MANIERA MARCH 2013 VOL 1 ISSUE 7

MARCH 2013VOL. 1 ISSUE 7

HAMELEON‘Something in the water’ EP release

Biological technologyCINEMA WILL NEVER BE THE SAME

Experimental foodsPLUS COVERAGE FROM LONDON FASHION WEEK 2013

Creative Focus

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Editor Letter

Brainstorming topics for upcoming editions is an exciting and fun part of working for a magazine. I never fail to be amazed at the wealth of talent out there and meeting and talking to the people behind the stories is one of the most rewarding aspects of the job. At MANIERA we look for features from a wide range of lifestyle options, from the traditional to the downright quirky, from art to science, music to technology, fashion to food, as well as taking our readers to cultural places of interest and great places to visit. It is immensely satisfying when I see it all come together in a finished edition of the magazine.

At MANIERA we are especially interested in introducing our read-ers to new and emerging talent and in our February 2013 edition we had the privilege of featuring some of the work done by the fashion illustrators from the Gallery of Fashion Art (GoFA). One of the main aims of GoFA is to generate interest in the work of mod-ern fashion illustrators whether those artists are already well known or are artists who are yet to be discovered.

Here at MANIERA we were not only impressed with the quality of the art, but also with the entire concept of GOFA, which seeks to reintroduce people to the the lost art of fashion illustration. Chief Operations Officer and senior staff writer Juliette Lord ap-proached GoFA to see if they would be interested in holding a contest for our April 2013 edition with the winning piece being featured on the cover.

The artists were given a brief which was to focus on the meaning of the word MANIERA , which is Italian for ‘style’ and to incorporate the company colors of black, gold and lavender. We have already received some excellent

entries and I think selecting just one winner will prove very difficult.

We pride ourselves on being an international magazine. Our staff are based all over the world and our stories cover people from across the conti-nents. Our readership also is becoming increasingly global and over the last few months we have seen a marked increase in readers from Latin Ameri-ca, Asia as well as in the Middle East. This year has been really encouraging and positive way with our readership, and impressions continue to steadily climb each month. Keep up to date with what is going on by following us on Facebook and Twitter.

But keeping up our standards and scouring to find you intriguing people, places and things takes time. In order to produce the best magazine possible and maximize our online distribution we need to make some changes to our online platform. One of the major changes will be a move over to a paid subscription base effective May 15. The cost of the subscription will be competitive, and this move will allow us to utilise the various digital news-stands and produce a quality magazine not only on the web but also with tailor made apps for the full range of digital devices. In this way we can keep up with the demands of an ever changing online publishing environment.

As a thank you to the loyal readers who have been with us from the outset and our much appreciated subscrib-ers ,we will be offering a generous discount on the subscription price so please watch out for further details.

Thelma Lay

THELMA LAY

MARCH 20134 | MANIERA | mymaniera.com

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ABOUT USMANIERA Magazine is a art, fashion and technology lifestyle publica-tion owned, operated and published by MANIERA LLC. Any views, opinions or interpretations expressed in columns are solely those of the author and do not represent those of Maniera LLC and its sub-sidiaries. Maniera LLC will not accept any responsibility for any views, opinions or interpretations expressed in the pages of Maniera Maga-

zine, MyManiera.com or other communications.

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be sent to [email protected].

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EDITORIALeditor-in-chief

Thelma Lay

writersCyntia Aranday, Gabriel Berger, Thelma Lay,

Juliette Lord, Sara Lovelace

graphic design & layoutSara Lovelace

BUSINESSpublisher/owner

Thelma Lay

chief operationsofficer / promotions

Juliette Lord

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CONTENTS MARCH 2013 | VOL. 1 ISSUE 7

FEATURES

|CHAMELEON

BIOLOGICAL TECHNOLOGIES 14REDEFINING AVANTE GARDE 22

THE END OF ‘NO BATTERY’ 1056

14

66 CHAMELEON 56

REGULARSPublisher’s NoteCreative FocusHealth & BeautyMani StyleMan StyleInt. Travel

4

707274

80

20

THE ART OF SWING 64

LONDON FASHION WEEK 2013 24

COVER

THE STORY 76EXPERIMENTAL FOOD SOCIETY 66

mymaniera.com | MANIERA | 9MARCH 2013

The end of the....

DEAD BATTERY?


BY JULIETTE LORDOne of the worst things about

cell phones is running out of bat-tery... and being unable to recharge because either you don’t have the charger with you or there is nowhere to plug in.

With smart phones now able to carry out a multitude of tasks, we are using them more o�en and for lon-ger periods, draining out the battery while go about our daily business.

French based company Wysips®( pronounced wee-zips and standing for “What You See Is Photovoltaic Surface”) may have come up with the answer to this annoying prob-lem. Wysips® are part of the Sun-power Group, a �rm which special-izes in the research, development and application of innovative tech-nology in the area of photovoltaic solar energy.

“Wysips technologies are based on an optical process: a layer of semi-cylindrical lenses is bonded to a layer of photovoltaic cells,” the company explained. “Together, they generate an optical e�ect that masks the photovoltaic cells and produces electricity by capturing energy from natural or arti�cial light. �e pho-tovoltaic cell is invisible to the eye, regardless of the viewing angle.”

In e�ect what this means is you cannot see it and it generates elec-tricity!

At the 2013 World Mobile Con-gress held in Barcelona last month, Wysips® introduced an entirely functional smartphone equipped with this technology. �e Wysips Crystal® component, placed beneath the screen, supplies enough en-ergy to guarantee your phone stays


permanently charged. Light energy is recovered and transformed into elec-tric power that is directed back into the phone charging circuit, as if it were plugged into an electrical source or con-nected to a USB port on a computer.

�e component is a mere 500 microns thick (approximately half a millimeter) and is situated between the phone screen and the touch panel with-out any e�ect on either the aesthetics of the design or the touch screen proper-ties. �e best way to generate power is by exposing the screen to either natural or arti�cial light.

An additional bene�t is that the viewing angle on the screen is in-creased. On the iPhone 3G, which was used to demonstrate the technology, the average 50-degree viewing angle on the device was enlarged to 180 degrees by placing the �lm inside the device. �is could present a low-cost answer to improving the viewing experience on cheaper devices with lower quality displays that currently perform poorly when viewed at an angle. Because the technology is suited to both indoor and mobile applications it can be adapted to any type of screen such as tablets, computers, watches and billboards and windows.

