the Issue here! - DERZEIT fashion week berlin daily

Mercedes-Benz
Fashion Week Berlin Daily
+ NICOLAS
KANTOR
& CATWALK
REVIEWs
+ nOFFICE
gROPIUSSTADT
DERZEIT
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
§2, 02.07.2009
11 am
12 pm
DERZEIT
Word is by
Eastpack
My last memory is of golden
Alexandra Kruse
tinsel cascading from the cei-
—
ling of Bar Tausend.
1 pm
—
2 pm
Mongrels in common
3 pm
Frida weyer
was lying next to me and we
Lala Berlin, spawn of one-time MTV VJ Leyla
Musik Theater Varieté
offsite
We woke
up in cocktail gowns. Sarah
Anja Gockel
Chamäleon -
DERZEIT / Torstrasse 201 / 10115 Berlin
derzeitfashiondaily@googlemail.com
derzeitfashiondaily.blogspot.com
/ the architecture issue
Programm by
Mercedes Benz Fashion Week
10 am
SEITE 2
Piedayesh, began with a line of knitted wristbands in
2004. Since the line‘s nomination for MercedesBenz Fashion Week Karstadt New Generation Award
in 2007, Lala Berlin has expanded into mixed materials and all kinds of structured pieces, like the jumpsuit DERZEIT fetishized in Wednesday‘s Fashion
spiked little cocktail stirrers decorated with sea horses
and swans into our hair. After
that, we listened to Jennifer
Rush and nibbled on little
berries. It is a well-known
industry fact, that a fashion
show that starts before noon
4 pm
>>>>>>>>>>>>>>>>>>>>> Issue. There‘s more to come at her show, Thursday,
5 pm
>>>>>>>>>>>>>>>>>>>>>
Wunderkind is the avant-personal line of big poppa
The genesis of a
fashion designer Wolfgang Joop. „The Genesis of a
dress
a no-go. Anyways, some blogs
Dress“ exhibition, off-site at the Wunderkind boutique
ding ovations. Too bad I had
5pm-8pm, deconstructs the new collection alongside
also missed the show of Lena
photographs from artist Gregor Törzs.
Hoschek, a designer who fi-
5.30 pm
4pm at Bebelplatz.
Burda Style Preview
Departementstore
offsite
6 pm
is not a fashion show, it‘s
revealed that Marcel Ostertag received high heel stan-
nally makes fashion for people
with just one defined gender.
Strenesse blue
When I finally reached Bebel-
Boss orange
platz and I saw HER! Christiane Arp. In person. Hair
7 pm
—
8 pm
Custo barcelona
9 pm
Boss orange
discreetly balled up in the
most elegant petit chignon.
This was no surprise, but the
tattoo underneath! I couldn’t
day 2. Juli 09
PICTURE
Commedia dell’
Arte Couture
Edition
LATER
Münz Strasse 1 (Hof)
really make out what it was,
because I got distracted by
the random contents of the
dazzling golden goody-bag by
BREE: hair something, volume something, green tea, a
mascara which I took for a pen
(it was a mascara and a pen),
night 2. juli 09
a lint roller (seriously) and
Kaos kuratiert
das DJ Programm
in den KW Berlin
still trying to decode the
August Str. 69
photographer and his fabulous
(22 -5 Uhr)
wife and we strolled to Café
a votive candle holder. I was
inner logic of these items
when I bumped into my favorite
Einstein. Einstein serves the
INSPIRATION
OF THE DAY
most incredible club sandwiches; even Mary Kate Olsen
would skip her low-carb diet
for a bite (but she’s in Dubai
for the gaudy inauguration of
The Palm). While some people
were watching homeless people
strut it for Patrick Mohr’s
collection, we browsed shops
and galleries around happy
Mulackstrasse. At Kiosk we saw
hand-picked vintage gowns in
rainbow colors by Margiela and
Chanel and an endearing little
art show named “From Black Q
Tip to Sashiko Embroidery - 51
Things to buy at little Nippon. Firma had these genious
Gropius bags (for the Bauhaus
SUzy
anniversary) and free Champagne, the first of the day. I
Menkes is reading DERZEIT
hopped over to The Corner to
stare at the glistening shoes
from The Wizard of OZ Ruby
Imprint
editor in chief
Manuel Schibli
managing editors
Emily Segal & Michael Ladner
art direction
Manuel Schibli & Alice Kuhn
grafic design / photo editor
Sven Hausherr, Alice Kuhn
fashion director
Sebastiano Ragusa
editorial office
Miranda Siegel, Basil Katz,
Matthew Evans
contributors
Adriano Sack, Alexandra Kruse,
Marco Rechenberg, Eva Munz
daily photography
Georg Roske, Lhaga Koondhor,
Grace Hollaende
Slipper Collection. As the sky
fashion photographers
Nicolas Kantor, Stefan Milev,
Manuel Schibli, Alice Kuhn
printed by
Berliner Zeitungs Druck
supported by
Mercedes-Benz Fashion Week
was time once again to slip
changed to psychedelic hues it
into a cocktail dress.
