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#CSMiniAustin
WELCOME
Mini Austin
Mini Austin
Louise Shannon
Shane Walter
George Buckenham
Olivia Solon
Adrian Hon
Matt Rice/Sennep
Dan Maher
Alexandra Deschamps-Sonsino
V&A Memory Bank
8th April
Louise Shannon
V&A
Mini Austin
Mini Austin
Shane Walter
onedotzero
Mini Austin
George Buckenham
Wild Rumpus
Mini Austin
Mini Austin
Dan Maher
Explosive Alan Productions
Mini Austin
Olivia Solon
Wired
Mini Austin
Mini Austin
Adrian Hon
Six to start
Mini Austin
Matt Rice
Sennep
Mini Austin
Mini Austin
!
!
Alexandra Deschamps-Sonsino
Designswarm
Mini Austin
Mini Austin
28
Cyrus Vantoch-Wood
Creative Director
Cheil
Cyrus Vantoch- Wood
Mini Austin
© 2014 Cheil Worldwide
30
31
Who’s idea is it anyway?
32
Ownership
33
Individual ownership gives us:
Singularity
Control
34
Collaborative ownership gives us:
Perspective
Objectivity
Diversity
35
36
JAMES BROWN
37
JAMES BROWN
38
JAMES BROWN
39
40
It’s not getting simpler.
41
Using process to navigate
complexity and spread the load.
42
PROBLEM INSIGHT CONCEPT SOLUTION
43
PROBLEM
INSIGHT
CONCEPT
SOLUTION
AGILE
EVOLVING IDEAS TOGETHER
PROBLEM
INSIGHT
CONCEPT
SOLUTION
PROBLEM
INSIGHT
CONCEPT
SOLUTION
44
45
UNLEASHING HUMAN POTENTIAL
46
Launching People
Samsung
© 2014 Cheil Worldwide
47
48
Mini Austin
Mini Austin
Who’s idea is it and who’s idea will it be?
52
over 15 localisations
© 2014 Cheil Worldwide
53
© 2014 Cheil Worldwide
54
© 2014 Cheil Worldwide
55
© 2014 Cheil Worldwide
56
57
Who’s idea is it anyway?
58
Does it really matter?
59
Idea - Action = Shit
60
Thanks
Tim
Noakes
With print titles rushing to become digital first, 	

why are website publishers bucking the trend
and expanding into print?
Press Print
dazeddigital.com
For over 20 years Dazed
has embraced creative
rebels, launching and
nurturing talent like:
!
Alexander McQueen
!
The Chapman brothers
!
Gareth Pugh
!
Nicola Formichetti
!
The xx
!
Lottie Moss
!
OFWGKTA
!
Lana Del Rey
!
Florence + the Machine
!
Chance The Rapper
Lupita Nyong’o
In January we launched our Girls Rule the World issue
!
Took a risk by putting an unknown actress on the cover
!
Gamble paid off – issue went viral. Two months later
Lupita won the Oscar for Best Supporting Actress
!
The issue also marked the end of our monthly print
cycle and the start of a new era…
!
!
Declare Independence
Dazed spring redesign
Scaled back print production
from 12 issues per year to 6 to
keep in line with our Digital
First approach
!
Redesigned and refocused title
with more fashion content
!
Increased production values,
making the magazine more
collectible
!
Cut “& Confused” from the
logo
Why are you so attracted to abandoned
factories?
I’ve had a love affair for a long time with
factories and industry – primarily the
smokestack industry. I love all the textures
associated with it. It’s so much about the
beautiful light and shapes.
When you enter them, is it like walking on to
the set of one of your own movies?
No, I don’t think I’ve ever shot a scene in
factories like these. It’s an incredible mood.
I feel like I’m in a place that’s just magical, where
nature is reclaiming these derelict factories.
It’s very dreamy. Every place you turn, there’s
something so sensational and surprising –
it’s the Beatles’ Magical Mystery Tour.
Is the world of these factories akin to that of
Eraserhead and Mulholland Drive?
Yes. Every film has its story. It has to be a certain
place, with a certain light, with certain things
said by certain people. Then you make a world
in cinema that didn’t exist before. The world of
Eraserhead was inspired by Philadelphia, a bit of
an industrial city. I fell in love with Philadelphia
for its architecture and mood. But now all the
cities are looking more and more the same.
