Taylor Hill

Taylor Hill is Topshop’s new girl

25.07.2016 | Fashion | BY:

Supermodel-in-the-making Taylor Hill has today been revealed as Topshop’s new campaign star for AW16. The New York-native, who has fronted the cover of Vogue, was chosen for her versatility, as well as her looks – so says Creative Director, Kate Phelan: “Taylor walked in the February 2016 UNIQUE show – she is a social supermodel and a young woman with style and personality; she is every Topshop girl rolled into one. Whether she is a tomboy in jeans, glamorous in cocktail, or pretty in polka dots, Taylor is Topshop’s ultimate girl crush.”

To mark the appointment of Taylor as the global face of the brand this season, Topshop has released a short film of Taylor, accompanied by her dog (an adorable Labradoodle called Tate), cavorting around her home city of New York in a selection of key pieces from the AW16 collection.

The campaign, which sees Taylor in oversized leather, ’90s LBDs and sheer polka-dots, was shot by acclaimed photographer, Giampaolo Sgura. Speaking to Topshop, Taylor said: “It feels really cool to be Topshop’s campaign girl, I never thought I’d do campaigns, especially not for Topshop. I’d always see the big models doing it and never thought I would, but here I am!”


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Petra Tate

Petra Collins x Tate Modern

19.07.2016 | Art | BY:

To mark the opening of the Tate Modern’s long-anticipated Georgia O’Keeffe retrospective, acclaimed artist and leading voice among the ‘new-wave feminists’ – Petra Collins – has created a specially commissioned video at the request of the gallery.

Taking inspiration from some of the ‘Mother of American Modernism’s’ most famous works – spanning her almost 100 year life – Collins’ video is a mesmerising exploration of every aspect of modern femininity, much in the way that O’Keeffe did so iconically before her.

“O’Keeffe was one of the first artists that made me appreciate color in a whole new way. Her use of it makes me feel like her landscapes are complex beings. That with each stroke of color, each line, each curve, she’s bringing these locations to life. With this short I wanted each girl to really play with their surroundings (that were inspired by O’Keeffe’s desert and Lake George – her two favourite spots) – to use their every inch of skin, muscle, bone, etc and really put themselves into her landscape too – while making their own.” – Petra Collins

New York-based Collins’ video features a bevy of relevant and revolutionary women, from Barbie Ferreira to Maia Ruth Lee, Seashell Coker and Ajani Russell. With fans including Katy Perry, Lena Dunham, Selena Gomez and Marilyn Minter, she has been heralded as the ‘next defining artist of her generation.’

Georgia O’Keeffe at the Tate Modern runs until 30th October 2016, click HERE for tickets.


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Summer Screen

Film 4 Summer Screen at Somerset House

16.07.2016 | Film | BY:

Running from 4th – 17th  August 2016 Film 4 presents the annual Summer Screen at Somerset House. The open-air film festival which will present a mixture of cult classics, contemporary movies and premieres is the largest outdoor screen, with full surround sound. What’s more turn up a little earlier to enjoy sundown DJ sets inspired by the screenings to set the mood for the film.

With an eclectic combination of movies there’s something for everyone, from comedy and musical to horror and sci-fi. This year will see the UK premiere of the critically-acclaimed Things To Come which sees a philosophy teacher battle through the death of her mother, getting fired and having to deal with a cheating husband. As always, the Summer Screen will close with a UK premiere, this time it will be a Sundance hit, Captain Fantastic, directed by Matt Ross, which follows the heartfelt story of a father whose idealistic parenting comes under attack when tragedy forces him to bring his family back into the real world. Classics and contemporary films showing include Trainspotting in homage to its 20 year anniversary, Quentin Tarantino’s Jackie Brown with its killer soundtrack, Dracula and Ex Machina to name a few.

Film4 Summer Screen runs from 4th – 17th August, 2016. Ticket prices start from £16.00 plus booking fee. Doors open at 6pm, DJs from 6.45pm and films start at approx 9pm.



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Okka Block & Okka Found

07.07.2016 | Fashion | BY:

For a one stop shop that will take you around the world, Okka Block has got you totally covered. Offering a range of homewears, accessories and fashion sourced from the very best artisans in Morocco and India, we caught up with its founder, the stylist Hope von Joel, to discover more…

Tell us about Okka Block…
Okka Block was started from my love and need for wanderlust. I’ve travelled extensively over the last few years, but these countries really inspired my love of textiles and tribal stuff – India, Guatemala and Morocco which is where I took much of my inspiration. The warm coloured streets, the food, smoke and smells, the beautiful traditional clothing and lifestyle and the vibe really stuck a cord with what I believe works in interior design and accessories. The bold combination of colours, the warm tones, the exotic plants and amazing hand made accents really make it exciting.

I first started buying stuff a year or so ago with the idea in mind of selling them back in London. I am working on the new website at the moment and mostly selling through our Instagram until it launches. Have a look it’s a colourful treat.

Where are the items sourced?
Items are sourced here, there and everywhere. I travel all the time and have an eye for beautiful things. Carpets and pillows sourced from the deep Atlas Mountains at 4am after a several hour drive into a local market surrounded by donkeys with my great friend Patrick. Beautifully adorned and jewelled traditional banjara skirts are from the ladies of northern India. Then there are the embroidered bags and tops from the ladies in the hills of Guatemala. The busy bustling markets of the nestled into tents adorned with treasures. Embroideries depicting flowers and multi-coloured pom-poms make my heart sing.

What do you love most about it?
I love that every piece is individually sourced by me for its individuality, uniqueness and quality. I have a story for nearly every item; each has been lovingly packed and transported back to London. Everything is then photographed individually and sold as seen.

Do you have any favourite products at the moment?
I’m totally in love with the rainbow stitched kantha blankets and the massive Moroccan rugs in the amazing colours with sequinned embroidery. The rugs are originally for marriages and are a real statement.

Do you think being a stylist has an impact on what you offer?
Definitely – I have a strong style and know exactly what I like in fashion, interiors and design. I just buy what I love.

Do you have any more exotic trips planned?
More trips for sure, to Mexico, Guatemala and Uzbekistan hopefully this year.

