* uN NOUvEAU iDEAL by fILEP mOTWARY

Dear iDEALS, today I am proud to present German Zoren Gold and Japanese Minori Murakami who met by accident a few years ago. It always sounds like the iDEAL fairytale when two people come together and work as one, especially if the result is good enough to be gathered all together and be published in a Book. Their photographs can be seen in some of the most important Fashion Bibles…Images that include collages, illustrations and graphics..Nick Knight’s Show Studio is one of their biggest supporters. Don’t you think we have enough evidence already to free ourselves and fall in MI-ZO’s fantasy world…? Let’s see what they told me.. FilepMotwary: So we have two people, coming from two entirely different civilizations, working together. Is there and an example of this mixture detected in your work? MI-ZO: There are some differences we find in each other culturally, which gives us a fresh point of view. We also get lost in disagreements realizing our different upbringings, thinking we could never understand each other. but, personally, i wouldn't like to be categorize and bound by nationalities. I consider our collaboration as the mixture of two different individuals rather than to emphasis on our cultural background. I think art is a place to be free and is the universal language. We started working together because of our curiosity in mixing each others skills and to invent a new aesthetic in photographic imagery. Our desire of wanting to see unborn and unseen images has lead us to experiment with combining photography with other mediums such as drawings, collage, hand-made props and computer graphics. The fusion between photography and illustration, digital and its analogy… The manipulation of images made us more optimistic about modern-day photography, its no longer only to capture the moment of physical reality. FilepMotwary: How do you feel that now your work has been squashed in a book? Does is mean the end of your collaborations first chapter? MI-ZO:"Object That Dreams" is our personal journey to the unknown. The search to find our aesthetic lead us to unveil and be confronted with our unconscious thought & desire. we had evolved a lot both technically & personally. the unity lead us to become more aware of individualities, and made us realized there is something it can't be shared. Self-quest is necessary after all for the next step to be true collaborators. FilepMotwary: Someone would expect Minori moving to Europe instead of Zoren moving to Tokyo. To be frank with you, I am totally unaware of what is really going on fashion wise in Japan. All I know is the legend of "MONEY RAIN». Please help me built a picture here. MI-ZO:Coming to Tokyo felt like a good choice at the time we moved. We had some contacts and people here were quite excited about our works. When we moved to tokyo, we worked a lot with record companies. the music packagings here were very creative and highly sophisticated. The budget was not as big as the US since it is only for the domestic markets. However, we had opportunities to work with outstanding artists in music, and were able to produce creative images. It also gave us opportunities to work as art directors and also video directors. Tokyo offered surprising opportunities for us. The fashion photography, on the other hand, is much more conservative than i expected. There are many fashion magazines which write about fashion and trend, but, there is not much supports from magazines for photographers to be creative and original. so, i prefer to work with international magazines. FilepMotwary: A few months ago, you participated in an ambitious project for Nick Knights "Show Studio", chosen as the representatives of Tokyo Fashion. Do you think that the incident forced you to become part of an "artists category" who are considered big only in JAPAN? MI-ZO: We had been recognized as unique creators since we were based in tokyo. We have been featured and interviewed in various media definitely more press offers than fashion editorials.... I don't really know why we have been chosen to do "representative" demo shoot at the party, maybe they wanted to unveil how we work together and who we are. we had to shoot more than 70 non-models in 2 hours straight .... Coming up with individual pose and shooting them one after another was a pure marathon. Now, we must be known as an artistic-athlete photographer duo:) FilepMotwary: Which type of clothes do you find more intriguing when working on a fashion story? I don't mean the trends. I am trying to understand what MI-ZO want to "get" out of an outfit and what makes it special enough to be photographed? MI-ZO: Our taste and interests in fashion changes from time to time. But, we are often intrigued by unusual beauty. The fashion should supports the role of the character and enhance our imagination. Mystery,nature,magic,sex, etc. Something that stimulates our fantasy. FilepMotwary:Your work reflects a variety of different styles: from over styled images to completely pain and minimal. Where is your "RED THIN LINE" that separates things? MI-ZO: It depends on how we feel about the images and story. The way we create images, its process varies time to time. we don't have certain steps in order to get to the final images. however, when we actually see the images from the photo shoot, it gives us a chance to see images (photographs) from different angles. so, we often use this time to enhance our ideas, and experiment a image with a graphical treatment to include our visions which we can't capture at the photo shoot. We always try to keep room for creativity like playing with images, improvising with materials because the action of spontaneity could unlock our fantasy. There is no guideline or certain style we have to follow; we just have to like the outcome. FilepMotwray: What does URBAN fashion mean to you? MI-ZO: To invent a character of who we are, or who we want to be. I had dressed up once like a geeky secretary with hideous glasses at the club and introduce myself as a secretary of Mr. Gold. Surprisingly, everyone became nice and more friendly than usual. The character who we want to be is up to us in the city..... FilepMotwary: Would you share with us your future plans? MI-ZO: We would like to tour around the world with our exhibition of "Object that Dreams". We had the first show at the Viaux gallery in Berlin for launching our book, and we would like to continue to show it around and meet creators in other countries. do you know anyone who will be interested to have our show in Greece? FilepMotwary: I am sure that someone will be interested after reading this interview…Is there a message from MI-ZO to the readers of this interview who want to be Fashion Photographers? MI-ZO: Simply, LOVE WHAT YOU DO. Because it is a very subjective world, especially in art, you just can't take every opinion seriously. With Love, everything is possible. NOTE : COPYRIGHTS OF THIS INTERVIEW BELONG TO FILEP MOTWARY and UN nouVeau iDEAL ....and please avoid stealing the images, it's disgusting on your behalf!!!Buy MI-ZO's book instead!!!

