Vamık Volkan:

We were like birds in a cage

Vamık Volkan, who left Cyprus in 1950 for Turkey, then America to study medicine, has been away from his homeland for 57 long years. The author of several books which have been published in many different languages, Volkan is the leading figure in the field of political psychology. Prof. Dr. Vamık Volkan visits the island for holiday every summer...


You have been away from Cyprus for 57 years. What was your relationship to the island in this long period?
Cyprus was always in my heart. Let me explain: In 1957, I went to America and three months later I received a letter from my father. Attached to the letter, there was a newspaper clipping with a picture of Erol, my flatmate in Ankara. Upon his return to Cyprus after he learnt that his mother was sick, Erol was killed by the Greek Cypriots. I was not aware of the true extent of this event's influence on me. There is a famous approach in psychology: “Survivor guilt.” I was affected by this syndrome. I was not able to leave American until 1968. It was a long time since I've been home, I nearly forgot my native tongue. Of course, while I was away, the unfortunate events unfolded. In this period, I had no contact with my family except for the occasional letter which a friend of mine brought on his return from his visits to Cyprus. The 1968 intervention of Turkey opened the doors of the ghetto. I was immediately on the island. After that year, Cyprus became a part of me.

I believe you regularly visit the island...
Yes, insofar as I find the economic opportunity. Additionally, I have a mission. In every conference I attend, in every book I write, I mention and present Cyprus to other people. Even when I write on schizophrenia, for instance, I mention Cyprus.

You have been living in the USA for 50 years. Which country makes you feel at home?
Definitely Cyprus. After I began to visit the island regularly, I cry every time on the way from the airport to my house. Every day, I wake up before the sunrise, touch and smell the soil in my garden. The garden of my house in America is nearly ten times larger than the one in Cyprus, but I don’t feel like smelling the soil there. It’s an interesting emotion.

CUTTING THROUGH THE FABRIC OF THE TENT
First you studied psychiatry, then psychoanalysis, and finally, the less known field of political psychology...
Actually this story is a bit accidental. In America, I was studying on psychoanalytic psychiatry, and, despite my young age, I was writing books and giving lectures. At that time, an association called "Psychiatry and Foreign Policy" was established. Together with a Greek friend of mine, I was selected to be the youngest member of this association. Usually, we were invited for a drink and chatted with other members! Of course, it was a pleasant situation. We were drinking for free! When we were not around, they were actually working on Turkish-Greek relations...

So, were these meetings influential in shaping your interest in political psychology?
While we were attending these meetings, the Egyptian President of the time Enver Sedat stated on his visit to Israel that the reason behind the conflict between Arabs and Israelis is psychological. Ecevit told the same thing for the Turkish-Greek conflict, but no one paid attention. What was happening was that the historical aspects of these conflicts were overemphasized with regard to their psychological aspects. After the statement of Enver Sedat, a council was founded and the USA sponsored studies in political psychology. Trips to Egypt and Israel were made. Three years later, I was the head of this group. Of course, when you are the head of such a group, you must learn and accumulate a wide range of knowledge. So, I started studying political psychology. This went on until 1986. During that period, we made preliminary studies for the dialogues between the Russians and the Americans. A team including psychiatrists and diplomats was formed. Then I visited the Soviet Union. We worked with Gorbachev for two years. I never met Reagan, but I am sure Gorbachev found our studies useful.

Then you visited many other sites of conflict, such as Israel, Albania, Palestine... Did you see common reasons for these ethnic-religious problems?
Actually, they are all the same. Only when religion is involved, things get a bit more complicated. The most important concept in these cases is the “large group identity”, that is to say, superidentites like Turkish, Kurdish, Catholic. Generally, all human beings belong to a superidentity which might change a little when we are drunk or asleep, but most of the time remains constant. We live in a tent together with thousands, even millions of different people. I use "tent" as an analogy for the concept of large group identity. The fabric of the tent represents the large group identity. There is a political pole which holds the tent upright. Every morning, we wake up under the Turkish flag, we read Turkish newspapers and we live a Turkish life. Yet, most of the time, we do not go through this consciously or it does not strike us as something special to be noticed. But whenever someone tries to cut through the fabric of the tent or whenever the political pole is not holding the tent strongly —and this is what is exactly happening in Turkey right now— everyone pays attention to the tent and is concerned about its continued existence. As the fabric of the tent is damaged, you cannot even think about the clothes you wear, an analogy for subidentities. This is the story of group identity... We are living in an age of ethnicity. Identity conflicts, questions like "who are we?", "how are we different?". The whole world is in decline and the worse is yet to come because religion is gaining significance, too.

TURKISH CYPRIOTS ARE NOT KNOWN
How do you analyze the Cyprus problem in light of this?
All large groups have their own processes. So does the current trauma lived in Cyprus. Turkish Cypriots can visit any place around the world, but without a passport that can show who they really are. This causes a big misrecognition. We can give many examples to this. For instance, the Serbian leader Milosevic was able to mobilize Serbian nationalism by making references to certain historical figures. He showed around and exhibited for one long year from village to village, and finally brought to Kosovo, the dead body of a Serbian killed 600 years ago during the Ottoman period. The body was buried every night but only to be digged up on the next day to repeat this cruel exhibit again and again. Can you imagine the consequences of such an event? Are there no reasonable people in Serbia? Is every Serbian born a killer? All great human tragedies are the result of such traumatic processes.

Is there any way to prevent these tragedies?
We may not prevent this once and for all, but we must surely enrich our diplomatic skills. The groups in conflict must gain an awareness regarding each others’ thoughts and this might help us develop arguments better suited to the psychological process. And this takes time.

As a Turkish Cypriot, how can you describe the psychological condition of your community?
I really want to make a serious study on this topic. My general theories might be correct with respect to Turkish Cypriots as well. Nevertheless, detailed research is necessary. 20- or 21-year-old young people do not know anything about the years of war. The new generations must be informed of their past. Most of us think of Cyprus as the whole world, as if there is nothing beyond Cyprus. The annual budget of a hospital that I worked with at the Virginia University is more than the annual budget of the TRNC!

As a Turkish Cypriot who have worked in many different countries, how do you think the world perceives the Cyprus problem?
Turkish Cypriots are not known in the world. This island has only one recognized state: The Republic of Cyprus, a EU member state. Those who learn that there are Turkish people and a political problem in Cyprus say "then, let's make everyone Cypriot". Maybe one day everyone can feel themselves to be Cypriot, but this is very unlikely for the moment. A Greek Cypriot can completely feel that he is a Cypriot. But what is his large group identity? No doubt that it is the one thousand year old Greek identity and you cannot expect that he will easily get over this identity. This goes for the Turks as well; and we are currently trying to figure out our identity! Hypothetically speaking, if a Greco-Ottoman empire was to be established, all the problems would have been solved. But, no! They have transferred the Turkish-Greek strife to a smaller country.