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Richie Culver

Richie Culver to show at Protein Studios

06.07.2016 | Art | BY:

Richie Culver rose to fame in 2010, when he took a magazine cut out of a Jesse Owens photograph and stuck the words ‘Have you ever really loved anyone?’ onto it. Although he had never had any formal training, this first artwork was featured in a group exhibition at the Tate Modern. Richie has since experimented with photography, mixed-media installations and painting, and he has become synonymous with his use of text to accompany his artwork.

This July, a show entitled ‘Things that didn’t really work out – most things’ will combine Jesse’s autobiographical inclination with his text-based medium, providing a dark and humorous look into his life. In Culver’s own words, the exhibition “looks into the realms of sanity, humanity and depravity”. The work began as a book project following a particularly challenging period in Culver’s life and has been developed into a series of wall based works and prints.

The exhibition, which will run from the 28th July until the 2nd of August, will be on display at Protein Studios in Shoreditch. It is Culver’s first London show in three years, and is being exhibited as one of four events put on by Shelter, as part of their Gimme Shelter series. The events are focused around literature, art, music and film and will support Shelter’s work to help people facing homelessness and poor housing. Tickets for each event are allocated via a ballot.

To enter the ballot visit: www.shelter.org.uk/gimmeshelter. Successful entrants will be asked to purchase tickets for their chosen event for £10, with all proceeds going directly to support Shelter’s crucial work.


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Marianna Goulandris

All Eyes On Marianna Goulandris

04.07.2016 | Fashion | BY:

With a background in luxury swimwear, Greek designer Marianna Goulandris has recently turned her hand to luxury jewellery. Consisting of refined yet statement-making gold pieces, her debut collection has caught our magpie eye, and is destined to inspire all other who encounter it. Recently, Twin had five minutes with the woman herself – here’s what was discussed:

What made you want to move into jewellery design?
It was a natural transition from swimwear. Starting a company so young you grow and change and what turned out being a hobby on the side ended up becoming full time! The continuity of heritage and ancient Greek influence is also strongly shown in the jewellery.

How would you describe the collection in five words?
Quirky, chic, glamorous, gold, luxury.

Who is you customer?
It often ends up being a confident woman who is sure of what she likes. She can immediately target the piece she likes and wears it then and there.

Which is your favourite piece from the collection?
I love my spiral earrings that come in small and large size.

Tell us about the materials you have worked with for this collection and why…
I have worked with a lot more gold vermeil. I wanted to create a luxurious goddess collection with affordable prices!

Can you give us a clue as to what’s in store for next season?
Moving away from the Greek heritage and looking at other forms of good luck charms, not only the Greek mythological matti (eye).


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The Art of Storytelling

30.06.2016 | Art | BY:

Filmmaker and artist Charlotte Colbert is one of those women that make you feel very dull, and impossibly unaccomplished, by comparison. From the outside looking in, her world seems one of perfection. She’s beautiful yet effortless, undoubtedly talented, boundlessly intelligent – and to all intents and purposes, managing to live by doing what she loves, which is – and let’s be honest, always has been – something of a rarity.

Emerging as a master of the surreal narrative, Charlotte’s work has documented everything from faces obscured with giant ’emoji heads’, to the stripped-back grace of nude figures in a former lesbian commune in East London. Her aesthetic is ethereal but not whimsical; there is real, transportive substance there, in among the solitary figures and exquisitely desolate surroundings, you can see relatable and raw emotion.

Ahead of her upcoming shows – one solo exhibition at Gazelli Art House, and another group exhibition to celebrate the genius of Kubrick at Somerset House – we caught up with Charlotte to delve a little deeper into her creative process.

You’re described as a filmmaker and artist – which did you embark on first? And how?
I’ve always been interested in stories and ever since I can remember I’ve been collecting them, putting them down in strange formats, inventing them. As a teenager I’d spend all my nights just wandering through cities talking to people, vagrants, partygoers, down-and-outs and up-and-comings. And when asked what I wanted to do and who I wanted to be, all I could ever think of was the desire to be everyone, to experience life from as many different perspectives as possible. I’d always been scribbling down people’s stories, taking their pictures and little by little it got more formal, not in the sense of square but in the sense of shapely, and the stories started articulating themselves over longer formats as I wrote screenplays for people, and the photographs moved away from documenting, becoming more staged as I tried to capture what had settled in my head rather than what I could immediately see.

How does each discipline differ in terms of inspiration through to execution? Do you have a preference?
Photography is much quicker. It creates little windows into other dimensions and although there is a whole world there, the viewer only gets glimpses into it. Whereas in a film all the details of the world have to be thought out and solved because both viewer and performer will actually inhabit it together for a specific length of time.

In a fine art work only the artist needs to fully understand and believe in the world of its fiction whereas film is much more collaborative and everyone needs to fully inhabit it while making it and viewing it. An actor will need to incarnate a character and for that to happen that character needs a fully fledged logic, language, body language, imaginary world, family situation, back story, quirks etc.

If you create a crazy looking Chewbacca type creature, the writer will know how that monster goes to the toilet, because, even if it doesn’t feature in the film, it will be necessary to the believability and the coherence of the fictional world.

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For your participation in the upcoming Kubrick exhibition at Somerset House, you’ve referenced A Space Odyssey – was this something that you chose or was it assigned to you? Can you remember when you saw the film first? What kind of feelings did it leave you with?
A while back I wrote a screenplay on Lou Andreas Salome, a really interesting writer and intellectual who at the turn of the 19th century wanted to live her life, controversially at the time, in a free spirited, independent, thoughtful way. She became well known for her collection of lovers, from Nietzsche, the young poet Rainer Maria Rilke twenty years her junior, to Freud. During the research, I became quite touched and fascinated by the character of Friedrich Nietzsche – this half-blind, hunchback, outcast of a man who strove the be the Ubermensch, the ‘SuperMan’. He wrote this amazing book called Thus Spoke Zarathustra, which strongly inspired 2001 A Space Odyssey. Kubrick said: “Somebody said man is the missing link between primitive apes and civilized human beings. You might say that is inherent in the story too. We are semi-civilized, capable of cooperation and affection, but needing some sort of transfiguration into a higher form of life. Man is really in a very unstable condition.” It’s that fragility and the desire to overcome it that I was interested in exploring further.

