Sarah Louise Stedeford, 25, currently lives in north London – but she hasn’t always done. The photographer – who’s currently splitting her time between casting for a zine and shooting fashion editorial and commercial – has produced a haunting personal project called Suburban Youth, which brings to mind heady memories of running for the last train while high, Tommy Girl eau de toilette and White Lightening.
Here, in a short essay, Sarah explains her own relationship with one of the most important – yet overlooked – cornerstones of British adolescence:
“I spent my teenage years between west London and the south west suburbs. I think this demonstrated the differences between the two from quite early on. Home kind of became both or neither places. I guess this allowed me to see the suburbs from both an insider’s and an outsider’s perspective.
“Travelling on the long suburban trains every day, I would always sit near the window and watch the suburban towns pass by. I shot most of the landscapes in this series from the window of the train, it felt quite true to the subject. Anyone from these areas will be very familiar with the train journeys. The train was moving too quickly for me to have much time to compose or focus on something specifically. This was quite interesting to me, to see what I had captured and that when editing, one of the images would speak to me in some way, reminding me of something, even though I couldn’t really put my finger on what it was.”
“The project as a whole does feel like a series of blurred memories to me, and I feel like this when I visit these areas. It’s not something specific that I remember…it’s a feeling. Lots of memories all tied together and kind of blurred.
“I think this is true for the suburbs itself. There is a different feeling in this area. But I don’t think it has a very clear identity.
“Whenever I would say where I was from, to someone who didn’t know the area, the only way to explain was to say where it was between. These areas feel busy, with trains, planes and cars running through, round and over, all leaving a sheet of grey dust behind them. But there is also a feeling of calm, like the dust has settled. This feels quite surreal too. Its not busy on the streets, but there is a sense of movement. Its like a pit stop place, only used in order to get to somewhere else. I guess this is its strange identity in a way.”
The London-based jeweller Jessica McCormack has launched her Couture Bridal Collection, and with universal appeal, the range mixes the whimsical with the avant-garde, the cerebral and the innocent.
Consisting of six couture pieces, these can be created bespoke around different diamonds, from 0.20 carat to 20.00 carat. Each ring design carries the traditional sentiment that you must start with the diamond and then everything else fits into place. In McCormack style though, expect a touch of the contemporary to go with this traditional tendency.
“I want to create engagement rings that speak to the uniqueness of each woman. A ring that you wear every day is more than just a symbol of love. It is also a reflection of personality and history.” Jessica McCormack
The sun’s out and A.O.S.O.O.N have a new song out to compliment your ice cream. A.O.S.O.O.N, which stands for ‘A Lot Of Something Out Of Nothing,’ already have an impressive array of followers which include Annie Mac and Huw Stephens. Last year their single ‘Under’ amassed 3.5 million streams and their latest single ‘High Grade’ promises to garner similar acclaim. We caught up with the band to chat independent labels and sounds of the city.
Can you talk about how A.O.S.O.O.N happened?
Well, it was just the pairing of two individuals who felt like outcasts, choosing to come together to make music as a means of self expression.
You release under your own label, why did you choose to work independently?
Yes we do. I think up until this point here for us it’s been about learning the most we can about the industry. By working independently you have to be completely hands on with everything around you. We’ve had to understand every step, every choice. And we see this as a good thing.
What are your main musical influences?
It can go from Gucci Mane to Nirvana in the same sitting! Lauryn Hill is a big influence.
How does the city inspire your sound?
The city is everything to the sound, it’s the way the wind breezes and how you can relate that to the grind. London has a lot going on, there’s always so much to pick up on and it inspires us daily in a variety of ways.
At the moment the production is quite stripped back, will this always be part of your sound or would you like to explore bigger arrangements?
That’s a cool question. It’s about capturing the overall vibe every time. Treating each arrangement uniquely. So far it’s been about raw live instruments and allowing the space to talk instead of generic ideas, and if anything we think it challenges our listeners to open their ears which I think they appreciate. We wouldn’t wanna take that away from the music but yes, we’re willing to stretch ourselves with where the production could go in the future. It’s all about growth!
How do you find live performance vs studio?
Live is exciting, I mean there’s so much energy. You’re rocking out, the crowd’s loving it, you’re so caught up in the moment nothing really matters. Being in the studio varies, sometimes it can feel like forever and sometimes it’s like being on stage. It really depends but it’s definitely a more mental process.
Any screw ups or weird happenings on the road so far?
