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YOU'VE BEEN VERY BUSY LATELY. YOU WERE JUST IN JAPAN. CAN YOU SHARE WITH ME YOUR LATEST PRE-OCCUPATION?
At the moment I’m working on a jeans collection. My focus has been mainly directed toward different washes and weaves. I’ve always considered Japan and their denim manufacturing as the primary frontiers in the denim area. So, a while back, I made up my mind to produce my denim in Japan. It’s been such joy to work along with very skilled people- regardless of the tiresome flight durations- going back and forth from to Tokyo.

SOUNDS LIKE YOU HAVE A PRETTY SUBSTANTIAL AGENDA.
Well, there’s more. At the moment, I’m Finishing the new collection along with everything that involves such as updating the website, sales, lookbook etc. It is a lot do get done and since I do it all myself, a full nights sleep is something that I’ve started to cherish lately.

YOUR WORK HAS A VERY STARK INTRIGUE ABOUT IT AND IS SEEN IN THE WAY YOU USE TEXT AND LINEAR SHAPES. WHAT HAVE BEEN SOME OF THE INFLUENCES THAT ENCOURAGE YOU TO CREATE YOUR WORK?
I think boredom has really been my main creative influence. I find it [boredom] necessary. It’s just as important (at least for me) to be bored long periods just so I’m able to do something really creative and new… Well at least create something that I can stand to look at. Lately, literature has been quite encouraging. Reading has always been something that school thought me to hate but in later years I’ve started to read again.

PLEASE EXPLAIN THE IDEA BEHIND "REBORN"?
Reborn as the word and why I chose to use it or Reborn as the brand David Lindwall. Reborn. 1982. ?

THE LATER ONE.
I wanted to do something that I belived in and would enjoy. After working for other, I felt myself feeling a bit numb. I knew I needed a change which led me to painting and developing artwork where I’d use typefonts, lines etc. At some point, my work I articulated on canvas wound up on t-shirts. The end is nowhere near in sight.

THE ARTIST BARBARA KRUGER, FOR EXAMPLE USED TEXT, WHERE SHE'D UTILIZE WORDS AS PROGAGANDA IN THE WAY MOST MODERN ADVERTISING HAS EVOLVED TOWARDS. IS WHAT YOU DO SOMETHING SIMILAR TO TO THIS CONCEPT OR DO YOU SEE IT QUITE DIFFERENTLY? HOW DO YOU FEEL TO KNOW THAT THE WORK YOU'RE INVOLVED WITH TODAY MAY EVOLVE TOWARDS SOME MASSIVELY ACCEPTANCE IN THE FUTURE? OR DOES THIS NOT CONCERN YOU AS MUCH?
You know, previously to reading this question, I did not know who Barbara Kruger was, (as ignorant as that might sound to some), but I consciously make it a point not to be [aware]. It’s something about creating an idea from your vision and someone else interprets it differently- poorly. That really ruins me. Fashion and advertising, in my opinion is not about re-inventing the wheel. Despite, that fact that so many of my peers claim they are season after season. For me, it’s merely a matter or retouching- Like adding some nice rims on the wheels of a car if that makes sense.
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IN DAVID LINDWALL'S WORLD, FASHION SEEMS SEGMENTED BETWEEN THE NORMAL AND ABNORMAL. WHAT ABOUT THE PARANORMAL? ARE THERE VARIOUS REAMS TO YOUR PHILOSOPHY?
I find it hard to transcribe words to one particular feeling. As it’s probably just as hardit’s hard for images to do so as well. In regards to my designs, my prints, text, graphics, shapes, or anything that I put my name on it has a thought or a relative meaning that links to a bigger picture. As for your question about the paranormal, I tend to not believe in anything until I’ve observed it myself.

WHAT ROLE DOES MYSTICISM AND MYTHOLOGY PLAY IN YOUR DESIGN AND HOW DO YOU MAINTAIN A BALANCE BETWEEN MODERN MACABRE WITHOUTH TRENDING AS KITSCH?
It’s more of a dream than Macabre. I tend to present a dreamy slightly defused approach to things. Especially topics as mysticism and mythology. I believe there are various ways to balance, in everything we do. Whether it is being selective versus making money or being creative versus giving people what they like. It’s because of this, that I try to remain critical of what I do and at the same time enjoy myself. There is always something to strive towards, I guess. There will always be something newer or something stronger to become.

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NAME AND OCCUPATION:

David Lindwall, mastermind and creator

WHEN DID YOU MOVE TO NEW YORK?
I've lived here on and off for years. The first time I came here was when I turned 21, and I always known that this was a place I'd come back to. I moved permanantly to Brooklyn last year.

NEW YORK HAS CHANGED A LOT OVER RECENT YEARS. WHAT DO YOU MISS MOST ABOUT 'OLD' NEW YORK?
There's a drive in New York that I haven't found in any other city. There is a want in everyone's eyes for something better, and here people help each other to reach their potential rather than beating each other down. It's like a pack of rats - instead of a fighting-over-the-breadcrums-one-the-table attitude, it's more like a hey-guys-if-we-work-together-we-can-use-the-oven-and-make-a-whole-new-loaf-of-bread-and-we'll-all-have-more-bread-than-we-can-eat kind of thing.

CURRENT PROJECTS?
Right now I'm working on a collaboration with DSM Market (Comme des Garcons) in London that I'm very exhited about. I also did and exhibition of my stuff at Somerset House during London Fashionweek. I'm also doing a collaboration in Japan and, of course, I'm working on my new collection together with two big-ass heavy art pieces. Take a look at www.davidlindwall.com

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