The hamansutra label was launched in Munich, Germany, in 1996 and the company was formed in London in 2004.

The hamansutra brand presents clothing as art objects, focusing on a holistic view of external changes which in turn necessitate designs to be aligned in keeping.

Formative influences included the clothing division of the German Military Forces, where hamansutra learnt to appreciate the value of timeless design, and the wardrobe department of the Bavarian State Opera, located in King Ludwig’s former bedroom, where hamansutra worked on theater costumes and shoes for productions including Richard Wagner’s ‘Twilight of the Gods’ and ballets by Jacopo Godani.

Armed with a formidable range of skills in top-to-toe fashion creation, the hamansutra brand engages the imagination in an exploration of the thin line between art and fashion.

The slogan ‘a thousand moves in the game of fashion’ expresses this conceptual approach – the desire to provide an artistic backdrop for people as actors in the play of their own lives.

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My brand name is a mixture of India and Persia. Haman was the prime minister
of the Persian king Ahasuerus, also known as Xerxes I, reigned 485–465 BC. The Sanskrit word Sutra means a joined thread and also instructions or discourse, as in the Kama Sutra (a discourse of instructions for sexual positions). I developed my own philosophy from my passion for instructions, and the endlessly changing positions in the game of fashion.

Entertainment Radio
Claire Anderson dj dreams hamansutra hip hop JazzFM London Love

hit play now >>

About hamansutra’s Radio Show with Claire Anderson (JazzFM London).

Rare interviews and remastered songs selected from his collection of videos and music, ready for your iPods. Try it out, and see how easy it is to use. download on Mp3’s for all his lovely little hobbits around the planet…

The music hamansutra chooses is also the daily background to his work. Lovedreamsandhiphop is designed to trigger visions and inspirations, to heighten creativity and productivity – and to ignore the media, those spinners of lies with too little to do.

hamansutra says that music provides a strong creative pulse
”When you work on anything creative, music is a very important factor, because you can feel the vibrations for your inspirations in the music.”


RESUME Haman Alimardani

Professional career
Fashion designer since 1996; own “hamansutra” label launched in Munich, Germany, in 1996 and company formed in London in 2004

September 2008 – present, New York
Cazal Eyewear names Haman Alimardani Creative Partner (2013 – 2014)
hamansutra’s male / female RAW DENIM Line with Poltrona Frau (May 2013/14)
hamansutra’s first shoe range CMYK launched globally in Fall/Winter 2011/12
Lecturer at the Miami Ad School, New York (2011 – present)
Lecturer at the Parsons New School of Design, New York (August 2011)
Move to New York; establishment and operation of hamansutra company in New York
Exhibition of hamansutra lookbook at Pablo’s Gallery (527 Canal Street, New York, NY 10013) (Nov 2008)
Exhibition of New York debut of hamansutra’s CAZAL Sunglasses Project at Pablo’s Birthday (Nov 2010); a fashion celebration for and about fans of Cazal sun eyewear with personal support by Cari Zalloni
Exhibition at the fifth annual NY Art Book Fair, MoMA PS1, presenting my full range of fashion CI, focusing on graphic design (November 2010)

2005 – 2008, Munich
Lectureships at Blocherer Schule (art and design college, Munich, 2005-2007), Miami Ad School (Hamburg, 2006) and Academy of Fashion and Design (AMD, Munich, 2006-2008).

Areas of focus:
• Blocherer Schule: Visualization and Illustration
• Miami Ad School, Hamburg: Lecture on Hardcore Fashion (2006)
• AMD: Visualization

Professional activity during this period:
• Appearance on Chinese TV in bid to design and produce the fastest jacket in the world
• Freelance design projects with Porsche Design (men’s accessories)
• Costume design for singer Amos (music video “I Can’t Stop My Feet”)
• Publication of hamansutra fashion lookbook and distribution to selected art and design bookstores in London, Shanghai, Hong Kong, Munich and New York
• Design of T-shirt collection for Xbox
• Costume design for World Snowboard Tour

1999 – 2004, London
Study at Central St Martins School of Art, London: Fashion Design with Marketing
Graduation in 2004 with a BA Hons in Fashion Design with Marketing, with final fashion show and exhibition of finalists’ portfolios.

Professional activity during this period:
Design work for deepend, London (characters for computer games and 3D visualizations)
Design work for MTV (illustrator)
Design work for Nike (project Scorpions Team Posters)
Costume design for major project at London International Film School
Costume design for Jung von Matt (Hamburg), major German advertising agency, for TV and print campaign for international consumer electronics giant Saturn
Costume design for designliga (Munich), video for singer Sonique (video won gold in 2005 IF Communication Design Award)
Assistantships at Bavarian State Opera costume department, Tailoring Department of German military forces, Kostas Murkudis

Specialist interests in history of technology in fashion and history of functional clothing were intensified during and after the Central St Martins course.

1994 – 1998, Munich
Study of graphic design at Blocherer Schule
Graduation in 1998 with a Diplom in Graphic Design

2015 bread and butter barcelona

Mierswa Kluska

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Cazal eyewear denim by hamansutra new york city poltrona fra

All reproduction in any form and to any extent requires express prior written permission.
© 100% hamansutra

New York 2014

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cemnoz form frankfurt Magazine stephan ott stylewriting



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CMYK by hamansutra julia stegner magenta New York top model VOGUE

Julia Stegner Instagram

Louisa Models

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china graphic Magazine

Asian Leading Design Magazine

Xie xie!


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SUPERPAPER munich press 2014
interview münchen paper super

Super Paper, the newspaper that focuses on life in all its aspects.
Print edition published monthly in Greater Munich.


by Agnes Bachmaier

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Creative School feico derschow MCAD multi talent OpenHouse Lecture

On March 24th 2014, I was holding a lecture on my work.
“schwäche, was soll das sein?”

openhouse hamansutra

MCAD Creative School
Richard-Strauss-Strasse 26
81677 Munich

808 CAZAL Egyptian Lover FASHION film hamansutra KRAFTWERK modelism models New York

a fashion inspiration by hamansutra
A short film that turns the spotlight on a fashion designer and photographer on the streets of New York seeking models that have the extra motivation lacked by agency models. Model agencies are quick to send out setcards and websites for models that turn out to be very different – or don’t even exist.

Photographer and I will rove from downtown to Upper East Side and include you in our deepest thoughts with voiceovers and subtitles. Welcome to “Modelism”!

Fashion Designer . hamansutra
Music . The Egyptian Lover (Greg Broussard)
Featuring . Claire Anderson
Cinematography . Atsushi Nishijima
Editor . Uli Schoen
Intro Animation . Flin
Recording Studio . Jan Krause and 58Beats
Motion Graphics Color Grading . Jacub Moravek . Studio Seidel
Translation . Alison Moffat
Street Cast . Maddie James, Ashley Arico, Erin Schumaker, Heather Jones, Danielle Black, Caroline Collins, Nicky Jackson, Amelie Alkan.

Location at hamansutra studio, New York 2010

ITUNES . The Egyptian Lover

ANDREW WILLIAMS Austin Szalkowski Elijah Pryor Maddie James Mike Manolo

“I was sitting on the corner just a wasting my time, When I realized I was the king of the style”

A shoot that turns the spotlight on a fashion designer and photographer on the streets of New York. hamansutra reports on what he’s seen on the streets of New York, going up to people and giving them an on-the-spot cutting edge style boost.

Whatever they were wearing, styling tips like CMYK Shoes, hamansutra Denim pants and jackets and Cazal* eyewear gave them the feeling of being inside the heartbeat of the city. No more experiments, no more phases – time to be serious and get down to work.

*This shoot was made with love using analog photography and is not sponsored, endorsed or otherwise approved by the Cazal eyewear company or his estate.

Andrew Williams

CMYK Shoes by hamansutra . Denim by hamansutra . Cazal eyewear

Street Cast
Maddie James . Elijah Pryor . Mike Manolo

Ford Models
Austin Szalkowski

All reproduction in any form and to any extent requires express prior written permission.
© 100% hamansutra
New York 2013

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bespoke craftsmanship denim hamansutra Love madame Magazine reverse

Rubric – We Love
Madame Magazine has created the world’s 2nd smallest hamansutra feature ever – but then Munich is a village, what else did you expect? Dankeschön!

Two in one
The power of transformation:
Iranian designer Haman Alimardani has designed a reversible denim collection featuring exclusive buttons (which work like cufflinks) from Italian furnishing manufacturer Poltrona Frau. Just take them out, reverse the jeans or jacket and replace them for cool style in
ultra-painstaking bespoke craftsmanship. By hamansutra, from 320 EUR


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cuff links denim hamansutra italy munich New York poltrona frau raw

MAY 16TH 2013
80335 MUNICH

hamansutra’s male / female RAW DENIM Line, incorporating the manufacturing techniques of Poltrona Frau, offers a range of reversible basic pants and jackets. Inspired by authentic vintage work clothing. Crafted from materials influenced by traditional Japanese denim quality and produced in Italy, the home of superb fabrics. Featuring exclusive Poltrona Frau buttons from the high-end Italian furniture manufacturer. Known as “Cuff Links” and originally designed for furnishings, these buttons hold the key to the hamansutra RAW DENIM Line’s reversible function – just remove, reverse, replace. hamansutra RAW DENIM is simple, rugged and handmade. A protective “armor” for the wearer’s skin that lets the wearer feel the finishing. Because perfection is protection.

created with love from New York City and handmade in Italy and Munich

Photography Detlef Schneider . Text Alison Moffat . Models Alek, Fabia, Felix . Agency Tune Models . Hair and Make-up Barnet Concept Dirk Walther, Meike van den Heuvel . Graphic design Stahl R, Tobias Röttger , Timm Häneke . IT Patrick Beck . Assistant Franca Hoyer, Jann Averwerser, Tamara Gerstner . Props Cazal, Studio Seidel, Pool Store . Werkstatt München, Philip Hanske . English translation Alison Moffat . Special thanks . Pepe Nero, Soulfulliving . Printed in Germany

All reproduction in any form and to any extent requires express prior written permission.
© 100% hamansutra
New York 2013


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denim by hamansutra Hort Berlin louisa-models making of Studio Seidel


The production of the Denim Line, featuring unique shots of hamansutra‘s styling and fashion shoot process in Studio Seidel, Munich 2013.

Studio Seidel

Graphic Design
Hort Berlin . Tobias Roettger

Franca Hoyer . Tamara Gerster

Hair and Make-up
Gaby Pachmayr

Louisa Models
Katrin Biller . Robert Lohmeyer

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STORES - CMYK BY HAMANSUTRA new york shoes 2013
black classic cmyk hamansutra cyan henrikvibskov magenta Philip Hanske white yellow

A classic!
“timeless and seasonless shoe”

Henrik Vibskov Boutique
456 Broome Street
New York, NY 10013

Biomechanic Orthopedic Insoles
Rumford Strasse 12
80469 Munich


Photography . Franca Hoyer
Photography . Charles J Williamson

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LEATHER BY HAMANSUTRA new york accessories 2013
IPAD IPHONE leather by hamansutra MACBOOK microfiber munich New York

The cleaning cloth is made of 100% polyester fine microfiber with a unique surface treatment that enhances its cleaning performance. The perfect choice for cleaning mobile phones, computer screens, jewelry, eyewear and cameras.

The fine microfiber efficiently cleans away oil, fingerprints, and dust without scratching coated surfaces and can be washed.

The cloth features hamansutra’s screen-printed contact details as an ultra-practical business card No more useless scraps of card that are only good as toothpicks or land straight in the garbage!

These leather slip cases are made from branded ultra-fine exclusive nappa leather with hand-crafted perforations and rugged seams as a throwback to the ancient origins of our world. Loose threads and visible cut marks are all part of their character.

The leather slip cases can be produced in all sizes. They may be slightly tight at first, but stretch and loosen to a perfect fit over time.

hamansutra creations are personally tailored. For this reason, please allow a minimum of two weeks for production and delivery.

created with love in new york city

purchase by paypal
contact us:

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“because music brings people together”

Silkscreen Ink on Card Stock Paper Weight. Signed and numbered edition of 50 by hamansutra. Each supplied with a fine microfiber cleaning cloth for fingerprints.

18.5 x 24.4 INCHES
47 x 62 CM

1 color front / Blue
one-off prints

purchase by paypal
contact us:


no re-prints – no reservations

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hamansutra KRAFTWERK military Ralf Huetter suits Tribute

“A Tribute to Kraftwerk – Suits by hamansutra”
We are proud to present the 2012 launch of our menswear line “suits by hamansutra“ with
visible silver magnet button. The suits by hamansutra are “A Tribute to Kraftwerk”

Created and manufactured with love in New York City.

hamansutra cut his teeth in military tailoring – and has the chops to incorporate these elements into his suits.

Pre-order 2-3 weeks
hamansutra creations are personally tailored. For this reason, please allow a minimum of two weeks for production and delivery.

The pioneering electronic music band KRAFTWERK

Release Date
April 10th, 2012

Many memories. Another world. Another time.
Over the last quarter-century they’ve worked at the famous Kling Klang Studio in various ways – sometimes by daylight, sometimes by night. From composition and design to absolute silence, they’ve always kept the golden thread firmly in their hands. “The Man Machine” aka Ralf Huetter, Karl Bartos, Wolfgang Fluer and Florian Schneider.

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AMOS germany UNIFORMS 2004
amos costume gold hamansutra military music overall pink rocky tailoring uniform welded

An overall is something inseparable, as the name implies – the upper and lower body are welded together. There’s nothing that feels more human.

hamansutra cut his teeth in military tailoring – and has the chops to incorporate these elements into his costumes.

Created with love from New York City, manufactured in Germany.


Photography . Denis Pernath
Retouching . Grossmeister Blitz

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Virgin - untouched clothing NEW YORK clothes 2012
clothing Corinna Falusi hamansutra shirt untouched Virgin

Virgin – untouched clothing by hamansutra
Virgin. The first shirt waiting to be deflowered by its owner. It has been cunningly designed without a neck hole to put you in control of every cut. Don’t be shy. Get out your scissors and get to work.

The shirt has only two seams and two darts. It is designed to feel like a second skin.

Men’s Shirt
Soft, supple short-sleeved shirt in 100% quality soft cotton. No neck hole.

Women’s Shirt
Soft, supple short-sleeved shirt in 100% quality soft cotton. No neck hole.


100% cotton

Care instructions
Washable at 95 C . Can be bleached . Tumble dry at level 1 . Warm, not hot iron . Do not dry clean


Fashion · hamansutra
Creative Director · Corinna Falusi
Art Director · Maite Albuquerque
Copywriter · Justin Via
Photographer · Charles Williamson
Make-Up · Joel Angel
Models · Marie LeClair · Alex Lugosi · Julia Johnson · Erin Gross · Lenka Dayrit · Samuel Sorrels
IT · Mr Y
English translation . Alison Moffat

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hamansutra The Movie NEW YORK campaign 2012
3045 guerilla marketing hamansutra Kraftwerk Award making of plastikman The House of Rothschild

We take a trip into the future – hamansutra, The Movie (release date 3045).
Only 1033 years to go. What do you think the world will be like then?

Why 3045?
Because Persians work to a different timescale. To be precise, in Persia it’s already the year 7112.
In this era, many of the technologies and data from 2012 no longer exist.

Winner of
Best Functional Uniforms
The Emperor’s War Award
The House of Rothschild
Monaco, 3045

Winner of
Best Glamour Model Documentary
Middle East Film & Niavaran Award
New Tehran, 3045

Winner of
Best Synthesizer & Talk Box
Kraftwerk Award
New Germany Film Festival 3045

Andrew Williams


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biomechanics CMYK by hamansutra Future orthopedic insoles Philip Hanske Vision

Vision of the Future II – People ask, Is he man or machine ?

hamansutra’s handmade CMYK shoes have arrived at Vision of the Future II: now custom orthopedic insoles can be added for supreme comfort.

hamansutra’s partner in this new venture is Philip Hanske, specialist in the production of orthopedic insoles.

