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Meet Miu Miu’s Miu Rider, Your Autumn Companion

06.11.2017 | Fashion | BY:

Bumbags are back, but Miu Mui has made so much better than the average offer. Introducing the Miu Rider: ostensibly your everyday, hip swinging, but rendered with such decadence and craft that it is elevated to something else entirely.

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With bold racy colours, gold zip and thick leather strap, this is the bumbag of the future, and we’re ready for it.

 

 

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About last night…. Twin x Browns East Party

05.11.2017 | Culture | BY:

What were you doing at Halloween? If the answer didn’t involve hitting up the Twin x Browns East party, something must have gone spookily wrong in your evening.

Bringing together some of London’s fiercest creatives, the night saw live performances from the likes of Skinny Girl Diet and Stefflon Don (the 25 year old rapper about to start working with Drake).

Set design by Alice Kirkpatrick saw the space in Shoreditch transformed into a Stranger Things, 80’s themed haven – with a vintage MR2 providing endless Instagram fodder. Scents by Timothy Han and films by  Emily McDonald worked to create eerie, surreal vibes that, coupled with cocktails served in IV drip bags and tattoos on the house, made for a night to remember: the most fitting tribute to a new issue of Twin magazine you won’t forget.

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Buy the new issue of Twin magazine here, now. 

 

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Mel Bles, Islands

25.10.2017 | Blog | BY:

Rhythmic and undulating, Mel Bles’ Islands series of photographs captures the soulful connection between the body and nature. This new exhibition sees the fruition of what began as a mediation on the image as a two-dimensional object, evolving into a powerful sequence of bodies and landscapes connected by rich, inky lines.

Throughout the photographs, Bles captures the softness and intimacy of the female form; bodies are juxtaposed and composed against landscapes, holding the two in perfect tension without falling into traditional sexual or romantic tropes.

Mel Bles, Islands

Mel Bles, Islands

The process of making the images themselves are also a study in texture. Some photographs are presented in the ‘purest form’, while others are offered in stages of alteration – revisited, reprinted, rephotographed on an iPhone, taken to a scanner, or upturned. The result is to offer miniature landscapes in and of themselves, which lure the viewer in individually as well as forming a powerful series in all.

Mel Bles, Islands

Mel Bles, Islands

Mel Bles, Islands is on at the Webber Gallery, London: 20 October – 25 November 2017

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Posturing: Photographing in the Body in Fashion

24.10.2017 | Blog , Fashion , Twin Video | BY:

Curation has somehow has become a dirty word these days. We think of a curator in the digital age as a bloodless algorithm editing the things we don’t want to see or interact with out of our feeds and experiences. The great shame of all of this is that curation in its truer sense is far less about editing out the things we don’t want to see and far more about shedding light on the things we didn’t.

A great curator – be that of an exhibit in a gallery or an assortment of bric-a-brac at the local car-boot – knows how to make things elevate each other within a fresh context. Discovering something in a single painting, say, is in and of itself an incredible thing, but being able to connect that indefinable something to a whole exhibition is where a curator shows their skill.

Shonagh Marshall is a Fashion Curator who embodies the contemporary make-up of the profession, and reminds us why curation is a job of such unique expertise. After completing her Fashion Curation MA at LCF in 2010 Shonagh went on to archive the Alexander McQueen collection ahead of the Met’s Alexander McQueen: Savage Beauty retrospective (!), and then to work on the Louboutin and Isabella Blow archives.

The rest of her CV is as impressive as those early projects would suggest, and since leaving her post as Curator at Somerset House in 2016 she has been flexing her muscles as an independent curator, as well as founding The Ground Floor Project with friend and AnOther Magazine Photo Editor Holly Hay.

With the fashion industry in recovery from a month of new collections, and ahead of the co-curated exhibition Posturing: Photographing the Body in Fashion (also with Holly Hay) now seemed like the right time to pick her brain about curating a disparate industry, and contemporary photography’s fascination with documenting the body within it.

Lurve Magazine, Issue 10, Spring/Summer 2016 | Posturing : Photographing the Body in Fashion

Lurve Magazine, Issue 10, Spring/Summer 2016 | Posturing : Photographing the Body in Fashion

How did you initially get in to curation – did you always know it was a job that somebody did?

