For the tour of “Tokio Hotel” singer Bill Kaulitz designed his stage outfits herself.
Gala.de shows exclusively the sketches
The “Tokio Hotel” tour starts in spring 2015. Frontman Bill Kaulitz, 25 provides a real eye-catcher on this year’s tour. He himself has designed his flamboyant stage outfits. Gala.de shows exclusively the first drafts, explaining why they so are particularly.
As an inspiration for the four different parts, which he has designed together with Marco Marco (designer from L.A.)
“I love to change myself. Music and fashion is a way of life for me. Each song has its own & stands for something else, every day is different“. Known for his stark type changes and unusual clothing style, the musician already had from the outset clear ideas regarding his costumes: “the opening outfit is very loud. All in gold. My idea was a modern King. The King of suburbia.”
The songs fitting, designed a rather distinguishing outfit for the acoustics part. Bill, “It is a quiet and elegant. Yves Saint Laurent is one of my favorite designers and inspiration for this look.”
Kaulitz sets much value on his appearance, which is why fashion and stage for him also “simply belong together“.
Tokio Hotel’s Bill Kaulitz:
‘Love Is Not About Gender’
As Tokio Hotel heads out on its first world tour in five years,
the rock band’s front man reveals
how he got his groove back and why he believes love has no borders.
Long before the Viper Room became known as an iconic hangout of Hollywood’s young elite as well as the site where actor River Phoenix died in 1993, 8852 Sunset Blvd. was a favorite hot spot — then a jazz club called the Melody Room — where mobsters like Bugsy Siegel and Mickey Cohen could frequently be found. It’s a location deep-seated in the storied history of Los Angeles, and tonight, lead singer Bill Kaulitz and the other members of Tokio Hotel have set out to make a historic moment of their own as they prepare to perform for the first time on the same stage where acts ranging from the Pussycat Dolls to rock royalty like Tom Petty and the Heartbreakers have gone before. It’s a vastly different setting than where they were just one week earlier, performing in Berlin before a crowd of nearly one million people, but as Kaulitz rounds out the group’s sound check with a rapid-fire run of their track “Girl Got a Gun,” it’s apparent he’s no less eager to perform for the 250 fans who are waiting on the other side of the nightclub’s door to see one of Europe’s biggest bands.
“We never really get to do these kinds of shows, so it’s definitely different,” he tells me moments later as we’re led down the club’s velvet-lined staircase to a dimly lit room beneath the stage. “But it’s going to be fun because we’re going to be so close to the people here tonight, and I always like that because in a smaller venue like this you get the energy you put out right back.”
Though he says the band has been looking forward to performing in the famed West Hollywood nightclub for several days, he readily admits he and his identical twin brother, Tokio Hotel guitarist Tom Kaulitz, were in a completely different headspace a few years ago. After their debut album dropped in 2005, the band members quickly found themselves on a meteoric rise to fame, but four albums, hundreds of live performances around the world, and more than four years on the road had taken a toll on the 25-year-old artists. “After our last album came out in 2009, Tom and me left Europe and we moved to America, because it was just craziness,” he says. “We just had to step away from the career a little bit, because we felt like we had said everything. We’d done so many albums over so many years and we’d been on the road for such a long time. We didn’t know what to do or what kind of music we wanted to make.”
Leaving their home in Germany, the twins moved to Los Angeles, where, Kaulitz says they “took a year off and didn’t do anything” before finding new inspiration in L.A. nightlife. That muse resulted in a new electronic-laden sound for the alternative rock band, which they carefully crafted over the next five years as they began putting together their fifth studio album, Kings of Suburbia. The album was released worldwide last October and shot to the top of the charts in 30 countries, plus landing in the top 5 in 17 others to become Tokio Hotel’s most successful album to date.
Kaulitz considers the album’s success due to both the time the musicians spent honing their new sound as well as their willingness to take another risk. “We just wanted to make an album that we personally love,” he says. “A lot of people don’t do that, they make music for their fans. But this time I wanted to make an album that I’m totally happy with and that reflects my own style.”