The real treasures are going away; the mood
they create is going away. Graffiti is one of the
worst things that ever happened to a city.
Do you have a favourite from the series?
I love all of them. But again, it’s the mood,
shapes and textures – it’s something that thrills
my soul. The way the light can fall on a factory
is the same way the light can fall on a body.
One slight turn of the light and it’s a brand new
thing. It just keeps going on and on and on.
Why did you choose to shoot photographs
of these factories versus a film?
Every medium is its own thing and is infinitely
deep. And there’s a connection, obviously,
between cinema and still photography. For me,
still photography was born out of cinema, but a
still is just one frame that pulls you deeper and
deeper in. It’s about the beauty of one image.
Is the disused industrial aesthetic being
forgotten today?
It’s disappearing. In north England, I was in
search of what I was told would be the greatest
factories. The time I was up there, they were
destroying one smokestack every week.
All the factories were being torn down. It was a
nightmare for me. I couldn’t believe it. I missed
them by just a couple of years.
The photos resonate with a kind of veiled
terror. Is the exploration of good and evil
important to you?
No, but there’s a certain amount of fear
connected to industry for me. As a child,
I grew up in the northwest of America, where
there weren’t any giant factories, none of
that mood. But my mother was from Brooklyn,
so we visited my grandparents a lot, and
there it was a whole different story. I got a
big fear of subways and the certain smell of
a city. Sometimes these factories capture
some of that. But mostly, it’s a kind of beauty
connected to fire and smoke, steel, concrete,
glass and all kinds of incredible machine parts.
And nature reclaiming them. The whole thing is
a dance. And it’s beautiful to be in that dance,
photographing it.
Does nature reclaiming industry have to do
with the failure of technology?
It has to do with change. Those factories have
served their purpose. What’s happening now
are smaller, more efficient, less dreamy things
that don’t have the same feel of power and
majesty. It’s a little depressing. But I do like
contemporary mixtures too.
Can you choose one image in the world that
really gets under your skin?
Naked women. The human body is very
special, and throughout time people have been
painting and photographing it, and there’s a
reason for that.
Anything to add?
Everybody’s different. So when someone steps
in front of a photograph, it’s a unique experience
they’re having. It doesn’t matter what the
photographer or filmmaker says. The work has
to speak to the people.
David Lynch’s
factory fantasyland
Text Christine Jun Photography Brad Elterman
David Lynch’s factory photographs – now on show at The
Photographers’GalleryinLondon–revealthegreatfilmmaker’s
lifelong fascination with abandoned industrial buildings. The
architectural compositions echo his most revered work – think
of the claustrophobic attack on domesticity in Eraserhead, the
looming shacks of Twin Peaks, the vortex swirl of Mulholland
Drive’s nightmarish party scene. The black-and-white stills
depict menacing silhouettes, gutted interiors and billowing
smokestacks, using blurred light and layered textures to
stretch the possibilities of photography to their outer limits.
Until March 30, 2014, David Lynch: The Factory Photographs, The Photographers’ Gallery, London. A book of the exhibition is out now, published by Prestel
96 97
Naked Truth
150 151
François Nars
and the immaculate makeover
Famed for creating Madonna’s Sex face with Steven Meisel and for shaving
off Kristen McMenamy’s eyebrows in 1992 – an act that became emblematic
of the grunge era – François Nars has spent his career exploring the
transforming power of make-up. In the haze of New York’s electric 80s and
90s scene, he paved the way for a look that elevated the likes of Linda
Evangelista and Naomi Campbell to supermodel status, releasing his own
make-up line
(including the
Orgasm and
Deep Throat
blush shades)
that offered
the same
possibilities
for women
across the
world. Despite
spending his life
collaborating as
both a make-
up artist and
photographer,
Nars has always
been attracted
to isolation, and
has taken this
to its logical
extreme by
buying his own
remote private
island in Tahiti.
Did you always have
hopes of owning a private
Island?
It wasn’t planned at all – well,
maybe deep inside of me!
I probably liked islands as
a kid watching movies, but
I’ve never been like, ‘Oh my
God, I want to own an island!’
