and there so little. Life shouldn’t be so difficult, and we are motivated to honor artists are very few protections for those people, which puts them in a very while also gently reminding them to do whatever they need to find rest and respite. USA Assembly 2019, photo by The BMP Film Co. insecure place where they can be taken advantage of. Photo by Jonathan Cooper.
WHITEWALL 44 WHITEWALL 45 PROFILES TD: Yes. One of the problems I saw was how we get our food and how it’s Portrait courtesy of Shotti. And some of it was happenstance, like the digital show, for example. grown. Food waste starts from the day of growing. It starts from the farm Six months ago, I would not have thought about doing that at all. But allowing and trickles down to transportation. So I asked, “How can I help not only that kind of opportunity to come together has been something that has allowed by using my voice, but through demonstration?” That’s how I connected We Buy Gold to be really intentional while also responding to the moment. with James Beard. For years, the art world has been talking about, “What are the new We learned where the major problems are. Number one: farms. models?” And it’s amazing to watch so much change in such a condensed Number two: transportation. Consumer education. A lot of issues in period of time—what an acceleration like COVID-19 has been. It’s devastating grocery stores. I wanted to make sure that not only did I go out and talk but also really exciting. There are certainly a lot of people doing a lot of work, about it, but I cleaned house. I needed everyone at all of my restaurants poking holes at a very old, antiquated system. I’m excited to see what people to know what we were doing and why. come up with. My thought to solve that was to buy a farm. Definitely not the easiest, but it’s been a learning experience. It makes you use everything! WW: What was the initial conversation with Nina Chanel Abney like, when If you take the time to grow things, you’re going to use every aspect. putting together FIVE.?
WW: You’re also on the Food Policy Action board of directors. What does JBS: Nina Chanel Abney and I work at Jack Shainman and have been friends this entail? for a decade. I know of her interest in curating shows, she did one at Deitch . . . And she came to me and said, “Let’s do a show.” We had been communicating TD: For the last three to four years, I’ve been doing a lot of traveling throughout lockdown, sharing artists we were looking at, works we were Tiffany Derry in front of Roots Chicken Shak Plano, photo by Alyssa Vincent. back and forth to D.C. to lobby with councilmen and talk about things looking at, and this turned into a way to give it some direction. We were that matter—food waste primarily, but also problems within the soil, ready to do the ask, and then the George Floyd killing happened. It did shut problems with water, and how we as consumers can make a change that’s everything down for a few weeks. We were both completely uncomfortable long-lasting. And we’re talking about where we are in the U.S.A. with with asking artists to do anything, even just sending a file or responding to our goals for 2030. an e-mail. It was a difficult time to think about what’s necessary, what’s not necessary, what’s urgent, what’s evergreen, and we decided to go for it. WW: What are those goals? It needed to feel like something where you were entering a space, just TIFFANY DERRY not a physical one. And Nina has always been interested in pushing against TD: To reduce our consumption by half. Right now, you see a lot of large certain traditional ways of working and thinking, and for her it was a natural Sourcing responsibly corporations—from Walmart and Amazon to Kroger—that are part of conversation. All the artists agreed without knowing who else was in the show. while reducing waste. that initiative in figuring out ways to reduce their waste in-house as well. I was really honored by that, especially in that particular moment in time. WW: JOEONNA WW: What has it been like for you as a dealer engaging with art and artists in You’ve recently been included in a new book—Toques in Black: A By Sarah Young Celebration of Black Chefs, which details 101 of America’s most talented a mostly digital realm the past few months? Black chefs. Tell us about this. The Texas-based chef Tiffany Derry grew up on Southern food, influenced JBS: In the very beginning of lockdown, I would say I was completely by a large family of cooks. She cherished regional flavors but yearned to TD: The story that Alan Battman heard over and over was that they didn’t incapable of doing anything. It’s important to admit that. But then it started learn, experience, and master others. Eventually, she did both, going from know that many other Black chefs existed! When we all started writing BELLORADO- to feel like a pause that was just so necessary. It was a comedown of how culinary school in Houston to cooking in Paris, and from Top Chef to our stories, we realized that all of us had similar stories—not wanting overworked and overtraveled everything was. owning her own restaurants. to cook what you grew up on, or not wanting to cook it because others So much of the work we had done before was virtual anyway, it’s Today, Derry is targeting food waste. Alongside the James Beard made you feel less than. It was great to have one book tell that story for not totally outside of the realm. I think that, despite how digital exhibitions Foundation and Food Policy Action, she’s on a mission to scout out the the generations after us who might feel the same thing, and to let them were totally not ideal, there were some ways of incorporating editorial content, major problems in the food industry—from farming to finishing leftovers. know they’re not alone. video, and things like playlists—getting a little messy with the way the work Whitewall spoke with Derry about her life in the kitchen and how her SAMUELS is presented was really exciting to see. Things that a year ago would have been upcoming restaurant exemplifies her mission of responsible sourcing. so gauche were really interesting and didn’t take away from the work at all. Photo by Alyssa Vincent. Widening access and I think there is a lot of added value when you start to allow these ways of WHITEWALL: You have two Roots Chicken Shak restaurants—one in audiences with We Buy Gold. communicating to come through. Plano, which opened three years ago, and one in Austin, which opened I miss seeing art in person, for sure. I miss seeing people. this year. What do you aim to bring to the community? By Katy Donoghue WW: You’ve described the role as a dealer, beyond building a market for an TIFFANY DERRY: As a younger chef, I wanted to cook something other artist, as one of advocacy. You are the artist’s first line of defense, helping to than Southern food and show people my versatility. As I’ve matured, I’ve In June, Joeonna Bellorado-Samuels’s platform We Buy Gold debuted the shape the narrative and context around them and their work. Right now, so realized how precious the food is that I grew up eating. I’ve also learned digital exhibition “FIVE.,” curated with Nina Chanel Abney and featuring much is being asked of artists—to make work inspired by the pandemic, racial to appreciate the different types of Southern. The type that I grew up with videos by artists like Nick Cave, Sondra Perry, Jacolby Satterwhite, justice, racial trauma . . . What is it like to advocate for artists right now? was more of a Louisiana style. My uncle had a farm in Baton Rouge, so and Kalup Linzy. It addressed five sentiments felt during this season of most of my breaks or holidays were spent on the farm. So I wanted to show compounded crises when so much of what we’ve experienced, shared, JBS: I’ll be honest that because it was so extreme lately that artists have been folks what I grew up on, what I love. For us, fried chicken was celebratory. seen—from ourselves, and from others—has been through screens. At a time so exasperated that they’ve become far more public with the frustration than We didn’t have fried food every week, and when we did, it was like, “Yes!” when many art presentations and fairs struggled to figure out their virtual ever before. I’ve declined 25 percent more than normal with the asks, but so I started experimenting and said that if I ever put fried chicken footprint, to present expressions of that idea through a screen felt like the first many artists I’m connected to are posting fiery letters on Instagram that they on the menu, it had to be the best. So, I went 16 years without ever putting online show that clicked. It wasn’t an attempt to make something physical, are doing it for me. Which I think is a testament to the kind of time that we are fried chicken on a menu. I had a restaurant called Private Social at the time, experienced as best it could in AR or VR. It was an acknowledgment that we in and will be in, but also just how extreme it was and how painful it was to and everyone would always ask me where the fried chicken was. I basically can engage with art digitally in an impactful way. be on the receiving end. I’ve been excited by people feeling like they can and made a full concept off of it called Roots Chicken Shak. Everything is Bellorado-Samuels’s project space launched in 2017 as a way for want to express that. fried in duck fat—the fried chicken, the fries, and even our croutons for the the dealer, who works at Jack Shainman Gallery in New York, to present Caesar salad. shows outside of the esteemed white box. Whitewall caught up with her to hear more about advocating for artists, the quickly changing art market, and WW: And you’re gearing up to open Roots Southern Table early next year widening access and audiences. in Dallas? WHITEWALL: How has the mission of We Buy Gold evolved since its TD: Yes. We’ll have a beautiful patio, an open kitchen, and craft cocktails. In founding? anticipation, we bought a farm almost two years ago. A lot of stuff is grown on our farm specifically for Roots Southern Table. I really want to control JOEONNA BELLORADO-SAMUELS: It’s been a slow burn with We Buy where we get things from. Gold, which I value, but also out of necessity in terms of what’s possible for mehaving multiple roles. I’ve been excited at how We Buy Gold has been WW: Does that idea of responsible sourcing correlate with your efforts with able to activate in different areas, and that was always the hope—for it to be Christie Neptune, Two Miles Deep in La La Land, 2007—2012, 16mm film transfer to video, duration: the James Beard Foundation’s Waste Not Foundation? exhibitions but also special projects, stretching outside of the big white cube. 01:48 minutes, courtesy of the artist and We Buy Gold.
WHITEWALL 46 WHITEWALL 47 PROFILES Portrait by Kris Van Exel. work with them. And in turn, we work in concert with one another. They produce exceptional work. I not only serve to sell their work, but to expose it beyond my gallery walls.
WW: How do you bring new artists onto your roster? When does it make sense?
MB: I am very fortunate to represent several of the most important artists on the contemporary art scene. When considering a new artist to add to my roster, the decision is made with great discernment. I look for an artist who expresses a unique voice in their work, possesses the ability to create thought-provoking imagery, and displays exceptional talent. I recently signed on Monica Ikegwu. She and all the artists represented by the gallery reflect a well-thought-out approach in their artmaking and storytelling.
WW: What was the starting point for your current show, “Women Heal through Rite and Ritual”?
Portrait courtesy of Myrtis Bedolla. MB: I have witnessed the transformative power of art and its ability to heal. The “Women Heal” exhibition allowed me to investigate this phenomenon further, looking to non-Western traditions of healing and spirituality. The seven women artists in the exhibition draw from either African or Mexican diasporic spiritual and religious practices for inspiration. The gallery space is filled with the spirit of personal ruminations, tableaus of traditional folk medicines, and imagery of female deities from the mythical and spiritual MYRTIS realms. The exhibit is among the most powerful I’ve presented. WW: You recently curated “Renaissance Noir” at UTA Artist Space in L.A. Can you tell us about putting together that exhibition?
MB: The invitation to curate the exhibit was extended nearly a year ago by BEDOLLA Arthur Lewis, who was then the newly appointed creative director of UTA Fine Arts and UTA Artist Space. What I sought to achieve in curating Deploying art to address political the exhibit was to present the Black experience in America emancipated and social issues. from a Eurocentric lens. And to demonstrate, through intergenerational narratives, that the issue of systematic racism that artists were addressing in their work during the sixties remains a concern today. African Americans By Katy Donoghue must continue to claim agency over “otherness.”
Galerie Myrtis in Baltimore, Maryland, presents “Women Heal through Rite WW: The gallery has been hosting digital programing, like “Artist Shorts” and Ritual” through the end of the year. The show’s focus was conceived prior and “Tea with Myrtis.” How has your approach as a gallery changed over to this year’s health crisis, and yet its timing could not be more fitting. Work the past few months—and how has it affected your interactions with artists by artists Lavett Ballard, Tawny Chatmon, Oletha DeVane, Shanequa Gay, and collectors? Delita Martin, Elsa Muñoz, and Renée Stout look to non-Western traditions of the women’s role as nurturer, both physically and spiritually. MB: Because of the virus I definitely had to rethink my approach to Since launching the gallery in 2006, founding director Myrtis interacting with artists and engaging collectors. The “Artist Shorts” and Bedolla has developed one of the most impactful programs and community of “Tea with Myrtis: Artistically Speaking” series were born out of a new artists in the U.S. She spoke with Whitewall about supporting and providing marketing strategy to provide virtual experiences that are educational and context for the work of the artists she represents. rich in content. I believed the best approach was simply to lead with the artists and allow them to talk about their work and share their personal WHITEWALL: What was your vision for the gallery when it was founded? stories. I don’t know what could be more compelling.
MYRTIS BEDOLLA: My vision, upon founding Galerie Myrtis, was to create a space for artists to exhibit and sell their work and a place where collectors could discover emerging talent.
WW: How has it evolved since then?
MB: It has evolved from a vision to a mission. The mission is to utilize the visual arts to raise awareness for artists—known or unknown—who deserve recognition for their contributions in artistically portraying our cultural, social, historical, and political landscapes; and to recognize art movements that paved the way for freedom of artistic expression. I felt a greater sense of responsibility toward the artists to contextualize their work, and to educate society about its relevance—to deploy the art to address discrimination through politically and socially engaged exhibitions and to develop programming that engages the public.
WW: How would you describe your ideal gallerist/artist relationship?
MB: I would describe my relationship with the artists I represent as one of mutual respect. I may be an anomaly in this industry, but it is my belief that Delita Martin, “The Moon and the Little Bird,” 2018, acrylic, charcoal, gelatin printing, collagraph being in a position to represent artists is a privilege. I realize that artists will printing, relief printing, decorative papers, hand-stitching, liquid gold leaf, 79 x 102 inches, courtesy come and go, but I am honored that each has granted me the opportunity to of the artist and Galerie Myrtis.
Images courtesy of ecoBirdy. Ronald Jackson, A Dwelling down Roads Unpaved, 2020, oil on canvas, 72 x 84 inches, courtesy of the artist and Galerie Myrtis. WHITEWALL 48 WHITEWALL 49 They’re Going to Kill Me (Detroit), 2020, photo by Hayden Stinebaugh; courtesy of Jammie Holmes and TO WATCH Portrait by Emery Davis, courtesy of Library Street Collective. Jammie Holmes, Mama Raised Me, 2020, courtesy of the artist and Library Street Collective. Library Street Collective.
WW: Images that were taken of the demonstration were shown in a digital exhibition through Dallas Contemporary entitled “Everything Hurts,” alongside two other preexisting paintings of yours. Why were these included?
JH: They’re both called Growing up in darkness, and I painted them last year. The whole canvas is black, the kids are Black, and the question “What if I was white?” is on there. It’s asking, “What if I was white? What if the canvas was white? What if the kids were white? How would you feel?” Those were basically telling the tale of Trayvon Martin and Tamir Rice, too. What if they were white? How would you treat them? Would you think they’re wrong? Shoot these innocent kids?
