“The Amount of Love You Have to Give is More Than I Can Stand.”

18.11.2018 | Art , Culture | BY:

Phoebe Collings-James’ first solo show in Cologne opens today. The new exhibition at the Ginerva Gambino gallery presents three wall-size pieces that create an overall frame, with smaller drawings and paintings displayed in between these works.

“In most of Collings-James’ work, violence and beauty coincide.” The gallery says of the new exhibition, noting the complexities and nuances of Collings-James’ work that have seen her reputation skyrocket in recent years. The exhibition addresses dualities and contrasts – “feelings of familiarity and distance. This cacophony relates to her exploration of identity. Her personal (being a queer, British-Jamaican woman) and the historical – the present day and the ancestral.”

Since she graduated from Goldsmiths in London in 2009, Phoebe Collings-James has become one of the most exciting new voices on the scene. Now Brooklyn-based, the artists has had major shows in London, New York and Antwerp. With such a capacity to produce works that make an impression, that are both intense and delicate, it’s easy to see why. The new exhibition is on until the end of January.

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Jil Sander’s Tangle Bag

08.11.2018 | Fashion | BY:

The new Tangle bag from Jil Sander has us in a twist. Functional and versatile, the minimal, compact design is served in spring green and sienna, as well as primary black and white. You’ll find they inspire a fervent desire to collect them all.

The crisp body is contrasted with a knotted, barely-there strap – just enough to garner a double take from admirers. 

It’s another playful offer from creative directors, husband-and-wife duo Luke and Lucie Meier. The pair have evolved the famous signature of the brand without losing its past. Understatement and the unexpected are blended with confidence and ease. 

 

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Life listening: tune into foundation.fm

30.10.2018 | Blog | BY:

A new radio station, foundation.fm, is set to launch 5th November, bringing listeners 12 hours of inspiring women every weekday.

The new station will broadcast from Peckham Levels in London, and is based around the schedules of the city’s creatives, running from 10am – 10pm. Easily enough time to settle into your morning routine without missing anything.

It’s the first female-led community station of its kind, with an aim to champion and promote the most dynamic talent from across the creative sphere. 

Presenters will include a host of Twin favourites, including Women in Fashion founder, Daisy Walker, artist and activist Lotte Andersen and the inspirational Naomi Shimada. The mix of DJs, artistic directors, songwriters and performers promises to make for highly entertaining broadcasting throughout the day. 

Even though podcasts are firmly established, such an inspiring station which brings together leading voices and music on air has been missing from the radio landscape. We can’t wait to tune in. 

Listen and find out more here.

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“Sex, sadness, politics, country music.” Twin meets Lola Kirke

06.10.2018 | Music | BY:

“My tongue won’t tie / It’s not supposed to / Least I can’t lie like I used to.”

So sings Lola Kirke on her record ‘Supposed To’, an elegy on perfectionism rendered with melancholic yet determined vocals that soar over a traditional country rock sound.

Music is the latest addition to Kirke’s growing oeuvre. Having previously starred in TV shows such as Mozart in the Jungle alongside films like Untogether, Gone Girl and Gemini , Kirke is now bringing her performances closer to home.

Her first album Heart Head West was released in August. The record features a rich and emotive collection of songs, which mix the sound of country with cosmopolitan, city experiences. Personal and honest, what Kirke sings resonates even as the melody ends.  This November sees Kirke arrive in London to perform at the Lexington in North London.

Ahead of her arrival in the capital, Twin caught up with Kirke to talk sadness, Gram Parsons and the  power of Italian bar bathrooms.

Did your sound develop naturally or was there a lot of experimenting to find the best fit?

It came about pretty naturally. I’ve been pretty consistent in my musical taste for some time now—Neil Young, Karen Dalton, the Band and the likes of them have always felt deeply close to me, so recording live to tape and reducing the amount of “slick” just felt right. I’m also just kind of a bad guitar player and have a somewhat unusual voice (lisp, smoking for far too long, charmingly flat or at least I hope!) so the sweaty, messy, reverb sound has always been kind to me. 

