NEW FACES TO WATCH - issue 1 - QVSTA
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issue 1 NEW F A C E S T O WATCH I N 2 0 1 9
PREFACE
THE BEAUTY OF THIS WORLD SHOULD BE OPENLY DISCOVERABLE. EVERY BRAND,
EVERY DESIGNER AND EVERY PROJECT HAS A UNIQUE MESSAGE. MODELS TRANS-
PORT THIS MESSAGE THROUGH THEIR INDIVIDUAL STYLE AND PERSONALITY.
THAT’S THE FOUNDATION OF QVSTA.
IN EARLY 2018 WE FOUNDED QVSTA TO WORK HAND-IN-HAND WITH THE
WORLD’S LEADING MODELS AND MODEL AGENCIES TO CREATE A DIGITAL ENVI-
RONMENT FOR INTERNET CONNECTED ART-BUYERS, CASTING DIRECTORS AND
THE MOST TRENDING TALENTS. THIS MAGAZINE FEATURES SOME OF THE MOST
EXCITING MODELS AND OPINION LEADERS, THAT ARE STILL PRETTY MUCH UNDER
THE RADAR, BUT ARE WORTH WATCHING IN 2019. THE SELECTION FOCUSES SPE-
QVSTA is built on
three principles
CIFICALLY ON NEW FACES BUT ALSO INCLUDES TALENTS FROM QVSTA PARTNER
AGENCIES’ MAIN BOARDS.
QVSTA MAGAZINE ISSUE 1 IS THE WORLD’S FIRST PRINTED EDITION OF A CU-
RATED CROSS-AGENCY MODEL SELECTION AVAILABLE ONLY TO LEADING TASTE
MAKERS IN CONTENT CREATION.
THE BEST TALENTS OF THE LEADING AGENCIES
NEED TO BE IN ONE PLACE
INFORMATION ABOUT TALENTS IS KEY FOR A
DECISION
TECHNOLOGY EMPOWERS INSPIRATION, ART
AND CREATIVITY
Julius Henne Ludwig Henne
Co-Founder of QVSTA Co-Founder of QVSTA
BUST: 79
ALINE
Faze Models
Photo: Kay Evseeva
HEIGHT: 175
WAIST: 59
NAT
Wave Models
C-Heads Magazine
Photo: Koty 2
Styling: Rozena Grey
HIPS: 86
ELIZAVETA PRECUP Most Wanted Models high altitude Photo: Norbert Bäres Production/Styling: Petra Wiebe Hair/Make-Up: Norbert Cheminel
HEIGHT: 177 BUST: 82
WAIST: 60
VIKTORIJA
Sky Models Milan
Photo: Masaka Zukurihara
HIPS: 90
HEIGHT: 185 CHEST: 86 SHOES: 43
EYES: BLUE
WAIST: 74 HAIR: BROWN
CRISTIAN CHIRCA Attitude Models Photo: Catalin Cristea
NIKA Wave Models Photo: Eliza Stegienka Make-Up: Kasia Biały
EDITORIAL
What makes these brands and artists stand out
FORGING A the most are their different voices and visions: less
molded by society, and more so formed by their
DIFFERENT PATH roots, culture, and personal experiences. A perfect
example of this direction is the recent Beyoncé
PUSHING THE BOUNDARIES OF CRE- cover of Vogue, which was shot by Tyler Mitchell.
ATIVE WORK BEYOND THE MAINSTREAM This shoot exemplified how artists have looked be-
yond the contemporary world of fashion – creating
TRENDS.
unique and deeply personal work. The coexistence
and success of both these new and small labels with
world-renowned brands can make us wonder: is
Written by Leonie Markhorst there a symbiotic relationship between these two
Owner of Studio Nao Noir ends of the fashion spectrum?
In every corner of the creative world, mainstream The best and most genuine work is created when
waves are stronger than ever. The influence of Insta- unseen – outside of the hungry, public eye – and
gram to establish trends in fashion, lifestyle, and de- with time to hone in on one’s individuality and cre-
sign is ever present. Fashion consumes – and creates – ativity, without it being sabotaged by today’s one-
at such a fast pace that we sometimes lose creativity in way view. For example Eckhaus Latta, the bi-coast-
the process. Everyone is in a go mode and creatives, in al American fashion brand that is recognized across
order to be acknowledged by others, must take a seat the fashion, arts and entertainment industries for
on the already packed trend bandwagon. their artist collaborations and tactility of their
designs. It builds a stronger foundation for not only
Too much of the same causes fatigue. But perhaps, our new perspectives, but also artistic longevity.
consumerism has awakened a quiet protest in the cre-
ative industry. Notably, in the past several years there So it seems that the mainstream fatigue, brought
has been a rise in smaller sized brands like ÁERON, forth by the lack of diversity in the creative realm
Nanushka, aeyde and artists that drive creative inno- and often perceived as a negative, could potentially
vation parallel, or perhaps as a reaction, to the overall be exactly what drives the push towards the bound-
fatigue – catching our attention in the process. aries of creative work.