�e �rst mobile phones equipped with Wysips Crystal® technology are expected to be on the market by the end of the year. For more information go to http://sunpartnergroup.com/


www.renuderma.com

BY JULIETTE LORD�e future of Cinema has many outcomes“Interactive” �lms have been around since the

1960s and usually center on the notion of “audi-ence choice”. �is choice is o�en illusory with the outcome predetermined or limited by the Director, a concept which was used to full e�ect by one of the pioneers of the genre, director Radúz Cincera, who directed the world’s �rst interactive movie Kino-automat in 1967. �e �lm was actually made as a satire of democracy, where everyone votes but the outcome remains the same.

�is is one of the reasons why Alexis Kirke, Director of the 15 minute short �lm Many Worlds prefers to describe his new movie as ‘intelligent cinema’ as opposed to ‘interactive’. �e �lm pre-miered last month at the Algoshorts Film Festival which was part of the Peninsula Art Contemporary Music Festival (Plymouth UK) . �e festival staged a number of what are known as algorithmic �lms. �ese are �lms which include computer-generated scripting, editing, direction and soundtracks.

Kirke is already well known as a composer who has worked across multiple platforms, producing large-scale multimedia and acoustic works, and the creation of science-based algorithmic musical scores. He is no stranger to ground breaking tech-nology with a previous project including a duet fea-turing sub-atomic particles. He is a member of the University of Plymouth’s Interdisciplinary Centre for Computer Music Research, and has published articles on Algorithmic Composition and Perfor-mance.

However Many Worlds takes the concept of

DIVERGENCEChoosing from the many worlds of interactive cinema


A research version of the braincap that is worn by the audience during the screening to measure their EEG. The one used in the premiere was much smaller and went round the head like a head-band.| PHOTOGRAPHY COURTESY OF ALEXIS KIRKE

technological advancement a stage further by getting the audience to subconsciously determine both the development of the story and the soundtrack to the �lm. �e ap-proach he adopts however is not one of audience choice but rather an attempt to ‘read’ the mood of the audience by means of their biologi-cal signals. A sample of the audience are hooked up to special monitors, no more intrusive than a pair of 3-D glasses which then mea-sure certain physical responses to the �lm.

“�e reading is achieved by mea-suring heart rate, how well the skin con-ducts electric-ity (a measure of perspiration), muscle tension in the wrist, and front activation of EEG alpha brainwaves,” Kirke explained. “Weighted nu-merically and summed these give a measure of what is called emotional ‘arousal’ across the sample. It comes from a two dimensional model of emotion called the valence-arousal model. Valence is positivity of emo-tion, and arousal is physical inten-sity. For example, joy and happy are both high valence, buy joy would be higher arousal. Similar fury and de-pression are both negative valence, but fury would be high arousal, and depression low arousal.”

�ere are four possible end-ings to the �lm, and the ending

presented is based on the biological signal feedback received from the audience to determine the plot and soundtrack. For example, with the soundtrack the music can be made deeper slower and more discordant to create more fear, if the readings indicate the audience are feeling too laid back.

�e title of the �lm is based on the quantum physics theory, the many-worlds interpretation

(MWI), which postulates that the universe is

composed of many paral-

lel worlds which ex-ist in ad-dition to the one which we are

conscious of. Each

time a quan-tum experiment

which has more than one outcome is performed, the

theory states that in fact all out-comes are obtained, each in a di�er-ent world, even though we are only aware of the outcome in the world we inhabit, according to Relative state formulation of quantum me-chanics in the book entitled “Review of Modern Physics” by H. Everett.

�e plot of the �lm includes a physics experiment including a depressed girl, a box and a cyanide gas-capsule connected to a Geiger counter, a type of particle detector that measures ionizing radiation. Much of the rest is determined by the audience.

Although the technology associ-

“In 100 years it could make

standard forms of storytelling seem as

primitive and inflexible as stone carvings on a cave

seem to us now.”KIRKE


ated with the movie is in its infancy in terms of cinema, Kirke sees the possibility of it being adopted in some form by Hollywood.

“OK, they may not be able to a�ord multiple story versions, but how about multiple cuts or two to three endings or slightly changed soundtracks?” Kirke said. “We live in the era of blu-rays being released of multiple cuts of �lms, sometimes on the same blu-ray! It may be that this technology starts to blossom in homes before it does in cinemas. But will entertainment companies be able to resist the call of the high publicity, high prestige world of cin-ema? Also it brings back a unique-ness to cinema that cannot be found in the home – a truly communal experience of created entertainment perhaps?”

�ere are plans for the �lm to be shown at other festivals and loca-tions in the near future, and it is possible that a “four way version” will be released whereby the screen is split into 4 parts and shows all versions of the �lm simultaneously thanks to some excellent editing by editor Craig Whyte. Kirke teasingly mentions that he can “foresee ways in which the �lm will be viewable in a reactive way on a laptop or over the internet, but I won’t go into these now, as I’m still developing them!”

However Kirke does not believe that the potential for this technology is con�ned to cinema or �lm.

“�ere are immense opportuni-ties for setting up feedback loops,” Kirke tells MANIERA of his vision. “I originated a project a couple of years ago which is for scanning a person’s brain in real time and us-ing that to control a computer that composes and performs music live to the person. �e system attempts to learn (using arti�cial intelligence) what types of music and sound tra-jectories will drive a person’s emo-tions in the desired direction. �is obviously has therapeutic uses – e.g. for anxiety and depression, as well as entertainment uses. Now music is powerful, but music and vision is even more powerful! So imagine a system which could do the above, but uses both music and computer generated visuals. Now imagine that the system could also utilize well known emotional techniques from �lm such as characterization and dramatic arc. If such a system could learn to �ne tune itself using AI then we are looking at an audio-visual impact unlike society has ever seen. A drug of tremendous proportions. In 100 years it could make standard forms of storytelling seem as primi-tive and in�exible as stone carvings on a cave seem to us now.”