I’ve read that in that work you wanted to explore the astronaut “caught within the limitations of being human” – where there any limitations in particular that you had in mind?
For the Kubrick show I wanted to recreate an odyssey but rather than sending the lone figure of the astronaut into space, I decided to send her to explore our past. The images were shot in the former site of the infamous In and Out Club on Piccadilly. I was interested in the juxtaposition between the astronaut, symbol of the future, symbol of Man’s power to surpass, and this totally decayed building of faded grandeur. The Astronaut, an iconic reference to exploration, the overcoming of nature, the constant attempt to push back the boundaries of our condition, here wanders, tiny and humbled by history and time, through the large, gilded and abandoned rooms. Both the building and the astronaut seem united in their solitude. However grand the quest, however beautiful the endeavor, we can’t escape time and the limits of our own humanity – loneliness, despair, short-sightedness, the need to be loved, sores, our temporality, itchiness, our physicality, our ailments, diseases etc.

Your work has a beautiful ability to be both introspective and yet outward looking at the same time – from ‘A Day At Home’ to the endless expanse of the universe – do you identify with one trait more than the other?
As we haven’t yet developed a way to experience that isn’t human or at least from a human perspective, it feels the world as we perceive it is only ever a mirror to our interiority. They seem to exist in and within each other. When I took the space images, I double exposed them with images of the galaxy and images of cells from our bodies. And it was amazing how similar looking they were. The macro and micro like mirrors. Both containing infinity.

Derelict, empty buildings have featured in your work on more than one occasion, what is it that they say to you? Are your surroundings important to you on a daily basis?
I love derelict buildings. The sense of adventure and discovery at finding them. The putting together of all the pieces and clues to build up a mental image or story of what happened in the space. Derelict buildings are like the architecture to a story. They contain past lives, dreams, loves, hurts all washed away by time. They are like memento moris.

Is there anything in particular reaction that you want people to have to your work?
It depends on the piece – if it’s a film a photograph, a script. But hopefully some kind of feeling. Of solitude, eeriness, a little window into a different world.

How do you feel about the future? Does it scare or inspire you? What are you working on next?
The future scares and inspires me. I’ve got a wee show coming up, ‘Ordinary Madness’ at Gazelli Art House, playing with the idea of our relationship to digitalisation, and am working on a new series of photography on the theme evolution and a feature film, which I am writing, and will be directing.

Charlotte Colbert’s solo show Ordinary Madness opens at Gazelli Art House 1st July, as well as group show Daydreaming with Stanley Kubrick at Somerset House on 6th July


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The Magnificent Manfredi

29.06.2016 | Fashion | BY:

Born in 1990 to an Italian father and Argentine mother, Mandredi Manara was raised between Milan and London. This year has seen the launch of his eponymous footwear label, which merges luxury with ultimate femininity. The collection features thoughtful details such as custom-made trims and hand-woven passamaneria for a feeling of classic romanticism.

Tell us your background…
I grew up back and forth between Milan and London, where I eventually studied photography, but soon realised I was inept with anything as remotely technological as jpegs and light meters.

How would you describe your label in five words?
Romantic, nostalgic, graceful, delicate and… divine!

Who is your customer?
A woman who desires a truly exquisite shoe for a special occasion.

Tell us about your debut collection…
The collection is composed of classic high heel sandal and pump shapes that focus on slenderness, many of which are embellished with custom-made trims and “passamanerie”, such as playful tassels and coloured fringes that evoke scenes of lavishly decorated interiors and palatial rooms draped in baroque fabrics.

Do you have a favourite style in the collection and why?
Possibly the Bradamante, it’s the ultimate princess shoe, very dainty and sweet on the outside with just a hint of mischievousness.

Who or what has had the biggest impact on your designs to date?
My grandmother and her sense of not only fashion, but also interior decoration. Her house was filled with custom upholstery from velvet curtains adorned with tassels to plush cushions and tapestered walls.


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Citizens of Humanity x Mytheresa

27.06.2016 | Fashion | BY:

This month, an exciting collaboration between premium denim line Citizens of Humanity and luxury retailer mytheresa.com will become available online. The six-piece collection will launch exclusively on the respective websites and is comprised of limited edition denim outerwear and bottoms.

Heavily inspired by the ’80s and early ’90s heavy metal scene, the designs have drawn a lot of influence from cult band Metallica, introducing subtle details in the designs which hint at the ’90s grunge era. The women’s capsule collection goes against the grain, keeping in mind Metallica’s uniform of denim jackets and distressed jeans. To showcase the line and capture its heavy metal influence, Metallica drummer and founding member Lars Ulrich shot the collection, choosing his wife Jessica Miller to model it.

The collection was designed by the Citizens of Humanity Founder Jerome Dahan and Women’s Creative Director Catherine Ryu. Working in collaboration with mytheresa.com, each piece has been produced in Los Angeles, using Citizens of Humanity’s in-house laundry and manufacturing facilities to produce items unparalleled in quality and fit.

Three new outerwear silhouettes have been introduced in the collection, including the Classic Jacket, an oversized boyfriend fit in a light blue wash, a slimmer fit denim jacket in a vintage blue wash called the Trucker Jacket, and the Trucker Vest, a sleeveless washed black denim vest. Three new trouser styles will also become available, these include a high-rise skinny jean in washed black, a mid-rise straight leg jean in a vintage blue wash, and a mid-rise straight fit in washed black.

Head to citizensofhumanity.com or mytheresa.com to browse the pieces for yourselves, which are now available online.

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Tom Johnson: Merthyr Rising

23.06.2016 | Art | BY:

Tired of the small town he grew up in, Tom Johnson purchased a battered motorhome, picked up his camera, and travelled across the UK with a singular aim: to find and capture an off-kilter beauty in the downright banal.

His latest project, Merthyr Rising, took the London-based photographer to the ex-mining town in south Wales—a place that was once at the very forefront of the industrial revolution. Today tells a somewhat different story. The coal mines have been closed and a deep-rooted sense of heritage stripped away as the proudly working class town felt the fog of Tory austerity descend. As the hangover of Merthyr Tydfil’s past lingers Tom Johnson believes that it’s identity is immovable.


Part fashion shoot, part social study, the series thoughtfully brings together the two sides of Tom’s work which have increasingly begun to align with each other. Shot in collaboration with stylist Charlotte James, Johnson marries Merthyr’s industrial backdrop and working class heritage with high fashion. The series is a study of contrasts, that work together to debunk stereotypes associated with small towns. We find out more.

