4SEE Interview with Aerosyn Lex Mestrovic

Interview – Aerosyn Lex Mestrovic

Aerosyn Lex Mestrovic has made a name for himself creating mesmerizing calligraphic works on canvas that reinterpret multiple cultural influences, providing insights into his own diverse background and the globalized world we all live in. Since developing his signature approach, Aerosyn Lex has transformed his practice into an all-encompassing multimedia concept that deftly translates between fine art, video, fashion, and products.

For his high-concept ability to synthesize poignant topics into impressive pieces of art and design, his work has been recognized by the New York MOMA, the White House, and the SCOPE Art Award in 2014, as well as through collaborations with noted contemporary fashion designers such as Kenzo, Givenchy, and Public School. We sat down to discuss his work in both art and fashion and the underlying symbolic concepts that drive each of his recent projects.

This versatile artist has much in store in 2016 as he adds even more to his arsenal with projects in the pipeline including risqué perfumes from Sixth Sense and deeply researched chocolates with Park Hyatt in one of our favorite places, Tokyo, Japan.

Photographer JORGEN AXELVALL
Styling KEITH S. WASHINGTON
Interview JUSTIN ROSS

Interview from May 2016.

4SEE Interview with Aerosyn Lex MestrovicEYEWEAR BY MAX PITTION
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Tell me a little bit about the two-dimensional, calligraphic works that you make.

The basis of the work is language and communication, that is what is interesting to me. Also weaving through everything is this concept of multiculturalism. My background plays a role—I’m from Argentina, born there, but I grew up in Miami in the US. I’ve been in New York now for fourteen or fifteen years and went to school here. I’ve lived in Japan and I’ve traveled a lot. My father’s background is from Croatia in Eastern Europe. My own experiences are very global and through the tapestry of this multiculturalism what is interesting to me is how technology is compressing the idea of cultural identity and then at the core of that is this aspect of communication. I’ve studied calligraphy since I was a kid. This notion of calligraphy being the visual representation of our words as humans—of how we tell stories, of how we communicate, and how record or have recorded knowledge in the past—the fact that there are very key visual elements of each culture be it Arabic or Sanskrit, or something more Western, or with the brush strokes, perhaps more Asian. It’s interesting to throw all those things together and still tell a coherent story.

It’s a really brave thing that you are doing because calligraphy is a very precise art. It looks instinctive but there are a lot of rules within it. But you are taking these techniques, and through a multicultural approach you are redefining these rules and using them in a more aesthetic sense.

You are totally right. Especially that Eastern style of Japanese calligraphy, you can’t fake it. You have to be present in the moment and it demand a certain amount of focus, confidence, and presence of mind. There is an honesty to that that you can’t fake. As a kid I was always really drawn to it. This kind of abstract, gestural, very emotional powerful type of work, I always really loved it.

Is that how you work today? What does the process look like when you set about making a painting?

As it happens, it is in the moment, but there is always a plan and there are always countless iterations before the actual final version happens. There is a very deliberate aspect to it. Some of the recent works I had on exhibition in Tokyo, for example, they have to work on two scales. There is the view from ten feet away, but from ten inches, there is a whole different aspect with the pigments and paints themselves, of the intermingling of the different pigments. I make a lot of my pigments by hand to get a certain type of saturation and chemical reaction on the page. It might not be evident at first glance but it is something that you can continue to look at it and find new and interesting little bits and pieces inside of my work.

4SEE Interview with Aerosyn Lex Mestrovic
4SEE Interview with Aerosyn Lex Mestrovic

Is that one of the reasons why you went on to create the live video versions of your paintings? To capture that interaction between pigments?

Definitely. That came about when I was commissioned by the BBC and Channel 4 in the UK a couple of years ago to direct a short film based on my calligraphy. I had never done anything in film before but I had the opportunity to do it and it was the hardest thing I’ve ever had to do in my life. It took a year to make about six minutes of film. I really wanted to capture the painting but I’d never done it on film so we came up with this whole system and process where I built a whole lighting setup with a mounted table and using a very high-end 5K high-def RED camera system to capture the work in really exquisite detail. That experience really opened things up for me and led to an exhibition of my work at the MOMA a couple of years ago.

You have an underlying conceptual approach which ties your work together, no matter what medium it is in. How does that influence you when you cross from fine art into fashion?

