12 Jul 2020
“I do, and I don’t. As the owner of the company, I am actually never not working but I always make sure that I make the most of my downtime."
“Not right now, I am always on my toes waiting to take the next leap. Doing nothing makes me uncomfortable. It makes me feel as if I’m doing something wrong as I am convinced that being stagnant means no progress. I’m always hard on myself to do better or to do more. I blame it on my ego. I have yet to find an answer to that.”
“I would love to be the new G-Star. Not aesthetically, but the size and international name they’ve built is unprecedented in the Netherlands. I aspire to reach similar status."
“Growing up I was told that only hard work gets you far in life. Nothing else. My family and I moved from Somalia to a small village in the Netherlands and I had to adapt rather quickly. With how the education system is set up here, I knew that I didn’t want anyone else to determine my future for me like the majority of the kids that I grew up with. I needed to prove to myself and my family that the move was worth it.”
“Growing up I have worked part-time in various fashion retail stores. I vividly remember the day I realized that I had all the tools to create my own brand. Keep in mind, this is pre-internet and the only resources you had were the ones you heard via friends or saw with your own eyes. I was obsessed with everything and anything to do with fashion.”
“Yes, my actual studies had nothing to do with fashion. In fact, I graduated from the University of Amsterdam with a master degree in Communication Science. During my studies I was working part-time at a shop called 1store in Amsterdam, where I came in contact with the VP of Menswear at Tommy Hilfiger. I had a good connection with him so upon graduating I applied for a job at the Marketing department. He advised that design would be a better fit than marketing knowing a bit of my background. I ended up working there for almost 3 years. ”
“When I started the company the market was already saturated with commercial denim brands with heavy vintage influence. I wanted to bring to the market something more modern and different. Within the last decade the market had shifted from being denim focused to a mix and match of different fabrics. We also realized that to gain a bigger audience you need recognizable graphics. It so happens to be that graphics work better in non-denim products.”
“Streetwear is such a generalized term now. I am under the influence that it means something else than what I stand for as it is so vague.”
“Yeah, but nowadays that doesn’t necessarily make it streetwear, does it?. It all depends on how you execute it.”
“Hard! I’m very difficult to work with. When I have an idea ( even in the middle of the night), I often want it executed immediately. I often forget that not everyone’s brain is on work mode, even in their sleep. I am fortunate to have a dedicated team and business partner who still enjoys working with me (hahah let's hope this is still true).”
“I make sure my internal battery is charged (mind and body) at all times making sure that I don’t lose sight of the end goal and whatever it takes to get there.”
“It is a good collaboration if both parties are able to utilize their strengths to create a cohesive product. It is fun to see unexpected combinations come together.”
“I was in talks with someone from Het Parool, a local Dutch newspaper, about having a monthly column discussing relevant topics. That didn’t happen, so we decided to do it on our own platform instead.”
“Surprisingly awesome! It sparked interesting conversations between the consumer and myself and it even allowed us to built a personal relationship with our audience.”
“PEOPLE aka CITIZENS. With everything that is going on in the world, people from all different ages and backgrounds are coming together for equality and fighting for a better future.”
12 Aug 2020
“The difference is that a photographer takes a picture of reality, while I try to create a new reality. In my work, I create new environments and sculptures. During my time at the visual academy in Madrid, I was not only focused on photography. It is a bit too narrow for me. Sometimes my work doesn’t even involve a camera."
“Chaotic, haha. I like to get out of my comfort zone and challenge myself as much as I can. both visually and conceptually.”
“Not as much as you might think. I never do any retouching, and when I do postproduction I usually work together with RGB Berlin and Studio Wolfram. They know how to make everything look exactly how I want it."
“To be honest, Madrid didn’t bring me that much. So when I was done, I was kind of stuck and didn’t know what to do with my life. I started traveling around and assisted some photographers in Paris and London before I had the idea to go back to school. That really changed me and the way I approach my work. The freedom of the Rietveld Academy as well as the city of Amsterdam made me fall in love with my work again.”
“I’m teaching at a couple of academies in Madrid and I do workshops abroad. Mostly about the boundaries between commercial work and art. I think that’s the most important discovery: if you look at recent developments, the distinction between art and commerce has pretty much evaporated. Beyond that, I try to make future generations aware of what’s going on in the world and the systems that lie behind it. Movements like feminism and antiracism are things I value and I think they are important for an artist to acknowledge. I’m not trying to impose my views on them, but the work you make reflects your ideas. A great picture is not just a pleasant thing to look at, it should have an impact.”
“Absolutely. The work is so much about who you are and where you position yourself. I think I create in an intuitive way so I can’t really have distance from my work. Because I’m in the middle, I can’t step out of it so far.”
“Somehow my work became quite object-oriented in the last few years. That grew organically. I shoot many still lifes because you don’t need a big budget to make them. But I wouldn’t say that I’m a still life photographer at all. Lately, I´ve been doing fashion and documentary as well. That variety is what I love most. If you look at the great artists in history, they don’t follow one straight path or genre at all. It also excites me to flip the anachronic hierarchy of genres. Still lifes are still being undervalued if you compare it to animal painting, landscapes, genre, portraits, and history paintings.”
“I live in one of those gentrified neighborhoods of Madrid, and I am lucky enough to have a place where I can both work and live. We chatted with Paolo and Olaf, and we tried to brainstorm about ideas. I tried to figure out what I could do in the limited space and time we had. I invited two friends who live nearby, we ordered some props, and had some fun. One of the things I love about my work is the collaborative process. That’s why I live in Madrid, I can work with the people I trust.”
“I was mostly at my studio and I rarely went out. I don’t follow the news that much either, so a lot of things went by me. Workwise it was an interesting time. Because I don’t need huge sets or teams, I was able to still do a lot of work. I did a story for the latest issue of Wallpaper magazine, which I haven’t seen yet because all the shops are still closed, and I just did a story for Amazing - Closing Ceremony, my favorite magazine from Shanghai.”
“My friends! We’ve gone on zooms and walks while having a lot of good conversations during the quarantine. Sometimes until deep in the night. Both stupid jokes and deep conceptual thinking. This is something we already did before quarantine, but during times like these, you come to realize how important these things are.”