WW: You also have two works in a group show entitled “We Used to Gather” (July 18–September 18) at Library Street Collective. Can you tell us about those? JAMMIE HOLMES: Usually, I come up with the concept in my head first. That comes from anything—driving to Louisiana, walking, pictures JH: One of them is Fifth Grade, and that was about kids in my city of myself. No matter where I’m at, if I pull out my cellphone and I’m growing up too fast. I wanted to show a fifth grader having to iron taking notes, that’s because it’s an idea for a new painting. I have a long his clothes before school and get himself ready. When I was in fifth list of notes on my phone to inspire me, almost like a vision board. If grade, I walked to school. I didn’t have anybody waking me up and I see a tree and it reminds me of the plum tree and my grandmother’s getting me to school. The other one is a kid sitting in a wicker chair house, I type it in so I can be inspired from my own story. I don’t with no shoes on his feet. That’s me putting myself back in time, want to be inspired by someone else’s story. Sometimes I reminisce saying, “We don’t know what you’re going to be. But we know you’re and build it in my head, but I don’t do anything if I can’t color it first going to be something.” in my head. I have to see it. I have to love it. And then I start messing Jammie Holmes with the canvas. WW: How did it feel to create They’re going to kill me in response to Sharing an aerial view of what’s happening in America. the death of George Floyd? JH: When I first watched the video, it was also the first time a lot By Eliza Jordan of other people at Library Street Collective saw it. Everyone was emotionally connected to it. It was disgusting. Anthony Curis from Five days after the world witnessed the death of George Floyd, five cities across the United States the gallery reached out to see how I was doing, since he knows how saw his last words flutter in the sky. Led by a plane, the aerial demonstrationThey’re going to kill me passionate I am about the people in the African American community. trailed Floyd’s last words in New York City, Detroit, Dallas, Miami, and Los Angeles. The hauntingly I told him how I was feeling, we had a conversation, and we started beautiful tribute was imagined by the Dallas-based artist Jammie Holmes—a painter who publicly brainstorming. emerged just four years ago. I threw out this idea, saying I wanted to do something Raised in a household of women in Thibodaux, Louisiana, Holmes always expressed impactful, different, and visible by more people than holding a sign in himself creatively but never got the start in art he truly wanted. After an oil well dried up in his downtown Dallas. It was a lot of calls, e-mails, and texts trying to make hometown in 2016, a need for a new nine-to-five job led him to Dallas. Upon arriving, he walked this happen so soon, but Anthony supports every creative idea I have. into a museum for the very first time, attending a KAWS show at The Modern in Fort Worth. From He said, “Let’s make it happen.” then on, he began painting daily and never stopped. Today, Holmes is known for communicating contemporary life for Black families in the Deep South, and the deep scars that come with it. WW: Was creating this difficult for you personally? Last year after he began therapy, his work gained new depth, as he felt ready to address his own feelings in his practice. Previously, Holmes wouldn’t paint faces on his characters, unwilling to JH: I felt like, “This is what I do. I want to continue doing what I’m confront emotions. But that has since changed, and we now see the strife and happiness of everyday doing.” Because I have a bigger platform now, it was important that I life in pieces like Endurance, Mama Raised Me, Fifth Grade, and Growing up in darkness. Now, talked to my gallery about how I’m always painting this on canvas, but these moments of vulnerability are used as an educational tool for kids who grew up like him. it’s then either online or in someone’s house. I wanted to do something Whitewall spoke with Holmes about being inspired by his own stories, and how his latest works tell for everybody that no one could purchase. This is going to be a part of his tales. history now. Everybody gets to witness this. It was a people’s protest, and this was how I was going to do it. I had to do it as high as I could They’re Going to Kill Me (New York City), 2020, photo by Sue Kwon; courtesy of Jammie Holmes and Library Street Collective. Whitewall: Where do you typically start with a new piece? and as much as I could.
WHITEWALL 50 WHITEWALL 51 TO WATCH Grace Lynne Haynes, Almost a Child, 2019, gouache, pastel, and collage, courtesy of the artist. Courtesy of the artist. WW: How do you intentionally incorporate texture and choose color in your paintings?
GLH: The figures are pitch black in my work, and I surround the dark figures with bright colors, often pastels. Often in Western society, dark and light are at odds. They are seen as opposing entities. Dark is often the bad, treacherous, and evil, and light is the good—something we are all seeking. I want to show that dark and light can coexist harmoniously in one image and that dark is not always representative of evil in art. I wanted to show that the dark figure can be surrounded by light without it being opposed to light, but that it can be the light in the center of the image.
WW: You were part of the inaugural residency program in Senegal with Black Rock Senegal. What was your experience like, and how did it impact your practice?
GLH: That was an amazing experience. It was my first time on the continent of Africa, so it was very emotional as well. The residency was so well organized and thought out, so we had a really full experience. I was inspired artistically in that I wasn’t really doing a lot of collage work until I did that residency. Something really triggered me to expand on my process there. Fabrics are a big part of the culture, and the marketplace has hundreds and thousands of patterns, colors, and shapes. It inspired me to start using fabric in my work and to look at what pattern means outside of aesthetic and how it relates to culture. My goal is to travel throughout the continent and gather fabrics to incorporate into my work in different ways.
Grace Lynne Haynes WW: In her portrait there are three hummingbirds, an image we see throughout your work. What does the hummingbird represent for Showing the complexities and nuances of Black womanhood. you? GLH: I like to paint hummingbirds in my work as a sign of peace, tranquility, and livelihood. Hummingbirds were my grandma’s By Katy Donoghue favorite bird. My grandma’s story and Sojourner’s story are similar. They were both born during turbulent times in this country and still managed to overcome the odds and live very full and prosperous Grace Lynne Haynes’s paintings of the Black female figure are full of texture, color, and nuance. lives. My grandma grew up in the South, and hummingbirds were Inspired by fashion, travel, and design, she portrays her subjects at leisure—comfortable in their her sign of hope. I wanted to honor my grandma and her story by environment, at ease and at peace. adding in the three hummingbirds to the painting of Sojourner Truth. Part of the inaugural group of Kehinde Wiley’s Black Rock Senegal residents, Haynes wants to convey the full spectrum of Black womanhood, not just strength but vulnerability and WW: How do you approach portraying femininity and the Black softness. The interplay of the Black human form and its pastel surroundings challenges traditional female figure? Western artistic notions of dark and light. Whitewall spoke with Haynes, who will have her first European solo show with Luce GLH: Black women are oftentimes perceived as strong and resilient— Gallery in Turin, Italy, next year. that we can handle so much and still prevail. Our strength is a beautiful thing and is part of Black womanhood because of how the WHITEWALL: In August, you were commissioned for a cover for The New Yorker and you world treats us. But I also want to showcase who Black women are created a portrait of Sojourner Truth. What was it like to paint her? when we are in our safe spaces, when we are comfortable and at ease in our own homes or in environments that give us peace. GRACE LYNNE HAYNES: The cover was for the hundredth anniversary of women’s voting rights. I want to show sides of Black womanhood that aren’t often I was looking at the history of women’s voting rights, but women of color weren’t able to vote addressed, which are the softer, more vulnerable sides—more until 1965, with the Voting Rights Act. I looked at the history of women’s suffragettes, and I came leisurely, calm, and relaxed. We should have diverse representations across Sojourner Truth. I had heard about her but not too much in detail. She overcame so much. of Black women. I want to show the complexities and the nuances of She escaped slavery with her child, and, despite everything she’d gone through, she became a Black womanhood and that we can be so many different things. women’s empowerment speaker. She advocated for women’s voting rights—specifically, Black That strong Black woman stereotype can hurt us and put us women’s voting rights. She planted the seed to start that conversation. in a corner to have the whole community, the whole world, on our Even though I’m not a portraiture artist, I knew that I wanted to honor her as a historical shoulders. It shouldn’t always be that way. We should be able to relax figure, knowing that not a lot of people knew as much about her as they should. I wanted to shine in our womanhood and femininity and be seen fully as women. Grace Lynne Haynes, To The Edge, 2019, gouache, pastel, and collage, courtesy of the artist. a light on her and all the work she did to bring us to where we are today.
WHITEWALL 52 WHITEWALL 53 TO WATCH Photo by Setti Kidane, courtesy of Mariane Ibrahim. Clotilde Jimenez, “Always On Guard,” 2020, courtesy of the artist and Mariane Ibrahim Gallery. Installation view of Clotilde Jiménez’s “The Contest,” courtesy of Mariane Ibrahim Gallery.
had reared its ugly head and my wife and I had to make a decision—stick around to see how things would turn out, or move to her native country of Mexico and be at peace, have a family, and a better quality of life. So we are now living here permanently and have not regretted anything.
WW: How would you describe your creative community in Mexico City?
CJ: Mexico City is a place where creatives can thrive in a way similar to New York and London in the 1970s. It’s gritty, yet very sophisticated and affordable. There are Mexicans taking creative risks here, while still living comfortable lives. I’ve met various young designers, artists, and restaurateurs whose focus is highlighting and reimagining their culture’s traditions in a very serious and mature way. There are world- class museums and art fairs, such as ZⓈONAMACO, helping to shape and bring focus to an incredible contemporary art scene. Mexico City is definitely the place to be, and I feel lucky to be here and contribute to that creative community.
WW: Can you tell us about your studio? What’s a typical day like for you there? I started recalling some of the earliest memories I have of my father from 1995 when my parents divorced. He wasn’t present in my life after that, CJ: One thing I’m very grateful to have, that I could never afford in but now we’re developing a very new adult relationship together. Part of London, is my studio space. It’s 1,000 square feet of open space with big the nucleus of this body of work is understanding his masculinity and my windows, right in the city center of the Centro Histórico neighborhood. own Black queer body through the lens of the gym and athleticism—a It’s filled with plants and paintings and is my home away from home. I way of building a bridge between us while being vulnerable and open to have many new projects I’m working on and sketchbooks full of new my own queer imagination of the memories of muscle. Such memories ideas for new pieces. I’m always in a state of creating. come from my father’s history of boxing and bodybuilding, and my own A typical day includes saludando from the ice cream lady who experiences boxing in the gym. lives below me, and settling in the studio to draw. Drawing has become a way for me to process thoughts and ideas. I suppose my sketchbooks are WW: How would you describe the work you created? a kind of diary now.
CJ: Works in the show will include large-scale collages of flamboyant boxers donned in colorful training gear, various drawings of bodybuilder Clotilde Jiménez poses in different positions displaying parts of the body, and newly casted bronze sculptures.
WW: How do you typically move between mediums in your practice?
Challenging the male figure while exploring identity. CJ: Since moving to Mexico City, I have incorporated more charcoal in my work as a base layer, rather than paint. In my practice, the medium must inspire me and add a new context for the work. I’ve found that the By Julian Thurtell charcoal allows me to build this statuesque muscular figure and create form in a way I’ve been searching for. I can draw an entire image and Over the summer, Mariane Ibrahim gallery in Chicago debuted a new body of work by Clotilde erase, draw again on top of it, and repeat. The rebuilding of layers is Jiménez, entitled “THE CONTEST.” The exhibition included large-scale collage pieces that explore connected in my process of building up the body and form. queerness and the Mexico City–based artist’s relationship with his father. I approach collage in a similar way, using building blocks to Using wallpaper, brand-name clothing, charcoal, magazine clippings, and traditional create an image and identity of a person. I even approach sculpture bark papers of Mexican craft, Jiménez created muscular figures that convey power, presence, and informed by this process of building a form with shapes that are, on one tantalizing beauty. The artist spoke with Whitewall about ideas of masculinity and athleticism in hand, somewhat crude, but on the other, sophisticated in their simplicity. relationship to his own identity as a Black queer man. Working with different mediums gives me perspective and understanding to my subject matter. Mediums open new doors I did not know existed. WHITEWALL: What was the starting point for the new series in “THE CONTEST”? WW: How did you come to be based in Mexico City? CLOTILDE JIMÉNEZ: This body of work began a year ago, after I came out as queer/bisexual to my CJ: family. I remember talking to my father about it, who is a big, brawny, muscular, straight man. In 2016 I moved to London to begin my MFA program at the Slade School of Fine Art. I lived there for three years, but during that time, Brexit He was very comfortable and accepting of my sexuality, and I think that impacted me the most. Clotilde Jimenez, “I Had a Dream I Took an L,” 2020, courtesy of the artist and Mariane Ibrahim Gallery.
WHITEWALL 54 WHITEWALL 55 FOCUS I was already purchasing art supplies and loved buying T-shirts, and started cutting and painting them and selling them outside my mom’s salon to passersby and some of her customers. It evolved from there, as I would meet people and eventually make friends with some who invited me to show T-shirts and designs in neighborhood club shows. Fashion shows had a weird suburban offspring culture everywhere at the time. It seemed that everyone and their cousin would be assembling or organizing a fashion show of some kind with store-bought or self-owned garments. I was born in London and visited every summer for school vacation, and I’d been reading W since 1976. So, I was pretty aware of what I wanted.
WW: How did it evolve from there, later working with designers like Kim Jones and Marc Jacobs?
AW: At 15, I found a network of alternatives who invited me to go clubbing. The array of characters I met from school and clubbing led me to want to create my own spectacle. In 1980 and ’81, I accepted an offer to have my own show first at a Brooklyn club called Oasis. I met Patricia Field at her store a bit later, and somehow we decided to work together. My New York connections in SoHo—from WE2 (World’s End, Vivienne Westwood’s U.K. store) to Susanne Bartsch—eventually ended up with me showing a collection of machine-sewn garments in 1982 at Ruza “Kool Lady” Blue’s Friday Night at the Roxy and another at Danceteria. Bill Cunningham reported it in Details, and by the time I was 17 or 18, The New York Times Sunday paper included me in a feature shot by Steven Meisel, through Pat Field. Ever since then, I was known as a fashion designer in New York. Marc Jacobs and I knew of each other because of the scene, clubbing and fashion. Kim Hastreiter and I were hanging buddies since 1982 or 1983, I believe. And in the latter part of the nineties I met and started working with Marc while living in Paris. He had just started his Vuitton venture. I met Kim Jones through my friend Karen Binns in 2003 in London, and we started working together Rhonda Lewis and Richard Alvarez modeling Andre Walker’s Paper Bag tunics at Ruza “Kool Lady” soon after, with Kim creating a position for me as in-house design Blue’s Friday Night at the Roxy in 1983, courtesy of Andre Walker. consultant based on my activities and early naughts with Marc. Kim introduced me to Adrian Joffe and Rei Kawakubo when they were founding Dover Street Market New York, which saw them incept a WW: What artists and designers are inspiring you today? collection for me, produced and distributed by Comme des Garçons. After CDG, I started a project to account for some of the Portrait by Jody Rogac. AW: I am inspired by Phillipa Horan, Sylvie Auvray, my sister work from my teenage, self-taught methodology and asked Lucien Sandra, and the effects of postmodernist philosophy and technology Pagès to navigate the communication. The collection was called on our current culture. Mob culture and observing how people “Non Existent Patterns” and shown in Paris in 2017 at the Museum think collectively, and otherwise, is also a current obsession. I love of Decorative Arts. Fauvism and Ab-Ex art, and love the work of Adrian Piper and Bodys ANDRE WALKER Inglesek. James Ensor and Egon Schiele are also favorites. David Hammons, Arthur Jafa, and many others, too. Falling in love with the idea of creation. More than anything, I’m in love with the idea of creation itself and am fascinated by artists who overtake it somehow and By Allison Jeffries bring it to their own will. That’s what I try to do with my work. WW: A few years ago in an interview, you mentioned that the world is out of For decades, the designer Andre Walker has kept his ear to the ground, gaining an instinctual understanding of sync with the reality of its resources. What needs to change in the fashion the fashion industry. Growing up in Brooklyn in the 1970s, he was immersed in glossy magazines and sundry industry? boutiques, drawing inspiration from dynamic people seen in each. As a teen, he began creating T-shirts to sell outside his mother’s beauty salon and at locally organized fashion shows. AW: It shows how nearsighted the fashion world has been, and serves In New York, London, and Paris, he has consulted and designed for the likes of Marc Jacobs and Kim Jones. as a reflection of much of the product making within the industrial After Jones introduced him to Adrian Joffe and Rei Kawakubo of Comme des Garçons, Walker created an exclusive consumer complex, which serves the free market model currently collection under the name And Re Walker for Dover Street Market. Recently, he has designed Yves Salomon’s yearly in place. The real truth of this obsession with sustainability and “Pieces” collection—a line created with unused and surplus fur from its existing supply and archive. accountable evaluation of resources is that it undermines, in the Whitewall spoke with Walker, who is currently creating new designs for Virgil Abloh’s label OFF-WHITE, best way possible, the underlying goal of most corporate economic expected to launch next year. incentives: growth. If you look at growth from the viewpoint of humanity, WHITEWALL: Tell us about your early years in fashion—from selling hand-painted items in Brooklyn as a teen to launching your you find it is finite. Looking at growth from a purely numerical first collection. perspective will always bring about a deficit in lucidity, as it is humanity which governs the guidance of consumption and not vice ANDRE WALKER: My mom owned a beauty salon in Brooklyn on Church Avenue. We would visit Manhattan for clothes shopping versa. Hopefully, people will realize the truth about where we live, and culture gigs—like going to the Met museum and to the movies—with her then best friend Lorna. Working our way from reflect deeply while embracing convenience and innovation, and uptown to downtown, we almost always ended up in the West Village for surplus clothing shopping, eats, and people watching. make clever decisions about what’s necessary. With the advent of I noticed the style of everyone along the way and was taken with people wearing T-shirts that were in some way cut, knotted, or robotics and automation on the verge, this will surely prove a huge printed. That was my “aha” moment. “Pieces” collection by Andre Walker for Yves Salomon, courtesy of Yves Salomon. challenge.