Tell us a bit about yourself and where you grew up? 
I’m a photographer, my work sits somewhere between documentary, portraiture and fashion. I just love to photograph people. I grew up in the countryside outside of Oxford, in a village that no-one has heard of.


At what point did you become interested in photography? 
When I was younger I realised I was really, really rubbish at drawing, painting and especially writing! However, I desperately wanted to find a way that I could visually express myself, so I bought a little digital camera and would photograph everything. I fell in love with the process and the immediacy, of being able to create something new  almost instantaneously.

What’s the story behind Merthyr Rising? 
Charlotte James, friend and fashion stylist, came to me with the idea of challenging the misconceptions of her hometown, Merthyr Tydfil. It’s a small town in South-West Wales which became subject to great economic struggles when the mining industry closed in the ’80s. We’d travel to Merthyr every week and stay at her grandparents house. Many of the people we photographed are Charlottes family and friends, others are people we cast in and around the town.


How would you describe Merthyr Tydfil? 
It’s a really beautiful place in many ways. The people are really friendly, kind and generous. Often neighbours would come out of their house and offer us pots of tea or a sandwich. I hope my photographs convey this warmth, because I certainly felt it.

This project marries a working class community and high fashion, what were you trying say?
The message was less about creating a dramatic contrast between the community and fashion, it was more about us both connecting with the subjects in our chosen medium. I want the different genres I work with to blur into one, so the viewer has to question what it is they are looking at.


Out of the twenty portraits, is there an image that stands out for you?
Yes. We were waiting around in the bus station and brothers Terry (an ex-miner) and Lee (a construction worker) had just got off a bus, we approached them and talked to them about the project. They were very keen to be involved and just whipped their tops off. Charlotte styled them in the middle of the station, as they started to show me their tattoos (whilst flexing their muscles). I loved the moment – I think this shot really captures a second of calm and intimacy.

Who are your inspirations?
I find a lot of inspiration from painters, cinema AND other photographers. I love Alec Soth’s approach and sensitivity to his subjects. I’m also big fan of British realist cinema.

Are you working on any projects currently?
I’m currently working on some of my own documentary projects, so I’m all over the place – this coming weekend I’m going to North Yorkshire. I’m also working constantly with Charlotte on projects in and around Wales.

TheEvansGirls Merthyr_Rising


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Nan Goldin: The Ballad of Sexual Dependency

21.06.2016 | Art | BY:

Nan Goldin’s ‘The Ballad of Sexual Dependency’ will show at MoMA until the 12th February 2017, giving you ample time to bask in her deeply personal, evocative collection of photographs.

Drawing on her own experiences in Boston, New York and Berlin – mostly during the late 1970s and 1980s – Goldin describes her body of work as ‘The diary I let people read.’ ‘The Ballad of Sexual Dependency’ is comprised of almost 700 photographs and is set against a powerful musical soundtrack, capturing her subjects in raw moments of love and loss, and documenting both herself and her friends as they suffer from drug use, domestic violence and the effects of AIDS.

The collection is aptly named after a song in Bertolt Brecht and Kurt Weill’s ‘The Threepenny Opera’ and features music from many of Goldin’s friends, including Maria Callas and members of The Velvet Underground. The photographs are presented in their original 35mm format, as they were when they were first shown in the bars and clubs of New York City in the 1980s. Since then, Goldin has continued her narrative and added photographs to the collection, but they are still produced as slides, as they were when Goldin had no access to a dark room and was unable to afford to have her photographs made into prints.

‘The Ballad of Sexual Dependency’ is also available in the form of a book, which was reissued in 2012, recognising the persistent relevance of Goldin’s subject matter. The book can be bought online, or is available at MoMA.


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Mayan Toledano’s Candy Militia

20.06.2016 | Art | BY:

Mayan Toledano is a photographer and co-founder of Me and You, an online platform that celebrates friendship, feminism and girlhood, run with her BFF Julia Baylis. As a photographer she creates images that are playful and poignant. They invite viewers to enter into private spaces with her subjects – bedrooms, bathrooms – not as voyeurs but as allies. Toledano  is part of a new generation of female photographers that have transformed notions of the gaze, and it is not surprise that she often works with kindred sprit Petra Collins. Throughout Toledano’s portfolio we see that her images reflect truths about the female body, investigating what is essential in women without fetishising the flesh.

Having recently released a striking series which focusses on Israeli soldiers during their military service, we caught up with her to discuss process, pink and the power of underwear.

Can you talk a little about how you got started as a photographer?
I got my first camera in high school, it was a terrible digital camera with an adjustable screen like the first “selfie” camera and I remember being obsessed with it. I started documenting everything around me, not in a very artful way but it was when I realised how important it is to record. I grew up dancing and was surrounded with all this beauty, resilience and passion that inspired me to create photos in a similar way- part of the reason why my work is female centric.  A couple years after I got a real film camera from my uncle, he found it at a flea market and thought I’d be into it.


What are you looking for when taking a picture?
Emotions. I’m strongly followed by my subjects, it’s usually a certain mood or feeling that I get from them and I’m there to create the most relaxed atmosphere for it to just happen. I try not to direct much and focus on getting to know the people I shoot. It can be very conversational and casual on set, the more time you spend with someone the better it gets and that’s why I like working with muses that repeat in my photos over and over again. Same for locations, less obvious photos are taken in places I’m more familiar with.

Who / what are your influences? 
Film, I think it’s the highest form of art. I really like coming of age stories because of the awkwardness of being misunderstood. My mom is a main force in my life that always inspires me and so are my friends and collaborators. The internet too <3 (:


What is it about colour, and particularly about the candy – palette you work with, that you are drawn to? Is colour vital to your photographs?
Photos can be treated like paintings, especially with film because it’s a physical format. adding colour through light or objects is just one way to play with it. Pink was always my favourite colour, i just see it everywhere almost in a magnetic way. I’m a very spacey person and i get distracted easily, objects that are in that soft colour  palette are the first thing I notice in a new space and I find it comforting.

