Gucci collaborator and renowned photographer, Coco Capitán: is an artist who needs little introduction. The Spanish creator’s idiosyncratic eye and quirky slogans have commanded a legion of fans, with 75.6k Instagram followers and counting.
Having graduated from the Royal College of Art in 2016, the photographer has already racked up an impressive string of accolades: she has been a guest speaker for Cambridge University Photographic Society (2016), a member of the Jury for Hyères Fashion & Photography Festival (2016), and was awarded the Pho- tographers Gallery FF+WE Prize (2015).
And then there’s the fact that she’s working with one of fashion’s hottest luxury brands… Capitán’s collaboration for Gucci in February this year saw slogans such as ‘What are we going to do with all this future?’ and ‘Common sense is not so common’ etched across the brand’s sell-out logo tees. But for her latest project, a new book ‘Middle Point Between My House and China’, disenchantment takes a back seat in favour of the imagination.
The book’s tittle is drawn from memories of the photographer’s childhood, in which she thought that if she dug deep into the ground she could tunnel to China. Fast-forward a couple of decades, and Capitan found herself in the country itself – though via the more conventional route of air travel.
The book is therefore both an homage to her journey and the people she encountered on her travels, and to the experience of childhood. ‘China’ and ‘House’ can be understood in both the literal and figurative sense. As is noted in the press release, “‘China’ represented the desire to run away, the attainment of her goals; while ‘House’ was her present reality.” Coco adds, “I wanted to take images that would denote how I perceived China, my personal experience in the country and how I saw the people who were there”.
To mark this hotly anticipated release, Claire de Rouen will be hosting a signing at their London store. Head over on 9th May to snap up a copy of this must-have book.
‘Middle Point Between My House and China’ by Coco Capitán is published by Maximilian William, and released in May 2017.
Just in time for summer, LOEWE’s creative director Jonathan Anderson has teamed up with Matches to revive the legendary boutique, Paula’s Ibiza.
Inspired by his encounters with the boutique as a child, Anderson has sought to marry the bohemian spirit of Ibiza’s most iconic concept store (before there was such a thing) with Loewe’s luxury, Spanish heritage. The result is a dreamy capsule collection of bright pieces, printed with florals and inspired by Ibiza’s nature.
For the collaboration Paula’s boutique founder, Armin Heinemann, donated original prints and designs from their archives, ensuring that the spirit of the original store is fully revived in this new collection. Heinemann first moved to Ibiza in the early 1970’s, and opened his boutique soon after. Until 2000, the store attracted a starry array of clients that ranged from Freddy Mercury to Valentino, amongst others.
A long-time Anderson collaborator, photographer Jamie Hawkesworth shot the campaign with signature energy. The photographer dreamily captured the combination of glamour and creativity that informed, and informs, the legend of Paula’s.
Founded by Philomena Epps in 2014, Orlando is an online platform and print magazine that fuels and ignites conversation around feminism, gender and identity. With a view to championing women creatives and intellectuals across a range of disciplines, Orlando is both radical and inclusive; it’s about uniting individuals through conversation and community.
The forthcoming issue draws together a range of work around the theme of discourse. Contributors include Katherine Jackson, who in her essay ‘The Sculpture: Language, Industry and Art in the Work of The Artist Placement Group’ considers an ephemeral 1971 work by The Artist Placement Group, long-form poetry from artist filmmaker Keira Greene and an image-led essay from Althea Greenan, curator of the Women’s Art Library.
“The name itself is inspired by the transgressive protagonist of Virginia Woolf’s 1928 novel.” says Philomena. “In the text, Woolf drew on the androgynous body as a signifier for multiplicity, and to advance a narrative of mutual understanding and inclusion. Inspired by how androgyny functions in the story, Orlando operates in a similar way by eschewing binaries in favour of the united body.”
To mark the latest issue, Orlando will be hosting a launch party next week which will see various elements of the magazine brought to life. Expect readings and performances from many of the magazine’s contributors, as well as a complimentary copy of the latest issue.
