Patrice chose to immerse himself in his Chinese experience while abroad. The opportunity for a personal chauffeur was turned down in favor of mixing with the hundreds of commuters, riding a bike to work and wearing the local working class shoes. His colleagues were not shy in making comment about his choices. This got Patrice thinking that there was actually something to this running joke and that his preferred local footwear might actually have commercial potential. The beginnings of the shoe brand Occident were born. He and his business partner acquired the brand soon after in order to import it to France while Patrice began preparations to leave behind his life in Asia and return to Paris. Shortly after he reconnected with Laetitia. Today their relationship is forever framed by a country that served as a basis for the direction of their lives in Paris with their son, Yume in their classically decorated apartment.

This portrait is part of our ongoing collaboration with ZEIT Online who present a special curation of our pictures on their site.

Patrice, how did your story with the footwear label Feiyue start? And how does it relate to you as a sneaker addict?
As far as I remember, I was attracted to shoes quite early. I liked the different textures, the colors and various shapes. Sneakers only came to my attention around the age of 16 or 17 years of age. My collection grew extremely fast when I moved in Tokyo. It was a sneaker addicts paradise. On an average week, I was buying six or seven pairs. My collection was essentially built on big brands, the ones running the business worldwide.

During my travels in Asia, I grew tired of these brands. I was looking for something else. So I started paying attention to locally made shoes and collected pairs from Vietnam and Cambodia. Once I was in China, I discovered Feiyue. A very basic shoe appreciated for its robustness and flexibility by martial arts practitioners. I found it interesting and bought few pairs. It is only years later, when I intended to buy new ones, that I discovered that they became hard to find. With a friend who is today my business partner, we managed to find the location of the production site. We went there only with the idea to get some pairs of shoes. On that day, we randomly met the manager, who told us he had decided to stop the production, due to a massive sales drop and a loss of interest in the product on the Chinese market. At this moment, something clicked in our minds and ten days later we came back with a project to acquire the brand. We were both stoked and stunned that our project got accepted. We looked at each other thinking ‘oops, what do we do now ?’. In the following weeks, I quit my job, came back to France and sold my sneaker collection to invest it in the brand.

Did you both meet in China originally?
Laetitia: Exactly. It was in 2005. I was in Shanghai for an event part of the year representing France in China. We were invited with corset maker Hubert Barrère to represent French fashion design and imagine a couture project that would be created by a Chinese team. We were welcomed by very friendly staff, among which included the event coordinator, Patrice Bastian. We both noticed each other and shared eyes contact during my stay, but at that time we were both in a relationship. It consisted of a very formal exchange of business cards, that was far as it went.

The funny thing is that we both have a strong recollection from that moment! A year later, in 2006, when Patrice moved back to Paris, he emailed all his friends in his network to catch up. I was part of his mailing list and answered ‘welcome back, let’s have a coffee sometime soon’. After few emails the coffee turned into dinner with just the two of us.

So you have both witnessed the birth and evolution of the each other’s brand?
Laetitia: Yes, indeed. We have been together since 2006. We moved in together in 2007 and it is true that we share a lot with each other about our work. We are both workaholics and Patrice’s opinion about my work is very important to me. He is a kind of manager and coach for me. As I work alone, he often guides me and offers advice.
Patrice: Laetitia takes a look and analyses the collections as a fashion designer and a woman. Her comments sometimes turn my head upside down, and that is a good thing!

Laetitia, what was your path before launching your own brand in 2010?
Laetitia: After my fashion design studies at ESMOD Paris, the corset maker Hubert Barrère spotted me. I was his assistant for a short time and then found a job in a sewing shop. For four years, I learnt the craft of sewing and discovered the world of haute couture. Thanks to various encounters, I was offered to design the collections of a new lingerie brand. I was 23 and had carte blanche to develop the entire basis of the brand. I had no experience in designing lingerie so this was a fabulous opportunity to specialise in what I was really drawn to: working on the body’s silhouette and corset structures that embellish it.

Within six months the brand had a lot of press and fast growing success. I really enjoyed my position there but over the seasons and with investors joining the company, the creative direction changed to a focus on the very sexy. This was too much for me. I wasn’t comfortable with it, so I left. In the following years I contributed on some great projects for fashion houses such as Christian Lacroix, Dolce & Gabbana and I also worked on the launch of Elie Saab’s first luxury ready-to-wear collection in France.

This sounds like a busy time for you…
Laetitia: Yes. In the evenings during fashion week season, I worked in workshops for haute couture collections. I also gave corset making classes, at Haarlem Fashion Institute in the Netherlands. I met many students who then went on to start their own collections. When they needed help, I was happy to contribute and this led to great collaborations. When I decided to launch Dément in 2010, I felt that I was ready skills-wise and had properly trained my eye over the years spent in different fashion houses. I wanted to develop my ideas and follow my own creative guidelines. Today I design for Dément and also work for a Lebanese cocktail dresses label, as production manager. I work directly in the workshops with the needlewomen and materials. That is what I love and where I come from.

How was born the concept of Dément?
Laetitia: It all started with the discovery of a magnetic system at a professional fair. When I told its creator that it would work well with panties, he first had a good laugh. I adapted the system for underpants and as the demand was growing, swimsuits and bras were added to the range. What I also really like in designing lingerie is the packaging. I love carefully wrapping the item in paper, folding it, putting it in the box and tying a nice ribbon around it.

What made both of you feel like it was the right time to fly solo and create your company? What motivated you?
Patrice: My discovery of the Feiyue shoe matched my desire to develop my own projects, after building teams and managing projects for years on behalf of other companies. My partner and I started the brand from scratch. We invested our savings to finance the first production run and the launch. It was a risky move for me. I was 35, left my job and came back to Paris to launch a brand. On one hand, my years as creative director in the event world sure gave me a nice share of experience and skill set, which was helpful for the launch and management of Feiyue. On the other hand, managing a brand requires other skills that I was not familiar with, such as marketing. We decided to do it our own way. We wanted to re-interpret this brand with a special story; by injecting artistic values in it. That is what motivates me.
Laetitia: To me, the most important thing is to be happy to go to work, to love what you do and build yourself a good life. Even if it means regular efforts, even sacrifices, we are not afraid to go through a lot of work. We both have many ideas and desires that motivate us.

In your opinion, what are the cornerstones for creating a brand and give it a personal touch?
Laetitia: I know that working for other brands gives me energy that can later fuel Dément. To do so, I have to accept that things go more slowly when working on your own, but I want to be comfortable with every piece I design. I want to produce quality products. I created the brand to be proud of it. It is possible to find a part of me in the brand’s personality. It is traditional with a sense of humor. To me, Dément is Julia Roberts’ reaction in Pretty Woman as Richard Gere solemnly offers her a necklace and pretends to shut the box on her fingers. She is natural, comfortable with herself and chic. This is the impression I wish to create with my brand.

How do you see your brand evolving?
Patrice: Going international. The question is, is it me that will carry out the expansion? Only time will tell. I feel more comfortable starting stories.
Laetitia: Making a brand grow is another job. After 15 years of experience in the design world and having witnessed how some little brands became big players, I am not naïve in this regard. Initiating a project and then letting it go to continue bigger, is not a problem for me. We are full of ideas. We are definitely attached to our current babies, but we know that one day we’ll have to let them go.

