• photography by SANDRA MYHRBERG
    stylist MICHAELA MYHRBERG in collaboration with INGMARI LAMY
    hair & make up PARI DAMANI
    assistant SOFIA LINDBERG
    thank you to STORHOLMEN CASTLE

    An interview with Ingmari Lamy

    Written by Sally Kennedy by Michaela Widergren

    The Grace of a Moment with Ingmari

    The last thing I said to my colleague before I rushed from my office to meet Ingmari Lamy was ” I’m going to interview a super model. I hope she doesn’t eat me alive”.
    It was a cliché, of course, but it was precisely what I was thinking. I was preparing to rush through my interview so I wouldn’t frustrate what I was certain would be a very busy and impatient woman. I also expected the long, white-haired beauty I’d seen in fashion spreads to be toughened by all her years in the modeling business.

    Within moments of seeing her, I knew I’d had it all wrong. I would later confess to her that I was convinced that I was destined to meet her, and that she’d enriched my life within the first hour of our simple, intimate lunch in Gamla Stan. It has occurred to me since then that she probably has a similar effect on most everyone she meets. Ingmari is anything but predictable, and I suspect that she surprises people wherever she goes.

    We’d planned our meeting carefully and I got there early so I could greet her when she arrived. I didn’t want to miss her since meeting her at all had proven to be difficult. I recognized her immediately and waved her down. As she approached me, I was struck by two things; how gently and gracefully she moved, and how calm she seemed. She stuck out in the midday rush of a lunch crowd in transition, and it made her appearance all the more striking. As if she wasn’t striking enough. We walked along the narrow alleyways of Gamla Stan, chatting and carefully inspecting potential lunch spots. She wanted a relaxed, quiet place to talk and was determined to find an ecological menu. We eventually settled on a pretty little bistro Ingmari knew about and took off our coats before securing our seats. Ingmari looked around, slowly taking in her surroundings, and smiled discreetly. ”This should work, don’t you think?”

    I’d started interviewing her already, but up to this point we’d been preoccupied with other activities, like finding a decent menu and avoiding tripping on cobblestones. Now Ingmari was sitting before me, and I had her full attention. She was a stunning woman, indeed. Her soft, gentle face, and clear, bright eyes were framed by long, white hair that hung naturally down to her waist. She was wearing no make-up as far as I could tell and her petite frame was draped in unassuming, pretty clothes that indicated a passion for textiles rather than an effort to stand out. I kept thinking that she looked the way all of us should look at sixty-five; healthy, grounded, and completely comfortable in her own skin. Being beautiful helps, of course, but this was not a woman that made an issue of her looks. Her beauty is just a part of her, and other things, like the environment, spirituality, the detriment of a constantly connected digital world, and the importance of teaching children self-respect, seemed to concern her considerably more.

    Ingmari was born outside Stockholm, Sweden in a remote, quiet area. She spent much of her early childhood with her paternal grandparents. When I asked what this time in her life was like, her answer surprised me.

    ”My grandparents were wonderful, and I was an unusual child”. She went on to qualify her statement. ”I wasn’t interested in the same things as other children my age, and I wasn’t particularly sociable. I spent a lot of time with my grandparents and their contemporaries, and when I wasn’t with them, I was quite content to play on my own. Preferably in our garden and out in the forest.” Her grandparents saw this in Ingmari and indulged her. They let her play alone outdoors for hours and even encouraged her to explore on her own. The forest and nature itself became her playground. Ingmari is convinced that it was in this early stage of life that she developed such a strong sense of self; the platform that has guided her to be the person she is today.

    ”I have always loved to be on my own and felt comfortable with myself. And I still need a lot of time to retreat and reflect. I am sometimes happiest alone, outdoors, where I can be in the moment without interruptions. I really am a sort of wood nymph at heart”.

    I listened intently, wondering how she survived all those years modeling when she was essentially an introspective nature child.

    “How did you cope with a career as a model? What was it like working in an environment where so much importance was placed on your appearance?” It seemed incongruent with the things she seemed to embody and value.