I’ve always been attracted to
the tropical and love the idea
that you’re on the other side of
the planet. It’s mindblowing to
see places that are still totally
untouched. At the same time,
it’s wild owning a place like
that – it can be a big burden
and there’s a lot to maintain.
Do you know much about
its history?
Oh yes, I’ve done lots of
research! I bought so many
antique books. A French
architect, Christian Liaigre,
helped me build the house,
so we looked at its culture
and architecture. Of course,
we read about Gauguin’s time
there and writers like Pierre
Loti who spoke about this part
of the world.
There’s also a certain
darkness to these islands,
as you captured in
your photo book Faery
Lands: Tahiti.
Yes, the islands are sort of
black-and-white in a way.
The last thing I wanted to do
was to have the book in colour!
I started finding people on
the street or on the side of
the road and asking them
if I could take their picture.
It was almost old-fashioned
portraiture, like people took
pictures back in the late
1800s or early 1900s. Then,
for the landscapes, I travelled
to different archipelagos.
The one I loved most was
where Gauguin did most of his
work, the Marquesas Islands.
They’re so remote and
untouched, but also very dark
– something you don’t really
expect from French Polynesia.
Were you always
dreaming things up as a
teenager?
Actually, I was a pretty lonely
teenager. I loved being by
myself and had very few
friends. So, yes, I would lock
myself up into a dream world.
I would skip school to go to the
movie theatre. I watched a lot
of movies. It was practically
empty during the week, so
I would just skip school and
watch fabulous European
movies! You know, I wasn’t
going to see blockbusters
but the really underground
movies. It was really the best
thing I’ve ever done.
Then the dream came true
when you hit New York in
the 80s!
Yes, it was exhilarating. I was
lucky enough to meet Steven
Meisel, who was a really
big mentor for me. We built
something strong together
by creating all those girls –
models like Linda and Naomi.
We really did create them.
I mean, we worked hard but
we played hard too. I used to
videotape all of our shoots
during the day and then at
night we would all watch them
back. The best moment with
Steven was probably when
we did the Sex book with
Madonna in Florida. We had so
much fun doing those crazy
pictures with her.
What were your first
impressions of Linda and
Naomi?
I remember when Naomi first
came to the studio. She’d
barely modelled and was so
incredibly shy, so she just sat
in the corner. I started painting
her and I thought, this girl has
potential. Steven and I fell in
love with Linda. It’s funny, she
said to me that if she didn’t
make it in the next year she
was going to quit. I did like,
3,000 different looks on her:
we bleached her hair and we
cut her hair off. I think she
wouldn’t deny it, but Steven,
myself and Oribe (Canales)
were really the ones that
created Linda Evangelista!
And what was the most
extreme transformation?
The most extreme? Well, our
goal was to always make the
girl look larger than life, to
create superstars. No matter
how crazy the look was we
never gave up on making
them look beautiful. That was
always our motto. I mean we
dyed Linda’s hair so much –
it went from platinum blond
to bright red and black – and
I tweezed her eyebrows so
much I had to build them up
completely from scratch!
I didn’t like her natural ones.
Is there anywhere else in
the world you would like
to explore?
You know, in a crazy way,
I always wanted to go to New
Guinea and Papua and do
a book in the middle of the
jungle on all of the primitive
tribes. It’s probably very
difficult to do, but they wear all
of this incredible tribal make-
up and the way they dress
themselves is quite inspiring.
The Tahiti book took 12 years
to do, going back and forth.
So, who knows! If I come back
alive and have not been eaten
or killed!
imagecourtesyofStevenMeiselandArt+Commerce
Text Isabella Burley
Image: Kristen McMenamy in American Vogue, October 1992, shot by Steven Meisel. Make-up by François Nars
108 109
Photography Ben Toms Styling Robbie Spencer
Miu MiuSonia Rykiel
172 173
Dazed’s new print cycle has enabled
deeper digital expansion, including an
original video vertical, exclusive
longreads and a news feed focusing on
fringe digital youth culture
!
We are uploading at least 18 new pieces
of content every day
!
In March we achieved:
!
1.5 million unique visitors
!
7 million page views
!
Overall 500% growth in one year
Dazed Digital
Mini Austin
Notable digital publishers
expanding into print
Pitchfork
Hypebeast
Jezebel
Rookie
Google
Tech City
Protein
Net-a-Porter
HHA Dazed
panel:
ALEX CAPES,
HUMAN AFTER ALL
!