Haha nothing too crazy yet. Probably getting high and everyone losing room keys.
Who would be your dream collaborator?
That’s hard, there’s so many. Getting in the studio with Kanye would be crazy, cutting a record with Rick Rubin would be insane. Working with anyone who’s great at what they do and loves what you do and vice versa would be a great collaboration. It just has to make sense with where we’re at on our journey and feel great, that’s important for us.
‘High Grade’ definitely has a relaxed ’90s vibe. How did it come about?
We were jamming the chords one morning on the guitar Gmaj Amin Cmaj and it just came, it was pretty much instant. It felt like Bob Marley was jamming with us, it was a magical moment.
What are you looking forward to this summer?
The sun. It doesn’t come out too often in London. People looking saucy, putting out new music, shows. Watermelons.
Spanning the realms of music, art, film, literature and fashion – Issue 14 is an exploration of the female perspective: From Alexa Chung’s personal musings on the pull and perversity of astrology, to director Elizabeth Wood’s controversial position of power within new Hollywood. We also see girl-of-the-moment Heather Kemesky shot by Maciek Kobielski while swathed in every day detritus, meet actress on the rise Anya Taylor-Joy, discover Louis Vuitton’s cosmic universe through the lens of Juergen Teller and dismantle ‘black sheep feminism’ with the work of artists Betty Tompkins, Joan Semmel, Anita Steckel, and Cosey Fanni Tutti. Ben Rayner also photographs some of the most exciting musicians to be following right now.
Growing up in Minsk, now Belarus, before moving to the United States and later France, Alexandra Catiere learned early on to immerse herself in a universe of her own. This is a skill Catiere has taken with her into her photography, where she documents intimate moments that all make a passing comment on the transient nature of time and the ephemerality of life.
Through her distinct visual language and exploration of both sensation and atmosphere, she manages to avoid the cliches of naked young people shot with flash on a 35mm point and shoot camera. Instead, her inspiration and style aligns itself more closely to that of the legendary Irving Penn, who she worked alongside in 2005 shortly after graduating from the International Centre of Photography (ICP). Her works are in the same nature of Penn’s—classical black and white images, begging the audience to study the world in which they are taken without a preconceived notion of context.
A new exhibition – Photo London – which has just opened in London at Somerset House, explores Catiere’s work in the form of a three-part series: ‘Here, Beyond the Mists’, ‘Land without Shadows’, and ‘Nobody Believes That I Am Alive’. The exhibition deals with themes such as time, realisation, life and death in a way that underscores Catiere’s own belief system “that death does not and can not truly exist, while memory still remains”.
When asked to describe the photographers work Nathalie Herschdorfer, the curator of this exhibition says: “Catiere’s photography is of an intimate and independent nature. It deals with the passing of time, outside of the narrative realisation. Time stands still. The beings and places that she depicts seem to come from a distant past but nonetheless seem to be anchored in the present. Catiere’s photographs enthral us, they seduce us and call us into question.”
The exhibition is on now, and runs until 22nd May 2016 at Somerset House, London, Booth F7.
Open now and running until the end of June, acclaimed British artist, Antony Micallef is exhibiting his debut solo Hong Kong show, ‘Raw Intent’ at the prestigious Pearl Lam Gallery in Hong Kong.
Recognised by the art world, Micallef, who draws inspiration from the old masters has been called “this generations Francis Bacon” by Sotheby’s. This is evident through his latest evocative series of work, ‘Raw Intent’ which focuses on the movement of paint, and explores its relationship between the artist, the brush and the canvas.
“Raw Intent is a body of work that uses the mechanics of paint to unearth and excavate emotion using myself as a vehicle. I want the medium to evoke something visceral and emotive without illustrating it. The figures are distorted, pushed and pulled until they start to ‘breathe’ on their own. The object of the work is to instill and convey a sense of energy and life. Emotions are projected onto and tested on these found figures, and the form is stretched to its limit, like subjects in a science lab. I’m interested in that space where the figure almost disintegrates but somehow stays intact, leaving a sense of friction and raw distortion. The medium is celebrated and used in full force in many different ways with many different tools to render life that echoes traces of our emotional field.” – Antony Micallef
The exhibition is on now, and runs until 30th June 2016 at Pearl Lam Galleries, 601 – 605 Pedder Building, 12 Pedder Street, Hong Kong.