    ”I find the idea of beauty misunderstood. A beautiful appearance and inner beauty are not in conflict with one another if you have a strong sense of self. They come from the same source– your inner essence.” I smiled to myself. She was right, of course.

    Ingmari has not exactly kept out of the spotlight. She has worked with the best in the business. In fact, she has worked with many iconic names that define the business: David Bailey, Gian Paolo Barbieri, Gilles Bensimon, Irving Penn, Bob Richardsson, Yves Saint Laurent, and Kenzo, to name but a few. A model scout in Paris discovered her early, and it wasn’t long before she was gracing the covers of Harper’s Bazaar and Vogue. It made sense. I’d seen some of her early modeling pictures and sitting in the bare light of the noon winter sun, she looked as breathtaking now as she did as a young woman.

    ”Did you want to become a model? Was it something you longed for?”

    ”It’s always seemed natural to me that I became a model, as if I was meant for it. I believe it’s a part of my life path, and the reason I’m a mentor and guide today. When I was a little girl my grandmother told me that I was going to be famous. She had psychic abilities so I just accepted it. I wasn’t surprised when everything started happening, and in a way, I was prepared. I didn’t get lost in it because I knew myself well. And because I was used to and even enjoyed being alone, it wasn’t hard for me to say no to things I didn’t want to participate in. I’d always had an independent spirit so it wasn’t lonely. And traveling to all those amazing places and meeting lots of different cultures and working with interesting, talented people was fascinating. I took advantage of that, and as long as I could pull back when I needed to, I was happy.”

    In 1976, she did just that. She moved to Formentera, Spain after retiring from modeling to focus on her family. At the time, the island did not have electricity, so it was a drastic change in lifestyle. While talking about raising children on the island (Ingmari raised two, Josef and Daga, and also has a bonus daughter, Sinika), I am struck by her generous parenting philosophy. Has she always been this way, I wonder, so grounded and full of integrity? It seems that way. And then it dawns on me. What an incredible model she must be to work with– so present, self-assured, and brave.

    ”Do you like working in front of a camera?”

    ”I do. It can be a magical experience. You and the photographer are in your own space, and then you are in your own space with the actual lens. You are in a virtual room where you create something. It’s kind of like acting and it’s quite exciting. Working together with a photographer has always come fairly easily to me.”

    Ingmari is also widely regarded as a style icon. She’s managed to integrate fashion, beauty, and awareness on a level that is entirely unique during the six decades she’s been in the business. I ask her how this came about.

    “ I never planned to become a style icon. I wasn’t aware of my approach to fashion or beauty when I was younger, but looking back, I can see that there has been a certain theme to my style. And Kenzo has called me his muse, so I must have had a unique style back then, but it wasn’t something I actively thought about. I have always just been myself.”

    ”Do you have any advice for models today?”

    ”The modeling business has changed a lot. I never made that much money, even as a cover model of international magazines and as the face of Yves Saint Laurent. Today, these kinds of jobs generate a lot more money. There was a certain freedom in my experience as a model, though. I made choices that felt right for me throughout my career. I think life as a model today is much harsher. I would advise finding a mentor so that you always have support and someone with experience to talk to about your concerns. Also, it’s important to follow your intuitions and maintain your personal boundaries. Trends in the business and model preferences can be a tough environment.”

    I am curious to find out what she’s doing now. I know she still models and attends fashion shows regularly, but I’ve heard that she’s doing a lot more. I pop the magical question and another fascinating door opens. She is a writer and has a blog with Rodeo Magazine, lectures and gives courses in self- awareness and inner beauty, is a mentor and coach, and works with a highly specialized form of event planning. Soon, Ingmari will be coming out with a brand of her own. It seems she has always had a lot of good ideas.

    “I’ve heard that you once lived and worked in a castle. Is this true?”