Not at all. I studied Fashion History & Theory as my BA at Central Saint Martins and when I finished I wasn’t sure exactly what job I wanted to do. As a freelancer I was employed as a researcher for Somerset House’s first exhibition in 2007, in its current cultural iteration. It was a traveling show called Skin and Bones: Parallel Practices in Fashion and Architecture and it was then that I realised that I was really interested in curation. I applied to do the MA in Fashion Curation at London College of Fashion as a result, and studied under Judith Clark and Amy de la Haye, which was the most amazing training.

What was it that drew you to fashion in particular?

I started my BA in Fashion History and Theory when I was eighteen. It gave a historical overview of dress from renaissance to present day and teaching into the application of theory. Being a curator you need such an overarching knowledge of a subject I don’t think I would have been able to focus on another subject. The tools I have picked up over the years in how to consider fashion, applying historical knowledge to assess the contemporary for example I think is so important. Art History is something I am fascinated by personally but I am absolutely no expert! I love so much about the telling stories about clothing within an exhibition, with projects like Isabella Blow it was about the tale of a life lived through the garments but then Posturing: Photographing the Body in Fashion, which is about to launch, looks at the practice and process of fashion photography by making the link between the body and the garment.

Isabella Blow: Fashion Galore! | Photos Chris Brooks/CLM

Isabella Blow: Fashion Galore! | Photos Chris Brooks/CLM

Archival work is very solitary and organised, it is all about the process you are putting in place. Through doing this work into catalogue, photographing and boxing and storing the objects you have such an affinity with them. You learn about every mark or pulled stitch and note it down. When you are working on an exhibition the process is all about building a team around you: the graphic designer, the exhibition designer, lighting designer, the install team, the conservators. As a curator you are telling a story through the objects, bringing to life what you have noticed in the archive, and the team all works together to realise this for the visitor. It was such a lovely experience to be able to work on so many exhibitions about Isabella Blow after archiving her collection, there are so many hidden stories within the garments and accessories it is such a treat each time to tease them out.

From Marfa Journal, Issue 6, November 2016 | Courtesy of Pascal Gambarte

From Marfa Journal, Issue 6, November 2016 | Courtesy of Pascal Gambarte

Do you have a favourite forgotten gem that you’ve come across in your work?

I spent a lot of time throughout August at the Isabella Blow Collection reordering it and making sure everything was in the right place, after finishing archiving it nearly six years ago. When going through Isabella’s bags I found a nail polish that I had previously not noted down. There was something so evocative about this silver liquid, the brush once used to apply varnish to Isabella’s nails. I wondered if in the next exhibition, we are hoping to stage, if contextualised in the right way it might be able to conjure in the visitor the same reaction it had had in me.

You have worked on some very culturally important exhibits, such as Isabella Blow: Fashion Galore! How do you approach the legacy of documenting the life’s work of such significant figures?

Isabella Blow’s legacy through her clothing is a project I have worked on since 2011. Firstly by archiving the collection and then by co-curating the 2013 exhibition Isabella Blow: Fashion Galore! At Somerset House. I still work with the Isabella Blow foundation and have done a subsequent exhibition in Sydney and we hope to stage more to raise money for the charities we support and student bursaries the foundations runs.

Working with the clothing to tell Isabella’s story is really amazing, I always think that like other figures in history she was building her own myth through the objects she amassed. Every object in the collection has a story attached, through either her personal relationships or where she wore it. Daphne Guinness bought the collection so that she would be able to keep Isabella’s legacy alive through the garments and accessories so it is a real honour to be a part of that.

Do you think fashion is inherently fine art?

No I think art and fashion are two completely different things, which sometimes speak to one another but are incomparable.

What do you see as the difference of approach between choosing how to display a piece of clothing and a priceless painting?

I think that curating fashion and curating art are two different disciplines and the approach is so wildly different. The interventions used within an exhibition of dress are selected and considered to give further context to the story, however within a fine art exhibition the art is centre-front in laying the narrative.

It seems that everyone is a ‘curator’ today. Do you think the term has lost some meaning, and does its meaning matter?

A curator is a keeper of a collection and as I don’t actually manage a museum collection, and I never have, I think the meaning of the word has changed somewhat. The application of the word curator to define making lists, or selecting something, is another mutation of this. I don’t know for me it is great as I think so many doors have opened over the last ten years for curators in light of it.

You are also working on a new cultural programme for Chess Club London – would you say programming and curation are two sides of the same coin, or fundamentally different?