All insole manufacture takes place on-site at our shop in the heart of Munich, created with love from Germany.

The perfect match between fashion and foot biomechanics.
Go bionic!

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CMYK by hamansutra NEW YORK SHOES 2012
CMYK dj hamansutra new york city Sharan Bala shoe

>> Release Date will be in 2011

hamansutra’s first shoe range CMYK launches globally in spring/summer 2011/2012. creator haman alimardani is a new york-based avantgarde fashion designer, graphic artist and internationally acclaimed dj. CMYK stands for the four basic print and graphic colors of cyan, magenta, yellow and key (black), complemented by versatile white. this unisex shoe in quality leather features a supple, ultra-comfortable design modeled on classical ballet and dance shoes and fitting as flexibly as a sock — yet the CMYK is also rugged enough for everyday wear. unique laces tipped with stereo mini-jacks reference hamansutra’s hallmark: a communication-based fusion of fashion and music. the CMYK is a go- anywhere shoe that takes you from dance studio or stage to club and city.

hamansutra’s message is “my shoes are to the world as paint is to a picture.”

»created with love from new york city, manufactured in brazil.«


Photography Tetsuo Hamamoto · Text Alison Moffat · Management Laleh Kazemi · Model Sharan Bala, Samuel Sorrels · Agency Muse Models New York, Ford Models New York · Make-up Kim Weber · Graphic design Tobias Roettger Hort Berlin · IT Patrick Beck · Edition of 500 · Paper Montauk Silk · Domtar Huskie Smooth · Fonts ITC Grounch, Corinthian · Props Christoph Hein · Photo Assistant David Shifren · English translation Alison Moffat · Japanese translation Yumiko Sakuma · Interview Paul Heilig · Printed in New York

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Artificial Skin 2060 cooperation CLOTHES 2009

hamansutra presents unique custom accessories with Vertu – pioneering luxury mobile phones. Full-body overalls made from stretch and stocking fabrics symbolize an artificial second skin. The mobile phones represent the chips of the future, transplanted the skin. The idea behind the designs: today’s ultimate transparency as everything we do is observed and documented CCTV, Internet sites, Google…

Giving birth in a matter of seconds thanks to a system of zippers; disco balls modeled as gigantic nipples, a Russian woman soldier serving for Germany, a shoe with integrated compass that shows you the way as you walk it …

I want my designs to be people – not just sketches. Movies that combine fantasy with practical guidelines for creating change.

Photography Denis Pernath
Model Katjushka Krasawiza aka Katja K. Fashion world
Make-up Alex Hofmann
Retouching Dirk Meycke
Graphic design Tobias Röttger, Timm Häneke Hort Berlin
Edition of 800
Paper Munken Print White, Hello Gloss
Fonts Pica10PitchBT, Corinthian
Phones Vertu Mobiles
Props Bavarian State Opera
Photo Assistant Fabian Beger
English translation Alison Moffat
Printed in Germany
Copyright hamansutra New York 2010
All rights reserved

About Vertu
Vertu is a British-based manufacturer and retailer of luxury mobile phones.
The company is an independently run, wholly-owned subsidiary of the Finnish mobile phone manufacturer Nokia.

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Sonique cooperation COSTUME 2004

Costume design for a video by singer Sonique, in cooperation with Design-Liga Munich
“Another World”, Cosmo Records Munich got awarded twice. The IF communication design award 2005 – GOLD and the animago award 2005 – SILVER.

Photography Denis Pernath

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Saturn cooperation COSTUME 2002

May I present Blu, one of the most famous TV characters in Europe.
Costume design for “Geiz ist Geil” campaign of the German HIFI Company “Saturn”
involving 3 different TV commercials, in cooperation with Jung von Matt Hamburg 2003/04.

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Portrait of Fashion Designer hamansutra 04:59 MIN FILM 2012
2012 5100 BC 7112 assyrians CAZAL fashion designer Future Gilgamesh hamansutra military Persia History portrait Studio Seidel

What is time?
1000 years are a single day.

Portrait of Fashion Designer hamansutra

hamansutra is taken in for questioning and his evidence is taken down, videographed in a video conference. Exploring the truth and exploring decisions about visions of the future. How can we speak so lightly of the future? Under the original Persian calendar we operate in a different age. We discuss what life will be like in thousand years.

Welcome to 7112!


Director . Florian Seidel
Edit . Franca Hoyer
Assistant . Grossmeister Blitz


Editor-in-chief of the SHHO Neil Lopez interviews hamansutra about graffiti, graphics, music and fashion.

Q & A

What are your favorite pieces of clothing that you have ever owned?
“An overall. This is something inseparable, as the name implies – the upper and lower body are welded together. There’s nothing that feels more human.”

What are your least favorite fashion trends circulating these days?
“I hate the fashion industry – and I love the fashion business. I don’t seek out trends, I create. When a trend takes hold, it’s already dead.”

Director . Neil Lopez
Photography . Andrew Williams
Edit . Stephan Torres
Music . De La Soul, Madlib, Pete Rock, Jeru The Damaja, Ohbliv, Orston, Da Grassroots
Translation . Alison Moffat


Multifunctional Chador 05:07 min FILM 2010



hamansutra TV report LIVE JAN 21 2010

Multifunctional Chador
Having roots in several cultures at the same time can make a person rootless – a regular experience for Haman Alimardani alias hamansutra. “puzzle” presents an extraordinary fashion designer.

Born in Iran and growing up in New York and Munich, he is at home everywhere and nowhere, a stranger and a friend at one and the same time. But the marks left by three cultures have also given hamansutra freedom. His creations are provocative, playful and always ahead of their time. In his latest collection, “Artificial Skin Collection 2060″, the maverick fashion designer presents his visions of the future, including his personal take on the chador – the tent-like, all-enveloping item of clothing worn by women in Iran.

Inner Anger
“I’m angry inside. Angry at a religious government that, for the past 30 years, has laid down the law to its people about the way they have to dress”, says hamansutra. His chador, then, is multifunctional: a socially correct, all-concealing veil which can be instantly transformed into a sexy outfit. “puzzle” shows the artistic potential which the designer draws from three cultures and the methods he uses to put it into creative practice.

Bayerischer Rundfunk [Bavarian Broadcasting] (BR) is the public broadcasting authority for the German Free State of Bavaria, with its main offices located in Munich. BR is a member of ARD.

ABOUT puzzle
The InterCultureMagazine
The first intercultural program to be shown on Bavarian TV
A puzzle is composed of a number of different pieces, which only create an overall picture when they are taken together – in the same way as our society.

Presenter Özlem Sarikaya
Author Michaela Wilhelm
Translated by Alison


Amateur World Cup 14:67 min FILM 2010










Making Of

Nov 21st 2010, 8PM
526 Canal Street, New York 10013

The making of amateur world cup 2010 03:20 min SLIDESHOW 2010

An interpretation of 2010 Football World Cup by hamansutra and StudioSeidel as a Slide Show in Black and White. The production of the AMATEUR WORLD CUP 2010, featuring unique shots of hamansutra‘s styling and fashion shoot process.

The making of amateur world cup 2010 00:11 min IMAGES 2010

An interpretation of 2010 Football World Cup by hamansutra and StudioSeidel.
The production of the AMATEUR WORLD CUP 2010, featuring unique shots of hamansutra‘s styling and fashion shoot process.

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The making of mobile sessions 01:20 min SLIDE FILM 2008

MOBILE-SESSIONS by Studio Seidel, Munich, in cooperation with SONY ERICSSON. Fashion by hamansutra.

About the project:
MOBILE-SESSIONS.COM is an interactive online platform that provides scope for creative types, lateral thinkers, investigators and mavens – in other words, anyone who finds that normal is simply too normal.

Instructions on how to become a famous artist, packed into a surrealist visual feast, with costumes for this art piece designed by hamansutra
The objective is to attract users of the mobile sessions community to send in their own art pieces for a competition.

Headlines like:
Get a new image, Have orgies with gallery owners, Become a headline, Simulate your death – play with common stereotypes of the art world.

Music by Plastikman

Argentina Australia Colombia Germany hamansutra India jecky beng Moritz Lorenz Nepal New Zealand Peru Singapore

hamansutra’s private life is featured in “The Creatives of the World“. To date no publication has featured hamansutra’s personal drawings, living space and bedroom. Now this insight into his personal life is premiered together with other artists from all over the world.

STORY by Moritz Lorenz
9 months around the world, countries including Germany, India, Nepal, Singapore, Australia, New Zealand, Argentina, Peru, Colombia, with the aim of interviewing a creative person in each country.

“A high ceiling and a huge book shelf to my left, mirroring Haman’s life – from childhood toys on the top right to spray cans on the top left and further down to Persian history books, a coffee-table book on “The fifth element”, Björk, Jean Remy von Matt and Holger Jung, the purple USELESS magazine, Banksy. Inspirational materials sorted chronologically from the past until today. Wow”

The 65-page softback book is published as print on demand only.
Printed in Germany

24 x 28 CM
9.4 x 11 INCHES

€ 48.00


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Boutique CMYK Henrik Vibskov jacks Jessica C. Andrews laces NY TIMES

hamansutra’s innovative flats in the New York Times – Stepping to the Beat

shoes are available in Henrik Vibskov Boutique New York

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TRENDLAND new york PRESS 2012
Cyril Foiret hamansutra Magazine TRENDLAND


Trendland Online Magazine is quickly claiming the leading edge of organic, spontaneous trend information.

CMYK by hamansutra contemporary Julia Zierer STYLE.DE VOGUE

“Leather Shoes from New York”
hamansutra presents CMYK, a shoe collection with a simplicity that’s timeless, yet cutting-edge contemporary.


Editor . Julia Zierer
Photography . Andrew Williams

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COCOON germany PRESS 2012

25 things you should know about hamansutra. He is featured and interviewed in Cocoon Magazine Germany.

Q & A

what gift would you like to present to whom?
A menswear collection to Helmut Lang.

the most intoxicating fragrance?
A woman’s body.

what do you see when you look in the mirror?
A chameleon changing its colors.

Cocoon Magazine is nominated for the LEAD Award (Hamburg) in the category Best Magazine.

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sueddeutsche zeitung GERMANY Magazine 2012

Sueddeutsche Zeitung Magazine has created the world’s smallest hamansutra feature ever – but then Munich is a village, what else did you expect?


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PULP LAB new york PRESS 2012

by trend and creative agency Pulp Lab
“The end result is pure brilliance that presents soft goods as art objects, inspired by multi-cultural experiences and inter-disciplinary creative approach”


Miami Ad School NY NEW YORK LECTURE 2011
fashion CI guest speaker hamansutra Miami Ad School New York

Listen up ladies und gentlemen,

Another 10 weeks have flown by and we’re eager to see this week’s “corporate identity” presentations of the Miami Ad School first Quarter’s. As we all know, taking the stage isn’t easy. Whether you’re a singer, entertainer or extra, the first 3 seconds are a nightmare – until you develop a taste for it, and then you can’t get enough…
We look forward to hearing what our teachers, invited creative directors and designers have to say. Miami Ad School NY wishes you all a stunning presentation.

My advice?
The truth is in the details – so go seek out the truth and do your best!

Sorry, this event is invitation only!


parsons the new school for design NEW YORK lecture 2011
fashion CI lecture new school NY 10011 parsons

hamansutra accepted an invitation to lecture at parsons new school of design in New York.

parsons lecture
come and have a chat with hamansutra
fashion designer since 1996

Move to New York; establishment and operation of hamansutra company in New York
fashion CI, focusing on graphic design.

2 W 13th St
New York, NY 10011


wed, aug 3rd 2011
5.00 – 6.00PM

Fiat Everyday Masterpieces germany Magazine 2011
c100 Everyday fiat hamansutra Masterpieces purplehaze

hamansutra in Fiat Everyday Masterpieces Magazine. >> Release Date will be in October 2011

«The more you travel, the smaller the world». Haman Alimardani is, the prototype of a cosmopolitan – of Persian origin, living in New York, having studied in London and spending his youth in Munich., Chinese Television has invited him to show how to design and produce, the «fastest jacket in the world», in Munich he has recently launched, his shoe CMYK- by Hamansutra, «Created with love from New York, City, manufactured in Brazil». What else did you expect?

What does Hamansutra mean?
Haman is my first name and Haman was the prime, minister of the Persian king Ahasuerus, also known, as Xerxes, who reigned from 485-465 BC., Sutra means a joined thread, but also instructions or, discourse – think of the Kama Sutra, a discourse of, instructions for sexual positions.

How important is Design in everyday life?
Design is emotion – proof that you live and breathe, your design. I love the physical craft of creating. Taking, a mistake, a chance element – a coffee stain, a, dead fly – and weaving it into the design. Creators, should take their experiments more seriously. Everything, starts with a prototype. Now the baby has to, learn to walk – and never stop learning.

Why did you choose fashion as your medium, as, your way of expression in the first place?
When I was in my second year, I decided to do something, about realizing my idea of working with military, tailoring, and went to Germany. Getting in, contact with the right people was as challenging as I, expected it to be. The projects I worked on included, uniforms for the police force. I chose this because I, know how important it is for a fashion designer to, know about the special techniques used in the Army, as well as how rare it is for them to be able to get experience, in this area. I developed my own philosophy, from my passion for instructions, and the endlessly, changing positions in the game of fashion. Fashion, with instructions: Fashion that features targeted, functions, tailored for functionality without compromising, on style and individuality. Fashion draws its, inspiration from sources outside fashion, returning, old methods of design and production to the center, of attention. Fashion inspired by my passion for design, creativity and good ideas. Fashion that covers a, carefully selected, compact range of styles – but those, perfectly. Because perfection is protection.

What inspires you?
My life inspires me. My past, my present, my future., The whole scope of the world is where I draw my, inspirations from.

If you could swap identities for a day, who would, you like to be? Why?
I am swapping identities all the time. I love to play, around with different characters in a fantasy world, by changing my name constantly – He-Man, Muhamman Ali, Hamandinejad the penisident of erect, Ohama in Manhamman, Haman the Mass Murderer, Ham man (= Bacon Boy)…, All those variations on my Haman theme can be, considered as a political statement – a statement that, is critical and self-aggrandizing, but also inspiring, and fun all at the same time.

What’s your Everyday Masterpiece?
My swiss army bike, crafted in 1945.

a 36-page Fiat Everyday Masterpieces Magazine. The book has been published in a edition of 7.500. To date the book is available in qubique fair (Tradeshow Furniture / Design) Berlin and art, design bookstores in London, Munich and New York.

Mosch Khanedani


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blog CMYK Farbpigmente GLAMOUR hamansutra Nina Meixner

„Meine Schuhe verhalten sich zur Welt wie die Farbpigmente eines Bildes“ sagt der Designer Haman Alimardani über seine erste Schuhserie für sein Label hamansutra. Der Name CMYK steht für die vier Grundfarben Cyan, Magenta, Gelb und Schwarz, aus denen sich in der Drucktechnik alle anderen Farben mischen lassen. In diesen Farben, sowie in klassischem weiß (die Farbe des Papiers), sind die hochwertigen und zeitlosen Schuhe aus Kalbsleder zu haben. Das Besondere sind die Schnürsenkel: an den Enden befinden sich Mini-Klinkenstecker, die eigentlich als Steckverbindungen von Musikgeräten dienen. Die männlichen und weiblichen Enden können ineinander gesteckt werden. Eine schöne Verbindung!