    “Yes. I lived in a really deteriorated castle on the island Storholmen for nearly six years. I moved into the wing of the castle after meeting the owner, Leif, and his wife. I was planning to open an exclusive, ecological spa with its own range of ecological products at the castle, but for various reasons the project was never fully realized. It was an exciting time, though, and living there was a real adventure.”

    “You seem to be so creative, in so many ways. How do you get everything done?”

    ”Life is such a riddle, don’t you think? I am trying to figure out how to prioritize everything, how to find the time to do the things I find important, and all the while, find balance within that. I am happiest when I can stay in the present and appreciate what is happening now. That is where I find inspiration.”

    This is the first time I actually think about Ingmari’s age. Will time run out before she’s had time to do the things she wants to do? I find myself hoping she’ll be able to make them happen. I even find myself wanting to help her make everything happen. When we eventually run out of time, I leave her for a minute to put on my coat. When I return to our table, she’s standing up and looking outside. The sun is starting to go down, as it does at 2 pm in Stockholm, Sweden on a deep winter’s day. I feel regret for her, since I know that she was probably longing to be outside walking in the sun’s rays throughout our lunch. I apologize as I move towards the door and encourage her to head outside before the sun goes down. She smiles at me as the bistro door starts to close behind me, and I hear her say happily, “The sun has set, but I am still here.”

    dress HUNKYDORY
    dress worn underneath BRUUNS BAZAR
    collar WOS
    necklace NO NO JEWELRY
    shoes JENNIE ELLEN
    necklace NO NO JEWELRY
    necklace YASAR AYDIN
    shoes JENNIE ELLEN
    top and head piece ALTEWAISAOME
    necklaces NO NO JEWELRY
    dress STINE GOYA
    shoes JENNIE ELLEN
    necklace INGMARI’S OWN
    necklace & bracelet NO NO JEWELRY
  • written by TSEMAYE OPUBOR

    An interview with Rankin

    Written by Tsemaye Opubor by Michaela Widergren

    More Rankin for the masses

    How many times have you seen those cheesy American television programmes where the “call to service” comes? You know the drill: when the call to serve comes, one answers… yada yada.

    Pan camera slowly to freelance journalist (a.k.a. moi) answering the phone: “Hello?”

    Muffled voice: “Would you like to interview Rankin about his new book, MORE?”

    Moi: “Whatever, let me know. Like, no big deal. If it happens, it happens,” I say, trying to sound like a chillier version of myself.

    I hang up the phone, and gone is the über-fierce telephone version of myself. (Adios, chica.)

    HOLY SHIT!! RANKIN!! Photography’s Don Dada!!” I’m yelling, I’m in the office, and I’m in a tizzy.

    At times like this, only one person can bring me down from the ledge. I find my playlist and scroll to MC Hammer’s “U can’t touch this”. When my favourite bit starts, I torture everyone in the office by singing at the top my lungs:
    “Break it down:
    Stop, its Rankin time” (Yes, I changed the “Hammer time” bit to “Rankin time” to fit my circumstance.)

    Although you are all forgiven for thinking that I’ve lost the plot after the cringingly embarrassing MC Hammer sing-along, the release of Rankin’s MORE is not just a big deal for me. (Although I’m pretty chuffed about the interview, it’s not all about me, me, me…)

    Rankin’s MORE is a big deal for anyone interested in photography. His visual aesthetic has defined a generation to such a degree that there is a special place in popular culture reserved just for his good self. Not to mention that Rankin and his posse: Jefferson, Katie, and Katy started Dazed & Confused, one of the new wave of 90’s British style magazines that brilliantly documented every thing happening right then, with freshness, cheekiness and a fuck-you finger (probably painted a neon colour) proudly raised in the air.

    MORE offers an overview of some of Rankin’s most phenomenal work and it documents his photography from the fashion, music and media worlds over the past 20 years.

    For Rankin, who has a mammoth picture archive, and has taken so many unusual photos of celebrities, I wonder if it was a nightmare to decide which pictures would actually make the cut, since the hardcover book is a whopping 368 pages, and contains 243 color and 110 duotone photographs?