Photo: Appolinary Kalashnikova
HEIGHT: 170 BUST: 73
WAIST: 60
NATHALIE
Faze Models
Photo: Kim Sahin
HIPS: 85ELIZAVETA PRECUP Most Wanted Models daydream Photo: Norbert Bäres Production/Styling: Petra Wiebe Hair/Make-Up: Norbert Cheminel
EDITORIAL
WHAT MASAYUKI INO’S LVMH When I design and create prod-
PRIZE WIN MEANS FOR THE ucts, I first brainstorm ideas, then
think how to inject my hidden
FUTURE OF STREETWEAR messages and ideas to customers
in the actual pieces,” says the de-
signer. Despite this avant-garde
philosophy, Doublet is eminently
Written by Nina Vukelic wearable, and Ino believes that
Editor-in-chief at This Is Badland holding onto meanings that are
grounded in reality is a chiefly
Recently, we have witnessed a proliferation of Doublet’s founder Masayuki Ino was announced important value. You find tie-dye
streetwear related products with the trend of as the winner of this year’s prestigious LVMH hoodies sit alongside 80s style
bulky sneakers, oversized hoodies, and printed award for Young Fashion Designers, becoming shell tracksuits and traditionally
tees surging in popularity. The style has come a the first Asian designer to win the main award. embroidered silk bombers with
long way from its roots in California skate and This recognition of Asia’s growing influence on matching tracksuit pants. Cen-
surf subculture, diversifying and expanding as it emerging fashion, is underscored with the second tral to every garment he creates
absorbed into mainstream approval, and most special prize awarded to Rokh, a label founded by is a strong vein of both humor
recently injecting a breath of youthful folly into the South Korean designer Rok Hwang and based and logic, all as latent messages
the landscape of luxury fashion. In particular, this in London. Globally speaking, Doublet still feels and ideas layered into the gar-
year seems like a testament to the changing tides underground and it looks like Ino is intending to ments have to be dissected and
with the surprising announcement of Virgil Abloh keep the conceptual note, at least for now, prefer- resolved in order to grasp.
as the artistic director of Louis Vuitton menswear. ring distribution through a few selected high-end
After gaining a cult following with Off-White, a retailers over a hyped online presence. In more Through the processes of reshap-
luxury streetwear label he founded in 2013, Abloh concrete terms, there is an air of mystery perme- ing, stripping, shifting, and re-
is bringing his unorthodox approach and fresh ating Ino’s multifaceted creative universe behind constructing, Doublet enmeshes
perspective to the major French fashion label. The Doublet, echoed in his principle to create “daily multiple ideas together to create
fact that Off-White garments, with their signature wear with a feel of disorder”. stimulating and experimentally
diagonal stripes and ironic quotation marks, de- inclined collections. “The brand’s
mand higher price tags then Vetements hoodies, His expressive output can be loosely labeled as foundations”, Ino says, “are con-
only added to its ever-developing path to success. streetwear, and only if reduced to the focus on stant and humorous reinventions LVMH Prize 2018 winner: Masayuki Ino showing his recent collection
wearable garments – T-shirts and hoodies in- of wardrobe staples like T-shirts,
Streetwear, in its reconfigured and deconstructed fused with text and vibrant images referencing hoodies, and sneakers, loaded
reiteration, is becoming more than a trend emu- pop-art, mass media, and youth cults. with graphic prints and symbols
lating the taste of younger and consumer-savvy and references to popular cul-
generation of Millennials and Generation Z. As The playful lightness of the prints are countered ture.” What has also impressed
a reflection of fashion’s changing aspirations, the with a dedication to innovative and experimen- the judges is his sensitivity to-
rise of Japanese streetwear label Doublet from tal use of textiles, resulting in hybrid clothing that wards products and packaging, “I THINK MY CLOTHING IS A
relative obscurity to the epicenter of the fashion does not feel or look like you’d expected. The am- like noodle pots that when water
BIT LIKE A PUZZLE, I LIKE ADD-
world in Paris is quite the case study. biguity between familiar and unexpected is un- was added – turned out to have
derlined in the word ‘doublet’, an alternate name T-shirts inside. Ino’s ready-to- ING ONE EXTRA CONCEPT ON
for a word puzzle, invented by Lewis Carroll, the wear collections are formula- MY CLOTHING”
author of Alice’s Adventures in Wonderland. “It’s tions of his questioning of what
a game in which you change one word to make it feels to make clothing after the MASAYUKI INO
another. I think my clothing is a bit like a word Tohoku earthquake and tsunami
puzzle, I like adding one extra concept on my that killed thousands and led to
clothing. I see Doublet as a collection that is full the Fukushima nuclear disaster.