WHITEWALL 56 WHITEWALL 57 “Pieces” collection by Andre Walker for Yves Salomon, courtesy of Yves Salomon. WHITEWALL 58 WHITEWALL 59 FOCUS
It made me feel like I was Photo by Itaysha Jordan.
dreaming WW: What did you take away from co-creating the LeBron sneaker with Nike, alongside Kimberly Goldson and Undra Duncan?
too“ small FN: That was such an amazing experience. I’m a dreamer and that was not even a dream I dreamed. This project created a sisterhood, and it was the starting point of realizing I enjoy collaborations. I enjoy bringing worlds together. It opened up my world and my mind about what we can all do when we come together. I think I can speak for the two women as well, that it blew their mind. We’d never designed a sneaker. They said, this is supposed to represent women, women of power, strong women, black women, dedication to LeBron’s mother, and it touched each of us. It made me become a bigger dreamer. It made me feel like I was dreaming too small. There’s no limit on what you can do and what you can Portrait by Itaysha Jordan dream up. That whole experience was magical. I have a pair I’m saving for my son. I can’t wait to tell him the story.
My woman has a mentality and an attitude toward life. We WW: You’ve been raising your son while your brand blossomed. What has can be from different backgrounds, different shapes, colors, but there is that been like? ” something that we all share and that’s this desire to curate your life and to have a say in who you are going to be. I encourage women to make your FN: My blessings came with my son. While I was pregnant, I was sad because life beautiful. It’s an optimistic attitude toward life. I thought, I can’t do this, I can’t do that. But he came and things started to happen. My aesthetic really came about from wanting to be out with him and WW: How does that translate into material and color for you? feel comfortable and feel sexy. I was draping in different ways, wearing it to the park with me, and that’s what landed me where I am now. You can be a FN: I try to pay attention to the five senses. I believe in color theory, that mom, wife, you can go out with your friends, all the things we need to do—I colors give you a certain feeling. The colors are intentional. My family was able to test that out in my life with him. My body changed; I thought, Photo by Itaysha Jordan. is Caribbean. I love vibrant and eye-catching color. I also love soft and “Maybe women will feel better in this,” and it worked. sensual pastel colors, and I mix them together. My fabrics are silk, light You can still live out your dreams and be a mother. You can take and flowing. I also use linen that adds some structure, but it moves with care of someone, love someone, give your all, and still live your dream. We your body. think we have to choose, and that’s not necessarily the case. Your life is not over—it is just getting started. FE NOEL WW: How did your collaboration with artist Harmonia Rosales on several dresses and garments come together? Photo by Itaysha Jordan. Encouraging women to make their lives beautiful. FN: I’m a fan of art that is inspired by the Renaissance era. When I saw her art, it took my breath away. I came across it on Instagram. I went out to her gallery in the Hamptons and decided, “I have to write her.” It was By Katy Donoghue meant to be. She had interest in getting into fashion and a vision for her pieces. She said yes, and it went from there. Fe Noel believes that every woman should feel confident and sensual in her clothes—without sacrificing comfort. After Her work is so powerful and evokes emotion, and that’s what having her child, the womenswear designer and Brooklyn boutique owner wanted to create a collection that complemented I always aim to do when I create as well. That’s one of my proudest her new mindset, body, and lifestyle. creative works to date. It made so much sense, me being a black woman, With sumptuous fabrics, bold prints, and silhouettes that fall just off the body, her label can be worn with ease while herself as well, being in the creative field, bringing awareness to how we maintaining a look of sophistication. Noel believes in making life beautiful, following the mantra “Eat well, travel often, and feel and our point of view and our narrative. dress to inspire!” Taking inspiration from her Caribbean heritage, Noel’s clothes exist between resort wear and city living. The brand garnered critical and popular attention for collaborating with Kimberly Goldson and Undra Duncan on WW: For your “Daughters of the Soil,” you created a sweater with artist Nike’s HFR x LeBron 16 sneaker, the first female sneaker from LeBron James. Noel has also engaged artists like Harmonia Cliffanie Forrester. How did you two work together? Rosales and Cliffanie Forrester, translating their work into garments. Whitewall spoke with Noel about encouraging women to make their lives beautiful. FN: I started young and I didn’t have anyone to show me the way. So I decided I would do that for young people, becoming a mentor. Cliffanie WHITEWALL: Your collection looks like it would fit comfortably on all types of women. How do you want the Fe Noel woman to feel? Forrester is a young artist who is also Grenadian. This painting is so powerful when you see it. It gave me that same feeling when I saw FE NOEL: I want my woman to feel powerful, sensual. I want her to feel beautiful. My clothes are fluid and lightly touch the body. Harmonia’s painting. I decided I would work with her. I said what I can Part of the reason for that is that when I became a mom, I didn’t feel sexy in my tight clothes anymore. I didn’t want things hugging do is offer some insight into what you can do. It can be a collaboration my body at the time. And I imagined that there are some women who also want to feel sexy but don’t want to feel uncomfortable. I and a way to get your work out there. Because this collection was my want women wearing my clothes to look effortless. tribute to Grenada, she was perfect for this.
WHITEWALL 60 WHITEWALL 61 FOCUS WW: That’s very collaborative! Installation view of theoracle at the Dallas Museum of Art, photo by John Smith, courtesy of the Dallas Museum of Art. IA: We’re hoping. I’ve never seen this done. Our intent is to see how collaborative something like this could be. LMNO stands for “leave my name off.” The whole idea is to create more of a village model for a studio than a typical top-down model—a more equitable model where everybody is involved and contributes without boundaries of creative expression. My goal is to There will be music, visual art, all these things that can go into it. This is the beginning of doing more spatially minded structures, be a vessel which was my original training—architecture and environment design. Any time you put up a structure, you are making a statement of what you deem of value in that community. We’re hoping this model will lead to an more than approach that will take into consideration community input for anything anything else we’re creating. “ WW: Last year, you participated in your first museum exhibition, in “speechless: different by design” at the Dallas Museum of Art. Your installation involved sound, light, performance, design. What kind of experience did you want to facilitate for visitors? That multiple people are asking different questions of the oracle at the same time and you’re receiving this mass weight in sound all at once is a IA: It started off with thinking about the concept of synesthesia and the idea metaphor for daily life and coexisting with the rest of humanity. of superpowers that people call handicaps or abnormalities. Synesthesia is such a spectrum. I’m on the spectrum like a lot of creatives, in that WW: You live in Switzerland and have collaborated with a few watch anything you see, feel, or hear has different implications beyond a single brands like Vacheron Constantin and Hermès. How did you get into sensory experience. The idea that your senses are a permeable membrane watches? for the rest of the universe around you is something that makes us all on that spectrum of synesthesia. IA: I’ve been into watches for a long time. I saved up to buy a fake Tag I was thinking about how to translate my experience into a space Heuer when I was 14 years old. Fast forward to being in high school where other people could experience it. The things that came into play or college, my older brother was a professional basketball player, and were sound, light, and color, and form. When I go through a process of I remember he had just bought a Breitling, and then a Panerai. And I ” designing something or making beats, I do it from this cockpit where I became obsessed when I saw his Panerai. Then I dug deeper into the have drum machines, sampler, sequencer, laptop, iMac, and a desktop design side of watches. Even before I moved to Switzerland, I already computer. I float seamlessly from Photoshop to making a beat to making a made contact with couple of people I looked up to. 3-D model, starting a rendering. Having that experience of touching pads and hearing a sound immediately and having the lights on the machine WW: The Galop d’Hermès you designed feels like it should already have respond, all of that came into what I was thinking I wanted to deliver as an existed within their collections. What was your approach there? experience to people. IA: That was the goal. I approach everything that way, even working with WW: How did you translate that experience into the installation, theoracle? Knoll, I would hope that when those products come out, that people have
Below the Heavens’s LDF - Helios Horizon, Athena Lamp, and Circe Sofa by Ini Archibong for Sé. the same feeling, “Hasn’t this been in the catalogue for a while?” IA: We actualized another dream of mine, to build a large-scale synthesizer. My goal is to be a vessel more than anything else. So I have The idea was to build a modular synthesizer where each of the sculptures all of the acquired skills that allow me to have my own rendition of controlled a different parameter of that synth, and make the experience of their immense history. It’s almost disingenuous to take too much credit, manipulating the synth a much more immersive experience. Like when because, let’s just keep it really honest, if I wasn’t designing a watch for you see a synth panel and there are a bunch of knobs, each sculpture is Hermès, I wouldn’t have come up with that shape because why would INI ARCHIBONG a knob, turning a crystal orb, with lights glowing and pulsing inside as I ever be inspired by a stirrup? I recognize that I have developed these sound changes in the room. skills and I’m pretty good at what I do, but without having a house like You step into theoracle, ask a question, and you leave with the that for inspiration, a client with a deep history to build off of, these Designing in the flow state. faith that you are going to receive a response. The idea was that when you products wouldn’t be as wildly heralded. My approach and love for the step into theoracle, you come with all the questions and things weighing brand helps because I’ve already been analyzing certain aspects of what By Katy Donoghue on you, and you hear this sound in this reverent space, and the tone puts makes them them. You pick up on what you need to make something fit. you in a certain state. Ini Archibong creates from a cockpit of sound, light, color, and form. As he moves between a drum machine, mixer, iMac, WW: We read that you did pottery. Might we see that in a future project? and desktop, he designs in a heightened state of consciousness. There’s a transformative, almost transcendent character to his projects—most overtly in collections like “Below the Heavens” for Sé, as well as his theoracle installation that offered a collective IA: I haven’t done it in a long time. I know if I sat down on a wheel I experience via an immersive, interactive synthesizer, but also in the more subtle details of the shape of objects like the watch could throw something. I wouldn’t be able to do it at the level I was at. I Galop d’Hermès. Its curves come from his ability to be present in the moment and understand the immense history of design that started when I was 12 and, like everything else, if you know that, then precedes him. my form language makes a lot of sense. When you throw on the wheel Archibong knew he was meant to have an impact. Naturally drawn to making and building things, with a nod toward you’re working on one side of the wheel and it’s all about subtlety of escapism, he has funneled his innate ability to express emotion through space. Whitewall spoke with the Switzerland-based curvature. With all my work I’m pretty anal about all of the subtle moves designer about diving into the archives of heritage houses, as well as embarking on a new studio concept, LMNO. of the curves. Even something that looks like a silhouette of a shape, like the watch, it might appear pretty simple and that’s the goal. But those WHITEWALL: Early this summer we saw your proposal of an African Diaspora pavilion for the London Design Biennale. How are curves are very meticulously controlled. And that comes from working you approaching that? on the wheel. You have to be completely in the moment. Your hands are on INI ARCHIBONG: It is my first project of this kind. Over the years I’ve touched down with enough people in various industries and opposite sides of the clay but they are connected and you can feel how roles, and all of my friends are coming to my aid to help me make this a reality. We decided to initiate LMNO, a studio concept they are. When you’re pulling the walls, to do that well, you have to exist that was my thesis at ArtCenter in 2012. in the space in between your fingers. You have to be locked into that The process will be iterative. For all of my projects, I have a vision in my head as I gather more information and it continuous series of moments. evolves based on materials available, manufacturers, constraints. Because we want to hear from the voices of diaspora and let that Being in that moment and in the flow applies to the way that I influence what we’re going to do, we’re planning to be public with our process on Instagram, a website, and a newsletter. We’re work. My design process is pretty strange. I try to design in the flow state going to allow people to see all the steps of the design. Portrait by Julian Anderson, courtesy of Friedman Benda and Ini Archibong. and it has its ups and downs.
WHITEWALL 62 WHITEWALL 63 FOCUS
Installation view of Sunset Capsule presented in “Notes from Pallet Town” at UCCA Dune, 2019, photo by UCCA Dune; courtesy of the artist and Capsule Shanghai. Leelee Chan at her studio in Hong Kong, 2020; photo by Janelle Chiang, courtesy of the artist.
My studio in Hong Kong is located in an industrial neighborhood Installation view of Seaglass Equilibrium presented in “Notes from Pallet Town” at UCCA with lots of warehouses, motor repair, hardware, and small family-owned Dune, 2019, photo by UCCA Dune, courtesy of the artist and Capsule Shanghai. LEELEE CHAN craftsman shops. This meant that I started to come across an interesting mixture of all kinds of remnants and objects on the side streets and dumpsters on the way to my studio. I simply cannot help saving the most interesting Investigating the evolving meaning of material culture. ones. Having these objects in my studio, in turn, has given me the impulse to make something out of them. Also, the process of collecting objects has become a journey to discover and explore the city again. By Julian Thurtell WW: YWhat kind of traditional and future materials will you get to explore on In 2015, BMW launched the BMW Art Journey in collaboration with Art the Netherlands, and the United States that have dedicated their everyday your BMW Art Journey? Basel, to support artists in their pursuit of research, discovery, and the creation lives to develop postindustrial bio- and nanotechnology, such as self-healing of new work. Thanks to travel made possible by the award, artists are able to concrete, synthetic quartz crystals, metal foams, and mycelium fungus. LC: I live in Hong Kong, a city that is far detached from how material objects realize a project that in turn helps us see the world from a new perspective. I have deliberately chosen materials that stand out due to their are made, since most of the manufacturing industry moved to Mainland The program’s latest awardee is the Hong Kong–based sculptor persistent historical significance, but also because they allow for an intimate China and merely small family handcraft shops remain. This is why I want Leelee Chan. Through her journey “Tokens from Time,” Chan will engage hand-material and human-material relationship, which have been an to take advantage of this Art Journey—to visit places where the materials with artisan families and scientists in Europe, Asia, and the Americas to important element of my sculpture practice. The title “Tokens from Time” originally come from and to experience the people and communities whose learn about both natural and synthetic matter, traditional and cutting-edge implies that material objects and how they evolve through time can also be lives have been shaped by them. WW: How does your work enable you to reflect on your surroundings and methods. Investigating questions of ecological and cultural sustainability, regarded as “tokens” that serve as a tangible representation of the key qualities To explore the possibilities of ancient materials and cultural daily encounters? she’ll explore crystal caves in Spain, marble workshops in Italy, and synthetic and feelings of living in societies in different historical and cultural contexts. sustainability, for example, I am planning to visit the marble quarries of quartz factories in Japan. As such, my journey seeks to raise the question: “How does the evolving Pietrasanta, Italy, which has become one of the world’s most renowned LC: My process-based approach usually enables me to gain a deeper Chan, who is known for sculpting with everyday objects and meaning of material culture project our needs, values, desires, and ideas as marble sculpture capitals since Michelangelo first recognized the beauty understanding of the historical context, communities, human behavior, and detritus, spoke with us about the evolving meaning of material culture. human inhabitants living in the Anthropocene”? of pure Pietrasanta marble in the 15th century. Artists have continued to social relationships surrounding the objects that I choose. I am using this produce works with the help of quarry workers and local artisans who still duality of materials to probe the condition of coexistence between human WHITEWALL: Tell us about your upcoming BMW Art Journey. WW: How did material objects originally become the core of your practice? insist on carving manually with old-fashioned chisels for the most part. In inhabitants and nature. Italy, I would also like to visit the world’s oldest bell foundry in Agnone, Hong Kong has also fundamentally influenced the way I perceive LEELEE CHAN: “Tokens from Time” is a journey that aims to trace material LC: Having been trained as a painter, it was only during my second year which has been operating for the last thousand years. space. As one of the densest cities in the world, Hong Kong has layered and culture from the past, present, and future. I will visit historically important in grad school at Rhode Island School of Design that I experimented with I will explore the possibility of the future and ecological materials hidden spaces everywhere. This compression of space is reflected in my artisan families in Italy and Mexico that are still practicing ancient making my first sculpture. Since then, my studio practice has oscillated by visiting researchers in Switzerland that have been influential in the sculptures, which often contain multiple micro-spaces that can be discovered craftsmanship techniques of copper, marble, and silver today. I will further between painting and sculpture. But it was with my move back to Hong advancement of concrete technologies over the past century. Intensive when one walks around them. I hope these discoveries can reinvigorate the experience material in its rawest form by visiting the second world’s-largest Kong five years ago, after living abroad for 15 years, that sculpture became research is now ongoing to further improve cement and concrete, focusing on viewers’ senses and slow down their perception that I think is lost in the crystal cave in Spain, and contrast this by engaging with world-leading my primary medium. My practice has gone through a drastic development environmental issues and aiming to achieve a zero-carbon-emission footprint hectic, fast-paced environment in Hong Kong. I want to create sculptures that scientists, engineers, and researchers from Japan, Germany, Switzerland, ever since. of this basic building material. have a sense of unfolding, evolving, and becoming.