“Digital publishers are always exploring new channels. Print is just another channel. Collectibility is
key – people still have bookshelves to fill. I think the misnomer is that it’s all about digital versus print.
It’s not a battle.”
Why are digital publishers investing in a
“dying medium”?
KIRSTY DARE,
PROTEIN
!
“The Protein journal is never going to be a revenue channel that matches what we do on the digital
side of things. The editorial in the journal is as strong if not stronger than the output on the web, but
the ad network we work with is the commercial core of our business. We just enjoy making a printed
magazine - we love to produce something that you can actually hold (and send to our Mums).”
MARCUS FAIRS,
DEZEEN
!
“It is a massive battle between organisations and brands, in print and online. It’s brutal. One of the main
reasons why websites are making magazines is that advertisers love print. Someone asked Tyler Brûlé,
who started Wallpaper* and now runs Monocle, ‘What advantage does print have over the internet?’ And
he said, ‘The back cover.’ The back cover is insanely valuable to advertisers. Even with precise internet
metrics, they love it. If your journals aren’t making any money you need to get a new sales team.”
ALEX CAPES,
HUMAN AFTER ALL
!
“I think the content has to have something interesting about it. You need strong
voices as well as strong sales tactics. When you identify with a brand, you kind of
want them in your life. Eventually more consumer publications will cut out the
middle man and be made by brands.”
!
Do consumers trust the editorial remit
of e-commerce magazines like Porter?
KIRSTY DARE,
PROTEIN
!
“What publisher isn’t in bed with brands anyway? That’s how the advertising model works. In
terms of Porter, they’ve positioned themselves as an authority in terms of the brands that they
select that they have on the site. The fact is, if you’re a style-obsessed, fashion-hungry user
online, you actually trust them as a source. They’re seen as an authority in the fashion world.”
MARCUS FAIRS,
DEZEEN
!
“If you believe in the brand you’ll put aside all those old fashioned print values. That’s why print was
dead because attitudes were locked in a 19th century model of journalism where the reporters were
on one floor and the sales team were on another floor. That business model isn’t valid any more. If
they trust your taste, they’ll also buy stuff direct from you. Brand eco-systems must expand to
survive. And print publishers have to find new ways to distribute content to get the edge.”
ALEX CAPES,
HUMAN AFTER ALL
!
“I like the idea of short-form print and long-form online, I think that could be
something that we will see. Long-form doesn’t mean good though. If it’s a good
article that immerses you it doesn’t need video, it doesn’t need distractions. I
think niche publications will continue to do really well, just the same way as
vinyl has continued to do well in its own small way. I think magazine shelves
will disappear. How long have WH Smiths got?”
How will magazine content change?
KIRSTY DARE,
PROTEIN
!
“Print is great for a number of things, but we can’t forget how or why the
internet is so great and that’s the technology – we can do much more with
the content to go beyond the words. Social media has got readers used to
shorter and shorter text, but I think there’s a growing appetite for long
form content to view offline.”
MARCUS FAIRS,
DEZEEN
!
“We started off with long content on the internet and people weren’t used to
reading on screens so it got shorter. Then it got even shorter. But I think we’re
going to see a switch. Print has the limitation of space and a printed image is still
a lot more rewarding in a lot of ways than a web image; you don’t have to rely
on electricity, wi-fi or anything like that. So that’s my paradoxical prediction:
print will go short form and the internet will go long-form.”
dazeddigital.com
Magnus Fitchett
Daniele Fiandaca
Martin Harrison
Stephen Lepitak
Daniele Fiandaca
Tech Trends from
SXSW
© 2013 Cheil Worldwide
Wearable tech
© 2013 Cheil Worldwide
Wearable tech
© 2013 Cheil Worldwide
© 2013 Cheil Worldwide
Wearable tech
© 2013 Cheil Worldwide
© 2013 Cheil Worldwide
© 2013 Cheil Worldwide
© 2013 Cheil Worldwide
2013
© 2013 Cheil Worldwide
2013
© 2013 Cheil Worldwide
2014
© 2013 Cheil Worldwide
2014 - Robots
© 2013 Cheil Worldwide
Questions
Thank you.