THE SPONGY CHEESE THEORY
During the Annan Plan period, you came up with a theory called “Spongy Cheese”. Has this theory worked in practice?
Actually what is happening now reflects what I told then. During the Annan Plan period, Alvaro de Soto visited Cyprus. We talked in my home before he started working on the subject. I told him my “spongy cheese" theory. But I don’t know whether he took me seriously. In order for the Cypriot people to find peace, they need to grant each other their different identities. There has to be a boundary. If you establish a spongy, that is, a permeable boundary, there will be exchange —not in the sense of today's market exchange! A psychological exchange. In the past, Cyprus was always like a spongy cheese. Both in the Ottoman and British periods. For instance, it was exceptional when a Turk and a Greek married. And today, the boundary is the main reason behind the feeling of safety.

As far as we know this spongy cheese theory was inspired by your studies in Estonia. Is there a resemblance between the situation in Estonia and that in Cyprus?
We studied in Estonia for 6.5 years. There is a similar situation in Estonia. The population is 1.5 million and 500,000 of them are not Estonian, but Russian. They are not even Estonian citizens. Estonians say that if they want to be citizens, they need to learn the native language! Faced with such a condescending condition, no one wants to learn that language. We made a psychoanalytic study on 40 people consisting of the leaders of both communities. They decided on the spongy cheese solution. They wanted to preserve their private spaces and their own communities, but also keep points of exchange between the communities. In the end, this worked out. But the Cyprus problem has a chronic nature! Sometimes I find in the house newspapers printed a decade ago. Believe me, the news, even the headlines are the same. And unfortunately there is nothing we can do about it.

BIRDS IN A CAGE
What kind of a trauma was created by the “Yes” of Turks and the “No” of Greeks as a result of the Annan Plan referandum?
This proved that the condescending attitude is still present. One sincerely believes that we can live together, the other damns the possibility.

Turkish Cypriots have been isolated and embargoed for a long time. What are the psychological repercussions of this?
If you live under disadvantageous circumstances for a long time, after some time you begin to direct your reactions toward yourself. This goes for both individuals and communities. This is the case for Turkish Cypriots. There is also the “booty psychology”. My neighbor is rich, I am not; I lost my property, he became a property owner... Because of these problems, we were divided among ourselves. And we are tired of it. Now there are more issues that we have to deal with: The old rich, the new rich, the old rich; those who came from Turkey but who are now Cypriots; Greeks; Turks; those who like Greeks, those who don’t...

On the other hand, it is as if the Cyprus problem is the only problem in North Cyprus. When other problems are discussed, there is always a mention of the Cyprus problem. Isn't there a risk of awaiting for the solution to the Cyprus problem and therefore postponing the solution to other serious problems?
Yes, today we have a traditional political structure. I think, the most serious problem is the application of the laws that we made. If we are a legitimate state and we have laws, we have to learn to live with them. You will have a military, you will have a state, but most important of all, you will have laws and law-abiding people. If we become a truly legal state, our communication with the outer world will change dramatically! What we need to do is focus on our internal affairs...

What do you think about the relationship between Turkish Cypriots and Turkey?
In the 1960s, when Turkish Cypriots were forced to live in ghettos, they needed a “motherland”, a sense of security. Interestingly, almost every Turkish Cypriots had birds in their houses. I think we were like those birds. There was a motherland who fed us and looked after us. This of course meant nationalism, which today has a perverted meaning. Turkish Cypriots were a product of the patriotism in Turkey. That was the reason why Turkey intervened in Cyprus.

Finally, tell us about your new projects. Will you analyze Cyprus in the near future?
Yes, I have something in mind, but I cannot possibly change the direction of the current process. At least for now. Because it is inevitable that I will be seen as someone partial. I can easily communicate with the Turkish people. But will the Greek Cypriots listen to me? Of course not...



Who is Vamık Volkan?
Vamık Cemal Volkan was born in 1932 in Lefkoşa. He graduated from Cyprus Islamic High School in 1950, and the Medicine Faculty at the Ankara University in 1956. He went to the USA in 1957 and stayed there. He was the president of the International Political Psychology Association fo rlong years. His books have been published in Finnish, German, Japanese, Romanian, Russian, Spanish, Swedish and Turkish. In 2003, Volkan received the Sigmund Freud award in the field of psychoanalysis. In 2004, he was chosen the educator of the year in the USA. He was nominated for several international awards. Volkan still lives in the USA.

Antonioni & Bergman

The White Screen Has Blacked Out

Another film giant has passed away following the death of Ingmar Bergman who was coined as the “greatest director alive” by the Time. From now and on, Michelengelo Antonioni and Ingmar Bergman will be remembered as the “greatest directors ever”.


Ingmar Bergman, who followed a unique path of his own through the labyrinths of feelings, passed away on the 29th of July. It was only a day after, on the 30th of July, when the Italian director Michelangelo Antonioni died: a director who beautifully embellished the alienation of men from men with the ironies of the age of miscommunication, and projected all of these on to the white screen with a poetic understanding of aesthetics.
Without any doubt, and happily, we still have great directors breathing with us and whom we follow closely. However, Antonioni and Bergman are not here anymore. They were the last representatives of the 'auteur' generation known for their remarkable contributions to the film industry, that is growing further apart from arts and transforming rapidly into an object of consumption.

We are more alienated than ever...
Antonioni was narrating the feeling of alienation, which emerged with the industrial revolution and reached to a climax with the rise of capitalism, and the pains of the early modern individual follwing the depression of the world wars and the psychological traumas reflecting onto the social.
He was a film maker who preferred telling stories through images rather than situations. In fact, most of the time the situations in his films would not follow a cause and effect relationship. However, most importantly, Antonioni had managed to establish a film language of his own by bringing images together in a poetic fashion and by using the feeling of emptiness created via space. Perhaps this was why he was interested more in location than scenario.
Antonioni was in the effort to “bring our hearts and eyes to the same level” just like the way the great photographer Henri-Cartier Bresson did. Drawing a line from our eyes to our hearts through camera angles, locations and images, he was delivering 'humanly feelings' by giving us a smooth rather than a big slap on the face.
Masterpieces such as L’Avventura (The Adventure, 1960), La Notte (The Night, 1961), L’Eclisse (Eclipse, 1962), Il Deserto Rosso (The Red Desert, 1964), Blowup (Blow-Up, 1966), Zabriskie Point (1970) and The Passenger (1975) narrated the problems of the modern individual, male-female relationships, problems in communication, the inner feeling of emptiness created by the world and alienation. Although he will not be able to create new ones, his existing masterpieces will keep on explaining 'men' to 'men'...