WHITEWALL 64 WHITEWALL 65 FOCUS I think fashion can be used to move culture “and develop solutions
have this direct connection with people, because I can get instant feedback. For me, it’s authentic and has been the foundation of my thinking of the collection since day one. I think the crescendo in all of this was when I had recently posted about the Unfuck the World T-shirt, which was an edit of a Supreme T-shirt with Heron Preston branding. It was packed with a ton of meaning. I found some secondhand “Fuck the World” T-shirts, and embroidered “UN” in front of “Fuck.” I asked my Instagram followers to comment how they would unfuck the world for a chance to win one of the T-shirts.” The idea was “Natural Disaster” by Heron Preston and Sami Miro Vintage. not only about reusing materials in fashion, but a bigger concept about doing what you can within your control to get involved in things you care about. The result was thousands of passionate and inspiring comments HP: The conversation started with womenswear, but then we decided from people around the world, voicing what they care about and what to introduce some menswear as well. We were looking at some of my they personally do. I have nearly 600,000 followers, but I never get nearly past collections and some pieces that I had in stock, deciding how to that many comments. I was like, where the hell did all of these people upcycle and remix some of my designs through her process of cutting up, come from? I was surprised. deconstructing and piecing it back together, making it sexier and brand new. WW: What role can fashion play in the current moment?
WW: What kind of message did you want the collection to send about HP: Slowing down. Promote positive change. Advance developments in environmental impact? technology. Get involved in health. Don’t turn this into a trend. Show the youth there’s more to love. Preserve culture. Harness the power of HP: I think fashion can be used to move culture and develop solutions. I fashion to design a better future. think using my platform to put a voice behind something that I actually care about is important. I want to continue my journey of continuing to push the investigation of environmental solutions and inviting people into Portrait by Vincenzo Sassu. “Natural Disaster” by Heron Preston and Sami Miro Vintage. my world to help me tell that story. Sami is part of the journey amongst many innovators and collaborators that I have worked with and that I want to work with. Every collection and every season I want to continue this journey and allow my curiosity drive the investigation.
HERON PRESTON WW: Sustainability has been at the heart of the collection since its inception. Why is that?
Harnessing the power of fashion to design a better future. HP: For me, it’s simply that I care about the environment and I’m fascinated with innovation. I grew up going on camping trips and ski By Elizabeth Williamson trips, volunteering at museums in San Francisco, and developed a relationship with nature. There are so many amazing national parks Last spring, Heron Preston and Sami Miro Vintage released an upcycled, sustainable collection in collaboration, around and outdoor activities. Once I did the New York Department “Natural Disaster.” Addressing the climate crisis, it featured reworked denim, silks, organza, and knitwear in of Sanitation project, I realized the impact that the fashion and apparel dresses, suits, sweatsuits, T-shirts, and jackets. industry had on the environment. I figured out that what I was involved Preston’s eponymous label has long raised awareness around the need for sustainability in fashion. Driven in, and contributing to, was destroying the very thing that I love so much. by a personal love of nature, including U.S. national parks, and the unavoidable knowledge of his industry’s negative I realized that I needed to be involved in discovering new solutions impact on the environment, he sees each new collection as an investigation into how we can do better with design. instead of being another brand that does not care. The designer shared with Whitewall how surprisingly responsive his digital following has been to sustainably There is too much information out there about fashion’s impact focused initiatives, and what that means for the future. to ignore. I have this guilty conscience, like where does all of this stuff go? And when it gets there, then what happens? Well, I started to look WHITEWALL: What made you interested in working with Sami Miro on “Natural Disaster”? into it, and learn about it. It’s terrible, but there are better ways, newer ways, of doing all of this stuff, and there are tools that exist. Once I heron preston: I love Sami’s process, her vision, her philosophy of recycling and reusing vintage clothing and materials, started to realize this, I had no choice but to act. upcycling and reconstructing. Sami exemplifies the intersection of people who practice sustainable design and production but do it through the lens of culture—that’s always the real challenge. If you look at sustainability or eco-friendly product WW: How are you seeing the consumer respond to sustainable initiatives? in the past, it has always been lacking the cool factor. So I think she kind of checked the boxes of many things that I value. HP: I think consumers, specifically my consumers, know that sustainability “Natural Disaster” by Heron Preston and Sami Miro Vintage. WW: What was the starting point for this collection? initiatives are part of my process, so they are always engaged. It’s cool to
WHITEWALL 66 WHITEWALL 67 WW: How do you see travel evolving from here? Presents PQ: I think the way to travel will change. For private jets, it’s an opportunity to demonstrate that we can provide a door-to-door service. We have a fleet that corresponds to any needs. We have small jets for European or domestic flights, accommodating six to seven passengers. We have mid-size aircrafts with more range, where you can easily have 10 passengers. At the top end, we have long-range aircrafts, capable of flying from Europe to Australia directly with 14 passengers.
PP: We have always had, for decades, families traveling together, and we sometimes see four to five bedrooms accommodations reserved only for that family’s stay. So, of course, to offer our guests the possibility to travel together in an aircraft that can accommodate 12 to 14 persons is essential.
Philip Queffelec’s father flying a DC3 in 1964, Madagascar. WW: How are Sparfell and Oetker Collection thinking about their impact on the environment and sustainability?
PHILIP QUEFFELEC: I started traveling with my parents. My father was PP: I would say 2020 will not be a year to forget, but a year to remember. a captain. At that time, luxury was something quite different than today. There are many opportunities that arise when you go through challenging Very few people were able to fly due to its cost and the aircrafts were only times. This crisis has proven that the planet is suffering. On the other hand, capable of doing long range. You felt really privileged to fly—it was a real we must have people traveling, because in our industry, without people adventure, and a very luxurious atmosphere. traveling we cannot survive. So, we have to be clever, smart. We make sure But today, travel luxury is private jets. You are flying with that our dear guests, dear travelers, can offset the impact of their carbon dedicated services, you know the people you are traveling with, you are footprint by contributing to philanthropic associations. and feel safe—which of course in the time of COVID-19 period is very important. This is the luxury today, to be able to bring people to their PQ: Aviation has a negative image if you’re speaking about pollution. But destination in a comfortable, efficient, and healthy manner. aviation is just 2 percent of global pollution. From these two, 0.002 percent come from private aviation. We are not putting an aircraft in flight just to WW: How did this collaboration come together? make it low cost, 10 flights a day even if empty. We don’t create the demand, we answer it. PP: In the context of COVID-19, sometimes when you go through Growing up in Madagascar, I’ve always cared about the challenges, opportunities arise. Our travel partners in the United States environment. We’re working now on a special program around the issue of and in Europe have clearly said that guests are traveling privately more and water on our planet—we will announce that in due time. more because of the health crisis we are all going through. We had spoken with Philip for three or four years about different projects, so we reached WW: What is an ongoing challenge for you? out to Sparfell and agreed that a partnership could be developed that could answer the needs of our guests. PQ: The challenge is to find a team that subscribes to your spirit and who The service level is perfectly aligned. What a guest would expect is loyal to the customer. We are very lucky to have the right people for that. at one of Oetker Collection’s properties is similar to what they would Our difference in this industry lies in our history. We are a family business. I expect flying with Sparfell. We can really customize the experience. There think this is what we offer to our customers, trust, knowledge, values… And should be a seamless experience from the moment the travel experience this is important for me. starts, at the doorstep of the guest’s home, to their arrival. The quality of Partnership SPARFELL X OETKER COLLECTION - Reaching new heights in luxury travel. the service we provide is consistent throughout that experience. PP: The right people make the difference, in your industry and in our industry. It’s not easy to say to people, “Welcome home.” That home feeling PQ: The first duty for Sparfell is, of course, safety for the customer. We in the Oetker Collection properties is extremely important. The family spirit have the highest technology, and now with this partnership, we want to is essential. have the service that corresponds to the spirit of Oetker Collection. In the Sparfell and Oetker Collection Soar Together past, we have been awarded to be the official carrier of the English Royal Family and we are still proud to be in charge of all of His Royal Highness, Prince Charles’s tours. With this partnership, we feel we have the best of two worlds. Bringing a whole new meaning to door-to-door service. There is no doubt Oetker Collection represents the highest practice in the hotel industry and similarly in our duty to bring clients to the highest ideals By Julian Thurtell of safety we complement each other. It’s a combination of the highest standards in luxury. This year, travel has become the ultimate luxury. Amid the challenges of these unprecedented times, domestic and global excursions have completely evolved. Safety and service are now of vital importance. And a new partnership between Sparfell and the Oetker Collection is bringing those two qualities together like never before. The international leader in private aviation Sparfell and the hotel and resort group Oetker Collection—known for such iconic locations as Eden Rock in St. Barths—now offer a luxury travel experience from your home to theirs. Guests can bypass the stress of the airport and commercial flights by boarding a private Sparfell jet, flying directly to any of Oetker Collection’s Masterpiece Hotels, Estates, or Private Villas across Europe, the Caribbean, and South America. Sparfell chairman Philip Queffelec and Oetker Collection chief project development officer Philippe Perd recently met at the Hotel du Cap-Eden-Roc in Cap d’Antibes to discuss this new height in hospitality, and the value of comfort and security.
WHITEWALL: What does travel represent to you at this time?
PHILIPPE PERD: I think luxury travel should be a tailor-made experience and should answer the needs of our customers, which are very different from one client to the next. A guest could enjoy a first-class cabin when traveling, yet another guest would prefer to sit on a private plane—which is why we are very pleased to have developed this partnership. It’s about how you can best deliver a service which is aligned with the expectation of that particular guest. Having this partnership with Sparfell allows us to start the experience not only at the door of the aircraft here in Nice, Philippe Perd and Philip Queffelec at the Hotel du Cap-Eden-Roc / Oetker Collection. but at the guest’s door at home. It’s a dream. Philip Queffelec participating in the 1992 Helicopter World Championship at Wroughton.
WHITEWALL 68 WHITEWALL 69 Presents
I think luxury travel should be a “tailor-made experience Philippe Perd managing director of Oetker Collection”
CourtesyHotel du Cap-Eden-Rocof Sparfell. / Oetker Collection.
WHITEWALL 70 WHITEWALL 71 butlerBisa Giving identity, history, and legacy back through quilting. By Katy Donoghue Bisa Butler, The Warmth of Other Sons (detail), 2020, a multi-figure portrait of a migrant family, cotton, silk, wool, and velvet, 10 feet x 12 feet, courtesy of the artist and Claire Oliver Gallery. WHITEWALL 72 WHITEWALL 73 Bisa Butler is on a mission to tell the stories of those who have been forgotten, during World War II. How did you become interested in that archival material? passed over, and lost to time. Using vibrant African prints and fabrics, she quilts life-size portraits of Black people with something to say, whether history has bb: It all started with wanting to recapture and know people who are gone and taken the time to listen or not. kind of lost, thinking about my grandfather, that loss and not knowing him, what Her recent solo show with Claire Oliver Gallery, “The Storm, the he looked like, anything about him other than my father’s vague memory. Whirlwind and the Earthquake,” stemmed from archival photographs of African When I looked online, I found 40,000 images in the public archives, Americans during World War II, commissioned by the U.S. Government Farm with no names or identifiers except for where the photo was taken. They were Securities Administration. These subjects, mostly unidentified, never shown their just sitting in these databases, metaphorically collecting dust. They were taken captured image, stare back at the viewer, challenging your pity, asking, “And what during World War II. The government commissioned photographers to go out and about you? What have you done with your life?” photograph the status of the Negro peoples during the war. That was the precursor Butler spends over a hundred hours on each quilted work, and her to social programs like welfare, not enacted until the 1960s. imagined narrative and conversation with her subjects grows into an emotional A lot of the images online weren’t printed; they weren’t seen at all. Aside connection that emanates from the finished piece. from researchers and curious folks like me, they are not going to be seen. All Whitewall spoke with Butler, whose solo show “Bisa Butler: Portraits” these people deserve better. at the Art Institute of Chicago opens in November. WW: What kind of photographs caught your attention, and inspired you to make Whitewall: How are you doing? Have you been able to make work during this a piece with? season of compounded crises? bb: I was looking, saving interesting images, and there was one of this little boy BISA BUTLER: I’ve always worked from home. I took over the dining room, and standing by a porch in Georgia in the 1940s. He had on overalls and a little cap. He I have another room with my machine. My day to day hasn’t really changed, but has this grown-up look in his face, looking at the photographer, judging him, just psychologically, especially with the racial tensions and unrest, it’s causing me to as we’re judging him. He had no shoes, and I grappled with that. I want to portray be extremely distracted. It is definitely having an effect on my work. him like he is, but I also don’t want him to be an object of pity. I work on these I always had this idea that I want to speak for my people, amplify who pieces for one hundred to two hundred hours. I do feel an emotional connection, Black people are. But now it’s so much more critical that I have to be more careful almost like he’s my little boy now. What would he want? about what I put out there. It’s like, well now that I have your attention, let’s talk So, when I did the piece, I gave him a really nice pair of Chucks. I about Breonna Taylor. thought, I’m going to put things on him that he would like, like a motorcycle man on his pocket. This is after World War II, so I know he’s seeing airplanes, so I put WW: We read that you introduced quilting into your practice after having your airplanes all over his overalls. On his shirt I put horses; he’s in the country, he sees child, realizing that you could work that way while being a mother at home. How horses. did you start working with fabric? He’s around eight in 1940, but when he’s a man, it’s going to be the sixties. He’s moving into this technological world. The things that he would see, bb: I got pregnant when I was about to graduate. Suddenly, I had this baby on what world is he coming into, his reality as an adult is going to be very different the way and my boyfriend had just graduated. We said, let’s put our plans on than where he is now as a child. It becomes this anthropological exercise of hyperdrive, get married, move in together—and art got left behind, in a way. I researching what was happening at the time but also me thinking about what I couldn’t even smell paint. The scent of it was instant nausea. wish for this person to have. After a few years, when she was about two, I decided to go to grad school. I thought, “I can teach art and that will fulfill my desire to make art. My WW: Why is that story important for you to tell? schedule would be conducive to that of a mother.” But I still didn’t think that I could make my own artwork, not really. bb: It’s this broader idea of the unknown Black people, ordinary people where And then I made a quilt in grad school. It was a portrait of my something about their portrait captured me and I saw beauty and dignity in grandmother, and that changed things for me. I realized I can sit on the sofa and them. I don’t think I’m putting beauty or dignity in. I’m exposing it, revealing it. you can have a kid crawling around, you are in a chair, and your little one can be Everything is all perspective. None of us are neutral. at your knees. I know there are mothers who paint, but I don’t know how. So, I The African fabrics I’m using to give back, too. As African people started quilting and it worked with my lifestyle. transplanted in America, I want to give that heritage back. They have a legacy that was stolen from them. I want to give identity, history, and legacy back. WW: What kind of fabrics were you using? WW: What are you working on now? bb: My mother and grandmother sewed clothing. My mother brought over containers of fabric. She was looking at Halston, Dior, Oscar de la Renta, and she bb: I’ve been thinking more now of those who have been passed over. We hear would copy their designs and make them for herself or her sisters. stories of Black people killed unjustly like Trayvon Martin and George Floyd. She was giving me the leftovers from her work, but also legacy. All And I’m hearing constantly of all these other people who this has happened to those fabrics were dressmaker fabrics, not what quilters traditionally use. So I and their stories didn’t make the news, didn’t make a big impact. Some photos started making more portraits of family and friends. My grandmother also had I’m finding are from the forties and fifties, people who were hurt and killed and all of her fabrics she put aside from the seventies—groovy flowers, orange and forgotten. My next series will include a lot of these people. brown, and African fabric, too. WW: You’ve talked about how your professors at Howard University, when you WW: Who were some of your first subjects? were an art student, instilled in you the responsibility of an artist—that you are a reflection of your time. How did that impact you? bb: I made a portrait of my father’s father. I never met him, and he died in Africa from appendicitis in the early 1940s. They were farming people, not wealthy. bb: That whole responsibility piece was really big and it stemmed from the There are no photos of him. It’s funny how generational pain can last. The family founding of HBCUs. Those who get to go to college are expected when they go was so poor, they had to split up. My father went to boarding school. A benefactor home they should talk to their community about what they’re learning. You have paid for his schooling. Two of his sisters were married to the same man—they a responsibility to spread what you learned with people who don’t have access. were 12 and 13. The family was devastated. So we grew up hearing that story In the arts program it was like that as well. Art can be so uplifting, and about our grandfather and how the family was decimated after his passing. it can be educational. The arts faculty at Howard, a lot came from the Chicago I decided to make a portrait of what I thought he would look like. And school of thought AfriCOBRA. They were really radical in the sixties—you I thought, “Why don’t I use all African fabric because he was an African man?” should be proud of your heritage, you don’t have to assimilate completely, you are And because my grandmother’s fabrics were vintage, I thought this was perfect. not a darker-skinned white person. You can have your own identity. He may have come into contact with these prints in his lifetime. I made that piece, Their mission was if you look at a piece of artwork it should be accessible, and that took; it just was right. So now, when I make portraits, I use fabric that will and when you look at it you should see that Black is beautiful. You should feel tell the story of this person. pride in being who you are. You still have a duty. As an artist, you can make your art, but you always have to be talking to your people. You don’t have the luxury to WW: Your recent show at Claire Oliver Gallery, “The Storm, the Whirlwind just do you. Your people are still suffering. I definitely connected with that. Portrait by John Butler. and the Earthquake,” was inspired by photographs taken of African Americans
WHITEWALL 74 WHITEWALL 75 Bisa Butler, Zouave, 2020, cotton, silk, wool, and velvet quilted and appliqué, 54 x 88 x 2 inches, courtesy of the artist and Claire Oliver Gallery.