five
questions
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
SEITE 3
§2, 02.07.2009
Mark Eley
FETISH
OBJECT
Would you prefer to clone, enhance, or
create new forms of beauty? We would like to clone ourselves
because it would make our lives a great deal easier, and we would enjoy
each other more if we had more time together. / the architecture issue
Masterplan
I looked at photos of
Gropiusstadt, the hyperdesigned bedroom
community located
near one of the mysterious and omnipresent
U-Bahn terminuses – in
this instance, U7’s RuWhat is the most beautiful way to veil dow, in the south – and
your face? the following terms
With the sun, rain, shadow, fog – came to mind: Repetitive. Putty-colored. Drab.
And likely, riddled with social problems:
whatever doesn‘t hide the beauty of It was the home of Christiane F., the drug-addicted
what you are.
heroine of Wir Kinder vom Bahnhof Zoo.
What is the best way to stand the pain of
But in person, I found it neither depreslife and reality? sing nor decaying: It’s more of a Bauhaus grab-bag
To recognise the air that we breath than a series of uniform housing blocks. Sometimes
today is not that different from to- the boxy towers repeat themselves; sometimes
morrow.
they’re armored with strange futuristic raised white
Mark Eley is one half of
tiles; some have windows shaped like sideways cheWhat is this season’s best accessory you vrons; others are shorter, and there are even a few
the british design duo Eley
can't buy in a fashion store?
Kishimoto. His and Wakako
single-floor houses. I wondered at the many hues
Breath? Jell-O? Kishimoto’s work goes way
of “putty” and admired the windows ringed in
beyond the colorful happrimary colors. It has that Bauhaus sterility where
Opportunity.
py prints in their women’s
even the graffiti looks out of place; depressing
Do you believe in God? wear collection (we believe
housing blocks usually look just right covered in
Eley Kishimoto sparked the
Whether it is the same God as you graffiti, but here it somehow doesn’t make sense.
comeback of Liberty prints).
believe in, I am not sure. I believe in What was I supposed to make of it now?
They also teach; consult
Walter Gropius’s satellite town, technisomething or other…
major multi-national fashion
cally part of Neukölln, was built throughout the
brands; and design wallpasixties and seventies according to his “Masterplan”:
per, car interiors, shoes
He had dreamed up his own „Stadt-Landschaft“,
and all sorts of objects
a much-discussed concept among architects and
that once you see them you
urban planners at the time, the goal of which was
Check out the website:
won‘t be able to live wito make life in the city more beautiful, more appeawww.eleykishimoto.com
thout them.
ling. Gropius‘s version was to be rich
with formidable examples of plattenbau buildings surrounded by greenery and public space.
The design was certainly
intriguing. Admiring the architecture
in Gropiusstadt gave me the same
satisfaction I would get after setting
BACK
up everything in the Playmobil box
STORY
(with stickers); it’s more a Bauhaus
toy universe that represents the concept of a town and the idea of town
When you die, you will most likely be either bu- ent architectural form is its ability to steadily exlife, than a town itself. The “town
ried or cremated. Then you get a headstone, or pand without degrading the shape. So sky is the
square” I sat in, which contains a suyou simply blow away. These institutions of limit in terms of size.
remembering the dead reinforce the gloom and
The idea is analogous to Rem Koolhaas‘s
permarket, a bakery, a café, and an
solitude attached to our established fear of death. proposal for a European flag as a barcode made up
imbiss, has everything it needs to be
a town square. Every structure is so
This fear is what most people try to battle by of individual countries‘ flags. New members of the
regular, so designed that it was strange
achieving fame. Anything to be remembered.