TOP - a rehearsal shot of Charlie Boyle and Olivia Gentile. RIGHT - BOTTOM - Director Alexis Kirke, Boyle, sound man Joel Forde on set of the film.| PHOTOGRAPHY COURTESY OF ALEXIS KIRKE

BY JULIETTE LORD In the past, before the inven-

tion of photography, portraits were the only way of capturing a person’s likeness. Contemporary artist Nicola Paton takes a modern photographic image and transforms it into a dra-matic charcoal work of art, uncanni-ly accurate but with an added depth.

Paton was born in Birmingham, England in 1972. She is a self- taught artist who works with pencil, char-coal and pastels on paper. Each piece of artwork is a one o� and takes between 15-50 hours to produce.

“I’ve been working with char-coal, it’s a medium that allows me to recreate the emotions of the human face,” Paton said. “My portraits vary from the famous to the unknown, and I love to capture the story be-hind every image.”

Her eclectic mix of subjects range from celebrities to the home-less, she draws whatever inspires her. Her latest work is a portrait of an unnamed Malaysian lady, an image she discovered on the internet and to which she instantly drawn. She immediately knew the lady must become a piece of artwork.

“She has the most beautiful and compelling features and feel,” Paton said. “She has an interesting story behind those eyes.”

Paton is also greatly in�uenced by the photography of amateur photographer Lee Je�ries who has

produced a haunting set of black-and-white portraits of homeless people on the streets of Europe and America. Paton is exhibiting one of her Je�ries-inspired pieces Home-less Man at the Co�ee Lounge 10-11 Navigation Street, Birmingham, England throughout April and May. All monies raised will be donated to a charity for the homeless.

“We all encounter homeless people and o�en walk on by without a second thought for the harsh life they lead,” Paton explained about the plight of the homeless. “I wanted to create the reality of living on the street and this homeless man’s face has a story to be told.”

Her drawing of the late English musician Amy Winehouse currently for sale will also have the proceeds donated to charity, this time the Amy Winehouse Foundation, a charity helping homeless and disad-vantaged children in London.

“Amy Winehouse was an excep-tionally talented and inspirational soul,” Paton said. “it was such a sad and tragic loss when she died. I wanted to create a piece of artwork of Amy’s beautiful face and when the piece sells the money will be donated to the Amy Winehouse Foundation.”

Nicola Paton’s work is for sale via her website and she does take com-missions.

Portraitscapturing likenesses in charcoal

BY JULIETTE LORD

tion of photography, portraits were the only way of capturing a person’s likeness. Contemporary artist Nicola Paton takes a modern photographic image and transforms it into a dramatic charcoal work of art, uncannily accurate but with an added depth.

Paton was born in Birmingham, England in 1972. She is a self- taught artist who works with pencil, charcoal and pastels on paper. Each piece of artwork is a one o� and takes between 15-50 hours to produce.

“I’ve been working with char-coal, it’s a medium that allows me to recreate the emotions of the human face,” Paton said. “My portraits vary from the famous to the unknown, and I love to capture the story be-hind every image.”

Her eclectic mix of subjects range from celebrities to the home-less, she draws whatever inspires her. Her latest work is a portrait of an unnamed Malaysian lady, an image she discovered on the internet and to which she instantly drawn. She immediately knew the lady must become a piece of artwork.

“She has the most beautiful and compelling features and feel,” Paton said. “She has an interesting story

street and this homeless man’s face has a story to be told.”

Her drawing of the late English musician Amy Winehouse currently for sale will also have the proceeds donated to charity, this time the Amy Winehouse Foundation, a

Portraitscapturing likenesses in charcoal

Creative Focus


http://www.flickr.com/photos/16536699%40N07/%0D







http://nikki-paton.wix.com/art



Clockwise from top left – Nicola Paton holding a draw-ing of a young Queen Elizabeth II; the charcoal of Amy Winehouse; “The Old Man”; a charcoal drawing of a homeless man and the unnamed “Malaysian Lady.”


|ALBERT SANCHEZ PHOTOGRAPHY

BY JULIETTE LORD�ree dimensional printing is proving to be extremely versatile as it

moves into the �eld of couture. Internationally renowned Queen of Burlesque Dita Von Teese

stepped forward in an amazing articulated 3D printed dress at the Ace Hotel, New York earlier this month. �ree dimensional specialists Shapeways presented an interactive encounter of technology and design that explored how digital technology can revolutionize the future of fashion.

�e dress worn by Von Teese was a three way collaboration between Shapeways, Michael Schmidt Studios and Francis Bitonti Studio.

Michael Schmidt designed the gown which was then constructed - made into a model - by architect Bitonti. Shapeways then printed the dress in nylon in 3D. �e gown was assembled from 17 separate pieces, with nearly 3,000 unique articulated joints, dyed black, lacquered and adorned with over 13,000 Swarovski crystals to create a sensual �owing form.

Schmidt is a wardrobing and jewellery designer who has an impres-sive client list which includes Madonna, Cher, Lady Gaga, Rihanna, Debbie Harry, Dita Von Teese, Dolly Parton, Tina Turner, Steven Tyler, Ozzy Osbourne and many others. A number of his pieces are on perma-nent display at the Rock and Roll Hall of Fame in Cleveland, Ohio.

Bitonti is an architect/designer and researcher based in New York. His studio is dedicated to the application and research of new technolo-gies, speci�cally smart materials and algorithmically generated form. �e studio is interested in the integration of these technologies into architectural design and construction.

Although this dress is at the boundaries of haute couture and art, we are already seeing 3D printing being used in more mainstream fashion, particularly footwear by leading sportswear manufacturer Nike. As 3D printing develops further we can expect to see more of it in the world of clothing and fashion.

printed couture

The third dimension of


|MAKEDA JOHN

Fashion weeks are more than just a steady stream of fashion shows by famous designers. As wonderful as these shows are, there are other interesting things to see o� the runway. While the top designers get plenty of press coverage, some of the less well-known and emerg-ing designers do not get the column space they deserve, o�en because of the sheer volume of talent to report on.