Bisa Butler, Daughter Of The Dust, 2020, cotton, silk, wool and velvet quilted and appliqué, 58 x 83 x 2 inches, courtesy of the artist and Claire Oliver Gallery. WHITEWALL 76 WHITEWALL 77 FUTURA2000 in the studio, courtesy of the artist. Portrait of Virgil Abloh by Bogdan Plakov.
FUTURA2000WHITEWALL 78 &VIRGILWHITEWALL 79 ABLOH FUTURA2000’s set design for the OFF-WHITE Spring/Summer 2020 Men’s show featuring his FL-002 COMMUNICATING LAYERS OF sculpture made in collaboration with Charlie Becker, photo by Bogdan Plakov. CULTURE FOR A NEW GENERATION.
By Eliza Jordan
The transformative work of Leonard McGurr preexists the Internet. Before a Google search or an Instagram photo led to his moniker “FUTURA2000,” his graffiti marked the exteriors of New York subway cars in the 1970s. While other artists used cans of spray-paint, FUTURA2000 created tags with markers. With this technique, he pioneered the movement of abstract street art as a self- proclaimed graffiti writer, building the foundations of graffiti and street culture as we know it today. In the early 1990s, when creatives were searching for alternative spaces for their work, the Internet became a meeting place. FUTURA2000 took his art from the street to the World Wide Web around 1996, launching a website— then another, FUTURA2000.com, after the year 2000—as an extension of his work. A few years later, The Brilliance—a site run by Benjamin Edgar, Chuck Anderson, and Virgil Abloh—reached out to him to talk about street culture and his work. At the time, The Brilliance covered culturally relevant topics, and as FUTURA2000 put it, it “came correct.” Since then, FUTURA2000 and Abloh have continued to connect around the world, and have collaborated on several projects. Their shared love for communicating culture has led from friends-and-family T-shirt designs to fashion shows. Early last year, FUTURA2000 was slyly seen live painting the Louis Vuitton Men’s Fall/Winter 2019 set during the show in Paris, at the invitation of the collection’s creative director, Abloh. A few months later, at the Spring/Summer 2020 show for the fashion designer’s own label, OFF- WHITE, there was FUTURA2000 again. The artist’s FL-002 sculpture (made in collaboration with Charlie Becker) anchored the show, paintings of his from 30 years ago were reimagined on garments, and a brand-new Nike Dunk shoe that was created collaboratively hit the runway. As the pair first connected digitally, it felt fitting that Whitewall connected with the creators via Zoom to hear why now is not a time for relaxing. VA: But look at how many years of being in each other’s atmospheres Whitewall: What was the first project you two worked on together? before adding something to the pot tangibly. It started from hanging out vicariously in proximity. VIRGIL ABLOH: II was doing an event, and had these young kids into me, but I want to leave seminal moments in culture that inspired me and they needed to know where the culture came from. I ran into Lenny, and I was do them with great people that I know are authentic to it. That Louis Vuitton like, “I’m doing this event and it’s very hand-to-hand. Nothing’s for sale, but are show, we authentically crashed together almost doing the impossible. Graffiti, you down to do a T-shirt that commemorates it just to hand out to the DJs—like the culture, but paying homage to it with Lenny leading the motley crew of Benji B, Gilles Peterson, Zombie, and Jun Takahashi?” It was a one-night-only personal friends. It was like, “Hey! New York is important.” operation. What Lenny and I have in common is our brain triggers a “yes” or “no” WW: After that, you continued working together for the OFF-WHITE Spring/ immediately. And his brain and my brain are usually on a “yes.” It was like, Summer 2020 show—not only part of the collection, but the set design again as “No hesitation. Let’s foster this moment.” That was our very first project in the well. How did that come together? modern era of us knowing each other. VA: The garments in the collection were created outside the studio three days FUTURA2000: There were two T-shirts! One for the DJ ensemble and another before we showed them, which was a bit of yin-yang. Traditionally, we can one, Time Flies, that came later. We were moving around the planet and having make graphic T-shirts on the computer, but those garments that are made by shows and Virg was helpful in creating a T-shirt. It was like a Futura World him—the placement of the pattern, the spray-paint on the street—showcases Tour shirt at the time. I was establishing myself again outside of commercial how my generation does couture. It’s respectful of the craft and the history of projects and collaborations and doing paintings. All of that was before Virg was Parisian fashion, but it’s different. at Louis V, back when he was getting OFF-WHITE up and running. The whole world has shifted. F: Not only did you have my sculpture at your show in the bed of flowers, but we made some stuff right there on the spot. Virg had existing elements—access to VA: As the younger generation comes into the fold, I want them to see me and some old imagery, specifically a couple of the more colorful pieces, paintings of my inspirations on the same level, bringing that message forward. Futura has mine from 30 years ago. always been melding those worlds between art and culture in a visual world. Sure, we know about subway cars moving with art and colors, but to see my artwork taken from a static painting and put on this fabric and then have WW: What was it like for you to create live works on the set of the Louis Vuitton someone—i.e., Gigi [Hadid]—moving through space . . . That was incredible. Fall/Winter 2019 show during Paris Fashion Week in January 2019? Virg, you’re so open to the process of creativity—however that exhibits itself. And we definitely caused a splash with the sneaker. There’s F: That’s when the whole thing escalated on a high level. My history in Paris levels of culture that were existing. goes back to 1981 or ’82. I’ve had this love affair with Paris for a while. My ex- wife is from there, my kids are half-French. I’m proud of all of that. Every time VA: That vibe—continuing the past and not resting on the laurels of ten to I go to Paris, I’m going back home. twenty years ago—was a challenge. When you invited me, Virg, to be a part of that show, I was blown away. You were bringing back New York City in the eighties. Your concept was WW: What was the process like creating the Nike Dunk shoe? bonkers. And that’s why I love you, Virgil. You can not only think it, you do it. I love you so much not just for who you are and what you’re doing, but VA: In the genre of sneaker design, it’s safe to say that the work that Lenny did also how you were like, “Let me get some knuckleheads together and trash this was crème de la crème before the era that we’re in now. There weren’t line-ups. shit up.” The exterior at the Jardin, the setup, the rustic structures. It’s brilliant The shoes were selling out, but the Futura Dunks are a particular important for you to have that idea and want to get that emotion out of people. canon.
FUTURA2000 painting on the set of the Louis Vuitton Fall/Winter 2019 Men’s show, courtesy of Louis Vuitton. WHITEWALL 80 WHITEWALL 81 Works on canvas from FUTURA2000’s “Generation Z” exhibition at The Mass gallery in Tokyo (November 16–December 15, 2019), courtesy of the artist.
IF PEOPLE SHOULD HEAR FROM ME
Unbeknownst to Futura and his whole crew, I was working on this personal of what’s determined to be my legacy. love of bringing back the Dunk with my own model. I elbowed Nike and said, AND VIRG, IT “You don’t know I’m working with Lenny, but is there a way we can make some WW: How has COVID-19 impacted you? friends and family pairs, and we can put them in the show and they’ll be for the culture?” F: In the daytime, I’m trying to do work here and in my studio, which isn’t far “ No one knew that I had a Dunk coming out, and I was honored to from my home. In the evening, I’m inundated with what’s going on. Fortunately, SHOULD BE ON be able to showcase my new Dunk in this context before it was even released. the daily protesting has come down. It’s been very hard, but I can separate the The OFF-WHITE pair came after, but the very first preview was a collab on a two. new version of a shoe. I think that’s one of the first times in Nike waves that we In this COVID period, my son and I have been also getting into 3-D WHAT’S introduced a collab on a new version of a shoe that hadn’t been out yet. printing. And not just, “Let me steal a file, open source, and print this vase.” Since March, we’ve got multiple machines that we’re taking apart and putting F: My intro to Nike was meeting Mark Parker in 2002, and I started working together. We’re learning a new language. This moment has created such an REALLY with Nike in 2003. One of the first shoes I got to work on was a Nike SB, and unfortunate yet unique opportunity in various ways. This is another accessory it went out as an uncredited shoe. The only thing I did was put the colorways to my creativity. And none of the guys from my “scene” are into that. together. I did it as not being Futura; I did it anonymously. People caught on VA: For me, it’s been a tidal wave. It started off very contemplative in quarantine. HAPPENING later. And that’s kind of fun in a way, because people assume what they assume. And then, obviously, your proximity to how much pain people are Then I did a Blazer, another Dunk, and a FLOM. Then I wound up doing about in. That atmosphere took months to grapple with. And just as soon as we were eight to ten shoes with Nike over about eighteen years since. coming out of that, we have injustices due to police and Black people right on TODAY But when Virgil came with the reinvent of the Dunk, we of course had our front doorstep. That’s been turbulent, just in terms of humanity’s sake. And FUTURA2000 the North Carolina colorway, but we had the “FL”—like my 2003 FLOM shoe we’re artists, so we’re outputting or trying to translate what we’re seeing or “For Love or Money,” which is a real grail shoe in the industry. feeling into new work. This is like reporting live from the middle of the war. It’s not near the end, and we don’t know how far from the beginning we are. VA: That’s why the context of these short stories we’re telling is important. That’s One rule of thumb that I’ve always put forth since the very beginning how our culture is built. When you talk about formalized art or formalized is trying not to predict the future or an obsolete. I think that’s where man takes movements, what I love is all these things happened in an era just before the his first misstep. Expecting something to be one hundred percent. I’ve been Internet. There’s wasn’t much documented. More hand-to-hand things were trying to stay loose. Stay open and optimistic. Optimism is what brought me happening. Colorways on a shoe . . . why is that important? Because in ten to here. It’s what’s going to take me out. As soon as the sun rises again and shit twenty years, it leads to a Louis Vuitton merger. starts to settle, we as a society and as individuals learn something valuable. We’re laying down certain foundational blocks about the context and the granular pieces of our art community; understanding how these cultural WW: What comes next? references come into our atmosphere. And then, we output. That could be a painting, a sculpture, a fashion show, or a sneaker. In my mind, those are just F: My monograph with Rizzoli is coming out in November. I’ve been working extensions of art objects that we’ve adopted, and we’ve put back into the world on it for more than five years. to communicate to a community that might have been outside it in white cube [Any other] project I’m doing just doesn’t seem to rise to any level of galleries. That’s where our work gets profound and interesting. promotion or discussion. If people should hear from me and Virg, it should be Along the way, we’re leaving objects in our wake. We’re practicing our art form, on what’s really happening today. but we’re also speaking for a generation that is finding itself within art as the I feel slightly guilty that my generation was raised with a kind of overarching umbrella. ignorance. Not that we’ve turned a blind eye, but we didn’t understand enough that these things were wrong. We’re in a moment now that I’m enlightened by. WW: Recently, Lenny, you said that you were thinking about legacy more. How The outpouring of the people at large . . . I hope that translates to something in so? November. ” F: I’m in my third act. You have to start thinking about that, too. I have financial VA: Now that the world is open to having a conversation about race loud and people that want to start talking about my will! I’m not comfortable. But, clear—and of course I’m going to be called to task because I exist in industries like COVID, I can’t act like it’s not happening. I’m trying to deal with this all that I had to fight to get into, and frankly aren’t usually into putting these topics responsibly. I want to take care of my family, of course. I have two children, out in the open air—and systematic change can and will be done, I’ve added my loved ones, and they have to be covered. That’s the legacy as I see it in a this whole new layer on top of my practice that explicitly advances the idea to structural form. As far as the art and the perception of what happens subsequent put more Black people and people of color inside these institutions that are built to my departure, I could care less. off of the influence and proximity of Black people. Legacy isn’t for me to determine, in terms of what people perceive. I’m an optimist. Optimism is what brought me here. I’m doing That’s been the issue all of life. I’m encouraged that people like what I’ve been initiatives, creative projects. The way that my advocacy looks might not be what doing, and they support me. But so many times along the journey, I could have other people want it to be, but it’s going to be as creative as the other extensions taken a left rather than a right, and yet I took a right and it got me to that moment. of my career. Many times in my multi-decade moments I’ve wanted to check out I wake up not to doom and gloom. This stuff only changes if people and do 180s. I’ve never been satisfied with where I’ve been and got frustrated start putting stuff into the ecosystem to change the whole environment. I’m and wanted to change something. Either I did or I didn’t, but by virtue of those motivated. It’s a busy time. It’s not a time for relaxing. But when was that ever choices, here I am. It makes me think a lot of things are out of my hands in terms for guys like Lenny and I?
Nike x OFF-WHITE Dunk Low, photo by Bogdan Plakov. WHITEWALL 82 WHITEWALL 83 Rosewood Hong Kong, a grand icon for the city, is situated in the heart of the Victoria Dockside arts and design district on the shores of Victoria Harbour, photo by New World Development. Adrian CHENG ENCOURAGING LOVE AND LEADERSHIP WITHOUT BORDERS.