There has been a sort of taboo around art in fashion, and I think that’s true, but in fashion, there has always been a precedent for these types of experiments. You had Schiaparelli using Dali for scarves, you had Yves Saint Laurent working with Piet Mondrian years ago, and now you even have Jeff Koons doing H&M. There have always been artists collaborating with fashion. I think that now it has become normalized. Since Takeshi Murakami or Stephen Sprouse for Louis Vuitton, for example. For me, I really love fashion, I’m invested in it; I’m interested in it from a passionate standpoint. Whenever I get the opportunity to work on something, whether it’s a collection, or a sculpture, or a painting, I approach it with the same level of creativity and focus and meaning and intent that I would do a fine art piece. They are all equally as challenging and gratifying.

Could you imagine your work in collaboration with an eyewear brand for example?

I would love to do that, I haven’t done so before. Working with 4SEE on this shoot was the first time I got in contact with eyewear in such a close way and it was a really interesting process. Let’s make it happen!

How does eyewear fit into your personal style?

It is something that I’m just coming into now. I’m realizing that eyewear can be something that is an accessory as much as it is utilitarian. For me, eyewear was always of utility. If you need to wear glasses you would, but otherwise not. But now, seeing that I really enjoyed the Max Pittion, I really enjoyed the pieces and the whole history of the brand.

4SEE Interview with Aerosyn Lex Mestrovic


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Tell me about some of your upcoming projects.

I’m working now via the White House with a new program called the United States Japan Leadership Program which is a fellowship program which is going on for the next two years. It’s very interesting, its’ people from the military, doctors, scientists, and then somehow I’m the one visual artist in there. There are delegates and we work across a couple of different conferences to establish a greater connection between the two nations. That is definitely fun and interesting.

The main thing right now is that I’m launching a range of fragrances, a range of ‘parfums’. As part of a brand that has been around for seven or eight years and is called Sixth Sense. Sixth Sense had a few different collections, and each collection they would collaborate with up and coming fashion designers. Back when Alexander Wang was just starting they did his fragrance, also Gareth Pugh, Domir Doma, Boris Bidjan, and Juun J from Korea.This is their first concept collection which is called ‘les potions fatales.’ It’s nine fragrances all based on poisonous fauna such as Hemlock, which Socrates drank to commit suicide, digitalis which is used for assassination, and poppy, obviously connected with Opium. I did all of the packaging, the bottle, the artwork which is included, it is all interwoven with the concept of the fragrances which we based of aposematism, a scientific term for the coloration of poisonous animals. Oftentimes, poisonous tree frogs and snakes, they are the most vibrantly colored animals. We took this concept to the very brightly colored artwork and wove it into the whole ethos of the packaging concept for this fragrance range. It is set to come out in just about a month and it will be distributed worldwide.

In Japan, what I’m working on now is a collaboration with the Park Hyatt in Shinjuku. It is famous for the film ‘Lost in Translation.’ When I celebrated New Years there at the Park Hyatt this year I met the general manager and was introduced to Frederico, their executive chef who is from Argentina, where I’m also from. We hit it off and had an idea to put together an art installation and create a product at the same time. So we are planning to create a range of chocolates for the Park Hyatt and this would be a collaboration. We are looking at the pre-Colombian origins of Cacao, where for the Inca, the Olmec, for the Aztecs, for the Maya, chocolate was the drink of the gods. It wasn’t chocolate bars, it was a very bitter drink, and they would put spices into it and use it for sacrifices. We are looking to create something that bridges these two cultures, Japanese and Latin American cultures. Along with a busy exhibition schedule, these are the two major projects on the horizon for me this year.

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Photography Bert Spangemacher
Interview Justin Ross

Schwarz Dont Crack is the latest band to emerge from an unusually creative combination that could only come from Berlin. The ambitious duo has plans to conquer the world, and this hybrid act from Berlin and New York has all the goods to do so with Ahmad’s sultry and seductive vocal talents and Sebastian’s catchy dance beats.

Their latest single ‘Getaway’ was just released on Spotify in advance of their album release later this summer and their upcoming tour. Sebastian Kreis, one half of Berlin-based electronic R&B group Schwarz Dont Crack joined us at the 4SEE studio to talk about life in Berlin, their unique music and upcoming album with frontman Ahmad Larmes, and of course his favorite pair of sunglasses.

Justin: You live in Berlin?

Sebastian: I’m here for six years now… way too long!

Justin: Tell me about yourself, where are you from?