Martin Harrison
Mini Austin
Nadya
Powell
‹
Mini Austin
@NadsBads

@MRY_UK

@InnovationSoc!
!
www.innovationdisorder.com
Mini Austin
Building
advocacy
between
students
and
brands
since
2003
Please stand up!
Mini Austin
There is a lack of diversity in
Marketing
Why is
this a
problem
Powell?
Because some people find it harder
to get jobs
Because the work they produce is all
the same
Because if businesses don’t change
they will fail
Mini Austin
Jon Burkhart, Real-Time Content Labs!
@Jonburkhart
• Image of Jon’s first talk
Mini Austin
Austin!
Hackney!
Mini Austin
• Image of the teams
The programme
The brief
The
hackathon
The 6
weeks !
hard work
Mentors ShellsuitZombie HCC & ACC
Mini Austin
The programme
The brief
The
hackathon
The 6
weeks !
hard work
The programme
The brief
The
hackathon
The 6
weeks !
hard work
The SXSW meet-up @ The Driskill
Mini Austin
Mini Austin
Mini Austin
The programme
The brief
The
hackathon
The 6
weeks !
hard work
The SXSW meet-up @ The Driskill
Live pitch @ Hackney House
Mini Austin
Mini Austin
Mini Austin
Mini Austin
Mini Austin
Mini Austin
Mini Austin
What
did we
achieve
?
These people think differently
Businesses will change, innovate
and survive
Young people – from diverse backgrounds
– are seen as a business asset
What
did the
students
think?
“I left each session
feeling excited,
motivated, challenged
and ready to take on the
world”
What
next?
Be part of Millennial Mentoring in 2015
Thank
you
43
THANK
YOU

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Mini Austin

  • 5. Louise Shannon Shane Walter George Buckenham Olivia Solon Adrian Hon Matt Rice/Sennep Dan Maher Alexandra Deschamps-Sonsino
  • 30. © 2014 Cheil Worldwide 30
  • 31. 31 Who’s idea is it anyway?
  • 33. 33 Individual ownership gives us: Singularity Control
  • 34. 34 Collaborative ownership gives us: Perspective Objectivity Diversity
  • 35. 35
  • 39. 39
  • 41. 41 Using process to navigate complexity and spread the load.
  • 44. 44
  • 47. © 2014 Cheil Worldwide 47
  • 48. 48
  • 51. Who’s idea is it and who’s idea will it be?
  • 53. © 2014 Cheil Worldwide 53
  • 54. © 2014 Cheil Worldwide 54
  • 55. © 2014 Cheil Worldwide 55
  • 56. © 2014 Cheil Worldwide 56
  • 57. 57 Who’s idea is it anyway?
  • 58. 58 Does it really matter?
  • 62. With print titles rushing to become digital first, why are website publishers bucking the trend and expanding into print? Press Print
  • 63. dazeddigital.com For over 20 years Dazed has embraced creative rebels, launching and nurturing talent like: ! Alexander McQueen ! The Chapman brothers ! Gareth Pugh ! Nicola Formichetti ! The xx ! Lottie Moss ! OFWGKTA ! Lana Del Rey ! Florence + the Machine ! Chance The Rapper
  • 64. Lupita Nyong’o In January we launched our Girls Rule the World issue ! Took a risk by putting an unknown actress on the cover ! Gamble paid off – issue went viral. Two months later Lupita won the Oscar for Best Supporting Actress ! The issue also marked the end of our monthly print cycle and the start of a new era… ! !