MANIERA was lucky enough to be at London Fashion Week last month and watched some amazing shows, such as Sister at Sibling which we feature for you in this month’s edition. We also managed to talk to some fantastic new designers who are de�nitely ones to watch and had our eyes on some of the stylish audience members who deserve to be mentioned as they add to the overall ambience and experience of what is Lon-don Fashion Week. In fact even the Occupy protesters, including fashion designer Kelly Shaw, demonstrating outside Somerset House managed to look suitably styl-ish.

special

S t r e e t Styles and sights of L o n d o n F a s h i o n W e e k 2013.| M A K E D A JOHN

Hellen Van Rees is a Dutch fash-ion designer who graduated from the prestigious MA Fashion at Central Saint Martins in London in February 2012. A�er graduation, she moved to the Netherlands to start her own fashion label. Her �rst collection was shown during London and Paris Fashion Week and was named “One to Watch” by London design platform Fashion Scout.

Dutch designer Van Rees spoke to MANIERA about her Chanel-inspired tweed Autumn/Winter 2013 collection entitled “Square3 Angle”, which Van Rees subtitles “the trans-formation.”

�e collection is created from handmade tweeds which are made

from factory remnants and recycled threads, some monochrome and others including vibrant yarns of multiple colours.

Van Rees integrated a new material into her designs this season, a stark monochrome rubber coating which contrasts and complements the multi-coloured tweeds.

She combines the classic Chanel suit with a modern almost futuristic silhouette, which although avant-garde, is extremely wearable.

“�e main inspiration came a�er visiting the Chanel shop on Bond Street and having a look at the garments and especially the tweeds up close,” Van Rees said. “�e richness in variety of yarns in the fabric is something I wanted to translate in my collection. So it is mostly about the combination of textures.”

�is young designer has already been noticed by some celebrity custom-ers, as Lady Gaga has been seen out and about in one of Van Rees’ creations.

Hellen van Rees is stocked at the following locations: shop.hellenvan-rees.com; Yellow Rose & �e Secret Room, 18 Beauchamp Place, Knights-bridge, London; MUUSE, muuse.com/shop and Luxx Lab, luxxlab.com. More about Van Rees can be found on her website hellenvanrees.com.

Hellen Van Rees

|ABOVE – KARIN VAN DER MEUL; FASHION PHOTOGRAPHY KIM BUCKARD


http://shop.hellenvanrees.com

http://shop.hellenvanrees.com

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Anna October is a young fashion designer from the Ukraine. October graduated from the College of Technology and Design Zaporozie in 2008. She subsequently studied �ne art at M.B. Grekov Art College, Odessa for an ad-ditional two years a�er which she launched her own brand, which was recently included in the list of top 10 promising designer brands of Eastern Europe by Marie Claire magazine (USA). Her surname was bestowed on her grandfather a�er the Russian Revolution in October 1917. �e brand is named as a tribute to her roots.

Her Autumn/Winter 2013 collection “Pres-ent” demonstrates her precision tailoring skills and penchant for feminine silhouettes.

“�e inspiration for this collection was a combination of the aesthetics of post-Soviet countries and the traditions of giving pres-ents,” October said. “�e title ‘Present’ can be translated in both meanings - it is about giving and also about my expression of the present time. �e cultural clichés I see around in my country inspired me to build new contempo-rary elegance, something that will be opposite of the kitsch glamour but very feminine and elegant. I love to play with textures and I am really addicted with fabrics, so this is the main accent in the collection.”

�e collection of formal wear uses elegant satin fabrics o�en in bold, �attering diagonal stripes. She also employs black jacquard fabrics com-bined with wool and leather and accentuated by the use of fringes. Her calf-length, �ared dresses are extremely �attering and wearable.

October’s designs can be purchased from the following locations: RA, 14 rue de la Corderie, 75003, Paris, France; RA. bvba Kloosterstraat 13, 2000, Antwerp, Belgium; Atelier 1, 10 blvd Schevchenko, Kiev, Ukraine; Anna October Showrom, Ekaterininskaya str.4, apt. 8, 65000, Odessa, Ukraine; Grain, Burj Jassim, Kuwait City, Kuwait. For more information, visit annaoctober.com.

Anna October

Anna October|ABOVE – AFISHA ODESSA; FASHION PHOTOGRAPHY ANNA OCTOBER


http://annaoctober.com/

SISTER BY SIBLINGWe could not leave LFW without a glimpse of one of the shows. Sister

by Sibling is a collaboration between designers Sid Bryan, Joe Bates and Cozette McCreery, all of whom are from the UK. �e speciality is knitwear, and they sum up their style as “Mutating classic, traditional knitwear de-signs or techniques so the Knit Monster Scare Isle comes to mind.”

�e collection is fun, young and versatile, from big bobble-covered dresses to dainty �oral suits.

|CHRISTOPHER DADEY

Stockists:Hervia Bazaar, Manchester39-39, LondonASOS - On-LineBambifaline, JapanGR8, JapanRussell Street, HKMarijuana, HKPeople Of Tastes, HKDailyprojects, South KoreaTreasure & Bond, USAJoyrich, USA


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PRELIMINARIESMANIERA sat down with Chloe Lowery, vocalist of New York-based band Chameleon, to talk about their debut EP album drop earlier this month.


BY SARA LOVELACESomething in New York’s water is

spreading... and it’s a bit infectious.Already performing at least once a

week in the Big Apple, New York-based band Chameleon dropped its �rst EP “Something in the Water” for free March 5 in anticipation of its �rst full-length album this summer.

“It’s our �rst taste of what’s to come,” Chameleon vocal powerhouse Chloe Lowery said. “We’re going to release a full-length this summer and it’s kind of a preview into that full-length album.”

�e grungey, poppy, electronicy soul-ful EP features �ve songs, including the title track “Something in the Water”, “La Chameleon”, “Boom”, “Uh Huh” and “I didn’t call.”

“(�e �rst four songs on the EP were) the �rst four songs we ever wrote as a band, and they were kind of the starting pallatte we worked with,” Lowery said. “Every song is a little di�erent, our sound evolved around those songs. ‘I didn’t call’ we wrote later, but we included it because we thought it �t in with those songs.”

Chameleon is the creative child of Lowery and Andrew Ross, who met per-forming for the Trans Siberian Orchestra. �ey did not click on the music level until 2011, Lowery explained, but once they began shooting ideas back and forth and exchanging music they realized they had similar tastes.