My iDEALS, please enjoy the video (filmed ad directed by AVANT 16)that was just sent to me by my talented designer friend.

Dear iDEALS, enjoy the following text, written by my dear friends Rene and Jannis for the following issue of ISTEROGRAFO coming out on MAY 27th 2007." When we start with a new project, again and again we wonder what it is that we want to see and it must be something that will thrill the onlooker of today, the onlooker that is flooded with new imagery constantly in his life. What could it be that is telling him something new? From our perspective, how we see things.....To get to figure out where to start is always a very intense process, including many factors and moments of filtration. It’s all about setting up a frame that allows us to move within, grow into new directions. Being a photographer today involves so much more than just being the "eye" on the shutter- and decides when to click. It’s a complex way of life and requires all senses- and as well a good team one can rely on…In fact setting up a shoot is like finding the perfect cast for all positions to let communication and creativity flowing  freelyAs the business works today, the days before a shoot is like building an island of sand in tempestuous waters- one wave and half of the shore is gone- to be built freshly at the other side. This is making it especially difficult for casting the right model- as we much focus on the character of the person to be depicted, mannequin or persona, the interaction of camera and its "object" of focus is all. Sometimes when the chemistry goes well, it’s like having sex- each shutter-click equals with a small orgasm. It may be that either one of us develops a better connection with the person we photograph, so he is naturally taking over. Meanwhile the other one takes the position of a voyeur, staying in the back with the second camera, as we started to work with lately. It may well happen that something like a dance of two cameras evolves around the person being photographed. Some of them said this feels very unique. It is like one camera is suspending, neutralizing the power of the other and leaving unclear where to focus for the photographed object. It contains rehearsed poses and "faux expression" and no more work in these circumstances. Automatically tension releases. When this happens, all becomes one: model, camera, photographer and all the other aspects as styling, hair make up, light; They all looks effortless and credible and at its best, feels like magic. I remember one day, at the Hotel Crillon, closing the yellow curtains just to block off the strong sunlight. The atmosphere in the suite got warm and gentle. We had Eva Herzigova on the bed waiting for us to get ready. One could tell she felt the light on every pore, like it was caressing her and with every movement she controlled it, very aware of the way it made her look, no mirror needed. We loitered and tumbled between the cushions, shared moments of great intimacy...without words. This you could see on the resulting images, making them very emotional and intense…Another one of my all-time favourites was a moment with Naomi Campbell.
We were commissioned to shoot a story for Vogue’s Olympic issue in Athens that turned out to be extremely difficult as hordes of paparazzi were hunting us down wherever we went. It seemed like the press had some intern information we had to overcome in order to being able working undisturbed. We ordered the limousines and bodyguards to the front door of the studio, to catch attention. The camera lenses lurking through the curtains of neighbouring buildings disappeared as expected and the bulk gathered in order to escort the cars wherever the dross would go. Meanwhile at the backdoor we sneaked with Naomi, her personal body-guard and hair and make up people in the van that was parked very close outside. We took off and headed for Philopapou that late afternoon, taking the deserted  mud-roads from the back side (used by the fire brigades) and walked up the last stretch to the cliff, where a guard was already awaiting us, asking for permission, which of course had not been arranged. We told him every tourist would be able to take his shots here- and so would we now…He hesitated and radioed his superiors. When they showed up, they certainly recognized Naomi (as being on every newspaper cover and TV-channel these days in Greece) and gave us 4 minutes until they would call the police. Meanwhile we continued setting up and asked Naomi to go to the verge of the cliff. She was afraid because it seemed steep. She asked for shoes but finally walked there barefoot. We had two minutes left on that hot evening to conceive perfection with the temperatures still at high-rise above 40 Celsius and the sun about to set. Suddenly, that moment a strong breeze came up, flaring through the drapes of her HERMES skirt, loosing her hair letting it float in the air above the city. She stood like a re-born ancient goddess above the panorama of Athens, in a sea of buildings like white foam... Her body shining, glowing in the sun like an eternal icon, until we had to grab our stuff and escape from the upcoming police that surely would have had us all arrested....The incident seemed that as there has been a silent agreement between Naomi, ourselves and GOD.  