Nina Meixner

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Nahtlos! germany PRESS 2011
Brooklyn Central Saint Martins College Graffiti Lovedreamsandhiphop Miami Ad School Nahtlos

Der Designer und DJ Haman Alimardani nimmt kein Blatt vor den Mund. Schonungslos offen erzählt er, wie er von verbotenem Graffiti zu seinem Label hamansutra kam und warum er in Brooklyn einfach angekommen ist. Auch seine Schuhkollektion CMYK ist Gesprächsthema.


Wann, wo und wie war Ihr letzter Arbeitstag in Deutschland?
München ist ein anderes Wort für Reha-Klinik, das klingt nach saunen, spazieren und sich von den Beamten kontrollieren zu lassen. 2007 habe ich meine Position als Kurator, Dozent und Designer und meinen DJ-Gig „Lovedreamsandhiphop” im Edmoses verabschiedet. Der erfolgreiche Gig wurde auf standby geschaltet und kann immer wieder aktiviert werden, auch wenn man 10 Jahre weg war. Nichts rennt weg, außer der Zeit.

Wie kam es zum Wechsel nach New York?

Meine Kindheit von 1978 bis 1982 habe ich mit der ganzen Familie hier in Queens, New York, verbracht. So habe ich mir nie Fragen gestellt, warum ein Wechsel nötig ist. Je mehr man reist, desto kleiner wird die Welt. Im Grunde war mein Tapetenwechsel nach 24 Jahren zurück nach New York motiviert vom „internationalen Denkens”.

Wie war Ihr erster Arbeitstag in New York?
Sehr besinnlich und beruhigend.

Wie kam es zur Gründung Ihres Labels?

Der Hintergrund meines Labels ist eine Mischung aus indischen und persischen Elementen. Ab 1996 entstand hamansutra dadurch, dass ich Tausende Aufkleber mit meinem Konterfei bedruckte und konsequent alles damit plakatierte, vollklebte. Eine bewusste Bloßstellung für mich, denn seit 1989 war ich Graffitimaler und die, vor allem die authentischen grafitti writer, sind und bleiben immer unbekannt. Meine Sticker mit dem Porträt waren ein Experiment, keine Street Art. Denn die street artists von heute, so seit 2003, sind in meinen Augen eher Straßen-Stricher als Künstler. Das ist schlimmer Malen nach Zahlen. Was heute das virtuelle und widerliche Facebook ist, haben wir damals ehrlich und mutig in die reale Welt projiziert. Inspiriert von den Hanuta-Fussballaufklebern haben wir durch diese Veröffentlichung unserer Gesichter außerdem ganz nebenbei Kopf und Kragen riskiert. Stichwort: Polizei-Sonderkomission. Wir waren damals ein ganz tolles Team, unsere ersten Sticker hießen „Helden der Großstadt”. 1999, als ich auf dem Central Saint Martins College in London war, habe ich dann mit meinem Modelabel hamansutra angefangen. Alles wurde systematisch nach meiner CI gebrandet – und zwar nicht mit Aufklebern, sondern wie bei Bud Spencer mit Stirnstempeln. Dagegen konnten sich Labels wie Hugo Boss, Harley Davidson, Porsche und Burberry nur erfolgreich etablieren, weil sie alle früher einmal Kriegsausstattung hergestellt haben.

Wie würden Sie Ihren jetzigen Job beschreiben?

Mein Hintergrund in der Bekleidung stammt aus der Militärschneiderei und dem Theater; das Rebellische kommt eher vom Graffiti, der schnellsten Kunst der Welt. Ich bin dennoch Kleidermacher, ein fanatischer Arzt für die „zweite Haut”, der Schnittmuster erstellt, inspiriert von menschlichen Organen. Es gibt aber auch andere, die mich nicht kennen und generell alles als „verrückt” bezeichnen. Weil sie nicht informiert sind, sich unsicher fühlen und den realen Prozess eines Schöpfers niemals nachvollziehen können. Aus dem Grund dokumentiere ich das „Making-of” auch gerne, damit alle es begreifen können. Jetzt kommt meine Schuh-Serie CMYK auf den Markt und nebenbei gebe ich als Dozent Seminare an der Miami Ad School und der Parsons The New School for Design in New York.

Wie einfach oder wie schwer ist es für einen Nicht-Amerikaner in New York ein Unternehmen zu gründen? Hat Sie jemand unterstützt?
Man muss wissen, wie man sich zu helfen hat. Fest steht, dass Schwäche nicht in unserer Natur liegt. Daraus kann man ein Drama machen oder einfach nicht konsumieren, sondern produzieren, neu starten, Optimismus verbreiten und ein Unternehmen gründen. Ganz klar, dass ein Neuanfang – mit oder ohne Budget – niemals leicht ist, vor allem wenn alles nicht in der Muttersprache stattfindet. Ich stell mir gerade vor, ob ein Hausmeister aus Niederbayern einen homeboy aus der Bronx unterstützen würde. Außer einem Gnackfotzn würde nicht viel passieren. Dieses Gefühl kann man auch hier haben. Man muss genug Rückgrat aus der eigenen Familie und dem Team holen können, um mit seinem Unternehmen vorwärts zu kommen.

Sind Sie richtig ausgewandert? Könnten Sie sich vorstellen Ihr Label nach Deutschland zu verlagern?
Ich bin ausgewandert wie ein Zigeuner samt Zirkuszelt. Dennoch soll das nicht bedeuten, dass ich Deutschland ganz meinen Rücken kehre. Im Frühling/Sommer 2011/12 präsentiere ich der Welt meine erste Schuhserie „CMYK“. Die handgefertigten Schuhe werden auch in ausgesuchten Läden in München zu finden sein. „Created with love from New York City, manufactured in Brazil“.

Was sind die wichtigsten kulturellen Unterschiede im Business-Alltag im Vergleich zu Deutschland? Welche Regeln und Rituale gibt es? Welche Fettnäpfchen?

Deutsche sind generell geradeaus und direkt, Amerikaner und Engländer reden gerne indirekt und sind ungemein freundlich. Aber sowohl Freundlichkeit als auch Frechheit haben ihre Grenzen. Man soll es lieber bleiben lassen, immer auf die kulturellen Unterschiede zu schauen. Das macht einen nur wahnsinnig und vertreibt die gute Laune. Man muss die neuen Regeln kennen lernen. Man kann New York auch nicht mit der durchschnittlichen deutschen Lebensqualität oder Teheran mit London vergleichen. Aber gerade das tun Menschen immer wieder gerne. Meine Regel: Sinn für Humor ist die beste „Waffe”!

Ihr Lieblingsplatz in New York?
Mein Lieblingsplatz entspricht meinem Lieblingssatz: „Brooklyn, Bronx, Queens and Staten, from the Battery to the top of Manhattan, Asian, Middle Eastern and Latin, Black, White, New York, you make it happen” – Beastie Boys („An Open Letter to NYC”).

Ihr Tipp für alle, die den Schritt auch wagen wollen?
Produzieren statt konsumieren. Zeitungen und Magazine kauen macht dumm und lenkt von sämtlichen Visionen ab. Zweiter Tipp: Man sollte öfters in den Zoo gehen.

Welches Buch haben Sie zuletzt gelesen?

„The Dada Cyborg: Visions of the New Human in Weimar Berlin” von Matthew Biro

Welchen Film haben Sie zuletzt gesehen?

Fran Lebowitz in „Public Speaking”.

Der größte Mode-Fauxpas von Frauen und/oder Männern?
Ein Fauxpas muss nicht unbedingt nur äußerlich sein. Die schrecklichen Magazine sind schuld an den vielen vorprogrammierten und auswendig gelernten Meinungen. Männer oder Frauen – wie können Leute es wagen über Geschmack zu sprechen, wenn sie nie etwas geschmeckt haben?

Atsushi Nishijima

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ATOPOS Mobile Sessions NOT A TOY Pictoplasma radical character

Text by Pictoplasma

“The Iranian artist, designer and DJ Haman Alimardani (b.1977) is the creative force behind the hamansutra fashion label. After graduating from Central Saint Martins, London, he worked in the theatre costume industry, and now sees the world as a stage for which he can provide the backdrop. For his participation in the Mobile Sessions project, he combines spandex body suits with surreal props to shape his vision of a futuristic body in metamorphosis.”

In july 2011 an article on hamansutra is published in (NOT A TOY), a collection of essays on radical character design in fashion and costume, edited by Vassilis Zidianakis of the Athens cultural organization ATOPOS. Essays by Ted Polhemus, Ginger Gregg Duggan, Judith Hoos Fox.

The volume is the world’s first comprehensive investigation into the growing influence of today’s character culture on contemporary fashion and costume design. It highlights an international scene of established designers such as Maison Martin Margiela, Gareth Pugh, Commes de Garcons.

the first fashion book dedicated to radical character design titled “Not A Toy”.


350 pages, 18,4 × 22,3 cm / 7.24 × 8.78 in
hardcover, fully coloured
isbn 978-3-942245-02-9
49,50 EUR / 39.50 GBP / 60.00 USD

Berlin, Germany

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Fashion Indie NEW YORK WEBZINE 2011

Avant-garde fashion house Hamansutra is definitely an inspiration towards a bizarre and outrageous outfit that no body will be able to top and possibly a better version of Lady Gaga’s collection of scandalous outfits! Hamansutra is the definition of documenting the world into a garment.

Haman the designer, a man on a different level of energy and passion for both his new creations and the streets of New York City really surprises you with the materials and effects.

Although most of his collections aren’t categorized by season, to look through these collections you have a key to enter a great mind! Let’s just say you have to have a lot of confidence to rock these seductive pieces just right.

Nicole Vardo


avant garde, brooklyn, disco, Hamansutra, January 2011, lady gaga, new york city fashion, Nylon, russia, spring 2011, world cup

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“The enigmatic communication designer and fashion creator hamansutra has teamed up with Claire Anderson (JazzFM London) to bring to you their personal collection of rare interviews and remastered songs – hit Play now!”

Get fixed up with the latest and most interesting creative happenings around the globe — available only in the all-new Pick of the Month! hamansutra Lovedreamsandhiphop

IdN (International designers’ Network) is an international publication for creative people on a mission to amplify and unify the design community. It is devoted to bringing designers from around the globe together to communicate with, learn from and inspire one another. It has truly become what the initials of its title proclaim it to be — an international designers’ network.



hamansutra in kid‘s wear Magazine. ‘‘The most beautiful magazine in the world‘‘ (Bruce Weber). Fashion View with Anthony Goicolea

kidswear magazine

fashion director . Corinna Brix
photography . Anthony Goicolea
styling . Ann Kathrin Obermeyer

kid’s wear, established in 1995, is a magazine for children’s fashion, lifestyle and culture which is unique anywhere in the world. Twice a year, for the beginning of each fashion season, the world’s best photographers and many of today’s eminent photographic artists interpret fashion and contemporary lifestyle over 240 pages. They rub noses with both established and new writers who write about childhood in today’s world in articles, essays and short stories. By way of recognition for its ongoing work – in 2005, kid’s wear celebrates its 10th anniversary – the magazine regularly receives major awards. Recent awards include commendations from the Art Directors Club New York and the Art Directors Club Deutschland. kid’s wear has an international outlook and an international readership, appearing in German, English and Italian. The magazine is published by renowned photographer Achim Lippoth.


Paul Heilig introducing hamansutra. Magazine is finally here to satiate your appetite.

Haman, you’re noted for creating functional, futuristic clothing that expresses rebellion.
What do you think of this description, by the way – do you think it suits your work? Your new lookbook “Artificial Skin Collection 2060″ contains designs including something you could call a “cocktail chador evening dress to play hide and seek in”. What’s behind this reinterpretation of an item of clothing that many people associate with lack of freedom, with imprisonment and domination? Or is it calculated as an act of provocation to get attention?

You can take that stuff about “functional, futuristic clothing that expresses rebellion” any way you like. These are pigeonholes that people choose when they see me or if they know me and are trying to understand what I do. Even I tend to use tags like that occasionally, because they can actually serve as inspiration. My background in clothing has to do with military tailoring and theatre; the rebellious side comes from graffiti – the fastest art in the world. But I’m still a maker of clothes, a fanatic doctor for “second skin”, and I create cuts inspired by the human body, human organs – hence the name Artificial Skin.
Other people that don’t know me will put the wholesale tag of “crazy” on anything if they’re uninformed and insecure and could never understand the genuine process of creating. That’s why I like to document the “making of” to help people to understand. Why 2060? Well, it’s easy for me to understand – I operate in Persian time. I have the burden of working in this timeframe, although I’ve spent a long time immersing myself in European time with its images and its history, so I combine all the millennia of my primeval history with the present day. It starts with the epic of Gilgamesh up to Cyrus the First, who archived stone tablets in early Persepolis. Today those tablets are in the possession of billionaires, of the wrong museums and of a bloody boarding-school. And yet this cradle of the world’s history is a source of vision and dimension for me. The “reinterpretation shows my own personal present-day sorrow. It’s inspired by a chador, which means “tent”, and which I transformed with a vision of a free Iran (which means “Land of the Aryans”, by the way). Women are women again. But there are many reasons why the chador is worn, not necessarily all to do with religion. In the first Gulf War, for example, wearing the chador was a way of expressing solidarity with the fallen soldiers. You could see these women as living monuments, walking statues. The AIDS virus also triggers national solidarity in the form of the red ribbon. Sure, I’m pouring oil on the fire. If it gets the public going, I’ve achieved my aim. But it’s not designed as radical provocation: it’s a motivation and impetus for today’s generation, a concept and an answer that doesn’t appear to be hurtling towards a minefield. Artists love that kind of thing. My inner anger is pointing the finger at a religious government with a religious police force that has, for the past thirty years, subjected the people to its own decisions about how they should dress. And yet the people have remained creative. My chador is multifunctional, a socially correct veil that can be transformed into a sexy outfit in an instant. The idea behind this transformation was taken from the cartoon series “Transformers”, beings that can change from living robots into a variety of machines – cars or helicopters, say.

A glance at your lookbook is also a look into a future that’s beautiful – but also scary. Permanent accessibility, superficial, smooth soullessness, human machines reduced to their bare function. Is that a development you see happening now?

The body is the primary – and only – natural tool of the human being. Generally, the term “Cyborg” is used to refer to a man or woman with bionic, or robotic, implants. Physical construction and deconstruction is a fascination of mine, because in part it exploits human knowledge. In the 1980s someone asked me to “Evaluate whether the Cyborg represents a frightening vision of the future, or an exciting evolutionary possibility for humankind” Today’s mental tools for the best way of organizing everyday life can cause people to lose control within a few seconds and panic to break out – that’s why the Artificial Skin Collection also includes Ms Confused, who has the same function as a disco ball. Chip implants create even more confusion. Just think of what happens if someone loses a mobile phone with all its bells and whistles. Human memory is being relegated to the sidelines and is dissipating into artificiality. My scenario shows a mission to archive secret information in human organs. The futuristic female Black Sheriff for everyday life, with an appearance that seems to have been moulded from aluminium, wearing signs of rank and official numbers; each officer is automatically presented, transparent. Uniform can erase the personality. Officers feel nothing, they react like Cyborgs and wear shoes with integrated compasses that show you the way as you walk it. Thanks become thoughts, telephone numbers won’t exist any more – only passwords. Muscles are controlled by machines and organs are literally covered in skin. Anatomical organs will become the focus of attention. Imagine filling up uninflated balloons with soft balls of different sizes. When people “die”, they simply reincarnate. When the “bump” has reached maturity, the “mother” need only open the zip of her skin-tight suit and hey presto, another human machine sees the light of day.