“We just kind of clicked,” Lowery said.Chameleon is a combination of the

very di�erent backgrounds of its duo and the in�uence of their genres upon each other. �eir eclectic sound combines in�uences ranging from hard rock, elec-tronic, pop, psychedelic, punk and soul. Lowery comes from a more pop rock background while Ross tends more to-


ward heavy metal and a little blue-grass. �ey just took their own likes, threw it in the pot and Chameleon was formed.

“�at’s the sole basis of this band – the combination of all of our backgrounds and likes,” Lowery told MANIERA. “I come from a more pop rock. Andrew likes to call it ‘big singer’ music. I was like ‘What is that? It’s not even a genre’ but he’s like ‘�at’s what it is.’”

But what both agree about is that it is about raw emotion – personal

experiences that make up who and what they are as people. �e EP is no exception. For example, “La Chameleon” is about the frustra-tions Lowery experienced when she moved back to Los Angeles for a work opportunity that just did not pan out. In LA, she said she experi-enced a di�erent type of person.

“When we started writing that song, I was like I wanna get my frus-tration out about this,” Lowery said. “�e song is talking about how peo-ple change in certain situations. In

LA, I’ve seen a lot of people change. �at’s what that song is about.”

Meanwhile, “Uh Huh” was a rather random song for Lowery, but still extremely personal.

“It’s a play on everything we went through that summer with our friends – changing,” she said. “Our songs are written from our personal experiences. It’s a therapeutic way of getting over things or getting things o� your chest.”

For the full-length album this summer, listeners can expect to hear more of the raw emotion of Chame-leon. Most of the songs are already

completed, and are in the �nal stages of tweaking.

“We experimented with using electronic drum loops and those kind of things but for the full-length album, we plan to incorporate real

drums as well to make the album even bigger.”

�e raw emotion from the songs also translate into the band’s live performance, helping them to create a bigger, better sound. To keep the volume up in anticipation of their debut full-length album dropping this summer, the band is considering releasing a live perfor-mance EP to go along with their stu-dio EP released earlier this month, and they are dotted on the line as a featured artist at this year’s RedGo-rilla Festival March 16 in Austin, Texas. �ey will take the stage at 10 p.m. at Amped. A second show in Austin will follow on March 17 at Darwin’s Pub before the group will whisk back to New York to play �e Delancey March 29.

“Every song is a little different, our sound

evolved around those songs.” Lowery on the first four songs


‘Something in the Water’ AVAILABLE NOW

http://www.wearechameleon.com

BY JULIETTE LORD

Swing is back. �e London Swing Festi-val will take place May 24-27, 2013, kicking o� literally with an outdoor dance with a live band at Old Spital�elds Market.

As part of the festival, the London Jitterbug Championships return for a fourth year with categories for beginners to seasoned pros.

But if you don’t know your Balboa from your Lindy Hop then read on as MANIERA talks to UK Lindy Hop Cham-pion and Swing Dance

instructor Natasha Hall. Hall and her partner Jay Smith run a weekly dance night every Monday

starting at 7.30 p.m. at �e Light, Shoreditch High Street, London E1. �e classes are “drop in” so you don’t need to book a place, or bring a partner! Full details are available on their website swingtimedance.co.uk.

Always wanting to be Ginger Rogers and fascinated with dance and the retro styles of the 1930s and ‘40s, Hall paid a visit to the legendary 100

SWINGING BACK INTO STYLEArt of swing dancing returns to London in 2013. To prepare, MANIERA spoke with Natasha Hall, the UK Lindy Hop champion and swing dance instructor


http://londonswingfestival.co.uk/







www.swingtimedance.co.uk

Club. Located at 100 Oxford Street, London W1. �e 100 Club, with its open-minded music policy, has played host to a wide range of musical styles over the last 60 years and Hall happened to walk through the doors on Swing Night. Brought up on a diet of old black and white movies, she was instantly hooked.

Swing dancing dates back to the 1920’s and was in�uenced by the Charleston. �e Lindy Hop originat-ed in the Savoy Ballroom in Harlem in 1927 and was commonly associat-ed with black dancers. It was named

a�er Charles Lindbergh’s pioneering airplane �ight across the Atlantic. In the 1940s, its popularity was spread across the Atlantic by American GIs and is also known as the Jitterbug a�er Benny Goodman’s 1937 perfor-mance at the Paramount �eatre in New York City where teenagers were described as “jitterbugging in the aisles” by the media.

�e Balboa originates from California and was invented around the same time as the Lindy Hop. �e dancers dance close together in a closed hold position, where there is continuous body contact, due to the fact that it evolved from everyday dance halls where space was limited.

“If you perform Lindy Hop it can be energetic with lots of aerial moves and jumps but if you are just social dancing it doesn’t have to be too frantic,” Hall said. “You can dance to a slow track. It is fairly easy to learn. You can learn a few moves in the �rst lesson. It is harder to learn the lead and follow technique which means you can read your partner exactly even if you don’t know the moves he wants you to do. You take your brain out and just follow. Balboa is harder to learn and is more of a dancers dance. It is less

energetic as it’s very smooth with in-tricate footwork. �e lead is harder as it’s all about circular momentum. An absolutely beautiful dance to dance!”

Other swing dances include the Shag, the Dean Collins Shim Sham, �e Big Apple and 1950s Stroller.

As well as her UK Lindy Hop title, Hall and her dance partner Paul Crook made the �nals in the BBC TV programme Strictly Dance Fever, hosted by Graham Norton. If you want to get an authentic Swing Style look then check out pret-tymevintage.co.uk for details on vintage makeovers.

When a body needs a bodyOn the ballroom floorThen a body asks a body“What’s a swing band for?”

ELLA FITZGERALD - SING ME A SWING SONG (AND LET ME DANCE)


A culinary EXPERIMENT

Alexa Perrin founded the “Experimental Food Society” which promotes creative food projects.

BY JULIETTE LORDFood is not just about nutrition.

Food is part of culture, a delicious mix of science and art that appeals to a mul-titude of senses and has deep psycho-logical resonance.

