eternal optimist

THE ETERNAL OPTIMIST HOSTED IN CITYPRESS.GR

Myself and the eternal optimist are hosted in the first issue for 2012 of the Greek Citypress newspaper. Thank you Elena Anastasiadi for the beautiful presentation. Many thanks to Nicolas Aristidou for the great portrait as well. For those who can read Greek and are interested in reading the interview, click here

INTERVIEW : FASHION DESIGNER YING GAO

Montreal-based Ying Gao is definitely not the type of fashion designer you usually meet. She considers fashion design a very important aspect of our social structure and uses technology as a means to show us how garments can be approached in various ways as objects in space and the various ways people relate to their environment. Ying Gao is not another avantgarde creator. She is a fashion theorist who turns theory into reality, always in a romantic way. While the exhibition "Ying Gao: Art, Fashion and Technology" is still running at the Musee national des beaux-arts of Quebec, the designer answered my questions exclusively for the eternal optimist.

You are both a fashion designer and a professor at the UQAM. You seem to be very interested in the social aspects of fashion. Is that correct?

While completing my Master's Degree in Interactive Multimedia in 2002, I worked as a fashion designer and all too often I heard that designing is pointless. I wondered a great deal about the role of a fashion designer and I wanted to do what a designer was supposed to do: create, innovate within our social context. Through my interactive garment projects, I hope to encourage people to consider the importance of innovation in fashion design. The world evoles only when we innovate, otherwise we are just running in circles.

Do you think clothes should be intelligent?

No, I like to think that my garments are not gadgets but rather design objects that have been extensively reflected upon and have a conceptual and esthetical "life", corresponding to their technological mission. The challenge in terms of fashion design is to construct garments with free-flowing dimensions affording the potential for numerous shapes, unlike the fixed measurements of so-called traditional garments. My interactive projects propose an in-dept study on the garment's adjustable structure and the integration of pneumatic and interactive technologies. These garments appear vivid, ephemeral and fluid in shape: one of the dresses vibrantly unfolds when triggered by a ray of light. Another breathes gently as it is touched by a gust of air. The variety of physical shapes emerges from the art of folding paper, giving a poetic aesthetic form to the ethereal and intangible. It forms a creative framework in which media devices (sensors,cameras, microprocessors) become components of garments.

When designing clothes do you use a flat pattern or a stand anf then obtain the pattern?

I prefer flat pattern.

Are you more interested in a cloth to be technically artificial rather than functional?

I am interested in both. I believe that any reflective work that has benefited from in-depth research on both conceptual and execution levels will have a positive influence on our daily life.

Playtime

 

Describe to us the main theme of your collection "Playtime".

Inspired by director Jacques Tati's film of the same title, Playtime lets the viewer reflect on appearances and the perception of objects in space. Compared to haute couture by French writer Francois Ede, the film presents a world where modern architecture and urban surveillance are overtly present, while using stylistic techniques to fool the viewer such as trompe l'oeil and mirror effects. Taken into the world of fashion, this critical and playful point of view allows Ying Gao to explore the concept of Transformation, like in Walking City and Living Pod. In the context of a fashion show with sounds and lighting, the possibility for the viewer to photograph or shoot the pieces on video is rendered difficult: the dresses will appear blury in the recorded image. The first dress will appear blury and the second dress, for example, will react  to the flash of the camera, itself becoming a light source when a photo is taken.

 

The Walking City series were developed as a tribute to "Archigram".

I always found that infatable garments are among the most complex. When a "lifeless" jacket sleeve is filled with air, the garment is suddently transformed and appears to be inhabited by an invisible body. Air is where color, light and vibrations converge. It's a lightweight, ethereal, changing, lyrical and escapes one's grasp. Using the fascinating medium as inspiration, my inspiration was to give an aesthetic form to the ethereal by creating garments closer to the concept of allurement.

(photos below by Dominique Lafond)

What is the main goal of the exhibition running at the moment at the Musee National des beaux arts of Quebec?

The Museum wanted to create an event so that art, technology and fashion could meet in a specific context.

Your work has also been exhibited in various art spaces and museums. Are there any differences in the approach of the selection of the exhibits in every other city where they are hosted?

Not really.

Do you prefer this method of presentation than fashion shows?

Yes, for the interactive garments, I do.

(photos below by Marcio Lana-Lopez)

Would you consider leaving Montreal for another major capital city to base your brand?