Freedom obviously has a special significance for you. Why is that?

Freedom is valuable for all of us. It also has to do with our upbringing. A rule I like to pass on is: Do what you want, but learn how to handle it. And this human attitude is stored in the organic “hard disk” – our brain. You won’t find it in any religious books. Visions that have a strong hand should be supported.

Fritz Lang once said on freedom, “Freedom is something that is very, very difficult to gain, and each new generation has to gain freedom for itself.”

Iran, Germany, the UK, Dubai, the USA – you’ve led a multicultural life and are part of a multicultural trend. Where do you feel at home? When do you feel like a stranger?

You feel like a stranger when you return somewhere after being away for years. Perhaps that’s the tragedy of immigration. But the more you travel, the smaller the world gets – that’s how I see it, anyway. Communicating in a new environment costs energy, but if you can describe your situation with a pencil and paper or with your body language you will never feel like a stranger. Being able to laugh at yourself makes you appealing. If you have the instinct of a mayor you’ll quickly feel at home provided the environment is new too. Conquering the streets and greeting the people is definitely a nice gesture.

5. Your clothing designs are worn by musicians, you get commissions from major companies and institutions, you studied at the prestigious Saint Martins College in London and worked for big names like Nike, Kenzo and MTV – so how the heck did you land in the German army’s clothing department?
I had always wanted to work in military tailoring. When I was in my second year, I decided to do something about realizing my idea of working with military tailoring, and went to Germany. Getting in contact with the right people was as challenging as I expected it to be. The projects I worked on included uniforms for the police force. I chose this because I know how important it is for a fashion designer to know about the special techniques used in the Army, as well as how rare it is for them to be able to get experience in this area. An example of a fashion designer being influenced by military elements could be Dirk Bikkemberg: [his] father, who is Belgian Flemish, served in the army in Germany, which undoubtedly explains the strong military influence in his son’s designs“.
This was my main reason for going back to Germany. My ultimate goal was to have an opportunity to change the 70’s look of the uniforms. Up to now, uniforms for the police, army and other forces were changed gradually and brought a little more up to date or made more functional. I actually hoped for more, but the uniforms the German police wear today are dreadful, a poor copy of American style. A uniform without authority.

Did your spell at the military clothing department shape your work? You frequently use military elements in your art – what’s the background to that?

The first rule is that punctuality is very important, in accordance with the original idea of a military force. The stage is the trade stage, in which all uniforms are purchased and then adapted to the specific requirements of each force, and tailored to fit the individual customers. Although some of the uniforms are produced abroad for economic reasons, the major part of the collection is actually made in Germany. During my time at the clothing department, I had free time to look at all the outfits and uniforms in detail. I could understand the attitude of the German military forces. Although the clothes themselves are straightforward, they have hidden “secrets” or special functional details, and this time was a useful chance to understand these secrets, researching clothes and thinking about the future for developments. It was also useful to get first-hand experience of tailoring the uniforms. I still use military elements in my outfits today, but correctly and with good reason.

What or who are your sources of inspiration?

Languages and inventors of martial arts / Inventors of languages and martial arts like O-Sensei, Morihei Ueshiba and Ferdosi. Dune, Cari Zalloni, Nadir Shah, electro, Molana, lightning, 490 B.C meets 2060, Arno Rink, square shoulder pads, Benny Hill, King Ludwig II of Bavaria, airplane mechanic coveralls, neon light, Peter the Great, Project Apollo 11, anatomy, Ferdinand Porsche, traffic signs, X-rays, Metropolis, Hugo Ferdinand Boss, Farrokh Bulsara As Freddie Mercury, demonstrators’ signs, Zidane, Hans Belmer, full pressure suits, function. Not forgetting my family and the hamansutra team.

You like purists like Martin Margiela (thanks!) and loud, raucous labels aren’t your thing. Who do you think is going to make it in the fashion circus?

By producing, not consuming. Chowing down on newspapers and magazines nourishes stupidity and distracts people from all their visions. People should go to the zoo more often. Studying fashion has become fashionable, and so many people with this attitude just don’t figure on the radar. The film “Gattaca” is an inspiring example. You don’t often see jokers in the circus. One of my fellow students from the legendary Saint Martin’s hanged himself. Idealists are emotionally more sensitive to criticism and visual events in the world. The money you don’t yet have oppresses you and slows down your ideas in human terms. But that’s no reason to give it all up. Many end up on magazines, sounding off about well-known names, although they should really be designing, researching and making clothes. Afterwards all they have are pre-programmed opinions that they’ve learnt off by heart like a classic courtroom case, because they’ve never developed their own.

What kind of a collection do you dream of? And what dream would you most like to see in reality?

I’m not so concerned about the surface, as the Artificial Skin collection clearly shows. To approach my dream, I’d like to work more with doctors. My theme would be human taxidermy and seamless clothing. Volunteers may apply.

And finally: You ride a Swiss Army bike, wear a unique pair of glasses… what’s your favourite item, and what would you never part with?

An overall is something inseparable, as the name implies – the upper and lower body are welded together. There’s nothing that feels more human.

Schön! Magazine is an innovative online bi-monthly magazine. Powered by the energy of, we showcase established and new talent on the up from all over the world.

Schön! Magazine is available to read online and in print.


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Ego Design CANADA WEBZINE 2010

EgoDesign Magazine: by Zanoah Bia

Twenty things you should know about hamansutra. He is featured and interviewed in Ego Design Canada.

Who are you / how would you describe yourself?
My name is Haman Alimardani, also known as hamansutra. I’m 32 years old and a fashion designer. My friends call me “the Riddler”. I love to play around with different types of characters in a fantasy world, by changing my name constantly – Ohama in Manhamman, Hamandinejad the penisident of erect, Hamao, Haman the Mass Murderer, Muhamman Ali, Ham man = Bacon Boy, He-Man, Super H_Man, Hamany… These variations on the Haman theme can be regarded as a political statement – critical, self-aggrandising, inspiring and fun all at the same time. It’s good to be able to laugh at yourself.

E.D.: Tell us more about Artificial Skin, and your (future) works?
I present unique custom accessories with Vertu – pioneering luxury mobile phones. Full-body overalls made from stretch and stocking fabrics symbolize an artificial second skin. The mobile phones represent the chips of the future, transplanted under the skin. The idea behind the designs is the ultimate transparency of life today, where everything we do is observed and documented by CCTV, Internet sites, Google…Giving birth in a matter of seconds thanks to a system of zippers; disco balls modeled as gigantic nipples, a Russian woman soldier serving for Germany, a shoe with integrated compass that shows you the way as you walk it … I want my designs to be people – not just sketches.

E.D.: Is there a philosophy behind your work?
“A thousand moves in the game of fashion” is my philosophy. Fashion with instructions: Fashion that features targeted functions, tailored for functionality without compromising on style and individuality. Fashion that draws its inspiration from sources outside fashion, returning old methods of design and production to the centre of attention. Fashion inspired by my passion for design, creativity and good ideas. Fashion that covers a carefully selected, compact range of styles – but those perfectly. Because perfection is protection. I started out as hamansutra in Munich in 1996 and finished my first fashion collection, for female bodybuilders, in London in 2004. My brand name is a blend of India and Persia. Haman was the prime minister of the Persian king Ahasuerus, also known as Xerxes, who reigned from 485-465 BC. Sutra means a joined thread, but also instructions or discourse – think of the Kama Sutra, a discourse of instructions for sexual positions. I developed my own philosophy from my passion for instructions, and the endlessly changing positions in the game of fashion.

E.D.: What do you consider your influences, what inspires you?
My work is laid out on the Swiss Army knife principle – a model of order and function. But the whole world’s a stage for me, and the universe is my model – the whole scope of the world is where I draw my ideas and inspirations from.

E.D.: How would you explain design?
Design is emotion – proof that you live and breathe your design. I love the physical craft of creating. Taking a mistake, a chance element – a coffee stain, a dead fly – and weaving it into the design. Creators should take their experiments more seriously. Everything starts with a prototype. Now the baby has to learn to walk – and never stop learning.

E.D.: Your favourite materials in design and why?
In general, I really like to work with leather. It’s a very serious material, since you are not allowed to make any mistakes (if you make a hole in the wrong spot, you can’t hide it any more). I very much respect the fact that it is skin, and always try to find a way to leave it in one piece if possible and work it around the human body. Besides leather, I use special-effect fabrics, hard cloth like denim and science-fiction and high-technology fabrics, such as stainproof fabrics where stains can simply be wiped off. Thoughtfully planned fabrics are always welcome.

E.D.: What does the word “ecology” mean to you?
Nature belongs to the insects. If we blunder around in it, we’ll get stung.

E.D.: And chic, what do you feel it is?
Well, the old chestnut could be true that people always look at shoes first. When my hand-crafted made-to-measure shoes are polished till they shine, I feel chic. It also gives you a feeling of security, like a soldier standing to attention. The rest of your outfit can be as ripped and casual as you like.

E.D.: Which designer, artist / architect do you admire most?
A great interest of mine is “Übermenschen”, as I call them – legends, exceptional achievers. For example, Ferdosi, the major Persian poet who invented a language and who is considered the saviour of the Farsi language and the Iranian nation. Or other legendary figures like film director Fritz Lang, architect Lebbeus Woods and Munich-born Karl Valentin, known as the German Charlie Chaplin. I love reading up on these people to explore their ideas and opinions.

E.D.: What will be, for you, the favourite brands or objects, and why?
My favorite object (I also use this going to work) is my Swiss Army bike, which dates from 1945 and symbolizes rebellion. It’s also a vintage machine that I categorize as an aesthetic object – but my attempts to renovate it showed me that the Swiss should stick to making watches. I’m working on getting an “Indian” brand army motorbike from 1938. Indian won the Army-Navy Production Award in 1943. I don’t have any favorite fashion brands at the moment, but I just love all Levi’s twisted leg styles in original rigid Red-Caste denim, because you feel the quality when you wear them.

E.D.: Which city resembles you the most and why?
Munich is definitely very me in certain ways, but more out of habit – after all, I lived there for over 20 years. Secure, grounded, orderly, but still with interesting areas of light and darkness in all aspects of everyday life – the people, the food, the creative scene, whatever – that draw you in and fascinate you. New York, on the other hand, requires a whole load of stamina – every step is a small battle – but it delivers such a wealth of inspiration. And so does my birthplace Teheran – not as it became after 1979, but as it was in the ancient Persian Empire. It’s where my roots are, and it has the vibrant emotions, the warmth and hospitality, the blazing heat, the extroversion and the optimism that I like to think I have too. Actually, I feel I’m on the same wavelength as the major metropolis cities, where people have big ideas and big ambitions and don’t hesitate to try and achieve them. Here in New York I’m striving to think big too. And yet New York isn’t the gateway to success that the media try to make out. It’s full of disappointed people who failed to reach their big ideals – and the media is partly to blame for hyping up the Disneyfied “self-made man”, “American Dream” image of the place. There’s no substitute for sheer hard work, for learning to take disappointment and working through it. You have to get the best out of this city for yourself. But when you do… oh boy. The way I look at it, this place is full of brave and thirsty horses – and I’m one of them.

E.D.: Your dream project?
One of my dream projects would be making childhood dreams into reality – like making a film out of the old cartoon series “Captain Future”, preferably working with Luc Besson. I think I’d be the right person to create the look of the film – redesigning and improving characters and their costumes, making it all happen in reality. If Steven Spielberg hasn’t already bought the film rights, of course. I would be careful not to overload the film with too many 3D effects. The aim is to make people love to go to the movies – to feel the power that emanates from the screen, the vastness, the infinite inventiveness. That’s how I imagine Captain Future in 2017. Futurism on a movie screen, created with the help of good old-fashioned tailoring craftsmanship. And we’d transform Christian’s Bruhn’s amazing music into a lush, lavish orchestral score.

E.D.: What is your favourite example of the use of sustainable fabrics/products in fashion design?
Well, personally I love the denims that are currently being produced in Japan – a mixture of cotton and hemp. Really rugged, long-lasting fabrics that are fantastic to work with, feel good and are timeless.

E.D.: What design project would you never design and why?
I don’t spurn commerciality, but I don’t embrace it at any cost. I’m perfectly willing to cancel a project if the client doesn’t support my ideas. It would be ridiculous for a sick patient to start telling the doctor what kind of treatment he should be giving. Sometimes you have to give clients a general anaesthetic to be able to get on with a project. There’s nothing worse than people trying to intervene. So many designers working for major companies have to suffer under these conditions day in day out, watching helplessly as their ideas are shot down in flames. Whatever kind of project I’m involved in, I paint pictures like a classical painter – it’s what I’m commissioned for. And if a project isn’t in line with my vision, I can’t approve it.

E.D.: What are your favourite items (in art, photography, design, architecture)?
Hans Bellmer and Marcel Duchamp are definitely my favorites among the Surrealists, and I admire Expressionists such as Egon Schiele and also the German artist Arno Rink, who wrote the foreword in my Lookbook. I don’t need to name names in photography but I love working with new, unknown image-makers. In modern architecture I have to mention Lebbeus Woods for his highly experimental approach, but also Art Nouveau architects and the architects of the palaces at Persepolis, commissioned and collaborated on by Cyrus II. And of course Persian poets like Khayyam, Hafiz and Mawlana (Rumi). Finally, my favorite comic artists are Vaughn Bode and Régis Loisel.

E.D.: What do you hope your current work will bring to people, to humanity?
My work at the moment gives insights into the background of my ultimate collection which isn’t yet on display anywhere – it basically involves show pieces. I always try to think like a doctor. My designs are closely based on human anatomy, but realized with a twist. When I draw the sketches for a design, I use my wrist like a pair of compasses and create organic shapes which I then transform. My philosophy, like my accessories and outfits, is designed to be primarily based on anatomy, like an intrinsic part of the body that we just don’t happen to have. As if we needed an artificial leg to be able to walk. In the past, the craft of tailoring paid far more attention to functioning human anatomy than today, but this knowledge was still used too rarely. Except in the military – the designers there were the greatest geniuses, and I’m still amazed at the ideas they came up with.

E.D.: What invention would best improve your life?
A flying skateboard or hoverboard, like the one in “Back to the Future”. OK, we’d need a new transport system, but wouldn’t it be the most sensational invention for all of us? To me, there are few things more boring than going to auto exhibitions or looking through portfolios of industrial design graduates – everything’s focused on four-wheeled cars. While you could hardly describe them as failures, I get so incredibly tired of seeing them.

E.D.: Can you describe the evolution of your work from your first projects to the present day?
Everything I did was helpful in teaching me different techniques of dealing with problems. I started to experiment with leather accessories in 1995, using myself as a guinea-pig and model to find out exactly how these accessories feel, how people respond to them and how they capture the attention. At that time I knew nothing about tailoring so I worked with liquid glue to hold my designs together! Now I can carry out all the phases myself, using all the disciplines and techniques I’m familiar with; layouts, collages, drawing, photos, sketching, sewing, designing and finishing fashion collections for my brand…. knowledge is power, so no-one can tell you bullshit.

E.D.: What couldn’t you live without?
Sport, optimism, the power and faith of my team and my family – it wouldn’t work without them.

E.D.: Finally, which 21th-century architects/designers/artists would you invite to a dream dinner?
Oh, I’d be spoilt for choice – there would be plenty of interesting people there. But my top favorite right now would be to meet Luc Besson for dinner to discuss a film project… and for dessert, a little hanky-panky with his ex, Milla Jovovich.