One after another hot shooting day at the seashore we were hungry on the way back because we had not eaten all day. Vogue was concerned as there seemed no appropriate catering nearby that could keep up with the possible standards of Naomi, something they were expecting to be difficult. We stopped in a olive grove. Imagine several limousines and production cars stopped on the stretch in nowhere land. Pericles,of our production brought us a tray with Greek salad and cheese, fried potatoes, olives and bread. We opened the back of a van, placed the food and called for snack break and there we stood and ate with hands, and Naomi claimed excited: "the best tomatoes and cheese of my life"! And these all in the fields, with the bodyguards spread, relieving them, black suit and tie like they were waiting for mister Tarantinos further instructions...It’s not always possible to pull out something sincere off a person in a short time given. Especially when working with celebrities or other fashion personas that their schedule s held tight and would only allow a short session of not much more than an hour or two. as this following example of an interview with Albert Elbaz at the Lanvin headquarters in Paris,shortly before the presentation of the new collections. In the meanwhile he answered questions to the journalist that was with us.Jannis crawled under the table and photographed mister Elbaz feet. Slightly irritated the conversation turned to what was happening under the table and revealed a whole string of unexpected incidents that they were all cursing around the subject of fetishism and there we had our leitmotiv that was missing, much to the amusement of mister Elbaz... Sometimes even the positions switch. In every shooting comes the moment where things don’t seem to move on properly, everything feels wrong and usually that’s when we decide its time for a break. Of course this is not always given, especially on expensive productions that also have a tight time schedule and other pressing aspects that rather suggest continue
and overcome this difficult moment.  As there was one freezing cold day in Berlin
at a late afternoon in November. We had occupied the bathhouse on PrenzlauerBerg for hours which turned out to be a splendour arrangement of neo roman arcades under the dome spamming over the empty pool. We have gotten tired of the cold, carrying the portable heaters around that would not help much (as it turned out) and the numerous flash heads to light the extensive building. Whatever we set up felt awkward,- and this following shot would just not happen, until Nadja Auermann restrained from taking instructions and suggested "May I inspire you this time?" She demanded a look on the monitors that were adjusted to
the digital cameras, went back to the spot we set up lights for her- tried two three poses she checked on the displays, meanwhile turned to her… and there it was: THE PERFECT POSITION FOR THE LIGHT. All the problems negated with the perfect "kraft durch freude" figurine as inspired by Leni Riefenstahl and this is the difference when working with experienced models (or as we call them "mannequins"- when they are at their best). Its like driving a fast car that reacts to the slightest command... intuitively, as perfectly engineered. Like Natasha Vojnovic, another one on our favourite models list. For this shooting we had to move our dates several times in order to meet Natasha’s timetable. Usually one would change the girl see it like a carousel with options whirling which when stops one drops off, but it was impossible for us imagining the “story” with anybody else than her. She finally flew in that morning from New York. Natasha can grasp the most complex diffuse idea and form it into reality in such a speed that the camera can barely follow. She would offer even plenty of variations and interpretations for each pose. Sometimes leading to a “coup de foudre” leaving every one speechless…Especially when the model performed a 10 minute lasting
screaming session at the "MONUMENT OF NOW" of Dakis Ioannou, where she seemed out
of her mind acting as a hysterical "dame de bourgeoisie" but at the same time being aware of her body in such a manner that she surely was conscious on what her smallest finger would look like. ….Or Leticia Birkheuer staring into the gleaming August sun in Monemvassia, without even batting until tears would run down her cheeks and we've got the shot.…Or Andres Segura in a burnt down forest on mount of Parnitha, freezing in the breeze with a young goat on his shoulders that just would not want to look at its best- bleating constantly, trying to get off him, floundering hoofs all over but again a force came and made  the wind stop as did the goat from moaning. It lay his head to Andres cheek- as in rest, one shot it was, we knew that was it, we had planned this image for years- carried the idea with us- and everything was perfect and gone again…But Andres as well, he had rarely looked so sensual in a photograph before and since......
After all the moments that we are given this makes the working and the work precious to us. In the best case circumstances can transport and evoke an emotion to the onlooker that he won’t forget so quickly. At times this moment captured lasted just a fraction of a second…And at times something magical embraces us for all the period we gather together
with the team working on a project.....". NOTE: All images by Rene Habermacher and Jannis Tsipoulanis. The copyright of the test belongs to Filep Motwary and Un nouVeau iDEAL 