  • 66. Dazed spring redesign Scaled back print production from 12 issues per year to 6 to keep in line with our Digital First approach ! Redesigned and refocused title with more fashion content ! Increased production values, making the magazine more collectible ! Cut “& Confused” from the logo
  • 67. Why are you so attracted to abandoned factories? I’ve had a love affair for a long time with factories and industry – primarily the smokestack industry. I love all the textures associated with it. It’s so much about the beautiful light and shapes. When you enter them, is it like walking on to the set of one of your own movies? No, I don’t think I’ve ever shot a scene in factories like these. It’s an incredible mood. I feel like I’m in a place that’s just magical, where nature is reclaiming these derelict factories. It’s very dreamy. Every place you turn, there’s something so sensational and surprising – it’s the Beatles’ Magical Mystery Tour. Is the world of these factories akin to that of Eraserhead and Mulholland Drive? Yes. Every film has its story. It has to be a certain place, with a certain light, with certain things said by certain people. Then you make a world in cinema that didn’t exist before. The world of Eraserhead was inspired by Philadelphia, a bit of an industrial city. I fell in love with Philadelphia for its architecture and mood. But now all the cities are looking more and more the same. The real treasures are going away; the mood they create is going away. Graffiti is one of the worst things that ever happened to a city. Do you have a favourite from the series? I love all of them. But again, it’s the mood, shapes and textures – it’s something that thrills my soul. The way the light can fall on a factory is the same way the light can fall on a body. One slight turn of the light and it’s a brand new thing. It just keeps going on and on and on. Why did you choose to shoot photographs of these factories versus a film? Every medium is its own thing and is infinitely deep. And there’s a connection, obviously, between cinema and still photography. For me, still photography was born out of cinema, but a still is just one frame that pulls you deeper and deeper in. It’s about the beauty of one image. Is the disused industrial aesthetic being forgotten today? It’s disappearing. In north England, I was in search of what I was told would be the greatest factories. The time I was up there, they were destroying one smokestack every week. All the factories were being torn down. It was a nightmare for me. I couldn’t believe it. I missed them by just a couple of years. The photos resonate with a kind of veiled terror. Is the exploration of good and evil important to you? No, but there’s a certain amount of fear connected to industry for me. As a child, I grew up in the northwest of America, where there weren’t any giant factories, none of that mood. But my mother was from Brooklyn, so we visited my grandparents a lot, and there it was a whole different story. I got a big fear of subways and the certain smell of a city. Sometimes these factories capture some of that. But mostly, it’s a kind of beauty connected to fire and smoke, steel, concrete, glass and all kinds of incredible machine parts. And nature reclaiming them. The whole thing is a dance. And it’s beautiful to be in that dance, photographing it. Does nature reclaiming industry have to do with the failure of technology? It has to do with change. Those factories have served their purpose. What’s happening now are smaller, more efficient, less dreamy things that don’t have the same feel of power and majesty. It’s a little depressing. But I do like contemporary mixtures too. Can you choose one image in the world that really gets under your skin? Naked women. The human body is very special, and throughout time people have been painting and photographing it, and there’s a reason for that. Anything to add? Everybody’s different. So when someone steps in front of a photograph, it’s a unique experience they’re having. It doesn’t matter what the photographer or filmmaker says. The work has to speak to the people. David Lynch’s factory fantasyland Text Christine Jun Photography Brad Elterman David Lynch’s factory photographs – now on show at The Photographers’GalleryinLondon–revealthegreatfilmmaker’s lifelong fascination with abandoned industrial buildings. The architectural compositions echo his most revered work – think of the claustrophobic attack on domesticity in Eraserhead, the looming shacks of Twin Peaks, the vortex swirl of Mulholland Drive’s nightmarish party scene. The black-and-white stills depict menacing silhouettes, gutted interiors and billowing smokestacks, using blurred light and layered textures to stretch the possibilities of photography to their outer limits. Until March 30, 2014, David Lynch: The Factory Photographs, The Photographers’ Gallery, London. A book of the exhibition is out now, published by Prestel 96 97
  • 69. François Nars and the immaculate makeover Famed for creating Madonna’s Sex face with Steven Meisel and for shaving off Kristen McMenamy’s eyebrows in 1992 – an act that became emblematic of the grunge era – François Nars has spent his career exploring the transforming power of make-up. In the haze of New York’s electric 80s and 90s scene, he paved the way for a look that elevated the likes of Linda Evangelista and Naomi Campbell to supermodel status, releasing his own make-up line (including the Orgasm and Deep Throat blush shades) that offered the same possibilities for women across the world. Despite spending his life collaborating as both a make- up artist and photographer, Nars has always been attracted to isolation, and has taken this to its logical extreme by buying his own remote private island in Tahiti. Did you always have hopes of owning a private Island? It wasn’t planned at all – well, maybe deep inside of me! I probably liked islands as a kid watching movies, but I’ve never been like, ‘Oh my God, I want to own an island!’ I’ve always been attracted to the tropical and love the idea that you’re on the other side of the planet. It’s mindblowing to see places that are still totally untouched. At the same time, it’s wild owning a place like that – it can be a big burden and there’s a lot to maintain. Do you know much about its history? Oh yes, I’ve done lots of research! I bought so many antique books. A French architect, Christian Liaigre, helped me build the house, so we looked at its culture and architecture. Of course, we read about Gauguin’s time there and writers like Pierre Loti who spoke about this part of the world. There’s also a certain darkness to these islands, as you captured in your photo book Faery Lands: Tahiti. Yes, the islands are sort of black-and-white in a way. The last thing I wanted to do was to have the book in colour! I started finding people on the street or on the side of the road and asking them if I could take their picture. It was almost old-fashioned portraiture, like people took pictures back in the late 1800s or early 1900s. Then, for the landscapes, I travelled to different archipelagos. The one I loved most was where Gauguin did most of his work, the Marquesas Islands. They’re so remote and untouched, but also very dark – something you don’t really expect from French Polynesia. Were you always dreaming things up as a teenager? Actually, I was a pretty lonely teenager. I loved being by myself and had very few friends. So, yes, I would lock myself up into a dream world. I would skip school to go to the movie theatre. I watched a lot of movies. It was practically empty during the week, so I would just skip school and watch fabulous European movies! You know, I wasn’t going to see blockbusters but the really underground movies. It was really the best thing I’ve ever done. Then the dream came true when you hit New York in the 80s! Yes, it was exhilarating. I was lucky enough to meet Steven Meisel, who was a really big mentor for me. We built something strong together by creating all those girls – models like Linda and Naomi. We really did create them. I mean, we worked hard but we played hard too. I used to videotape all of our shoots during the day and then at night we would all watch them back. The best moment with Steven was probably when we did the Sex book with Madonna in Florida. We had so much fun doing those crazy pictures with her. What were your first impressions of Linda and Naomi? I remember when Naomi first came to the studio. She’d barely modelled and was so incredibly shy, so she just sat in the corner. I started painting her and I thought, this girl has potential. Steven and I fell in love with Linda. It’s funny, she said to me that if she didn’t make it in the next year she was going to quit. I did like, 3,000 different looks on her: we bleached her hair and we cut her hair off. I think she wouldn’t deny it, but Steven, myself and Oribe (Canales) were really the ones that created Linda Evangelista! And what was the most extreme transformation? The most extreme? Well, our goal was to always make the girl look larger than life, to create superstars. No matter how crazy the look was we never gave up on making them look beautiful. That was always our motto. I mean we dyed Linda’s hair so much – it went from platinum blond to bright red and black – and I tweezed her eyebrows so much I had to build them up completely from scratch! I didn’t like her natural ones. Is there anywhere else in the world you would like to explore? You know, in a crazy way, I always wanted to go to New Guinea and Papua and do a book in the middle of the jungle on all of the primitive tribes. It’s probably very difficult to do, but they wear all of this incredible tribal make- up and the way they dress themselves is quite inspiring. The Tahiti book took 12 years to do, going back and forth. So, who knows! If I come back alive and have not been eaten or killed! imagecourtesyofStevenMeiselandArt+Commerce Text Isabella Burley Image: Kristen McMenamy in American Vogue, October 1992, shot by Steven Meisel. Make-up by François Nars 108 109
  • 70. Photography Ben Toms Styling Robbie Spencer Miu MiuSonia Rykiel 172 173
  • 71. Dazed’s new print cycle has enabled deeper digital expansion, including an original video vertical, exclusive longreads and a news feed focusing on fringe digital youth culture ! We are uploading at least 18 new pieces of content every day ! In March we achieved: ! 1.5 million unique visitors ! 7 million page views ! Overall 500% growth in one year Dazed Digital
  • 83. ALEX CAPES, HUMAN AFTER ALL ! “Digital publishers are always exploring new channels. Print is just another channel. Collectibility is key – people still have bookshelves to fill. I think the misnomer is that it’s all about digital versus print. It’s not a battle.” Why are digital publishers investing in a “dying medium”? KIRSTY DARE, PROTEIN ! “The Protein journal is never going to be a revenue channel that matches what we do on the digital side of things. The editorial in the journal is as strong if not stronger than the output on the web, but the ad network we work with is the commercial core of our business. We just enjoy making a printed magazine - we love to produce something that you can actually hold (and send to our Mums).” MARCUS FAIRS, DEZEEN ! “It is a massive battle between organisations and brands, in print and online. It’s brutal. One of the main reasons why websites are making magazines is that advertisers love print. Someone asked Tyler Brûlé, who started Wallpaper* and now runs Monocle, ‘What advantage does print have over the internet?’ And he said, ‘The back cover.’ The back cover is insanely valuable to advertisers. Even with precise internet metrics, they love it. If your journals aren’t making any money you need to get a new sales team.”