'The Magic Lantern' has gone out...
Another film maker who passed away in july was at the same time an actor, a playwright and a philosopher: Ingmar Bergman... Coined by the Time in 2005 as “the greatest director alive”, Bergman focused on issues of death, religion, solitude, the indiviual, identity and memory in a joyful, yet more often a pessimistic way. This pessimism was at such an extreme degree that he once said “When I watch some of my films, I feel my nerves wreck; tears grow in my eyes... This is so scary...”
However, there are moments when joy and melancholy melt into each other in the cinema of Bergman... For example, whereas one of his most 'joyful' films, “Wild Strawberries”, was marked by a deep melancholy, it was possible for a character in a rather noire scenario to crack into laughter. Perhaps what defined Bergman was a lyrical melancholoy; or maybe, his characters were in love with melancholoy in a lyrical fashion...
The possibility of mentioning both Tarkovsky and Woody Alen in the same sentence while giving an example to the directors influenced by Bergman might also be a sign of this fact.
Despite focusing on a variety of matters with his camera, the great director was actually reflecting the mirror to his very own self the whole time. Sometimes, his films were psychoanalytical narratives projected on to the white screen. Was it this commonality which brought Tarkovsky and Woody Allen into the same sentence?
Having directed such masterpieces as Sommarnattes Leende (The Smiles of a Summer Night, 1955), Det Sjunde inseglet (The Seventh Seal, 1956), Smultronstället (Wild Strawberries, 1957), Tystnaden (The Silence, 1963) ve Persona (Persona, 1965) Ingmar Bergman directed a sum of 54 films, produced 126 plays and wrote 39 radio dramas.
It was the 70th birthday of Bergman when Woody Allen said that “Bergman is the greatest artist that came about since the invention of the movie camera”. The movie camera is still recording images in the hands of others. However, Bergman who dealt with existential dilemmas on the editing desk with the coolness of a Scandinavian, played chess with death, confronted his body in his own coffin and embodied other faces in the mirror, will not be able to hold the camera in his hands ever again.
We can only find comfort in believing that the cinema of Bergman, which gave meaning to existentialism, will keep on shedding a light on the 'human' like a 'magic lantern'...

Burçin Tuncer

Cyprus

Tour North Cyprus in Seven Days

Days are longer, weather is warmer; the clocks hit the perfect time for a real dreamer! Come to your dreamland Cyprus and enjoy your week in the sun! Keep your magazine with you for you will find a comprehensive one-week Cyprus tour guide below...


1st DAY
As your plane descends to land in the skies of Cyprus, you may easily see the beautiful spot on the north coast of Cyprus, Kyrenia. If you look more carefully you may even point the Kyrenia Castle, with its quasi-square plan; and the ancient harbour beside. If you have a seat in the aisle or you are afraid enough to look down from your plane, never mind. For our tour is mainly centred in Kyrenia and its environs. So you can get enough of it. Kyrenia is approximately 45 minutes far from Ercan Airport. The tourism centre of Cyprus, Kyrenia houses a good number of hotels, ranging from modest taste or bungalows to luxury and elegantly furnished ones. As soon as you check in your hotel, you may swim in the warm blue waters of the Mediterranean, just in order to get rid of the dizziness of a long plane journey. Kyrenia is naturally adorned with many beaches. One of the favourite points of the locals and foreigners is the very beach where the Turkish troops landed during the Peace Operation, 1974. On this magnificent beach, you may find a restaurant and chaise-longs to sunbathe. After cooled by the waters of the Mediterranean, our next stop is Kyrenia Castle. Built in the 7th century by the Byzantines as a fortification against Arab raids, the castle today stands solid as it was 400 years ago. A museum today, Kyrenia Castle is a gate to the life-style of Byzantines and Venetians in the Middle Ages and Renaissance years. Leaving the castle, we head for the ancient harbour, situated just beside the castle. This little bay, still bearing traces from medieval times, exposes the tissue of a little Venetian town with its narrow streets. Usually there are ships anchored in the harbour and these may give you a good ride along the coastline. Many a restaurant and cafe are lined in the harbour. You may sit by the sea and sip a glass of cold beer and taste chips made from the famous Cyprus potatoes. The first day of our tour should better be not exhaustive. Therefore, we turn back to the hotel.

2nd DAY
Kyrenia was established by Achaeans in the 10th century BC. The city has the traces of a long history. Not only in Kyrenia, but all across Cyprus, the rich cultural heritage is observable. Maybe the most important of all these monuments is the Bellapais Abbey, situated on the heights of Kyrenia. The abbey exposes the elegant gothic style; pointed vaults seem like reaching heaven. The effect is doubled with the positioning of the abbey on steep hills. Refectory is the least damaged building of the abbey and today it serves as a concert hall. Bellapais is also the name for the little village, composed around the abbey. This village is famous for the air of idleness that dominates and takes hold of every new-comer. British writer Lawrence Durrell lived in this very village, of which he gives an account in his book ‘Bitter Lemons’. Departing from Bellapais Abbey, we head for St. Hilarion Castle, which holds the highest point in the mountain range lying at the back of Kyrenia. Following a short climb by car, we are welcomed by the fantastic view of the castle. Built by the Byzantines in order to observe and countervail Arap raids, the castle promises a journey into the depths of time surrounding you with its medieval tissue. Situated on a steep hill, the castle presents a complete view of the north shore, and tens of miles away into the Mediterranean. It is even possible to see as far as Turkey; the Toros mountain range on a clear day. But to be honest, the castle has a much more mystic atmosphere in winter. As clouds descend on the mountains and below, a trip to St.Hilarion offers a Tarkovskian experience of epiphany. Overwhelmed by its grandiose, we depart from St. Hillarion Castle and head for the mountain road plunging into the forests. This road is the alternative of the one laying along the coastline. You may find places to stop by and picnic. Follow Lapta signpost that will take you down to the city. The road is a feast as it winds its way through authentic Cypriot villages. It is time to live the pleasure of evening. There are a number of beaches on our way, but Camelot and MareMonte are exceptionally beautiful. We take a break to swim in the faint sunlight without getting burnt by direct sunlight.

3rd DAY
The greenest region in Cyprus is Güzelyurt without doubt. The first stop on our way is the Cape Koruçam. You need to follow the road to Güzelyurt then take the way signposted Sadrazamköy. Cape Koruçam marks the westernmost tip of the northern coast. Do not stop as the asphalt road ends; instead follow the gravel road till the end. Cape Koruçam promises an extraordinary experience with its exceptional geographic tissue. Following the road back to Sadrazamköy, we head for Koruçam Village, alias Kormacit. This village is mainly inhabited by Catholic Arabs, namely Maronites, who speak Arabic and Greek. There is a restaurant just across the cathedral, Yorgo Kasap Restoran. Offering a wide range of mezes from authentic Cypriot cuisine, Yorgo is also famous for its delicious Kleftiko. Now having enough energy to continue our trip, we head for Güzelyurt, “the citrus garden of Cyprus”. Do not leave without visiting St.Mamas Church and the Museum of Archaeology beside. On the way from Güzelyurt to Lefke, we stop by the ruins of the ancient city of Soli. One of the nine kingdoms on Cyprus, Soli hosts one of the oldest churches ever built in Cyprus; that is a fifth century basilica still observable today. Boasting a marvellous view and a 4-thousand spectator capacity Roman theatre, Soli deserves attention. Heading forth, we arrive at Yeşilırmak. This tiny village houses the biggest vine tree of Cyprus, documented by Guinness Records. The vine tree has an 85-cm diameter and produces three tons of grapes each year. There is a beautiful and inviting beach in front of the record vine. This is perfect place to swim and relax.