In addition to his distinctive sound, Kaulitz’s sense of style has been one of the standout aspects of Tokio Hotel’s onstage persona. This evening he’s dressed in a pair of light gray jeans and a black graphic T-shirt with a black and white flannel long-sleeved shirt tied around his waist, a choice of attire that’s a departure from the usual flamboyant fashions that have become synonymous with the singer. However, Kaulitz tells me his creative couture wasn’t always appreciated. “When I was 13 I would come to school with makeup and nail polish and I had teachers who would say, ‘We can’t teach you and you’re not allowed in class,’” he says as he runs his fingers through his bleached platinum-blond hair. “I got so much shit in school because I had an extreme look. There was always a lot of talking, but I always kind of enjoyed that. I like to play with it, because I find it funny that it upsets some people.”
Kaulitz says his form of self-expression caused several raised eyebrows earlier in his career, with many people making assumptions about his sexuality. “When we first came out with our music, the gay question was always there and it was super important for everyone,” he says. “But for me it was amusing. I was always laughing about it because I was like, ‘Why is that so f**king important to everyone? Why can people not just live and do their thing?’”
He continues, “For me, love is such a beautiful thing and I love that you actually have no control over it. I never know what’s going to happen. I never know who I’m going to meet when I walk outside. For me it’s about finding the person you want to be with and I feel like it doesn’t matter what gender that is. I don’t understand why it matters so much to people. It’s weird.”
It’s this experience Kaulitz says that inspired the band to write the track “Love Who Loves You Back” that appears on their latest album, and informed the sexually fluid imagery that appears in the song’s music video as well. “I wanted to show that love has no gender or boundaries. The video would’ve been stupid if I just had a pretty girl next to me or making out with a pretty girl the whole time. That wouldn’t reflect the song,” he says. “That’s why in the video I wanted to have someone who is a little bigger, someone who is hairy, someone that’s older, someone that’s young. If there’s a girl next to me, then of course there needs to be a guy next to me. Because that’s for me what the song is about. In my opinion, love is not about gender, it’s not about religion. Love has no borders and no boundaries. I feel like love — you can’t control it and that’s a nice thing. It just happens and you don’t choose who you fall in love with. That’s why I love the song so much and that’s why we shot the video the way we did.”
The message is one Kaulitz says the band is excited to be promoting as they head out on their first world tour in five years, and he’s looking forward to giving fans a show like they’ve never seen from Tokio Hotel before. “This time we’re going to play clubs for a few shows and it’s going to be a new experience for us because we usually play big shows all the time,” he says excitedly. “Our fans will get to see us in a small environment this time and for this album it works out perfectly because we want to turn those clubs where we play into nightclubs. We want to take our fans to a party.”
“Tokio Hotel” lead singer & model
The best brands Gala takes place every year in February in the ballroom of the Hotel Bayerischer Hof in Munich. Over 600 guests from the business and retail worlds and the media attend the event, which has become a firm fixture in the calendar as the “German brand Oscars.”
The twelfth edition will be inaugurated by Jimmy Wales, founder of Wikipedia. The program is hosted by Steven Gätjen, the musical highlight will be a performance by singer Lena Meyer-Landrut. The special 2015 “best fashion brand” category is presented by the “Tokio Hotel” lead singer and model Bill Kaulitz.
Additionally the 2015 “best brands international” category will award the “best corporate brand Italy” and the “best product brand Italy”.
The best brands winners receive in total over one million euros worth of communication and media services from the hosts.
by Christian Anwander
After years in exile, Tokio Hotel are on tour again
and the culture establishment is crying. No more hypocrisy now.
A gentle bow to Germany’s most successful band.
Bill and Tom Kaulitz are like a red rag to style conscious Berliners who like to scroll design blogs in the afternoons and as of late fancy drinking filter coffee. Tokio Hotel, that’s a no-go of course. That’s uncool, provincial. Which is complete nonsense in our editorial team’s opinion.