Egodesign is Canada’s first bilingual webzine dedicated to global design.
Publisher: Zanoah Bia

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Chapter III: Shots New York: hamansutra

Spring Summer 2010, Release March 2010

styleranking GERMANY WEBZINE 2010

sturmfederprojects presents Hamansutra’s “Artificial Skin Collection 2060″:
Bizarre Visions of the Future

Our ancestors would never have guessed that one day we would be riding in automobiles or making phone calls. Today, we send men into space and roam virtual space on the Internet. Thanks to mobile phones, we can be reached by anyone at any time and mobile Internet enables us to tell the world what we’re doing at all times by using platforms like Facebook or Twitter. There’s no such thing as private life any more. And even when we’re out and about and not using our phones, we’re under observation by closed-circuit cameras in city centers. Artist hamansutra took these developments of the modern world as his inspiration for a thought-provoking vision of the future that employs aspects of fashion.

Women as birthing machines? A distinct possibility in hamansutra’s world of the future.
As we see it, fashion and its trends take a back seat with the artist Haman Alimardani, known as hamansutra. In his new lookbook “Artificial Skin Collection 2060,” hamansutra confronts a world in which technology determines existence. The fashion he presents is primarily designed for expediency. Transparency is evidently the trend. In this artist’s vision, human beings no longer appear human, but have become machines that are required to function – and this function is underlined by the pared-down style of the outfits presented.

Birth becomes a minor matter – when all you need to do is open a zipper along the stomach.
Women justify their existence by giving birth – and in hamansutra’s future world, this will not be the fruit of love, but the consequence of duty. In this future scenario love, like other emotions, appears to have no place – a prediction glaringly presented by Haman Alimardani in his new lookbook. The pregnant woman of tomorrow wears a transparent suit in which birth apparently becomes a minor matter; when the bump has reached maturity, all she needs to do is to open the zipper of the skin-tight suit and a new “human machine” is released into the world.

A mobile phone, what more do you need?
Here too, fashion seems to retreat into the background, to be replaced in the focus of attention by details that, used here on the human body, make a strange and unsettling impression. Again, the transparency of this skin-tight suit is striking. The only accessory is a belt with a cellphone, ensuring permanent accessibility. Perhaps the businesswoman of the future? We can only hope that images like these never become reality. A strange detail is the use of hands to cover the woman’s most intimate areas – an extremely disquieting and even repellent effect, and yet the only thing protecting the woman’s nakedness from the gaze of her environment.

In hamansutra’s abstract people appear almost to be robots.
In this image, we are forced to wonder exactly what is concealed under the outlines of the tight white suit. We cannot know, but the numbers on the suit and the shapes which show through seem to be anything but natural or human. Once again, the pared-down style of the outfit forces the human wearer into the background: our attention is directed at the shapes and striking features visible as outlines under the suit.

Noticeable shapes under the “artificial skin” are designed to make us think.
A sharp contrast to the other images is given by a model completely enveloped in a blue and brown robe. Perhaps privacy does have a place in the world of the future.

The only outfit which does not make use of transparency.
“I want to show people in my designs, not only their outlines. They’re like brief films in which imagination and practical instructions are interwoven to generate change”, explains Haman Alimardani. In our view, his designs are wildly extreme both as an artistic venture and as social critique – but nevertheless, or perhaps actually for that reason, extremely successful. However, the images should be regarded as metaphors and thought-provoking impulses, not as literal visions of the future. The world is unquestionably becoming more and more modern and transparent: yet we find that the aspect of fashion in Hamansutra’s work is given minor priority. We cannot imagine that images such as these will be seen on the streets in many years to come.

For anyone who would like to see more of these bizarre works:
the new lookbook is receiving its official premiere in Hamansutra’s Munich showroom. It is presented by “sturmfederprojects”, a company that presents artists and their work. “Artificial Skin Collection 2060″ is available from selected art and design stores and bookstores.

by Cosima
translated by Alison



Haman Alimardani is ahead of his time. While we take our first tentative steps into 2010, the Iranian/German designer is addressing fashion for the far-off future in his current collection, “Hamansutra’s Artificial Skin Collection 2060.”

In this collection, hamansutra presents a scenario for the future in which technology determines our existence, in which both people and the fashion they wear are required to be functional. hamansutra’s creations are located somewhere between man and machine. Chilly futuristic ladies in skin-tight overalls appear to guard law and order in some science fiction world, while the fabled creature of risk seems to evince some last remnants of human emotions.

Themes of reproduction and rebirth are as much a part of the ideas as the relation between man and machine. In hamansutra’s world there is a very fine line between machines that complement people and machines that control them.

Haman Alimardani was born in Teheran in 1977 and grew up in New York and Germany. After studying graphic design, he primarily worked as a costume designer in the advertising industry – one of his creations is the futuristic woman’s costume in the German TV commercial for consumer electronic giant Saturn, with the slogan “Geiz ist Geil” (Thrifty Is Nifty). Alimardani later devoted himself increasingly to fashion and today lives and works in New York.

About Kinki
kinki magazine is a periodical for aesthetes with a healthy suspicion of the mainstream, and communicates its own unique kinki language in graphics, design, and photo reports.

Report by Martina
translated by Alison

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short talk with Trace Magazine and hamansutra.

Where do you find peace?
We all contain an organic hard disk drive – the brain.
And if we try, we can set up the system so that it works the way we want and need it to.

How can we help to establish peace on this planet?
By abolishing religion, because intelligent people don’t need it.
Life is so simple and so beautiful – but so many people don’t know how to live it.

What inspires you about Germany?
Germany has been a technological force for decades, even centuries. It has brought forth visionaries of genius in the field of architecture, engineering and science – and their visions have in turn influenced the aesthetics of other fields such as lifestyle and fashion. Germany is famous for its orderliness – this is a cliché which happens to be rooted in truth – and I do like some degree of orderliness. Timelessness is also an important factor; the classic, timeless feel of Germany frees me from the pressure to always be one step ahead of trends, and lets me focus on producing work that stands the test of time.

coat Y-3
Overall Energie
headphones Technics
accessoires Hamansutra

TRACE is a TRANSCULTURAL Styles and Ideas magazine, a new expression in culture documenting the impact of the interconnected worlds of music, fashion, film, art, politics on today’s multiethnic youth. Established in London in 1996 by Claude Grunitzky, only 25-years-old at the time, TRACE was first materialized in the form of a magazine.

Photo . Corinna Brix
Make Up . Susanne Krammer

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Code Magazine 2008
Photography Kareem Black

Why did you decide to relocate to New York? How long do you plan to stay there?
We all contain an organic hard disk drive – the brain. And if we try, we can set up the system so that it works the way we want and need it to. Well, I clicked “reset” in my system settings – and New York is the perfect inspiration for me. In the heart of the metropolis I can feel the energy waves pulsing from all the worlds that have their home there. I suppose it’s what some people would think of as stress. The way I look at it, this place is full of brave and thirsty horses – and I’m one of them. It salves my conscience when someone else is talking about my future projects instead of me the whole time. But there are conservative people and boring people all over the world, people who suck the vitality and experiences out of creative, dynamic people like leeches. This is a great place for meeting interesting types on the street, in a bar or even at a barbecue or whatever, that can supply useful leads and contacts. But I don’t get those kind of contacts in Munich. This is where I want to spend my future, continue my company and, of course, have a lot of fun experimenting and playing. I spent my childhood up to 1982 in New York, and I have a lot of happy memories of the city. For me, New York has changed for the better in the last 24 years, particularly as far as crime rates are concerned.

New York is synonymous with tough competition in many respects. Is that also true of fashion? What kind of response have you had up to now? Do people understand you over there?
I’m not a media zombie, so I’ve never felt the need to compete with anyone. Comparisons involve competition, and competition is not in my vocabulary. Let others do it if they want, like some of the chichi, useless prima donnas in the fashion industry. What does understanding really mean? Many people aren’t able to understand the creative work process, particularly people who are outside the specialist field – but they’re still able to provide a clear-eyed “normal” view of our work. For every clear-cut question that’s thrown up by an exhibition, fashion show or showroom, I need to deliver an equally clear-cut answer. Because my aim is to add fuel to the flames by producing designs that are more than merely provocative fashion – that are based on a philosophy. If I present a collection of unwearable fashion on a catwalk, it’s provocative because it challenges people’s idea of what fashion should be, and it also highlights the philosophy behind the designs. It can be an inspiration for the client.

You graduated from Central St.Martins. How did that affect your later career?
I hope first of all that St.Martins succeeds in preserving its signature and avoiding over-commercialization, because the trend I see on the catwalks is that more and more commercial lines and styles are coming in – everything is highly profit-oriented. But it’s still the crème de la crème of fashion institutes throughout the world – my pattern teacher had taught Hussein Chalayan and John Galliano, for God’s sake. She’s the heart and soul of the elite school – may I present the master tailor in the technical construction of clothing, “Mademoiselle Christine“. You’ll never manage to surprise her with your visions and your mathematical patterns – she’s seen it all and she always has an answer. St.Martins is the Premier League, a meeting-point for students from all over the world with the ambition of breaking into fashion. They know they’re in the top league, and the ways in which they think and work receive the support they need. If you want to design a leading brand, you have to be one yourself. In 2004 I designed my collection for women bodybuilders and was completely focused on my future experiments. After I left St Martin’s I opened my Munich studio. The baby was born.

You didn’t take the classic route to a career in fashion. What are your concrete plans for your label?
I’m going to continue with my private experiments and explore ways in which I can realize my sketches and my ideas. Whatever ideas they are, I can transform them into clothes. I regard the prototype clothes as artworks, and hang them on a clear wall for a while – I make unconscious corrections and notice details that will enable me to simplify the progress of my designs in the future – the same principle as oil painting. We live in our clothes like living in a house – look at snails and tortoises. There are untidy people and tidy people.

Which do you prefer – designing or teaching?
Both roles require a lot of preparation and organization that need passion to succeed and demand that I set myself a fictional deadline in order to get things done. I believe that teaching is art if the tutor loves his role like an actor. I look for fresh themes and introduce them in the form of practical case studies, the competition that exists in big business. A presentation should be like a constant and ruthless series of punches – left, right – left, right … No breaks to recover, just attack all the way. As a designer, I see the penstroke, the line, as an expression of emotion. I want my figures to be someone – I don’t want them to be nothing more than drawings.

Do you believe in success by chance?
Not at all. The German poet and philosopher Friedrich Wilhelm Nietzsche found a rich source of inspiration in the Persian Empire of 2500 B.C., and as a Persian in Germany I find inspiration in Nietzsche. I share his opinion that “no victor believes in chance.” Words such as misfortune, destiny, fun, luck, God often crop up, but they’re only stupid made-up words for people who don’t have too much self-knowledge and who don’t have a scrap of clarity in the aura they present to the world. Instead of “chance” I’d say “encounter”, for “God” I would use “intelligence”. I am where I am now – in the right place at the right time – not because of luck, but because of my own hard work and my strength of will.

Would you describe yourself as a control freak or perfectionist?
Aren’t we all control freaks to some extent? I don’t force my philosophy on anyone – I recommend it in my capacity as designer, DJ, tutor or maybe even just half of a relationship. I make suggestions, I don’t give orders. Suggestions that are based on experience. Not advice that seeks to control. And mostly the suggestions turn out to be good ones. I only make them when I’m asked to, and if I’m not I give first aid when it’s needed. Domination is about ruling – as a true Persian with 7000 years of history in my veins, I prefer the word, because perfection is protection. You have to be dominant and establish your personal image.

Is there anyone whose success you’re envious of?
No. nobody. When I was a child a clown once said to me, “Envy kills.” I’d use the word “admiration” – it shows respect and demonstrates that I don’t begrudge someone their success. We know that true quality can never be achieved by fast-tracking. Quality is the fruit of committed and ambitious work, the reward for an uncompromising striving for perfection. But striving for perfection is so much more than that.

Has anything changed in your approach to design and your aesthetic world?
What turns you on, what turns you off?

The architect Lebbeus Wood recently wrote to me that my designs are highly innovative – a real honor, because he’s a legend. What turns me off is when you smell the sweat off a fashion designer from his efforts at being innovative. It’s like fussily set typography, or an advertising campaign that tries too hard – and instead of attracting potential customers, it frightens them away. Change of direction – well, my new range of couture wedding dresses designed for customers in Teheran and Dubai is a change of direction. They feature ultra-fine fabrics hand-ornamented with Swarovski crystals.

“Because the game of fashion can have a thousand moves” – what does that actually mean?
My slogan is inspired by the Kama Sutra and the process of playing a game of chess. Chess was invented by the Persians. It’s a game of kings – it’s what the catwalk means to me. I developed my own philosophy from my passion for instructions, and the endlessly changing positions in the game of fashion.

Why did you create “hamansutra shirts for free”? Was it a one-off campaign or do you plan to repeat it?
I’ve been a DJ for fifteen years and have an enormous knowledge of music. It’s a good subject for a blog, to present myself as a “fashion DJ”. Music brings people together, so that you can create your own audience and get them going in response to the music you select. I rewarded my audience and their enjoyment by presenting them with hamansutra merchandising for free. It was incredibly popular and it will be repeated in the future as a spontaneous event. I produced all the shirts myself and re-invested – Germany’s club owners were too unreliable to find suitable sponsors, although they didn’t mind pocketing the takings from my club evenings. Maybe I should open my own club in New York.

What role does money play in your life?
When I had very little money, I was incredibly inventive and strong. I’d really like to leave my business finance up to someone who dreams of figures and who’ll leave me to dream of my creativity. As soon as money becomes no object people become megalomaniacs, trying to destroy themselves with cosmetic surgery and being eaten up with ennui, the agony of choice. They’re forced to buy their adventures. But when you live life without money, the adventure is all part of the deal – it’s thrown in for free.

What do you see as the greatest success in your life?
I was listed as one of the world’s 100 important designers by Taschen Verlag publishing house. Now, I don’t regard that in itself as the greatest success in my life, but it does acknowledge the success of my company. And I think that success in turn is based on my optimistic attitude, which is an essential part of launching a company. A company is like a human being. When it’s active, it’s healthier and delivers better performance. Clothes are made by people, and if people are fascinated by a fashion show and proud of the brand, they’ll contribute more enthusiasm to their tasks.

What was the last time you were really emotionally touched?
When I arrived in Tehran, my birthplace, for the first time in 29 years. The soldiers at the check-out stood up and honored me with almost royal ceremony – they were delighted to welcome someone back who had been away from the country for so long. Hard to believe, but their computer confirmed that the last time I’d been there was 1977. I was escorted to my car by a bodyguard – I can’t imagine what the crowd behind me thought of that.

What’s your next objective?
The hamansutra Collection is in progress. It’s not an easy task, with or without an investor.
My aim and hope is that investors in hamansutra are able to allow the success of hamansutra to develop on the basis of creativity; that instead of taking shareholder value as a benchmark, they accept unique creativity as the gold standard and give hamansutra scope to develop on that basis.

CODE therefore is a contemporary fashion magazine with clear opinions on what is interesting about fashion and how it can be shown. With a love for and understanding of what’s happening ‘on the streets’, but as interested in young designers or ready to wear. Fashion reality right now anyhow is a pretty blurred affair. Nothing wrong with that.

Published quarterly, CODE has a circulation of 22,000 and is distributed in the Netherlands, Belgium, Tokyo and Paris.

Code is not an urban lifestyle magazine.

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Hardcore fashion from hamansutra, founder of the fashion label is featured in Vision Magazine.

Vision is a typical issue features interviews, articles and presentations covering a wide range of topics and disciplines which include lifestyle, fashion and beauty, architecture, interior design, science and technology, photography and music. We are interested in introducing different culture as well as great artists to Chinese readers.