Sebastian: I was born in East Germany, in Halle, not so far from Berlin, about 200km. When I was ten I moved to Southern Germany with my mom. It was very boring there, a small town with simple people. I always wanted to be a musician so I knew that I needed to go to a big city. As a German, Berlin is an obvious choice, a first step at least.

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Justin: Did you study music or are you self-taught?

Sebastian: I’m completely self-taught.

Justin: What type of music, electronic?

Sebastian: It depends, there are definitely some organic elements in my music, but for this project with Schwarz Dont Crack, it is mostly electronic sounds. One day I start with a synth sound, but the next day I might start with drums, it is always different. I just go with whatever feels right for the moment.

Justin: Some people describe the sound of Schwarz Dont Crack as a synth-based R&B. What do you think?

Sebastian: I like all kinds of music… except for Ska maybe [laughter]. I definitely do like R&B, but I’m not sure if this sound is strictly R&B. In a way every song is a pop song. If it’s R&B or electronic, that is determined by the production really. So I guess this is somewhere between electronic, R&B, and pop. For me it is more important that it has some kind of interesting twist to it, and I care less about the names actually.

Justin: How did the project with Schwarz Dont Crack begin? How did you meet?

Sebastian: I read an ad on Craigslist. Ahmad just put up a post saying that he was looking for a producer to collaborate with. I wrote him a message and sent him some tracks and then we met up and instantly wrote our first song “Day by Day” which was also on our first EP. Ever since then we have been writing music together.

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Justin: How long ago was that?

Sebastian: It’s already been four or five years now.

Justin: Does Ahmad live in Berlin or how do you guys work together?

Sebastian: Yah, he lives in Berlin as well. He lived in Paris for some time, but these days he lives in Berlin. Most of the time I send him some rough tracks and then he has some ideas and then we put it together. It is pretty uncomplicated. He writes some lyrics over it and we arrange it together. Then I will always go back and change the production to make it ninety percent ready and then we will choose the right tracks for the release and we will re-record the vocals to make it the best quality.

Justin: What about your name Schwarz Dont Crack, where does it come from?

Sebastian: We were at a party with one of Ahmad’s American friends, and they found the word schwarz super funny, probably because of its sound. Ahmad came up to me and said let’s call our project “black don’t crack” but then at this party they kept laughing about schwarz and since it’s the German word for black, we ended up calling our band “Schwarz Dont Crack”.

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Justin: It seems kind of fitting somehow because like you both it is a hybrid, you are German, he is American, he is black, you are white, and your sound also has this fusion happening.

Sebastian: I like the name because a lot of people say it is a really great name, and a lot of people also say it is a terrible name, that kind of polarizing quality is always good.

Justin: Tell me about your latest single “All My Love”?

Sebastian: Actually we have a newer one that just came out last week called “Getaway” which is the lead single for our new record.

Justin: Are you going to tour the new record?

Sebastian: We are going to play Melt Festival this year in July. And we definitely plan to play a tour when the album comes out.

Justin: When does the album come out?

Sebastian: It will be out at the beginning of August.

Justin: How about your style, how would you describe it?

Sebastian: I think I’m influenced by the Rolling Stones. I usually just go to some second-hand shop and look for weird patterns, prints and colors. I definitely like the late ’60s early ’70s Keith Richards kind of style.

Justin: Do you wear glasses sometimes?

Sebastian: I actually think I might need glasses soon! But right now I’m more into sunglasses, I definitely do like sunglasses.

Justin: What kind of sunglasses?

Sebastian: I like classic ones like Ray-Ban, and I also like vintage ones, with big round frames.

The smooth sounds of Schwarz Dont Crack continue to woo fans and seep deep into your soul. Sebastian’s energetic beats keep the whole idea fresh and what could have been a culture clash ends up being a match made in heaven. Sebastian’s love for vintage ’70s inspired looks with colorful patterns is absolutely on point. It is a perfect counterpoint to Ahmad, who being a New Yorker has got urban style down. In many ways, the two parts of the duo couldn’t be more different, but the result is music to our ears.