    “Well, the book was always gonna be full on. This is my third retrospective, it’s basically the big Kahuna, a greatest hits of sorts,” he says.

    “I have a very emotional relationship to my work. But there are some pictures that floated around that we ultimately decided not to use. They are a little bit like your family, because they’ve been seen so much: a bit like the annoying cousin… so you put those photos in a box to simmer for a while, and you hope time will change the way you feel about them,” he explains.

    When I ask him if anyone refused to be included in MORE, my question triggers the type of response that I’d been warned about from people who know Rankin well.

    An inch away from turning into an angry yob he says: “Funny you should mention it, but there was one celebrity that was such a dumbass he said he didn’t want his picture in the book because he doesn’t look like that any more. I mean come on, it’s a retrospective you dumb ass, that’s the meaning of the name!” (Believe me I tried, but he wouldn’t give up the name of the dumb ass.)

    Rankin then admits that it was actually the celebrity’s publicist that broke the news to him. (He wouldn’t give up the name of the dumb ass publicist either).

    “I’m happy just the same, actually if he’s too fucking stupid to get it, I shouldn’t be so annoyed. But, I really wanted to say “don’t be so fucking dumb”.

    Rankin tells me that he thinks its “ kind of silly” that there are some celebrities that don’t want him to take their picture, although the paparazzi take their picture regularly, and “they look bloody awful.” “At least in my photos I think they look pretty good,” he says.

    For Rankin, the work to bring MORE to life involved a re-examination of his own contribution to photography. “Back when I was starting out, I was doing stuff as an original gangster, like you say… I was an O.G., and part of a group of unique photographers. Our work was, for the time, very conceptual and the edge was about being super competitive. We kept trying to better ourselves constantly, in order to come up with the best ideas. That was special. I’m proud of what I did then. It was the fire of the glory days,” he explains.

    “It feels quite weird to see this never-ending celebrity filled party diary of your life and you’re not in any of the photos. But MORE isn’t my swan song. I called the book MORE, to really signal that I’m a photographer and that after more than 25 years of working, I’m not ready to quit,” Rankin explains.

    We get onto the subject of love, and Rankin explains that MORE is dedicated to Tuuli, his wife. “In our secret language saying “I love you” to each other is to say “more”. (Note to self: must find code word, must share with some special.)

    I ask him if he has any photos that he loves more than the others.

    “Some of my all-time favourite photographs are pictures I took when I first met Tuuli. I really like them as images. We met when we worked together on a campaign for Elle Macpherson. I met her, we fell in love and we got married, so there are all those intense personal feelings attached to those photos,” Rankin says.

    Aside from the pictures of Tuuli, Rankin says that another favourite photo that he has taken is from “Eyescape”, a series of photos of eyes: “one of those eye photos is up on my wall. I think it’s the original test one. I haven’t tired of it yet. In fact, I think I actually like it more as time passes. There’s also a photo of a girl in flames that I did that I like a lot,” he says.

    THE RANKIN STYLEWhen I ask Rankin if he has a particular aesthetic or style he gets testy again.
    “I try to shy away from having a style. I know that there’s not just one way of lighting for instance. I’m always looking for something different. That’s part of a thread of my love for life that runs through everything I do,” Rankin explains.

    “When I was 28-29 years old, I was the guy who wanted to be successful. I wasn’t angry, but a bit aggressive. Just the other day Miley Cyrus asked me if I would work with her and do some photos that brought back my “in your face confrontational attitude”. I guess if you had to, you could say that style was unique to me during the 90’s”, he says.

    “Nowadays it’s all about celebrity,” says Rankin. I can almost see him shaking his head through the telephone.

    “Is that what happened to Dazed & Confused?” I ask. “That’s a very good question,” he answers. Rankin’s voice has dropped an octave. I ask him if he’s still a part of the magazine, his name is still on the masthead after all.