The business adventures you have started derive from a lot of personal investment. How did your son Yume change your way of living?
Laetitia and Patrice: It was indeed a new experience for both of us. As I mentioned before, we are real workaholics. Before Yume was born, we did not even notice that we were working all the time. At night, one of us would wake up and turn the computer on. Having Yume has forced us to make some changes… Our aim is to clearly separate work time and family time. At home, we do not work and stay put in front of our screens anymore. We can talk, brainstorm together but no more than that. During family time we play with Yume, go to exhibitions, and have afternoon snacks. Travels are also special moments. We have already been to the Maldives and on a skiing trip with Yume.

What do you do when you need a break from the everyday?
Patrice: We love simple things: our friends and good food. We love to gather and have a nice dinner or afternoon play dates with the kids. Laetitia loves cheese, wine and desserts. I’m more fond of the beginning ritual of cocktails.
Laetitia: Contrary to Patrice, I am really close to my family. I like visiting them, set the chairs in the garden with my mother, have a tea and give massages. From time to time, we ask our parents to babysit Yume and go on weekend away with just the two of us. This allows us to step back on the little hiccups of the everyday and most importantly strengthen our relationship as a couple.

Could you imagine living in another city?
Patrice: New York! We just came back from a short stay there. We are big fans and try to go there at least three times a year. We would love to move and spend a little while in that city. Last November, we met with Cedric Birhr and his wife Ai, for a day in Rockaway. At 7:30 a.m. we were on the beach, Cedric and I were on our boards in the water and the girls were lying on the sand. Because we live in Paris it is quite complicated to go surfing in France. I find it so rad, to live in New York, put the board in the van and be at the beach in less than an hour. I can picture the three of us for few years in New York. After that I will start working on a plan to live under the sun in Brazil. I have an idea. It is still blurry but it would be a dream to create an eco-lodge on a beach alongside the waves and spend half of the year there.

Thank you to both of you for this sweet afternoon!
Have a look at Dément and Feiyue to check out their respective projects.

This portrait is part of our ongoing collaboration with ZEIT Online who present a special curation of our pictures on their site. Have a look here.

Interview & Text: Léa Munsch
Photography: Fred Lahache

After a design internship at Vivienne Westwood, she entered the media business as editorial assistant and online contributor at Pop Magazine. Just one year later, Lilli became the features editor for the progressive concept store LN-CC while also assisting stylists Isabelle Kountoure and Vanessa Reid for publications such as Pop, V Magazine and L’Uomo Vogue. At the same time Lilli started building the FvF network in London, introducing us to a diverse artistic scene including artist Richie Culver, Hugo Tillman and Conor Donlon.

Following a temporary stay in Paris, where Lilli organized international screenings for the Holocaust documentaries directed by Philippe Halphen, she is now back in her adopted home of London. Here she is currently working at the agency A.I. doing PR for J.W.Anderson, A.P.C. Germany, and the aspiring design duo Marques’Almeida.  Read the following interview and find out about Lilli’s latest artistic discoveries and her sources of inspiration from Berlin, Paris and London.

What’s your favorite daily ritual?
Whenever I tried to integrate rituals into my life –such as going for a run before work at 7am- I failed massively.

What do you do when you are not working with FvF?
I am working as a fashion publicist with designers and brands such as A.P.C. and J.W.Anderson. I am also a freelance writer.

Where do you go when you want to relax or get inspired in your city?
I just moved into a new house with a nice garden and am very optimistic that I will be relaxing there and in nearby Victoria Park all summer. Inspiration is found easily just outside my doorstep.

How has technology influenced you?
I just got an iPhone after years of smartphone refusal so I guess I am a bit of a late adapter. I love being able to access information through technology wherever I am but find it worrying how dependent I am on technical devices and internet.

Best travel memory?
There are many, but I remember a very special vacation with a handful of friends to the French Atlantic for my first –and only- surf holiday. We went to the beach with a bottle of Champagne to celebrate my 18th birthday and on our way all the people we crossed started singing French birthday songs to me. That was nice! Especially considering just two days earlier I had to be rescued by two lifeguards, as I made the silly mistake to run into the water whilst there was a red flag warning…

Your latest artistic discovery?
My boyfriend is a book artist so he is bringing new ‘artistic discoveries’ home all the time. Recently he bought me a really funny book by Japanese photographer Ume Kayo called Danshi, which means ‘boys’. The book is a series of photographs of elementary school boys she met during her photography school days. I also just watched ‘A Knife in the Eye’, a documentary made about Belgian artist Michaël Borremans, that is amazing. Another discovery for me are the London based designers Marques‘Almeida whom I just started working with; a really lovely Portuguese couple, both Central Saint Martins alumni and extremely talented.

What was the last great meal you ate and where?
I had two really good meals recently: Kizami Atsu Atsu at Koya, a Japanese in Soho; and lots of tapas at Le Blah Blah, a charming restaurant in the 10th arrondissement in Paris. However, I find it most important whom I am sharing my meals with. Last week I was also introduced to Mezcal, a drink native to Mexico, at LN-CC’s Mezcal Bar opening.

Three websites – more or less – you visit daily?
Style.com, Ted.com and The New York Times.

Who would you like to see featured next on FvF?
I love to see all these beautiful flats and houses on FvF and get very jealous. Nonetheless I would find it extremely interesting to see more ‘ordinary’ people’s places featured. This would probably go beyond the scope of FvF’s concept but sometimes I am wondering how my Indian drycleaner or the angry bus driver I encountered this morning are living.

You lived in Paris, Berlin and London – what are your favorite things about these cities?
I adore the pâtisseries in Paris. When I lived there I couldn’t help but try every day new artworks of cake. Berlin is just great because it’s home; it’s calm, slow and there is always a fully stocked fridge! London is most exciting for me. It can be pretty exhausting, but there is constantly so much going on and so many amazing opportunities to work with very talented people, it is really hard to fault.

What’s your favorite thing about working in the fashion industry?
I was never planning on working in the industry – I got into it very naturally. I do love my job because it enables me to work alongside some very inspiring creatives and to meet every day new and interesting people.

Thank you Lilli for your wonderful input and for being part of the Freunde von Freunden network. Find all her FvF interviews here.

The 25 year old lives with her boyfriend and bull terrier on a street laden with old gospel churches and groups of young university students. Intertwining the old and new, Becca has developed a way to pursue both her passion for wildlife preservation, and contemporary design. Incorporating her drawing, drafting, sculpting and stuffing talents she has started her own business, Sisal and Tow. While showing us around her abode, she discusses how she came to find her beloved profession and the fine beautiful line that defines taxidermy.

You are making a name for yourself as a young, female taxidermist. How do you explain to people what you do?
Yes, people do say that, but I’m not sure I want to be known for just taxidermy. I usually say that I create custom pieces of artwork for public spaces such as window displays and restaurants. Anything that you can’t buy at a store, anything that you have been dreaming up to enhance a space, I try to fabricate it. I often incorporate taxidermy because it is one of my passions but it’s not the only thing that I do.

How did you get into such an unusual art?
When I was in my last year at the Rhode Island School of Design, I knew I needed to explore what I was interested in. As I started putting the pieces together, I realized that I really like preservation, old photographs, and anatomical drawings. I like storytelling and the act of drawing as a way to remember something. I went the Missouri Taxidermy Institute for a six-week intensive course and fell in love with it. After I finished college, I went to New York City for two years and worked on and off for the Museum of Natural History. When I came to Charleston in 2011, I knew I wanted to pursue taxidermy as an artistic passion.

What brought you to Charleston?
I came down here by the seat of my pants and knew that I would figure it out when I got here. I rented a place downtown that was twice the size of my apartment in New York and I didn’t have to share it with anyone except my dog Bruce. I took classes at the American College for the Building Arts – this really cool school located in a 19th Century jail. It served as an excuse. I said, “Hey, mom and dad, I really want to take classes in drafting and drawing.” I took one semester there, but then realized that I could do the same thing on my own.