They are so different. I really love working with Holly Hay to programme the events at Chess Club, it is such a lovely project. We think there is something so brilliant about learning nuggets of information and Holly and I set out that everything we did at Chess Club would result in absorbing tidbits that you could then relay at dinner to your friends. We do such different things there and meet so many amazing people. Last month we had an expert tea taster who travels the world to find the best tealeaves, and this month we have Clym Evernden coming to talk about his inspirations amongst so many other things.

 Isabella Blow: Fashion Galore! | Photos Chris Brooks/CLM


Isabella Blow: Fashion Galore! | Photos Chris Brooks/CLM

Exhibits are most often worlds built for the public – what do you think is valuable about working on an experience for a more private sphere?

It is to nice to build a rapport with people who come frequently to the events at Chess Club. Also we have figured out what people like coming to, and can incorporate their feedback. It is much more organic than mounting a temporary exhibition which is on and then dismantled with no opportunity to change anything. It would be really interesting to do an exhibition that morphed with the times and opinions, I wonder how you could make that work?

Can you tell us a little about your new project ‘Posturing’ – what made you decide to focus on the body?

I had been thinking about it for a while. About two years ago I proposed a promenade contemporary dance commission around the body in fashion when I worked as curator at Somerset House, which didn’t happen. However it got me thinking. I noticed a shift, away from the sexualized body within fashion photography and I thought a group of contemporary photographers were exploring a new approach to gesture and pose in their work. I wondered how we could present this within a group exhibition. This exhibition is now launching on the 1st November and is entitled Posturing: Photographing the Body in Fashion, the first of a three part project the second looks at filming the body in fashion and the third, a book, writing the body in fashion.

What do you think that the repeated distortion of the body in fashion imagery, the ‘new aesthetic’ the exhibit focuses on, tells us about fashion today?

It is less about fashion today and more about the presentation of fashion. Shifting trends each season is the very foundation the fashion system is built upon but with this project we evoke thinking (hopefully) around how this then impacts on the way in which it is captured across different mediums. The approach employed by all the photographers within the exhibition is one of wit and subversion could this be a reaction to the world we live in now? Should we take fashion very, very seriously? I don’t know – but these are the kind of questions we would absolutely love the work to inspire in the visitor.

Photos above Kristin Lee Moolman and Ibrahim Kamara. All other photos courtesy of the artist.

Photos above Kristin Lee Moolman and Ibrahim Kamara. All other photos courtesy of the artist.

For Holly and I the whole project is about mediums and imprints. The body is the common thread but applying this theme to look at the way in which it, and in turn the clothing, can be captured in a photograph, a film or within the written word felt a really exciting way to capture different thoughts, insights and opinions. The Ground Floor Project, the company Holly Hay and I have founded, is all about creating conversations instead of offering conclusions and full stops. All the work is so contemporary that we wanted our exhibition, film and book to become part of the conversation as opposed to offering reflection and analysis to something that has already happened.

Do you have a favourite fashion image? A favourite collection?

I couldn’t possibly pick! I love researching imagery and slotting them together, I don’t think I could single one out.

And finally, apart from your own, can you recommend any new or upcoming fashion exhibits we should look out for?

I am really excited about Amy de la Haye’s next exhibition at Brighton Museum on the artist Gluck. It isn’t fashion but I can’t recommend Andy Holden and Peter Holden’s Artangel exhibition ‘Natural Selection’ enough, it is amazing. I also loved Rachel Whiteread at the Tate Britain is fantastic. I am super looking forward to going to see the Basquiat exhibition at the Barbican.

Posturing: Photographing in the Body in Fashion co-curated by Shonagh Marshall and Holly Hay runs 2nd – 12th November 2017: 10 Thurloe Place, London SW7 2RZ. The exhibition is free of charge. 

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Kate Neave curates: Poem of the Pillow, Frameless Gallery in Clerkenwell Green

19.10.2017 | Art | BY:

Open from the 25th October to the 4th November, Poem of the Pillow is an exhibition that readdresses a patriarchal past from a female perspective, by incorporating elements of art history.

Helmed by artists Beatrice Lettice Boyle and Jessie Makinson, the collection of works also brings forth tropes of Shunga, the historic Japanese art of erotic prints. Shunga depicts explicit erotic illustrations on woodblock prints, which are frequently tender and humorous, and historically intended for both men and women of all classes to enjoy. In this egalitarian art form, women are not passive spectators or permission givers, but are active participants in the sexual encounters.