  • 84. ALEX CAPES, HUMAN AFTER ALL ! “I think the content has to have something interesting about it. You need strong voices as well as strong sales tactics. When you identify with a brand, you kind of want them in your life. Eventually more consumer publications will cut out the middle man and be made by brands.” ! Do consumers trust the editorial remit of e-commerce magazines like Porter? KIRSTY DARE, PROTEIN ! “What publisher isn’t in bed with brands anyway? That’s how the advertising model works. In terms of Porter, they’ve positioned themselves as an authority in terms of the brands that they select that they have on the site. The fact is, if you’re a style-obsessed, fashion-hungry user online, you actually trust them as a source. They’re seen as an authority in the fashion world.” MARCUS FAIRS, DEZEEN ! “If you believe in the brand you’ll put aside all those old fashioned print values. That’s why print was dead because attitudes were locked in a 19th century model of journalism where the reporters were on one floor and the sales team were on another floor. That business model isn’t valid any more. If they trust your taste, they’ll also buy stuff direct from you. Brand eco-systems must expand to survive. And print publishers have to find new ways to distribute content to get the edge.”
  • 85. ALEX CAPES, HUMAN AFTER ALL ! “I like the idea of short-form print and long-form online, I think that could be something that we will see. Long-form doesn’t mean good though. If it’s a good article that immerses you it doesn’t need video, it doesn’t need distractions. I think niche publications will continue to do really well, just the same way as vinyl has continued to do well in its own small way. I think magazine shelves will disappear. How long have WH Smiths got?” How will magazine content change? KIRSTY DARE, PROTEIN ! “Print is great for a number of things, but we can’t forget how or why the internet is so great and that’s the technology – we can do much more with the content to go beyond the words. Social media has got readers used to shorter and shorter text, but I think there’s a growing appetite for long form content to view offline.” MARCUS FAIRS, DEZEEN ! “We started off with long content on the internet and people weren’t used to reading on screens so it got shorter. Then it got even shorter. But I think we’re going to see a switch. Print has the limitation of space and a printed image is still a lot more rewarding in a lot of ways than a web image; you don’t have to rely on electricity, wi-fi or anything like that. So that’s my paradoxical prediction: print will go short form and the internet will go long-form.”
  • 87. Magnus Fitchett Daniele Fiandaca Martin Harrison Stephen Lepitak
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  • 99. © 2013 Cheil Worldwide 2014
  • 100. © 2013 Cheil Worldwide 2014 - Robots
  • 101. © 2013 Cheil Worldwide Questions
  • 106.
  • 113. There is a lack of diversity in Marketing
  • 115. Because some people find it harder to get jobs
  • 116. Because the work they produce is all the same
  • 117. Because if businesses don’t change they will fail
  • 119. Jon Burkhart, Real-Time Content Labs! @Jonburkhart
  • 120. • Image of Jon’s first talk
  • 124. • Image of the teams
  • 125. The programme The brief The hackathon The 6 weeks ! hard work Mentors ShellsuitZombie HCC & ACC
  • 128. The programme The brief The hackathon The 6 weeks ! hard work The SXSW meet-up @ The Driskill
  • 132. The programme The brief The hackathon The 6 weeks ! hard work The SXSW meet-up @ The Driskill Live pitch @ Hackney House
  • 141. These people think differently
  • 142. Businesses will change, innovate and survive
  • 143. Young people – from diverse backgrounds – are seen as a business asset
  • 145. “I left each session feeling excited, motivated, challenged and ready to take on the world”
  • 147. Be part of Millennial Mentoring in 2015