Can you give an example of a recent project?
I recently created four saltwater fish replicas for The Ordinary, chef Mike Lata’s new restaurant downtown Charleston. They had already figured out the look for the space and were interested in an ocean shadowbox. I created a sort of vintage diorama of the ocean floor with fish and sea crabs and then we added a bunch of sea fans to enhance the space above the bar. I tried to give a modern twist to the whole design and they gave me free reign to do what I wanted.

Would you also call yourself an interior designer?
I think that I am a designer; my strong suit is sculpting and creating things. I definitely feel confident coming up with new ideas but I am also very open to stepping back and not playing the role of designer. If someone comes to me and says, “My shop window is very barren, I’ve just been putting paper cups together,” I’d love to turn it into something more avant garde.

Tell us about your new business endeavor, Sisal and Tow Fabrication.
Tow is the stuff that taxidermists used to use to stuff animals. Sisal is the twine used to hold it all together inside. It’s kind of like my nod to old-world taxidermy. I just formed the business in February, but already I have some really interesting projects. I’m working on a custom deer headpiece for a theater company and also refurbishing the huge taxidermy collection at the Charleston Museum.

What are some of the most interesting animals you have worked on?
Well, I just finished my pet rat. Does that count? She died, so I stuffed and mounted her. I’ve repaired a walrus and two vintage tiger rugs. I’ve done a lot of fish and regional species like fox and deer.

I imagine that the taxidermy process is quite messy, how are you able to do it in your home studio?
It’s really not as messy as you would think. When you skin an animal its not that bloody, as long as you don’t puncture any arteries. I’m very methodical and extremely slow. It only smells bad if you are working with an animal that was particularly stinky, like a skunk or a wet fox. Honestly, it kind of smells like a chicken.

Have you ever had any weird requests?
People sometimes ask me if I’ll do pets, but the most pet-like thing I’ll do is my own rat. It’s really hard to capture a pet’s personality in stuffed form. You just can’t re-create that light in their eyes. People get really disappointed; it’s strange, but they are expecting to get their pet back. For me, that is the fine, beautiful line of what taxidermy really is. Some people see a stuffed animal and think that is the animal, while others just see it as a beautiful object.

Does working with deceased animals make you reflect on life itself?
I treat working with deceased animals as a project. If you start feeling too much emotion for the passing of the creature, it becomes impossible to finish a task. I always explain it with this analogy: You are in the first day of art class and a nude model steps out and poses. You freak. Freeze. This person is naked, and it’s terrifying. Where do you look? Do you draw the private parts? How do you get through it? Then, after your 5th day of drawing a nude model, it’s a project, not a person. The model is a series of shapes, of negative and positive space. You stop focusing on how arresting it is to have a naked stranger in the room, and you start to see them as something to explore artistically.

For me, that’s how taxidermy is. Yes, it’s weird when you go to skin an animal, but less than halfway through, it becomes a really fun challenge. When I get around the mouth parts of an animal, I always double- take. For some reason, that’s where I relate to them the most. I think it’s because when you skin around the eyes, the skin is inside out so you don’t see the eyes much. Working on the mouth of an animal makes me feel vulnerable on their behalf.

Do you view life and death quite pragmatically after working in this field?
As for looking at life and death differently, I’ve always seen death in a strange way. I guess nobody is comfortable with it, but I’m more perplexed and interested in the morbid side of things than I am afraid or unsure. Death is a very sure thing, as is the fact that you’ll leave behind a bunch of stuff when you go. It’s beautiful to me that animals leave us their exquisite corpses. Preserving them is an honor and a celebratory act.

What does your boyfriend think about sharing his personal space with your creations?
He’s really supportive. I think he’s pretty proud to have my work around the house. I don’t particularly love filling my space with things I feel I’ve explored, but I think that he enjoys it. His aesthetic is more minimal than mine, so I’ve been conscious of that when decorating the house.

Do you have a dream project?
Yes, so glad you asked! I have many. Right now I’m repairing some mounts for the Charleston Museum, but the real dream would be to renovate the WHOLE gallery… we’re talking dioramas, new museum furniture, the works, and have a pivotal role in the way it’s designed and made. I am also currently involved in creating a wildlife museum in Alaska, and if that gets funding, I’ll be living the dream. My other dream would be to design and fabricate at least 10 store windows on King Street next year.

You mentioned that you are interested in historic preservation and you just purchased this wonderful old house! What do you know about its history?
The house was built in 1867, right after the Civil War ended. It was one of the earlier houses on the block. I don’t know much about its early history, but some neighbors told me that it was severely damaged during Hurricane Hugo in 1989. They said that there was a huge tree coming through the upstairs bedroom wall.

What do you love about your home?
I love the old fireplaces, the hardwood floors, the pointed doorway in the living room, and the four porches that hug the house. Oh, and the studio of course!

What makes you so sure that you want to stay in Charleston?
I’m as sure as I can be at this point in my life. I’m 25, and by no means have I figured everything out in my life. I’d like to be in Charleston at least for the next five to ten years and this is simply a good time to invest. My dream is to build my small business and make things for people. This town is just so supportive of that. We have the arts, tourism, disposable income, old families, young people coming in – all the elements of a city I am attracted to and one that I can actually make it in. After living in New York for two years, I felt a little lost at sea. Charleston has similar elements but on a much smaller scale.

Any tips on where to grab a good bite to eat or drink in Charleston?
My favorite spot to get dinner with friends is Xiao Bao Biscuit. For cocktails and drinks, the Ordinary, and for an easy and delicious weeknight meal, Bull Street Gourmet. A really well-kept secret for lunch is P.I.E. just down the street from my house, which serves fresh-baked bread – including gluten free – delicious veggies and spreads, and the price is so affordable.

Do you have time for any other hobbies?
When I do have a minute, I love playing my ukulele and singing. Most of my free time goes to hanging out with Erik, Bruce and my friends.

Becca thanks for enlightening us on the world of taxidermy! To find out more about Becca’s work see here.

Photography: Olivia Rae James
Interview: Kristen Gehrman

For us, it’s not about the latest tracks, but about a feeling and a tasteful combination that make a good mixtape great. This is why we republished one of our first released FvF mixtapes from January 2011, that were formerly only available on 8tracks, but found a new home on our Soundcloud page.

Enjoy the Freunde von Freunden mixtape #4 provided by yours truly FvF with artists ranging from Burial, Isolée and James Blake to Nas, Nino Rota and Jimi Hendrix.

Tracklist
1. Shadows – Warpaint
2. Paradise Circus – Massive Attack
3. The Wilhelm Scream – James Blake
4. Rattling Cage – Forest Swords
5. The Wind Cries Mary – Jimi Hendrix
6. Consequence – The Notwist
7. See Birds (Moon) – Balam Acab
8. Forgive (sy.ic remix) – Burial
9. I Have But One Heart (O Marenariello) – Nino Rota
10. Memory Lane (Sittin’ in da Park) – Nas
11. Devil in a New Dress – Kanye West
12. Rolling in the Deep (Jamie xx Shuffle) – Adele
13. Brown Eyed Girl – Van Morrison
14. I Am A Disco Dancer – Vijay Benedict
15. Brave (Dark Sky Remix) – Kelis
16. Hotel – Bodi Bill
17. In Our Country – Isolée
18. Time for Us – Nicolas Jaar

Today the area between Moritzplatz, Görlitzer Bahnhof, and Landwehrkanal attracts a diverse population of people from all around the world, who want to participate in shaping their own future environment. Graphic designer and professor Fons Hickmann is no exception. Fons lives and works inside a red brick building at Mariannenplatz with an eclectic mix of neighbors that include his agency ‘Fons Hickmann M23′.