Do you prefer working with natural light and in a spontaneous way, or are your photographs carefully crafted? 
Mostly spontaneous and in daylight, I have some light tricks that are probably not professional at all but work for me. I do love set design so that is something that is always planned and considered.


You own and subvert the idea of the gaze, why is it important to photograph women in this way?
The female body is either capitalised for looking a certain way or shamed for not looking that certain way. Female intimacy has a lot more to tell and when I take photos I try to look at the body for what it does, not mediated by the male perspective but with full awareness of this gaze and its history. It is more interesting to see women feeling comfortable and celebrated in all shapes and sizes, still without being fetishised.

I found your series of photographs on Israeli soldiers particularly striking and powerful. How did this project come about?
Growing up in Israel it was very normal to see soldiers everywhere: in the mall, in restaurants, on public transportation. I served for two years between the ages of 18-20, that’s when it’s mandatory for girls. Looking back I mostly remember the frustration and my personal refusal to adapt during that time. I barely took any photos during my service and I regret it, I felt so uncomfortable in the uniforms that I couldn’t imagine it as a subject at all. After moving to NYC and having enough time away from my personal experience in the army I realised it is  worth revisiting and documenting. Because in my case I felt completely unseen, having to put aside my political views and goals I wanted to find a way to voice other stories beyond the visual conformity of the uniforms. It was refreshing to find alluring singularity with each of the girls I shot. Photographing female soldiers wasn’t about taking sides or supporting the army in any way. I think the reality of teenagers going into mandatory service, regardless to their views and opinions, is worth documenting considering the extreme political context.


You and Julia Baylis have made an exciting impact with Me and You. How important is collaboration to your work?
Collaboration is so significant to what we do because female friendship and support is where it all started, it is a beautiful exchange that we have with our friends, followers and collaborators. Julia is my best friend and an amazing artist on her own, growing together is a powerful thing that I’m so grateful for. Me and You came together as a reflection of our friendship and grew into a community of like minded girls who inspire us to keep going. It is our baby project and our home.

What is it about underwear that’s so alluring? 
It’s intimate and personal, the first thing we put on the last thing to take off. It is something we wear for ourselves so it has to be a fun choice.

What are you working on at the moment, and what’s in store for the rest of 2016? 
I’m going to continue the Girl Soldiers project, hopefully into a book! Next up is a music video for my friends at ‘Garden City Movement’ which I’m really excited about, can’t say much but we are going to focus on gender fluidity because it’s a beautiful thing. I’m always working on Me and You with Julia to keep  expanding our message and other creative collaboration projects as well.






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LOEWE’s Ibiza concept store

18.06.2016 | Fashion | BY:

This June, LOEWE have resurrected their Summer Shop in the Ibiza Museum of Contemporary Art – MACE – for the second year running. As well as the brand’s ready-to-wear and accessory collections, it will also feature exclusive home and vacation essentials, such as bowls, desk items, sunglasses, and blankets.

The shop runs alongside the museum’s main summer exhibition, which is dedicated to the work of US artist, Cy Twombly. With the label’s key pieces such as bags, pouches and various gifts coming in a resplendent array of hot and vibrant shades, the products are in perfect synergy with their seasonal surroundings.

In addition to this, there will also be a selection of art books on sale, as well as wall carpets from weaver John Allen, the designs of which have also made their way onto a number of special pieces as part of collaboration with the textile artist. A variety of sweatshirts and T-shirts with prints based on brooches by Ramón Puig are also available to buy.

The LOEWE Summer Shop at MACE will remain open from 19th June until the 21st August, 2016.


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Anteros: Sunny Side Up

16.06.2016 | Music | BY:

With summer – supposedly – around the corner, a new soundtrack is most definitely required. Luckily, Anteros are here and more than capable of filling any musical void. This female-fronted, upbeat four-piece are a shiny slice of Brit Pop 2.0, and set for mighty big things. Seamlessly straddling a line between the feisty familiarity of Garbage, The Cardigans and The Cure, and the kick and speed of modern riffs – their sound is as infectious as it is intelligent. As they prepare to open the Other stage at Glastonbury Festival next weekend, we caught up with Laura, Josh, Harry and Charles to discuss ’90s nostalgia, style and eggs…

You’ve said that your name – Anteros – was inspired by the namesake statue in the middle of Piccadilly Circus. Do you define your sound as a particularly British one?
We’d like to think there’s elements of British sound. But with Laura being half Spanish (she grew up in Spain) and Charles being French, it was never going to be purely British.

Bands such as The Cure, The Cardigans and Blur have been mentioned as favourites of yours before – what is it about those artists that you love and draw from?
We love the balance of happy and sad in The Cure’s songs. When it comes to Blur, we love their intensity, attitude and honesty. We find The Cardigans’ ’90s aesthetic is spot on, especially for a female-fronted band.

Your sound has a distinctly ’90s feel – was that a conscious decision? As that’s obviously a key trend in both music and fashion right now?
It was never intentional! Being children of the ’90s, I guess it’s just been a big part of who we are.

Is style an important part of your band image?
Laura: It’s a necessary consideration for anyone (last we checked on stage nudity is still frowned upon). In terms of video, I’m often more flamboyant – but I still like to juxtapose stylised shots with more honest, natural tints. In terms of the live show – we focus our performance towards the delivery – and that leaves me no time to worry about tripping over cables in 10-inch heels… So I avoid them and go for whatever allows me to perform freely.

How would you describe what you wear to perform? Does it differ to every day life?
Laura: Definitely not for the guys (as much as they’d like to wear PJs on stage). I’m still finding my feet and I’m having fun experimenting with different outfits. Each gig/venue kind of inspires different outfits, so essentially it comes down to just dressing for the occasion. The one thing I always stand by is a big jacket, as it is important to feel strong and comfortable before we go on stage. I want the focus to be on music and lyrics…not on my stage outfits.

Would you say you look to the past, present or future for the majority of your references?
We love listening to – as well as supporting – new music. This said, the majority of our references come from the past. We imagine what they would sound like if they were to be released in this day and age. We aim to be a part of the sound of the future – not copycats of the present.