I've been living in Montreal for 17 years, I love it but I might leave it for a year or two for work but I know I'll come back.

"Ying Gao: Art, Fashion and Technology" exhibition until August 28 at the Musee national des beaux-arts du Quebec

INTERVIEW : FASHION DESIGNER ROBERT WUN

Mr Wun, you are finishing your studies in fashion design soon. Which do you think is the most precious knowledge you've gained until now?

I would say polished working methods and professional attitude were so far the most refreshing knowledge i have learnt in uni. Always a question about quality or quantity. Presentation skills and a good development could really add depth into the whole thing.

 

You titled your 2010 creations "Mindshield". Describe us the main thematic of it.

''Mindshield'' was actually a self experimentation project. Always having a concept about humans psycho and the layers and characteristic lied within it, and how surrounding culture and living experience could possibly modified the human mind. By creating four major headpieces with four different spiritual colors, and all based on a solid concept about an adapted mind in culture burdens. Also Feathers and birds, all those fragile elements which lies upon them represent the stability of those beautiful shield on our still tailored mind. Like birds living and rest on an old tall tree.

 

And for 2011 you chose the title "Oni".

''Oni'' means ghost, in japanese, Based on developing sharp and neatness silhouette from the japanese kimono, with the idea of muscles cells and body tissues which inspired the details and color scheme. Also really about gravity-less and pushing the color limits that I have never explored. Without the heaviness in Black, just a touch of blood red with white and a sense of transparency , pretty much taste like a beautiful sprit looking for revenge.

Do you intend to use any aesthetic traits deriving from your origins in your designs? 

I always keep myself open minded and to be inspired by many things, trying not to put myself into any boxes and boundaries which came from any culture background. I believe in mutual sense and connections within people around the world. Thats more i am counting on through my inspirational process. 

Top fashion houses tend to present more and more plain and clear lines. Are you in favor of that?

I do like minimalism and the way designers constructed their ideas in their own simple way, though ''less is more'' is indeed a wise thing to keep things sophisticated.

Is it wise, in your opinion, for a new designer to be provocative or exaggerating in terms of design or fabrics from the very beginning of his career?

Believing in what you are and identified your own uniqueness is what it takes to get a good kick start for a new designers i believe. No matter exaggerating or simple but strong ideas, they could all be out standing in their own ways as soon as you add your own personality in them.

Give us your own personal definition of contemporary clothing.

Art of human body in an innovative and sophisticated way.

If you were made a proposition to collaborate with a big retail company for a massive clothing line, would you seriously consider to accept?

I would considered every opportunities carefully and cherish every learning opportunities that i could have . Never say never.

fashion, men. 2010

You are also an individual artist. Which art field are you mostly interested in?

Besides Fashion design, illustration is the field i am more confidence and interested in, photography and sculpture art are also areas i always kin to work on with.

fashion illustration, paper dress 2008
How are you planning to promote your work?

Definitely about pushing my design forward, especially identifying a more solid ideas in identity. Through a more creative and daring ways of design fabric and production. Hopefully could stand out beautifully in the up coming graduation year with the new collection.

 Lastly, if I asked you to dress Magdalene, what would you choose?

I love religious and i always inspired from it. Dressing Magdalene is such a good idea. With the aspect of religious background and saints culture, would stick with the idea of what she really is and what she represent in the christian society, natural draping dress constructed in a more dedicated way with a sense of loosen silhouette, bare feet actually inspires me of something transparency underneath, like a clear platform shoes, with some details of snake maybe. as she was stepping on a snake means to be against the evil. Something contemporary and innovative added into the textural culture theme, but in an mature way.

BILLY MAVROPOULOS INTERVIEWED IN L'OFFICIEL HELLAS

"The nature and the speed of the fashion industry always fascinated me. This constant rotation, transiest mood and the need for something new and fresh often come as balance to the more stable, and time-consuming nature of architecture. The changes, however, are a blessing."

London-based architect Billy Mavropoulos is currently working on a collaboration with google for the biggest museums in the world as well as his first one-off furniture collection. Meanwhile, he gave me an exclusive interview in the summer issue of the Greek edition of L'Officiel magazine. 

INTERVIEW : GREGOS THEOPSY / THINK GREEN

Gregos Theopsy, your latest work which I could briefly describe as a Nazi green carpet covered with frenetic cheap Chinese elecronic toys is presented this week in Athens at Bulb, a symposium around ecological awareness. What exactly is the connection here?Why a Nazi flag, why toys, why there...what does it represent?