Food is powerful.Alexa Perrin, founder of the Experi-

mental Food Society, understands this and set up an online directory Experi-mental Food Society experimentalfood-society.com to promote pioneers of exemplary and interesting food projects. �e society was established in January 2010, and features a collective of 56 of the UK’s most pioneering culinary art-ists. It is the only organisation of its kind internationally.

“Members are diverse in talents and include Food Landscape Artist Carl Warner who creates incredible landscapes out of food and photographs them,” Perrin said, “Jellymongers and Foodsmiths Bompas and Parr, who are known for crazy antics such as �ood-ing a grade 1 listed building with four tonnes of punch; Bread Sculptor Sharon Baker, who creates incredibly lifelike human forms with bread and experi-mental psychologist professor Charles Spence, who heads up the Crossmodal Laboratory at Oxford University and who works to make food a more multi-sensory experience.”

To become a member you �rst need to be able to demonstrate a “food-forward” approach and exceptional creativity with food. You also need to be extremely pro�cient at what you do and, because this is a British venture, you need to be both resident and practicing in the United Kingdom.

�e society runs a series of Ex-perimental Food Society talks and an annual Experimental Food Society

TOP – Kyle Bean - Food Artist -Grenade; ABOVE – Bompas & Parr - Architectural Foodsmiths & Jel-lymongers


%20www.experimentalfoodsociety.com


TOP – Carl Warner - Food Landscape Artist -’Cabbage Sea’; ABOVE – David Bradley, The Curious Confectioner

Spectacular, which is a large-scale culinary arts exhibition and �nale banquet where members come together with a unique installation that demonstrates their talents. �roughout the year, the Experimental Food Society receives various commissions so the society is continuously ac-tive. In addition, each Experimental Food Soci-ety member is active on their own independent projects throughout the year, o�en collaborat-ing or skill-swapping with other Experimental Food Society members to broaden their skill set. �e society can also organise work placements with its members, and many Experimental Food Society members also act as consultants to some of the world’s top chefs and food organisations, as well as exhibiting their works at prestigious art houses.

“Last year for instance a young lady was given arts funding by the Australian government and came over to the UK to take up work place-ments with Sugar Designer Fernando Laposse and Experimental Pyschologist Professor Charles Spence,” Perrin said. “She le� thoroughly inspired by the talent in the UK to pursue a career in food arts.”

Perrin comes from a family with a long his-tory of culinary expertise. Her uncle was one of the �rst people to bring �ai restaurants to the UK in the early 1980s, and she spent a lot of time buying the exotic foods for the restaurant. She even assisted her mother who baked cakes for local businesses.

Perrin’s own work with food and drink is broad and diverse, giving her impeccable foodie credentials. She admits to being “an avid gin fan” and worked as a public relations account director on Hendrick’s Gin before launching Bulldog Gin into the UK market. Currently she manages all the public relations for House of Wolf, a place of experimental dining, drinking and entertainment located on Upper Street, Islington, in addition to curating the monthly dining experiences in the top �oor restaurant.

To �nd out more about �e Experimental Food Society visit the website Experimentalfood-society.com.




Health & Beauty

A new kind of SUPER FRU IT

BY MAIA SMITH

QATSVI“Visibly Vibrant,” Renu Derma’s serum for day use coming April 2013.


Remember Goji, the red Hima-layan berry that sent health nuts into a frenzy? �en came Acai, a purple berry found deep within the Amazon. Applauded for their e�ects on aging, weight loss and everything in between, these two berries are known as “super fruits” – exotic, brightly-colored and �lled with health bene�ts.

Now it seems there is a new mem-ber of the club.

Native to Europe and Asia, the sea buckthorn shrub has bright orange berries. In the country of Georgia where I grew up, we called it “qatsvi,” shown le�. We were familiar with the berry but most of us had not paid much attention to the potential health bene�ts. Now more people are taking notice and recognizing the healthy properties of the berries.

My grandmother believed the sea buckthorn had a wide variety of health bene�ts. She was a licensed cosmetolo-gist and pharmacist in Georgia who used her knowledge to create unique health and skin care recipes. We used freshly canned sea buckthorn preserve as a vitamin supplement. One table-spoon of preserve mixed with one glass of water was a healthy substitute for a so� drink in our family.

�e beautiful berries produced on the sea buckthorn plant are rich in vitamins A, C and E and essen-tial fatty acids promote healthy cell development which is important for our overall health and particularly bene�cial for the skin. Because the sea buckthorn plant traditionally grows in harsh cold climates, it has built up an arsenal of vitamins, minerals and antioxidants to protect itself. We are simply reaping the bene�ts of the plant’s own self-defense system. �e vitamin C content in the berry is about

15 times greater than in an orange, making it among the most enriched plant sources of vitamin C.

When used topically, its bioactive ingredients produce amazing results in skin rejuvenation and restoration. Scientists are now discovering a wide range of vitamins, minerals and anti-septic properties of this wonder fruit. Such experts say sea buckthorn can be used to reduce signs of cellulite, aid weight loss, ease constipation, soothe acne and �ght �ne lines on the skin.

Renu Derma Natural Cosmet-ics was born from my desire to share my grandmother’s old-world legacy with anyone who desired to pamper themselves with all-natural goodness and youthful results. Our technology experts researched natural sea buck-thorn oil and were thrilled to enrich our products with this rich oil. It turns out Grandmother was right - sea buckthorn oil aids in protecting your skin from sun damage due to com-ponents in the oil that can absorb UV rays. While this is not a full SPF sub-stitute, the protective and anti- aging properties are exceptional. �e natural beta-carotene o�ers anti-aging bene�ts and provides a radiant glow.

Look for the release of “Visibly Vibrant,” Renu Derma’s serum for day use, in April 2013.

MAIA SMITH has 20 years experience in skin research and product develop-ment. Her expertise in skin case and anti-aging has helped produce several natural antgi-aging products. She is a found and CEO of Renu Derma Natu-ral Cosmetics, where she works closely with the FDA approved organic lab to develop new, effective products for the Renu Derma line. For more information, visit Renuderma.com.


www.Renuderma.com

Mani Style

CENTER – “Question”; TOP LEFT, CLOCKWISE – “Hate”; “Love watashi”; “Love”; “Surprise” and “MATRYOSHKA point.”

|ALL IMAGES COURTESY OF KAWAII MATSUGE

Cute Eyelashes ~

BY JULIETTE LORDEnhancing the eyelashes is a way of drawing attention to the eyes and

most of the time a couple of coats of mascara or a set of false eyelashes will su�ce.