With the launch of her own label – Templr – a season in Ibiza, the release of an EP, countless festivals and international DJ gigs, artist TIMANTI‘s 24/7 work ethic is clearly paying off. Having made a name for herself with her unashamedly raucous club nights both in the UK and further afield, this London-born young woman – first name Steffie – has been flagged as one to watch in the realms of both music and mogul status.
Forgoing a machine-like team choreographing her success, Steffie has taken the hands-on approach, by doing absolutely everything herself. Here’s how, and why:
When did you start going out to clubs? Did you ever envisage that you’d be hosting nights one day?
I actually started hosting parties before being old enough to go to clubs! I used to hire out spaces and throw mini raves (which usually fell on my birthday) and then moved into proper venues. The parties where crazy, all my mates that were part of the Cali days would agree. I remember I got a couple of my dancer friends to dance in cages! (Sorry girls…) We were all underage – not sure if I should be saying this – and this was before I could even DJ!
How long have you been working in the music industry for? How did you get started?
I’ve been writing songs for as long as I can remember, like Primary School days. I’ve played quite a few instruments too. I’ve found some really embarrassing raps I’d done on my Talk Boy (wonder if anyone remembers those) from the ’90s… I’ve always had a passion for music so can’t think exactly what sparked it, all I know is that it hasn’t come from anyone around me growing up, as there was no one musical in my family… It was just there somehow! I started the parties when I was 15 and got my first DJ gig at the age of 17 while I was at college doing Music Technology.
How would you describe your sound?
A question I always struggle to answer. I’m influenced by so many sounds, so I would just say have a listen and decide for yourself. I would say it’s the TIMANTI sound, and tag it Future World Sounds!
I’ve seen that in the past you’ve mentioned overcoming a prior illness – do you mind me asking what that was and how it’s affected your work since?
It was an attack on my nervous system which caused numbness and permanent tingling around the body. It mainly affected my hands and I couldn’t DJ for about eight weeks last summer. I’m still undergoing tests for diagnosis. It was probably the scariest time of my life so far, but now I see the attack as a blessing. I’ve had to completely change my diet, and pretty much almost eliminated my alcohol consumption. I have to listen to my body a lot more and haven’t got as much strength as I did, but am determined to heal myself this summer in Ibiza, so the doctors won’t ever reach a diagnosis!
There’s a lot of hype surrounding the launch of your own record label – Templr – this summer, when did you decide to do that? And why?
This goes back to your question about my sound, I couldn’t really find a home for my next EP ‘City Of Gods’ (to be honest I only sent it to two labels) so decided to release it myself. There is a story surrounding each of my releases/tracks, and for this release I wanted to dedicate it to my Dad and release it on his 60th Birthday, 15th July. He loves the track and is such an important figure in my life as well as my Mum.
Who – out of your contemporaries – are you really into right now?
I’m really digging what the guys and girls around me are doing, especially Esa! He’s sitting on an absolute bomb which I can’t wait to play out in Ibiza. Voicedrone – who’s working on a remix for me – is creating some stunning analogue masterpieces, and Ireen Amnes is blowing my mind during her live DJ sets! Barber, Taylor, D. Ramirez, Coco Cole, BOY, Amber Shells, all the crew coming out of Hackney Wick and Mainyard & Shapes are, in my opinion, cooking up the future of our dance floors.
Is your professional world a supportive one?
I’m very lucky, I’ve got such an amazing squad that I live and work with. There are way too many to name here, but I would consider many of the following names family: Big Ups all of the Nixwax gang (especially Alec, Rob & Ralph for signing my first ever Vinyl release), Taylor & Tom Starr who have been like musical big brothers to me from day one – without them I wouldn’t be where I am today! Hannah Wants and her team have been awesome too after winning the What Hannah Wants comp in 2014, and playing on tour with her last year. What she does for up and coming artists is mega! Loz and Youngr who I live with in Hackney are two of the best, supportive house mates I could have ever wished for and my adopted baby musical sis Lolé will be in my room for the summer while I’ve moved to the inspiring Sonic Vista Studios for the season with another amazing squad! Literally count my lucky stars everyday!
You’re in Ibiza right now for the season, what are you favourite things to do there?
I get so inspired just being here but love to hang out in the caves, sleep under the stars and meditate at Es Vedra. Nothing can beat spending time exploring the island with my friends and pretending to be pirates – haha… I made a tune once called ‘Pirates of Es Vedra’. The outdoor parties and beach parties are my favourite. I also really love Pikes!
You’re also playing your fair share of festivals this summer, why should people come and check you out over the competition?