This section introduces international fashion and design philosophy. Here we showcase outstanding designs in everything from handbags to accessories to jewelry to haute-couture gowns. We decipher the designer’s masterpieces, the stories and philosophy of famous brands, up and coming models…

Published by Youth Vision Magazine China 2008

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IDN_Magazine Hong Kong 2007
Where does the name Hamansutra come from?
I started as hamansutra in Munich in 1996 and finished my first fashion collection, for female bodybuilders, in London in 2004.
My brand name is a mixture of India and Persia. Haman was the prime minister
of the Persian king Ahasuerus, also known as Xerxes, reigned 485-465 BC.

Sutra means a joined thread and also instructions or discourse, as in the Kama Sutra (a discourse of instructions for sexual positions). I developed my own philosophy from my passion for instructions, and the endlessly changing positions in the game of fashion. Fashion with instructions: Fashion that features targeted functions, tailored for functionality without compromising on style and individuality. Fashion that draws its inspiration from sources outside fashion, returning old methods of design and production to the centre of attention. Fashion inspired by my passion for design, creativity and good ideas. Fashion that covers a carefully selected, compact range of styles – but those perfectly. Because perfection is protection.

You already lived in various other cities (Tehran, Hamburg, New York, London) before you came back to Munich. Is there a difference in working in Munich compared to other cities?
Yes it is, the city of Munich is like a rest cure for me. I focus my work in Munich’s vibrant Glockenbach quarter and produce the prototypes with my lovely team that includes tailors, photographers, graphic designer and organiser. And I can escape to other cosmopolitan cities.

You also teach students at design schools nowadays, how did you get into
that? How do you usually work with the students?

I believe that teaching is art if the tutor loves his role like an actor. I look for fresh themes and introduce them in the form of practical case studies, the competition that exists in big business. When I was a student I dreamed about projects like designing graphics for banknotes by hand, because this included everything that a designer needs to know. Research and development in anatomy, insects, animals, nature, architecture, colours, portraits, typography – numerals, feeling for materials, finding methods of including smart functions such as copy protection elements, and of course the overall composition of all these elements, uniting the concept and the descriptions in a single explosive graphic. (You need to be an extremely accurate portraitist, because if the likeness of the portrait on the banknote is bad, it’s obvious the note is forged. And everyone recognises, say, Reza Schah Pahlavi or Karl Marx.) Students automatically see where they need to improve their skills and where they have worked with interest – it’s all there in their sketchbooks. I try not to give them the impression they’re students. They have to jump in at the deep end with presentations that must be as convincing as in real life. A presentation should be like a constant and ruthless series of punches – left, right – left, right … No breaks to recover, just attack all the way. After graduating from Central St.Martin’s College, I started to give lectures and workshops in design colleges about my work and the different views behind each stage and work processes. Not all designers and artists can teach. Some people cannot express in words what they put into their art and design, because that is where great inspiration lives.

Before studying fashion design you worked at the advertising agency Jung von
Matt for one year, what was that like?
Did working there influence your decision to become a fashion designer?

Not really, I had decided years before to do fashion design. I actually used contract graffiti artwork to earn money from 1989 to 1998, and studied graphic design in Munich in order to be able to develop my style further – subsequently worked as a graphic designer for the advertising agency Jung von Matt in Hamburg. Work there was mainly based on fashion briefs, e.g. designing “Lingerie for the year 2000” for Mey, selecting outfits for a Mey shoot; and as graffiti artist it was an eye-opener for me to get the client Deutsch Bahn (German Railways). For me there is no boundary between fashion and graphics anyway. I concentrate more on working along commercial lines than aiming to be a fashion designer – whatever that is. I love cartoons but I hate clichés, for example, the cliché that a male fashion designer is automatically gay. I am not interested in living in the pure fashion world, and I don’t take it seriously. I believe in my vision and I’m fanatical about realizing it in 3D.

How do you usually start a job, do you usually work in a team or on your own?

Basically I start on my own by making notes of ideas and using them to draw and write a rough draft of a concept. I ask myself what I’m really after. Then I discuss the concept with my team. I love commercial cooperations, but not at any price. If you book hamansutra you live with hamansutra.

Was there any specific job that was such a powerful experience you’d like the audience to know about it (positive or negative)?

I completed a freelance project in cooperation with Porsche Design, Stuttgart, in 2005.
The project involved the design of clothing for the target group of Porsche drivers, representing success and taste and made up of communicators of experience, bold, assertive and powerfully confident. The jacket was designed to incorporate all Porsche design accessories and gadgets.

What does a typical working day at Hamansutra look like?

Work sleep work, and don’t forget to eat.

Munich, or rather Bavaria, offers a higher quality of life (nature, many lakes,
the Alps) than other big industrial cities.
Do you think this lifestyle also reflects the way you work?

Yes indeed, because I am based in Munich at the moment. The quality of life in the city is beautiful, you have the river flowing through the busy town, beer gardens, and you don’t need a car. You really learn to appreciate it if you’ve been away for a while. Come round for tea.

Did you ever think about moving away from Munich, and why?

Yes definitely. People say Munich is a village with 1.3 million people. For me it’s a rich village with lots of village idiots – blinkered old people and blinkered young ones, the new generation that believes having children will ruin their career. It should inspire people to be more successful. People there moan about the weather – too hot, too cold – then go on holiday. And the bureaucracy – you need a licence to shit in Bavaria. It’s beyond me. I do like some degree of orderliness, and I do love working in the city, but I have to look elsewhere for true inspiration. I am still very interested in Dubai, Moscow and Tokyo.

What are your plans for the future?

1) To work with my favorite film director Matthew Barney
2) To write a chapter in the history books.
3) A machine where you can put in a sketch and the sketch is transformed into a prototype.
4) To meet a cyberwoman – a “Cyborg”
5) To hold an exhibition of hamansutra CI in Tokyo in 2013.

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Schwäche? Was soll das sein?
Von Slackern hält Haman Sutra nicht viel, Jammern gilt nicht und ohne Arbeit wäre sein Leben sinnlos. Der Afro-Perser aus Bayern, wie er sich selbst am liebsten bezeichnet, hat im renommierten Central St. Martins College in London studiert, für die Kleiderkasse der Bundeswehr geschneidert, Ko-ops mit Nike und MTV gerockt. Die Fashionszene sieht er radikal. Und geht mit seinem Label deshalb den anderen Weg.

“Einige meiner Kommilitonen in London waren nach dem Diplom die totalen Fracks, hatten Allergien, waren ausgemergelt, manche landeten in Therapie. Die Central St. Martins gibt Dir die Last mit auf den Weg, ein Star zu werden.“ Haman Sutra wirkt angewidert, ein wenig mitleidig, wenn er von den „Prostituierten“ unter den Schülern spricht. Sie taten alles dafür, um mit kommerziell gefälligen Kleidern in die Headhunter-gepflasterte Abschlussshow der weltweit besten Mode-Uni zu kommen.

Er selbst entwarf eine konzeptionelle Kollektion für weibliche Bodybuilder, inspiriert von Cyborgs, geschneidert aus Luftdruckschutzanzügen von Raumfahrtpiloten. Hübsch? Nein, hübsch sollte das nicht sein. Hamans Arbeit hat einen Hang zum Martialischen, er verehrt athletische Körper und geprägt von der persischen Kultur und seiner Begeisterung für altertümliche Monarchien, stellt am liebsten Gewänder her, die fast schon eine Bedienungsanleitung benötigen.
„Der Ritualcharakter von Kleidung ist mir wichtig. Man soll darüber nachdenken, was man trägt. Ich liebe Dinge, die man entdecken, ausprobieren muss.“

Kontrollfreak, Perfektionist, Workaholic, Macher, Verbesserer – der 28jährige Haman lebt diese Attribute und wenn Freunde ihm raten „sich doch mal locker zu machen“, bekommt er Fragezeichen in den Augen. Denn für ihn bedeutet Arbeiten sich zu entspannen, sich zu verwirklichen. Dafür lebt der in Teheran geborene und in New York und München aufgewachsene Perser. Als 15jähriger bricht er die Schule ab, um an einer Grafikakademie seine Leidenschaft des Zeichnens und Illustrierens weiter zu entwickeln. Hip Hop, Breakdance und Graffiti halten Einzug in sein Leben, er sprayt, wird verhaftet, sprayt weiter und macht sich einen Namen in der Szene.

In dieser Zeit beginnt auch seine Karriere als DJ, animiert von seinem älteren Bruder legt er Soul, Funk und Hip Hop auf. „Der Job als DJ ist ein Geschenk. Ich mache das bis heute. Man kann großartig Leute beobachten, ihren Style studieren und Einfluss auf die Stimmung der Menschen haben. Für mich ist das eine große Verantwortung. Als DJ bist du dafür zuständig, dass jemand anderes einen guten Abend verlebt.“

Ein Teil der abgerockten Feiercrowd wird Haman nicht. Bis heute versteht er die Leute nicht, die sich von Drogen, Alkohol und Kippen ein Stück ihrer selbst rauben lassen. „Ich belohne meinen Körper mit gesundem Essen, Sport, genügend Schlaf, boxe gerne und gehe spazieren. Ich muss fit sein, auch mental, um noch mehr arbeiten zu können. Ich könnte permanent produzieren.“ Seinen gesunden Kopf kauft man Haman ab, er wirkt selbstreflektiert und umsichtig, permanent scheinen Ideen und neue Projekte in seinem Kopf zu rotieren. „Man kreativ und spleenig sein kann, ohne dabei unprofessionell zu sein!“ Davon ist er überzeugt.

Diese Professionalität lernt Haman zwangsläufig in seinem ersten Job in einer der angesehensten Werbeagenturen in Hamburg. Ohne Praktikum und Testlauf engagiert man den gerade mal 21jährigen. Dann heißt es: Schwimmen! Im verdammt kalten Wasser der Industrie. Gemeinsam mit Art und Creative Directors, Projektmanagern, Reinzeichnern und Budgetplanern sitzt er an einem Tisch und bearbeitet Aufträge von Kunden wie BMW, Audi, der Post oder der Deutschen Bahn. 14 Stunden-Tage sind die Regel. Privatleben? Fehlanzeige. „Die Zeit hat mich sehr geprägt. Da musste ich richtig bluten. Im Nachhinein bin ich dankbar für die Erfahrungen und habe sehr viel mitgenommen.“

Nach einem Jahr entschließt sich Haman auszusteigen, wieder zu studieren.
Zum Abschied schenkt er seinem Chef ein selbstgemachtes Büchlein mit dem Titel„Was ich schon immer über Grafikdesign wissen wollte, und nie zu fragen wagte.“ Ein Anreiz, nach ihm kommenden Neuanfänger eine kleine Hilfestellung an die Hand zu geben. Fünf Jahre später erfährt Haman durch Zufall, dass sein kleines Essay ausschlaggebend für ein gedrucktes Handbuch für Frischlinge der Agentur wurde…

Von Hamburg geht es nach London und das Kapitel „Modedesign“ wird geöffnet. Mit einem Stipendium gepolstert, landet Haman nach einem einjährigen Umweg über das London College of Fashion im zweiten Semester für Fashion Marketing des Elitehorts St.Martins. „Die Dozenten sind großartig und holen das Letzte aus dir raus. Diese Zeit hat mir aber auch klar gemacht, was ich alles nicht will. Manchmal kam es mir vor, wie an einer Schauspielschule. Viele Studenten waren derart affektiert, verherrlichten die Branche und hatten in meinen Augen total verquere Vorstellungen.“ Seine studienbegleitenden Praktika macht er deshalb nicht in den obligatorischen Chi-Chi-Schmieden, sondern geht zur Kleiderkasse der Bundeswehr – als erster Praktikant nach 35 Jahren.

„Militäreinflüsse spielen eine große Rolle bei meinen Entwürfen. Nur Kopieren reichte mir nicht, ich wollte selbst recherchieren, die Sachen spüren und alles verstehen.“
Vier Monate lang ändert er Uniformen von Kapitänen, Piloten und Panzerfahrern, kramt in Archiven und studiert die Bedeutung von Rangabzeichen. Parallel assistiert er zwei Monate jeden Abend im Studio des Designers Kostas Murkudis, der ehemals rechten Hand von Helmut Lang. Danach folgen vier Monate als Kostümassistent an der Bayrischen Staatsoper. Geld sieht Haman für keines der Praktika, seinen Unterhalt finanziert er mit Grafikjobs, unter anderem für NIKE.

“Für mich stellt die Arbeit für etablierte, kommerzielle Labels keinen Widerspruch zu meiner sehr künstlerisch geprägten Arbeit dar. Ich scheue Kommerzialität nicht, aber nicht um jeden Preis. Wer Haman bucht, muss mit Haman leben.“

Eine Einstellung, die er heute, nach Abschluss seines Studiums und zurück München, weiter vertritt. Zum Sell-Out-Nigger in einem der großen Modehäuser zu werden, stand für ihn nie zur Debatte, denn Freiheit und Selbstentfaltung sind ihm wichtig. Seit Anfang des Jahres verdient er einen Teil seiner Brötchen als Dozent an der Münchner Blocherer Schule im Fach freie Gestaltung, der Rest finanziert sich bestens über Kooperationen und Freelance Jobs als Universal Designer – wie Haman sich heute sieht.

„Ich weis, dass ich lange nicht da bin, wo ich gerne wäre.
Ich muss noch viel lernen, experimentieren, meinen Stil verfeinern. Aber man muss schließlich auch von etwas leben.“

Mit dieser Arbeitsweise der wechselnden Jobidentität steht Haman stellvertretend für ein neues Selbstbewusstsein des Designnachwuchses. Immer mehr junge Talente finanzieren ihren Traum auf anderen Wegen und verweigern sich der Maschinerie der Majors, die das Potenzial der Kreativen nicht allzu selten ausbeuten, um sie dann fallen zu lassen. Denn dass die verheißungsvolle Glamourwelt des Modebusiness in der Realität oftmals so sexy ist wie die Maschinen- oder Lebensmittelindustrie ist lange kein Geheimnis mehr.
“Es gibt so viel Fake in der Branche. Persönlich nervt mich besonders dieses Profit- und Effizienzdenken: Sparen um jeden Preis. Bevor ich auf den perfekten Knopf für ein Outfit verzichten muss, mache ich es lieber gar nicht. Viele beklagen sich, dass die Modewelt so kompliziert sei. Warum bitte schön, kann man denn nicht eine neue Modewelt erschaffen, in der Qualitätsdenken und Rückrad an der Tagesordnung sind?“

Mode im klassischen Sinne macht Haman nicht, denn Kleidern, deren Halbwertszeit auf eine Saison begrenzt ist, weil gewiefte Marketingexperten bereits den neusten Trend heraufbeschwören, interessieren ihn nicht. „Karl Lagerfeld sagt, er könne nur sechs Monate voraus denken. Ich möchte mir lieber eine Kollektion für das Jahr 2030 vorstellen“, erklärt er inbrünstig. Und so wirken die Entwürfe des Haman Sutra tatsächlich wie aus einer fernen Zukunft. Ob das surreale Kostüm der Geiz-ist-Geil-kreischenden Werbefigur Blue oder das futuristische Outfit von Sängerin Sonique im neuen Video „Why“ – beide Designs entstammen Hamans Kopf – und der ist nun mal ein ganzes Stück voraus. München kann und soll deshalb nur eine Zwischenstation, oder wie Haman es nennt, eine „Reha von der harten Zeit in London“ sein.

Momentan arbeitet er an einer T-Shirt-Kollektion mit Prints seiner abstrakten Gewandentwürfe, die seine visionsgeladene Welt einer breiteren Zielgruppe zugänglich machen soll. Hören und sehen wird man von der impulsiven Ausnahmeperson Haman Sutra sicherlich noch Einiges. Ob man ihn völlig versteht, ist eine andere Frage…

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Haman Alimardani – alias Hamansutra – says of all the ways people label what he does, he likes the term “clothes maker” best. The Teheran-born Afro-Persian from Bavaria started off with Graffiti in Munich, worked for Advertising Agency Jung von Matt, then studied graphic design in Germany and decided, that fashion would suit him best. Receiving a scholarship for St. Martins in London he started to create his ambitious Hamansutra empire.