4th DAY
On the fourth day we will plunge into the streets of Nicosia, the very last divided capital in the world. The capital of both states on the island, Nicosia was founded in 300 BC. Nicosia is famous for its star shape. Also called “the star-shaped city”, Nicosia bears the traces of Venetian, Lusignan, Ottoman and British reigns. Inside the walls, the streets of Nicosia are very narrow and complex, like a huge labyrinth. The centre of the ancient city is marked with Arasta Bazaar. Situated beside the Bazaar is Büyük Han, the most striking Ottoman building in the town. Made of indigenous Cypriot stone, the building comprises 68 rooms and 10 shops. Today it includes an authentic Cypriot restaurant, numerous souvenir shops featuring samples of Cypriot handicrafts, and a few cafes. Büyük Han houses concert performances in summer evenings in its courtyard. Just a few metres away from Büyük Han is Selimiye Mosque, another monument. Almost 800 years old, this building was originally built by the Lusignans as St.Sophia Cathedral. Following the Ottoman invasion, the church was converted to a mosque without any defect in its gothic structure. Only Christian components such as statues and reliefs of saints are removed and frescoes were covered with white paint. As we have said before, Nicosia is the only divided capital in the world. This division is highly felt at the park situated on Yiğitler Burcu. Here you encounter barbed wire entanglement that marks the borders of two countries. Still you can see the Greek side at a step’s distance. The streets, the people walking or the cars parking are astonishingly close. On the right-hand side of the park, you can see Hotel Ledra Palas. The symbol of country’s dividedness, the hotel is currently at UN’s disposal All along the Green Line that divides Nicosia, there are a lot of destroyed buildings still displaying the traces of the war.

5th DAY
One of the most important stops of our one-week Cyprus tour is Famagusta. This ancient harbour city served as the last stop before Jerusalem during the Crusades. Famagusta is encircled by fascinating walls, which bears fingerprints of Leonarda da Vinci. The ancient city of Famagusta, still in walls today, is home to many monuments. You may climb the Othello Tower and remember that this city is the exact place where Shakespeare’s famous tragedy Othello takes place. You may travel back in time by visiting the twin churches, a Templar church. Although little remains, the Venetian Palace deserves a visit. Famagusta is astonishingly packed with churches, one after another. St.George of the Latins and St.Nicholas Cathedral are the most important of all. Converted into a mosque following Ottoman invasion, St.Nicholas Cathedral was built taking Reims Cathedral model. The minarets are carefully annexed to the main building without any defect in its French gothic character. Famagusta comprises many Ottoman buildings as well. Kertikli Baths and Famagusta Bazaar are the most important of them. Famagusta Bazaar comprises a number of cafes, restaurants and bars for those who wish to enjoy authentic Cypriot atmosphere. If you pass under the remaining arches of Venetian Palace, just across the Cathedral/Mosque, you can see the dungeon where the Turkish poet Namık Kemal spent his last years. Departing from Famagusta city centre, we drive towards Salamis Ruins. An 8-km far from the city centre, Salamis ruins are worth visiting. You may also see the Royal Tombs and Monastery of St. Barnabas, once the centre of Cypriot Orthodox Church. Harbouring many icons today, the Monastery of St. Barnabas is a museum with a rich collection of archaeological findings gathered across Cyprus.

6th DAY
On our 6th day our destination will be the Karpas Peninsula, which deserves to be seen most for its historical importance and natural beauty. With its natural virginity and beautiful beaches, this peninsula has always been the favourite place that people chose to run away from the rush of the modern world with a willingness of monkery. This is the reason why it is the region which has the most monasteries regarding its size. We will give a break in one of these, Panaghia Kanakaria. After visiting this church, which is dressed with icons and mosaics, we head for Dipkarpaz over Yenierenkoy. Basically follow the signposts that read Apostolos Andreas Monastery. A special local kind of donkey lives in freedom in this untouched virgin nature. This means do not be surprised if suddenly one of them approaches towards you. The road winds its way through fragranced herbs. As we get farther the road becomes narrower. The road reaches the Monastery of Apostolos Andreas at one point. One of the centres of pilgrimage for the Orthodox world, the Monastery is considered holy by both the Turkish and the Greek. We drink from the holy water of the Monastery and continue our way. A few kilometres after, the asphalt road comes to an end. We continue further following the gravel path. This time we arrive at the easternmost tip of the northern coast. At this point you may feel the excitement of standing at a distinctive place in the map. This spot features a fascinating view. We depart from Zafer Cape and start our return journey. On the way we are dazzled by the breathtaking view of Golden Beach. Seen from above, this long beach is twinkling with its blue waters and golden sand. Golden Beach is the usual destination of Caretta Caretta sea-turtles to lay their eggs. Swimming in these waters is an exceptional delight. We take our time in this marvellous beach and then we depart.

7th DAY
This is the last day of our one-week vacation. Today, we will spend our time in the Besparmak Mountain Range. First we stop by Buffavento Castle on our way. Buffavento means “standing before the wind”. The castle is built on steep hills of 950 metres high. You can see both Nicosia and Kyrenia from the castle. After exploring the castle we head for the Beşparmak Mountain. Beşparmak means “five fingers”, and if you look carefully this hill has the shape of a fist. This is a beautiful way that winds amongst the pine trees that provide a cool shelter from the heat of the sun. At some point we come across a picnic place situated on top of a hill that overlooks the eastern shores of the Kyrenia. This area is very crowded with people who come here to picnic. A way plunges into the forests winding downward. If you follow this road, you arrive at an old Armenian Monastery: Sourp Magar. Once the spot of Armenian pilgrims on their road to Jerusalem, the monastery serves as a guesthouse today. On the way back, we return the road we have come and reach the mountain road again. This mountain road will take us to Esentepe, a lovely Cypriot village. Esentepe is on the foot on the mountains and traversing the village we arrive at the coastline. Time to go back to the hotel and pack up for departure!
Of course there is a lot more to be seen in this beautiful island. What we have covered in a week’s time was to make you have a quick taste; sort of a “prologue”. Waiting with open arms among the blue waters of the Mediterranean, Cyprus is always ready to re-accommodate you...

Liverpool vs Galatasaray

Cim Bom reminds Liverpool that they
are not walking alone

Having an unfortunate start at home in the Turkish Super League, Galatasaray challenged Liverpool, disappointed by its own performance in the first 6 weeks of the Premier League, in Anfield. Down 3-0 in the first moments of the competition, the Turkish team fought back with two goals towards the end.


Comparing the two teams appearing on the English pitch to the chants of the fans filling the stands, the Merseyside club was the favourite for sure. Liverpool came out shining with stars such as Steven Gerard, Xabi Alonso, Luis Garcia, Jermaine Pennant and Dirk Kuyt; while Mehmet Topal, who used to play in the Turkish second league until a few weeks ago, was preparing for his first European experience due to the absence of Innamoto, Galatasaray’s transfer from the English Championship league. But upon failing to challenge one of the most expensive midfielders of the world, Gerard, he was substituted by Hasan Sas. Not surprisingly, the absence of Hasan Sas in the line-up stunned the spectators as much as the Sky Sports commentators. This was not the only strange decision of Erik Gerets, the Belgian coach of Turkish champion, Galatasaray. For instance, a midfielder originally playing at the right back for three seasons so far, Cihan Haspolatlı is still in the line-up despite his many missteps including at least one own goal. Umit Karan, top scorer; Hasan Şaş and Okan Buruk, the most experienced player of the team were all waiting as substitutes on the bench at the start.