You don’t immediately have to compare this band to the Beatles like “Der Spiegel”, to acknowledge how remarkable and rapid their rise from the German suburb to an international super act was. Their style is indeed still special nowadays, but definitely distinct, not the result of a marketing strategy. And at least this reporter has seldom if ever sat with two such pleasant and reflective 25-year-olds in an overpriced hotel room and talked about music and life. The topic of the Kaulitz-brothers, who live in LA by now, is a classic one in pop music: to work oneself up from the periphery to the big city, to be free there. There’s still power in that narrative, even if it may seem worn out. It’s reflected in the title of the new Tokio Hotel album “Kings of Suburbia”, which was produced by themselves with an effort in almost six years, it shows in their humility towards fame.
On one of the first days of autumn, Universal invites to an interview in the “Ritz Carlton” hotel in Berlin. In front of the hotel there’s a group of rubberneckers who are penetrantly and enviously scrutinizing everyone who is let into the foyer of the new-rich furnished hotel. Through windowless corridors I’m led into the press-suite. Bill and Tom Kaulitz are casually sitting at the window, with a view on concrete, the atmosphere is relaxed. A conversation about growing up in the suburb, freedom and life in a metropolis.
To the question of a journalist, if you ever had a normal youth, you responded with “Yes of course, we had that!” It’s hard to believe that.
BK: We only noticed that this wasn’t the case in the process of our career. When we were 15 our first single „Durch den Monsun“ was released and was, unlike we all expected, really successful. We didn’t have a plan back then, we got famous over the summer holidays all of a sudden. We only reacted.
TK: At the beginning it was great. Then when you get older, you notice that there’s no life outside of that bubble anymore. Yesterday we wanted to go to the hotel bar and only seconds after that 1000 people were standing at the window. The guy at the bar shut the curtains, and then we sat alone in the corner again, like in a zoo. That way you don’t get anything of life anymore of course.
A lot of celebrities often notice that too late and then wake up as alkies at the end of 40 in one of those hotel bars.
BK: That’s right, of course there are colleagues who just take this and don’t aim at something else anymore. Also for us our team became family and our closest circle of friends.
TK: That’s the comfort zone. As an outsider you may ask yourself „What are they even complaining about?“ But our goal is to make music for the rest of our lives. And you can only do that healthily if you can find a balance. Maybe a bit like Rammstein. Half of the band has a normal family life in New York, they are family daddys. And when they go on tour, they’re the hard rockers then.
Back then, when you became famous during the summer, your look has become, not quite mainstream, but presentable. Was that a problem?
BK: Of course I provoked with my look as a young man, I even went to school like that and always had confrontations with other students and teachers. Subtly I maybe even intended to provoke to set a statement. This feeling of freedom and self-determination are the most important things for me in life. I won’t let anyone tell me that men are not allowed to wear high heels, nail polish or mascara. But coming back to your question: Today I read about our “Wetten, dass…” performance: “The woman without boobs in a string vest.” I was meant with that. Of course I don’t care about that. But obviously my look is still provoking.
Tom, there’s this beautiful, personal moment in the making-of your song “Run, Run, Run”, where Bill puts make up on your face. You also always dressed yourself uncommonly, but Bill was still more eccentric.
Has that ever been a topic between you?
TK: Not really. It developed quite early with us. We’ve always looked different – already at the age of 13 or 14.
BK: …sometimes there were problems. Back then Tom was…
TK: …your opposite extreme. I was a punk and quite rebellious, ran around with Che-Guevara-shirts and dreadlocks…
BK: …he was in his punk- and I was in my raver-neoprene-phase.
TK: It was also like that on stage. Bill in neoprene, me in Che Guevara shirt. And everyone thought: “Tell me, what kind of band is that!” And people still think that today.
Dressing that eccentrically in a suburb surely wasn’t easy…
TK: First we moved from Hannover to Magdeburg and were put to school there. Already in primary school we dressed differently. Magdeburg is a city in which people don’t necessarily have a distinct sense for style, but we still got through. When our parents moved to a village with us then, it became, at least in the beginning, really hard-core.