You did graffiti for many years and worked as a graphic designer. In what way has that influenced the fashion designs you do now?
Everything I did was helpful to learn different techniques of dealing with problems. The way you face a wall for a graffiti freestyle, a throw up, you just go with an idea, completely raw and spontaneous and just do it – and sometimes I work in the same way with designing clothes: I use string, thread, cloth, leather and just face that dummy the way I would face a wall. Packaging in graphic design tought me a lot about creating 3D out of flat sheets, like a pizza box – a few folds and you have an object, but you have to think very well about how and in which order you fold them. The other way around, my fashion studies taught me a lot about imagining things in 3D. If you make a sketch for an outfit, you have to know, what it looks like from all sides, prepare your paper patterns in your head already, the material… you have to think very far in advance – so if I design a character now for a computer game, like I did for Deepend then that character also works in 3D right from the start, in my head.

I still do graphic jobs every once in a while, like that Nike job we did with Lessrain & W+K Amsterdam… and that again was pretty graffiti influenced.

Haman working on the Scorpions Team Posters for client Nike So that comes down to the universal designer, who can do everything.
Exactly. Knowing all disciplines and techniques, being able to do it all; layouts, collages, drawing, photos, sketching, sewing, designing…. so no-one can tell you bullshit. But of course you have to focus at one point and in my case, that is definitely fashion.

During your studies at St. Martins, you went back to Germany for a couple of very unusual internships. You complained that most fashion students do all they can to work with big name designers and polish up their image, rather than try to develop their own style. You had one work experience as an assistant for Kostas Murkudis and also worked for the Bavarian State Opera in Munich as a Costume Assistant for the “Twilight of the Gods” and other projects.

What – in the world – made you go and get a 2 month assistant ship at the Clothing Department of the German military forces in Munich?
The military has nothing to do with fashion. If you are a soldier you lose your personality and turn into a function. That also applies to what they wear: every part of their outfit has a purpose. There are things like G-suits, pressure suits, that you cannot wear without an assistant. On the whole, there is a lot of care, many details and many secrets in their clothes. I very much like the fact, that you have to think about what you wear, how you wear it, in what order you put on your clothes. That is almost like a ritual, a ceremony. I actually like to produce clothes, that need a manual to be worn (smiles). That increases their importance and awareness.

How were you treated by the military forces in Munich?
Most people don’t know that there even is a clothing department of the military forces and I was the first assistant after 35 years.
So many fashion designers steal ideas and copy things from soldier uniforms and stuff like that, but they actually don’t know anything about it. I went through the whole thing of studying all the different ranks, how the uniforms differ for all their departments, air-pressure-suit, diving-suit, parachutes jumping suits….

They didn’t quite understand why I wanted to work for them, but after they listened to what I had in mind, they were really open and enthusiastic. At the end, they even thanked me and considered announcing possible internships at the fashion schools around Germany.

One of their workers turned into my personal assistant now. She has over 30 years of experience with leather, cuts and everything. I am very happy that she is so enthusiastic to work for me.

After four years of studies – you were among those selected for the St. Martins graduate show, which is packed with headhunters from all the big fashion houses.
What was the concept of your collection?

To provoke and make history within one second. Seriously! You study 4 years for 1.5 minutes of a fashion show, so you’d better think of something new.
I created a fashion line for female bodybuilders inspired by cyborgs and created out of pressure suit pants. They carried huge oversea suitcases, which I also designed as part of the collection. If you staple those 4 suitcases on top of each other, you have a whole wardrobe. You can also open and unfold the suitcases to a flat, standing dividing wall. Here is where I can use my packaging design studies for fashion accessories.

Why bodybuilder women?
I am tired of those bloody catwalk shows with walking coat-hangers. I am much more interested in characters, people with a strong personality. Those women are very powerful and extremely energetic. They really wanted to do this and that made me very happy to see. Above all, I like the martial aspect of it.

What does the body mean for you in your work?
It is amongst the things which inspire me most. The architecture of the body and also the inner organs. My outfits should be organic, they should fit the body and they should preferably all be tailor made.

What materials do you like to use?
For the final fashion show in May 2004 I made a whole collection out of one pair pressure suit pants. The people who created such pants in the 60ies almost vanished from this planet, so I mostly had to teach myself all about them. I wanted to show just how much knowledge and skill lies in one pair of these pants – and transformed and used them in my own way.

In general, I really like to work with leather. It is a very serious material, since you are not allowed to make any mistakes (if you make a hole in the wrong spot, you can’t hide it anymore). I very much respect the fact that it is skin and always try to find a way to leave it in one piece if possible and work it around the human body.
Besides leather, I use special-effect fabrics, hard cloth like jeans and science fiction and high technology fabrics.

You call your outfits “prototypes” if they are not part of a whole fashion line. Are they actually wearable, or do they only last for one day?
They are “bombensicher” ! Meaning, that they are properly made, since I take care of every detail, but due to their distinctive features, I wouldn’t recommend to wear them more than once. If you book Hamansutra to create an outfit for your Oscar nomination, you should learn to live with Hamansutra and definitely book him again for the next nomination and not just wear that first outfit again (yeah!).
Such kind of outfit would be made to work only for one night, however, if I make a ready-to-wear collection, like T- Shirts or jeans or so, I want those to be worn for a long time, like a second skin and combined with different things. I am not interested in dressing people for one season only. I prefer to create things that last – despite all those marketing people telling you about “trends”. People should think about the things they wear and therefor things should be considered valuable again and kept longer.

Who should wear your stuff and how should you feel, when wearing it?
Basically everybody, but preferably people with a strong personality, characters or those, who want to be characters. And if you feel like a knight, a hero or a queen when dressing in Hamansutra – it rocks!

You moved back from London to Munich for “relaxation”, even though you work all the time: the suit for the German basketball team, an outfit for the “Geiz is Geil” ad of German company Saturn and the outfit for the Sonique video “Another world”, – which just won the IF communication award 2005 – to name a few of your finished projects. How long does it take you to create an outfit?
That depends how many accessories and other details are included, but if I have one week for one outfit, than that is perfect. Some big studios do that in a couple of hours, but I don’t know how many assistants they’ve got. I only have one so far.

How do you actually produce your outfits?
I firstly try to make a lot with my own hands. You have to be practical and able to create a whole prototype with simple methods. I am also interested in perfecting things with a computer, like we did with the Sonique video.

What are your most recent projects and your future plans?
My Hamansutra Lookbook is out in the stores and I just created an outfit for Amos, whose new album will be out on the 24th of October. We will also produce another video for him together with Designliga like we did for Sonique.

Then I am currently working on an accessory collection out of leather as my first project to be presented in Japan. That will be finger-rings that are a mix of hip hop and gothic, some overhand accessories, galoshes / overshoes… things like that out of black snake… and then I’m also working on a collection for prostitutes, models around 40 years old, showing off their wrinkles…. I’d love to show those characters, but that is still a budget problem.

I’ve got new ideas popping up constantly…. besides I am planning to move and set up my own studio in New York next spring. Then it will be Haman Alimardani working for the Hamansutra label to create clothes with ceremony.

Sounds cool, Haman! Good luck! I’m sure we will hear a lot from you in the future! Thank you very much!

PingMag met him in New York where he is planning to move next.

INTERVIEW BY Uleshka – Ping Magazine

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hamansutra completed a Carrégammi project for booklet Magazine Issue 3, Düsseldorf,
where he designed origami-like “folded” images.

BOOKLET MAGAZINE (issue 3, spring 2005)
Photography Denis Pernath

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short talk with JNC Magazine and hamansutra about cooperations

Who with Who and Why?

Contemporary Graphic Design BERLIN BOOK 2005

Contemporary Graphic Design by Taschen Books: Packing a powerful visual punch:

This compendium showcases the extraordinary cutting-edge work of 100 of the world’s important designers, (hamansutra included) will be inscened by Charlotte & Peter Fiell.
The list of entries includes: Jonathan Barnbrook, The Designers Republic, FUEL, De-Construct, Hideki Inaba, Kessels Kramer, Scott King, ME Company, M/M (Paris), Stefan Sagmeister, and Martin Woodtli.

Taschen Book ask for: Did I want to become a designer?
My primary school report for 1983 said “Keen on drawing.” My goal was always artistic freedom. Tolerance for the art, but strictness with its realization and completion. Do what you want, but do it properly. I transform my ideas into 3D objects, graphics, whatever. I don’t look to ready-made graphics for inspiration – usually too derivative. Like perfectly dressed people. No inspiration – because they’re slaves to the media. Taste is linked to knowledge. How can you have taste if you’ve never tasted? Design is emotion – proof that you live and breathe your design. I love the physical craft of creating. Taking a mistake, a chance element – a coffee stain, a dead fly – and weaving it into the design. Creators should take their experiments more seriously. Everything starts with a prototype. Now the baby has to learn to walk – and never stop learning.

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Eine greifbare Kollektionsaussage, ein Komplett-Insight in das Fühlen und Denken eines Designers, ein ganzes Leben – auf 19 kurzen Zeilen?
Es geht! Aber nur, wenn man sich ebenso radikal und impulsiv ausdrückt, wie der Designer Haman Alimardani aka Hamansutra es in seinen Styles tut. Er ist Perser und Deutscher, Quer- und Mitdenker, futuristischer Nostalgiker und populistischer Schöngeist, Künstler im Leben und beim Arbeiten, war Werber’ und Grafiker, legt rockendes Vinyl auf favorisiert gemalte Modeschauen. Seine Kollektionen sind Handwerk und Zauberei, denn er war auf St. Martins, hat bei Kostas Murkudis Knöpfe angenäht und setzt seinen orientalischen Hintergrund stets in den Vordergrund, liebt Martin Magiela und hasst Dsquared, verehrt Kraftwerk und Bauhaus… and the beat goes on! Noch mehr davon, bitte!

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Interview by Kleft Magazine

Can fashion be as expressive as other art forms? KLeft talks to graffiti artist turned fashion designer/provocateur Hamansutra and finds out about breaking through limitations, designing German Army uniforms and hanging out with female bodybuilders…

Forget about haute couture and what’s in Vogue at the moment. Fashion is not just about clotheshorses, high society and money. For Iranian born German artist Hamansutra, the clothes maketh more then the person. They define, delight and challenge society’s ideas on style, form and function.
Born in Tehran, Iran, Hamansutra moved to New York with his family in 1978 but was principally educated in Germany (he has German nationality). English is his third language. This melting pot of cultural influences means that Hamansutra’s style is very unique, in his own words, it is what inspires him, particularly
“…the poetic influences of Farsi. My Persian background is very important to me, because it is a forgotten culture… The best compliment a designer can be paid is that their personal style and signature is the identifier of their work – and that it can’t be pigeonholed. I hope that applies to me.”

Hamansutra first cut his teeth on innovative design when he was introduced to graffiti through the Munich underground scene. He went on to study graphic design in Munich, funding his studies by working as a DJ at various clubs playing a mix of Soul, House, Rap and other urban styles while completing contract graffiti artwork, some of which was published in the book Graffiti Writing in Munich.

Throughout this time, synthesizing the design and creation of fashion which explored his Persian cultural background from a fresh perspective became increasingly important. So too did the need to take what was there – the fashion design and production process and try and make something more personally meaningful.

“Basically my aim [with the work] is to turn my ideas into clothes, no matter what kind of ideas and what area they come from. And I think this would change the atmosphere in fashion, because my clothes are inspired not by limitations, but by the idea of abandoning limits.

“Not ‘let’s sell lots of this style, but we have to use cheap fabrics to make a profit’. That’s limiting. But ‘let’s design this, it will give people a whole new body consciousness when they wear it’…I would never let a good idea simply die because the budget didn’t stretch to cover it – that’s what the whole structure of the commercial process is about, with sponsors and advertising – when the structure is used to support good ideas, it justifies the whole [fashion] thing.”

Exposure to different facets of creativity came from working through various apprenticeships including a stint at the established advertising agency Jung von Matt in Hamburg, working on 3 costumes for a major project at the London International Film School, and completing a two-month assistant-ship at the Kleiderkasse für die Bundeswehr (KKBw) – the Clothing Department of the German military forces – in Munich. Serious design cred’ followed with his third work experience role as an assistant for Kostas Murkudis (the former assistant of Helmut Lang).

There is no doubt that this wide variety of work experience shaped Hamansutra’s awareness of his own desires and style when it came to his own designs:

“I experiment a lot – the ideas don’t necessarily have to work straight away, but I need to try them out in order to develop further, and too much theory and abstract thought can often ruin an idea – practice is better.”

The way he approaches creating his work is both systematic and free-flowing.

“My dream process of creating a garment would be to draw the characters, turn them into life-size models or “statues”, and then make a 3-D animation like the film “final fantasy”. For me, every garment is a construction process. I build. I am very open to all new skills and techniques, but I am also able to use standard and classic skills, and of course I produce all the prototypes by myself.”

With garments which look very surreal and futuristic, Hamansutra claims that the whole world inspires him.
“I suppose I’m surreal because I apply a lot of tolerance and breadth to an idea – although I’m tough on deadlines. I try to combine aspects and areas that aren’t related and fuse them into a single idea. These combinations can be complicated and confusing, because they are experiments,” he explains.

“During my studies I investigated a variety of usages of ‘constrictive clothing’, ranging from army uniforms to clerical robes and even corsets, and tried to identify ways in which these offer fresh impulses and motivation for a new generation of fashion designers.”

“To be a futurist or an outrider for the future, you have to be prepared to sacrifice yourself, to suffer if need be in order to encourage the next generation. I love function – and the future is function, function is the future,” he concludes.

One major influence he will recognise above most others is the strong influence of music on his work. A DJ part time, Hamansutra’s eclectic tastes are echoed in the music he plays and consequently the clothes he creates.

According to him, music breathes life into the creative soul as long as you’re willing to experiment.
“To be a good DJ today you basically need to have a PhD. I can mix rock’n roll with soul and electro with classical orchestral. DJs today play house music non-stop and think that’s all it takes. They have no experience with old-school composers like Bob James and Vangelis.”

In turn, music provides a strong creative pulse for him.

”When I work on my design experiments, music is a very important factor for me, for example [works such as ] Computerwelt by Kraftwerk, because I feel the vibration for my inspirations in the music.”

Don’t think for a moment though that fashion as art means all soul-searching and boundary pushing and no sense of humour. Hamansutra remembers a particularly memorable moment when he decided to use female body builders as his models (reproduced here over the next few pages).

“I wanted to use women bodybuilders as the models, and tracking them down was quite an adventurous process…you try searching for ‘female bodybuilders’ on the web and see what kind of sites you end up with – quite an eye-opener! I nearly abandoned the whole idea! Finding these models was a whole project in itself.

“I then went to Nuremberg with the bodybuilders to start shooting, and the location manager looked around and asked me, “Where are the models?” I said, “They’re right in front of you!” He must have thought that all these amazing-looking women were my entourage!”

Laughs aside, Hamansutra’s goal is to continue to develop works which keep challenging what the perceived future of “fashion” and society is.

Plans for the future may also involve a visit to Australia, a country he has never visited but which he believes needs to be experienced to understand completely. In typical Hamansutra style though, the unknown proved too good a challenge to pass up, and he has explored an idea of Australia, daring to imagine what it could be like:

“I completed a short animation film for the Sydney Olympics which was called Kraft des Lichtes (The Power of Light). That’s the image I have of Australia – this huge landscape full of incredibly powerful light.”