As is the way in Shunga, Boyle and Makinson give women agency in their work. Their figures hold sexual power and disrupt societal standards and expectations. Using feminine references unapologetically, their artworks embody confident contemporary feminist practices.

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Acne Studios Musubi bag collection

18.10.2017 | Fashion | BY:

We’re a little bit obsessed with Acne Studio’s Musubi bag collection, and couldn’t be more excited about the latest designs which launch today.

Offered in ‘Maxi’ and ‘Mini’ styles, the new additions for FW17 come in soft hues of aqua and macadamia, as well as jet black and ‘storm’ blue. Featuring a twisted knot motif inspired by the traditional design of the Japanese Musubi bags, Acne has ensured a dreamy marriage of two great minimalist aesthetics.

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Available to buy on Acne Studios now. 

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Dr. Valerie Steele: On the Art of Fashion Curation

17.10.2017 | Blog , Culture , Fashion | BY:

The fashion curator is a role that has risen in recent years to that of a modern bard: a storyteller that can enrapture audiences and obsessives with their informed and accessible spins on the past. Much like the ancient bard travelled from town to town, the fashion curator moves their visual tales through varying cities, through exhibitions, talks, conferences or publications. The responsibility the bard held was to leave their audience with some enlightenment, be it through words of omens and warning, history re-told, or deliberation on the times: future, past and present. The fashion curator is no different, leading their audience through discussions on the past, comparisons to the present, and reflections on the future. The bard was heralded as a spiritual guide – the fashion curator has become a reputable pond of cultural relevance. No one is in better company to deliberate on the realities and the responsibilities of the fashion curator than Dr. Valerie Steele – Director of the Museum at Fashion Institute of Technology and a published author of multiple titles. Her books have explored the influence of fetish in fashion, to her exhibitions ranging from Shoe Obsession to Gothic: Dark Glamour. Reviewing and retelling from a fresh perspective: the art of fashion curation can both delight and discover.

What​ ​do​ ​you​ ​feel​ ​is​ ​the​ ​role​ ​of​ ​the​ ​fashion​ ​curator?

I think that fashion curation is much more than what most people think it is. I feel that most people think it is just choosing a selection of pretty dresses and putting them on display. In fact the whole word ‘curation’ is used so casually – this beautiful curation of cheeses at the supermarket etc. Being a curator is like working on a film or a book. You do research and tell a story, only you are using objects to tell a story. Hopefully you are going to do it in a way that is both educational and entertaining; that you are going to bring something new to the whole subject of fashion.

Does​ ​the​ ​fashion​ ​curator​ ​hold​ ​any​ ​responsibilities​ ​to​ ​the​ ​audience​ ​or​ ​to​ ​the​ ​subject​ ​they​ ​are​ ​exploring?

Of course – they have responsibility to both the audience and the subject matter. I wrote the mission statement for the museum here, which is to educate and inspire diverse audiences through innovative exhibitions that advance the knowledge of fashion. So yes, I think that you are responsible to educate and inspire your audience while also making a genuine contribution to the knowledge about fashion.

Stella Tennant @ Eclect Dissect, Givenchy F/W 1997 Haute Couture by Alexander McQueen

Stella Tennant @ Eclect Dissect, Givenchy F/W 1997 Haute Couture by Alexander McQueen

What​ ​are​ ​the​ ​considerations​ ​you​ ​take​ ​into​ ​account​ ​when​ ​deciding​ ​upon​ ​a​ ​new​ ​exhibition​ ​or​ ​a​ ​book?

I am fortunate in having a really great team of curators here – when I first came to FIT I had to curate 5 exhibitions a year myself, which is insane, and now I do one every year or so. Nowadays the other curators will present proposals – I will look at the proposals and see if they are plausible, and try to figure out whether it can be done with what we have here, or would it require us to buy or borrow a lot of things. For example, if someone said to me they would like to do an exhibition on the influence of 18th Century fashion on contemporary haute couture, I would have to say that is going to be a hard one to do, as we only have a small selection of 18th Century pieces. They are very fragile, so we can only show them once in a while, and we don’t have a lot of couture that was inspired by the 18th century, so it is going to be an expensive show to put on. Then two, we would want to be looking at having a range of exhibitions over the course of a year, so we wouldn’t want to have four shows about 1960’s fashion, as that wouldn’t be fair to our audience who might want to look at contemporary fashion. We sometimes have shows about a particular designer, but biographical shows tend to tilt towards the hagiographic – you have to beware of claiming the designer as the greatest to ever walk the face of the earth, so if we do a show on a particular designer, we try to contextualise the designer, to show how he or she fit into the context of other designers. On the whole we prefer to do thematic shows, such as the theme of the corset, or the theme of gothic in fashion – how did it influence high fashion designers like McQueen or Rick Owens.