Union can always be added onto the whole, while
watching schoolchildren wander up
The Swiss
retaining individual identity, rather
than being signified by an anonymous
to the buildings, as though they‘re
company Algodanza
star in a alienating sea of blue. No
part of a set without realizing it.
offers a twenty-first
wonder Koolhaas is the president of
But suddenly, it made sencentury novelty for
se. Just like Gropius envisioned, it’s
the jury board of Friends of the Grememorialization: flasalso an overwhelmingly lush enclave:
hy, high-end diamonds,
at Pyramid Monument.
bushy bushes, leafy trees shooting up
forged from the carbon
But more intriguing than
remains of your loved
the magnitude of the project is its
from the earth, flowers, and pathways,
innovative take on memorialization.
some parts of which are canopied
one. But doesn‘t the
under foliage. Is this the realization of
Rather than compartimentalizing
mystifying allure of a
his ideal community? To say that widiamond lie not in its „beauty,“ but rather in the the deceased into plots or receptacles, which
thout digging deeper is to ignore the
frigidity of crystallization? Even here, the Todes- have classically been further divided by cultural
sharpness inherent in the architecture
angst is reflected by an attempt at imitating indi- hegemony or religious belief, the Great Pyramid
Monument brings our remains together, regardwhen contrasted with the organic:
vidual immortality.
The German writer/artist/theorist less of creed. Death is no longer confined to the
The nature and the manmade play
Ingo Niermann has conceived of a tomb for all blackness of a coffin; rather, it radiates the pluraoff one another. Done poorly, it
would detract, but instead it enhances
people, a collective, democratic place of rest. The lity of the human race while providing a spectaeverything, imparting a newfound
Great Pyramid Monument is constructed from cle in public space for
appreciation for urban spaces.
personal gravestones containing the remains or the living to enjoy.
Check out the website:
whatever the person wishes to be remembered by. – Michael Ladner
– Miranda Siegel
www.diegrossepyramide.de
Each stone is the same size. Inherent in this anci-
Remembrance of Things
Past
DERZEIT
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
§2, 02.07.2009
SEITE 4
/ the architecture issue
DERZEIT
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
§2, 02.07.2009
SEITE 5
/ the architecture issue
DERZEIT
INTERROGATION
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
§2, 02.07.2009
Give me Dirt
More Than this
nOffice is Markus Miessen, Ralf Pflugfelder and Magnus Nilsson, three architects who share a practice in Berlin
and take an interdisciplinary approach
to critical architecture, urban intervention and the art world. Markus
Miessen tells DERZEIT about the harakiri side of architecture’s economy,
the frustration of permanence, Swiss
brutalist Hans Demarmels and the beauty of walking your panther on Tottenham
Court’s Road.
The name of your office suggests on the
one hand that it doesn’t exist and on the
other that it is just like any other office.
What was the true intention?
Truth does not exist. After spending
far too much time wondering about
a name, we decided to outsource the
decision-making process. The Swiss
curator Hans Ulrich Obrist then
decided we should be nOffice.
with Hans Ulrich Obrist.
We are also working on a
pavilion for New York’s Performa
Biennial, an exhibition of architecture
for the Shenzhen Biennial (China)
and a penthouse in Cologne. More
interesting than the individual pro-
You are located in Berlin, but it seems that
the location is really random.
True. Apart from two small projects
we aren’t currently working on any
building projects here. In 2008, we
decided that after living in London,
we needed a location in which the
office could grow. Architecture is a
hara-kiri business:You work like crazy and produce only marginal economies. In Berlin at least there‘s flexibility in regards to an economy, in
which you can live more comfortably. The decision to leave London did
not change the way we work on international projects. Quite the contrary: We tend to waste less time in jects may be our obsession with the
Berlin than we used to do in Lon- way in which knowledge production
don.
can influence spatial practice.