The final word must go to Hamansutra though, the self-styled “Universal Designer”. Asked the ultimate question of Why? And his answer is pretty direct:

“I am not interested in living in the pure fashion world, and I don’t take it seriously. I believe in my vision and I’m fanatical about realising it in 3-Dimensions.”

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Vorn 02
The Adams Family
268 Seiten/Pages

hamansutra’s art – a description
The phenomenon of graffiti can be categorized into areas such as fan graffiti, scratch graffiti, prison graffiti, stencil graffiti and many more. New York youth graffiti differs from other forms of graffiti by combining its elements into an entirely new visual language. I am particularly inspired by the New York youth graffiti movement, and in this collage work I have concentrated on this and its influence on my current work in art.

Production Heiko Palach
Photography Denis Pernath
Collage, Design hamansutra
Fashion Design, Styling Ziad Ghanem

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deck the halls NEW YORK pop up 2011


The Old School – Soho Pop up Store
December 10th begins twelve days of Holiday Shopping will be popping up at The Old School on Prince Street in Nolita to DECK THE HALLS with unique, inspired holiday gifts.

The opening night party will take place on the evening of Saturday, December 10th with bands, DJ’s and special programming to celebrate the






Pablo’s Birthday is pleased to present hamansutra’s CAZAL Sunglasses Project in its New York debut. A fashion celebration for and about fans of Cazal sun eyewear who may have been wondering what happened to Cari Zalloni.

Foreword by Cari Zalloni (Austria, Kleinstuebing, Tuesday October 26 2010) The project “Homage to Cari Zalloni” arose from hamansutra’s passion for CAZAL products, which he collects. In the late eighties Cari Zalloni (head designer of CAZAL) created 2 sunglasses styles that changed the hiphop community. hamansutra present Cazal portraits and collages. London, 2003.

Nov 21st 2010, 8PM
526 Canal Street, New York 10013

PHOTOGRAPHY . Denis Pernath
PHOTOGRAPHY . Atsushi Nishijima
PHOTOGRAPHY . Jimi Billingsley

Harlem Nights

Alison Moffat
Bomber (Helge Steinmann)
Guenter Y Lauke

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MOMA PS1 NEW YORK Book Fair 2010

hamansutra will be an exhibitor at the fifth annual NY Art Book Fair, November 5–7 at MoMA PS1, Long Island City, Queens. His stand will present his full range of fashion CI, focusing on graphic design. Signed numbered editions of his books will be available for purchase.

Free and open to the public, the Fair hosts over 200 international presses, booksellers, antiquarian dealers, artists and publishers from twenty countries, offering the best in contemporary art book publishing.

Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists’ books and other artists’ publications.


22-25 Jackson Ave at the intersection of 46th Ave
Long Island City, NY 11101

Thursday, November 4, 2010, PREVIEW, 6pm – 9pm
Friday/Saturday, November 5-6, 2010, 11am – 7pm
Sunday, November 7, 2010, 11am – 5pm

The NY Art Book Fair is FREE and open to the public.

New Museum NEW YORK trailer 2010

Half-Naked Ravers Served Drinks By Glow-in-the-Dark Robot at Gawker HQ

Saturday night, a bright round moon and Downtown Manhattan’s millions of lights were upstaged by two giant projection screens, an inflatable dance orb, and multitudes of glow bracelets, necklaces, neon body paint, fiber optic wands and light-up swizzle sticks that were brandished by 400 rooftop revelers at the Diesel-sponsored Superglued/Gawker Media Silent Rave.

As the festivities began, VIPs were handed glowsticks on lanyards and artisans from MRI light painting offered to adorn proffered body parts with psychedelic designs. 28Black-based cocktails were passed via a robotic bartender—the Bar2D2. Guests sucked back Pixy Stix, crunched on Cheetos, and draped wireless headphones around their necks in preparation for the Silent Rave – hopping into the photo booth for pictures, or entering the giant wind-tossed dance pod to observe their fellow revelers in silhouette.

Promptly at 10pm the 20,000 square meters of the New Museum’s seven-storey façade became a giant screen for hamansutra’s trailer production for the “Amateur World Cup 2010” – looped all night long. The DJs from Eclectic Method killed the music and called for everyone to put on their headphones. Instructions were followed, and suddenly the Silent Rave was on, and you couldn’t hear anything on the Gawker HQ rooftop except the pop/hip-hop/doo-wop (and everything else) mashups that filled your ears.

People danced within their own personal dance parties, each alone in the crowd, each flailing their glowing wrists and feet, each smiling with recognition. Wannabe attendees watched a live stream of the party on Gawker courtesy of Watchitoo, until the silence was broken late late at night and the pink Diesel glowsticks were dropped, fading into the darkening night and waiting for morning.

Sept 25th 2010, 10PM
235 Bowery, New York, NY 10002

PHOTOGRAPHY . Dean Kaufman
PHOTOGRAPHY . Michael Toolan
PHOTOGRAPHY . MRI Lightpainting


The New Museum, founded in 1977 by Marcia Tucker, is the only museum in New York City exclusively devoted to presenting contemporary art from around the world.

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Pecha Kucha NEW YORK Year 2012 2009

The Drop. and Pecha Kucha invites hamansutra to present a series of twenty images in only six minutes and forty seconds live in New York.

About Pecha Kucha Night
Each presenter is allowed 20 images, each shown for 20 seconds each – giving 6 minutes 40 seconds of fame before the next presenter is up. This keeps presentations concise, the interest level up, and gives more people the chance to show.

Pecha Kucha
October 15 2009
Doors at 7:30 PM / Speakers at 8:00 PM
511 W25th Street at 10th and 11th Avenues, 9th Fl

Suggested donation of 10$ includes one beer


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Pablo's Birthday Gallery NEW YORK ARTIFICIALSKIN 2009

Pablo’s Birthday gallery
526 Canal Street
New York, NY 10013

Lookbook launch
october 17 2009

About Pablo’s Birthday
The gallery for visual arts was founded in 2002

About Fashion Lookbook
Foreword by Prof. Arno Rink
hamansutra’s new ARTIFICIAL SKIN COLLECTION 2060 features full-body overalls made from stretch and stocking fabrics that symbolize an artificial second skin.

hamansutra CI 2009
HORT Design Studio, Berlin, designed the 2009 hamansutra CI.

About Hort
Specialists in creative information and known for their dynamic, experimental approach to projects of any caliber, HORT has produced graphic design work for major companies such as Nike, Volkswagen and The New York Times, but also works with smaller brands and collaborates with other design disciplines.


To date the book is available in selected art and design bookstores.
Please contact us if you have any queries regarding orders, please see also hamansutra store.

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hamansutra studio munich ARTIFICIALSKIN 2009

sturmfederprojects is pleased to present the Lookbook launch of hamansutra’s ARTIFICIAL SKIN COLLECTION 2060 in its Munich debut.

hamansutra showroom
Buttermelcherstrasse 21 RGB
80469 München

Lookbook launch
December 12 2009

About hamansutra showroom
was founded in 2005
closed 2009

About Lookbook
Foreword by Prof. Arno Rink
hamansutra’s new ARTIFICIAL SKIN COLLECTION 2060 features full-body overalls made from stretch and stocking fabrics that symbolize an artificial second skin.

To date the book is available in selected art and design bookstores.
Please contact us if you have any queries regarding orders, please see also hamansutra store.

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Printed Matter, Inc. NEW YORK ArtificialSkin 2009

Iranian-born fashion designer hamansutra has assembled his futuristic Artificial Skin Collection 2060 into a color artist’s book with photographs illustrating his stretchy skin-like designs that offer fantastical solutions to such problems as getting lost or having to give birth. Each book comes with an 84 x 59 cm. fold-out poster of hamansutra’s designs printed with blue ink.


Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists’ books and other artists’ publications.

Printed Matter, Inc. has received support, in part, through grants from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, Altria Group Inc, the Milton & Sally Avery Arts Foundation, The Cowles Charitable Trust, the Foundation for Contemporary Arts, The Gladys Krieble Delmas Foundation, The Gesso Foundation, The Horace W. Goldsmith Foundation, the Schoenstadt Family Foundation, Tekserve, The Andy Warhol Foundation for the Visual Arts, and individuals worldwide.


hamansutra’s first shoe range CMYK launches globally in spring/summer 2011. creator haman alimardani is a new york-based avantgarde fashion designer, graphic artist and internationally acclaimed dj. CMYK stands for the four basic print and graphic colors of yan, agenta, ellow and ey (black), complemented by versatile white. this unisex shoe in quality leather features a supple, ultra-comfortable design modeled on classical ballet and dance shoes and fitting as flexibly as a sock — yet the CMYK is also rugged enough for everyday wear. unique laces tipped with stereo mini-jacks reference hamansutra’s hallmark: a communication-based fusion of fashion and music. the CMYK is a go- anywhere shoe that takes you from dance studio or stage to club and city.

hamansutra’s message is “my shoes are to the world as paint is to a picture.”

»created with love from new york city, manufactured in brazil.«

Photography Tetsuo Hamamoto · Text Alison Moffat · Management Laleh Kazemi · Model Sharan Bala, Samuel Sorrels · Agency Muse Models New York, Ford Models New York · Make-up Kim Weber · Graphic design Tobias Roettger Hort Berlin · IT Patrick Beck · Edition of 500 · Paper Montauk Silk · Domtar Huskie Smooth · Fonts ITC Grounch, Corinthian · Props Christoph Hein · Photo Assistant David Shifren · English translation Alison Moffat · Japanese translation Yumiko Sakuma · Interview Paul Heilig · Printed in New York

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Cazal 18 X 24 CM LOOKBOOK 2010

A 24-page hamansutra Cazal lookbook. The book has been published in a limited edition of only 100.

Lookbooks numbered and signed by hamansutra.

New York November 21st, 2010
Pablo’s Birthday is pleased to present hamansutra’s CAZAL Sunglasses Project in its New York debut.

A fashion celebration for and about fans of Cazal sun eyewear who may have been wondering what happened to Cari Zalloni.

Foreword by Cari Zalloni (Austria, Kleinstuebing, Tuesday October 26 2010)

The project “Homage to Cari Zalloni” arose from hamansutra’s passion for CAZAL products, which he collects. In the late eighties Cari Zalloni (head designer of CAZAL) created 2 sunglasses styles that changed the hiphop community. Denis Pernath and hamansutra present Cazal portraits and collages. London, 2003.

To date the book is available only here.

If you are a shop owner and would like to carry hamansutra books and news please contact us.

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Artificial Skin 2060 21 x 27,5 cm LOOKBOOK 2010

About Fashion Lookbook

Foreword by Prof. Arno Rink
hamansutra’s new ARTIFICIAL SKIN COLLECTION 2060 features full-body overalls made from stretch and stocking fabrics that symbolize an artificial second skin.

a 37-page hamansutra Fashion Lookbook
The book has been published in a limited edition of only 800.

Each book comes with an 84 x 59 cm. fold-out poster of hamansutra’s designs printed with blue ink.

Printed in Germany

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Yes i will 51,5 X 35 CM ILLUSTRATED 2009

A twelve-page illustrated focusing on the route down the aisle. Over 5000 illustrated Published in Munich and currently available in New York.

The illustrated YES I WILL, including instructions on taking correct measurements, can be ordered from us. My award-winning graphic designer performed the task with bravour and passion.

Sign up for our exclusive emails with more info and special invitations.

Interviewed for Code Magazine Amsterdam, 2008
Printed in Germany

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“a 20-page hamansutra Fashion Card Book”
The book has been published in a limited edition of only 500, To date the book was available in selected art and design bookstores in London, Shanghai, Hong Kong, Munich and New York.

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HAMANSUTRA 59,4 x 84,1 CM POSTER 2003

594 x 841mm fold-out poster of hamansutra’s designs printed in CMYK.

[ Title ] Illustration “Fish Dress”, 2001 [ 1 - 5 ] Denis Pernath featuring hamansutra. Photographer: Denis Pernath, 2002. The phenomenon of graffiti can be divided into categories such as fan graffiti, scratch graffiti, prison graffiti, serial graffiti and many more. These techniques are used for fashion, portraits and graphic images. Illustrations can therefore be classified as a fourth basic form of graffiti [ 6 - 14 ] Costume designer & assistant at the Bavarian State Opera, Munich, Germany. “Recycling” of classic opera costumes, utilising my own fashion design production and styling. Photographer: Denis Pernath. Make-up: Deycke Heidorn [ 15 - 17 ] Figures [ 18 - 20 ] Vacuum masks, 1996 [ 21 - 26 ] Central St. Martin’s College, Major Project Womenswear. Photographer: Martin Slivka. Make-up: Natsumi Akatsuka, London 2001 [ 27 ] Cyborg [ 28 - 34 ] “Recycling” of classic opera costumes, utilising my own fashion design production and styling [ 35 - 40 ] Nike SCORPION Victory Monument. The world’s largest victory monument, located on Ernst-Reuter-Platz in Berlin, displaying the winners’ portraits on 3300 square meters of vertical surface. Team Posters 2002. A set of promotional posters depicting the winning teams from local tournaments in 9 cities across Germany. CI by Wieden Kennendy, Amsterdam, in co-operation with Less Rain, Berlin. Artwork by Ronzo and hamansutra, 2002 [ 41 ] Calligraphy [ 42 - 44 ] Design concept for costume figures [ 45 ] Central St. Martin’s College, Major Project Menswear, London 2001 [ 46 ] Crocodile sketch [ 47 ] Crocodile backpack [ 48 ] Crocodile backpack, front. Photographer: Martin Slivka, London 1999 [ 49 ] Crocodile skin transformations on human body [ 50 ] Label vest. Photographer: Martin Slivka, London 2001 [ 51 ] 3D Character, animated by Paul Sheppard, 1999 [ 52 - 53 ] Figure and shoe [ 54 ] Men’s shoe “Suratti” [ 55 - 56 ] Human transformations, 1996 [ 57 - 59 ] Costume designer at the London International Film School, 2002 [ 60 ] Vacuum glasses campaign, 1997 [ 61 ] Figure illustration [ 62 ] Design concept for a car: The car consists of two spheres. The outside sphere rotates, and the inside sphere is static for the passengers. Similarly, rotation around a single axis would be possible, e.g. an army tank. Munich 1997 [ 63 ] Sketchbook image, 1998 [ 64 ] Chesterfield sketchbook cover, 2001 [ 65 ] Male figure, 1999 [ 66 ] Robot doll illustrations [ 67 ] Accessories for men [ 68 ] Sketchbook CI [ 69 ] Parker [ 70 - 71 ] European chador-style [ 72 ] hamansutra Sticky Hero, 1996 [ 73 ] Illustration “Fish Dress”, side, 2001 [ 74 - 76 ] Cartoon Network Channel, “Flash for Cash” animation competition, 2001 [ 78 - 80 ] Kickz suit for the German basketball team, Photographer: Denis Pernath, 2003 [ 81 ] Styling for the opera [ 82 ] Hero “The Accessory Man”, 2001 [ 83 ] Boot illustration, 1996 [ 84 ] hamansutra Sticky Hero, 1995 [ 85 ] Sketchbook image [ 86 - 88 ] The Focus Concentrator [ 99 ] Collection illustration, 2004 [ 90 - 91 ] Central St. Martin’s College, Experiments, 2001 [ 92 ] Calligraphy [ 93 ] Figure constructions [ 94 - 98 ] Accessories, 1997 -1998 [ 99 ] Design concept for a Hoverboard, 1997 [ 100 ] Font in 3D [ 101 ] Rubber vest – back detail [ 102 ] hamansutra Sticky Heroes, London 2002

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