The​ ​in-house​ ​archive​ ​of​ ​FIT​ ​is​ ​approximately​ ​50,000​ ​pieces:​ ​what​ ​influences​ ​the​ ​decision​ ​of​ ​a​ ​new​ ​acquisition​ ​into​ ​a fashion​ ​archive?

We try to get pieces which are artistically and/or historically significant, so when we are looking at things, we are looking at which designers have been most influential, which of their collections, which of their individual looks. For example, I am working on a show at the moment about the colour pink in fashion, so many of our acquisitions are made with a view to a show we are working on. That said, sometimes it’s a question that if an auction comes up and they have a piece that we feel is very important in the history of fashion we will try and acquire it. Hence, some of our purchases are opportunistic and others are planned ahead. I am working on another show for 2019 – Paris: the capital of fashion. When a Jeanne Lanvin evening coat that was made during the Nazi occupation came up, it was such a rare find that we wanted to have it and we got it for a very good price. We are always thinking ahead about how we will show an object, and will we show it more than once. Most fashion history collections in museums like the V&A traditionally had more 18th & 19th Century pieces while we have more 20th & 21st Century pieces. Because we want to continue to show people the history of fashion we do look and buy 18t &19th Century pieces too. Once we were shopping at auction in New York and Hamish Bowles saw me bidding on a particular Madame Grès piece and let me have it: he then sent over all his research on it; while you have lots of competition you also have people trying to help the museum collection advance.

John Galliano for Christian Dior, SS'98

John Galliano for Christian Dior, SS’98

Do​ ​you​ ​ever​ ​take​ ​on​ ​extremely​ ​new​ ​designers?

We do! We absolutely do! It’s very much like buying contemporary art – it’s not a known entity. You don’t know if that designer will disappear in three months or become extremely important. We do feel that it is important to buy from new designers, so if we see somebody who is really doing something interesting and new, we will try and buy from them. Who​ ​are​ ​your​ ​heroes​ ​of​ ​the​ ​fashion​ ​industry,​ ​past​ ​and​ ​present? Rei Kawakubo of Comme des Garcons is an incredible talent. The late Alexander McQueen also.

What kind of mixture do you have? Do you choose exhibitions ​that​ ​reflect​ ​current​ ​societal​ ​interests​ ​and ​subject​ ​matter​ ​that​ ​hasn’t been​ ​deservedly​ ​explored​ ​enough?

Yes you have a mixture of that. Our young fashion curators tend to work in our fashion history gallery because thats easier to do, then the more senior curators tend to work in the special exhibitions gallery, where we hold bigger exhibitions and you can borrow things. In the fashion history gallery, exhibitions have to have some chronological framework, and draw from objects that are entirely our own collection – which doesn’t mean we cant buy things for it – but the curators have come up with very creative ideas, like how nature has inspired fashion, which is the current show, or politics in fashion, or eco-fashion, or seduction as it traces through the history of fashion. So those are very clever ideas. Patricia Mears is doing an exhibition on expedition – fashion and the extreme, which will look at how explorers to the arctic, the deep sea, outer space, wear protective clothing that has influenced fashion. She will show a real explorers parka that he would wear to go to the north pole, then she will show that next to Balenciaga parkas, Chanel outfits etc.

How do you​ ​feel​ ​the​ ​new​ ​breed​ ​of​ ​designers​ ​from​ ​the​ ​fashion​ ​capitals​ ​and​ ​beyond​ ​are​ ​exploring​ ​new​ ​territory​ ​in​ ​fashion?

