MEDIA 2012

LAUREN SANTO DOMINGO

Photography DANKO STEINER
THE CONCEPT UNIQUE. RADICAL. ASPIRATIONAL.

There is a gap in the market for international publications. It is both overly

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

THE MAGAZINE

Founded in Berlin in 2000, 032c is now distributed in 29 countries. Our

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

032c has received international acclaim for both its design and editorial scope,
including a German LEAD award in 2006 for National Visual Lead Magazine.
Financial Times columnist Tyler Brule has placed 032c among the best news-
papers and magazines from around the world, while at the New York Times,
fashion writer Cathy Horyn called the magazine an antidote all that doesnt
inform or surprise. In Fall 2010, 032c Editor-in-Chief Joerg Koch was named in
Industrie magazines New Creative Establishment list as one of fashions 50
most influential people.

032c, 20th Issue, Berlin Winter 2010/11,

REI KAWAKUBO
Cover: Lauren Santo Domingo by Danko Steiner

032c, 21th Issue, Berlin Summer 2011,

SCOTT CAMPBELL
Cover: Kristen McMenamy by Juergen Teller

032c, 22th Issue, Berlin Winter 2011/12

THE CHERMAYEFF CENTURY
Cover: Irina Kulikova by Juergen Teller
THE RESONANCE Revue ultra-pointue.
Vogue, Paris

Below the radar of the mainstream, but required reading for the movers
The magazine fuses art and architecture, literature, and doyennes of the art and fashion world, ... successfully finding a niche
urban studies and fashion in ways that can make one forget while serving as a glimpse of the future of a publishing industry in flux.
how depressing a visit to a newsstand has become. International Herald Tribune, Paris
The New York Times Magazine, New York
Nellepoca cos ascetica di Internet, questa rivista vuole risvegliare i sensi.
032c is undoubtedly the most style-defining LEspresso, Rome
German magazine abroad.
Frankfurter Allgemeine Sonntagszeitung, Frankfurt Nothing escapes the magazines rigorous quality control or
attention to detail, from its gradual embracing of fashion stories
Dedicated to the celebration of ideas. to the unique side-binding.
i-D, London Wallpaper, London

LUST NOT LOVE

New School: the BMW GINA Light Visionary concept car, revealed in 2008, challenges the basic conceptions of how the industry works. The 2009 Vision EfficientDynamics concept sports car combines the performance of a BMW M car with the fuel economy of a modern compact car,
With a flexible fabric-skinned body, it operates more like a zoetic object than a traditional machine. possibly solving the conflict between emotion and efficiency in automobile design.

During the golden age of the Rive Gauche, in the Paris of the 1960s, the MONTANA was a gentlemens club
where Alain Delon and Catherine Deneuve danced cheek to cheek. Having fallen off the radar in the early 1980s,
nobody has dared to reinvent its myth. But last winter the legendary MONTANA reopened with a new
host-triumvirate worthy of the old guard: Parisian graffiti artist Andr, homme-of-all-trades Jean-Yves Le Fur,
and Purple magazine editor Olivier Zahm.
Text JINA KHAYYER Photography OLIVIER ZAHM

ARC
Ouray, Colorado

N P
Twomblys wife Tatiana a style reminiscent of Andy Warhols
dance step paintings, the bold graphics
stretches out in front of seemed to borrow heavily from the
Hyperion (To Keats) (1962) pop/conceptual art form. Combined
while the artist poses in a

HE
with the almost unbelievable variation of Sterling ruby iS a one-man practice is as intense as it is diverse, ods of incarceration without rehabi-
the forms standing like monotone statues bauhauS. based in los angeles, as visceral as it is unapologetically litation, as a beacon of the end. the
European mode. Had in the spaces between the graphics, this he maintains an artistic practice in obsessive. there are few american SuPermaX prison is architecturally
Twombly crossed a class NEW PATTERN resulted in a show that was extremely a range of media: from painting and artists of his generation that have so constructed for control, and to keep
Text CARSON CHAN
Design assistants at Comme des Garons sophisticated and powerful.
line and abandoned the sculpture to collage, from photogra- successfully exploited the limits of prisoners in permanent lockdown. i

proletarian role of the artist? I want are patterners, and as patterners they
must develop a feel not only for shape
But there was no so-called message
or ideological theme there. The entire
phy and ceramics to, most recently,
clothing and interior design. From his
scale. Such boldness extends to his
gallery program. he mounted a se-
look at SuPermaX penitentiaries as
being an allegory for a contemporary