I am actually playing quite early at most of them so I guess they’re going to be quite different! I approach each set as a journey and would recommend you stick around for the whole ride. At Secret Garden Party I’m playing 10am-midday, and planning on doing a meditation/transcendental type set; I’ve never done this before so should be quite interesting. I’ve also just been confirmed for Lost Village festival which I’m super excited about! I’ll be opening up the Abandoned Chapel on the Saturday with some special vibes.
Is there any one track that is guaranteed to get the crowd going at your club nights?
There are a few but the real head-turner for me at the moment seems to be my track ‘City of Gods’. It has this secret bass line that comes out of nowhere and people seem to lose their minds. I wrote this after seeing Gardens of God at Lost Village last year!
If you could only listen to one track for 24 hours, what would it be and why? Kiasmos – ‘Looped’, because I think I’ve already done it! Literally reminds me of summer and is such a beautiful track it’s impossible to get bored of.
How would you sum up the success of this year so far in once sentence?
I’m blown away to be honest, it’s all kind of happened because I decided to take risks and create it! I know it’s supposed to be one sentence but would like to extend this question with the hope of helping inspire others. I haven’t got a manager or a booking agent and don’t spend my whole life getting smashed at every party, in fact I’m always busy working so am rarely out. And when I’m not working I only spend time with people that care for me (this I think is fundamental as the industry is extremely tough). Don’t wait for the golden ticket, make your own… Create your own empire and they will come.
TIMANTI’s ‘Don’t U’ is out now on Love & Other; and her EP ‘City of Gods’ will be released on 15th July on Templr.
This summer, New York-based artist Grear Patterson is presenting an exhibition at London’s Marlborough Contemporary which is centred around something that is often thought of as an ever-deteriorating concept: true romance. With Tony Scott’s seminal film of the same name serving as the catalyst as well as the title, he has produced a series of mixed-media works that both encapsulate and explore the theme.
Utilising the “visceral vernacular of the sunset as an auspicious moment – simultaneously a romanticised ending and yet a promise of new beginnings” – each piece is a study in pop-culture, imagery and processes of perception, all of which have become recurrent motifs in Patterson’s work over the years.
Grear Patterson, Blue Bronx (2010), c-print, 13 x 20, Courtesy the artist and Marlborough Contemporary, London
The symbolism of the sunset is explored both literally and figuratively elsewhere in the show – with banana trees and hammocks physically present within the gallery – further adding to the stereotypical idea of a tropical sunset, especially as is so commonly seen through the millennial lens of social media.
A plethora of found materials – from parachutes, wedding tablecloths, boat sails and vinyl – make up the large scale sunsets, while smaller works are comprised of block colour paper works in purples, pinks, blues, oranges and greens become a “memorialisation of youthful possibility, oddesey and adventure”.
Grear Patterson, Odyssey (2008), Photograph, Courtesy the artist and Marlborough Contemporary, London
Grear Patterson, Quiet Corner (2010), Courtesy the artist and Marlborough Contemporary, London
Grear Patterson, Moonrise (2016), Photograph, Courtesy the artist and Marlborough Contemporary, London
Main image: Grear Patterson, Beachstrollers, (2008), Photograph, Courtesy the artist and Marlborough Contemporary, London
Grear Patterson, True Romance, Marlborough Contemporary, 24 June – 23 July 2016.
His subject is one that has been much documented across the arts, but photographer Mark Steinmetz lends a unique eye to the chronicles of contemporary American life. Whether capturing everyday happenings within a Cleveland school or the natural environment of Sandy Creek, the photographer’s ability to imbue images with unforced narrative consistently delights.
This capacity to scrutinise the idiosyncrasies of daily life whilst remaining aloof from the frame allows Mark Steinmetz’s photographs to both transcend and embody their moments in time, rendering his images powerful historical documents as well as works of art. With a ninth monograph, Angel City West out on Nazraeli Press, we asked the photographer to lend insight into his work, inspiration and future projects.
When did you first start photographing?
I started very early on. My parents gave me my first camera around the age of six. I have many clear memories of photographing when I was a child. I remember that framing a scene was always a pleasure for me; I liked making the decision of whether I needed to stay standing up or whether I should scrunch down or move in closer in order to make the best picture. I had set up my first darkroom in my home at the age of 12.
Ancient Tigers, 2007
Can you talk a little about the Angel City West series as a whole – how did they come about, what camera were you working with and what were you looking for when taking these pictures?