Istanbul spirit
Champion’s League Winner Liverpool came to the competition with an improved team. Although the British media continued to make fun of Peter Crouch, who scored two of the night’s goals, one with a magnificent scissor kick, the team was made up of the star players keeping the team spirit at its height. Galatasaray laid bare all its defects in protecting the wings during the last match played in the league, allowing Ersen Martin from Trabzonspor to score two goals and thus attracting the attention of Benitez. Consequently, the night of 27 September was to be the night of Peter Crouch apparently.
Walking onto the field with the song “You Will Never Walk Alone” being chanted by the fans, Liverpool started its attacks from the very first seconds of the match. The Reds took advantage of the wings Galatasaray failed to protect and forged ahead with a score of 2-0 in the 14th minute. At this point, the Sky Sports commentators reminded viewers of the most far out defeat of Galatasaray in the Champion’s League by another English team, Chelsea, in the year 2000 at Ali Sami Yen stadium in Istanbul. However, a fact that was ignored by the same announcers is that after that game, Galatasaray went on to win the UEFA Cup undefeated.
Song’s loyalty ...
Completing the first half 2-0, an unbecoming one for a Champions League competition, the Turkish team started the second half with two changes in tactics: Cihan Hapolatlı and Mehmet Topal were substituted by Hasan Sas and Umit Karan. This meant that Sabri would draw back to right-back and the team would adopt a 4-4-2 diamond with one defensive midfielder and two strikers. Actually, Galatasaray met some advantageous positions in the first half, yet could not score. Therefore, Karan’s entry to the pitch aroused the hopes of the fans, who know him for his famous strikes. Evidently, the powerful sounds of “Cim bom bom” being chanted were heard all over Anfield and all around the world through the TV.

The ghost of Istanbul
Strange though, that the goal was actually the kiss of life for Galatasaray, not Liverpool. As if the bell had tolled for them, the yellow-red team was reminded of their aim and went on the attack giving up the struggle in the midfield. For it was one of the best-organised midfields they were facing. Their solution was to rush any ball they acquired across the midfield or else push the ball towards the wings. These tactics resulted in two fast goals by Karan, reminding British fans of the Istanbul spirit.
The cure of Liverpool was about to poison Liverpool itself at Anfield. The spirit is now transformed into a ghost wandering along the Anfield Road. Spending the last 20 minutes in awe, the host team monitored the positions Hakan Sukur, Sasa Ilic and Karan with terrified eyes. Nevertheless, they were able to leave the field with a victorious score of 3-2.

FIFA World Cup 2006 Germany

World Cup starts just now!

Tensions rise as the finals come closer in the Germany 2006 in which 56 competitions have been completed so far. There are no surprising teams among the last 8 except for the Ukraine and football fans are not struck by the elimination of Australia, Ghana and Mexico. Furthermore, it can be said that the cup really starts now for the fans of the surviving 8 teams.


Having left behind the first two phases of matches, FIFA World Cup 2006 Germany goes into full throttle with its exciting matches, critical cards, controversial penalties and, above all, with its unique fever. As the teams aiming to reach the quarter-finals in the tournament, launched with the participation of 32 countries, obtained a chance to relax and revise their tactics once more with the two-day break; fans are concentrating on the statistics and the unforgettable moments of the tournament that are now to be lifelong memories.

The “Scarlet” Tournament
Actually, every World Cup event opens up for new consumption fields rather than new records and the pleasure of football. This situation also applies to Germany 2006. The idea, which was developed by Germans in this tournament for the first time, is that each team plays a match in a different city causing fans to transport themselves from one city to another. It seems Germany 2006 will beat a record as the most expensive tournament due to train tickets, hotel fees, and souvenir costs paid by fans.
Besides this fact, Germany 2006 will be remembered for its record in yellow and red cards that have been raised in the matches and not for its competitions achieving many goals. Carrying the title of being the most scarlet tournament up to now with 22 red cards, France ’98 has transferred this title to Germany 2006 that has been stage to 25 red cards up to now. Comparing the Korea-Japan 2002 yellow card record of 272 with that of Germany 2006 it was beaten with 309 yellow cards. This number is sure to increase as the last 8 matches may be more contentious than ever.
The intriguing matter is not the number of the cards, however; but the fact that this card glut started just after FIFA President Sepp Blatter’s warning. Behaving rather mean about the cards and penalties, the referees suddenly started to raise cards and give penalties.
While Asian and African referees seem to cheer up, some suspicions were raised as the decisions taken served for only the “big” teams’ appetite. Recalling the previous World Cup, in which the teams not having a strong football école, such as Turkey and Korea had played in the finals surprisingly, it is a matter of question whether this was not a suitable bargain for the promotion policies of FIFA.

Argentine – Brazil; possible?
Returning to our main point, Germany 2006 did not fully please the football fans. Except for Australia, Ghana and Mexico, none of the teams disappointed the fans with their game while Ukraine, surviving to the quarterfinals, was a surprise among the other 7. So we can say it’s “All Quiet on the German Front” for now. If there happens to be a Germany–Brazil final match, as the organising team has been wishing for, everything will have gone just as it had been anticipated.
However, Argentine may give the fans a last minute excitement by surprisingly winning over the host team Germany and beat its possible rival Italy in the next match, and thus may create a long-desired fever in the finals. Whereas, Brazil, although having decreased its rhythm comparing to the beginning of the tournament, seem to have only England as a difficult rival on its way to the final. Yet, England, successful in not ever conceding any goals but unsuccessful in scoring any, seem to have a lesser chance against Brazil.
Beyond all these “forecasts” however, we are actually on the shore of all possibilities. For instance, Italians, having conceded “catenaccio”, may be obstructed by Ukraine; or France may crush Brazil’s hopes, like they did in the finals of France ’98; or Portugal may pierce the English defence thanks to their creativity.
If the official ball of Germany 2006 the “Teamgeist” is a round-ball, despite all the technology behind it, we can say everything is possible in any minute in football; and that is why we like it.

Hasan Hüseyin

HASAN HÜSEYİN

Born in Cyprus and having lived as a child in England, where he was educated in photography, Hasan Hüseyin has become one of the most esteemed advertising photographers of Turkey. Having shot advertising photographs for the best known brands of the world, Hüseyin now owns the El Sabor Latino restaurant in Nicosia.


Your name is widely recognised in Turkey especially in the field of advertising photography but this may not be so in Cyprus. Tell us something about yourself.
I was born in 1962, in Nicosia. My family emigrated to England when I was 10 and I lived in London until the 1990s. Having an interest and ability in mathematics as a child, I had always planned to study mathematics at university. However, I realized I wanted to do something quite different rather than become an accountant or something like that and I changed my mind to study photography. I had been an amateur photographer since I was 14 when I decided to become a professional.

I think it first started with drawing?
Yes, I have been drawing since I was a small child. I enjoy paintings in renaissance style, however I prefer drawing in charcoal. I was not trained in drawing, I only attended photography school in England. After working as an assistant to many photographers until 1987, I started searching for professional jobs. I photographed for some magazines in London. I started to concentrate on the market in Turkey in the early '90s. I moved to Istanbul in the wake of the Gulf Crisis. It was a visit in the sense of a trial and experience first but, as time went by, I saw that I was able to get good jobs even in my earlier days. Then a come-and-go period followed, and I realised that I enjoyed it besides developing an interest in Turkey’s exciting atmosphere. I decided to stay for some time, then I stayed forever.