Those who write about Charlene Kaye often describe her as “a powerhouse” and “a machine” and it’s easy to see why. In between enjoying a successful solo career that has seen her release two albums and an EP, Honey last year, she’s also a lead vocalist for San Fermin. The Hawaii-born, New-York based singer joined the 8 piece band in 2014, and has since been crucial in weaving dreamy vocals over undulating synths and punchy melodies. With the release of ‘Belong’, San Fermin’s third album, we caught up with Kaye to talk about performance, growing as a band and solo recording.
How did you guys come together as a band?
I joined the band when they were already a fully operational touring enterprise, in the middle of touring their debut album. Ellis and Allen had been friends since they were teenagers and found everyone else in New York, and found me through a mutual friend.
This the band’s third album, how do you feel that you’ve grown and developed in terms of your sound?
When I first joined the band, it was challenging to get away from the thought that I was replacing three absolutely phenomenal singers – I would align my singing style to theirs, as they had originated the versions that people had first fallen in love with. As the band has progressed, I’ve felt more comfortable contributing my own interpretation and personality into Ellis’s vision for the music – mainly stage diving whenever I can, you know.
This has been described as the most personal album to date, how does it feel to vocalise someone else’s experience?
Even though it’s Ellis’s songwriting, it feels personal to me as well. There have been moments onstage where it’s occurred to me that certain songs oddly align with my life and what I’m going through at the time.
You’re also a solo musician – do you prefer recording and performing in a group or alone?
If it’s my own stuff, I’ll often record my vocals at home in my closet! But I hate performing solo. That’s probably why I love our live shows so much, it’s just a giant group freakout on stage, and at this point we’ve spent so many thousands of hours together that the energy of friendship on stage is so strong, possibly just as potent as the music itself.
What’s your favourite track on the album?
I had an intensely emotional response to the song “Palisades” when Ellis first played me the demo – it describes this Lord of the Flies-like scenario where the glow of youth is preserved forever, everyone you love staying young forever – and I just found it unbearably sad and beautiful. That and Oceanica are probably my favorite two songs on the record.
What are your plans for the rest of 2017, and what are you looking forward to?
I’m looking forward to touring this record, and in the meantime I have a lot of new music of my own in the lab I’m excited to release.
In recent years, luxury brands have proven to be increasingly keen on opening their doors to bring customers behind the scenes – think Dior & I or Chanel’s interactive exhibition at Saatchi Gallery. This year at London Craft Week, some of fashion’s most influential houses are going a step further and creating more intimate experiences. Audiences will gain unparalleled insight into how iconic pieces from luxury brands are made.
At Mulberry, their ‘Passion of Making’ event invites visitors to see craftsmen and craftswomen from the brand’s two factories in Somerset demonstrate the making of its iconic handbag styles in their flagship store on New Bond Street.
Similarly Burberry will embraces it’s tradition of craftsmanship with a series of events at their Regent’s Street store. Here customers can experience pivotal moments from the company’s 160-year history with help from Burberry archivist, and add one’s own unique handwritten design to Scottish-made cashmere scarves with the help of the renowned company’s artisan calligrapher.
These events and many others work to showcase the best of creativity in the capital, with over fifty four creative disciplines recognised and 200 events taking place throughout London Craft Week. With everyone from major names to rising stars taking part, DIY has never seemed so enticing.
Mulberry: The Passion of Making takes placeWed 3 – Sat 6 May, 10.00am – 7.00pm and Craft, Heritage & Personalisation at Burberrytakes placeFri 5 and Sat 6 May, 10.00am – 8.00pm, Sun 7 May, 12.00pm – 6.00pm. No booking required.
Drawing on their longstanding tradition of creating travel objects, Louis Vuitton have invited designers to reimagine furniture through the lens of journey and adventure for this year’s Objets Nomades collection.
Launched in 2012, the collection coincides with the start of Milan Design Week and this year sees the addition of two more renowned designers to the rostra, India Mahdavi and Tokujin Yoshioka. Other designers include Campana Brothers, Marcel Wanders, Atelier Oï and Patricia Urquiola. Each has contributed a piece, or pieces, inspired by iconic items from Louis Vuitton’s heritage collection such as the Bed Trunk of 1874, produced for French explorer Pierre Savorgnan.