PHOTOGRAPHER: Bert Spangemacher
INTERVIEW:  Justin Ross

Eloquent, thoughtful, and sincere. Son Lux fans are drawn into the carefully crafted world of Ryan Lott and his bandmates Ian Chang and Rafiq Bhatia for these three reasons. Meeting with the men behind the music of Son Lux, it is easy to see why: Ryan is a genuine and authentic voice with an intelligent and intuitive approach to making music, a welcome departure from the often mechanistic and over-produced world of pop music. Ryan’s music may seem familiar to some in a comforting, almost wholesome way because it draws from and builds upon a multitude of tropes, genres, and styles of composition from classical, to contemporary electronic music. Son Lux is a study in contrasts and an example of how inspiration can come from all around us.

We caught up with the band when they were in Berlin on the European leg of their tour to promote their new album Bones and they surprised us with the announcement that this was a sort of homecoming for them. The very first time the trio played together as Son Lux live in concert was at the venue, Bi Nuu, where we met to discuss what it is like to be on tour together, their unique and collaborative approach to music-making and their singular sense of style.

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Justin: How does it feel to be back in Berlin?

Ryan: It’s cool. Very excited for tonight, the first show we ever played here was really fun, but I think we are a lot better than the last time we played here and it’s kind of a different show. It’s our own headlining show.

Justin: How did you guys meet in the first place?

Ryan: Well, I met Rafiq first [in New York]. We have some friends in common, some mutual musician friends and we actually met online.. [Rafiq:] On Tindr [laughs].

He e-mailed me about doing a show together at the time, that I couldn’t do, but I listened to his music which was completely fantastic, and I could tell right away it was constructed in a way that was really unique and that I felt an immediate kinship with and that was really rare.

Justin: You see a piece of yourself in it.

Ryan: Yah, exactly. So, unfortunately we couldn’t do the show together but I invited him to collaborate on Lanterns, our previous album, which I was working on at the time. Shortly after that, I scored a film called The Disappearance of Eleanor Rigby and Rafiq was a big part of that as well, which we also did remotely actually.
When did we meet in person?

Rafiq: It wasn’t for a long time actually. We did have a two hour Skype hangout one time, I was telling dumb jokes. That was fun. We didn’t actually really meet in person until we started rehearsing for those Joe’s Pub shows [in NY] that we did.

Ryan: And eventually I needed to create a band in order to tour Lanterns. So, immediately I knew I wanted to work with Rafiq and I knew Rafiq would be instrumental in filling out the ensemble. And then he had worked with Ian. Ian plays in and had played in tons of bands and he had a good amount of videos and I saw them. The thing that really attracted me to Ian’s playing is that he is like a chameleon. He could play this really sick, improvisation-based forward-thinking jazz and then he could also play really mechanistic electronic sh*t on SPD and acoustic drums as well. And he was adept at playing with click, which is when, in your ears you have a metronome and you are able to organically sync all kinds of different things if you have a common click, and it’s not something that every musician can do. That was another skill that I knew was going to be useful.

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As soon as we started to rehearse I felt really confident in these guys. I didn’t feel so confident in myself because I really hadn’t performed very much at all. But pretty quickly, we had had four rehearsals in a cramped space, and then we played to a full house here [at Bi Nuu in Berlin].

Justin: It’s interesting, you said you collaborated a lot online before ever meeting, now that you guys are spending all this time together on tour, do you work face-to-face more, has it changed?

Ryan: You know we still do work remotely. A lot of Son Lux music is still made very privately, very geeky sessions of personal experimentation. But we are constantly sharing ideas. Even last night we were cycling through our voice memos on our phones remembering this and that ideas. Oh, send that to me, etc., and so we are always keeping in mind the possibility that at any moment a great idea could emerge, and when we are together a lot of great ideas do emerge.

Ian: There are a surprising number of ideas for great songs that start out in sound check, or one of us will start playing something, and another person will play over it. It’s really fun.

Justin: How does touring effect your creative process? You pick things up along the way where you are going?

Ryan: As a trio, the touring process kicked off our creative process, because initially Son Lux was my personal project and then I formed this band to be my live band, but then the creative chemistry that we had as we were sharing day in and day out together, that chemistry created a bunch of new life for me and creative life, so that’s when the live band morphed into Son Lux proper as a trio.

Justin: Amped it up so to speak.

Ryan: Yah and for me, if I think about making music with Son Lux, it’s not just about what I can come up with in my own brain and in my own little closet, but it doesn’t exclude that, which is cool. There is still that personal sacred space, which is cool with making music, it’s just augmented.

Justin: And shared. Where is that sacred space for you? Where do you go to focus on the production?

Ryan: I have my own studio in my apartment in Brooklyn, and Rafiq has his own studio now.