It's an allegory covering a large spectrum of ideas ranging from a specific collective project that consists on making the world a better place, to specific phobias,such as xenophobia and international conspiracy. I used a naive and provocative combination of well-known symbols and ready-mades to reflect the immaturity and dangers that really accompany every collective project of this sort. I changed the color of the Nazi flag from red to green and used it as a sort of playground on which i set my "actors"; a couple. It's not my first work with toys. I usually bend the toys I am working with, but for THINK GREEN I thought to keep them raw, fresh and from the hands of some lady in a Chinese factory. To tell you the truth, I even wear gloves when I touch them...to be totally sure that they keep their original vibe.

"Think Green" - mixed media 240x160 cm 2011
In what is this work related to the home made bomb that you presented at Palais de Tokyo in Paris?

"Revolution Now" was a bomb that I displayed in a museum as an art object. I really tried to make it look as beautiful as I could so that people would walk by and say: "Wow, that looks really nice!" before they even realize what they were confronted to. For "Think Green" the process was kind of similar. There are many ways to read this piece. I brought elements on the scene and let the viewers do the narrative. That gives a certain space for people to imagine all sorts of interpretations. It gives them space to imagine things. And simultaneously it gives me an occasion to provoke a distortion of what they believe it's true. For these two pieces I worked with History - as a collective absolute truth - as if it was some modeling paste. 

Think Greek is clearly a politically oriented work and you also recenlty are very active on the blog Boom-Wow! which aims to generate a feedback between arts and politics. What made you focus in this direction?

I don't perceive anymore politics as the struggle between some ruling organ and the people. I perceive politics as the relation between every individual and the rest. And it is somehow a similar situation you face in art. The relation between each one of us and the totality is what interests me in both fields. At Boom-Wow! we are trying to create interaction between these two fields in order to find new ways to communicate and promote integration. 

What would be for you the ideal society, the right place to be?

The united states of poetry.

Do you intend to do more bombs and fascist flags?

You know, in the Roman empire it was forbidden for most of the people to wear purple, a color that was solely reserved to the emperor's family.I am simply trying to show that historical events belong to us, that history is not some stream that simply unfolds away from us. I am trying to take back the event, because it has been taken away from us and redistributed as a spectacle on TV, movies and everything that is between us and the world. Between me and you.  

Are you eco-friendly?

I don't like packaging very much and I think that cars are ridiculous objects. 

CHECK THE NEW EXCLUSIVE ILLUSTRATION MADE BY GREGOS THEOPSY IN OUT NEW WEBSITE BY CLICKING HERE

INTERVIEW : ALICE HAJIPANAYI

She's tiny. The lines of her face are a bit strange. So is here strong smile. Her eyes are full of life, energy and confidence. Alice Hajipanagi is definitely not the kind of woman Greeks are used to and this is due to her multiple origins and the fact that she has lived abroad for many years and carries this international era that you rarely come across in Greece. She is the designer behind the new brand EMPIRE and insists that she wants to be known as such. Her clothes are well sewn, contemporary and elegant. The international market already loves them and so does the Greek one, making her first fashion show in March a must-go event. When I chose to host her on my blog, my initial intention was to discuss strictly about fashion and her new Fall 2011-12 collection. However, her spontaneity and positive energy made me end up with an interview showing Alice's genuine freedom, just like her EMPIRE clothing line is.

You were working as a sound engineer before entering the fashion market. How was that?

Music and fashion always go hand in hand. I always admired great designers such as Lagerfeld, Gaultier, the techniques of Vionnet. I had the bug from a little girl as my aunts and grandmother were great seamstresses. I loved the colors and textures of fabric. I stopped working in the music business to fulfill my passion!

If you were asked to speak about the current aesthetic of your brand, how would you describe it?

Feminine, contemporary, minimal with a dynamic but sensual edge.

After New York, Montreal and Paris you are now based in Athens and you are selling worldwide. How does the international market react to the fact that your clothes are manufactured in Greece?

They are very surprised actually! I was in Paris where I had interest from the Asian market and the American one! They haven't heard of many Greek brands. And I say brand, because I present it as a brand and not myself as a designer.

Canada has an underground fashion scene with quite interesting brands, expanding worldwide. How do you feel about it? Would you ever like to be part of it?