of humor and logic. There should be meaning and
reason when it comes to creation.“The aim of the prize has always been to reflect the The playful lightness of the prints are countered major moments and shifts taking place in fash- with a dedication to innovative and experimen- ion,” Delphine Arnault, the creator of the prize tal use of textiles, resulting in hybrid clothing that and executive vice president of Louis Vuitton does not feel or look like you’d expected. The am- said, “This year was no exception.” The win signi- biguity between familiar and unexpected is un- fies not only the latest recognition of streetwear derlined in the word ‘doublet’, an alternate name by the fashion world but it also shows a readiness for a word puzzle, invented by Lewis Carroll, the to embrace the notion of gender-neutral cloth- author of Alice’s Adventures in Wonderland. “It’s ing, another force shaping the fashion landscape. a game in which you change one word to make Since the onset Ino has designed clothing for Dou- another. I think my clothing is a bit like a word blet without a feminine or masculine binaries in puzzle, I like adding one extra concept on my mind, refusing the divide his collections by gen- clothing. I see Doublet as a collection that is full der. Other fashion-forward brands like Eckhaus of humor and logic. There should be meaning and Latta, Vaquera, Art School London and Telfar are reason when it comes to creation. rethinking established fashion systems with gen- derless silhouettes, reflecting society’s changing attitudes around gender expression and identi- ty. Forty years ago, the Comme des Garçons de- signer Rei Kawakubo began creating subversive, gender-bending clothes for men at a time when no one else was. “Men seem to have more cour- age to try new things now, not only in Japan but all over the world,” said Kawakubo. While it has always been easier for women to cross the dress- ing stereotypes and much more difficult for men, Kawakubo’s prophetic ideals seem not as far off in the gender-fluid internet age, with a rising number of high-profile celebrities embracing the so-called “feminine” fashion tropes. There’s Harry Styles in his Gucci boots, Zayn Malik in ladies’ blouses – even Justin Bieber is impartial to women’s skinny jeans. Doublet occupies that very now territory between high fashion and elevated streetwear, referencing key cultural moments. If Balenciaga under Demna Gvasalia is about subverting social culture and giving it a new, awkward spin, Dou- blet with its tongue-in-cheek merging of Eastern and Western influences, performs an ode to the unity of opposites.
WHAT IS GREAT ADVERTISING?
IMAGES AND VIDEOS THAT LEAD TO MORE SALES?
WE DON’T THINK SO.
ADVERTISING IS ABOUT TELLING THE STORY OF A PRODUCT.
WHY IT MAKES THE PRODUCT EVEN BETTER – BECAUSE WE LOVE THIS STORY SO MUCH.
TO TELL THIS STORY – EVERY PERSON INVOLVED IN CREATING ADVERTISING
NEEDS TO PERFORM AN OUTSTANDING JOB. EVERY DETAIL MATTERS. WE AT QVS-
TA ARE DEDICATED TO HELP THESE STORYTELLERS AT EVERY STEP OF THE CRE-
ATION PROCESS.
WITH THREE DECADES IN THE CREATIVE AND FASHION INDUSTRY AND NEARLY AS
MANY IN TECHNOLOGY ENTERPRISES AND START-UPS – WE KNOW HOW DIGITAL
COLLABORATION EMPOWERS PEOPLE TO MAKE THEIR BEST WORK.
TODAY, WE NEED TO PRODUCE MORE CONTENT AT CONSISTENT QUALITY AND
OUR FIRST STEP IS TO EMPHASIZE THE IMPORTANCE OF INTEGRATING MODEL
BOOKING MORE EFFECTIVELY INTO THE PRODUCTION PLANNING PROCESS.
WHAT IS QVSTA TODAY?
AS WE PREPARE TO SHARE QVSTA WITH THE ENTIRE CREATORS COMMUNITY IN
? 2019, CURRENTLY WE ARE AN INVITATION ONLY PLATFORM FOR MODEL AGENCIES
AND BRANDS. BY BUILDING THE FASTEST GROWING DATABASE OF HIGH QUALI-
TY AND DIVERSE MODELS, AND WORKING WITH THE MOST FORWARD THINKING
BRANDS, WE FACILITATE CONNECTIONS BETWEEN CONTENT CREATORS AND
BOOKERS – SO THAT A PRODUCT HAS THE PERFECT FACE TO COMMUNICATE THE
STORY.CHEST: 97
HEIGHT: 186
WAIST: 81
MARK BURCH
Twentyfive
Photo: Rob Langham
COLLAR: 38BUST: 81
HEIGHT: 178
WAIST: 61
MAXI H.