Then, you moved to Istanbul?
I started living mostly in Istanbul, yet I never became a real citizen completely. I always had one foot in London. I fell in love with a girl who was born in Germany and she did not want to stay in Turkey, upon which I decided to follow her to Germany. As the saying goes, “love conquers all”. I spent five years travelling on planes - to Hamburg, to Istanbul, to London. Each week I was to fly somewhere. My friends used to ask me where exactly I felt at home, to which I replied “at ma’s home”. Where I was from, I did not know. I started visiting Cyprus more frequently and made some investments here. Now, I concentrate on Turkey and Cyprus. I work in Turkey but I come to Cyprus at the first opportunity. If there happens to be a 3-day break, I fly immediately to Cyprus.

Photography has become easily accessible with the popularity of digital cameras and portable photographic telephones. Most people take photographs to keep memories but you are a professional earning a living from photography. What is your conception of photography?
Nowadays everything has become simple for everyone and information is easily accessed through the Internet. Photographic equipment has become cheaper and shooting has become easier. The cameras of today can do nearly everything in the process of taking photos. It was more difficult before, as cameras were much more expensive and you had to do a lot of research to find a really good camera. Today it is possible for everyone with a reasonable budget to get a good camera. However, the main issue is to concentrate on good photography and get the result you want. Everyone can catch a moment in life. However, at the very moment that a photograph aims to become more than a picture but a mise-en-page, it requires thought, creativity, production and intelligence. Above all, it needs a particular eye in order to capture the esprit of the moment. Portraying the tiniest details or the spirit of the person in front of you requires some experience. You should consider the whole thing, the whole event. There are generally 30 to 60 people at the set of a camera shoot. You have to manage everyone around there; the model, hair designer, light operator, etc. Above all, you have to be creative in such an environment and achieve what the client wants. The essence of being good at your job is hidden in these smallest details. However, many people can just push a button to take a photograph.

Do you think it is more crucial to create a mise-en-page before seeing and photographing what is there?
It is important to catch a viewpoint in advertising photography. You have to tell a tale and, as such a tale is not written, you have to create one. Thus, I can say that everything is mise-en-page in advertising photography.

What kind of a relationship can you establish between a drawn picture and a photograph from this point of view?
You can do whatever you like in a drawing using your materials. In photography there are many different factors; however, while in drawing there is only you and your brush. You are alone with your imagination and you have a chance to change what you have painted, unlike in photography, where you have to get everything in its right place to capture a perfect picture in a split second. And then it is permanent. You shoot many photos just in order to achieve that perfect one. Consequently, that one photograph tells the whole story and brings either success or failure in an advertising campaign.

For you is photography a source of income or a way to express yourself?
Both actually. Of course, photography is a source of income for me. I have been working as a professional photographer for 20 years now. I feel I have already earned a satisfactory amount so far. But photography has always been a pleasure to me. It means more to me than simply providing my living.

Your name is mentioned among the most important fashion photographers of Turkey.
Yes, they say so after many years. I can say I am the one who created fashion photography in Turkey. There was no such thing as fashion photography when I came to Istanbul in 1990. There was not anyone concentrating on this field. I forced the market towards the field. Tamer Yılmaz also used to work with me. However, later on I concentrated on advertising photography. I'd had enough of fashion.

What does fashion mean to you?
Fashion is transition; everything is changing and developing with unbelievable speed these days. Fashion is a market of mere consumption; in the past people used to buy clothing much less frequently and they used to wear what they had for a couple of years. But now, people buy clothes continually as the mode changes even within the season. And we, as the fashion photographers, are required to adapt ourselves to this rhythm.

Do you think the reason for this may be the need of people to express and differentiate themselves?
It may well be, but also it may rely on some personal deficiencies. To take it further, why would people want to look different? For instance, male frogs swell up their throats to attract females for mating, and some of them have coloured backs. All these rely on sexuality; not completely maybe but simply this kind of attraction: receiving attention from the people around. What lies behind this is the ego for sure; the reason for many things. People will do a lot to satisfy their ego. You can see this in every field of life: even in presidents and prime ministers. They can cause wars and attack other countries just to satisfy their ego. I say people can reach maturity only after they have beaten or understood their ego.

Besides your photography, you own and run a restaurant, El Sabor Latino, am I right?
The design of El Sabor is an idea of mine. Actually, this idea stemmed from a lack; I could not find any place to drink a good cappuccino. I am serious. There was not a proper place to have nice food and drink. As I saw this building I said, “I have found a place to drink cappuccino”. Then I calculated that if 30 tourists came per day and drank a cappuccino, we would be able to pay the rent and, besides, we could eat all day long. This is how we launched the project but we were pretty surprised when people started to come in good numbers even in the first week.

Yet El Sabor is an unusual place to encounter in North Cyprus. It may well fit a street in Milano or Paris.
We have occupied ourselves with the design and concept of this place for approximately 8 months. I had everything done and transported from Turkey. We took pains to achieve exactly what we wanted. Finally, it has become a place out of a city from Europe and attracted attention. Furthermore, the food is really good. I can say that among the many places I have visited across Europe, or even in Istanbul, the food in El Sabor is supreme.

The cook is a relative of yours?
Yes, he is the husband of my sister. He is Portuguese and a wonderful cook. They used to run a cafe in London with my sister. They decided to sell the cafe and move to Cyprus to open a small cafe just for business, whereas I am a man of big business and never take a fancy to small occupational activities. One day, I took them here and said that this place would be our new restaurant. I provided the design and investment but my sister took on operational matters and her husband was to cook - and there was our trio.

The menu is composed mostly of Mediterranean cuisine.
Spanish and Italian cuisine. We have an open kitchen for people to see what is being done. You can see flames rising, people shouting at each other, like a scene from a show. The people coming to the restaurant enjoy such an atmosphere. Actually, we define this place as an “eatery”, like a big canteen, rather than a “restaurant”. This is not a place where people come in fancy clothes and sit like models; quite the opposite, this is a place where people can feel free and relaxed, where they can eat and drink all day long. We want people to feel at home. You know most parties start in the kitchen. The living room is left empty while everyone stuffs themselves in the kitchen. This is exactly what I want to achieve in this place. There are people coming here three or four days a week and they get to know each other. Moreover, it is cheaper to eat here than to cook at home. Consequently, there is in many ways a family atmosphere in El Sabor, exactly as we intended.


PHOTOGRAPHY OF CYPRUS
As a photographer, what do you think would be the best photograph to reveal and encapsulate the spirit of Cyprus?
Cyprus is a very complex place. The Cyprus issue alone is highly complicated. For many years there has been no solution and, as far as I can see, no one wants it solved as many people profit from such chaos. I would want to shoot a picture of deadlock. For example, a knot that is trying to be undone from many sides, and yet can't be undone. You know the Venetian walls of Nicosia with 12 points, each corresponding to one spot on the face of a clock. It is as if there was a big knot above these walls, being pulled upon at each of the 12 spots in order to be undone. I say this would be a perfect photograph to portray Cyprus.