Some designers from alternative fashion cities are taking new approaches. Maki Oh from Nigeria and Masha Ma from China, for example, are exciting talents. Education​ ​is​ ​becoming​ ​more​ ​and​ ​more​ ​important​ ​to​ ​young​ ​creatives​ ​to​ ​try​ ​ensure​ ​a​ ​future​ ​in​ ​the​ ​industry.​

New designers find themselves in a position of having vast pressures on output and financial strains from expensive education, but also work in an ever-expanding landscape – how do you see the situation for young talent? ​

The landscape of fashion is becoming ever-more competitive, and young, independent designers are kind of squished between the big companies, with LVMH at one end, and H&M and fast fashion at the other. I do worry that what with the cost of training for BA’s and MA’s in fashion a lot of talented, young people aren’t getting as much as a chance to study fashion. I think it would be a dilettante thing if only the super wealthy could study it, but those that aren’t wealthy were locked out of it.

What​ ​was​ ​the​ ​last​ ​thing​ ​that​ ​made​ ​you​ ​excited?

I was thrilled by the recent Rick Owens show.

Explore fashion books by Dr Valerie Steele here. 

(Featured image: Stella Tennant @ Eclect Dissect, Givenchy F/W 1997 Haute Couture by Alexander McQueen)

 

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Beauty, rawness and awkwardness: Twin meets Clare Shilland

15.10.2017 | Art , Blog , Culture , Fashion | BY:

Having contributed to Twin issue IV with a series that captured young women who are fighting for their educational rights, Clare Shilland is back for issue XVII. Over the course of a sunny Saturday afternoon in Notting Hill, Clare shot sisters Lotte and Nancy Andersen, beautifully depicting the love and affection the pair feel for each other, as well as their distinct personalities. As Twin XVII hits the stands, we caught up with Clare to talk fashion, inspiration and capturing something you can’t use words to describe.

Do you consciously try to better the female gaze in fashion photography through your work?

I feel like I have always photographed women and girls in a very natural and strong way, showing them as truthfully as possible. So, I suppose I have.

In creating lookbooks for fashion houses, such as Marni and Aries, do you think of the clothes first?

Yes, it is about the clothes, but also about a particular girl (or boy) who reflects the brand. The casting is super important.  Sofia at Aries and I have a similar taste in girls  – usually ones who look like boys :). The casting is always the most important thing!

© Clare Shilland

© Clare Shilland

Your series have a filmic quality, and seem to build narrative around a character. Have you been working with film recently?

I was always very influenced by movies- so that’s probably why. I’ve been doing a few films recently – I love the one we did for Aries x Vans.

I love the picture of your sister outside McDonalds in Bromley. Do you think of those photographs differently to your commercial work?

Shooting my sister outside McDonalds in Bromley is my favourite photo ever. I hope to bring that beauty to my commercial work, but sometimes it’s hard when you have to please clients.

© Clare Shilland

© Clare Shilland

Who has been your most memorable subject? Why?

I met my husband on a shoot so that’s pretty memorable.

The beauty and rawness and awkwardness and the fact that you never realise quite how beautiful you are when you’re young. Those years make you what you are and I find it fascinating.

Your work appears in several magazines and books. Do you still find it exciting to see your work in print? What do you think the digital shift in publishing means for photography?

Yes, it’s always nice to see in print, especially when it’s something that is really considered and well designed. But the only thing anyone looks at these days is social media… so it’s going to become more and more specialist. Hopefully it will mean less waste and a few really interesting magazines out there.

© Clare Shilland

© Clare Shilland

What are your trying to capture when you take a photograph?

Something I can’t put into words. A strange moment.

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Twin Issue XVII

12.10.2017 | Blog , Twin Book | BY:

For fall, Issue 17 is taking a closer look at the expectations and realities of self-reflection. We meet the young, African artist Kudzanai-Violet Hwami on the eve of her inaugural solo show, and discuss shedding the weight of self-doubt in order to soar. Elsewhere, sisters Nancy and Lotte Andersen are in conversation about their shared childhood and creative pursuits, while actress Joanne Froggatt questions the limitations facing woman who dare to age on screen. Patrick Demarchelier take us behind the scenes at the Musée du Louvre exclusively for Louis Vuitton, before we embark on a Californian road trip with Chanel. Meanwhile, as Browns East — the latest bricks and mortar retail innovation to hit London — opens, we discuss the vital fostering of raw talent with Browns CEO Holli Rogers and Farfetch’s Chief Consultant of Augmented Retail Susanne Tide-Frater. Speaking of raw talent, musician Cosima reveals her most uncomfortable self under the lens of Francesca Allen, while model and artist Larissa Hofmann turns the camera on herself for a self portrait redux. Here’s looking at you, kid.