I was 22 and restless. I had moved to Los Angeles after having left the Yale School of Art after my first semester. In LA, I met the great photographer Garry Winogrand and was able to photograph with him on several occasions. I used a Leica primarily but also dragged around with me a twin lens reflex. My impulse was just to make interesting pictures that were realistic but still had an independence from (and weren’t exactly responsible to) anything that might really be going on. I was exploring the fictional strangeness that’s intrinsic to photography when you extract an image from the flow of life and I was trying in my youthful way to match or supersede what photographers such as Winogrand or Robert Frank had done.
What is it about black and white that you’re drawn to?
Black and white is what I was looking at when I started to photograph and it’s the medium of the great masters I admire most. There’s a removal from the world with black and white; it strips away one of the levels of illusion from the world. It seems to concern itself more purely and strictly with structure and light. Colour photography needs to be primarily about colour, and to me it seems rare that it can be controlled in any coherent way since the relationships between the colours take over and can too easily overwhelm what’s really of interest and importance. But then again we see in colour and that’s what most everyone in photography has been up to lately.
Atlanta Airport, 2015
How important is a sense of place to your portraits of people?
I tend not to have less interest in photographs of people where they are placed against a neutral background. The subjects then seem like butterflies pinned in a collection. Richard Avedon’s group of portraits in the American West are strong but it makes little sense to me that he puts the people he’s photographing against a white backdrop instead of leaving the gas station or the road behind them as background. I much prefer placing subjects within a context. The scenes are less sterile that way and more convincing. That’s how life is.
You often photograph people in motion, or seemingly unaware. How did you develop this style?
I prefer photographs where it feels like something is happening or about to happen, where a moment is suggested. Walker Evans photographed people surreptitiously in his series of subway photographs for the reason that “the mask is down” when people don’t think anyone is watching them. I’ve always been a quiet person. I don’t make waves and I don’t startle people. Many of my portraits seem natural as if they are not aware of being photographed, but I’ve had to talk to them and gain their permission in order to position my fairly large camera exactly where I want it to be in order to make the picture I want.
In general do you see the role of a photographer as a watcher as opposed to someone that is present in the picture?
Koudelka is a great photographer but in his book, The Gypsies, the subjects are looking at him and responding to his presence. It’s up to each photographer to define photography on his/her own terms. In my case, my mother was French and I’ve spent a lot of time in France where people sit in cafés a lot and people watch. That’s how I photograph for the most part. I don’t intervene.
The Angel City West series was taken in the ’80s, are you still interested in the city and the people when you look around at Los Angeles today?
Yes, very much so. I’d like to spend more time there to photograph. Los Angeles remains a very interesting and unique place. Like Paris, it is a terrain that has been explored a good deal in cinema, photography, and literature, so there’s an audience that already has an understanding of the place. That means you can plunge right in. You don’t have to start at zero to establish a context for your body of work as a context already exists.
I love your Sandy Creek series, did you find it challenging to capture the natural world in the same spontaneous way?
Thank you for loving the series. Like most people I need a break from time to time and photographing in nature allows me to unwind and to photograph without any of the stress of photographing in the cities. The trees don’t talk back to you. It’s a very different problem. I think nature has a lot to teach us and particularly anyone interested in the design fields needs to take a serious look at what nature has come up with. Robert Adams and Atget have been helpful to look at.
Generally speaking, what are your influences?
Anything in life can be an influence. Some things stick to you, some things don’t. In photography, Atget, Evans, and Winogrand are the great influences but there are so many.
What are your projects for 2016 / 2017?
Right now I’m working on a commission from the High Museum in Atlanta to photograph at the Atlanta airport – that will be a show in 2017. I’ve also been photographing in Europe a good deal and in particular in busy public areas in Paris, Berlin, and Milan. I should have a book on summer camps come out next year and possibly one later this year of unpublished photographs from the American South (no titles for the books yet).
Mehry Mu, the emerging accessories brand founded by Gunes Mutlu, produces the chicest pochettes according to your star sign. Handmade in Istanbul, the city and the vibrant ikat fabrics found in the hidden alleys of the Grand Bazaar prove to be Gunes’ inspiration for her collections.
The Universe collection, which consists of 12 velvet pochettes featuring gold and silver hand embroidery, represent each sign of the Zodiac. Available in a range of cosmic hues: from soft pink to powder blue, green and pale grey – all the colours and star sign details are determined by the Zodiac sign.