Before moving in twelve years ago, the building housed a Turkish mosque. Shortly after moving in, the prayer rugs were replaced with his children’s hamster cage. The lower floor was turned into the agency where Fons’ unique conceptual perspective to design, based on his academic background in literature and philosophy, helped develop its strong reputation. It is not all work, however; as and importance is placed on both professional duties and a healthy dose of competitive ping-pong. This highly regarded designer is also one of the most likeable.

This portrait is part of our ongoing collaboration with FormFiftyFive who present a special curation of our pictures on their site here.

How long have you been living at Mariannenplatz?
I have had my office m23 for twelve years in this house and have lived with my kids here for two years now. Our neighbours are a great mix of people. Above us lives a painter, beneath we have a landscape architect, and there is a a flat share under the roof. Before, and this is an actual true story, a man used to live there with his goat. He would take it down every morning to Mariannenplatz so it could have some grass. During the summer, we also grill on the roof.

What was this building’s prior function?
The atelier used to serve as Turkish mosque. When I visited this building for the first time oriental carpets were hanging everywhere, the walls were panelled with green plastic wood, and the bathrooms only had foot bath basins.

Do you have a favourite piece of furniture or object in your flat?
I really like my action figurines. The salamander figures come from the shoe store of my parents. As a child I used to play with them in the shop windows. My books are also really important to me, both literature and novels. Books change over the years, they live! Even the stories of a book alter, the content always changes. Just like Heraclitus said, one couldn’t step twice into the same river; for the other waters are ever flowing on to you.

Can you tell us about your journey as a designer that turned you into what you are today?
I don’t consider myself as a designer. I also studied philosophy which still influences me today. During my studies I mainly did artistic work, even though I couldn’t truly handle the etiquette of art and design. I did my diploma under a painter, Dieter Glasmacher. This man put an immense amount of life into his teaching. He showed me the true importance of passion in work and that one should be willing to burn for it. In the end the medium of expression didn’t matter – I still don’t know how to paint. However, the work needed to express an idea. Something you feel or something that shows a bridge between heart and brain. I underwent this journey until I understood that design was best for my expression. It was so beautiful to realise that people understood what I did. The idea that design is not something hermetical but should communicate with words and prove its relevance. Of course, Uwe Loesch also influenced me greatly, under whom I studied in Wupperal. Still to this day he is one of the smartest designer celebrities that I know. That’s how I became a designer.

In which moment do you realise that your job as a designer influences your private life?
All the time. I don’t know when the borders between private and professional life intertwined. Perhaps it has something to do with the fact that there are people who live their work and I am just one of them. This influence goes in both directions and I have no idea why.

Tell us about your table tennis passion.
I started playing table tennis during my years at University of Applied Arts of Vienna. There was a table tennis table by the design agency Walking Chair. The net in the middle would spin, which sparked my instinct to play. Just like that we would practice regularly.

Which clients are you favourites?
I really appreciate clients from the cultural and social sector. Semperoper, theatre festivals, music labels, Amnesty International… it is a great gain to work with cultured people who respect and understand what we do. It was a hard road to be where we are now, to be able to choose who we want to work for. But the work was worth it and continues to be. Working with equally respected clients means that both sides will profit, be feared, and will learn from each other. For me it is very important to work with people I like. This is a good idea: never work with assholes.

So you are a AFC – Asshole Free Company?
I never heard that expression – is that a standard term?

I recently learned that at a talk with Michael Politzer in Hamburg.
It certainly makes sense. One wants to work with people who it also would be great to get a beer with and who are able converse about other things than work. One needs to work with people who will bring along life and have something to say, and who don’t pretend that life is just a paroxysm of joy lacking any kind of problems. I am interested in those who have experienced ups and downs and are able to admit to them.

I was always good at combining sport and work, which also led to the eventual act of playing soccer in the lecture hall. It started with a handful of students, a softball on two tables as goals. At the end, an event with the entire university and half of Vienna came into existence. Every summer I organised a soccer tournament which would last an entire day.

How and when did you come to Berlin?
It was 2000. I studied in Düsseldorf, then I received an invitation to be a guest professor in Dortmund, I was accepted for an lectureship in Essen, and then I essentially went to Vienna for art. Back then, I was 32 years old. I was naive and went in a relaxed sport-outfit to the interview. I had no idea what it would mean to study at one of the best schools in Europe. When the kids arrived, it became too exhausting to fly back and forth. That constant AC on planes, the dry air – that is pure hell. Nowadays I hate flying. So I decided to fully concentrate on Berlin and go to UdK.

What does it mean to you to pass on knowledge?
I love to teach, something I have started at an early age – I have been a professor for twelve years and before that I had lectureships. So I never really left university and my teachings have taken me around the world.

The teacher is the one who speaks, it doesn’t matter who has the word at that moment – that was my philosophy. We all sit in a circle and everybody is equal. Every week everybody informs each other which later on will be talked and discussed about. I present these rounds and give impulses. Here, my experience is a great help as I continue working as designer while teaching.

I also receive a lot of input and realise the students’ concerns and needs. Design is a process that doesn’t know how to stand still. Next to music, design is the most direct contemporary form of expression.

What do you appreciate nowadays in Berlin?
People not only come here to work but to manifest themselves. There is work in Berlin, but the pay is miserable and the creative scene hinders itself. So there must be something else that makes Berlin so attractive. I think there is great space for tolerance in regards to choices that won’t be judged. Berlin offers the freedom to be how you want to be.

Thank you Fons for sharing insights into your life and working philosophy.
You find a complete overview on all recent projects on Fons’ agency website m23 here.

This portrait is part of our ongoing collaboration with ZEIT Online who present a special curation of our pictures on their site. Have a look here.

Photography: Luke Abiol
Text: Sarah Weinknecht
Interview: Frederik Frede

Brazilian architect Carolina Rocco channeled her creativity into both fields. She started taking her first ballet classes at the tender age of three and expanded on this passion by learning jazz and contemporary modern dance; two genres that she still practices today.

As the daughter of an architect and university professor, Carolina was always fascinated with urbanism and the impact that architecture has on people’s lives. For the past 18 years she has run her own architecture studio in São Paulo which she started during her studies at the Universidade Presbiteriana Mackenzie. Every opportunity available was taken to learn and produce along the way in order to gain experience in her field. Today she not only leaves her imprint on the Brazilian mega city, but continues to receive commissions from clients worldwide.

In her house, Carolina has established a late-night family routine of snuggling up in bed together with a cup of tea and letting the world pass by. She shares her home with her partner, children and cat ‘Apple’. It is a space that embraces every day practicality without compromising on elegance. The interior reflects a harmonious combination of modern family life with the energy of a global metropolis.

What profession did you want to pursue when you were a child?
My family jokes that I wanted to be a dancer, a secretary, a school teacher and a veterinarian all at the same time! Today my energy is the same, I still want to do everything in one day. I guess I am truly multi-tasking type of person.

So with your perspective now, if you weren’t an architect what you like be or do?
If I had enough talent I’d be a ballerina. If I had courage I would like to be a doctor. However, I am very happy and think I’ve made the right choices.

How long have you been dancing?
I started taking ballet classes when I was three years old. Then I mixed it with jazz classes when I was 13 like many other girls at my age. I took it very seriously between the ages of 15 and 22. When I became a mother I started to learn the Graham style, a contemporary modern dance style using barefoot floor movements with many core contractions and spirals. It was a good moment for that kind of practice.