Did you find it easy to create something unique which also has the recognisable characteristics of a country song?

For whatever reason, I have just always loved country music. Maybe it’s cause my big sister loved country music and I just wanted her to think I was cool when I was little. Or maybe it’s something from a past life or maybe it’s the intrinsic ability of the country format to put so simply feelings that are so complex. When a writer of any kind can do that, they’ve succeeded for me. So I guess it’s “easy” for me to lean towards a country sound but it’s always a welcome challenge to say what you’re trying to in the most effective and beautiful way.

Is there a challenge of distilling city living into a country sound? 

When you live in a city, you see so much pain and joy—the whole spectrum of life. It’s always very inspiring but also can be very sad. I’d say writing music in general makes it easier to cope with all of that, it gives me an outlet. But I’ve never felt a tension between urban life and country sound. I think they complement each other very nicely. 

How did the album come together? Did you know from the beginning what it would be or did it form as you worked? 

I’d been writing songs for a long time and always had fantasized about having my very own record. I’d been touring the songs with my band a bit and they were kind of like “Alright you have a record now let’s record it” and that was sort of the beginning. Besides the fact that the songs are written by me and mostly in the year 2017, there isn’t really a connecting theme. 

What’s your approach songwriting?

Sadness and loneliness help! I journal a lot which helps keep my lyrics coming from true place instead something more forced. Otherwise I’ve been lucky to have melodies come to me. 

All your songs seem to come from a personal perspective. Were there any experiences you drew on which surprised you? 

“Turn Away Your Heart” began in a bar bathroom in Italy. I think I was squatting to pee. That was surprising. 

‘Monster’ and ‘Supposed To’ both address the theme of being an outsider and not conforming. What do you see as the biggest challenges to individuality in the modern age? 

I suppose they do! That’s funny you picked up on that because they’re really about very different things. “Monster” is about self destruction and social awkwardness while “Supposed To” is about perfectionism… but I think all of those things connect back to individuality. I think social media really challenges our sense of ourselves and makes it very easy to compare ourselves to other people and despair about the results. At least that’s my experience. 

What were you interested in before making the record, and how did this feed into your work?

All sorts of things! Sex, sadness, politics, country music. What’s fun about songwriting is that you can make work about all your interests if you want to. 

What about Gram Parson’s music were you drawn to?

He was the first person I ever heard who fused the genres of rock and country together and he did it so well too. In the stories I’ve read or heard about him it’s clear that his and charm charisma weren’t unique to his music, that he was really able to bring that into his personal life too. He was such a leader and attracted quite the interesting following. I love how he’s still doing that to this day with his music. 

Gram Parsons songs are open and vulnerable. Do you think there’s still the same room for those qualities in songwriting today?

If there isn’t then I’m not interested! Art is all about communication and movement, and if were not communicating openly and vulnerably then we’re not moving anything.

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Ready, set, Frieze: at Dover Street Market

03.10.2018 | Art , Blog , Culture , Fashion | BY:

The excitement in the air as Frieze comes to London is palpable and everyone is looking to get involved. Conserve your energy and make the most of the good vibes: for a super condensed shot of fashion and art related events, Dover Street Market is the place to be.

Serving as the wheatgrass in the cultural smoothie that Frieze has become, Dover Street Market’s locus of activities offers everything we thought we needed, and a whole lot more. The series is launching in store tomorrow and you may want to bring your camping gear – there’s a lot to get through.

Luncheon magazine at Dover Street Market

Highlights include Isabella Burley’s joyful new book, ‘Sisters’ by Jim Britt, which features the brace-clad duo who starred in the AW88 CDG campaign; Charles Jeffrey’s zine launch; Simone Rocha x A Magazine launch; Luncheon magazine’s installation with Rottingdean Bazaar; Loewe’s celebration of classical literature; and much more.

Isabella Burley, UK book launch: ‘Sisters’ by Jim Britt

For the Luncheon installation, Rottingdean Bazaar are re-decorating the Luncheon ‘Kiosk’ which sits the DSM and will be offering some custom playful product with every copy of the magazine – ‘spoontacles.’ These are, as they sound, spoons made into glasses… expect to see London’s most fashion forward coveting the maverick brand’s latest invention in the season ahead.