I like the idea of being part of Europe although it would be great to have a follow in Canada. After all, it is my birth home!

How do you feel about the Greek market? Are you interested in it?

It's tough! Greeks are still very stuck with major labels and "status" of wearing something with a name on it even if it looks awful on them. That is why copies are so popular here!Concerning the market, I think very few boutiques know how to understand their customers and their psychology.

You are a mother, a wife and a designer who lives in Athens and needs to buy and wear clothes. Is there anything you would never wear, not because you don't like it but due to the limited perspective over fashion in Greece?

I am generally pretty free with my choices of attire but I do feel uncomfortable sometimes if I dress up to go to a party in something dressy and most people are in jeans. The are not like New Yorkers!

Part of your origins is Egyptian. Are there any oriental or Middle-Eastern fashion elements that you are really fond of? 

Well, I don't really think about my family's origins. I do love the white cottons and linens men in Egypt wear. Egyptian women have so much power in their eyes and an incredible sensuality with their manners and movement.

Alexander the Great or Cleopatra suit best in your EMPIRE?

Both!

You will be eternally optimistic that...?

I am always looking forward and aiming for the best. I always expect the best even if it has led me to make mistakes. This attitude has made who I am in my life today and I am eternally grateful! A pessimist always expects the worst or dampens their own desires and those of others. They often call it reality!

All photos above from the EMPIRE Fall 2011-12 collection were shot by Nikol Bartzoka. Styling by D_Fine. Portrait photo by me

INTERVIEW : JIM ALEXANDROU

London based Jim Alexandrou is the man behind the biggest fashion editorials and ad campaigns, as he works in one of the biggest retouching studios in the world, Digital Light Ltd. Due to the nature of his job post, he is not publicly known, although the final result of a project relies a lot on his participation and talent. Before entering the world of fashion photography, he was a fine artist who graduated with distinction from both the Athens and Madrid Universities of Fine Arts. Dimitris Alexandrou is highly appreciated at the moment, still his future plans include projects that combine his current work and artistic background. 

 
An artist behind the biggest fashion shootings and campaigns. Do you see yourself like that?

That's me!Actually it sounds a lot more compelling than it really is.

So,what exactly do you do as a retoucher?

I create lies, digitally manipulate reality into something aesthetically appealing.

Are you present during the shootings or your work begins after them?

Well, usually my work begins afterwards in the post-production stage. There are many times though I need to be present during the shooting to supervise and create test files in order to help the client visualize the end product. This happens mostly in complex ones that ask for crazy comps or specific color styles.

Alexander McQueen 
How do you feel working with the biggest names in the fashion industry?

I feel blessed!I mean I was lucky enough to work right from the start with the best photographers while in Greece and now I'm in a retouching studio in London where we do campaigns for Alexander McQueen, Chanel, Louis Vuitton, Yves Saint Laurent and Dior to name a few. We also retouch for all major fashion magazines such as italian Vogue, Numero, Interview, Harper's Bazaar, Love, GQ, Vanity Fair and many others. 

Interview magazine, Dec 2010 issue
Can you recall the most surprising moment in your career until today?

Oh, nothing surprises me, unfortunately. My personality was like that since I was born. I create surreal places in my head and live in them because I find the external world boring and predictable. I'm nuts in other words...

 Numero magazine
Is Steven Klein really not holding himself the camera when shooting a fashion editorial?

Rumours, rumours, rumours... I really don't know but I can tell you this. World reknown photographers like him can do anything they want, they have the vision, the idea.. That's the most important thing, not who presses the button.

Who do you think is the most contemporary fashion photographer at the moment? Or who do you prefer in terms of aesthetic approach?

Definitely Solve Sundsbo and not because I work for him. I truly believe he's got a special way of seeing things and captures them on film. His pictures are modern and captivating! 

 Vogue Russia, Nov 2010 issue

Describe us a collaboration you would be enthusiastic about and you are dreaming of.

Gottfried Helnwein is an artist I admire and I'd love to work with someday. As for fashion photographers I would have to say David La Chapelle.

Any future personal work projects?