Are there many adults that practice dancing in Brazil?
Not really, Brazil has a lot of good dance schools for kids and teens but after you grow up you have just two choices: become professional or stop dancing. There was no place to go until I discovered the studio Anacã Estudio a couple of years ago. Their instructors gave me back the desire to dance. Ballet gives me strength, balance and center. Not only physical. It also means coming back to myself. For me it brings happiness, especially contemporary jazz classes.

During university, what aspect of studying architecture was your favorite?
I studied architecture at Faculdade de Arquitetura e Urbanismo da Universidade Mackenzie and all subjects were so new and interesting, but urbanism had a great impact on me. I had many interesting urbanism classes that explored the beginnings of civilization. We looked at cities that were born spontaneously and were essentially the first urban plans. We investigated these original principles and goals. There were two books that were of great interest to me: ‘La modernidad superada: Architecture, Art and thinking from the XX century’, by the spanish architect and professor of Barcelona University, Josep Maria Montaner and ‘The Condition of Postmodernity’ by David Harvey. I still reread them today and each time I learn something new.

What has been your favorite job or assignment as an architect?
It is always the next one! But my favorite would have to be Casa Morás, a project I did with the landscape architect Claudia Diamant.

Why this one? What was special about it?
I used to work on many remodeling projects. Casa Morás was a new house project within a nice setting in São Paulo. It was a project with no excesses, but complete. The house is beautiful because of its form and proportions. This house is a true ‘casa paulistana’. Luxury was emphasised in the details of the construction while also capitalising on an amazing cityscape views every sunrise and sunset. It can be viewed on my website.

Do you have a favorite building?
Renzo Piano always enchants me with his projects, especially with the New Caledonia Cultural Center which is permanently my number one, Herzog & De Meuron‘s work on The Tate Modern was a strong intervention to an old building with such sensitivity and it is also one of my favorites.

How did becoming a mother change your professional life? Did it change the way you think about architecture at all?
Having a child made me see the world in a more embracing way. In the same way I see architecture, becoming a mother taught me to give priority to the essentials rather than the ‘small things’.

Are there any particular local creatives do you admire?
There are so many. Patricia Centurion is a jewellery designer from São Paulo while also working as a concept creator. Her pieces are sourced from raw materials and transformed into beautiful creations. Juliana Bomfim, is an architect and interior designer. Her work is so creative, I can literally see her personality in it. Then there is Betina Dantas who is a ballerina and choreographer. Edy Wilson is also an amazing choreographer who manages to add a ‘brazility’ to his work. Kimi Nii makes ceramic sculptures that have an oriental feel fused with an exotic Brazilian influence. São Paulo has the biggest Japanese community outside Japan and her work is directly influenced by this.

The designer, Airton Pimenta, known by me as the ‘master of light’ uses light like nobody else I know. Etel Carmona is a furniture designer working with wood and makes impressive pieces with a sustainable approach. The artist, Marcelo Moscheta, created a series of moons in graffiti that were so big and beautiful. And finally I love Luzia Simons’ photography, specifically her series of very feminine digital prints of flowers.

Do you have any favorite local spots in your neighborhood?
I like to walk around my neighborhood called Jardins and go to the bookstore Livraria da Vila and have a coffee at Pão de Queijo which is a very traditional place. I enjoy taking ballet classes at Anaca Estudio and I often meet friends at night at AYA Japanese Cuisine.

What is your most treasured possession in your home?
The leather and jacaranda wood Amazonas sofa by Jean Gillon for Italma. Made in 1960, it is a piece I inherited from my parents house. I also love the french antique Limoges tableware given to me by my great- grandmother and my VITRA Slow Chair by Bouroullecs.

Are you reading anything at the moment?
I am currently reading Ada Louise Huxtable’s book ‘On Architecture: Collected Reflections on a Century of Change’. The book gathers together the best of her written work since her first article in New York Times in 1963 examining the work of Le Corbusier.

What is your favorite daily ritual?
At the end of the day I love to have tea with the children and my cat in my bed, listening to some music, talking and laughing. Sometimes we start to dance, or to watch something fun, it is really great time that I treasure.

Where do you go when you want to escape the city?
It may seem like a cliché but I truly need to be close to nature. I love to travel to the north shore of São Paulo where there are beautiful beaches just two hours drive from here. I like to just look and listen to the ocean and also walk or ride a bike and watch the sunset. I have been escaping from São Paulo to travel on weekends all my life.

What is most impressive place you have ever been to on holiday?
Fernando de Noronha which is a cluster of islands in the north of Brazil. It is absolutely amazing.

Do you have any specific philosophies on life?
I have no religion, but nature makes me think and consider the world and our existence.

Carolina it has been fascinating hearing about your dancing and architectural pursuits. Thank you for inviting us to your home in São Paulo.
Find out more about Carolina’s architectural studio here.

Photography: Fran Parente
Interview & Text: Sarah Weinknecht

The location of her company within Leibnizstraße is equally awe-inspiring. The so-called MetaHaus is an old transformer station and serves as a landmark that bares many hidden treasures. Eleven years ago the building was reconstructed by MetaDesign. Today people instead of machines now work across the six floors and fourteen levels, becoming a house of high creative voltage.

Considered as one of Germany’s leading agencies for integrated and holistic branding, Uli founded MetaDesign over twenty years ago. Since then the designer and brand expert is not only responsible for the strategic direction of the company, but has also worked as a lecturer at universities such as the Berlin University of the Arts (UdK). Despite her busy agenda as an entrepreneur, advisor, and columnist, Uli Mayer-Johanssen took the time to guide us through her home and company.

This portrait is part of our ongoing collaboration with ZEIT Online who present a special curation of our pictures on their site.

How did you find such a wonderful house?
Back then, we were searching for a long time for a place that would at least fulfil half of our expectations. In Berlin it is much more difficult than in Hamburg or Munich. Berlin not only suffered a lot during the war but also afterwards as well. This was reason enough for people not to invest in it for centuries. Most houses were split up, demolished, or essentially given to fate of decay.

This house is hundreds of years old and has an interesting history: it was built in 1912 by a general, then followed by a baroness, and then during the war it was used as a casino like many buildings here. As soon as we entered the rooms, we were enamoured. The tall ceilings, the wonderfully old windows, parquetry flooring, view to the garden and the big old trees – everything radiated so much beauty and warmth that it was impossible not to fall in love with the place.

How would you describe your interior?
I think that one is able to feel the personal history of each item here. When I met my husband almost twelve years ago, it seemed to be quite the task to combine two worlds. But surprisingly enough things complemented each other and an interesting combination of new and old was created. For instance my husband used to love antique kilims and sofrehs.

As a young student he visited relatives several times in Turkey, who worked at the German embassy in Istanbul. During this time, he developed a love for Turkey’s culture: its mosques, ornaments, world of forms and color. I wasn’t very fond of carpets at the beginning, but kilims just possess such a blinding beauty. I would not decorate the rooms differently if I was given the chance.

Is it difficult for you to be here after your husband’s passing?
I certainly didn’t know how it would be to stay here without him. Whether it would be a sentiment possible to bare. We often spent hours together figuring out what place would be best for each object. With time, it turned out that this intense contemplation gave the rooms its special charisma. He is everywhere, present in every corner of the house. It is still our home.

There are two portraits of your husband and yourself…
…Yes, they are by Nikolai Makarov. One Saturday afternoon we were sitting at Paris Bar, above which my office was housed in the rooms of Carl von Ossietzky for many years. It was one of those afternoons where time seemed to stand still, as if the entire day had been a sunset. I discovered a catalogue and was going through it when the bartender arrived and mentioned that Nikolai had just arrived. He sat down at our table and just like that an afternoon turned into a wonderful evening.