BY ELIZABETH WILLIAMSON
WHITEWALL 84 WHITEWALL 85 This year, Adrian Cheng announced a new vision for his 90-year-old family empire, New World Development and Chow Tai Fook Jewellery Group: Creating Shared Values. It focuses on empowering culture and creativity, supporting social innovations, and creating sustainable solutions to modern life. The Hong Kong business leader is well known in the art world for K11 Group, a mixed-use retail experience that blends fashion, contemporary art, and nature. Established over a decade ago, it aimed to democratize art, culture, and beauty for the millennial generation. And over the summer, the K11 MUSEA WE MUST DO celebrated its one-year anniversary. Cheng knows that millennials and Gen Z are not only interested in engaging with retail and museums in a new way, they are also more conscious of social issues and sustainability. Cheng directly addresses those concerns in the OUR BEST TO New World Sustainability Vision 2030, promising to reduce energy and carbon intensity by 50 percent in the next decade, as well as the #LoveWithoutBorders campaign, established early this year in response to the COVID-19 pandemic. In addition to donating funds, masks, and preventative kits, the campaign has ELIMINATE created contact-free vending machines for masks to reach the largest population “ possible in Hong Kong. Whitewall spoke with Cheng about his vision for the future of consumer experience, cultural engagement, and sustainability, as well as responding to the BORDERS AT ever-evolving global crisis.
Whitewall: Can you tell us about the #LoveWithoutBorders campaign’s current focus on donating masks internationally? THIS CRITICAL
ADRIAN CHENG: #LoveWithoutBorders is a global charitable platform that I have created to share love with others and provide essential support to those affected by COVID-19 around the world. Borders are invisible to viruses, and in order TIME to win this battle, we must do our best to eliminate borders at this critical time. Around the world, we are seeing shortages of essential protective gear for both citizens and healthcare workers. Driven by our vision of Creating Shared Value (CSV) to contribute innovative and sustainable solutions to today’s most pressing problems, we officially launched #LoveWithoutBorders in March and announced that we will source, deliver, and donate over 2.5 million medical Victoria Dockside, the $2.6 billion, 3 million-square-foot global art and design district, was conceived and created by Adrian Cheng in collaboration with 100 creative powers to reinvigorate Hong Kong’s iconic Tsim Sha Tsui waterfront. The development project includes K11 MUSEA, the sublime culture-retail global flagship of K11; K11 ATELIER, office buildings designed for the new culture of work-life integration; K11 ARTUS, a masks to partners and local communities across Asia and Europe. luxury serviced residence; and Rosewood Hong Kong, the ultra-luxury brand’s first Hong Kong property, photo by New World Development. Furthermore, in April we announced that we will donate 10 million “Made in Hong Kong” face masks, produced by New World Development, to local and overseas communities. Most recently, we announced a donation of 500,000 masks to UNICEF that will then be distributed to the world’s most vulnerable children and communities. We have a long-term vision for this campaign. Wherever possible, we are ready to share our expertise, intelligence, and resources with all our global partners and stakeholders, regardless of our own or other people’s culture, ethnicity, background, or gender, to overcome this challenge together.
WW: How has that grown to include contact-free vending machines throughout Hong Kong’s most at-risk populations?
AC: We have found that it is incredibly difficult for the disadvantaged, who are especially vulnerable to the virus, to take these necessary precautions due to a limited and costly supply of personal protective equipment. As a result, we’ve ” seen many people turning to non-certified protective gear of unknown origin and materials out of desperation, while countless others have succumbed to wearing no protection at all during such a high-risk time. For these reasons, we decided to develop our own production lines to ensure continuous supply of high-quality medical-grade face masks to our communities. We also created 35 “Mask to Go” dispensers, which will be installed at the designated centers of our NGO partners across 18 districts in Hong Kong, to offer free masks to preregistered low-income families and communities in need. By leveraging QR code technology to identify and validate recipients, we can guarantee the masks are being provided to those citizens who are most in need while maintaining a hygienic distribution process.
WW: Can you tell us about New World Development’s “Creating Shared Value” mission, focused on creativity, social innovations, and sustainability?
AC: In 2020, I announced my new vision to reinvent our 90-year-old family empire through a CSV strategy that focuses on three main points: empowering culture and creativity, supporting social innovations, and creating sustainable solutions to modern life. With the focal point of New World Development’s attention centered around these specific pillars, we are taking a long-term approach to balancing shareholders’ and stakeholders’ interests by forming a new connection between business success, social progress, and people’s well- Children’s Donut Playground at K11 MUSEA, photo by New World Development. being. Adrian Cheng, CEO of New World Development, Founder of K11 and Owner of Rosewood Hong Kong, photo by SWKIT.
WHITEWALL 86 WHITEWALL 87 New World Development’s #LoveWithoutBorders “Made in Hong Kong” Medical Face Masks, photo by New World Development.
Through this mission, I hope to share my vision, expertise, and resources with Agreement to keep global temperature increase no greater than 1.5 ˚C. stakeholders and partners across the globe, to provide a holistic ecosystem to serve the communities we operate in, while simultaneously furthering New WW: How has sustainability become a major pillar for the group? World Development’s business advancements. For example: Social innovation: To help solve the housing shortage issue in Hong AC: With real estate development being a serious contributor to climate change, Kong, we were the first to donate over three million square feet (278,700 square our team has made sustainability a major pillar in our business pursuits to ensure meters) of farmland to Hong Kong’s government and to nonprofit organizations our properties can serve as lifestyle platforms to build communities and promote to build public homes. sustainable habits. It’s our goal to develop synergistic businesses in an ecosystem Climate change and sustainability: We have launched the inaugural that enhances the lives of our stakeholders with green, wellness, smart, and Sustainability Forum in January 2020, which brought together more than 200 caring impacts. social entrepreneurs, investors, startups, and artists to encourage intergenerational Within the last 12 months, for example, we have created Impact dialogues, share ideas, and explore partnerships that help tackle issues around Kommons, Hong Kong’s first Sustainable Development Goals–focused climate change, sustainable cities, circular economy, and impact investing. accelerator program to provide potential funding, coaching, and support for the next generation of changemakers combating environmental and social WW: Why is it important for New World Group to reduce energy and carbon challenges; launched Nature Discovery Park, the first urban biodiversity museum intensity by 50 percent, in the “New World Sustainability Vision 2030” effort? and sustainability education park; debuted the next-generation workspace K11 ATELIER King’s Road, which is K11 Group’s project incorporating smart AC: Climate change is becoming an increasingly concerning reality, and what technologies, green design, art, and craftsmanship to create a triple platinum we do today to reshape this trajectory will make all the difference tomorrow. green and healthy building and the first in the world to be awarded WELL With this in mind, we are proactively referencing the advancements made by platinum pre-certification. top environmental organizations, such as Science Based Targets, Task Force on Climate-Related Financial Disclosures, and the UN’s Sustainable Development WW: What role does sustainability play for Gen Z and millennials? Goals, to conduct continuous climate resilience assessments within our business advancements to stay on track in our mission and meet these target reduction AC: Today, there are 566 million millennials and Gen Zs in China, which is around goals by 2030. 41 percent of its population. In recent years, we have seen a general increase in In January, New World Development joined the World Business awareness of sustainability among the Gen Z and millennial consumers. As a Council for Sustainable Development as the first-ever Hong Kong real estate socially responsible group, we need to add more into our businesses and services company to be a part of the organization. I take great pride in this achievement to accommodate their needs—e.g., using more technology further merging our and have made it my mission to continue breaking barriers in sustainable testing hardware and software seamlessly into one sustainable business ecosystem, so and technology within our own developments, in hope that our efforts will that consumers can fully enjoy both of our physical spaces and services. Looking serve as impactful inspiration for the current and next generation of sustainable ahead, our mission will continue to be to serve those around us in the most changemakers. In terms of our staff, we also have internal sharing, as well sustainable and responsible way, for our environment and for society at large. as KPIs, for everyone, from the board level to frontline staff, to highlight the connection between business performance and long-term sustainability. WW: K11 Art Malls over the past decade have proved that you can successfully Moving forward, we will continue to influence our supply chain partners bring art to the masses in settings outside of a museum. What was your initial on sustainability and set Science Based Targets to echo the Paris Climate vision back in 2008?
New World Development’s #LoveWithoutBorders “Mask-to-Go” Dispenser photo by New World Development. WHITEWALL 88 WHITEWALL 89 K11 ANTONIA Exhibition Pop-Up at K11 MUSEA, photo by New World Development.
AC: When I set up K11 in 2008, my vision was to reinvent the way in which we Our goal is to make the best use of social media platforms and our engage with art and commerce as a society. People visit galleries to observe art, multifunctional space to connect both Chinese and international artists with malls to browse clothes, and parks to be surrounded by nature, but why must China’s own fan base and target audience, and hence create a new ecosystem for these universal joys be separate? We really want to democratize art and create a the local art scene to grow. space for Chinese millennials to go and appreciate the beauty of art and culture. WW: Victoria Dockside was unveiled last year, a new kind of art and design WW: Why do you think the efforts of blending contemporary art with retail, district. What is your vision for this area? fashion, et cetera have been so successful? AC: This land was acquired by my late grandfather, Cheng Yu-tung, in 1971, then AC: I would say that much of our success is made possible through the unique both my grandfather and my father built New World Centre in 1978. It was an customer-centric ecosystem that we have at K11, which enables us to enrich icon and a hub for Hong Kong in the 1980s and ’90s. It is therefore my vision the daily lives of our next generation of consumers through creativity, culture, to build on this heritage and reinvigorate this three-million-square-foot district. innovation, and sustainability. We’ve taken conventionally separate, but Through partnering with 100 creative powers around the world, we have made this universally treasured, parts of our global art and culture and combined them to the “Silicon Valley of Culture” that is not only setting unprecedented standards in create an immersive environment that caters to the vast interests and passions of architecture, art, design, lifestyle, commerce, and hospitality, but also reshaping the modern consumers. This is also the motivating force behind K11 MUSEA, Hong Kong’s waterfront to become the new cultural-retail destination. as I’m ushering in a new concept of cultural-retail so that customers can engage The $2.6 billion redevelopment project includes K11 MUSEA, the with a wide variety of cross-disciplinary art and cultural programs all year round. sublime culture-retail global flagship of K11; K11 ATELIER, office buildings designed for the new culture of work-life integration; K11 ARTUS, a luxury WW: Have you found Chinese artists embracing this way of showcasing art serviced residence; and Rosewood Hong Kong, the ultra-luxury hotel owned by outside of Western models of institutions? our group. By injecting art, architecture, culture, design, nature, and technology into different forms of commerce, my goal is to form a unique culture-commerce AC: We have been focusing our work on organizing programs that support ecosystem that conserves traditional art and culture while incubating new ideas emerging Chinese artists that provide platforms to showcase ideas, inspire and innovation. conversation around the creative process, and assist artists in developing their craft through an important global perspective. WW: How do you see this vision expanding throughout China? Given the current social distancing policy, for example, our team has come up with our own online gallery exhibition and virtual tour through K11 AC: I am fully confident in the long-term future of China and our ability to thrive Art Foundation. When everyone was confined to their homes during the city in this market, especially given our diversified ecosystem business strategy and lockdown in March, we had an opportunity to work with Xiaohongshu (also localized approach to serving our communities. In fact, by 2024, K11 will have 36 known as RED—one of the most influential social media and e-commerce projects in nine cities across Greater China, offering multiple spaces that open up platforms in China) to launch a series of online art tours, “云逛展 ” (Exhibitions conversations and transformed ways of thinking to further inspire a new generation on Cloud), led by local influencers, to showcase Chinese contemporary art of innovators, artists, and advocates. Ultimately, this generation will continue these at K11 Guangzhou and the chi K11 art museum Shanghai. The series garnered important conversations surrounding cross-cultural interconnectivity in their own a viewership of over one million. We also recently collaborated with Phillips unique and evolving way and for years to come. And our role as a leader is to auction house to present Ash & Pyrite Eroded Porsche by American artist continue to guide, support, and empower them whenever possible, in a hope of Daniel Arsham at K11 MUSEA, an artwork revealed to the public for the first finding new and bright opportunities to reinvent our city and impact the global time in Hong Kong. community.
The Opera Theatre at grand atrium of K11 MUSEA, photo by New World Development. WHITEWALL 90 WHITEWALL 91 Kerby Jean-Raymond in Pyer Moss Instrument Stripe Zoot Suit, photo by Delphine Diallo. Portrait by Haruka Sakaguchi.
In conversation with
KERBY JEAN-RAYMOND DELPHINE DIALLO TALKING FORGIVENESS, COMMUNITY, AND WHY WE’RE WORTH EACH OTHER’S TIME.
WHITEWALL 92 WHITEWALL 93 Delphine Diallo, Shiva, 2018, courtesy of the artist. KJR: I think the want to be with people is a lot stronger, so when you do spend that time it’s a lot more effective. DD: Now when I share a moment with a friend, I’m even more present. I LOOK AT KJR: I noticed that with me, with hanging out with my dad. I used to always be in a rush to go. Now, I’ll hang out with him the whole day. Or when I go to my family’s houses now, I stay the whole day. Because you have to go through this whole mental process of getting out of the house because of the FASHION“ MORE fear of everything around you. You have to put on a mask, worry about who has COVID. You pick your people. DD: Coronavirus gave me more self-confidence. Because I need to choose my LIKE A CANVAS reality. KERBY JEAN-RAYMOND KJR: I moved into my first house in Brooklyn during quarantine. Prior to that, I’d never lived in bigger than a one-bedroom my whole life. Until after college, I’d never had my own room. So now I have a lot of space and I have found myself filling it up with things, but I’m still not fully comfortable. It feels like I’m creating a vision of home, but I haven’t created a home. What I noticed recently, having even a few people over, that’s what it was. That’s what home for me was; it’s this hub where all of my love can come in and out. And my love is people. Not having those people—it’s just a box with furniture.
DD: I love when my friends come here. That makes me feel at home.
KJR: What else would you consider home—metaphysically?
” DD: I’m home everywhere. I’m a photographer because I don’t like routine. I am born for change and to feel connected with the world. Hopefully, before I leave this body, I will be able to experience it fully. Photography facilitates that. I would have never met you if I didn’t take pictures. Photography allows me to enter new worlds, new dimensions, where I don’t really judge. I’m an extrovert experiencing. Photographs by Delphine Diallo Grooming by Nigella Miller KJR: I’m an introverted extrovert. Assisted by Emily Charlaff DD: I’m an introvert when I’m working. I can not see people for seven to ten In the past three collections for Pyer Moss, Kerby Jean-Raymond has days when I’m working. shed light on the role of Black people in American pop culture. From the KJR: legend of cowboys to rock and roll, whether forgotten or intentionally You know, what I learned about myself in quarantine is that our body is erased, the trilogy of shows dubbed “American, Also” retells the story a proximity center. of Black creativity and impact. By way of fashion, Jean-Raymond is on DD: a mission to empower his community—locally in Brooklyn and broadly What does that mean? to Black people. KJR: Working in the same borough of New York, photographer When everything was open, I would go to so many things. I would go Delphine Diallo is intent on changing the perception of the Black female to the office, I would go to the parties, I would go to the dinners, and I wasn’t body. Through her studies of anthropology and mythology, she produces curating my space. I was a victim of my circumstance. My circumstance is powerful portraits and collages that express the divine feminine energy. who I am in this world, being invited to a lot of things and not being necessarily She’s challenging the Black woman archetype created by the white male selective. gaze and Western patriarchal societies. And in this process, I’ve had to select who comes into my life. What In August, Diallo invited Jean-Raymond to her studio in I’ve noticed is that my body knows how to tell me when there’s danger and it Bushwick. After she took his portrait, the pair sat down to talk, driven by shows up in forms of anxiety. I didn’t know it before because I was moving so a desire to reclaim the narrative of Black consciousness and contributions. fast. I was just moving from one emotion to another, so I didn’t get to process Their conversation moved from the personal, to the professional, to the it. I shouldn’t be moving at this pace. I should slow it down. And my body public. has been trying to tell me, but I wasn’t moving slow enough to pay attention. Finally, I’m figuring that part out. KERBY JEAN-RAYMOND: How are you doing? DD: It gave you more understanding of your inner essence and emotions, and DELPHINE DIALLO: I’m good. how you’re going to be able to grow as a successful person. We have a feeling of wanting to master something here. This body has been given to me, this KJR: How do you feel? If you had to describe your range of emotions in brain, and I want to know every day a little bit more. I have no idea how much three words, what would they be? I can give. We have been living under a past which is so heavy. We have DD: Abundant, integrity, and love. something in mind, but it’s so vast that it’s overwhelming. I can’t perceive it yet.