BK: It was too crazy. Today I often look back on these times. As a young person and teenager you don’t think about it a lot, you have a greater self-confidence. In hindsight I can be glad that I didn’t constantly get my face smashed in.
TK: Often the situation was on the brink.
You experienced violence?
TK: Definitely, our stepdad sometimes had to…
BK: …pick us up with the dog and a baseball bat. And every morning in the bus, people looked at us like we were aliens. I wanted to get out of there as fast as possible. That was definitely clear. That was the incitement behind all the things we did. We wanted to go to the big city. Preferably Berlin.
That’s almost classical. Like Lou Reed and John Cale sang “There’s only one good thing about a small town, you know that you wanna get out”.
TK: Absolutely. There was no bigger wish for us. That’s why we performed every weekend as a band, we wanted to make our name famous, so that one day we would be able to live off our music.
How can one imagine the role allocation between you?
BK: Concerning the band, it’s Tom now who cares about everything that has to do with the music. If it’s the production in our own studio in LA or the live performances. I rather care about the visual things, look which interviews we want to make and with whom which video or photoshoot.
TK: In our private life I’d say that I’m the responsible-minded one and Bill is the gut-feeling-person. I always have to drive Bill around.
BK: Our great-grandfather always took Tom aside and said “Tom, don’t let Bill drive the car”.
Both: “…and always take care of the money!”
TK: He became 104 years old and said that until the end. Actually he’s a bit right.
You wouldn’t get along alone?
TK: No, we compensate each other.
BK: But you have to say that Tom is even more dependent than me.
TK: I think Bill talks himself into believing that.
BK: No, that’s true! Even all our friends say that.
TK: They only say that because they find it funny.
BK: It’s really quite cute. He doesn’t do anything without me. I can fly alone to New York for a few days, but when I’m landing, I already have 20 messages from Tom: “And? Did you have a good flight? Send me some pictures, will you? Next time I come with you.”
TK: Of course, because I’m worrying. He’s interpreting it now as if I couldn’t get along on my own without him. But for me it’s rather a big-brother-syndrome.
BK (laughs): Such a bullshit!
TK: I always had to protect him when someone wanted to beat him up.
BK: Oh, such a bullshit!
TK: You could finally admit it!
You have always cared about your own management, furthermore you have built up a studio in LA. It may be a kind of freedom, but it also is a big burden.
BK: Totally. But Tom and me, we’ve always had a big mouth. At Universal we already sat in the record company meetings with the age of 13. With 15 we basically ran a big company. You have lawyers, tax consultants, managers, they all stand on your payroll, so you have responsibility. Of course this can be insanely exhausting. But if it’s going wrong, at least I know who’s fault it is.
After years of touring you moved to Los Angeles some time ago. Please describe your first impressions there.
BK: The first times in LA we really thought: „Amazing, vacation!“ But for me it’s rather a city where you should move when you’re over with work, when you only want to relax in your life anymore.
TK: In LA it is like that. You go out, meet friends and friends of friends and all come and first tell you their success story. There’s no city that’s as much “success-driven” as LA. Namedropping without end.
BK: You meet up and first compare twitter-followers, FaceBook-friends, Instagram-likes. We always sat there and just thought that hopefully nobody would approach us now.
How did the city visually influence you?
TK: In public I always claim that the city hasn’t influenced us at all. But of course you wake up differently there. Every day the sun is shining. Every day blue sky and palm trees.
BK: But LA is not a fashion city. That’s totally bothering me. Everyone’s running around in flip-flops, shorts and tank tops. You have to take care to not look too much like LA after a while. New York is much more inspiring in this matter.
In Germany people who are interested in fashion are still generally seen as stupid or superficial.