Rafiq: I do now! It’s great.

Ryan: This man [Ian] barely has his own bed, because he is always on tour, always on the road. So probably your iPhone.

Ian: Yah, my phone is a sacred space.

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BARTON PERREIRA TRUMAN Matte Stonehenge

Ryan: I mean it’s incredible now what you can do and maintain incredible mobility. Ideas genuinely do emerge from a phone or from an app, a beat app, from a voice memo, just humming a melody.

Justin: What do you do to prepare for a gig, are there any rituals or routines you go through?

Rafiq: Well yah, you know we’ve done 200 shows since last January.

Ryan: 230 or 240 shows by now.

Rafiq: With a nine pound guitar on your shoulder and doing pretty athletic maneuvers, over time I really wore my shoulder out. I was feeling numbness and all sorts of things in my arms, so I do these stretches to open up my upper body before we play. So physically speaking that is one. But all of us tend to be relatively relaxed and before we go on stage we have a hug. A group embrace before we go out.

Justin: That’s sweet.

Rafiq: You know there is something, it’s a small thing, but there is something to be said about it. [Agreement all around] There was one show where we didn’t do it and I think we all noticed it.

Ryan: Did we do that?

Rafiq: Yah, there was one show.

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THOM BROWNE

Justin. Never again! Tell me more about your style… are there any items you have to have to put you at ease?

Ian: I’ve pretty much worn glasses since I was five and so, well I tried one year with contacts but I wasn’t into it… I’m really blind. I get really tired when I can’t focus my eyes and its kinda dark, so glasses are really big for me. Lately I’ve been wearing one pair of boots. I think I’ve been wearing these Palladiums for ages, especially on tour, I’ve been packing really light.

Rafiq: Yah, really light is an understatement, he lives out of a suitcase yay big. And he always has room in it. It’s like the bag in Harry Potter.

Justin: You guys all wear glasses?

Ryan: I definitely prefer them to contacts.

Rafiq: I’ve never even tried contacts.

Ryan: I tried soft contacts for a day and I ripped two in a single day and my parents were like we can’t afford that and I felt so distraught. So then I got glasses and I wore pretty terrible glasses my whole life until I met my wife and she convinced me to get cool glasses and basically these are the glasses.

Justin: What are these cool glasses?

Ryan: These are Moscot and these guys are YEARS old. I’ve had these for seven years! I need to get a new pair, but it’s funny you know I feel like I’m just going to get these same ones.

Justin: These are your only ones, you don’t have any spares?

Ryan: I have some custom Moscot as well that are clear and then a long the top they have a root beer fade, and then they are dipped in black so they have a pretty unique look. And then my sunglasses are also Moscot, but they are the lemtosh.

sonlux_editorial02Rafiq
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Ryan
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Justin: Where does the name Son Lux come from?

Ryan: Originally I wanted to have name for this project I was developing. I started to explore the pop idiom, as well as some more adventurous, experimental ideas, and trying to find a fusion between the two. I liked the idea of not using my own personal name. And now, I’m especially thankful I didn’t do that now that we are a trio. I liked the idea of a two word name because it feels personal, like a first name, last name. I was experimenting with simple and symmetrical words because graphically that was important to me. Using the word Lux, which is Latin for light, it’s a very specific word that’s rooted in a language that’s dead and it’s very sort of contained and evocative and specific. And then the word Son or Sōn, in English it has a familial feeling, like son, of son and daughter and it also has a very open feeling to it. But Son feels sort of open, and ironically feels sort of brighter than the word Lux. I wanted symmetrical words that felt inherently contrasting. Because musically that’s something that we are always trying to do, find curious contrasts that still fell symmetrical.

Justin: It’s interesting because when I saw your Tumblr it sort of made me feel that way, with lots contrasting textures and parallel shapes. And now I see why they call you guys intellectual pop, that was quite an in-depth answer, so thanks for that!

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PHOTOGRAPHER: GERALD LE VAN CHAU
FASHION EDITOR: KEITH S. WASHINGTON

After countless remixes and stellar performances from Mexico to Tokyo the Paris based electro duo Jupiter: Quarles and Amelie arranged there second album: Bandana Republic on Kitsune Records. For the first time Jupiter has recorded an album in Los Angeles and Paris.

With the assistants of the decadent private garden of the Hôtel Particulier Montmartre in Paris 4SEE Magazin managed to meet Jupiter for an informative Q&A.