Dear iDEALS, the following story was made especially for Un nouVeau iDEAL, by friend/photographerJohn MitropoulosHair & Make up by Stellar
Model: Jason
 

On my way home, I passed by my older neighborhood.. ...Coming to you later, a great interview I did with photographers duo ZOREN & MINORI aka MiZo.

Dear iDEALS, for those of you who appreciate the History of Modern Fashion, today I have decided to present one of the most important names since the 1960's, Veruschka. She was born inin East Prussia as Countess Vera Gottliebe Anna von Lehndorff. And before the biggining of the Second World War, she enjoyed a wealthy lifestyle residing in East Prussia in a 100-room house on an enormous estate that had been in her family for centuries. Her father, Count Heinrich Graf von Lehndorff-Steinort, was a wealthy landowner and German army reserve officer who became a key member of the German Resistance after witnessing Jewish children being beaten to death. Her dad was executed for attempting to assassinate Adolf Hitler in the July 20 Plot. After his death, the remaining family members spent their times in camps until the end of World War II. By the end of the war, her family was left homeless. Her traumatic childhood experiences later triggered heavy depression in 1974. She studied art in Hamburg and then to Florence where she was discovered at age 20 by the photographer Ugo Mulas and became a full-time model. Back then tall models were not considered desirable in Paris, but there she met Eileen Ford, head of the prestigious Ford Modeling Agency. In 1961, she moved to New York City, but she did not score any booking. To make her stand out she returned to Munich and told people that she was really from Russia and changed her name to create a mysterious persona, which earned her many bookings. She had also garnered attention when she made a brief yet powerful five minute appearance in the cult film Blow Up by Michelangelo Antonioni in 1966. On my way to Cyprus I bought the DVD, something I wanted for some years now...Maybe from the times when I was staying in Milano, as a fashion student 9 years ago. I rememebr it was the Men's shows and Vivienne Westwood held a party at a club named MOLTO. In the space there was a screening of the film and I always carry in my head.In the same year, she did her first shoot wearing nothing but body paint, which she would continue to do for years. She once worked with Salvador Dalí and photographer Peter Beard, who took her to Kenya, where she painted herself with black shoe polish to resemble surreal plants and animals in an attempt to "go native". At her peak, she earned as much as $10,000 a day. In 1975, however, she departed from the fashion industry due to disagreements with Grace Mirabella, the newly appointed editor-in-chief of Vogue, who wanted to change her image to make it more relatable and approachable to average women. In 1985, she entered the art world putting on a body-painting show in Tribeca; on her naked body, she was painted with different outfits transforming her into wild animals and archetypes such as film stars, dandies, gangsters and dirty old men. Occasionally, she still appears on catwalks for grate names such as Helmut Lang (before the designer left the House) or Anne Demelemester...

Dear iDEALS, today I am presenting a photographer who has made my interest rise to heavens. Each of her project's is a controversial poem of our times. Most of you know her from her last years collaboration with Alexander McQueen's diffusion line. Toyin, I am a fan

A big THANK YOU to my Godparents Moesis and Maria for giving me the freedom to use their farm. Thank you Olga for being the most adorable sister-in-law..

Dear iDEALS, the video project started by Diane Pernet and Dino Dinco is getting ready for it's next round. This is Jeremy Scott's entry, featuring Amber Valetta, Asia Argento, Lisa Marie, Tori Spelling.... . Please visit A SHADED VIEW ON FaSHION to read all the information on how to send your own video and be part of this amazing idea.