BK: But fashion is super important. For me it goes hand in hand with music. Fashion does something to you. To create a look always gets me in a special mood. But it should never be dressed up. Because of that we don’t dress Georg and Gustav with crazy clothes, that would be bloody stupid. Gustav doesn’t care two figs about fashion.
TK: And for Georg it’s most important that his shirt isn’t too long, because otherwise it’s annoying during playing the bass for him.
On your recent album you worked for almost 6 years. How has your music changed in this time?
TK: In the course of the album we dealt a lot with sound-design, synthesizers and effects. How you produce a song really awesome, which bass-drum, which snare-sound, this was extremely exciting and really brought us further. We taught ourselves almost everything since the beginning. No one of us learned playing his instrument professionally, no one plays by notes. I got the guitar with the age of 7 and I’m playing by ear and feeling. I often have the feeling that those professionals know too much. And all this knowledge can also stand in your way sometimes.
BK: That’s how music gets out of fashion very quickly. It’s similar to the attitude of German musicians at the beginnings of the ‘80s. Drummers like DAF’s Robert Görl said, of course, we were at the conservatory and now we have to forget all of that again.
TK: Yes, exactly! It becomes too technical otherwise.
BK: I had vocal coaches in between. But I always abandoned it after the first lesson. It started like that: “On stage you have to arrange yourself like a cardboard.” And then you stand there and think: “What? I’m wearing a big jacket there and run from A to B, I don’t fucking arrange myself like a…”
Also in fashion, fashion photography, you have the impression that people start to retouch less.
BK: Right. People always did more and more of that [retouching], but it needs to stop. Otherwise we’ll all become robots and everything will get artificial.
TK: People often think it’s a contradiction what we say because they say that the new album is so electronic, there’s nothing pure anymore. But it’s not easier to play a synthesizer than a guitar. And a guitar is not necessarily more natural than a synthesizer.
Is there still a pressure for you to always be number 1 in the charts?
BK: We’re more relaxed today, it’s already the fourth album.
TK: For us it’s rather the sum of chart positions that counts. Most important for me is to work with this record for a long time. It has cost us a whole lot of energy. Therefore I want to profit from it as long as possible.
– Sexy Shoots
Six times Bill Kaulitz went above and beyond for Halloween
Hey ONTD, resident Tokio Hotel/BK stan here. I’ve seen ONTDers complain that a lot of celebs don’t go all out for Halloween like Heidi Klum does. Well, I would like to tell you about one of her compatriots, the effervescent, the illuminous: Bill Kaulitz.
I will be ranking his costumes from the past few years from 1-6, so join me if you dare feel like it.
Why this costume is awesome: He’s shirtless and that’s always appreciated. He interpreted the character a bit differently than how he appears in the movie, but he still looks pretty good and the makeup isn’t too shabby.
Why this costume isn’t ranked higher: Let’s be honest here: Bill completely gave up as soon as he reached his waist. In the movie, Xerxes wears a straight-up thong and little else, which Bill conveniently seems to have left out of his version. Now, I don’t blame him for not wanting to wear a thong on Halloween! But he could have at least put on gold tights and some belts to keep up the theme. And this is probably his least scary costume, but A for effort I suppose!
#5: Eyes Wide Shut
Why this costume is awesome: Once again Bill is half naked, and the view is even nicer. Eyes Wide Shut is admittedly an interesting choice for a Halloween costume; not exactly scary, but still a bit disturbing and a visually fun costume. He pulls it off pretty well and looks good doing it.
Why this costume isn’t ranked higher: Something here is just a bit off. Maybe it’s the fake gold necklace, or the tights, or the facepaint. Is he Nicole Kidman’s character, or Tom Cruise’s (or neither)? And who has been cutting him open? Not his most cohesive of costumes.
#4: Fallen Angel
Why this costume is awesome: Thematically cohesive, great prop wings, and the commitment to wear heelless platform shoes on Halloween night. The makeup is especially beautiful, and I am never one to complain about seeing Bill in a leather cat-suit.