If you could be in a cover band who would it be?
Quarles: Guns N Roses, I would actually have the time of my life playing Slash’s licks.
Amelie:: The Doors, I would do an awesome Ray Manzarek impersonation.

Favorite cartoon as a kid?
Quarles: Teenage Mutant Ninja Turtles! I am totally obsessed.
Amelie: The same! But I didn’t want to eat pizza until I saw this cartoon. It was a great revelation!

How many records do you both roughly own together?
Between the both of us probably around 150 LPs.

What would your porn star names be?
(Last name is the street you grew up on and your first name is your first pet’s name)
Quarles: M Schumann
Amelie: Laska Joffre

Favorite keyboard?
Quarles: Roland Jupiter 8, it is so versatile and yet powerful at the same time and a great name too!
Amelie: The same!

jupiter_story03AMELIE: Sunglasses by FENDI PARADEYES Colour White Jumpsuit by TOGA QUARLES: Abstract Ice Blue sunglasses by DIOR Style Abstract. Metallic Leather Jacket by John Lawrence Sullivan Jeans by A.P.C and T-shirt Vintage.

If you could collaborate to make a track with anyone alive or deceased who would it be?
Quarles: Eazy-E, because he’s all over the media right now after being kinda forgotten for 20 years.
Amelie: Maybe Lee Hazlewood?

Its 7AM via at an after party that would you request Champagne or Wine?
Quarles: Champagne. Much better hangovers!
Amelie: Definitely Champagne.

What is required before JUPITER takes the stage?
Quarles: I practice my vocals. Because there’s always room for improvement as far as I’m concerned.
Amelie: Yeah, we practice vocals together and do harmonies.

jupiter_story04AMELIE: White sunglasses by Fendi Style: Paradeyes Leather Jacket by TOGA Jean skirt and T-shirt vintage.

McDonalds or Burger King?
Quarles: Burger King. Strangely, I’ve been waiting for them to come back to France for over 10 years now. But I don’t really care anymore…
Amelia: To be honest neither one! I prefer In N Out!

Favorite pair of sunglasses?
Quarles: Ray-Ban folding wayfarers. They’re the biggest frames they have and I have a huge head. They also look sharp too.
Amelie: Sorry don’t really have one, I change all the time!

In high school you wanted to be as an adult?
Quarles: I wanted to work for the United Nations. Fighting climate change with law and politics. Then somewhere along the way I realised I’d be so much better at something I actually enjoyed.
Maybe I should feel bad about this?
Amelie: I wanted to be an actress in plays although I never really took drama classes.

jupiter_story01AMELIE: White sunglasses by Fendi Style: Paradeyes Leather Jacket by TOGA Jean skirt and T-shirt vintage. QUARLES: Abstract Ice Blue sunglasses by DIOR Style Abstract. Metallic Leather Jacket by John Lawrence Sullivan Jeans by A.P.C and T-shirt Vintage.

You were in California for inspiration on your most recent album BANDANA REPUBLIC what was your favorite ideal situation in California?
We went hiking in the mountains in Kings Canyon and at some point it was just the two of us on top of a mountain and there was only silence. As cliché as it might be it felt really amazing and so inspirational!

What is your favorite place to perform?
Mexico! Best crowd ever! (except maybe Japan, but we only played in Japan once so far.)

Who gets window vs aisle when traveling on tour?
Quarles: I get the window as I fall asleep as soon as I sit so I like to rest my head against the window.
Amelie: I’m not a big fan of flying so I always like to seat in the aisle to feel safer (somehow it makes sense to me!)

jupiter_story02AMELIE: Sunglasses by FENDI PARADEYES Colour White Jumpsuit by TOGA

BANDANA REPUBLIC BY JUPITER on ITunes
https://itunes.apple.com/us/album/bandana-republic/id975627879

www.wearejupiter.com

SHOT ON LOCATION:
HOTEL PARTICULIER MONTMARTRE

Hôtel Particulier Montmartre is the tiniest hôtel in Paris and a great visuel surprise, hidden in the exciting district of Montmartre. Once home to the Hermès family, the Hotel opened its doors to the public in 2007. Bordered by a private garden, it features five Suites, a French Restaurant and a cocktail Bar called Le Très Particulier. In a few years, the Hotel became a unique place, haven of peace to anyone in search of a new experience and inspirational refuge to many artists.
www.hotel-particulier-montmartre.com

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