    “I’m still an owner of Dazed & Confused, but I don’t get involved with the editorial side as much anymore. Of course there’s been times over the years where I’ve had my head in my hands, as is the case with anyone that works in publishing, but I completely love the magazine, and always will. It’s been a huge part of my life and career. Whenever I meet up with any of the others [from the team], we tend to wind up talking about the history of the magazine,” he says.
    “Dazed is a magazine for young people though, and it should be run by young people and fuelled by their ideas. That’s one of the reasons that I take a backseat. Jefferson [Hack] and I have become more involved in it again recently and are planning a bit of a reinvention. As magazines change and become more digital, we need to play to our strengths. We’ve always championed the new and Dazed is still as cutting edge as it was when we founded it in the early 90s. There’s a very exciting future ahead of the magazine.”

    I wonder if Hunger is the grown-up version of Dazed & Confused? “Part of the reason I decided to start Hunger magazine, and Hunger TV was a strategic decision. I knew video was the future and I was keen to find a way to meld fashion and film into a new genre. I’ve always been a director, working on shorts and features. I just really believe in doing things like this online. Hopefully it will influence the genre,” says Rankin.

    He tells me that he is proud that his “feet are in both centuries, and part of two camps, pre- and post- Internet”. He does admit however to being glad that he didn’t have access to the Internet when he was starting out.

    “I learnt on film. I was part of a group of people that looked in books and tried to do the same things in our images that we saw in books. That’s all changed now.”

    My final question to Rankin is what he listens to in the studio whilst working. The line goes silent and I’m afraid he’s tired of me once and for all.

    “Oh god, its so embarrassing,” he says stalling. (I conjure up my telemarketing know-how from crap jobs of yore…I’m dead quiet, and I wait.)
    “Well, I usually listen to Elton John’s “Tiny Dancer”, particularly at the end of a shoot.
    © MORE by Rankin, to be published by teNeues in October 2013, € 98, www.teneues.com

  • photography by SANDRA MYHRBERG stylist MEGHAN SCOTT 
    model BEATA / Minus 20° Mgmt 
    photographers assistant JEANETTE SEFLIN
    all rings BEDAZZLED

    An interview with Lina Michal

    Written by Mari Florer

    The Swedish fashion designer Lina Michal’s summer has been tumultuous. When she was going through a really tough period, her life suddenly switched direction. She became the first Swede to win the Vogue Talents Young Vision Award 2013.

    In collaboration with the Danish fashion label Muuse she is now in the process of producing her collection: Heathen Hearts. Her garments are mostly stitched by hand and it will be a challenge to translate them into a ready to wear collection.
    – I don’t know if it’s even possible. It might be something completely different, she says.

    Lina seems like a woman with a lot of self knowledge. She describes herself as a restless person with a lot of energy. She always has projects going on and she usually has too much to do. Her strategy right now is to reduce her schedule. She wants to be more spontaneous - enjoying whatever happens. The only thing she has planned this fall is that she will be an intern at Opening Ceremony in New York.
    – I have always wanted to live in NY and now the time is perfect. There is nothing that will keep me in Sweden anymore and I’m free to do what I want.

    The weeks prior to the Vogue competition, there was a lot of heavy stuff happening in Lina’s life.
    – My grandmother passed away, I was separating with my boyfriend and I became homeless. I was broke because I had spent my last money on the collection. In addition, I was also searching for a job and I think I applied for 60 jobs without getting a single reply. At that moment I was thinking; Am I so bad, really?
    No one had explained to me that it was difficult to get jobs in New York as a Swedish designer. So when I realized that, I was thinking: what shall I do?”

    So, what did you do?

    Fortunately grandmother had left some money to me. It felt almost like she had planned this. When I was counting on it, there was just enough money to do an internship in NY for five months. I started to look for a place to stay in NY. At the same time I found out that I would participate in the Vogue contest. I never thought I would win.
    Due to the fashion award that I receive from Vogue a lot of people from the fashion business contacted me to discuss collaborations.

    What was your inspiration to Heathen Hearts?

    My collection is inspired from old Swedish traditions. In Sweden we have a long history of the animistic. My inspiration comes from midsummer traditions and the Elsa Beskow books. I wanted to work with something that was not about functionalism - something that was more decorated.

