KCTV PLUS

index

October 15, 2013
THE 3 OF US. JON JOHN, JOEY ARIAS, JUANO DIAZ

October 18, 2013
TWAT BOUTIQUE AT NETIL HOUSE

March 26, 2013
A TRIP TO LONDON OR INFLUENCE

October 26, 2011
THE TURNER PRIZE

October 24, 2011
TSUMORI AND LEONARD

March 10, 2011
DIOR

December 3, 2010
PETER PIXZEL INTERVIEW

January 18, 2010
HALO-IS INTERVIEW

January 05, 2010
MARCO SHUTTLE INTERVIEW

May 11, 2009
VISIONS OF EXCESS

March 01, 2009
NASIR MAZHAR

Febuary 14, 2009
YOKO ONO

December 30, 2008
DIGITAL ANGEL

December 26, 2008
PETER IBRUEGGER INTERVIEW

September 29, 2008
NASIR MAZHAR - SPRING SUMMER 2009

June 25, 2008
CHRISTIANIA

March 01, 2008
NOKI INTERVIEW

january 05, 2008
ANTONIO MOLTONI INTERVIEW

JULY 11, 2007
CAM ARCHER Interview

JULY 11, 2007
GARETH PUGH Interview

June 18, 2007
MILLYDEMORI Interview

June 18, 2007
Mr A Interview

Febuary 16, 2007
K A B I R's BACKSTAGE AT MAN REPORT

Febuary 08, 2007
Brian Eno Interview

December 08, 2006
Material Boy Interview

October 18, 2006
Lawrence Interview

June 28, 2006
Seymour Butz Interview

June 27, 2006
Dou Dou Malicious Interview

November 27, 2005
Lump Interview

January 05, 2008
ANTONIO MOLTONI FROM THE MAGAZINE 'THE END' INTERVIEW

by K-Y-M

K: What is your background - have you worked with a magazine or any other media before?

A: I have an unusual background... I have a post graduate degree in financial economics, but after one year in investment banking I decided to do something I liked and co-founded THE END with 5 other friends. While attending university I collaborated with the independent magazine Caffelatte, an editorial project that was absolutely groundbreaking in Italy at the time and that's not running anymore (unfortunately), then other magazines, then THE END. I also work for a major luxury brand as a commercial officer.

K: What was the original idea behind THE END? Is THE END. a way of expressing yourself and your group of people's ideas, or is it more a way to actively find new ideas to explore? With KCTV it's a lot about getting all those ideas we have out there, and share it, but there is also this element with media that you can always use it as a tool to explore and a field to share what you find - which is what the whole fanzine scene was much about. You know, going out there and doing it yourself - without necessarily having the photographers and journalists needed.

A: THE END. came as a result of Caffelatte's death. The former editor in chief of Caffelatte is now the EIC of THE END. So the idea came from him. Then we all joined. The End. is basically a container filled with all the things we like, it's a genuine expression of our tastes and culture, then secondly also a way to explore new ideas.

K: Who is your target audience? Being based in Milan, where most Italian magazines are based you must be much influenced by the Italian scene. I know PIG is the only big fresh and young magazine on the market, as opposed to England where we have plenty of them (like i-D and Dazed), is it hard to break trough the Italian classic conservative market?

A: It is every time you try to communicate with a usual mean in an unusual way. You mentioned Pig as a fresh magazine, and it surely is compared to the most institutional ones, but it has a recognizable and acquired expression code, common to many other magazines both Italian and International. Also THE END has an aesthetics traceable to other foreign magazines but it's quite unique in the Italian landscape therefore harder to understand and recognize.

K: You wrote about Brian Kenny in your 4th issue for example. THE END crosses the border of a fashion magazine and mixes it with the (queer) underground art scene, do people find it controversial in Italy? I always heard about how straight and macho the Italians are, but then again that's my stereotype of Italian men based on both football supporters and random tourists I've seen in London (and off course the aggressive language).

A: I wouldn't say Italians are more straight and macho than other western countries citizens. That's a stereotype which can be true, but not so much in general. I think Americans and some English or German guys are much more conservative than Italians themselves. If it wasn't for the Vatican influence I think we'd been ahead of many other places.

K: Do you have any connection to the gay\queer art scene personally or is that more of a focus area?

A: Milan is quite small and all the arty, queer scene is somehow interconnected, we all know each-other and we have some common interests but I wouldnÕt describe it as a connection and itÕs not my focus area.

K: How are the fashion stories in THE END created? The photography style is quite 'arty', is it more about the photography or about fashion itself? There's a big trend with art photography meets fashion now, with campaigns such as Marc Jacobs by Juergen Teller and Cindy Sherman, which is very simple as opposed to high production shoots you might find in Italian Vogue.

A: We like the aesthetic of normality, which sometimes can be more impressive than fiction.

K: Do you care about trends and seasons, or is the fashion in THE END more based around style and style concepts?

A: It's impossible to ignore trends when you talk about fashion, Ôcause fashion is a market and market is about product. Aren't we just well packaged products?

K: Well, in certain ways we are all products, but there is also this notion of style, and maybe more specifically sub-culture which transgresses the borders of fashion. Where style dictates how they use the current fashion and not vice versa. I think fashion very often seeks out these people and uses them, almost milk them, to then create what you would say is a product - and there is a difference between magazines who are about style, and magazines who are about the product. Magazines like BUTT for example adapts even the ads to their own style and format. And recently Magnum (the photo agency) published the series 'A FASHION MAGAZINE' where a photographer actually edits the whole issue himself, and it is all about how the photographer sees style, and the ideas related to it, rather than the actual trends photographed. But obviously you can never escape the value of market when you make a magazine. Which leads me to my next question, are you an independent magazine, or is there any publisher who has the last word? It is always a dilemma with (self-censorship and) independence vs. publishers, markets and demand.

A: We are an independent magazine since we own the very small and independent publishing company.

K: I like the section in the back, THE END BOUTIQUE, where you choose a person to go out and select a few vintage items from shops to feature. Where did you get the idea to do that?

A: Most of people who work in fashion are too intelligent and too poor to buy expensive things, vintage and flea markets offer very good choices.

K: Haha, that's a really good statement. I think you are very right. The whole east London fashion scene is based on 'poor' intelligent people who use what they have and get what they need out of it. It's probably quite good to be creative about where you get your stuff, rather than relying on the shelves of the shops to have what you want ready for you. But to finish this off.. I noticed your tattoo when I met you (a thick band around his forearm)... and I've heard about it.. What's the actual story behind it?

A: I think you're referring to Fabrizio's tattoo :) anyway since he's my ex boyfriend and we've been together for five years... I think I know the story... but I'm not gonna tell you :)



LINKS

THE END

ANTONIO MOLTONI

K-Y-M