Zillions. I know I want to do video, is something I haven't done yet and I believe it's a medium that will give me the freedom to combine different forms of art. I'd like to see my ideas in motion mixed with my music. 

 photo by William Baker

all photos above by Solve Sundsbo except from the Vogue Spain cover by Vincent Peters. Courtesy of Digital Light Ltd

INTERVIEW : MAKE-UP ARTIST ACHILLEAS CHARITOS

 
Meeting a make-up artist like Achilleas Charitos, who has proved his artistic integrity and talent in years does not make you want to ask him "What is the latest trend in make-up right now?" . Hence, I chose to host the big Greek make-up artist on my blog and have his personal point of view towards fashion, beauty and aesthetics.  He answered my questions while preparing actresses Sofia Georgovassili and Eugenia Dimitropoulou for a shooting by Tassos Vrettos.

 

Fashion is at a point where everything goes and nothing goes. Minimalistic styling with maximalistic clothes and accessories. How do you treat this condition as a make-up artist?

If you ask me what do I like and If I like the current "trend" in fashion, I would simply tell you that I like everything. I've always been like that. The only thing having changed, as far as the way I personally approach my work is that I now have the chance to experiment much more than in the past. This liberation makes me very happy. In the past whenever I had an inspiration a bit more edgy or "eccentric" there was no actual ground for me to express it, except from some avant-guard theatrical shows, presenting for instance the expressionistic aesthetic. I enjoy working without worrying about fashion trends or restrictions from customers that don't exist anymore.

So, do you want to be realistic in your work at the moment?

Υou know, I used to paint. The color and light palette is endless for me and I really feel there is no limit in this. It is also a game that never ends. This is exactly what I feel is distinctive about me and my work which is "contrary" to fashion and the ephemeral trends. There was a time I was very eager to follow the latest hip style. I still get informed about what fashion wants and suggests, however I have given up all my agony about the latest new trends. I cannot help myself seeing fashion as something really chatty and transient that makes me laugh and take advantage of it by being more creative and free to use my own imagination. 

By all means you really are part of the industry. How would you characterize fashion now?

Fashion only needs flourishing creativity and nothing more. Unfortunately I rarely see new make-up artists being keen to be imaginative in their work. This is the only way to get out of the mellow situation that exists in fashion and its industry the past two years that recession has almost killed any form of expression.

Is there anything that you would not do in terms of your work? Something that you would reject instantly.

Believe me, I like everything. Each person gives me a different individual inspiration a brand new according to his/her personality, it is a game that If you know how to use it, you always come up with a nice result aesthetically.  I enjoy my work even when someone just needs me to to his make-up for a simple private or public appearances. I'm not telling you that every human figure is interesting. I am telling you it can end up being interesting and this is something that will always be a huge challenge for me to work.

Do you have any future artistic project?

In my last book (photo below) in which I collaborated with photographer Tassos Vrettos I had the chance to express myself in things I had on my mind and never had the chance to show through the projects that my clients had proposed me. I still do that and hopefully all this work will end up in a new photo book soon. Another project I am working on is actually an attempt to degradate perfection. Fashion seeks perfection, fashion photography seeks perfection and I felt it was time for a project contrary to all that. Tassos Vrettos has the same view and we enjoy very much working together on it.

 
 
all photos above by Tassos Vrettos. MAKE UP photo album is available in bookstores

Achilleas Charitos did the make-up for the video presenting actress Katerina Missichroni featuring a Greek shoe designer's Spring 2011 collection. The video filmed by Tassos Vrettos will be showcased exclusively the night of the Fashion Party I will be hosting at Yoga Bala this Thursday, February 10. 

INTERVIEW : KIRIAKOS MELAS TALKS ABOUT FASHION AND FOOD

There has been a lot of controversy in years regarding the fashionable side of the food as a form of art. Various fashion houses have opened restaurants and many designers have created recipes naming them with their logos.The eternal optimist met executive chef Kiriakos Melas and asked him his view over the fashion angle of the food nowadays.

Everywhere you look in fashion, you find food. Is food fashionable? 

As a simple cook, I personally derive inspiration from everything when I create something new. Creating art, I use elements from many different art fields and one of them can be fashion. Food reflects the quality of our soul and character, according to each one's environment and conditions of life. Undoubtedly, we live at a time when fashion influences everything and food could not be excluded. However, I do not and cannot see food as fashionable. 

How do you feel about the fact that many fashion designers create branded food recipes? 

Eat-Pray-Love just like the title of the homonymous movie. I only see love for creation in what you are asking me. I think designers use food as another means to communicate their aesthetic and inspiration, building on the importance of the quality of the food. As a project, this movement is wonderful, since there is a great challenge in creating recipes in every level (food-food styling-art de la table-smell-taste) in conjuction to fashion. Imagine a dinner introducing the launch of a new fragrance identical to the product's aesthetics. Is there anything better than that? 