    What do you think about contemporary Swedish fashion?

    Swedes are very driven by functional and practical thinking. There’s nothing wrong with that. I am just a little frustrated that there never is anything else. Form and function are very important to us and that’s why it’s taboo to explore an aesthetic for its own sake. It’s much more socially acceptable to talk about beauty in other countries.

    So, do you think we need something new?

    Yes. I’m a little tired of the symmetrical shapes. The Balenciaga trend that existed a long time now is super and really beautiful, but I’m a little hungry for something else. And I need a break from parkas, chinos and army jackets. Though, I will not say too much. Next time maybe I will just want to make t-shirts and jeans.

    When did you realize that you wanted to become a fashion designer?

    I’m probably an annoying person because I had always knew. I was sewing already in kindergarten; although the sleeves may not really have set where they should.

    Did you have a mentor who helped you?

    Bea Szenfeld. She is the best because she is not afraid to be un-cool, unlike other Swedish designers. It suited me because I am a very un-cool person myself; I think I’m too nice.
    Bea was a very good mentor because she encouraged me to dare more.

    Your techniques; where do they come from?

    I use classic craftsmanship techniques and update them to a more contemporary aesthetic.
    For example, I made a purple dress with flowers on the sleeves and to get a more 3D feeling I cut out the parts of the flowers from the print pattern and embroidered them with pearls on the sleeves. I often work that way. I test a lot.

    Will your next collection to be this advanced?

    I wanted to try something more complicated this time but all fashion designers want people to wear their clothes. I think I will create a more wearable collection next time.

    Does your collaboration with Muuse work out well?

    Yes, they are professionals. They think of things that are important; the environment, ethics etcetera. They want to produce in Europe and they think it is important that the collection “breathes me”. They prefer quality over quantity, they say.

    How would you change the fashion world for the better?

    I want to add some responsibility, thinking and reflection. I can use models who don’t all look the same. I am a politically correct person and, as I said, rather un-cool. In the fashion world of today, it is more accepted to be provocative than to be inspiring. That’s a shame I think. There are too many remarkable things that are allowed in the fashion industry that are not allowed anywhere else. There are few who take responsibility.
    Almost in any editorial in almost any newspaper anywhere there are naked breasts as an accessory. It is both irresponsible and boring to always convey the same image.
    My schoolmate called her examination work Stop female death in visual communication. She made a visual petition in which she collected pictures of passive women in advertising. In some of the images they are so passive – they appear dead. The majority of these pictures are fashion images. This is so accepted that we do not even care when you see a man who is strangling a naked woman with his tie.

    Why do we see these photos you think?

    I think that the fashion world is not free from the rest of the world. Fashion and music picks up quickly, easily and directly current trends in time. They give us a very clear expression of what is generally going on in the head of people right now. It’s very interesting to look at fashion from a historical sociological perspective. Fashion reflects the time. It is really depressing when you think about it.

    bracelet & rings PAULA HAGERSKANS
    2nd ring on middle finger BJØRG
    pumps HUGO BOSS
    claw ring BJØRG
    sphere clutch and all rings BJØRG
    top worn under dress MADE BY STYLIST
    boots NOOID
    right hand
     ring on index finger MARIA NILSDOTTER
    rings on index finger & bracelet with chain PAULA HAGERSKANS
    left hand
    ring on index finger MARIA NILSDOTTER
    ring on middle finger BEDAZZLED
    ring on ring finger BJØRG
    skin M.A.C studio fix fluid spf 15
    glow DUWOP doubleglow7
    blush NARS orgasm
    mascara LANCôME hypnôse star
    lips VIVA LA DIVA kharma
    nail polish DEBORAH LIPPMANN harem silks from bombay
    eyeshadows EMITE dand CLINIQUE purple pumps 
    &OTHER STORIES moreen blue
    neckpiece BJØRG
    boots BEYOND RETRO



There’s nothing to see here.