Soon after we visited Nikolai’s atelier and immediately fell in love with his profound, almost meditative paintings. Later on I asked Nikolai if he could do a portrait of my husband which would serve as a birthday present. That is how the paintings were created. In recent years Nikolai has used Paris Bar as a motif over and over again, and in the course of this he cited the famous motif by Kippenberger that he re-interpreted. That is also how the last supper citation of Peter, our friends, and myself came into existence. We have been friends for a long time which gives the work an even deeper significance. I wouldn’t describe myself as a collector but art is an important part of my life.

What are your favorite pieces?
Almost every piece contains a story. Whether it is the Murano glass work by Pedrosa – it was one of the first objects my husband and I discovered together – the beautiful crystal chandelier, sculptures, paintings, or the wonderful sofrehs. I could talk about my fascination for these objects for hours, so it is quite hard to choose one favorite object.

Why did you decide on a South Tyrolean parlor within your home in Berlin?
South Tyrol was almost like our second home. For many years we tried to spent as much time as possible in the mountains during the Summer. During that time, many places and people grew close to our hearts. In our favorite hotel ‘Berghofer’ in Radein stands a fantastic gothic parlour. The scent of the Swiss pine, warmth, and safety provides a wonderful feeling.

While we were sitting together with Zeno Bampi, a great friend and architect and his wife Judith, on a terrace and looking at the panorama (the sensation of wrench almost present), I suddenly said out loud: “I would like to have a parlor like that,” and Zeno just replied: “We will make one!” My husband and I just looked at each other and quickly considered it absurd, but then realised how wonderful it would be. A long story was born that ended with this beautiful parlor actually existing within our home.

The feeling of being in Berlin is almost forgotten, just like it is on our terrace or in our garden. During the summer the leaves on the trees get so thick that everything on the exterior magically vanishes. I love being here. As I am away very often, I can find peace and strength here. There is no better place to spend the mornings than in the small breakfast room where a painting of Spring scenery with blossoming trees hangs, while the sun shines and the birds chirp. It always reminds me of Tschechow’s Cherry Garden.

Tell us about the film posters ‘Der Himmel über Berlin’ (Wings of Desire) by Wim Wenders?
I was fortunate to design the posters for Wim Wender’s ‘Der Himmel über Berlin’ in 1989. It was fascinating to see the development of the film. As there was no concrete script and Wim and Peter Handke would continue to create each scene with spontaneity and intuition, there were many versions until the film received its final form. I sat next to Peter Przygodda and Wim Wenders a few times in the cutting room and was able to take part in this tentative search. This took great importance within my work and the posters. I gave many of them away to people involved, but some of them I still own. Particularly the poster in French, ‘ Les Ailes du Desire,’ which I really like.

You also own many sculptures. Where does this passion come from?
Even though my grandfather was a sculptor and stone carver, it took me sometime to get close to that particular field. After journeys to Italy, specifically during and after my studies at the Berlin University of the Arts (UdK), I developed a strong interest and love for it. ‘Prinzessinnengruppe’ (Princesses’ Group), a copy of the plaster mould of the Staatliche Museen zu Berlin, basically forms an opening to a new world which to this day is full of fascinating discoveries. We got the baroque frame of the mirror renovated and completed, after having used its broken parts as a doorframe for a long time. A restorer designed and carved the missing part and that is how this wonderful mirror came into existence.

It is amazing to see how objects receive a new life. It is also fascinating to see the art of handwork. Every object begins to narrate its own tale and develops a detectable aura. I appreciate that about Berlin. The city doesn’t want to be discovered and won’t form itself. It doesn’t offer an imposition, but it is simply up to you to make the first step. Berlin doesn’t wish to instruct or dominate, it simply lets you be. This often leads to discovering things on one’s own.

How did you end up in Berlin?
Originally I come from a small town in Baden-Württemberg and I studied graphic design at the Merz-Akademie in Stuttgart. At that time my brother had just moved from Würzburg to Berlin in order to pursue his diploma. He gave me a ticket to Berlin for my 16th birthday. I considered Berlin really exciting and interesting, even though the city was still quite grey and marked by the war in 1974. After my studies, I considered moving to Munich in order to study art. By coincidence my brother asked me if I wanted to come to Berlin for a while. That was the beginning of a long friendship. I like the open spaces here that one is able to fill. However, Berlin was never an easy city. It had such Prussian strength, like an old aunt with her hair tightly knotted in a bun. The valuable and loveable comes with time.

How did you master your path?
I studied visual communication at the former HdK – today the UdK – with emphasis in painting and philosophy. As I had to finance my studies, I worked as a graphic designer directly after having arrived in the city. I was fortunate enough to meet wonderful people who gave me great support and courage in the most difficult times. For a while I couldn’t decide between painting and graphic design. At times I am still confused about it even now. But as I have always liked to work with other people and considered it almost always as an enrichment, I chose communication and design in 1989.

Out of this decision you established MetaDesign?
Yes. After having worked together with Günter Fannei in an office above Paris Bar, I realised, as the agency was moving more towards advertisement, that I was extremely fascinated and interested by the conceptual and strategic dimensions of visual communication.

My function as a student representative mainly consisted of committee work. That is how I met Erik Spiekermann, who during that time was applying for a position as a professor in our field at HdK. Furthermore, my classmate Hans-Werner Holzwarth worked in his office in Motztstraße. It happened like it was supposed to happen. We had our first conversation about a possible collaboration alongside espresso and chocolate ice cream. ‘Der Himmel über Berlin’ playing at the theatres at that time, something that seemed to awaken Erik’s typographical interest. We both agreed that the conceptual dimension of design in Germany had not yet reached its potential.

We saw immense opportunity within the areas of corporate design and corporate identity. Essentially that is how the foundation of the agency MetaDesign came together with Hannes Krüger, which, many years later was transformed into a corporation.

According to you, what is strategic-visual communication?
The visual always contains a strategic dimension. The question is whether this potential is being recognised, applied, and reasonably used. Throughout history, just like within the catholic church, paintings, writings, culture, and forms have been used since the very beginning. Every symbol and every painting transports messages and content contextually. This is most clear, for example, when we try to decipher characters of a foreign, obliterated culture. The biggest problem here is the displacement of meaning and interpretation of forgotten characters or images. We must first understand how people used to live and think in order to decipher the significance of the character’s messages.

Transferring this premise to different contemporary working contexts is exactly what strategic-visual communication is about. To produce satisfactory work, we must understand how signs transport and convey messages, so we can create adequate forms and provide unique and concise appearances. The aim is to connect this work via different contacts, channels, and media as much as possible. The holistic perception of a brand goes beyond the design of the logo, print and online media.

Speaking of this, it is utterly important that companies understand what they stand for, as well as their visions and goals. People won’t be able to tell them what makes them unique and competitively viable otherwise. They can only formulate what they already know. Rarely something new or unique comes out of that, which could be developed further.

Where does MetaDesign stand nowadays?
Since its establishment, many things have shifted. In the last 23 years not only has the market changed but so have the demands expected from the company. Naturally, this cannot be ignored. The projects are becoming more fractal, the holistic view with regards to impact within work with brands becomes increasingly lost, which in the long-run will have fatal consequences for the company and its brands. Our goal is to lead brands strategically with holistic and creative communications.