Tell us about the Universe collection…
The universe collection is a collection of 12 velvet embroidered clutch bags representing the 12 signs of the Zodiac. The pochettes have been designed and produced in neutral velvet tones and each style and colour is determined by that Zodiac sign’s group – earth, wind and fire etc. The universe design is really personal as the details are so specific to each Zodiac sign that they represent. All the pochettes are hand made in Istanbul and designed according to one simple rule – that they should make life easier whilst making you feel chic in an effortless way.
What’s your zodiac sign?
Sagittarius (featured main).
Where can we buy the collection?
The collection is available to buy from mehrymu.com, The Mehry Mu showroom in Istanbul, Debonnaire London and through several international boutiques including Bloomingdale’s-Dubai and Edit Lifestyle in Singapore.
Premium denim brand M.i.h are celebrating 10 years at the forefront of jean genius with a pop-up shop in London’s Soho. Situated on Upper James street, the store features everything from its beloved denim to homeware and fragrance – all imbued with M.i.h’s signature ‘blue-jean’ spirit.
For its 10th anniversary, the brand has launched a unique ‘cult denim’ project, which sees 10 cult items from its archives be re-released as a special capsule collection.
Featuring everything from the perfect ‘7os shirt dress, to the ‘Topanga’ cropped flares, and ‘Painters’ denim parka – it promises to provide the ultimate denim edit for any woman’s wardrobe.
While the full anniversary collection is available from the Soho pop-up shop, there are also accessories from the likes of Illesteva being sold alongside to help punctuate the looks on offer.
Open until the 23rd May; 7 Upper James Street, London, W1F 9DH.
Alice Waese is not your typical fine jewellery designer. Despite founding an eponymous cult jewellery line that ranges in price from £1,900 to £6,500 – she has received critical acclaim from numerous fashion magazines including Vogue and Interview and exhibited her work at Frieze London 2015 – Alice’s propulsion of fine jewellery leaves it’s mark by revelling in the subversion and whim of all-that-glitters-isn’t gold cocktail sparkle. Her unisex gold and silver pieces, which are hand crafted in limited editions of 90, are subjects of her diverse research stimuli: birds, trees, roots, skulls, rock formations and limbs.
“The glowing and vivid palette os my Spring Summer 2016 collection is based on a series of paintings I created, they explore the visual intensity and subsequent symbolism of various stones. Alchemists consider the emerald as a symbol of hope, wisdom and as a preservation of love. The ruby is believed to be the most powerful jewel, and is associated with passion, vitality and courage—I incorporate them all in this collection,” she said.
At 20, Alice Waese moved to New York, her current base, to intern for the jeweller Maria Cornejo and was later hired as a design assistant there. She then moved to London where she studied Fine Art at Goldsmith’s College before turning to jewellery full time. Alice describes her interest in fine jewellery as in fact a fascination with “artifacts and heirlooms, the weight of an object with intrinsic value. I consider what happens to an item that is loved, given away, passed on and worn daily. I am inspired also by the materials themselves, the transformation from wax to gold is something really satisfying both on an aesthetic level and a tactile, physical level. I also work from my drawings, an internal world of fantasy and narrative”.
Drawing from life is the basis of Alice’s work, as she truly believes that knowing the dimensions and details of objects and space are key to later constructing something fine and precious out of that which was once mundane. In conjunction with research of the fine jewellery field, Alice eagerly sketches and has published her surrealist watercolour drawings in a series of hand printed hardbound books, each containing a single piece of jewellery hidden in the cutout.
For Spring Summer 2016, Alice Waese’s launches a fine jewellery and ready-to-wear collection that is available exclusively at Hostem.
While in the first instance the idea of a non-conformist British punk institution aligning forces with a Scandi-infused, purist brand may seem a jarring fit, the new collaboration between Dr. Martens and Norse Projects actually makes total sense. Together, their designs participate as part of a wider conversation, one that draws without end, on the study of contemporary culture and shows an avid interest that often oscillates between both modern and sub-cultural references.
The re-worked version of the Dr. Martens 3-Eye Steed is no exception. The mens shoes has been crafted for the first time in a rich suede texture, that comes in three colour ways (black, white and oxblood). It is also detailed with quiet sportswear technicalities—the added insole, the padded tongue and elasticated nylon straps, are all quite clearly traits of practicality brought forward by Dr. Martens Copenhagen-based counterpart, Norse Projects.
Staying true to heritage is a mantra that remains close to everything Dr. Martens does and this collaboration does not waver from that. Like the rest of the Steed collection, the 3-Eyed Steed has been manufactured using the original process of industrial manufacture, a technique that has been in practice from 1st April, 1960—when the first pair of Dr. Martens rolled off the production line in Wollaston, England.