JayJay Models
Photo: Alex Fritsch
HIPS: 93DANIEL Selected Photo: Philipp Köhler
VANESSA VIDA Models Photo: Andreas Küfner
TOM S. BEA! Photo: Rodrigo Palma
BUST: 97
HEIGHT: 187
WAIST: 79
CURTIS
S Models
HIPS: 97Quo
Vista.
QVSTA is derived from Quo Vista
meaning: “Where to see”. A place
where tomorrow’s image makers are
discovered and booked by the most
innovative clients in the fashion
industry.EMMANUEL BMA Photo: Edward Black
TÂNĂRA IANCA Attitude Models Photo: Jennifer Pircalabescu
CRISTI Attitude Models Photo: Marius Moga Dan
Great talents are forged by inspiring stories and interest-
ing career starts. Merle Gerhardy, represented by Tune
Models, skyrocketed her career for Balenciaga. We spoke
with Merle about her exciting path into modeling and her
future plans.
You walked your first show for Balenciaga in
March.
What are both the advantages and challenges of
debuting your model careering with one of the
most on-trend brands?
On the one hand, it is an honor to make your first
steps in the model business for a brand like Balen-
ciaga. It makes you feel that your hopes may come
true and your career will continue on that level. But
on the other hand, it creates a false sense of security,
expecting other big shows and brands to follow.
What was it like to do your first show like that in
Paris? What were your overall impressions? How
do you prepare mentally for that type of show?
It was a week full of ups and downs. I went to Par-
is for the casting and saw so many models from all
around the world and thought, I, as a new face with-
out any show experience, wouldn’t get the show.
Nearly 15 minutes after the casting my booker
called and told me, I was confirmed if I let them cut
my hair, which really surprised me and gave me a
massive high. Two days later – back in Germany –
I realized that they decide who actually walks and
who doesn’t after they finished the fitting (only one
day before the show). So, I had a huge down and felt
INTERVIEW insecure. I forced myself to lower my expectations
and not to put all my hopes in getting the show.
MERLE GERHARDY Didn’t work so well, but I tried. After the fitting, I
tensely waited for the call. When I finally got the call
A CLOSER LOOK with good news, I was more than excited. I sat in my
hotel room and couldn’t stop smiling. The day of the
show was overwhelming. I got my new haircut and
my makeup and we did a little rehearsal. I wasn’t too
nervous until I saw the runway which was way big-
ger than expected. My tension reached its peak while
waiting in the line before the show started. But the
moment I walked out I didn’t think about anything.
I enjoyed it so much, the flashlight, all those people
looking at me… it’s pretty hard to describe the feel-
ings I had during the walk. I’m very thankful for the
opportunity and experience Balenciaga gave me.You changed your look at that time: what inspired
that shift?
Balenciaga asked me to cut my hair for the show. I
saw that as a great opportunity because I wanted to
change my haircut for a long time, but I have been
too afraid of regretting it. What better reason than
doing it for a show like that?
Florian, your agent at Tune models, helped place
you in that show. How did the two of you start
working together?
He scouted me when I was in Cologne in summer
’17. I am very thankful that he made it possible for
me to get into the modeling business so internation-
al.
Do you have any high lights from when you
were on stay recently or something in particular
during your travels that stands out?
I really enjoyed the job I did for Tatler magazine
with the talented photographer Louie Banks. The
photoshoot was in Marrakech where I was for the
first time. We stayed in an amazing hotel, shot pho-
tos in the desert of Marocco and had a great time
after work. I love getting to know all these talented
and special people I am blessed to work with.
Polas with Merle’s new lookWhat is a trend you think will last beyond this next season? I think and hope it will be neon colors and mixed patterns. You can see one of them or mostly both in almost every big brand’s collection. What are your ambitions and goals both in fashion and more broadly for 2019? I would love to do many editorials and shows in 2019. It is not sure yet if I do Fashion Week AW 2019 because of my university graduation in February. After that I want to do fulltime mod- eling, being on stay in London or other coun- tries, maybe Japan, to gain new experiences.
JONATAN FMA Photo: Julia Borodina
JOYCE
Selected
Photo: Dennis Rethers
KAROLINA SMETEK
Wave Models
Vogue Arabia November 2018
Photo: Domen / Van de Velde
Styling: Pablo PataneLUNA Vida Photo: Lukas Probst
QVSTA
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Gabriel Bargaoanu by Attitude Models shot by Andrei Del Rey qvsta.com
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