to design and texture but also, more tryingly, for

what Kawakubo is feeling at the start
show consisted of displays of patterns,
which take shape only after a process in
studio one of the citys largest
emerge objects that seem to be frag-
ries of exhibitions entitled SuPer-
maX (2005, 2006, 2008), and his lat-
hell. this has led to works in which
there is tension between an abso-

clothes of a collection, whether she is happy

or angry, sentiments she rarely com-
which Kawakubo gropes around in an
effort to come up with forms, relying
mented ruins of the future, extract-
ed from another world. they seem
est exhibition in new york, 2 traPS,
consisted of two massive works a
lute repressive state and a liberated
state.

TYP
that have municates in any detail. As she once ex-
plained, At the start, I am not exactly
certain what I am thinking myself. It is
for guidance on the most primal aspect
of her work the images in her head
and of the three-dimensional entities to
less the work of a single man than
the remnants of a dystopian society.
Post-humanist, schizophrenic and bus which were transported from
Had you ever been inside a prison
before?
never yet guesswork with us. What Kawakubo
hopes to achieve from this open process
which these two-dimensional patterns
had given rise.
hyper-masculine are just some of
the terms used to describe his ins- trucks. So unnerving was their tan-
Well, you cant really take a tour of
a SuPermaX prison. to me the
existed is that the patterners will think more
intuitively and come up with things that
This approach of pursuing to an
extreme the autonomy of the garment
dem presence that i felt the need to
ask him why he was interested in lit-
SuPermaX penitentiaries are an
inaccessible parallel world. they ex-

O
Rei Kawakubo in Koda, 2008.
will surprise her. rather than fitting it to the body finds can vases, gnarled ceramics, and ist here and now, in america. there
Horyn, 2008. its ultimate expression in the bold pat- other caustic inventions of form. is no redemption, only a static state

* tern experiments and endless studies of if his fascination with the repres- I. How did your interest in repressive of detainment as opposed to cor-

When she uses these abilities as a
springboard to think freely and radically,
patterns from the basis of her work.
Patterns are design. Designing actually
E
the pattern makers. Because the actual sive overtones of minimalism, archi- architecture begin? rection. not only is this a criminal
form of the pattern is not bound by any tecture and the history of abstrac- i started thinking about the SuPer- phenomenon but it is also a social
conventions such as having to cut along tion seem extreme, they are. rubys maX prison systems, with their meth- phenomenon. i also started thinking
the grain of the fabric, the garment de-

begins with patterns. The concept is con-
veyed to the pattern makers using simple
drawings and the nuances of language.
OFFICE
Each persons interpretation comes back
2 TRAPS
velops a shape all of its own. This puts the
onus on the person wearing a Comme In 20 years, ARCTERYX took
des Garons garment in the sense that
outdoor clothing to an extreme
it tests their ability to make the clothes
level of perfection, setting the

as drably functional as the next. Nothing
to reveal here except its nothingness.
SUPERMAX
to Kawakubo, and an exchange develops look good on them.
from there. The overall image depends on the golden standard for an entire
Something made once is never made experimentation with the form and the
- development of the patterns rather than
industry. With VEILANCE, a
ment of intent was made clear at Comme the production of the three-dimensional fashion-oriented line created in

Juergen Teller, Kate Moss wears Comme des Garons F/W 2000
Interview STEVEN PULIMOOD
There is no receptionist to greet you des Garons for Comme des Garons 4, garments on which they are based. For 2009, the company from Van-

GENERATION
or to direct you to the appropriate
floor. This would only be a problem if
you were actually expected at Comme
des Garons, but very few people are
welcomed there, and that also applies
to family members. No husbands, boy-
Alasdair friends, wives, daughters never, said
McLELLAN
thing you should know about Comme
des Garons: its a very secretive place.
Cathy Horyn, Gang of Four,
The New York Times, February 24, 2008
a show for Comme des Garons em-
ployees put together in September at
produced were displayed in the form of
bold, black graphics in a space whose
white. Each pattern had been made into
a garment using neutral sheeting and
next to the corresponding pattern. Set
against a stark white background in
example, when one sees Ultra-simple Photography HEDI SLIMANE
(October 1992), which despite the gar- couver is bringing its advanced
ments themselves being varied and com- brand of performance to the
designer to see how many clothes can
city. Is menswear ready? Desig-
be made using a minimum of patterns, ner CONROY NACHTIGALL
one realizes that Kawakubos concept is in charge of the task.
image is not found on the surface of the
clothing, but at deeper level. Sterling ruby Sterling ruby Sterling ruby
Photography BRIAN GOLDSTONE
heartthrob eXhauSt, heaDtreKKerS 2, 2010 VamPire 9, 2010
Hasegawa Yuko, Chief Curator, Museum of
Contemporary Art, Tokyo, The Art of Forgetting, 2010, bronze Collage on orange paper
ART iT Magazine, Fall/Winter 2006. Courtesy of taka ishii gallery and the Pace gallery Courtesy of taka ishii gallery and the Pace gallery Courtesy of taka ishii gallery and the Pace gallery