Contemporary objects in the collection range from supple rocking chairs by Marcel Wanders, to India Mahdavi’s side table, inspired by Middle Eastern nomadic hospitality to a lamp that holds light in a way reminiscent of how a Louis Vuitton bag contains a traveller’s belongings. Other highlights include Tokujin Yoshioka’s Monogram-pattern flower stool, Atelier Oï’s vintage swing chair and Marcel Wanders’ leather screen that references the House’s classic Monogram pattern.
The collection comes alongside the launch of Louis Vuitton’s ‘Spirit of Travel’ campaign for 2017, which sees Michelle Williams captured by Patrick Demarchelier. In fusing modern day design with a the brand’s rich travel heritage Louis Vuitton beautifully provides a segue between innovation and history, adventure and style.
South African artist Lady Skollie is a creative force to be reckoned with. Born in 1987 Lady Skollie (real name Laura Windvoge) is part of a new generation of artists in South Africa who are working within and against the digital sphere, and her work emanates a captivating and sensual energy across the range of mediums that she works with. Her most recent, and first solo, exhibition ‘Lust Politics’ at the Tyburn Gallery gave the city a riveting introduction to her provocative vision, and followed on from an acclaimed stint at Frieze last year. Twin caught up with Lady Skollie to talk working in South Africa, having a sense of humour and how women are going to lift each other up.
Growing up, were you always inclined to express yourself visually? How did your aesthetic develop?
When I was about 4 the Zorro franchise was really taking off in South Africa. I crawled underneath my mum’s tables, beds, inside cupboards and covered everything’s underside with wax crayon Z’s – all in different sizes. I remember being terrified that my mother would realize. So I suppose I have always expressed myself visually. When I was younger I thought that to be an artist you needed to paint realistically, and then I understood that my mark making did not need to be mimetic to be respected or convey a message. I took inspiration from Khoisan drawings because of my own Khoisan culture – as a coloured South African, and my work just became hard, fast, fluid.
Where did the name Lady Skollie come from?
Lady Skollie, for me, has been a lesson in identity. I’ve always had these disparate elements of my personality. Not long ago I wore cute 1950s dresses and had ringlets. Although I looked like a lady, inside I felt this urge to rail against authority and challenge the norm. I would talk about sex and paint little dicks on people’s things. Lady Skollie was a performative thing; it was the space where these two things -masculinity and femininity – met.
Your work is striking and honest, drawing on personal experience. When you started did you ever worry that it wouldn’t resonate with a wider audience?
No, this was never a worry really because I also draw on a range of socio-political issues, like rape, rape culture and plight of women, which are so prevalent within our wider society. They are issues which everyone, even those outside South Africa, should engage with.
It is time for people to feel uncomfortable, and for people to ask themselves very hard questions about how they relate to women, how they treat them, how they talk to them.
Your most recent exhibition was called Lust Politics. Do you think there is always a relationship between the visceral and the political?
Yes, from Monica Lewinsky to Marilyn Monroe to politicians blocking any means for women to have a more equal life or even just reproductive rights. I think there has always been a love hate relationship between politics and lust.
The names of your work are as powerful as the pieces themselves, which comes first when you start to create?
Usually the writing comes first. The works come separately and then I edit and chop to make the writing and the work correlate more.
You’re wrestling with gender, sex and societal structures, why did you want to investigate these ideas in ink and crayon?
I like the tension between a granny-like medium like watercolour and the garish, crayon drawings of sex. Depicting something as visceral as sex with a medium as soft and delicate as watercolour and childlike crayon is thrilling.
Why do you want to use humour in your work?
In South Africa humour is often used a vehicle for social change. People don’t always want to listen if you are being serious. They would rather not listen to preaching and they don’t want to hear about rape stats, HIV stats, etc. I think in some ways I’m pretty funny, so I use humour as a way of unwrapping serious issues in a palatable way – so that people will actually start thinking about change.
One of your pieces focusses on the ups and downs of competitive sisterhood. As you see it, how can women better enable each other?