Luncheon magazine at Dover Street Market

Spoontacles or no spoontacles, you’ll find there’s plenty to dive into at Dover Street Market tomorrow. See you in the queue.

Loewe classic books
Charles Jeffrey Zine
JW Anderson, Your Picture Our Future Publication

Dover Street Market Open House, October 4th 2018, 6-8 pm.

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Ashish SS19: reflection and sparkle

23.09.2018 | Blog , Fashion | BY:

Ashish’s SS19 show at London Fashion Week came at a poignant time in India’s history. The country voted to decriminalise homosexuality at the beginning of September, a historic vote which marks a hugely significant new era. 

While this event wasn’t directly referenced in the collection by the Indian-born British designer – famous for his commanding statement slogans which have previously included the iconic ‘Immigrant’ t-shirt and upbeat messages such as ‘You Are Much Lovelier Than You Think’.  In this collection, the pain of the past and the joy for a new and more inclusive future instead permeated the ether. 

For SS19 Ashish Gupta amped up his signature statement sequins and offered plenty of 90s inspired bias cuts. For a look that has such disco connotations, Ashish managed to communicate a grunge-y, undone-ness in these looks. It felt less like a means of escaping from reality and less of a celebration of living in the now.

Ashish has previously used his designs to draw attention to the crises that pervade our times. This collection offered a dazzling moment of stillness – sequins as mirrors for reflection and pause. 

Twin contributor Alexandra Waespi documents behind the scenes and the best looks at the SS19 Ashish show.

Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine
Ashish SS19 by Alexandra Waespi for Twin magazine

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Sadie Williams’ glittering future

17.09.2018 | Fashion | BY:

For SS19, Sadie Williams brought her signature combination of feminine sparkle and defined, futuristic prints together for a banging new take on womenswear.

The designer has developed her visual new code to offer confident emblems of empowered femininity. For SS19 Williams riffed on 1970s styles and went big on texture. Both felt controlled and new rather than repetitive or chaotic. This was thanks to razor sharp tailoring which drew outfits together crisply. Cinched silhouettes also fuelled the definition, while wide flat pleats or skirts added to the triumph.

With its metallic baker boy caps, sparkling laces and statement nails, the collection invites the wearer to bring their own sense of humour and play to the looks. Never didactic, Williams nevertheless is clear on where she wants to go. And without a doubt, we’re all going to follow. 

Twin photographer Alexandra Waespi captures behind the scenes at Sadie Williams SS19. 

Sadie Williams SS19 | photos Alexandra Waespi for Twin

Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin
Sadie Williams SS19 | photos Alexandra Waespi for Twin

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Salon 63

16.09.2018 | Art , Blog | BY:

Londoners heading south should leave room for a longer bus journey this week thanks to a new project opening along the 63 bus route.

Curator Sasha Galitzine has partnered with 13 artists with 10 hair and beauty salons to make site-specific works throughout the route. Each work explores and celebrates the role of the salon in the local community, and the journey runs from Clerkenwell to Peckham. 

The participating artists Larry Achiampong, Gabriele Beveridge, Ellen Gallagher, Gery Georgieva, Paul Kindersley, Eloise Lawson, Andrew Logan, Isaac Olvera, Paloma Proudfoot, Hans Rosenström, Stasis, Freddy Tuppen and Kirsty Turner Jones.

One of Lewis Barbers clients in Eloise Lawson’s workshop there whilst waiting for a haircut.

The participating salons are Barber Streisand, La Bodeguita & Elephant & Castle Shopping Centre, Diamond Nails, Manuel Guerra Skin Care & Sylvio’s Juice Bar, Old Kent Road Barber Shop, Lewis Barbers, Miami Health Club, Sam’s Barbers, DKUK and Divine Destiny.

The project draws attention to the vital role that these salons play in the local community, how they act as spaces for socialising and support as well as for beauty treatments and hair styling.