KJR: How does that correspond to how the past few months of quarantine KJR: I think what’s happening now is this great liberation, this mental have treated you? enlightenment period. We had the Harlem Renaissance, you have the Civil Rights era, and there’s one happening now. It’s a new age of enlightenment. DD: They were very challenging. We had to change the way we perceive Disenfranchised people are starting to understand their full potential. The next the world. So I did the work to focus on taking care of my friends, my round is actually executing on it. What’s that world going to look like when the family, and it gave me a sense of connectedness. sympathetic people rule it?
Pyer Moss Collection 3, photo by Denzel Golatt. WHITEWALL 94 WHITEWALL 95 Kerby Jean-Raymond in Pyer Moss Cropped Guitar Suit, photo by Delphine Diallo.
DD: We lead. My mission is the narrative of the feminine energy within the rock and roll looks like. But I’ve also done collections about depression, body of Black women, who are going to bring a different love. It’s like a capitalism, and around my dad. sunset and a sunrise every day, that’s what the feminine energy is. It’s all I’m regurgitating a roadmap. Whatever roadmap I saw, whatever about the vision of Black women not being judged anymore and perceived thing I had to follow to get through something, I bring it back and show it as an object. And for Black men, for me, it’s that we don’t know you guys. in very multidimensional ways. I look at fashion more like a canvas. My Why? Because I didn’t make the effort. canvas might change, and it might become film and sculpture. Right now, this was the thing that came naturally to me; it was innate. My first clothing KJR: Yeah. Do you feel like the tides are changing now, with our lines when I was a teenager were trying to do the same thing I do now, representation in the art space? which is communicate a message. Like graphic tees that would talk about the Iraq War and how I felt about 9/11. DD: Yes. Now I feel like something doesn’t feel innocent about the work and about the way I’m expected to present the work, so I’ve been taking a KJR: I do, too. lot of time off. I’ve been quiet for a minute. At this point it’s been a year since I’ve shown anything new. And it will probably be another year before DD: But it’s a baby. I do. I just want to take my time with it. I don’t want to play on the fashion schedule. KJR: It’s an aggressive baby. DD: I think it’s about time. DD: Everybody wants it. I have a lot of requests. The abundance is going to come. And I better know what I’m going to do. KJR: Our job as artists is to translate the times. We can’t translate what That’s why I’m doing this work. I’m a spiritual warrior. The shift we don’t live. I need to see what this world becomes before I give you any in the industry won’t be a good shift if the people creating the vision are not work. intending to change the white male gaze based on colonization, slavery, and identifying human beings to separate them. DD: Especially now. The narrative I’m exploring is the position and role of the Black woman in this world, within a body that is disrespected. I’m KJR: Control them. putting forth a different kind of beauty. My goal is to make it universal, to DD: They want you to lose power. They don’t want you to believe in yourself. change the narrative and hopefully have other young female photographers They want you to spend money, have a job, but believing in yourself is shift the perception. We have the power and the vision. This is our right. gone. And the Black generation now, it’s like, we can create. This is the only way we can create equality in society. The diaspora will completely change the narrative. KJR: Do you feel like capitalism is necessary to save Black people? KJR: We’ve always spoken about race. We wanted this to be a canvas so DD: There is a need for Black luxury. Why are we complaining about Vogue we can do cool ideas and talk about things we love. We discovered a whole putting one woman on the cover or not? Why do we need them? underbelly of this industry that’s very racist and elitist. And because of that, we’ve always taken the initiative to lead the way. This is how you should KJR: We don’t need them. help Black people; this is how you should speak to Black people. Now we are in this position where everyone is finally doing it and it’s enough for us DD: If you’re putting the abundance within the Black creatives, then what to sit back and say, you know what we stand for, we don’t have to put up a kind of capitalism or what kind of structure and wealth and richness are black square. We don’t need to do a performative act. We’ve never stopped we going to create? This is where the mind needs to be in educating the being that. African diaspora. That’s the first mission. This period has given me a much-needed break and understanding of personal energy and spirituality. I started to realize there were a lot of KJR: We can’t ignore that right now we have to use capitalism as a tool to things I wasn’t over. liberate ourselves. So much of what is oppressing us is the lack of financial DD: In terms of trauma? You still have anger? freedom. I’m from here, I’m from East Flatbush, Brooklyn. My KJR: I’m still trying to deal with things from seven years old, things from neighborhood used to be all-white. When Black people moved in the thirty years old, relationships. I have this amazing talent where I can get seventies and eighties, all the white people left. And we were still stuck with out of a relationship and completely forget that person existed. But this a lot of the same resources they had from the fifties, sixties, seventies— thing, this period, has forced me to reconcile all of these different things. dilapidated buildings, old textbooks, very little community resources, no real sustainable afterschool programs. DD: It’s come back to you. I worry about communities like mine where the resources were stripped away once Black people moved in and how these people had to KJR: I just had a delayed response. I kept busy. make do. So I use everything in me and in my power to bring the traffic back home. I go out in the world and I collect things—I collect people, I DD: So how do you relate to the present? collect resources, I collect money, I collect knowledge—whatever I need to do, and my intention is always to spread it back home. Not just Brooklyn, KJR: I’m catching up to the present. I can’t say I fully relate to the present not just New York; it’s all of us, all Black people. All Black people need yet. I’m learning to be present, to be in every room, actually. To get out of this. my head a little bit, to have more conversations, more dialogue, call people That perpetual rut where we feel like we’re being defeated—that on their birthdays. I’m trying to be a little bit more human. I think I’d doesn’t have to be. We’re going to overcome it by having more and more become this machine that was putting out good work, but eventually that examples of us showing ourselves that we’re viable and that we’re worth well was going to run dry. I needed to recharge it. And I had to live again. each other’s time. DD: There’s been an acceleration of fast life because of this phone, and DD: What inspires you? we’re not able to process it. You became someone else, but you didn’t catch up, because you didn’t realize your consciousness was speeding up. You’re KJR: I would say things that lead me to create revolve around some things allowed to deal with, text with, 30 people at the same time. That increases that are dark. Sometimes it’s trauma, sometimes it’s distrust, sometimes it’s your anxiety. You don’t have time for building a love relationship. a need to protect my people. For my last three shows, I’ve done things that During COVID, my intention was to build a love relationship. The reacclimate Black people into the American conscience of pop culture by beauty of this year for me is to stop judging Black men for not reconciling showing them their contributions. I showed their contributions to cowboy seeing Black women as a sexual object. We both have pain and we can heal culture, what Black familial structures looks like, and what the birth of together. That will increase our ability to be present for the community.
WHITEWALL 96 WHITEWALL 97 Pyer Moss Collection 3, photo by Denzel Golatt.
WHITEWALL 98 WHITEWALL 99 Photography allows me to enter new worldsDelphine“ Diallo Our job as artists is to translate
theKerby timesJean-Raymond
KJR: I don’t think up until now I was ever mature enough to be honest with so he changed. “ Black women about my traumas and the toxic guards I put up to protect them. All of my relationships with Black women ended the exact same way. KJR: Do you forgive yourself for not understanding? It always ended with them feeling defeated in my ability to grow. And me subsequently feeling like their intention was to mother me. I think ultimately DD: I forgive myself for taking all that time. But knowledge and truth came ” to me, and I’m blessed it came to me in this life, because it allowed my this is a really great time, this is a blessing. karma to change. I don’t hold grudges and anger anymore. I have no space DD: Your reaction and the reaction of my man was the same. He compared for that. me to his sister. And I was like, “I’m not your sister. Let’s talk about it.” He saw I admitted my flaws and then he opened a door. That new door is KJR: The biggest breakthrough I had was I forgave my father during this forgiveness for past trauma. process. I never knew how. I found out how now. All of it makes sense now I had to forgive my dad to be with a Black man. It’s a repetition. and I had to forgive him. I had to reason with him without him knowing I The oppression that my dad experienced is the pain I received as a kid. His reasoned with him. I had to forgive myself and him. And now I have this was a lonely, isolating battle within the white world. Once I understood backlog of all the other stuff I need to go through. I’m going to catch up, that, I understood that I needed to forgive. And my dad saw that I forgave, but I need this time.
Delphine Diallo, Cosmic Soleita, 2017 (Amodaos), courtesy of the artist. WHITEWALL 100 WHITEWALL 101 ” Toyin Ojih dutola
Proposing a countervailing theory. Toyin Ojih Odutola, By Her Design, 2017, © Toyin Ojih Odutola, courtesy of the artist and Jack Shainman Gallery, New York. OBY KATY DONOGHUE etienne russo How taking a risk changed the luxury industry for good. WHITEWALL 102 WHITEWALL 103
Toyin Ojih Odutola likes the immediacy of drawing. Although her layered and often large works are carefully plotted, planned, and sketched out in thumbnails in advance, she allows for the moment to impact her hand and mark-making. In that way, her drawings can be diaristic, and she likes to let her audience in on that process. The narrative nature of recent shows like “A Countervailing Theory” at the Barbican in London (through January 24, 2021) and “Tell Me a Story, I Don’t Care If It’s True” at Jack Shainman Gallery in New York (through October) are driven by writings in her sketchbook, sometimes years in the making. She embarked on both series well before the COVID-19 crisis and racial justice protest movement, and yet they feel of this moment. Whitewall spoke with Ojih Odutola about how she came to propose a parable of an ancient society of ruling women warriors, and why she’s always seeking to be challenged.
Whitewall: Where did your current show, “A Countervailing Theory” at the Barbican in London, begin?
TOYIN OJIH ODUTOLA: The story itself has been in me since I was 19. I would write notes in my sketchbook never really knowing what it was. It was a seed, a string. The thing that catapulted me into really exploring it as a series was listening to a BBC podcast, A History of the World in 100 Objects. They did it in partnership with the British Museum. One of the objects was a Nigerian Ife sculpture. It’s talking about the how British had to contend with this artifact and understand how something so anatomically correct and beautifully constructed could be created by people who they deemed as savages, essentially, who didn’t have the mental aptitude to create something so glorious. Imagine listening to that, being Nigerian. The program did a really good job of incorporating different people into it to discuss the complicated journey of this object to the British Museum, and what it means to be in Portrait of Toyin Ojih Odutola, photo by Beth Wilkinson, © Toyin Ojih Odutola, courtesy of the artist and Jack Shainman Gallery, New York. this imperialist institution. An anthropologist at the time couldn’t conjure the idea of these people creating Ife heads, so he made up a story that the Atlanteans, the Greeks, came up and taught the Nigerians how to make these even though I do plan and construct and compose all of the images. Everything Ife heads. The imagination it took for him, to actually understand this object, you’re seeing is intentioned. I do that also to leave room for myself, when I to contend with this object, was so lacking in the very people that made it. He am interacting in the drawing, where I feel this is a decision I have to make couldn’t envision them, but he could put it in any other place with any other right now. That can be influenced by the fact that it’s raining outside, by me people, just not the Nigerians who were there and have been there and are listening to an audiobook, anything. It’s become very much like this osmosis creating this thing. that I transmit onto the surface. And sometimes it’s a mistake, I’m not going to lie. I leave it there because I know that it’s felt. It’s very diaristic in that WW: Wow. way. It’s me at a very specific time. I’m not her anymore. I’m really TOO: And then I read from a geological survey about the rock formations in proud of the series now, and lockdown has given me a moment to process central Nigeria—there are millions of years old rock formations that come the work. The woman who made that work was really searching; she was up from the ground due to volcanic activity, and they rise to these columned really mining for something. She’s searching, mining, needing to understand shapes. They exist as this artifact of the natural history of the region, and I not just herself, an ancient history she’s conjuring, but also trying to reach thought about, “Wow, if he conjure up Atlanteans, why can’t I conjure up an out to those “savages” that unfortunate scientist could not have imagined ancient civilization that interacted with these rocks?” were complex enough to paint this story. It felt very ancestral. There were The third moment was when I started interacting with a different moments that were really emotional for me. This was much deeper in me. surface. Normally, I work on paper, and for the first time I decided to work on black painted gesso linen. The process of drawing with white chalk, WW: The installation at the Barbican is also unique. How do you want white charcoal, and pastel on that black surface did something to my mark- people to move through this series? making. At first it seemed unfamiliar to me and strange. I was trying to see what proclivities my mark-making would go toward. It was all out of my TOO: The whole space is so amazing because you move through in imaginary. What developed was something that was similar in feel and look increments, you don’t know what’s coming around the curve. You are to those rock formations, whether intentioned or not. The series developed moving only in one direction, you can’t go back, you have to figure out from that point on. I just remember feeling very terrified while working on it what’s coming next. Which is such a great analogy for artmaking. It’s and very excited because it looked like nothing I’d seen before. like, I can’t go back. I’ve made that decision. I have to keep going forward to see where this leads. It was the closest that I thought an audience could WW: Why did you want to work on black painted gesso linen? mirror what I experience in the studio.
TOO: I’d always worked on paper, and yet my work was called paintings. My WW: And how did you come to collaborate with Peter Adjaye on the show at the Whitney was called paintings. They couldn’t really place it in soundscape for the show? any other way other than a painting because it was so layered and rendered with such richness that it had to be painterly in some way. So I thought, “I TOO: The whole process felt incredibly cinematic. There’s a lot of layers might as well just try that surface because y’all are calling them paintings of narrative in it. I knew that I wanted another artist to collaborate with in anyway!” I had to transform my hand to accommodate this thing, and that terms of the space and the presentation of the work. Peter came to mind. also transformed the story. I’ve known Peter for a while and I asked him if he would like to create an artwork to accompany this. He created this beautiful soundscape that is WW: You’ve talked about the importance of the immediacy of drawing for so otherworldly and beautifully sources so many different sounds. It has you. Was this still immediate, on linen? all these moments throughout the space. It’s so brilliantly composed, and I’m so glad that he took the time to do this with me. I was doing this in TOO: I always want to preserve that immediacy, because that’s why I love my own world, and he’s doing this separately, and the fact that it works drawing so much. People feel that. There are moments that are spontaneous, so well in the end is so exciting.
Toyin Ojih Odutola, A Parting Gift; Hers and Hers, Only, from “A Countervailing Theory,” 2019, © Toyin Ojih Odutola, courtesy of the artist, and Jack Shainman Gallery, New York. WHITEWALL 104 WHITEWALL 105 I’M ALWAYS SEEKING TO BE CHALLENGED BY “MY OWN WORK IN THE PROCESS OF MAKING IT —Etienne Russo
Toyin Ojih Odutola, Establishing the Plot from A Countervailing Theory, 2019, © Toyin Ojih Odutola, courtesy of the artist and Jack Shainman Gallery, New York. ”WHITEWALL 106 WHITEWALL 107 There were moments that were really emotional for “me. This was much deeper in me
Toyin Ojih Odutola, For All the Wrong Reasons, 2020, © Toyin Ojih Odutola, courtesy of the artist and Jack Shainman Gallery, New York.