How did you build this confidence and experience to advise others?
Principally, we offer action and decision options. Alongside the client we acquire the fundamentals. In the end they have to convert whatever they discuss with the employees and clients, in particular, the visual.

In this respect, we are strategic visual-sensual companions. We reflect the company’s reality and offer our clients the opportunity to understand the consequences of their actions. We try to make the brand become the very innovation within the company. We supervise many of our clients for a longer amount of time. For example, we have worked with Audi and Volkswagen for almost twenty years. In situations like these a certain trust and effectiveness is developed from which both sides profit and are constantly being nourished.

What is the secret of a successful corporate identity?
As we are part of a world that increasingly becomes faster, more global and inconsistent, as well as increasingly shaped by technology, media, and channels, it is necessary to establish an equally concise appearance and a clear anchorage in order to expose recognisable features. We are in a world that increasingly becomes more complex and has a demand for easy questions that are often the hardest to present and resolve. Nowadays everybody can make a film. But to create something consciously and strategically that orients itself around the values and self-image of the company is much more complex

Sending constantly changing impulses and messages isn’t an answer either. We must find ways in order to replace frequency with something concise. People love variety and independence, which simultaneously overstimulates, eventually leading to unhappiness. So the question remains: what creates consistency? The visual is invincible here. Only through the content do the messages receive relevancy.

Speaking of visual: MetaHaus is housed in quite an impressive building. Why?
Since 1987 we have been looking for a building that would suit our expectations and future work process. When we discovered the transformer station, we all agreed that this would be the perfect place. However, we severely underestimated the difficulties in transforming an industrial construction into an office building – in which people instead of machines would be working. We bought the building and created a team that would follow the entire process, alongside the architect Kahlfeld helped to awaken this sleeping beauty.

There are so many peculiarities in this landmarked building. For instance, the observatory reminds me of a control centre inside a spaceship. The room basically anti-seismically floats within the building. It was the only place where both people who managed the machine would actually be working.

After various challenges it was finalised in 2001. That combination of new and old, industrial architecture meeting modern work process, goes perfectly with our work as brand specialists. When there is nice weather the terrace offers a beautiful view over the city and many of our employees use it for their short breaks. Our library, a big conference room and the imposing atrium are extremely beautiful and act as a perfect frame for what we do here on a daily basis.

You are a successful woman – do you commit yourself to women being in leading positions?
Basically MetaDesign made that happen. From early on we had women in positions of responsibility. Women cannot be dismissed. They do a great job, are amazing creatives, extremely responsible, and reliable. For some time now it is not about who is better. It has become increasingly more important to concentrate on different abilities and skills and avoid that silo thinking. Our projects exist through our interdisciplinary work and the creation of qualitative synergies – women would be indispensable here.

Many thanks for taking time out of your busy schedule to speak with us Uli Mayer-Johanssen and welcoming us to your unique home. Find out more about Uli’s company MetaDesign here.

This portrait is part of our ongoing collaboration with ZEIT Online who present a special curation of our pictures on their site. Have a look here.

Interview & Text: David Torcasso
Photos: Philipp Langenheim

This sweet mademoiselle has been involved in four interviews in Paris that include: Art director and architect, Louise Brody and Charles Poisay, glass blower, Jeremy Maxwell Wintrebert, designer, Céline Saby and graphic designer and illustrator, Leslie David.

Growing up in the renowned wine region of Alsace that hugs the border of Switzerland and Germany – known for its standout Riesling – she moved to Paris to pursue her career. Today she works as a creative manager in a range of cultural spheres. Léa keeps her finger on the pulse dealing with contemporary artists, photographers and graphic designers, and is thus the perfect candidate to provide FvF with inspirational stories and portraits. When she is not busy exploring her own city, her love of travel takes her on a range of different adventures that includes embarking on her annual summer trip wherever the road takes her. We get to know Léa a little better in her Meet the FvF Contributor’s profile.

What do you do?
I’m a freelancer who offers services in creative management. My aim is to work closely with creatives such as designers, photographers, graphic designers and artists. I help them manage everything that is non-design related and maximize their design time, helping develop their activity.

What’s your favorite daily ritual?
My morning ritual is really important. I have a bowl of cereal and a nice fresh juice, watch some of the “things” that have come in over the night on the Internet. Then I walk to work. One of my clients has a studio 20 minutes from my apartment, which is a real luxury. I take different paths, I learn new street names. I like noticing details and watching people. So now instead of reading something on the bus like I used to do, I do that instead.

Where do you go when you want to relax or get inspired in your city?
I’m always on the lookout for new places: to relax, to shop, new cultural places of interest. Paris is so diverse and full of places to discover with new ones popping up regularly. To relax, I stay at home. To get inspired, I go to an exhibition, or try a new restaurant. Sometimes my boyfriend and I randomly pick a place in Paris that we don’t know and explore it. I like to do that when I take pictures, because you’re seeing new things, new people…it’s stimulating.

What’s your favorite picture on FvF?
I love this picture of Tracy Wilkinson. It is a calm, feminine, crafty environment. It seems like time is somewhat suspended. The house and the city she lives are really different than mine, but I can somehow relate to it and I feel a familiarity with this image.

What was your favorite interview in Paris?
As my intention is to get to know, within a few hours, who is the real person behind the face you’ll see on the pictures, each interview is a very special encounter. The other day I stumbled upon hand written notes I had taken while interviewing Jeremy Wintrebert. Almost a year later, they were sharp enough to describe impressions that brought me back to that day. Looking at all the international portraits, I remember being mesmerized by Jessica and Simon in New York. They looked confident in themselves and as a couple. Building simply day by day, their home, their projects and shaping a life that they feel happy with.

How has technology influenced you?
I think my attitude toward technology is average for someone part of generation Y. It definitely makes things easier and offers incredible possibilities, like building an international network of contributors for FvF. More and more things only exist now digitally but as a real magazine buff, I still have a special relationship with printed matter. Sometimes I wonder what people did before the Internet and computers, and moreover, how the next generation with all of this technology will consider the pre-Internet era.

Best travel memory?
For four years now, I have always made a road trip in summer. This year we drove 4,000 km from France to Romania. I love spending time on the road and living in nature. The highlight of this summer was our stop in Romania in a campsite in the northern part of the country. The farming village life in Breb is a retreat far from the fast paced activity of a city. It is like stepping back in time. I felt like I could finally relax. The only rhythm shaping the day was the path of the sun.

Your latest artistic discovery (musical, art or design)?
Music: Cashmere Cat a young Norwegian producer who brings some cat love on the dancefloor. Boston Bun, a young French producer/director with a first EP on Ed banger records. I love his vocal samples and bass lines. Saint Lou Lou beautifully eerie single “Maybe you“. They are two swedish twins with a 1970′s black and white aesthetic.

Art: The incredible exhibition “the museum of everything” that took place at Chalet Society in Paris. A gathering of art brut and L’art naïf pieces. The setting of an old factory contributed a lot to the setting. I’ve seen nothing comparable in Paris recently.

Design: Carlo Mollino, thanks to the German gallery owner Ulrich Fiedler. I looked into articles about the mysterious life of this Italian designer, photographer, pilot and inventor. I also follow the work of emerging young guns, and each interview I conduct is a great encounter.

What current global or local topics are you currently fascinated with?
20-30 something people who change their lives, quit their jobs and studies with the aim of learning a traditional craft. I am curious about this urge to return to craftsmanship and discover a sense of authenticity.

What was the last great meal you ate & where?
Pizzas at la Briciola, on rue charlot in the Marais, Paris and Japanese food at Sanukiya, between the Opera and the Louvre.