Eloise Lawson and Lewis barbers.

In doing so Sasha seeks to raise questions about the role of the salon in London, and beyond that to investigate notions around what a social space is, and how it is made.

For more information about Salon 63: Artist & Salon collaborations down the 63 bus route, click here.

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Megan Rooney, SUN DOWN MOON UP

10.09.2018 | Blog | BY:

This weekend Megan Rooney will conjure an immersive world at the Serpentine Pavilion as part of their Park Nights series. 

The performance will centre on the story about a group of female magpies who invade Mount Athos, exploring the idea of transgression within forbidden space and investigating metaphors offered by nature.

Rooney is widely known for her fluid and expansive narratives. The artist brings together a rich catalogue of expression, from painting and sculpture to spoken word performances, in order to convey her imagined worlds. And while her settings may feel apart from the everyday, her themes and topics are deeply rooted in the current political and social sphere. 

This performance will include choreography by Nefeli Skarmea, and sound by Paolo Thorsen-Nagel. 

Buy tickets for Megan Rooney, Park Nights at Serpentine Pavilion, 14th September, here. 

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AYA, Francesca Allen

03.09.2018 | Art , Culture | BY:

When the British photographer met musician Aya in Tokyo the pair bonded immediately. “Even though our time together was brief, they remain some of my favourite photos I’ve taken” says Francesca Allen of this first encounter in 2016.

Two years later, these first photographs have informed a longer and more intimate project. Francesca Allen’s new book, ‘Aya’ invites viewers into their friendship and documents a month that the pair spent together in Tokyo.

Unable to speak the same language, Allen’s lens offers a poignant testament to connections that are forged beyond verbal exchange. She captures the unspoken chemistry and emotional bond between them, created over an intense month of sharing everything and spending all their time in each other’s company.

Aya is depicted in the studio but also in both domestic and outdoor locations throughout the city. The portraits, whether up close or more distanced, are constantly tender and thoughtful. In these images we can feel Allen behind the camera, creating space for the audience to see into their shared world.

Released this week, ‘Aya’ is an ode to friendship, celebrated in a beautiful new tome. Ahead of the launch we caught up with Francesca Allen to find out more. 

‘Aya’, Francesca Allen

What did you find most interesting about Aya when you met her?

It’s hard to pinpoint why you find someone interesting, but for me it’s all about a connection. Aya is enigmatic and quiet and funny and intriguing. I’m so happy I was able to get to know her more. 

How did you meet?

We were introduced through a mutual friend in 2016 when I first visited Tokyo. We hung out for a few hours taking photos and went to Aya’s label Big Love Records in Harajuku. Even though our time together was brief, they remain some of my favourite photos I’ve taken.

‘Aya’, Francesca Allen

How did documenting one person compare to doing editorials and campaigns?

To have the luxury of spending that much time with one person is so special and something I was very grateful to be able to do. 

What did you learn?

I learnt that this type of project is my dream project. I’m constantly looking for people to photograph and forge connections with, and to be let into someone’s life like this was amazing. 

Did the city of Tokyo inform or inspire the photographs?

Being in a new place is always so exciting, but I wasn’t there to make a book about Tokyo so I veered away from including anything too obvious. I wanted Aya to be the sole focus of the photographs. 

Was there anything that surprised you during the project?

I never tired of taking photos of Aya. We spent a lot of time together and went through so many rolls of film, yet it never felt stale. 

‘Aya’, Francesca Allen

There’s a mixture of studio portraits and natural environments in the book. How did the different settings inform your approach to image making in the context of such an intimate relationship with your subject?

I don’t feel like there is so much difference with shooting in a studio to being on location. The focus of my photos is so rarely about the location or the environment, and when you reach a certain level of intimacy with someone it doesn’t make too much difference where you are. 

‘Aya’, Francesca Allen

What about the book are you most excited about?

I received my first copy of the book the other day, and it felt amazing to hold it in my hands. We are all so used to seeing our photos on screens and social media, so to have the opportunity to make something tangible feels incredibly special. 