WW: So once you’ve finished this huge series, how did you start working on WW: Prepare the people for it! the next body of work, which was shown online this summer and in person this fall at Jack Shainman, “Tell Me a Story, I Don’t Care If It’s True”? TOO: COVID has revealed the problems of the infrastructure of our society, and that’s what I was tackling with the parable, which is a society TOO: I spent all of 2019 building this story. I think it was a solid eight that can oppress a society. Who stands to benefit? months of every day, day and night. By the fall of 2019, I needed a mental When I started it, I was very naive. I was like, let me show a break. I needed something else to be focused on. I started doing these society that is ruled by warrior women who produce and manufacture drawings at home. I didn’t know what it was. It was purely out of my head. men to serve them. These manufactured beings are plentiful; they These were sort of stand-alone, anecdotal little vignettes, little moments. outnumber the female rulers. One group of people do not have the right I always write texts with my drawings. Sometimes I incorporate, ” to their own body, own mind, whereas the other people completely rule sometimes I don’t. It helps me with larger series. I draw and I think about, over that and have this manifest destiny way of living. They feel like they “What’s going on here?” And I write it down in my sketchbook. have a right to everything. And they only partner among themselves. In this series, I really liked where it was going. I would keep it and It’s a homosexual relationship between these two classes. They never see if I could bring it in somehow. I didn’t actually decide to incorporate interact across class lines. It’s a heterosexual relationship that breaks up the text until lockdown happened and I was full-on working on this series. the system. I’m very insecure about my writing. I don’t consider myself a writer; I’m What I kept finding out in the process of making it was when you an artist. I was like, “You only live once, let’s go.” So I put it in, and to are devoted to the emancipation and fighting for freedom and equality of my much relief and joy people really liked it. It really helped to have a a system that is oppressed, in your heart of hearts, I genuinely was asking conversation between the images and text. It’s this back and forth. And this question, “If you were to be put in that position of the oppressor, that’s what I do in my mind. I’m always trying to incorporate my process would you fight against equality in the same way? If you were in the into people’s experience of my work. position of the oppressor, how would you feel? Would you fight to keep that position?” WW: When we first looked at the work over the summer, I couldn’t help I think equality is possible, but people have to let go of their but see it as people at home in isolation, because that’s what we were entitlement. Because there are hierarchies that exist, even within the experiencing. It feels oddly timely. margins. That was something that I wasn’t so comfortable with, but I’m glad it was revealed to me, and I learned a lot from that. TOO: Even now when I look at “A Countervailing Theory,” it’s so odd Every series I do, I learn so much. I’m always seeking to be because the story that takes place in it, I made it in 2019. I didn’t know we challenged by my own work in the process of making it. I have a position, would be mired with COVID-19. But somehow it really is perfect for the I have an idea, I have questions, but I do go into it blindly. I have to let time. Even with the lockdown, and the delay, it was like we’re not ready for the story carry me, and whatever direction I go, whatever things happen it yet—give it a couple more months. in the immediacy of making, I’m going to let that guide me.
Toyin Ojih Odutola, Misread, 2020, © Toyin Ojih Odutola, courtesy of the artist and Jack Shainman Gallery, New York. WHITEWALL 108 WHITEWALL 109 a n b i l g o Bringing London Mod with a Touch of Tokyo to Louis Vuitton Men’s. h By Pearl Fontaine Portrait by Nick Haymes. o WHITEWALL 110 WHITEWALL 111 I have felt a real connection“ to LV since I can remember
Louis Vuitton’s Pre-Fall 2020 menswear capsule collection, “LV²,” NIGO: I’ve known Virgil for a long time—probably about 15 years. He offers a handsome collaboration between creative director Virgil came to my studio in Tokyo after he had started the LV job and asked Abloh and Nigo, founder of Human Made and, previously, BAPE. if I’d be interested in doing something together. “It’s Louis Vuitton, squared: It represents a coming together He knows that I also have a long relationship with LV. I’ve of two people, who appreciated this house long before we worked in been a customer and collector for years. It feels like a good time for us it. Two people, who didn’t go to fashion school but came through a to all come together. different door, which was about brands and what branding means,” said Abloh. “LV² signifies a squaring that creates a new dimension.” WW: How did you and Virgil Abloh approach the Louis Vuitton capsule Nigo is an avid Louis Vuitton collector, and his practice has collection? been molded by cultural elements like his Japanese roots, a career as a ”N: DJ, and time spent soaking up London’s fashion scene in the 1990s. It Virgil simply asked me to come up with some ideas, initially. Since was these influences that brought him to a collection inspired by the the brand has always meant a lot to me, I knew immediately what I style of London’s mod-era dandies, infused with the spirit of Tokyo wanted to do. It was then a process of seeing which ideas he thought we fashion. should pursue and refining it together with Virgil’s team in meetings in Slightly unexpected coming from two designers who have the Paris atelier. It’s really very similar to my usual working method, specialized in streetwear in the past, the main event of “LV²” is a and everything happened very smoothly. I really enjoyed it. selection of tailored suits. Lean silhouettes styled with pieces like skinny ties, bombers, and cropped jackets with matching vests (à la WW: Rather than streetwear-focused, as some might expect, the 1960s) add a lens of nostalgia to looks made to inspire the modern capsule collection is sartorial and tailoring-focused. Why did it feel man. relevant to you to explore this area of menswear? The maison’s iconic Damier check takes the spotlight across all categories, including in a magnified iteration covering matching suits, N: Well, it’s for LV, and I selfishly designed things that I would denim, and leather accessories, as well as a micro check version—seen personally want to find in LV stores. I’ve always made tailored clothes in looks like a gray printed suit paired with a parka, sunglasses, and and been fascinated by the look and process. To me, this is a logical glossy black loafers. Subtle urban influences were applied to classic place to explore that further. house codes through details including patchworking of the check and “LV” monogram prints; top-to-bottom denim looks (often complete WW: What are the messages and spirit of the collection? with matching bucket hats); and illustration-style graphics reading N: My aim was to present a complete look within this small collection “LV Made,” in reference to Nigo’s own brand. that can provide a different angle from which to view the Louis To learn more about the collaboration and its influences, Vuitton brand as a whole. I have felt a real connection to LV since I Whitewall spoke to Nigo. can remember, so for me to be able to express that through my own interpretation, at a time when Virgil is creative director, is a genuine Whitewall: How did your collaboration with Virgil Abloh for Louis pleasure. Vuitton come about? Courtesy of Louis Vuitton.
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Courtesy of Louis Vuitton.
Courtesy of Louis Vuitton.
WHITEWALL 114 WHITEWALL 115 Portrait of Alexandre Arnault by Karl Lagerfeld. Portrait of Daniel Arsham by James Law.
Alexandre Daniel Arnault Arsham Designing the blueprints for the travel of tomorrow.Red Clay Project, photo © Ibrahim Mahama. WHITEWALL 116 & WHITEWALL 117 I generally make“ things that I want to see exist in the world Daniel Arsham
RIMOWA x Daniel Arsham Eroded Attaché, courtesy of RIMOWA.
By Eliza Jordan WW: Daniel, what was your first interaction with RIMOWA? Alexandre Arnault and Daniel Arsham share an appreciation for design, as the CEO of the German luggage brand RIMOWA and as an artist, respectively. DANIEL ARSHAM: I can remember the first RIMOWA case that I bought in In recent years, RIMOWA’s suitcases have become a staple of international the Omotesando Hills RIMOWA in Tokyo. I don’t even remember what the travel, recognized immediately by their anodized aluminum bodies. Similarly, luggage was that I had, but it broke, so I went to RIMOWA. You know, it’s an Arsham’s sculptural work has infiltrated culture far beyond the art world, expensive luggage, but I’ve had that thing for like 12 years. I’ve sent it back creating everyday relics that are equal parts familiar, puzzling, and futuristic. twice to get repaired, it has all these dents, and it’s kind of an amazing thing in Both look at design through a historical lens. Arnault is examining that all these stickers are on it. It’s this thing that carries a memory with it. It has RIMOWA’s 122-year heritage, at times harking back to trunks and cases and an age to it, but it’s still totally functional and resilient. reimagining them with modern-day advancements. Arsham is manipulating architecture and object, blending nonfiction and dystopian fantasy for a meaning WW: What was it like to visit RIMOWA’s archives in Cologne? of art anew. DA: They have this room, sort of in the basement of the factory, that has cases “ Naturally, they’ve been drawn to each other’s work for years. Two years ago, Arnault visited Arsham at his studio in New York and they began going back to the origin of the company. Originally, many were the collection discussing a collaboration. Exactly one year later, in May 2019, the world saw of the [Morszeck] family. their creativity collide with an all-new suitcase. After a trip to Cologne to see They go all the way back to the cases and trunks before they were even the brand’s archives, Arsham created a commemorative piece as an ode to the aluminum. I found this small case that was designed for a camera—they don’t brand’s Attaché case. The limited-edition case came with a work of art, as well, produce it anymore—and made a sculpture of that to sit inside the new Attaché which fit inside when not in use. case. This case, that was actually housing something a little self-referential, Over Zoom, Whitewall spoke with the Arnault and Arsham about the ended up being super-successful. new RIMOWA piece, how collaboration advances ideas, and what the future When I originally thought about RIMOWA, it was about these things holds. that you see in film—even in Pulp Fiction, when they open up the case and there’s this glowing light within it. It was a device for me that meant value. WHITEWALL: How did you first meet? It meant something that needed to be cared for. Obviously, the design of that luggage is very recognizable. You know what it is as soon as you see it. It’s one ALEXANDRE ARNAULT: I was in New York and reached out to Daniel because of the few cases where a brand is so tied with a material. You don’t even have I’ve been a fan of his work for a long time, and I saw a lot of our mutual friends to see the logo; you know what it is before you see the branding. I thought that at his studio. I went one morning, and that’s when we started talking about there was something interesting there to work with. collaborating together. He already had a few ideas, although nothing was on paper, but I recall quite well calling my team right after leaving his studio in my WW: You both are familiar with collaborations. How do you typically approach Uber back to town. a partnership?
Process shot for the RIMOWA x Daniel Arsham collaboration, photo by Austin Snyder, courtesy of Daniel Arsham Studio. WHITEWALL 118 WHITEWALL 119 Study for Eroded RIMOWA by Daniel Arsham, courtesy of the artist.
AA: It has to make sense—be relevant and authentic. What we try to do is never AA: Ultimately, I’ll have to continue traveling. Working in an environment target one specific consumer group by looking at what all the brands do today, where retail is so important, I have to be on site to look at locations, talk to the but more doing something that really felt authentic. Ultimately, we wanted to teams, see the trends and what’s happening in the streets, and what’s working also try to do something that made sense and wasn’t just painting a suitcase where. You can’t do that over Zoom whatsoever. black and calling it a collaboration. It was really bringing something to the consumer, to the brand, and to the other parties, which is very important. WW: How are you both thinking about sustainability and creating in a more responsible way? DA: All different types of collaborations that I’ve worked on were generally things that I sought out. Usually, brands come to me and ask if I want to work DA: We implemented something in my studio ironically at the end of last year on something, and generally it’s a “no.” The one brand that did come to me that when I was traveling so much. It’s been so much less this year, but we effectively was a “yes” was Dior, when Kim [Jones] asked me to work with him on that. It purchase carbon offsets for every single activity we do. That includes all of the has to make sense. It has to be something I’m already interested in or that I use flights we take and—a big thing that you don’t think about with artwork—the in my everyday life. shipping. So, we actually purchased double the amount. I was shocked, given the volume that we do, how inexpensive it is to do. Obviously, it’s something WW: What do you consider a successful collaboration? that you have to factor into your cost, but moving forward, I’m going to be conscious of travel being a different thing. DA: I think there’s a number of ways to gauge it. Obviously, the level of interest. I generally make things that I want to see exist in the world. And I think the AA: There aren’t many brands that can say they are using the same thing they reaction to this project was great. bought 12 years ago. Our product being so robust and timeless means that We ended up launching the first case in an auction that benefitted people can use them for a very long time, which makes them sustainable in their Cooper Union, so before it was even released, it had this incredible response. essence. Then, in everything we do, we really look at materials that are trying Because the edition number was limited, it’s obviously quite difficult to get. to be more eco-friendly and responsible. That’s the two main areas where we’re And people are still sort of out there trading them and coveting them. focusing. Robustness, sustainability, and new ecologically developed materials in terms of what we’re developing. AA: Success comes in the level of interest, but also in the level of innovation. We’re working with bionic yarns that are recycled. We’re improving Collaboration has been a way to push the teams forward and to do completely the quality in aluminum to make it more recyclable and using recycled new things, and not just resting on the laurels of selling aluminum and aluminum from the first basis. polycarbonate suitcases. When we work with Daniel or Alex Israel, for example, which have been two big invents that we’ve done, we learned the 16-million- WW: How have the past few months and these uncertain times impacted your pixel printing on aluminum method. That was a real industrial technology we practice? had to master before this that we probably never would if a collaboration hadn’t come into play. DA: Most people know my work primarily through sculpture. It’s been the The level of innovation that drives us to better ourselves is a factor of primary focus of what I’ve been showing for the last 10 years or so, but I success. actually studied painting in school. One of the big strengths of quarantine is that I’ve gone back to painting. It was the only thing that I can do in that space, and WW: Travel has drastically changed due to COVID-19, becoming a precious it actually formed this whole new direction in the work. The last time that I had luxury in itself. What does travel represent for you today? paintings in an exhibition was around 2011 or 2012. I’ve gone back to painting, back to drawing, and I’m integrating that into some future exhibitions as well. DA: I’ve been traveling so much—probably too much—over the last 10 to 15 years for work. I think this is the longest I’ve been in one place. It’s been an AA: It’s drastically changed our essence. People were buying suitcases to interesting pause to reconsider how we place value on those things. It’s funny travel, but people aren’t traveling anymore. Even if it’s a very desirable product, because I was actually moving some stuff around between my houses and I people still aren’t buying suitcases. We’ve tried to focus and refocus. We’ve used all my old RIMOWA cases that I have. It was this kind of memory of always been a travel company, but now I’m telling my teams we should think of packing a suitcase that I hadn’t had in so long. Obviously, that stuff will come ourselves as a mobility company. We’ve been actively trying to develop things back at a certain point, and I think travel will be much more memorable. in this category. I think, moving forward, we’ll mark moments in life through the The next big thing for us is what happens with suitcases. How do we places we’ve been—the same way our luggage has these marks on it. make them even better? How do we make a new one?
AA: It’s a mix between discovery, work, and inspiration that have to be all WW: What does the future look like for both of you? together. The past 10 years, I’ve always tried to link everything together—like going to Japan for work, discovering something on the side, meeting up with DA: So much of my work has been obsessed with this idea of the future, in friends somewhere else in the region—and not just doing one thing, which general. Imagining something one thousand or ten thousand years in the always had purpose. future. Now, it’s in some ways easier to imagine what it’ll be like in a thousand years than what it’ll be like in six months. So, there’s a sort of curious quality WW: Do you think you’ll go back to traveling as much as you did? about that. It’s something that’s driving my thought process in the studio. In any shift like this, when we look back in an art historical context, many of the DA: I want to say no, but I’m thinking, “Do I really have to go to all the stuff that most pivotal works in art history have been made during or just following very I went to?” I would go to Dubai for like two days if I had a project there. In some challenging global events. There will be work produced out of this time that will ways, I think that it gives me a connection. But there are certain places that I’ll be very memorable. go to at the drop of a hat, no matter what. Any invitation that I ever get to go to Japan, I don’t care how long it is, I’m going to go. But other places? I don’t know. AA: The future for us is a strong focus into innovation and categories linked to I don’t know that yet. For now, I’m being super-limiting. I don’t have any travel mobility. We want to make sure we can still be a part of people’s lives. We still plans until early next year. So, we’ll see from then. want to make them better—even from the home to the gym, or to the office.
Process shot for the RIMOWA x Daniel Arsham collaboration, photo by Austin Snyder, courtesy of Daniel Arsham Studio. WHITEWALL 120 WHITEWALL 121 LAST PAGE
Thomas Houseago, Untitled, 2020, acrylic on paper, 30 × 221 x 2 inches, photo by HV-studio, courtesy of the artist and Xavier Hufkens, Brussels.
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