But for those special stylings when the devil of the look is in the detail, the Japanese brand Kawaii Matsuge (which translates as “the cute eyelash”) has come up with a fabulous range of quirky alternatives.

Featuring original artwork from Japan these lashes are made from paper, which is light enough to be comfortable but resilient enough to withstand wear. Cut into intricate patterns with a laser, it is worn by simply securing it along the lash line with eyelash adhesive. Application may take a little prac-tice but anyone familiar with standard false eyelashes should �nd it easy.

Unusual enough to draw envious glances without being overkill Kawaii Matsuge lashes are small and delicate and therefore manage to draw atten-tion without dominating the face. Everyone will be asking where you got them from!

�ey are unsurprisingly available to buy in the fabulous Laforet Depart-ment Store in the Harajuku district of Tokyo but fortunately for those of us in the rest of the world they are also available to purchase online.

Kawaii Matsuge manager Maria Azuma explained the inspiration be-hind some of the top selling designs.

“LOVE WATASHI means ‘I love myself ’ in Japanese,” Azuma said. “�is product is designed in the hope that you will love yourself before you love someone else… LOVE OR HATE ‘Do you love him or hate him?’ �e false eyelashes are formed into letters to make the words into suki and kirai, each on opposite sides. In Japanese suki means to love, while kirai means to hate, but for the person who has a heart to love kirai is sometimes read as love. �is product has the image of a young woman’s emotions of love and hate swaying back and forth.”

Other designs are more abstract with rows of question or exclamation marks making a dramatic statement. For sheer cute factor the animal de-signs such as the owl and the cats are hard to beat.


http://kawaiimatsuge.com/en/

https://twitter.com/kawaiimatsuge

http://www.facebook.com/kawaiimatsuge

http://gplusid.com/kawaiimatsuge

http://gplusid.com/kawaiimatsuge

Man Style

ShoppingPersonal ized

BY JULIETTE LORD�e cliché goes that men hate

shopping. Research by Shoppercen-tric in 2011 however suggests that men actually enjoy buying things, but that the actual process of shop-ping may still prove a turn o�.

One solution to this problem may be to utilise the services of a personal shopper. Personal shop-pers work one of two ways. �ey can function like a concierge service whereby you advise them of what it is you require and they �nd it and bring it to you. Alternatively they can escort you on a bespoke shopping tour, helping you to choose items.

�ese services are particularly useful when you have a speci�c important event, such as a job in-terview or wedding to attend. A personal shopper will be able to give you informed information and o�er advice on what styles work best for you. �ey are professionals and will therefore have a trained eye and be up-to-date with current trends as well as being more aware of what items are available in store. Another advantage is that they will be able to suggest new brands similar to those you already wear, but which are dif-ferent enough to add a new dimen-sion to your wardrobe.

Personal shoppers come in two distinct guises: the in-store “personal shopper” and the independent “style consultant.” Each has their own dis-tinct advantages and disadvantages.

Most major stores operate a per-sonal shopping service. �e major plus of this shopping service is that it is free to customers, but appoint-ments are o�en highly coveted and

slots can book up weeks in advance. Also some stores, although not all, may require you to spend a mini-mum amount in store, so make sure of what the terms and conditions are before booking an appointment. Usually to book an in-store shopper you need to draw up a list of what sort of thing you are looking for and make a note of your measure-ments. Stores vary but when you call they o�en ask you basic questions about your lifestyle and your price range to get an idea of your require-ments. You will be given an appoint-ment time and when you arrive the personal shopper will already have selected a range of out�ts for you to try on.

�e second option of a personal style consultant usually does not come cheap. �ey o�en charge well over $150 an hour but they are in-dependent of any particular retailer and will not be trying to sell you anything. �ey tend to develop long-standing personal relationships with their clients and will be able to keep a constant look out for that special purchase. Also because they have great contacts they can o�en queue jump for rare items or those in great demand. If you are away on business or on holiday in an unfamiliar city, local stylists can act as great personal guides to the best local boutiques and stores. As when hiring any pro-fessional take time to research their background and make sure they are the right person for you. �e Asso-ciation of Image Consultants website is a good place to start.

Happy purchasing.


http://www.shoppercentric.co.uk/uploads/report/WindowOn12_Men_as_Shoppers.pdf-406.pdf





http://www.aici.org/



BY JULIETTE LORDPhotographs contain a story. �e photographs

of Maria Konstanse Bruun tell a psychologi-cal story, a personal narrative experienced and shared by the photographer.

Konstanse Bruun is a photographer originally from Norway but currently based in the UK. She is currently studying a part time degree at the Bournemouth Arts University. Her photographic work ranges from her previous focus on docu-mentary images to her current conceptual proj-ects in which she stages photographic scenes to create narratives, which explore personal feelings and ideas. Maria is a social anthropologist and her work is greatly in�uenced by her interest in the interaction between people and the environ-ment. Her work is poignant, humorous at times, o�en startling and challenges the observer to think.

�e images are from Konstanse Bruun’s two latest projects. �e �rst is �e World is a Detour collection. �is project investigates notions of identity by exploring binary oppositions within the personality; extrovert/introvert, stable/un-

stable, optimistic/pessimistic, settled/displaced, strong/weak and so forth. Each photograph depicts narratives in the juxtaposition between these seemingly opposing parts of the personality.

Her second collection entitled Maternal Anxi-ety is an exploration of how becoming a mother is undoubtedly one of life’s greatest gi�s, but that it is also one of the most challenging psychologi-cal encounters a woman will have in her life. �is personal project looks at some less-talked-about psychological implications of motherhood by exploring narratives related to the continuous underlying anxiety that women experience, albeit in di�erent degrees, as they step into the maternal role and become subject to the a�ectionate bond-ing process between mother and child.

Because of the narrative nature of her pho-tography Konstanse Bruun gave MANIERA the story behind each of her featured images. You can purchase Maria Konstanse Bruun’s work from her website mariakonstansebruun.com. Alternatively her work is available from the Saatchi Online Gallery.