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17intimacy
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Autumn beauty: the essential Twin edit, part 1

11.10.2017 | Beauty , Blog | BY:

Time to swap up your lipstick shades, change your nail polish, lessen the bronzer and swaddle your hair and skin in central heating antidotes: Autumn is here. In the first of our beauty edits, Twin rounds up bold, playful and on trend products and perfumes to add to your favourites this season.

Chanel Rouge Allure Velvet

Embrace dark nights and new adventures with Chanel’s long-lasting velvet lipstick – the intense shades are a perfect match for a deep glass of rich red wine.

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NARS Audacious Lipstick, Lana shade

Embrace autumnal tones with the colour of the season – both on the trees and on trend. NARS thick lipstick ensures a playful upgrade to your look. Wear with retro flares in burnt orange and orange tinted glassed (ala Bella Hadid) for a fashionable finish.

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& Other Stories, Paris Atelier lipstick

The new range from & Other Stories is inspired by community gardens of Paris. Made from 85% natural origin products, their creamy lipstick with cold-pressed certified French plum oil works dreamily against central heating.

Russet Génial Lipstick & Other Stories - £17.00

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Timothy Han eau de parfum, she came to stay

Inspired by Simone de Beauvoir’s 1943 existential novel of the same name, Timothy Han’s unisex perfume blends notes of geranium, basil Indonesian clove with a hint of patchouli to offer an addictive, immersive scent.

 She Came to Stay, Eau de Parfum #002

She Came to Stay, Eau de Parfum #002

Maison Margiela, Lazy Sunday Morning

Shroud yourself in the feeling of freshly washed sheets and cosy mornings with this soft, supple scent from Maison Margiela – good enough to take to brunch.

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Byredo, 1996

Inspired by the photograph ‘Kirsten 1996’, taken by Inez van Lamsweerde & Vinoodh Matadin, Byredo’s new scent is warm and evocative, much like the Dutch duo’s work.

Byredo, 1996

Byredo, 1996

Reek perfume, Damn Rebel Witches 

Edinburgh-based perfumers REEK make empowering, rebellious scents for modern women. Expect scents that blend punchy, unexpected hints of blood orange and hazelnut – the splash of attitude you need to enliven the everyday.

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Susanne Kaufmann

Hailing from the  Bregenzer Forest in Austria, Susanne Kaufmann knows a thing or two about making resilient, high-impact beauty products. Invest in her plant-based hair mask for a season of winter-proof locks – and it smells so good.

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UKA hair oil

Japanese beauty brand UKA may only be stoked in select stores in Europe, but it’s worth hunting down. Their hail oils combat harsh climates, and the packaging is super cute too.

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© Faye Wei Wei

The best fashion & art collaborations for womenswear SS18

09.10.2017 | Art , Fashion | BY:

Fashion month and Frieze fall within days of each other, highlighting the deeply interconnected nature of these two creative mediums – a relationship that has always been investigated by both artists and designers, spurning glorious collaborations throughout contemporary history. For SS18 designers drew strongly on artists to render new, unexpected collections. Twin looks at some of the best designers working with artists for womenswear this season.

Christopher Kane / John Kacere

Kane’s collection this season took inspiration from Cynthia Payne, the eighties party girl and brothel keeper who was a tabloid favourite in the seventies and eighties. A reference that balanced the clean with the dirty, the pretty with the ugly underbelly of society, Kane’s use of John Kacere imagery continued this harmonious interplay. Kacere’s photo-realistic paintings of women in underwear have littered Tumblr for years but Kane’s repositioning of the silk and satin clad derrieres onto chiffon-bordered t-shirts have finally brought the idea of wearing a woman’s butt on my flank into reality.

Christopher Kane SS18 | © Christopher Kane

Christopher Kane SS18 | © Christopher Kane

 

Hannah Weiland of Shrimps / Faye Wei Wei

A partnership exploring the possibilities of presentation, West London artist of the moment, Faye Wei Wei created a series of three broad, bold boards to stand behind the Shrimps S/S 18 presentation. Working directly with designer Hannah Weiland, Wei Wei’s mythology-inspired canvases clashed against the Shrek-greens and fun furs on show. An illustrator herself, Weiland first saw Wei Wei’s work at a show at the Cob Gallery and loved it.  This collection featured fewer of Weiland’s signature doodles, allowing Wei Wei’s canvases to provide a large dose of the whimsy and wonder we associate with Shrimps.