‘Aya’, Francesca Allen

‘Aya’ by Francesca Allen is out on Libraryman with a limited first edition of 500 copies, 4th September 2018. 

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Soft Criminal, Red Hook Labs

31.08.2018 | Art , Culture | BY:

A new exhibition at Red Hook Labs this September looks to immerse audiences in an anarchic and imagined world.

Entitled ‘Soft Criminal’ the new exhibition brings together the work of three creatives: South African photographer Kristin-Lee Moolman, Sierra-Leonean designer Ibrahim Kamara and British designer Gareth Wrighton.

The collaboration between the three artists is set around an imagined story line about characters from the African diaspora. Soft Criminal centres around three families wrestling for power and explores the tension not only between individuals but between tradition and progress. In the story an old King is deposed by a “new money hacktivists” and an anarchic war lord.

The exhibition at Red Hook Labs will open with a live show featuring 22 hand-made designs alongside a display of photographs taken of the collection by Moolman in South Africa.

This exhibition at Red Hook Labs is the latest of an ongoing series of work between Moolman, Kamara and Wrighton. The group have also exhibited together at Somerset House and collaborated on a zine.

Poignant and evocative expected your imagination to be sparked and the impact of the trio’s vision to stay long after you leave the exhibition. 

Soft Criminal, Red Hook Labs, September 12th – 23rd, 2018.

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Supernature in Two Parts

28.08.2018 | Art , Blog | BY:

Two evenings of sonic and experiential performances in London see Haroon Mirza and Daria Khan present emerging artists with a specific focus on performance, queer, female and non-binary practitioners.

The first evening is curated by Khan and Mimosa House and will centre around the work of three artists who use sculpture and performance to explore ideas around gender, sexuality, resistance and desire.

Moscow-based artist Taus Makhacheva, who works under the name Super Taus, who will create sculptures from steel during a live performance on the evening. 

London-based artist Gaia Fugazza will invite audiences to hold sculptures in their mouths and Linda Stupart will create performances that investigate melting icebergs and Morgellons disease.

The first night will be curated by Daria Khan while Haroon Mirza curates the second evening of performances. 

On this second evening the work will centre around how humans will imagine the archaeological site of the Large Hadron Collider after two millennia have passed. The collaborative work was inspired by a trip to CERN and sees Mirza work with artists, musicians, performers and producers.

The event is free to the public but booking in advance is highly recommended. 

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Blood Orange, “Saint”

28.08.2018 | Blog , Music | BY:

Blood Orange has shared the video for “Saint”, the latest release to be taken from his new album, Negro Swan. The video was directed by Devonté Hynes.

Co-written with Aaron Maine from Porches, Kindness’ Adam Bainbridge and singer Ava Raiin the song lays a stripped back and absorbing beat under Blood Orange’s signature direct, poetic lyrics.

The new video sees Hynes performing the song in a home studio set up, with a retro, cinematic feel. Onlookers slope on sofas and against door frames as Hynes plays the keyboard and sings into a handheld microphone.

“You wish I seen the saint you were before / Your skin’s a flag that shines for us all.”

Watch the video for “Saint” below. 

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Good Trouble issue 22, issue 2

26.08.2018 | Art , Blog , Culture | BY:

The second issue of Good Trouble issue 22, the zine produced by former Dazed & Confused editor Rod Stanley and designed by Richard Turley and Sophie Abady, is out this month.

Slightly confusing though the name of the magazine may be, the work included this issue is straightforwardly fantastic. The publication features original work by Wolfgang Tillmans, Sara Rahbar, Boychild, Scott King, Torbjørn Rødland, Helena Foster and others, curated by Francesca Gavin.

The broadsheet newspaper champions activism and resistance, bringing together a selection of creative and dynamic voices. This latest issue spans 32 pages and includes a pull out ‘Unmanifesto’ poster.

Get it here! 

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Akemi’s 100 Kimonos, by Emily Stein

08.08.2018 | Art , Culture , Fashion | BY:

In a new series of images, photographer Emily Stein creates portraits of Akemi and her kimonos. A celebration of traditional clothing and heritage set in a modern British environments.