The Story|MARIA KONSTANSE BRUUN


http://www.mariakonstansebruun.com

http://www.saatchionline.com/profiles/portfolio/id/95732



“Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. ‘The necessary condition for an image is sight,’Janouch told Kafka; and Kafka smiled and re-plied: ‘We photograph things in or-der to drive them out of our minds. My stories are a way of shutting my

eyes.”

- Roland Barthes, Camera Lucida: Reflections on Photography

“�e image explores the idea that we play out di�er-ent roles in life; who we are in public, front stage, is dif-ferent to who we are in pri-vate, backstage. �e curtain can symbolise a number of things such as the dichoto-my between the conscious and the subconscious parts of the self; How do we think others see us, how we want to be seen versus how we really are seen by others.”

BackStage FrontStage

“�e image explores the spectre of di�erent states of mind, which rests within the self. �e coloured balls symbolise the di�erent moods and emotions that can dominate the self at any one time.”

Pick Your Color

See her second collection “Maternal Anxiety” on the next page


“�e image explores contradicting notions of identity through feeling at home in an urban versus a more natural, rural environ-ment.”

Every’s Body

“�is image explores the fear of losing oneself and one’s identity through the maternal role. During pregnancy and in the beginning a�er your child is born your body is very much a vessel for your child and the lines between yourself and that of your child are ambiguous, you are your child and your child is you. �e fear of losing your own identity, beyond being a mother, is very present during this stage. For me this also involved the ties to my home country, Norway. As my child is born in the UK to an Eng-lish father, this became very important to me, as can be seen through the use of national symbols such as the moose and the home knitted ‘Marius’ poncho, which both symbolise the ‘Norwegianess’.”

Nature versus Nurture

Brunn’s collection “Maternal Anxiety” will be exhibited at Stjørdal Art Society in Trondheim Norway from April 13-20.

Check her website mariakonstansebru-un.com for informa-tion on further exhibi-tions in London over the next few months, dates pending.

M A T E R N A L

ANXIETY

www.mariakonstansebruun.com

www.mariakonstansebruun.com

Fragile

“�is image looks at the mum’s vulnerability in relation to her role as a new mother. You suddenly have the full responsibility for another human being and at the same time you are going through what might be one of the most vulnerable peri-ods in your life, both physically and mentally. But there is no room for you to play out your vulnerability because all you areallowed to be is a good mother to your child.”

Sudden Gun Fire

“On one hand this image explores a fear of letting your child out in the world; the warning sign, sudden gun�re, symbolises the potential chal-lenges and, in an extreme sense, the dangers that rest out there. On the other hand the work is a comment to the extreme health and safety dogma that dominates our society today, par-ticularly in relation to children.”

Maternal Suicide

“�is image investigates worries related to the fear of failing to be sensitive enough to your child’s needs and end up making wrong decisions on your child’s behalf. In doing so you can, in a symbolic sense, end up committing a ‘maternal sui-cide’ in the way you push your child away from you.”

The Museum of Broken Relationships A Unique Croatian Attraction


E.FORD �ere are unique and unusual museums

around the world – we have the Currywurst Museum in Berlin, the Dog Collar Museum in England, and so on. �e Museum of Broken Re-lationships located in Zagreb, Croatia is one such unique attraction and is a must-visit for world travelers. As the name suggests, this museum is dedicated to failed romantic relationships and it showcases a diverse collection of breakup-related mementos.

HOW IT STARTED �is museum, also known as Muzej prekinu-

tih veza in Croatian, was founded by two art-ists - Olinka Vištica and Dražen Grubišić. �ey came up with the idea a�er ending their four-year relationship in 2003. �ree years later, they began collecting objects le� behind from break-ups from their friends and the unique collection was born. �e �rst public exhibit was held in Glip-totheque Zagreb in 2006 and it was a part of the 41st Zagreb Salon.

Since the museum was opened to the public in 2010, it has received an ever increasing num-ber of visitors from around the world. �ere are several segments in this museum:

• Material remains like objects and documents from break-ups. �ese items are showcased along with short annotations writ-ten by their donors.

• The virtual web museum offers reg-istered visitors a chance to upload images and documents for public viewing.

• There is an interactive confessional segment in this museum, where visitors are allowed to store messages or objects too. �ey can even make recordings of their confessions in a place where they can get some privacy.


POPULAR EXHIBITS �ere is a wide variety

of exhibits to keep visitors entertained in this museum. Here are some of the most popular exhibits that you have to check out during your visit:

• A Box made of Matches – Made by a man named Vlado for his wife, Jelka. �e couple got divorced a�er 25 years of marriage and this box was donated by Jelka. �e short explana-tion written by her is very touching.

• An Ex Axe – Donat-ed by a furious lover who used it to chop up her ex’s furniture a�er she le� him for another woman. You will �nd a sad and interesting description with this item.

• “I Love You” Teddy Bear – �is cute teddy bear was a gi� from a boy to a girl. �e annotation might make you want to cry, so make sure you take heaps of tissues with you.

• A Wedding Dress – A beautiful wed-ding dress donated by a woman who got divorced from her husband a�er he started to change.

Exhibits from broken relationships.| MUSEUM OF BROKEN RELATIONSHIPS

CLOCKWISE – from top left – A beautiful wedding dress donated by a woman who got divorced from her husband after he started to change; One of the 1,000s of visitors that museum receives daily; The divorce day garden dwarf is a mememto of an unhappy marriage 29 years ago.| MUSEUM OF BROKEN RELATIONSHIPS


VISITING THE MUSEUM Luckily for travelers, this unique museum

is open seven days a week, but it closes earlier during the winter months. You can make an addition to your itinerary and visit the place during your Croatia tour. We all have had our hearts broken and this museum can help you

get an insight into the heartbreaks of others, as well as the fragility of human relationships. �e museum has an attached café, where visi-tors have a chance to pull themselves together a�er the exhibition. �eir specialties include Julius Meini co�ee, lemon cookies, mulled wine, and pepper cookies.


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MANIERA MARCH 2013 VOL 1 ISSUE 7

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Transcript of MANIERA MARCH 2013 VOL 1 ISSUE 7