Cyprus is a country mostly identified with its natural beauty, and so we have tourism. How would you photographically promote the natural beauty of Cyprus?
My company PPR was once asked to promote Cyprus, and we had some photos taken. The aim, or the target of the promotion, is of great importance under such circumstances. It is important to know and understand who will see your promotional photographs of Cyprus. Are they aimed at West European countries, Scandinavian countries, or Eastern countries like Russia? For instance, if you want to promote Cyprus to German people, then the sea becomes of primary importance; then you can suggest a photograph displaying a wonderful sea view or a beach. However, Girne Harbour is generally shown in promotional pictures. I, for instance, visit Girne Harbour only once a year because I am not attracted to it. What attracts me in Cyprus is its culture and people; and these would be in my photograph.

You have spent many years in London. What would be your best photo of London?
London is often portrayed with its double-decker buses, telephone booths or policemen. This is a pretty hard question for me, though. Nothing changes significantly in England. I have been travelling to and from England for 25 years, and even if had been away from England for 15 years it would be like only 15 days of absence. England is essentially the same today as it was 100 years ago. You know the characteristic terraced houses of England? If I was asked to reflect England with one photograph, I think I would use these houses in my picture. However, London has various places to see, not forgetting Camden Market which everyone visiting London has to experience at least once, like İstiklal Caddesi in Istanbul. It is one of the most cosmopolitan areas in the world where you can see all sorts of different people and, undoubtedly, I would include one shot from there among my best pictures of London.

Jean Jacques Picart

Fashion Brand Consultant:
Jean Jacques Picart

No Place for amateurs in this world!

JEAN JACQUES PICART, THE MAN BEHIND WORLD FAMOUS BRANDS, BELIEVES IN TURKEY. BUT HE DOES ADD, “YOU MUST BE VERY PROFESSIONAL WHILE OFFERING THE TURKISH CULTURE TO THE FASHION WORLD, BECAUSE THERE IS NO PLACE FOR AMATEURS IN THIS WORLD!”.


As an expert, when you look at the Turkish ready-to-wear industry, what do you see?
This is actually an easy question for me, because two years ago İTKİB (Confederation of Istanbul Textile and Ready-to-Wear Exporters) invited me to Turkey to consult on fashion. On this occasion, I met designers during a whole week and gave conferences in Istanbul. I met people from the industry and learned of their views. At the end of all this, I can easily say that Turkey is currently at the key junction of transition from production to design. Ten years ago, priority was naturally on production.
Leading brands in the world, such as Ralph Lauren and Donna Karan, found the quality they have been searching for, here in Turkey. This still continues, but it is clos to its end.
The Turkish producer is now concerned about combining fashion design with manufacturing, and producing products of very high quality. Maybe the designs are not easy to wear, or easy to sell, but bringing these products out to market and offering to the world will greatly enhance Turkey’s international image. That is why you need fashion.

Do you think making our voice heard is dependant on creating unique designs?
You get close to couture when it is unique. But Turkey must now get to the point where she can compete with Italy, Spain, and France in the European market. That means Turkey can produce what Italy can, at least as well as the Italians. In other words, you must sell creative products at prices that are not cheap. When creativity and production get together, you can be a competitor to these countries.

Turkey has come to this point within 15 years. So how many years does it take us to reach the position where we produce brands?
You also need about ten, fifteen years for this, but it can be faster, too. This depends on how strong the partnerships will be between the Turkish producer and designers. You need more than courage for this, because the manufacturing businessman already possesses this courage; that is how he came to this point. Business risk and design risks are different. Buying new equipment and building a factory are risks, but they can be calculated. However, a producer can invest in a designer for ten seasons and still not get the financial returns. Even if this is not a satisfactory investment from a sales perspective,it is a good investment. His company now has a stronger image and prestige, and sales increase due to this prestige. Like a cycle, both support each other and in the end, both win.

We are constantly talking about Turkey developing and getting stronger in ready-to-wear. What about our competition, are they standing still?
Of course they are developing as well, but you will bring a fresh breath to the fashion world. Fashion is not only jackets and pants; it is a culture. Turkey is very rich culturally; she also possesses a lot of things for us to discover. We in the world need every culture more than ever, because we have reduced everything to technology. We speak with every corner of the world, we take pictures, with a small mobile phone. A new Turkish brand against Japan, Italy, France will be interesting for everyone. You must, however, not do this in an amateurish way; you must do it professionally. When a Turkish designer has a fashion show in Paris or Milan, he has to be professional, at least as much as an Italian or French colleague.

Do you think Turkish culture will receive the attention it is seeking in Europe?
We Europeans, as different from the Americans, are very cultural. America was born out of Europe and has a very short history. America is a very young country, and Turkey is just as young. We not only need techno music and movies, but also more sensitive things. This comes with culture. Culture brought by Turkey and others.

Where would you go when Turkey does not seem new to you anymore? Where is the last station?
Perhaps, we will start exploring the Arab or Indian world after Turkey, I do not know. A very capable Arabic generation is emerging from fashion schools. There is no last station here; discovery is a never-ending process. Change is a permanent element of fashion. Perhaps in fifteen years, France and Italy will not even come to mind when somebody mentions fashion. Countries such as Turkey and Portugal will lead in this area. Portugal for me is like Turkey of twenty years ago. They just started production, just like Turkey did in the past.

Which Turkish brands do you consider as having the potential to be a global brand?
I do not know in detail, but I see a potential with Mavi Jeans. Maybe they will be the first international brand of Turkey. Being a brand has to do with appeal. I do not know which stage Damat-Tween is at, but they also promise hope. They can be a young Hugo Boss; but I am really not sure.

Why are you not sure?
Perhaps, you need a bit more sophistication and be more provocative in your designs. That is what I mean with appeal. Something that will draw attention to yourself. It is not enough to do what you do well and be happy, you must always push the people. This push can only be made to happen with a designer.

What kinds of characteristics have you observed in Turkish designers? Were there any designers, among the ones you have met, who come to mind?
They are very young; most are under twenty-five. This is a young age to do business in a real way. But most of them have good education and are supported well by the industry. They have people and material at their disposal, I think something may happen. I am talking about the youngsters in Istanbul, not Dice Kayek and Hüseyin Çağlayan, who have already proved themselves.

Do you not consider Hüseyin Çağlayan or Dice Kayek as Turkish designers?
Of course they are Turks, but they live in Paris or London. They are inspired by those cities and are affected by the life there. This is very natural, of course, but to call someone a “Turkish Designer” in the true meaning of the word, that person must live in and feed off Turkey. Currently most of the famous Turkish designers live abroad. OK, they reflect the Turkish culture, but the newspapers they read, their friends, the movies they see... All these are in Paris and they are affected by their environment.

Turkish is a difficult language; is this a disadvantage for Turkish designers?
No more than it is for a Chinese or a Japanese. Besides, the names Hüseyin Çağlayan and Dice Kayek are fairly easy to say. So is Rıfat Özbek, but honestly, I am having difficulty saying Atıl Kutoğlu.