Women need to engage with each other about issues; communication is key to a united front, and we need one. At the moment, I definitely feel part of a zeitgeist and movement, especially in South Africa, where women are speaking up against feminine debasement and subjugation. Whether we make a social commentary with watercolours or whether we post an online status – that is what I’m part of.
How does Johannesburg influence your work?
J’burg pushes you to achieve things you might have only ever thought about; it’s a city that’s totally alive. My surroundings make a big impact on my work, and I think it’s important to address issues around gender and sexuality because Johannesburg, and South Africa in general, is rife with sexual assaults and abuse. Art is an accessible way to bring up the narrative and I think we need to talk about it more and more and more.
Is now an exciting time to be an artist in South Africa?
Being an artist in South Africa right now is very important and very exciting. Finally the international market is catching on, and it’s actually becoming a financially viable option. In J’burg there are a lot of new independent studios opening where people are reclaiming spaces, especially in Troyeville which was a huge centre of resistance during apartheid. Most of Troyeville is studios, huge buildings which were abandoned in the ‘70s and are now being taken over and are really cost-effective. People are now offering funded residencies. As a creative person it’s a real privilege to have a space to make, without the worries of having to generate a huge income to sustain it.
What are your processes when working? Do you have a specific routine?
It’s difficult to say, because my process entirely varies; I don’t really have a specific routine when it comes to making work. However, usually I think about the image for a long time before making a single mark. Sometimes I write about the work before I create it, which allows me to have a context for it. I listen to a lot of hip hop in the studio; hip hop can take you places and it especially helps me with confidence.
Who are the artists that inspire you?
I am totally inspired by Athi Patra Ruga’s ability to immerse you into his world without even trying. Also Robert Mapplethorpe, for his beautiful way of shocking and Mary Sibande for her sheer brilliance of identity dynamics.
What’s next for you? And what are you most excited about?
I prefer not to talk about ‘what’s next’. I am in the present; I’m hard, fast, now. I don’t play to anybody’s rules. I am a rebellious person!
Looking for a fiery fashion fix? We’ve fallen head over heels for Saint Laurent’s accessories. For SS17, the brand has taken disco-glam to the next level: from snakeskin slingbacks with ruched ‘leaf’ detail to versatile black leather Love Box bags, these are designs made for nights out. Get ready to behave bad and bougee. We’ll see you under the disco ball.
Excuse the pun, we couldn’t help it – such is the excitement at Acne’s latest Resort 2017 drop of Emoji themed apparel. Featuring a classic combination of teddy bears, mushrooms and peace signs (we use classic a little lightly) the collection is printed across unisex sweatshirts and teeshirts in bright colours and tye dye hues.
Call us clichéd but as the summer months approach, something a little more frivolous is what we’re craving right now. This new line checks all the boxes for a relaxed, breezy look with the added bonus of promising to instantly refresh well-worn staples.
For AW17, Nicholas Ghesquière investigated notions of borders and boundaries. Set in the majestic surroundings of the Louvre, Louis Vuitton’s Autumn-Winter collection aimed to negate frontiers and shift into an evocation of the nomadic – city blends with distant landscapes, masculine blurs with feminine, day fades into night and the heritage of the House, meets a thirst for the future.
The result was a truly global collection, which drew inspiration from American sportswear classics and Slavic accents, the über feminine and the romantic gothic. In short, the kind of world we’d love to live in. Watch the full Louis Vuitton AW17 collection here.
Artist Seana Gavin has rummaged in the super/collider’s library of vintage science books and world encyclopaedias to create surreal collages of imagined landscapes.
Inspired by a mutual love of old educational materials, each collage draws on anthropology, space exploration, mineralogy, botany and astronomy – transforming hard science into a series of otherworldly scenes that are both playful and slightly unsettling, existing outside of any recognisable time or place.
The three new prints follows on from Gavin’s ‘Cosmic Worlds’ series in 2011, which similarly depicted otherworldly scenarios.
The triptych – Planetoid Life, Time Traveller and Liberty Sunset – are available to buy on super/collider now.
As winter draws to an end, there’s no better way to welcome a new season than with a new scent. For those who want to take the romance of cosying up with a good novel with them wherever they go, BYREDO’s new perfume Bibliothèque will prove positivelydreamy.