The Renaissance Man has
You work with Ralf Pflugfelder and Ma- been rendered passé, but the varied
gnus Nilsson. How do you split your nature of projects, opportunities, and
work?
collaborations that arise through EdnOffice is what I would call a com- ward Said’s notion of ‘the ideal intelplementary practice: Each individu- lectual who works from the margin’
al within the office has qualities that allows for an architecture understood
the others don’t have. However, the- as a space that is constructed among
re is no hierarchy in terms of decisi- political realities, social networks and
on-making at all. Each conceptual physical structures.The demand to go
design is the result of a collaborative beyond a certain field of knowledge
process.We tend to get our architec- inevitably makes the architectural
tural commissions through this practitioner a polymath by necessity.
stream of parallel investigation.
Is it frustrating as an architect as opposed
What are you working on at the moment? to a fashion designer that the product of
We are currently working on a series your profession has this inevitable permaof archive and library projects – one nence? That you cannot change a house
in northeast Brazil and one in Swit- every season? Put it somewhere else?
zerland – and we are about to em- Architecture is a practice of continubark on a long – term spatial project ous delay. Quite often projects take
regarding archival practice in Berlin. so long that, by the end, you cannot
For the last four years, we have been remember how they started. Archiincreasingly interested how know- tecture is certainly, as you mention, a
ledge can be accumulated, both phy- profession of frustration. Projects
sically and virtually. At the crossroads often die and before you know it,
of those two domains, we are deve- you are looking at a mass grave of
loping an archive and cultural center unfinished projects, or ‚unrealized
projects‘ as Hans Ulrich Obrist
would call them. On a more positive
note, let’s talk about your point regarding permanence: not every architectural project necessarily has a
conscious permanence. I would argue that the more interesting ones
actually don’t, or at least they embody the potential for change over time
and in terms of utility.
Are there strategies to avoid that stasis?
Advantages?
Cedric Price was a master to circumvent stasis. However, I would
never rule out either way. Practitioners tend to become very dogmatic.
Their world turns into black and
white, good and bad, aesthetically
pleasing and goddamn ugly. Within
this paradigm, the other’s position is
always a priori ruled out. We don’t
like to close doors. Every project is
different. Every situation requires
dissimilar approaches. We would get
super-bored if every project were
SEITE 6
/ the architecture issue
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
SEITE 7
§2, 02.07.2009
/ the architecture issue
teresting ones, as it takes the idea of
open plan and flips it into the vertical. It is also intriguing, as it by now
has been tarnished by a patina of
more than 40 years of inhabitation.
There was a great film produced
about OMA’s Bordeaux House for
last year’s Venice Architecture Biennial in which the cameraman follows
the cleaning lady through the house,
while she is commenting on the insufficiencies and lack of performance
of the architecture. It is an utterly
superb film. Everyone who is interested in design should watch it. I
also loved the Palast der Republik
before they disassembled it. There
was something totally beautiful
about the fact that the building
wasn’t knocked down, but almost
taken apart, like you would disassemble a tent. To be honest, I am
more interested in urban experiences
than in individual architectures. The
most amazing ones for me so far
have been Sao Paulo and Cairo.
„Architecture
is a hara-kiri
business:
You work like
crazy and produce only marginal
economies.„“
When was the last time you
were profoundly shocked?
When my doctor cut a
cancerous growth out
of my left arm last year.
What does the house you
grew up in mean to you?
Does the room in which
you played as a kid still
exist?
A lot. It has become a
safe haven and retreat. It
is home. My room still
exists. And my parents
are doing a good job
making it more pleasurable every year. The
most interesting mophysical, had permanence, and an ment was the time when my parents
easy brief.
got a post-kids-leaving dog. It totally
changed the architecture and spatial
You are constantly travelling the globe, use of the entire house and garden.
teaching, consulting, writing. Is theory a
way – your way – out of this dilemma?
Listen to „In Every Dream Home a
Theory should never be a way out, Heartache“ by Roxy Music and tell me
but maybe and hopefully a different what you think.
way back in. Teaching tends to be a There is something odd in the beligood testing ground for ideas that in ef of newness. Last night when I
reality would simply not work or walked my panther down Tottenthat nobody would pay for. I am cu- ham Court Road, I was wondering
rious. If I am interested in something, why the wheel needs to be reinvenI pursue it. My way out of a dilemma ted over and over again. It reminds
is precisely not to understand it as a me that I cannot do architecture for
dilemma but as an opportunity. We architecture’s sake. It incredibly
are working with the most in- bores me when thinking of physical
teresting people in the arts, architec- matter in space. Give me dirt. More
ture, and cultural production global- Than This. Come with me in my
ly. Beyond that, I don’t think I could Alfa Romeo Iguana.
live in Berlin if I had to be fully based here, it is too provincial.