Rifat Özbek was really one of our most talented designers. Where did he disappear all of a sudden?
I do not know where he went, but Rıfat Özbek was like sunlight, he was special. He was a huge talent. In fact, he was the most talented in my opinion. Rıfat could mobilize something within me or other people. I remember that he used the dervishes and their white outfit in one of his fashion shows in Paris ten years ago.
My God, it was fantastic! Of course the models were not dressed as dervishes, but there were designs which were inspired by the Mevlana philosophy.

How does one establish the name of a brand?
I believe it first has to be easy to say. At the creation stage of a new brand, the name must definitely have a story. It must tell a story to people by reminding them of a unique thing.

In your book “Tomorrow’s ABC” there are known headings as the headings of your philosophy such as A-Art, D-Design. What does N-Never correspond to?
Never say never! You can be enjoying and doing something you used to hate years ago. This is the most important rule of fashion. You say, “I hate black”. Then you find yourself in black. For example, ethnical costumes; nobody used to like them before, now they are used frequently. There is no such thing as never in fashion, everything, but everything is possible. I do not know why, but we may love things that we hated yesterday.

Fashion is a part of our life, and what we wear has a huge meaning for all of us...
We all have means of communications outside of words. Dressing is one of the most important ones, I believe. Fashion is a language at the same time, a process of give and take. We not only dress, we also try to say who we are by our dresses, we decipher how we want to be perceived. In fact, it is sometimes misunderstood; sometimes we say what we are not. With the entry of technology into our lives, our speech-based communication has become too monotonous, so alternative means of communication such as dressing became more prominent. As we continue to talk on the phone more and more, we shall need different garments to express who we are. Talking on a mobile phone is very short and monosyllabic; everyone uses the known and insufficient elements of the same universal code, because it is faster. As a reaction to this, we are going to need more outfits and make up, to express ourselves. To say this: “Hello, look at me! I am not like you, but we can share some things. Look how I am dressed, maybe this will tell you something.”

Fashion and fashion design are a sociological phenomenon, really...
Yes, the designer must understand and follow sociology and politics. Politics is the first and strongest expression of a country. A good designer cannot work all by himself, within a room outside the daily life. If he does, his creations do not mean anything to anybody. A good designer watches television, walks the streets, and meets people. He observes what the youth wears. Fashion is politics and politics is life...

What happens when fashion designers come from China? They already are a threat because of their prices; what would we do if they also start producing fashion?
Fashion needs freedom and is fed by freedom. Freedom across a whole big country is only possible with a free media. That is why fashion cannot be created in places where freedom does not exist.

Do you believe fashion is borne out of power? In other words, does being strong in political or cultural sense constitute an advantage in terms of defining fashion?
Did the French dress like the Germans during the Second World War? No. On the contrary, German women wrote to their soldier husbands and sweethearts letters that said, “Bring me lipstick and dresses from Paris”. I believe appeal is the most important element in defining fashion. #



Jean Jacques Picart
Jean Jacques Picart was born in France in 1947. He has been involved with brands like Thierry Mugler, Cacharel, Shiseido, Jil Sander, Hermès, Jean-Charles de Castelbajac, Kenzo, La Redoute, Chloè, Daniel Hechter, Newman, Levi’s and Helmut Lang between the years 1970-1980. From 1981 to 1986 he devoted all his time and talent to the Christian Lacroix brand by working together with Mr. Lacroix at his couture office. He has been working as a consultant for young designers like Hedi Slimane (Dior Homme), Jose Enrique Ona Selfa (Loewe), Jean Paul Knott; for senior executives like Bernard Arnault (Lvmh); or for large producers like Charles Jourdan from 1999.


Concepts of Jean Jacques picart
Art: Some of the measures of fashion creation have some common points with art, however, fashion is not an art form. Fashion can only be an applied art form, at best. Validity of fashion creation is in the selling of the garments. The best dress, if it is not sold and worn by someone, loses its reason for existence. Fashion, just like a banana, must be consumed at the right time. A fashion idea presented too early is like a green banana, nobody would want to consume it. Conversely, a fashion idea offered too late would be treated like an overripe banana and would not be preferred, either.
Creator: Creator is the person who thinks he/she owns the keys to a more beautiful and different world. The belief in a more beautiful future and aesthetics provides the power to real creators. This perception and anticipation is very personal. The difference between creators and stylists, i.e., designers, lies here. The first have a vision, the second group creates the clothing we desire. This word was proposed in 1975, to underline the difference between great tailors and designers such as Yves Saint Laurent, G. Sherer. Generally it was used for Thierry Mugler, Claude Montana, Jean-Charles Castalbajac, Jean Paul Gaultier. Today there is a new category: Young creators. They gravitate towards creating exceptional models, instead of industrial garments.

Desire: The only engine of fashion is desire. Creation of desire is the biggest skill of creators. Because the before and after of desire is excitement. Excitement when you see an outfit, excitement during the purchasing process, excitement wearing it, excitement remembering it… This excitement is magic. One can create a frenzy for this excitement. When a creator can awaken this excitement, this desire that is when he gets closest to an artist. This is the magic of the people like Galeano, Yves Saint Laurent, Semien Clemier, and Yamamoto.
In and Out: In and out are very personal, relative criteria. What is meant here are trends that some categories of people adapt or abandon. For something to be “in” may mean that it is “out” for others. “In” and “out” are the most useless values of our profession. These words must be taken out of the fashion dictionary.

Why: Why did this idea achieve success and not the other one? You should never ask this question. There is no logic, no rule that can explain fashion. At most, there are some principles and recipes that are mostly used to calm one down. Fashion in reality is the reflection of the boredom and orientation of a society at a certain period. Once they only used to show the dresses of a collection in fashion shows. Then fashion shows started telling the universe of the creator and now each piece of garment acquires meaning as part of this universe. This is called a show. Special effects, semographies, stage designs, and stage directions are used. This way, the attention of the world media is being targeted. But sometimes it is not possible to bring these outfits to life, however, these outfits lead you to dream, they excite you. With this excitement you enter through the doors of the boutiques where you can find dresses that can be worn.

Style: Having style does not mean only having new ideas; it is beyond that. Style is the creation of continuity for a creator. It is creating, at every season, what is in harmony with the trends of the time, with a specific identity. For example Miss Chanel has a style, so does Yves Saint Laurent. Names like Greta Garbo and Grace Kelly created their own styles. For me, style has a magical side. To me it seems that style can stop the passage of time, because, it is very difficult to specify a time for some creators.

Skill: Skill is the difference between an ordinary life and an extraordinary life. The skill of an artist shows life in a different way; it gives a new flavor, it is magic. Skill by itself is not enough. One must know how to use it, to protect it. One must ensure developing it; continue to grow it. One must not waste this talent and do all this honestly.

Zero: A collection does not depart from zero. A creator with the most freedom is not totally free to do what he wants. He has to take into account his own style; he has to consider the best sellers in his previous collection. He has to consider the expectation of the buyers and the press. It is not really hard to guess these. I believe in a good collection, 35% of the models must be recognizable, 40% must be from new ideas, and 15% must have some risky propositions. This way it will be possible to develop these in the next season. The rest, the 10% must really have outrageous, scandalous products.