Peach, plum and vanilla notes fuse to evoke that unforgettable scent of fresh pages, strengthened by hints of patchouli and leather. Originally a candle and then a room spray, the Eau de Parfum will be released for a limited time only.
Bibliothèque Eau de Parfum (100ml / £150) is available from March.
To celebrate International Women’s Day, the Royal Academy will be hosting a series of events, talks and screenings throughout the week.
During screenings this weekend, the themes of gender, identity and material were explored through films by alumni and current graduates. Over the next few days, a diverse range of talks and tours will investigate what it means to be a women in today’s society, and how women have previously been portrayed in art across the world. Highlights include the ‘Gendered Materials’ talk that will pose questions such as ‘what is the relationship between gender and materials in art practice?’ and ‘how do materials and scale used in art practice help to define gender?’
Twin catches up with fashion designer and artist Claire Barrow to talk about her new exhibition, and how fashion can help to fight prejudice during these uncertain times.
How did the collaboration between yourself and Galeria Melissa come about?
I was approached from them a while ago but the installation idea started to take shape towards the end of last year. Melissa‘s shoes are completely recycled, waste free and 100% animal free so I’m really into that. It’s been on my wishlist for a long time to work with larger company with great ethics like theirs and I’m also really into what they do with collaborations. Ow, and the smell of the PVC is really good (all the shoes smell like rubber and strawberries.)
What was your starting point for the project, and what were you inspired by?
I wanted to combine performance and sculpture that also used digital in some way, so I think it started there then the idea grew and it become human size sculptures and digital projections of people performing next to them. I just wanted to do everything at once. So we have digital, music, film, performance, costume, movement.
So, the piece addresses the ‘judging’ of people, and the initial ideas you have of someone before they even speak. So, these ‘people’ (sculptures) will never get the chance to communicate but how can the performers work with them to make them feel animated. Then the fact that the ‘real’ people aren’t really there, but digital also signifies our online communication with friends, feeling less lonely but not seeing them IRL. We are all on our phones and computers too much now that I don’t want to miss that out in my work. I try to use the everyday and this is our new reality.
What were your design references for this piece? Was there particular reason that you were drawn to use pearls and a muted palette?
I’ve been trying to not use references in my work to much unless I have to explain my idea’s to someone else in the team as I would like the ideas to come from somewhere inside my head or from a drawing I have done. My subconscious will have maybe seen references in the past, or that day on Instagram, but then it will be a distorted version that sticks. I took a lot from my own life and childhood for this project.
I took a train ride over Christmas time past the old British Steel in Teeside, (a steel works that closed a few years ago leading to the loss of thousands of jobs, which is just stood rotting), and the light was so beautiful and metal so glittery I sort of took it from an imagined version of that then also the idea of ‘high glamour’ too, so jewellery and make-up and sparkle. So I chose the pearls and muted palette and crystals in like, ‘powdered’ down version of primary or secondary colours. Different types of camouflage feature heavily too.
What are your hopes for the exhibition, and what are you most excited about?
It was brilliant to work with the team on the video. I cast Sameena who was in the Daniel Wolfe film ‘Catch Me Daddy’ a few years ago and hasn’t acted since. So it was an honour she actually said yes to me!
It’s the first time I’d worked with Joseph Bird to who’s a reasonably new film director and also Taigen and Ken (Bo Ningen) on the music. I’ve been meaning to work with them for years we were just looking for the right project.
The five characters all take on different roles but very much improvise and added their own ideas to each part. I had designed the costumes and given anecdotes from my own experiences to show them which helped form the characters.
And finally, in such uncertain times, what role do you think fashion has in challenging assumptions and prejudices more widely?
Design wise I think the most interesting work is coming from people who don’t limit themselves to being creative within the fashion system. I don’t see anything particularly progressive happening with bigger brands currently but maybe this will change during times of extreme political unrest if they feel it necessary.
It’s like, they need to stand up for injustice but also to fix problems within their own companies such as material wastage and paying workers fairly. That’s why it’s brilliant to be associated with a large brand like Melissa whom are dedicated to keeping everything recycled and looking after their staff in Brazil.