And how about logos on food? Do you like them? 

They are cute and fun but as a consumer I don't think I would be motivated to eat it. On the contrary, I would prefer to taste something that is defined by its quality. Still, everything is acceptable when maintaining the importance of nutrition.

 

Kiriakos Melas will give a speech at the 2nd Pediatrofi (food for children) congress taking place on January 25th at Μarousi Town Hall, Athens

INTERVIEW : KLITOS TEKLOS

Klitos Teklos, former Art Director of Surface magazine is the Creative Director in the New York office of AIR PARIS agency, world-known for its iconic campaigns for Christian Dior, Lancome, Gianfranco Ferre and many other luxury brands. A man who develops and produces global campaigns for print and TV for top celebrities and fashion houses such as Kate Moss, Kylie Minogue, Victoria and David Bechkam fragrances, Jil Sander and others was my first and best option to ask his opinion on the current situation in the global fashion scene. While interviewing him for the next issue of Greek L'Officiel magazine, he agreed to answer to some additional questions for my blog, having to do more with fashion advertising and his view over the fashion industry at the moment. 

Why do you think top fashion houses choose to present human figures that have undergone fairly radical cosmetic surgery, have albinism or bodies full of tatoos?

This is simply the effort of some creative communicators to try to push the boundaries of what could get an extra minute of attention. These explorations are not necessarily a new thing, since they are all based, most of the time, on what preoccupies people, their needs and insecurities. We have seen the themes of aging, appearance, sex and gender through the years by many visionary designers, stylists, photographers and art directors. Most notably, Alexander McQueen was one of the people who brought many "dark" moments to fashion, but was able to add a touch of fragility and romanticism to them and make us see them as special instead of "weird". We are not looking at something new here with the new wave of designers. In fact, what's "new" about this is the timing these ideas are being brought back to life. Something can shock or be accepted only at the time people can accept it or be shocked by it. If people can widen their perception of what's beautiful by accepting that there's more than one kind of beauty, then this can have a social impact as well. If these images result only to shocking people and setting these examples of beauty as awkward and displeasing, then it says a lot more about acceptance and individuality in the world today. 

 Which do you think is the function of fashion right now?

I think fashion right now has an even greater impact than it ever had before because it's been embraced by people more than ever. It influences every single field daily, from the workplace to the fun place. It shapes every aspect of culture. It exposes us to new ideas, makes us look at things differently. It changes our perspective and perception, influences the way we look and feel. It's an integral part of human culture. From the moment that each and everyone of us needs to get up in the morning and put clothes on, at every stage of life, fashion will undeniably be there to influence from the tiniest to the largest degree.

 Is fashion "frozen" at the moment?

It may not have been the most creative moment in fashion over the last couple of years but let's not forget that fashion as well as art, design and advertising reflect the sociopolitical changes happening in the world. As mentioned above, fashion and advertising have the ability to influence people but they wouldn't be able to do that without the people. Fashion is an industry and just like all other industries, it needs fuel to function. It won't survive if people don't buy and support it. This financial crisis has surely had an impact on everything, including fashion. And this unfortunately led to creativity taking the back seat to allow for the emergency plans of survival to kick in. Not that during periods of misery, there cannot be progress and innovation - quite the opposite actually since it forces people to get creative. But the truth is that ultimately, very little of the creativity that was produced reached the majority of the consumers since most money-movers resisted investing in the avant guarde and the "new", when survival was the top priority and the risk was at an all-time high. Fashion though is ever-changing and has an adaptibility that very few industries do. So as things pick up, we surely have great things to look forward to. Just take a look at the promising pre-fall collections for 2011: designers haven't recycled previous decades for inspiration or went to some uber-cosmic allien moment that we cannot relate to.  Instead they are looking at the present as they turn us into global soldiers ready to fight fot a better future.

 

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More of Klitos Teklos and also an exclusive photo capture of his impressive international career will be hosted in an interview in the next issue of Greek L'Officiel magazine.

Photo above courtesy of Klitos Teklos and Kurt Iswarienko who shot him. In the first video above Klitos Teklos talks about the development of the Kate Moss Vintage ad campaign. The following two videos are some of the projects that have been taken up by Air Paris agency