When was the last time you were really
excited about a piece of architecture?
There is a private residence, a house
in Zürich, which was built in the
sixties by the now 82-year old Swiss
brutalist Hans Demarmels. In terms
of a residential spatial experience
this was truly one of the most in-
DERZEIT
More about the various Projects of nOffice:
wwww.nOffice.eu
www.studiomiessen.com
VISIT US !
derzeitfashiondaily.blogspot.com
CATWALK
PATRICK MOHR
Patrick Mohr’s show was a collaboration with Berlins „Strassen Feger“
newspaper for the homeless: a cityspecific assemblage of social consciousness, found materials, and performance.
The catwalk was transformed into a
waste-scape of triangular platforms
– the first glimpse of Mohr’s exhilarating, insistent, weird-beard meditation on the form of the triangle.
The aesthetic was the future rendered
in burlap, a hacker’s version of 1970s
postapocalyptica. The mixed cast of
homeless people and models were all
caked in white paint with triangular
glyphs on their foreheads. Down the
runway came a gnome with a triangular hood, then a black mesh placket
caked with paint, then a Tokyo Jedi in
a mustard tunic. Next the triangles
became growths and prostheses, sprouting from the models’ bodies like
knobs on an old potato. And just
when it seemed too doom-drone, a
pair of lovers appeared in good denims and white Ts, hand in hand,
looking out on an invisible acid horizon.The show’s final triangle was a
wizard‘s cap – which, I reckon,
should have been on the head of
Mohr himself.
series of twisted silk bubbles,Venetian
blinds made of Jello, as versatile as
saris. Each model tied the next girl’s
garment on as they passed each other
on the catwalk, a welcome series of
affectionate moments. Then came
the hats, contemporary safari caps
that suspended mesh over the face or
capes down the back – post-postcolonial poetry.
UDK
The students of UDK showed more
than 150 looks in the tent Wednesday
night, and almost half of them featured a strong, exaggerated shoulder.
BLACK COFFEE Some highlights:Very Wolpertinger’s
The Black Coffee show began in a crisp plastic oxford shirt that inflated
neon glow: red, blue, white, orange, to cloud-like proportions; From Toe
yellow. There were beats and bells. to Top’s integrated model and comfy
Then came the models wearing a chair, plus a dress that sprouted two
plaster horse heads; Monocore’s
orange fur megalith.
RAMIREZ
It was bad enough when one of Pablo
Ramirez’s models broke her stilletto
in the middle of the runway and we
all had to watch her limp back at the
show’s glacial, melodramatic pace.
But her return, a few minutes later, in
a floor length fishtail black skirt and
same wrecked pair of heels, actually
shocked me – the combo was so impossible to wear that she couldn’t
help contorting, and actually turned
into an alien before my eyes. Remember Vincent D’Onfrio’s extraterrestrial character in Men In Black, who
squirms around in the human skin
he’s wearing as a disguise? Like that.
– Emily Segal
DERZEIT
/ M e r c e d e s - B e n z Fa s h i o n We e k B e r l i n D a i ly
§2, 02.07.2009
SEITE 8
/ Adver tisement
Mercedes-bEnz Fashion Week Lounge
BLACK COFFEE, 2009 winner of
the Mercedes-Benz Award for
Fashion, was founded in Johannesburg in 1998 by Jacques
van der Watt, a graduate of
Leggatts Design Academy Johannesburg. Since then, with
the help of partner designer
Danica Leben, who studied at
the Midrand Graduate Academy
Johannesburg, the label has
played on a set of dynamic
forms that spin old history
into new structures. See the
review of their show at the
Mercedes-Benz Fashion Week
Tent at Bebelplatz on Wednesday on page 7 of this issue.
DERZEIT: I'm interested in talking a
little bit about the way that you veiled the
face in your show today, and the ideas
behind that.