What was the first album you ever bought?
Josh: ‘OK Computer’ – Radiohead
Laura: ‘Spice’ – Spice Girls
Harry: ‘Stadium Arcadium’ – Red Hot Chilli Peppers
Charles: ‘Meteora’ – Linkin Park

When did you decide that making music was going to be your proper job?
Josh: At around 18, when everything else that I ever tried made me feel flat and uninspired.
Laura: I’d been longing for it since before I can even remember, but I don’t think it was until we signed our publishing deal that it felt like a reality.
Charles: I decided when I was about 15 or 16. I’d just seen MJ’s ‘This Is It’, and I’d made it to the final round of an international guitar contest.
Harry: I can’t remember ever wanting to do anything else, but when I started studying it full time when I was 16 I began to learn that it was a possibility and how I would go about it

Are there any aspects of working in the music industry that surprised you? Good or bad?
If you operate with a sense of expectancy, you always get burnt at some point. Music is very demanding of time, energy and emotion. It requires pretty much every bit of yourself that you have or are willing to offer. There are so many different stages to it. If you make music, it’s gotta be because of how it makes you feel – and these days, you’ve got to be willing to get involved in every step of the process.

Laura, which other front women do you admire?
There are so many I admire, past & present. From Chrissie Hynde, Stevie Nicks, Patti Smith and Janis Joplin – to Alison Mosshart, Kim Gordon, Annie Lennox & Gwen Stefani – to Ellie Roswell and Hannah Reid. The list is endless.

Is there ever any differential treatment between Laura and the rest of the band? Pressure to be sexy for example?
Laura: Not more than other bands. I like to think we’re at a point where sexiness is not demanded of you just because you’re a woman. Yeah, I’m a girl, and yeah – I’m a front woman. But I get the same treatment – we all share rooms on tour, everyone helps, and nobody feels like anyone is treated any differently. Everyone has the same level of respect and trust with each other, regardless of gender. In our videos, any “sexiness” is not a statement of eroticism – but one of expectations, society, and freedom of expression.

You recently changed labels – was there a particular reason for that?
Labels have given us the means to distribute our music to a broader audience, and Regal were happy to release our first EP. It’s still early days, so single deals seem like the way forward until it’s time to think about an album.

Your video for ‘Breakfast’ is a wonderfully kitsch experience – how was the process of making it?
I sent an inspiration image of this girl laying on the kitchen floor (she was covered in eggs), and it all kind of spiralled from there. We were so lucky to find an awesome team in Fainche McCardle and directors James & James – who helped make the vision a reality.

What’s your favourite music video of all time?
Josh: ‘The Scientist’ – Coldplay
Laura: ‘Coffee & TV’ – Blur
Harry: ‘Lonely Boy’ – Black Keys
Charles: ‘Rock My World’ – MJ

What should fans expect from your performances this summer?
Full of energy – we just want to give the crowd a good time.

When can we expect an album?
Expect another single before we start discussing an album.

For further info on releases, tour dates and the band themselves visit Anterosofficial.com

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Gucci x Dover Street Market

10.06.2016 | Fashion | BY:

Wunderkid Alessandro Michele can seemingly do no wrong. This month, the creative visionary behind Gucci has teamed up with London’s Dover Street Market to launch a limited-edition capsule collection that will be sold exclusively through the Haymarket’s coolest hangout.

This is not the first time the two brands have come together, in fact Gucci and DSM are old flames. Last year the brand opened a shop-within-shop at Dover Street Market in Ginza, Tokyo and has twice taken over Dover Street Market Ginza’s Elephant Room.

To celebrate the collaboration, a limited-edition book about Gucci entitled Epiphany will be launched in London on June 12th. Having sold out in New York, this offers a rare chance to have a copy signed by its creator Ari Marcopoulos – the ultimate coffee table addition.

And what of the collection itself? The new collaboration takes in the full spectrum of menswear staples, from cotton crew necks to pyjama trousers. Each piece is adorned with signature detail and romantic embellishment, in line with the ‘Gucci Garden’ aesthetic. Think a tree design on the back of a shirt, rabbit patches on denim jackets and studded detail. Throughout the capsule collection, the Gucci label has been designed with a red rather than white background, ensuring each piece is denoted as truly unique.

As London Collections: Men kicks off, there has never been a better time to adorn yourself in Alessandro Michele’s finery: purchase immediately.

The limited-edition Gucci Dover Street Market menswear capsule collection will be available from the 12th June at Dover Street Market Ginza, London, New York and Beijing.


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Becky Tong

Becky Tong: Decks On Fire

08.06.2016 | Music | BY:

Becky Tong has never struggled to fire up up a crowd. Her mixes are instantly energising, with lively sets that seem made for the summer. No stranger to music – her father is DJ Pete Tong – Becky has been working her magic on the London scene for years. Ahead of her set at Moët & Chandon’s Now or Neverland party, we caught up with her to get the inside scoop on summer jams and co-founding Juicebox.

When did you first get into music?
I remember hearing Madonna’s ‘Like A Prayer’ and thinking: “what is this song about? Why did she write this?” The curiosity about artists and their journeys went from there. I knew I wanted to be around great music.

What are your favourite tracks right now?
I love this new band called Whitney, their album is fantastic.

How does music influence your style, and vice versa?
Artists like Kurt Cobain and Mick Jagger have definitely influenced my style. Sometimes I look back at pictures and want to copy exact looks they wore.

You co-founded juicebox – can you talk about how this happened? What have you most enjoyed so far?
Juicebox started as a blog where me and Adam [Callan] would post music we were feeling, then we decided to start a club night for all our friends to come and see the new bands we were excited about, and it turned into a regular thing. We’ve stopped the regular nights to focus on the artists we’re managing and growing the label. It’s hard to pin point a favourite moment as the whole journey has been great, but I guess the best feeling has been being able to leave out paid jobs to focus on growing the company on our own!

What projects and gigs have you got coming up this summer which you’re most excited about?
I’m excited about playing for Moët on June 11th for the Now or Neverland party. Also playing for shoe brand Golden Goose. Then Bestival at the end of the summer!

Your career takes you to lots of coveted events – besides great music, what do you think makes an amazing party?
I think it’s all about the people – I have to have my friends around, and a bottle of champagne!

What has been the most unexpected hit in terms of songs you’ve mixed whilst playing live?
Jump Around – Cypress Hill. No matter how glam the party is, this song always works!

Which artists are you excited about at the moment?
A disco/pop duo called Ekkah are amazing live.