List three websites – more or less – you visit daily ?
It is hard to list just three. I visit gmail, facebook, Instagram and google reader. I also use moco loco and monoqi.

What was the best advice you have ever received and by whom?
It was from my boyfriend years ago: ‘Grow your self-mockery’.

Who would you like to see featured next on FvF?
There would be many names to list. But my idea of FvF is to feature people with potential. There are thousands of passionate people with incredible skills and ideas to feature because of who they are and what they do, not just because they have something coming up that is newsworthy. What I try to bring to the portraits is a connection, a way to get to know the person beyond the creative and that is where FvF allows contributors to go.

Thank you Léa for being part of the international team that makes Freunde von Freunden possible!
We are looking forward to continue collaborating in the future.

A Catalan by birth, Bernat became well-known in Barcelona for his elegant and sophisticated work as a stylist. During a career spanning over 8 years he developed a very personal and recognizable style: highlighting femininity with an impeccable European taste for luxury without excess. Together the couple began making sporadic trips to visit Juan Diego’s hometown, before eventually deciding to make the move and settle there – in part because of the economic state of Spain. They have established their home in Barranco, an emerging barrio of the Peruvian capital, that is considered to be one of the most charming. Here, Juan Diego continues his artistic work while Bernat has become an irreplaceable fixture in Lima’s fashion industry.

How did the two of you meet?
Juan Diego: Bernat and I met in Barcelona in late 2004 while we were both still students. I was studying fine arts, and Bernat was studying fashion and styling. Bernat had spent some time previously studying art at the same university as me and we met through mutual friends.

And what do you do today?
Juan Diego: I am full-time artist. I was already producing art in Barcelona along with running my own gallery, Swallow Gallery. Here in Lima I have a gallery that represents my work at 80m2 that is run by Livia Benavides. I currently have a solo exhibition on at the moment.
Bernat: I am an art director and stylist. Most of my work is for different clothing brands as well as advertising for television and other media.

Do you ever collaborate on projects together?
Juan Diego: Yes, in a natural way. So far we haven’t worked on an actual joint project, but we often discuss each other’s work and we have similar tastes. We certainly haven’t ruled out the possibility of embarking on a project together in the future. We would like to actually.

When did you guys move to Lima? What was the transition like?
Juan Diego: We moved here in November 2011. I always thought it would be hard to return as I was living abroad for nine years in Barcelona. Bernat had proposed the idea to move and try our luck several times. My answer was always no. But towards the end I finally agreed, the idea didn’t seem as absurd anymore.

We decided to move during Spain’s crisis, which is still going on. Bernat was still working in styling and art direction but he really wanted a change. Barcelona started feeling bit boring for us even though we love the city. I was certainly involved in interesting art projects but not as much as I wanted to be. All of sudden you are in this loop, and if I didn’t leave at that very moment, I probably wouldn’t have found the necessary motivation I needed for my career.

How did you plan the move?
Bernat: The move was quite complicated. We had so many things we didn’t want to get rid off. We left many things with family and friends. Right before giving over the apartment we did an exhibition for one day that was concerned with the theme of displacement. The show was a success and all day long we had people stopping by. At the end, almost every person took something of ours as a souvenir. For example cutlery, clothing, ceiling fans. We even gave away our guitar and amplifier. We had a big party when the apartment was empty.

How has the direction of your careers changed?
Juan Diego: Essentially it was the right decision to go to Lima. The city has changed a lot during the time I was gone. Things appeared that made me want to stay, not like in 2003 when all I wanted was to leave.
Bernat: I started working even before having an apartment. The moment I arrived I was put under contract with one of the most important advertising agencies in Lima. From then on everything just kept coming. I started receiving calls for projects, for instance catalogues, advertisements, videos, and magazines. I was lucky that every project kind of flowed into the next. And it hasn’t stopped.
Juan Diego: It was also going well for me as an artist. Upon arrival I started working on some interesting projects. I had a solo show at Centro Fundación Telefónica and in September I won an important art competition in Peru, called ‘Pasaporte Para un Artista’ – Passport for an Artist. This allowed me to live in Paris for two months in 2013. Besides this award, many other doors have opened. This year I will have two solo shows, group exhibitions, curatorial projects, fairs, and travels. I can’t complain.

What do you think about Lima’s creative scene?
Juan Diego: Things have changed a lot here.
Bernat: When I first came to this city in 2004 I could never have imagined living here. I thought that the city was missing many things, especially with regards to my field of work. The overall financial growth of this country has put it closer contextually with other capitals around the world. The city is currently experiencing a moment of creativity visible in every corner. I am even thinking of creating my own collection. Peru offers a great selection of quality raw materials and highly skilled labor.
Juan Diego: I did most of my studies in Barcelona and one of my greatest fears was returning back here to Lima after such a long time. Besides that, my work had a very European flow. I was uncertain whether it would receive any attention here. Things have changed little by little since I have left, one of them being the perception of art. It is now being looked at as something serious and important; no longer is it seen to people as merely a hobby. Nowadays many people are interested in visiting shows and finding out more about the artists. This is one of the reasons why I think this city has become much richer in regards to art proposals. Many spaces have opened, giving opportunities for different ideas and all sorts of mediums. I admire many of the local artists that are also being celebrated outside of Peru. Lima has started moving itself towards the centre of the global contemporary art scene.

Tell me about your neighborhood and why you chose it?
Bernat: Our neighborhood is called Barranco. It has always been known as the bohemian area of the city. Every time we came to Lima, we would visit this area a lot as many of our friends live here. It still contains lots of the typical Barranquino style: tall ceilings, large windows, and a lot of wood – but unfortunately the city is being transformed with many modern buildings, a trend that seems to happen everywhere. It is really great for walks and is right by the sea. This is something really important to us. We both grew up close to the sea and we love it. Now we live in a small duplex apartment with a terrace. Our priority was a terrace as we really like to entertain and spend time with friends.

Where do you relax in the city?
Juan Diego: We just came back from a trip through the South, just below Lima. We went to the bay of Paracas to visit the Ballestas islands and spent the last night in the city of Ica.

We really like Punta Hermosa, a beach village close to Lima. We feel good there because it is a mix of locals, tourist and surfers. We often meet up with friends there. During the Summer time we try to walk along the coast, but we also really like the jungle. We don’t dismiss the idea of making a future there. It is wonderful to be able to escape for a few days and be in such close contact with nature.

Thanks to Juan and Bernat for sharing some insights into the fascinating city of Lima, Peru. To find out more about Juan’s work see his website. And for information about Bernat’s artistic practice view his website here.

Photography: Inma Varandela
Interview & Text: Delfina Baldassare

Increasingly, Kaos immersed himself in the rising club scene and discovered electronic dance music through artists from Detroit like Jeff Mills, Carl Craig, and Derrick May. Today, he performs across the globe, from Stockholm to Shanghai, uniting his disco influenced past with a contemporary approach to his characteristic sets.

For the FvF Mixtape #56, DJ Kaos was so kind to provide us with his set at Haze Club in Beijing a couple of months ago, that includes exclusive promo only tracks as well as his own productions. Enjoy!

Download the FvF iPad Magazine to check out the FvF portrait with DJ Kaos here.

Tracklist:

Unknown Artist – Promo Only
Dr. Beat – Acid Water
Richard from Milwaukee – Free Love (Dr. Dunks Mix)
Split Secs – Screamer
The Backwoods – Breakthrough (DJ Kaos Remix)
Tiago – Soul Jam
DJ Kaos – Horny Morning Loop (Dr. Dunks Mix)
DJ Kaos – Love the Night Away
Unknown Artist – Promo Only Remix