BLACK COFFEE: We often play
with themes of identity and revealing
and concealing. It's something that
we keep on revisiting.We also wanted
the veiled look – its when you feel
fragile, you're covering yourself from
the elements, and I think it's a time
that everyone's a little bit nervous
about what's going on in the world.
Also a big part of that choice for us
was this new African aesthetic that we
have. Everything is hand-crafted,
hand-printed and hand-dyed.
In Africa?
Yes, in South Africa. And the hats have
this sort of post-colonial feel to them,
like the mosquito net – they have all
these elements that sort of brought it
back to an African inspiration.
It seems like that kind of inspiration can't
help being political. It's political on the
personal level, that you have to veil your
face when you're nervous, and also more
broadly, in those post colonial themes Sure.
So I'm curious about what you see as the
ethics of using those kinds of political
themes in fashion.
We're not too political, but I suppose
coming from South Africa, political
themes are part of daily life. So back
home we're not considered political
designers, though it might seem like
it. In the end though, it's the aesthetic
that's the most important thing. At
the same time, though, we are thinking designers and we do think a lot
about the symbolism of clothes.
How would you describe the creative scene
back home in South Africa?
I think at the moment there's quite a
lot of new fashion designers on the
market and there's a lot of hype about
the young designers coming out. We
have quite a lot of 'political designers'
in South Africa, like doing T-shirts
that instead of having a picture of
Che Guevara have Mandela. There's
a lot of that kind of political fashion,
which sells very well, and is very popular among the youth. Especially
stuff that seems quite patriotic, quite
pro-South Africa, because it's quite a
new democracy, so that kind of stuff
is like a gimmick that helps the retail.
A lot of designers have gone for it.
We have two fashion weeks back
home, one in Cape Town and one in
Johannesburg, and they both also do
shows in the other cities, so it's actually like there's a fashion craze at the
moment. But it's more of an audience-driven movement, it's not
because it's such a huge business.
Do you think this 'new' South African
fashion is a lot of hype, or do you think
it's real?
I think some of the hype is real because its a lot of consumers that are
preferring to buy South African, officially South African designers that
have a unique appeal that's unique to
South Africa – people feel good
about that, about wearing clothes
that are patriotic.
One of the issues that DERZEIT is
putting out focuses on the connection between architecture and fashion. I was wondering if architecture is a particular source
of inspiration for you.
Definitely. Construction is something that we are very particular
about. And we like what we sometimes call "body-defying clothes" –
clothes that aren't just on the contour
of the body. And we often work with
folds that create shapes. So we look at
things like architecture for inspiration, but honestly I dont think a lot of
fashion is very architectural and I
don't think ours is – not particularly.
I wouldn't say in a press release, but I
think think designers often claim
their designs are architectural when
they aren't.
shion in South Africa last year, and
the competition took place this year.
We had to make an installation of six
pieces, in which we read a modern
South Africa. And we drew inspiration from many of the local tribes
around, and particularly ones from
the neighboring countries, like Namibia.The baby bag developed from
the way that most African women
carry their babies on their backs and
wrap them with a piece of cloth. And
we just thought it would be kind of
amazing to make a bag that had that
silhouette.
I'm interested in the moments in the show
when the models dressed one another.
We've been playing with that idea for
quite a while now. A few seasons back
we did a whole collection where we
designed garments that were seamless
and mutable. so that dress you saw
today actually comes out of a diffusion range called Everyone Can be a
Designer by Black Coffee – because
you can wear that dress in about 25
different ways. So its a great recession
piece. But the pieces in the show
today were more special, the fabrication, the beading, and all the the
ribbon pieces. The diffusion line is
more stretch fabric, though with the
same idea of being mutable.
So I guess this leads us back to the ambiguity of dealing with postcolonial issues
– given then you're white designers, and
you're called Black Coffee, I think its an
interesting spot to negotiate. Do you feel
like you have to deal with those issues a
lot, with the press and the public?
Not really. It's more about drawing
inspiration from the past, from traditional dress, more than a political
statement.
Can you tell me a bit about the "African
Baby" art piece you did?
Well we were nominated for the
Mercedes-Benz Art Award for fa-
Speaking of the past, where do you see the
future of Black Coffee going from here?
Hopefully into a few Berlin stores!