The Dr. Martens x Norse Projects Steed collaboration (from £200) is available online now and in-store at END, Newcastle from May 7th.
If you head to Peckham’s Bussey Building and Stratford’s Roof East you’ll sure be in for a treat. Open now and running throughout the summer, the Rooftop Film Club and the Spirited Mixers will be keeping us entertained during the warmer months, all whilst taking in the panoramic views of London.
The Rooftop Film Club will be showing a mix of new and cult classic movies from Purple Rain to The Danish Girl and cocktails are courtesy of mixology masters, the Spirited Mixers. If that isn’t enough expect DJ sessions and a spot of crazy golf at the Stratford venue, with all this happening we’re looking forward to summer.
Bussey Building, 133 Rye Lane, London, SE15 4ST
Roof East, Stratford Multi Storey Car Park, Great Eastern Way, London, E15 1XE
Photographer Yoshiyuki Matsumura may have grown up in Osaka, Japan, but his lens if firmly trained on the people and landscapes of deepest America.
With his American Samples project “strongly influenced” by the work of Robert Frank (The Americans), Stephen Shore (American Surfaces and Uncommon Places) and Joel Sternfeld (American Prospects), his nostalgic portrayals of different towns and their inhabitants are both striking yet familiar.
“It was shot in many different places in the States because I wanted to capture the whole of America,” Yoshiyuki told us, “I crossed America six times by train from New York to LA, stopping along the way.”
Using kit like a Pentax 67, Ricoh GR1v and Konica Big Mini, and having “endurance in the dark room” all contribute towards the resulting hazy finish of Yoshiyuki’s style. A self-declared fondness for the film Stand By Me as a child also may have played a part.
Despite having met and photographed a multitude of characters throughout his travels, there are some that stick with Yoshiyuki: such as the kids seen here in South Carolina. “The young boy and girl are meeting at the corner on the street,” he told us. “She lives in the house near the corner. She is not wearing any shoes. I think they will go out soon. I love their distance.”
Someone once told Yoshiyuki: “You know more about America than Americans.” And by the looks of these images, we think they may just be right. Take a trip with us now.
Yokiyushi Matsumura is represented by Quadriga; quadriga.fr
JAEHA, founded by Korean-born New Zealander Jae Kim, is the new ready-to-wear label to know. After moving to London in 2010, Kim gained experience working in the Mary Katrantzou studio before studying at Central St Martins under the late Louise Wilson OBE. Carving out his own aesthetic, he is known for combining abstract forms with layering and texture.
Tell us about how you started designing… When I was 17, I saw all these girls sewing up their ball dresses for their end of year high school ball – pure polyester moment. They needed help – so I decided to take fashion as one of my subjects in high school back in New Zealand.
Why did you decide to move to London?
I met Peter Pilotto and Jean-Pierre Braganza at Mango El Boton competition in Barcelona. Braganza told me I should come to London – so I sent my application to Louise Wilson at Central St Martins MA, and was accepted.
How would you describe your brand?
Premium contemporary womenswear – visually striking garments that combine bold, androgynous cuts with a care free, wearable style.
What’s the story behind the AW16 collection?
Modern pre-Raphaelite women’s wardrobe meets Wes Anderson.
What’s the most valuable advice you have been given?
Collaboration is good when it’s needed.
Where do you see your brand in five years?
Kate Middleton’s wardrobe. Hopefully people can pronounce ‘JAEHA’ correctly by then.
Cancel your plans: for tomorrow, on Saturday 23rd April, Soho’s Brewer Street Carpark will play host to quite possibly the ultimate car boot sale.
Brought to us by The Store, and featuring participants such as Bay Garnet, Laura Bailey, Alex Eagle, Charlotte Olympia, Saffron Aldridge and many, many more – proceeds will be going towards the ever-deserving Women For Women International.
Rifling through the discarded treasures of some of fashion’s most elite has up until now been the stuff of fantasy – but now – it’s a reality. And all for an excellent cause.
Since its inception in 1993, Women For Women International – lead by the fearless Zainab Salbi – has tirelessly been striving to practically and morally support women who have survived the horrors and consequences of war, throughout the world.
And an event such as this, is arguably the easiest way to make a difference to those who need it most.
The event takes place between 1-5pm in Brewer Street Car Park, Brewer Street, London, W1F 0LA. Entry is £10 on the door, and £5 for concessions – cash only.