Emily Stein explains the story behind her bright and celebratory new series. 

Akemi has lived in the UK for twenty years, however her heart is truly rooted in her home country of Japan and this manifests itself in her extensive Kimono collection.  As I got to know her she explained to me how she came to London in search of a safer place for her and her young daughter. She explained how in Japan women are sexually harassed frequently and how she grew up being taught to obey men. She felt she had no voice or way of expressing herself.

Each Kimono has a story to tell about her past which she is emotionally connected to.

Her kimono collection is a way for Akemi to be close to certain parts of what she loves about her heritage. Her collection of 100 beautiful pieces feels like an extension of her.

She always dresses in Kimono’s. I felt like it would be a lovely story to tell.

© Emily Stein
© Emily Stein
© Emily Stein

© Emily Stein

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Show moments of sunlight, Twin meets Cecilie Bahnsen

03.08.2018 | Fashion | BY:

While sports and athleisure wear dominate the market, Cecilie Bahnsen’s work is unabashedly feminine and dream like. Her aesthetic feels rooted in optimism and possibility rather than perfunctory practicality.

Bahnsen’s romantic, sculptural forms have garnered a wide and loyal following and made her a name to know in the international fashion scene.

The new PS19 images, shot by Josefine Seifert, feel straight out of Peter Weir’s original 1970s’s Picnic At Hanging Rock. Photographs capture youth and a sense of freedom while also hinting at a the lurking, more sinister reality that’s never too far away.

Ahead of Copenhagen Fashion Week Twin talks to Cecilie about the evolution of her signature designs and finding inspiration in Eton collage for her PS19 collection. 

Cecilie Bahnsen PS19 | images by Josefine Seifert

What about volume interests you?

I love how you can play with a great volume and yet make it feel light. We love to use the dresses as a canvas to show off the beautiful textiles and materials we develop, so for the volume, the bigger the better. I am not that good at ‘less is more’.

Were you always drawn to romanticism in clothes? Why?

I have always been drawn to femininity and a romantic way of dressing. I am a big sucker for romance, I fast-forward movies to the romantic scenes. I do though, like the contrasts that can be drawn to romanticism as well, and I always try to bring in some modernity and Scandinavian minimalism to not get carried away.

Are you inspired by sculpture? If so, what are your favorite pieces?

I’ve always taken a sculptural approach when designing clothes and so I was thrilled when we, for the AW18 show and campaign could present the collection in a setting surrounded by sculptures made by the legendary Dan Graham. In some respects, our work is similar — we each create unique pieces that come alive through their interaction with people.

The sculptural influences are woven throughout FW18’s considered series of covetable dresses in a pared-back palette of black, white, pink and green. Billowing sleeves, full skirts and floaty hemlines are all meticulously constructed, a play of precision and lightness like you see it in Dan Grahams glass installations.

Cecilie Bahnsen PS19 | images by Josefine Seifert

How do you feel that your silhouettes and aesthetic has evolved since you started?

The collections are always a study in fabric, texture, line and volume. Each season we refine and evolve the silhouettes, details and fabric to fit perfect with the seasons mood.

I think that with confidence and knowledge the level of each collection grow and the identity and the DNA of the brand get more defined.  This process is so inspiring and fascinating.

Often you can’t see the development or the progression when you are in the middle of the design process and you have a lot of self-doubt, but when you see the finished collection, looks and how everything has fallen into place, you sometimes get this Wow feeling of how beautiful it all has become.

Cecilie Bahnsen PS19 | images by Josefine Seifert

Did you find it easy / natural to develop your design signature?

I think, what has now become my design signature, is something that naturally and slowly evolved from my first collections and throughout the last seasons. I like to re-use shapes and develop new ones by using my favorite features from previous design to give birth to new ones and in that way continue the collections, and pass on the DNA from dress to dress.

What have been the biggest challenges that you’ve encountered as you’ve launched and grown the label?

The speed that fashion moves in, makes it very hard to both have the time to be creative and to run a business. You need to be able to handle a lot of different jobs at the same time.