Why this costume isn’t ranked higher: This is where my complaints get nitpicky. While I love this costume, dressing in all black was a mistake. Bill turned more or less into a feathered black blob, and all the details of his costume got lost. And this costume is almost too pretty, not scary enough for Halloween!
Why this costume is awesome: This is Bill’s costume from this year, which he admitted to having nothing ready for just a couple days before Halloween. For a last-minute costume, this is well done and deserves some praise. The hair is definitely a refreshing take on the classic clown wig and he went a different direction with his makeup as well, which paid off. He’s just damn creepy to look at.
Why this costume isn’t ranked higher: The outfit is good and suits the overall costume, but his time constraints show here. It looks like he walked into a costume shop, bought a full outfit, and went with it. He still looks amazing but the effort isn’t here as it is in his other costumes. Plus clowns are a Halloween staple–not exactly a creative choice compared to some of his other costumes.
Why this costume is awesome: What’s not to like? It’s scary and well done head to foot. He even went all out with the sheep’s horns, wings, and 6″ tall demon platform shoes. If you are going to be Satan for a day (or rather, a night), this is the way to do it.
Why this costume isn’t ranked higher: One of the biggest shortcomings of this costume is simply that there aren’t any good pictures of it. It’s just too hard to tell what’s going on here. Plus, Bill doesn’t win any originality points for this one either: Satan is the Halloween go-to. He put a great spin on it for sure, but a cliché it still is.
There’s a reason why this is the only costume that was professionally photographed and that is because it is the best. Do I have to explain why? This costume is a great mixture of pretty and scary. He looks like an underworld creature on his way to a dinner party. Every detail is perfect and not too much. My only, single complaint is that he could have shaved–I mean, he’s a very sophisticated demon, right?
And as a bonus:
Makeup artist Bill helps his brother with his costume. Just in case anyone was wondering if Bill really does everything himself. He might not be Heidi Klum but he gets A for effort imo!
Tokio Hotel’s Bill Kaulitz Rocks Leather for ‘Interview Germany’
Bill Kaulitz looks rocker chic in his leather jacket and many accessories while posing on the cover of Interview Germany‘s November 2014 issue.
The 25-year-old Tokio Hotel singer is joined inside the issue’s photo spread by his twin brother and band member Tom Kaulitz.
The band’s new full-length album Kings of Suburbia is currently available internationally and will hit stores in the United States on November 11. It debuted at number one in 29 countries when it was released in Europe earlier this month so we can’t wait to see how it does elsewhere!
Make sure to watch the band’s music video for their single “Love Who Loves You Back” if you haven’t seen it yet.
Sneak Preview of The November Issue of INTERVIEW.de
the big Tokio Hotel INTERVIEW and editorial by Brad Elterman
Our new booklet – on the cover include Tokio Hotel appears on Wednesday.
Here’s an exclusive advance of a few photos from the 14 editorial, who was shot by celebrity photographer Brad Elterman for us in Los Angeles. Our author Harald Peters met the band after an extensive A-Z interview in Hamburg about hair, Los Angeles, and wild parties.
The new issue of INTERVIEW will appear on Wednesday, 22-10,
HERE you can already pre-order the book.
Tokio Hotel’s Bill Kaulitz Goes Shirtless Sexy
In New Exclusive Behind the Scenes Pics For
‘Love Who Loves You Back’ Music Video
Check out Bill Kaulitz going shirtless in a behind the scenes pic from his band Tokio Hotel‘s latest video “Love Who Loves You Back,” exclusively given to JustJared.com!
The 25-year-old frontman is joined in the video by band members Tom Kaulitz, Georg Listing, and Gustav Schäfer. The single is featured on Tokio Hotel‘s new album Kings Of Suburbia, which dropped today (October 6) in the U.S. Buy your copy on iTunes now! In case you didn’t know, Kings Of Suburbia was released this past weekend in other countries and debuted at #1 in 29 Countries and Top 5 in 15 others!
WHAT DO YOU THINK of Tokio Hotel’s “Love Who Loves You Back”?