For AW17, Molly Goddard brought audiences into a sumptuous banquet, where models sauntered around the Tate Modern show space in signature tulle dresses. This collection offered a veritable feast – aesthetically and literally within the presentation – where creamy pinks and reds mingled with azure, a bold use of metallic silver flashes and delicate embroidery throughout.
This collection showed Goddard at her most diverse to date, walking trousers and cropped, peplum inspired jackets as well as the silhouettes she has become famous for. We can’t wait to see where she takes her brands over the course of 2017.
Contrasting rich, buttery song with a brutalist aesthetic, the teaser film released by Gareth Pugh ahead of his AW17 show tonight has us tingling with excitement.
Directed by Pugh’s long-time collaborators Ruth Hogben and Andrea Gelardin, the startling black and white aesthetic is infused with powerful sound courtesy of Rebekah Del Rio – star of David Lynch’s Mulholland Drive – who performs a haunting version of her signature song ‘Llorando.’
The film opens with a quote from Shakespeare’s King Lear, “‘Tis’ the time’s plague when madmen lead the blind”, setting a strong precedent for a political context in his AW17 show. As Pugh notes, the film is “a vision of a world on the precipice of anarchy.”
If Pugh’s previous shows are anything to go by, audiences can expect his AW17 collection to be a damning indictment on the state of current affairs.
Readers, meet Rose Pilkington: her magic manipulation of colour and form has us all hot under the collar. And yes, Rose happens to have designed the cover for Twin issue XV, but we swear we’re not biased when we say you’re guaranteed to fall in love with her work. Designs are playful, bright and hypnotic; she creates graphics to be remembered and stand out. With previous clients that include Jamie XX, H&M and MTV, expect to see much much more of Pilkington in 2017.
On the only snowy day in January, photographer Joe Quigg headed to east London to hang out with Rose and capture the woman splashing colour into your life.
First off, the cover looks amazing! What was the inspiration behind the design?
It was actually a very open brief which is aways a treat be given. Becky wanted to work with an artist to create some bespoke graphics for both covers, so I made them abstract and vivid so as be eye catching.
Specifically, what is it about the colour pink that you find interesting?
I have a life long relationship with colour, but out of the whole spectrum its the one colour that my eye draws too the most, and I’m not entirely sure why. Though i’ve never connected to the colour by its usual association, being categorized typically as a ‘feminine’ colour, which in itself is growing to be an old fashioned connection. Looking at my body of work I can see how subconsciously its made its way into most of my projects, as it is a sort of go-too for me. Funnily enough ive had a client or two who has requested ‘not too much pink’ in the past. For me I mostly judge aesthetically pleasing imagery by way of colour, and I believe pink emits positive vibrations and is a both calming but mentally stimulating colour.
You have a very distinct aesthetic, how did your style develop? Was there a certain point where you felt you had discovered your voice?
Things really started falling into place in my final year at Central Saint Martins (Graphic Design / Moving Image) I was literally given the opportunity to focus soley on subjects, themes and ideas that fascinated me and it was one of my most inspired times. It was also when I started learning 3D software which changed and informed the way I made my work.
There’s always a sense of movement in your work – whether it’s colour fades or through organic forms – what interests you about creating images that convey a sense of change?
Its hard to say, I think those sorts of visual decisions are instinctive, as is my approach to colour. I’m also constantly switching between moving image and still projects, so maybe that also has a part to play in it somewhere.
Topshop has announced a totally fresh model to front their SS17 campaign. Her name is Lily Jean Harvey and although she’s new on the scene, you should expect to see a lot more of her in seasons to come. Twin brings you the need-t0-know stats on this model to watch.
Brought up in Newark, just outside Nottingham, Lily Jean was scouted whilst on a swing outside King’s Cross station. She catwalk show was for UNIQUE in September, and while she’s already racked up an impressive wardrobe, she remembers that the piece that sparked her love of the brand was a petite jersey dress with red, white, and blue stripes.
When Lily isn’t in front of the lens, she’s likely to be partying to Drake or watching her favourite film, Shutter Island. Kind of like your average 17 year old. ish.