The fashion industry is moving very fast, and I don’t think it would harm anyone to slow down and consider how much we produce and be more aware of our production process. 

For me it has been really important to hold on to the design DNA and create beautiful timeless pieces that last longer than a season and hopefully will be cherished by the wear for a life time. 

Cecilie Bahnsen PS19 | images by Josefine Seifert

 

What are your favourite materials to work with, and why?

Merging tradition with innovation, we work with manufacturers in Como, Italy, to design new textiles for each collection that offer a unique combination of style, sustainability and quality. 

Quilting reimagining one of the oldest couture techniques for the contemporary woman, our double-faced silk quilting is produced by our partners in Lithuania using textiles sourced in the UK. 

Our embroidery is created by hand for each garment, with a bespoke process based on traditional couture techniques that offers a unique, contemporary aesthetic. 

Each garment is handmade with traditional techniques, intricate detailing and uniquely designed fabrics to present a timeless expression of modern femininity. 

Cecilie Bahnsen PS19 | images by Josefine Seifert

What were you interested in exploring for PS19?

The Pre-Spring 2019 collection is inspired by collective identity and the expressiveness and beauty of a group. The inspiration is a combination of the femininity and innocent aesthetic of Japanese artist Osamu Yokonami’s photo series assembly, showing the beauty and strength of the collective entity, with the masculine contrast of the school uniforms worn by boys at Eton College.

The collection represents spring in its ability to show moments of sunlight through the subtle colours palette of yellow, lavender, black and white, combined with soft and sculptural silhouettes in light materials such as cotton poplin, silk, lace and transparent layering. 

Cecilie Bahnsen PS19 | images by Josefine Seifert

How would describe modern femininity vs traditional femininity – is there a difference?

I like to draw inspiration from the romanticisms in traditional femininity, but I feel like modern femininity is much more about individuality, showing your personality and expressing yourself. I feel like it’s way more easy to feel feminine while dressing masculine. It’s way more complex and open for interpretation.

Cecilie Bahnsen PS19 | images by Josefine Seifert

What are you excited about for Copenhagen FW this season?
There is always something special about Copenhagen fashion week in the summer, the entire city is buzzing with expectations and full of life. There is a very relaxed feel to it, people drink wine and arrive at the shows in puffy dresses on city bikes. I love that.

Cecilie Bahnsen PS19 | images by Josefine Seifert

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Margaret Howell AW18 by Jack Davidson

01.08.2018 | Fashion | BY:

Jack Davidson gets behind the lens for the Margaret Howell AW18 campaign. Shot in Farnham in Surrey images bring the best of Howell’s refined nostalgia and eternal relevance. Black and white portraits fuel the romantic lilt and emphasise the warm, elegant tailoring at the heart of the season’s collection.

Jack Davison for Margaret Howell AW18 campaign

Jack Davison for Margaret Howell AW18 campaign

Jack Davison for Margaret Howell AW18 campaign

Jack Davison for Margaret Howell AW18 campaign

Jack Davison for Margaret Howell AW18 campaign

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Sinéad O’Dwyer’s new fashion vision

15.07.2018 | Fashion | BY:

Sinead O’Dwyer’s RCA MA collection blended fashion and performance to offer a radical statement about diversity on a meaningful level in fashion. Using silicone (so often used to twist women’s bodies into a standard prescribed by patriarchal norms) and fibreglass, the young designer offered a bold new option for the industry: clothes that put the wearer’s body first rather than pushing the wearer to fit into punishing, shaming silhouettes.

Twin talks to Sinéad about breaking through the barriers in the new era.

Have you always been interested in the body as the starting point for clothes?
Not always, but I started studying fashion because I always seemed to want to relate my experiences and self expression back to my body and felt that fashion was an art in which the body and it’s exploration was central.