Who features on your ultimate summer tracklist?
Chance the Rapper
Jorja Smith
SG Lewis

What’re you looking forward to at LC:M?
The after parties of course!

You’re DJ’ing at Moët’s June 11th Now or Neverland Party, which marks the first ever champagne spray – what part of your career to date would you mark as your Moët moment?
Being in Ibiza and celebrating my first ever DJ set over there!

Becky Tong is DJing at Moët & Chandon’s Now or Neverland party on 11th June, which marks the first ever champagne spray moment – when racing driver, Dan Gurney won the 24 hours of Le Mans race, popped a bottle of Moët & Chandon and momentously sprayed it in celebration, creating history. Tickets to ‘Now or Neverland’ are available to purchase from Moet.com and Event Brite 

Image by Eva K. Salvi

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Into The Cat’s Eyes

05.06.2016 | Music | BY:

Faris Badwan and Rachel Zeffira – AKA Cat’s Eyes – are offering up an antithesis to the homogenous, often fame-hungry, landscape of pop music right now. Over the last decade, the two artists have left an indelible mark on music in their own very different ways; Faris as frontman of British indie-rock band The Horrors, while Rachel was breaking down the often rigid barriers that stand between the dance floor and the operatic concert hall with her orchestral collaborations. It’s a creative bond that has so far culminated in their critically acclaimed, self-titled 2011 debut, as well as the lauded soundtrack for Peter Strickland’s film The Duke of Burgundy; both steeped in sophisticated orchestrations.

If there is a shared bond between the two artists, it’s their fascination with composition and belief that music has the capacity to evolve organically with time—time being something that is particularly thematic to the duo’s new album Treasure House. When asked about the band’s evolution, Rachel marks the contrasts: “Sound evolves—it has to! We take a futuristic turn in Treasure House. The lyrics seem to bridge a gap between the past, present and future, but this wasn’t intentional, you know. Faris and I didn’t, and don’t ever, sit down and deliberately create abstract, artistic subtexts – our collaboration is very organic, it’s very impulsive.”

Rachel, you and Faris approach music from two very different worlds, yet it seems like you have an easy time communicating. Has that always been the case? 
Yes. None of this was planned. There wasn’t ever a moment when Faris and I decided to “form a band”—in fact the whole thing was nothing more than an accident. We met through a neighbour years ago and started to write music together for fun. At the time Faris was heavily involved with The Horrors. I had no affiliation with pop music—and I liked it that way. I remember writing some stuff for Faris to use without me, you know I was telling him “try this with someone else it could be really good”. Then someone picked up a demo and passed it around and that was the first time we were heard outside of our sitting room in collaboration. Our creative partnership has always been a fluid one. In the early days we were actually ‘pen friends’ (pen-friends via email, of course). When Faris was touring with The Horrors, we would send ideas, lyrics, songs back and forth to each other which gives you a good idea of just how natural our relationship is and was. I think we have always had an easy time communicating.

Tell me about the song writing and recording process…
When we write a song we usually start with a simple melody or a word and it just grows from there. Faris has an extensive vinyl collection and that comes in handy. When we first started out, we’d listen to 1960s girlbands (like The Ronettes) in rotation. This would always be our starting point, then we’d move on to manipulate a given song, so much so that what by the time we had finished up our creation was no longer an imitation but a full circle evolution. Faris might digitise an entire piece or I may overlay orchestral sounds—all that mattered that by the end nothing is recognisable, everything is changed.

Was this a process you stuck to when creating your new album Treasure Island
Actually some of the songs on this album we’re written when we were producing our first album—making elements of this album over five years old! Every song went through a very different production process. Sometimes I will write a song alone and then Faris will come in and manipulate the sound. Other times we will come up with everything together, the chords, the melody, the lyrics—a linear musical process doesn’t really exist in this partnership.

The exploration of time seems to be integral in this album, was that intentional? 
We didn’t plan for it to be. We didn’t set out to make a lasting comment, impression or clear takeaway. When I was writing Everything Moves Towards The Sun I happened to be thinking about the past, present and future. It has a distinct mark of time around which the other songs rotate. The album trips towards the future, but recognises the past and how it has impacts both the present and future.

Which track from the new album are you most likely to listen to on rotation? 
No, no, no—I don’t listen to the album once it has been done! I can’t listen to my own music. If I was to recommend a song to you it would be Chameleon Queen. I think the track is an absolute balance between our DNAs and between our worlds.

What’s the best thing about being in a band? 
In this case it helps that we both have very different strengths. The things I care about, Faris doesn’t. I  might be more obsessed with…say a chord change, whilst Faris would be completely preoccupied by the voiceover. Musically we are totally different, but as cliched as it sounds, it just works.

Treasure House is out now on RAF via Kobalt.


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Poem Baker

Poem Baker’s Hymns From The Bedroom

03.06.2016 | Culture | BY:

“Most of the kids I photograph all know each other, either from the clubs or are personal friends, or have been partners at one point… They’re all intertwined in one way or another. If you look at the portraits, you see some of the same faces again and again, connecting everyone together.”

Photographer Poem Baker‘s Hymns From The Bedroom is a series of portraits featuring a selection of friends and acquaintances, who exist on the brink of creative success and in a haze of twenty-something wonder. Raw, real and refreshingly diverse in its content, here Poem exclusively tells Twin how some of her favourite shots came about, and who the subjects are.

Stef & Jacq, 2011 (main)

“This was taken in a hotel room in San Francisco. Stef is a waitress from Sydney and Jacq a stripper from Brooklyn. I’ve known Stef for some time, and we all ended up going on a road trip together in the USA. I think they were going through quite a difficult time when I made this portrait, they had been together for about a year and were having to split up because of visa issues… They were hanging out in their hotel room and they called me to come around with my camera, they wanted an intimate portrait… This was a very candid shot: no set-ups. I walked in, had a glass of wine with them, and got this in about four or five frames!”


Daniel, 2012

“This was taken in Hackney. Daniel and I met while wandering the streets at London Gay Pride in 2012. I recall seeing him walk down the street and I was immediately struck by his uninhibited persona. He’s a performance artist. We began to collaborate on portraits that explore an alternative concept of gender… I’ve been shooting with Daniel for about five years now. This portrait was set up, more so than usual, he had a clear idea of how he wanted to be photographed and I just tweaked it a little. But no big set-ups… Just me, him and my flash gun!”