High street staple providers Uniqlo are about to unveil a brand new collaboration for SS16 with Brooklyn-based artist, KAWS.
The 25-piece collections will see the characteristically playful work of KAWS adorning everything from their line of UT (T-shirts) to totes bags and room shoes.
Due to launch in the brand’s Fifth Avenue Global Flagship store on 22nd April, and then throughout the world and online, customers will have the chance to invest in items adorned with KAWS’ iconic ‘companion’ character, as well as his beloved heart, cloud and double-cross motifs.
Described as one of the most relevant artists of his generation, KAWS studied illustration in Manhattan in the early ’90s and has now become well-versed in, and known for, his street art, graphic and product design, paintings, murals and large-scale sculptures.
Caine London is the new cult denim brand on the scene, brought to you by musician/stylist duo, Matt Allchin and Hayley Caine.
The AW16 collection, ‘Rub-A-Dub’, consists of handcrafted denim jackets and jeans as well as embroidered sweaters and shirts, and is inspired by everyone’s favourite place: the pub. As a concept, it takes you on a cheerful crawl from ‘The Rising Sun’ to ‘The Half Moon,’ where you’ll shoot some pool and try your luck on the fruit machine; which, coincidentally, is a print which features on one of their shirts.
Combining ‘ye olde pub’ references with their ’90s grunge silhouette, we want to join their party…
How did you meet?
We met in 2013 in a pub in Peckham, Matt had been up all night at a friends party and had a picture of Martin Sheen in his pocket. Hayley was so impressed she hasn’t left him alone since.
Tell us about your collection: ‘Rub-A-Dub’…
The collection, like our meeting is based around the good old-fashioned English boozer. We used some of our favourite pub signs and names as inspiration. We’re constantly being inspired by things around us that don’t seem to be there or appreciated anymore. Our last collection was based on Canal Art and this time we were drawn to the signs above old English pubs, this again seems to be a way of life that is disappearing. It’s hard to find a pub that you would recognise as a traditional pub these days, we wanted to celebrate this.
What’s in the name?
It’s cheeky really it is cockney rhyming slang for ‘pub’. Other options were ‘nuclear sub’ or ‘battle cruiser’ – boozer – but they didn’t seem appropriate or fun enough!
Which are your favourite pubs in London? Unfortunately many of them are unrecognisable or closed down but we’re always on the look out for those rare bolt holes where you can only pay cash and the duke box is free like the Man of Kent in Nunhead.
You also cite ’90s grunge as an inspiration behind this collection – who were your favourite bands/musicians?
Obviously Nirvana, Sonic youth etc, but we love all music really. During our long painting sessions at the studio we can listen to anything from Bob Marley to 1930s comedy songs about loving bananas ‘coz they have no bones’.
Which is your favourite piece in the collection and why? You can’t help but smile when you look at The Rising Sun Jacket and he came to represent a turning point in the design process. Once we had that made everything else seemed to flow more easily, we hung him like a talisman in our studio!
You’ve branched out into jeans for AW16 tell us about those… Are there any skirts/dresses etc to follow for next season? The straight and wide leg jeans are super soft and luxe with a vintage look. Next season were ramping it up a notch so expect anything and everything.
If you had to sum up your brand in three words it would be… Stylish, fun and irreverent.
Entitled ‘Auroratone’, Rose’s work is not only beautiful, it has been made with healing in mind. Citing Cecil Stokes, an experimental filmmaker from the 1940s as a loose inspiration – whose psychadellic 16mm abstract films were said to improve the mental state of emotionally fractured war veterans – Rose has keenly observed and subsequently utilised the historical link between colour and our state of mind.
By deftly using a combination of varying practices, from optical illusion to 2D and 3D techniques, her work is as transportive as it is visually pleasing. In a world – creatively speaking – that is for the most part hell bent on paring back and minimalism, it’s refreshing to be confronted by such unapologetic and uplifting “eye-candy” pieces.
“Creating these abstracted cavernous landscapes with colourful curves and soft shapes I wanted to assault the senses of the viewer,” says Rose, “impacting their eyes with colour and form, provoking them to feel stimulated by the colour surrounding them. By forcing colour to the forefront of our consciousness, some connection to it becomes apparent and a response is evoked that infiltrates the emotions.”
‘Auroratone’ at Dreams Bags Jaguar Shoes runs from 8th April – 30th June. Click HERE for more information.