Sinead O’Dwyer RCA MA Show | credit: Dan Sims

Do you approach clothes with an idea of the shape that you want to create or is it always an organic process?
Observations of the body are my first port of call, and then it’s an organic process that is informed by these observations.
What about silicone and fibreglass were you drawn to when making work for your MA show?
Learning about mouldmaking and silicone has allowed me to translate the form and fragility of the body fluidly into my garments. I’m also drawn to the endless experiments you can make using such an industrial material as fiberglass for a mould.
How has your experience of growing up in Ireland informed your work?
I grew up in the countryside in a small town and had very little understanding for how the beauty and fashion industry operated, but still longed to be a part of it. However now after living in big cities I can see how these industries glorify themselves and the people they choose to represent and that knowledge combined with my experiences of how this can affect people’s perceptions of themselves is definitely something which fuels my work.

Sinead O’Dwyer RCA MA Show | credit: Dan Sims

What do you feel are the biggest challenges to changing how the body is perceived in fashion?
Old school fashion teaching and thinking: young designers want change but so many fashion schools still indirectly teach that a model has to be one shape and size by way of their choices of fit models and the block patterns they provide. In some cases, these arbitrary size restrictions are even enforced at show time. For example, the ITS competition rules state that garments must be size 8-10; upon enquiring if I could use a variety of sizes I was fed the usual excuse that models must be suitable for all to use.
This attitude, that it is not a priority to consider the bodies we are using to represent, and that everyone but ‘me’ wishes to use a size 8, is embedded in fashion culture. But it’s more often the case that a lot of designers have size 8 garments due to the resources pumped into paying for size 8 fit models, size 8 block patterns and also the stipulation in the ITS rules that garments MUST be size 8.
Where do you want to take your designs now?
I’ll continue pushing the process I’ve developed during these last two years.
Featured image credit: Sinead O’Dwyer RCA MA Show | credit: Dan Sims

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Strange Plants III

11.07.2018 | Art , Blog | BY:

Dedicated to plants in contemporary art, the latest of the Strange Plants series celebrates the diverse range of flowers, succulents and foliage and examines their power within the creative space. From large-scale paintings to granular photographs, the book captures the nuances and weirdness of the natural world.

Divided into themes, the 164 page book encompasses the work of 50 artists, across a range of media. Each section examines a different aspect of how plants inspire or function in contemporary art. Featured artists include Caitlin Keogh, Chloe Wise, Robin F. Williams, Louise Bonnet, Marius Bercea and the photography duo Synchrodogs.

This most recent release in the award-winning series also features a special section dedicated to the late photographer Ren Hang. Hang’s images of his friends floating in lily-pad filled ponds were a highlight of the previous book. “Regrowth”– section of Strange Plants III – is “a modest attempt to pay tribute to his life and art.”

Published by independent publisher zioxla, Strange Plants III is an ongoing tribute to, and meditation on,  the harmony, inspiration and provocation that plant life offers artists in the modern world.

Cacti, Strange Plants III

Strange Plants III

Strange Plants III

Synchrodogs, Strange Plants III

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Coco Capitán: Is it tomorrow yet?

01.07.2018 | Art , Blog , Culture , Fashion | BY:

Twin contributor, Gucci collaborator and renowned photographer and artist Coco Capitán opens a new solo exhibition at the Daelim Museum in Seoul this summer.

This is the first time the artist will be shown in Asia and the exhibition offers a broad introduction to Coco’s world. The show will encompass 150 works across painting, photography, handwriting, video and installation.

The show’s title ‘Is it Tomorrow Yet?, reflects Coco Capitán’s interest in being attuned to the present, staying in the moment and not focussing on the unknown that tomorrow brings. It’s a theme that marks an evolution from her previous work which includes the now iconic statement she put out with Gucci: ‘What are we going to do with all this future?’

Her scrawling notes and manifestos may be amongst the most Instagrammed parts of her work, but this major exhibition offers a chance for viewers to engage with the full scope of her canon. Interrogative, thoughtful, provocative and existential: just a glimpse of what’s on offer confirms what we already knew. Coco Capitán is one of the most exciting artists of her time.

All Cars are Conditioned | Coco Capitán

framed prayer for new stars | Coco Capitán

Swimmer portrait | Coco Capitán

 

Cum on car | Coco Capitán

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