After Party

After party – Harry and friends, 2015

“This was taken at an after party in east London. I got called by Harry, who is in this particular picture, to come and photograph him and his friends. I turned up at about 5am, when everyone was chilling, smoking and playing music. Again it’s another candid shot. In situations like these you really don’t want to set stuff up, I just like people to do their own thing… The photographs are there, you just have to blend in and get everyone relaxed around your camera.”


James, 2011

“I met James at a friend’s 21st birthday, my eye caught his tattoo on his chest that read ‘Sunday Morning’. Being a huge fan of Lou Reed and Andy Warhol we struck up conversations and met the next day. At the time he was living in Walthamstow. We walked around his neighbourhood as it was a lovely sunny day and somehow ended up in the graveyard! That’s where we took this picture!”


Vera , Sam & Elise, 2014

“Sam is a hairdresser, and this is a candid moment of him hanging out with his friends doing their hair before a big night out clubbing in London! I’ve been photographing Sam since the start of this project, he was living at home with his parents and dating James (who is in the previous picture) when I first met with him.”


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city abstract

The City Is Abstract

02.06.2016 | Art | BY:

In her latest work, photographer Sarah Piantadosi documents the brief but intense relationship between performance artist Emil Bognar-Nasdor and writer and dominatrix Reba Maybury – who are New York and London-based respectively. The result is The City Is Abstract, a powerful zine which explores the themes of distance, lust and wanting.

This show follows on from the success of last year’s Milk Jagger, which was a study in “hyper-masculine, eighties homoeroticism”. The City Is Abstract gallery show opens with a private view (7-9pm) at Ditto in London this evening, so we caught up with Sarah to delve a little deeper into the concept.

How did the project come about?
I saw Emil playing in his band Dawn of Humans, on stage he’s naked with his cock and balls tied up, covered in paint and screaming. Its a visceral and unique experience to say the least! I invited him to come to my studio to take pictures, and Reba came along and spontaneously joined in which brought the pictures to a different level entirely.

Do you have a favourite element of it?
There is a rawness specific to both Reba and Emil. An openness and fearlessness.

Do you think desire can really overcome the obstacle of distance?
I’m not sure… This zine is a meditation on the moment and also a reflection on the past. It’s not for me to say how people should organise their relationships.

city abstract

This is your second event of this kind, does it feel different to Milk Jagger, of last year? If so, how?
This zine feels totally different to Milk Jagger. With Milk Jagger, Michael B. Wallace and I were expanding on an alter ego. It was a fantasy character and a lot of fun to mould and shape into a narrative for the zine. The City is Abstract feels more raw and real. Its portrays two unique artists, who at the time of shooting were in a relationship. Because of this the pictures are really personal to them and at times painful. I’m usually in a position to make a subject feel great about themselves, there are aspects of this project that won’t fulfill that goal and it sits very uncomfortably with me.

What did everyone involved bring to the table?
Reba and Emil have such specific styles. Emil has honed this painted primal look with Dawn of Humans. Reba has a particular look with her lips painted into pointy arches, and her way of carrying herself. They both inspire me a great deal and this zine would never exist with different individuals. Jamie Andrew Reid art directed this project and brought a visual style to the zine thats different and exciting for me. Ditto gallery have also been incredibly supportive, I owe them a big thanks.

What’s next after this?
The City is Abstract is all black and white and quite dark and fetish feeling. I’m really excited to try something very colorful and for the next zine… I have a few ideas up my sleeve but cant share just yet!

The City Is Abstract runs from 2nd – 10th June, 2016 at Ditto (4 Benyon Road, London N1 5TY). For further information click HERE.

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Gordi: Healing Time

01.06.2016 | Music | BY:

Aged only 22,  Gordi (real name Sophie Payten) may be writing lyrics within an established lexical field of relationships and existential probing, but her production fuses traditional guitars with synth to give a bright new contribution to an established canon. Born in Canowindra in rural New South Wales, Australia, the singer has since made her mark on Sydney’s music scene. With a new EP out this month, we asked her to lend some insight into this exciting new chapter.

Were you always interested in music?
Music has always been a big part of my life, I learnt to play the piano from about age four and have always sung. My Mum is a piano teacher so there was always music in the house, and in my teenage years I started writing.

You’re also training as a doctor, are there any parallels between medicine and music? 
I’m currently in my 5th year of my medical studies, so still training! I think the biggest parallel is the connection you can make with another person. I guess they both heal people too. The thing about medicine that interests me is hearing someone’s whole story and then piecing together what the problem is – writing music is a bit like that.

How did your environment growing up inspire your sound?
I grew up on a farm and I think because it was so quiet and there was so much to explore it really inspires creativity. I like to explore space in the music I write and I think that comes from always appreciating the quiet.

You have a unique sound, and I wondered if you could talk a little about the music scene in Australia – do you think you’re working with or against the general sound at the moment? 
I think I’m working with it. The Australian music scene is really booming at the moment and there are so many great artists coming out of our country. I think there’s definitely been some strength in the electronic movement which has influenced the production on my tracks, but the alternative music culture in Australia which is supported by Triple J have always championed the songwriter and so that acoustic influence is definitely there.

What were the main musical influences of this record? 
We always started the recording process with really clear references in mind and they mostly came from Asgeir, The Tallest Man on Earth, Bon Iver and Volcano Choir, and Bonobo.

Do you find you write songs as a reaction to a feeling or to delve into a certain mood? 
Probably both. It’s about taking hold of an idea that might be a particular emotion or circumstance and exploring it to its depths.

How are you enjoying the process of touring so far? Any mis-haps or revelations?
There’s always mishaps! I do find it a bit stressful at times but overall I love it. Getting up on stage each night and performing is certainly the best part and each time I do it reminds me why I’m going through all the hours of transit with 100kg worth of bags and eating fast food for a month in the same three outfits.

What are you looking forward to for the rest of 2016?
I’ve been really look forward to this tour to the UK, US and Canada and after that I’ll be doing a run of headline shows in Australia in support of my EP. And soon I’ll be getting back in to the studio to make some more music which is always an exciting prospect.

‘Can We Work It Out’ is out now on Jagjaguwar

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