Lara, 2008 68 69 000 000 116 117

ETHEREAL
CRIME On the slanted path
PORCELAIN ESQUIRE KANDINSKY
SUICIDE KRONENHALLE
GROTTO SAVOIR FAIRE
FEAR SANAA SOIE PIRATE The Shopping Center in Sens, 19671970. Photo: Gilles Ehrmann

SPIRITS NEUE WILDE SEXED-UP

ANTI-ONE-UPMANSHIP ROLEX LEARNING LA PERLA
DIGEST ARCHITECTURE CENTER 1978
ICONOGRAPHY KOHLRABI TANGIER
CHANGE SANG BLEU SAPPHIRE
MELANCHOLIA OMA STALIN BULGARI
BEARD PRADA DOUBLE
FANTASY SEXUS
SUBLIME PRADA
HERMS LE CORBUSIER
CARR MOIR
BONDAGE MACABRE
UPTOWN EVERYDAY SCI-FI
FICTION CONTAINER CLINE
SEX LDEF TASCHEN
GIVENCHY OH, CLINE VUITTON
LONESOME PERFORMANCE
FICTION SURPLUS
ORNAMENT ANTI-AUTEUR DESIGN
LEATHER
WUNDERKIND WILDLIFE BRASS
YVES SAINT LAURENT COURAGE
GUCCI EYES
RAF SIMONS ORPHEUS
TOM FORD PREDATOR KRUTIKOV
VERSACE PROVOKE STONED
SMILE EVERYDAY SCI-FI

THE SUPERMODERNIST
CALVIN KLEIN BALENCIAGA
DIOR HOMME VISVIM
FREE INTERNATIONAL PRINGLE
HERMS PVC
HOPE LABORATORY JEAN GENET
CRYSTAL ICONOCLAST DONALD JUDD
VENETIAN VANDAL CALVIN KLEIN Hannelore wears army green coat
ENTERTAINMENT
MORE and pleated skirt JUNYA WATANABE,
SACRIFICE silver dress with unzipped
Y-3 Louise Bourgeois, Nature Study, 1996. head cover HUSSEIN CHALAYAN, Hannelore wears padded top and skirt BALENCIAGA,
EXCERPT Courtesy of Nationalgalerie, vintage silver handbag silver dress with zipped head cover HUSSEIN CHALAYAN,
GEORGE FEBRES from Cherry NYC, red leather thigh-high boots CHANEL,
PHOENIX Walton Ford; An Encounter with Du Chaillu, 2009
Watercolor, gouache, ink, and pencil on paper
Staatliche Museen zu Berlin;
Sammlung Scharf-Gerstenberg black lace gloves LA CRASIA, vintage silver handbag GEORGE FEBRES from Cherry NYC,
242.6 x 152.4 cm Walton Ford 229 104 105 bone bracelets DELFINA DELETTREZ bone bracelets DELFINA DELETTREZ,
chain bracelet BALENCIAGA chain bracelet BALENCIAGA Sunniva wears chain bracelet BALENCIAGA
AGYNESS DEYN
Photography ALASDAIR MCLELLAN
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THE PUBLISHING DATES

No.23 Summer 2012

Publishing Date: 27.04.12
Material Deadline: 25.03.2012 Photography ALASDAIR McLELLAN
Booking Deadline: 21.03.2012 Styling OLIVIER RIZZO

IMPRINT
No 24 Winter 2012/13
Publishing Date: 29.09.2012 032c Magazine
Material Deadline: 25.08.2012
Booking Deadline: 21.08.2012 Editor-in-chief/Creative Director:
Joerg Koch

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