Shrimps SS18 | © India Doyle

Shrimps SS18 | © India Doyle

Gareth Pugh / Nick Knight / Olivier de Sagazan

In a move that has swiftly become synonymous with the Gareth Pugh brand, for S/S 18, Pugh rejected the catwalk in favour of a fashion film created by SHOWstudio and Nick Knight. Collaborating with artist Olivier de Sagazan, the film sees de Sagazan and Pugh mould their faces together with clay, tear each other, viscerally, physically apart, and explore the allegories present in Pugh’s clothing; creation, destruction and reproduction.


Undercover / Cindy Sherman

This year, artist Cindy Sherman released her private Instagram to the public and renewed her global capital. As one who consistently taps into smart, zeitgeisty movements, Joon Takahashi of Undercover took this opportunity to whack Sherman’s face on a series of dresses. Drawing inspiration from twins, ‘Shining’-style, these dresses played on the concept of duality, dual natures – reality and Instagram, as explored in Sherman’s oeuvre.

Ambush design / Twitter

Ambush design / Twitter

Comme des Garçons / Giuseppe Arcimboldo

Giuseppe Arcimboldo was an Italian painter best known for creating imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish, and books. Rei Kawakubo’s S/S18 collection presented imaginative portrait dresses with items including hairbrushes, dollies, trinkets and Hello Kitty ephemera. Dresses plastered with Arcimboldo’s paintings contradicted the scatter of Harajuku and pink and looked as modern on the catwalk as the animé designs that preceded them.

Giuseppe Arcimboldo

Giuseppe Arcimboldo

Featured image by Faye Wei Wei

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Loewe SS18

The fruits of Loewe

09.10.2017 | Blog , Fashion | BY:

Shot by Steven Miesel, we’re obsessed with the Loewe SS18 campaign…

Consisting of five portraits, the Loewe campaign features Italian model Vittoria Ceretti with various fruits in her mouth. Provocative and sexual, the composition offers a playful take on the tradition of fruit in art, as well as evoking a more visceral, modern and feminist motif.

With make-up by Pat McGrath and styling by Benjamin Bruno, this is another striking series from Jonathan Anderson, and we can’t get enough.

Loewe SS18

Loewe SS18

Loewe SS18

Loewe SS18

Loewe SS18

Loewe SS18

Loewe SS18

Loewe SS18

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© Stevie + Mada

Like splitting a milkshake: Twin meets Stevie and Mada

08.10.2017 | Art , Culture , Fashion | BY:

There are so many reasons why a sane person might avoid working with our other halves at all costs; mixing the ego of creativity with the power dynamics of a relationship seems like a recipe for disaster. And yet some of the most celebrated creative pairings in fashion and beyond have been couples. From Andreas and Vivienne to Inez and Vinoodh, there’s no shortage of partnerships emotionally evolved enough to sustain making beautiful things with the person they share a bed with. Shame on all of us for not making a go of it, perhaps?

Twin contributors Stevie Verroca and Mada Refujio are another enlightened example. Crediting themselves as Stevie Mada, the couple have been working together since meeting in California in 2010. They take photographs that are full of colour and buckets of the sun-drenched outdoors, tempered by the cooler airs of their current home in NYC. Their subjects are lovingly rendered and playfully directed, with winding poses that remind us that it’s actual human beings who wear the clothes in editorials. The body’s physicality is often at the forefront of their work, and the combined adoration of an evenly balanced female and male lens unlocks something pleasingly sensual for their viewer.

There is lots of beautiful work by Stevie Mada to be found out there – for the likes of V Magazine, Interview and Teen Vogue to name a few – but very little about them as people. Before their feature in the new issue of Twin hits shelves, we caught up with the pair to get to know them better.

What kind of work were you each making before you met?

Mada: Some light book keeping .. haha. I was playing around with some paints and mixed media before photography found me.

Stevie: He’s modest, he’s a painter. I’ve always taken photos.

You used to be based on the west coast. What prompted the move from LA to New York?

M: A more creative energy was drawing us to NYC.

S: We craved a change in culture and style. Very much miss the weather and ease of CA, but it’ll always be there. It felt like the right time for a change.

Did that move have an impact on your work?

M: Extremely.

S: Night and day.

We tend to think if the photographer as a single eye, how do you align your perspectives to create cohesive work?

S+M: Thanks for saying our work is cohesive :)

M: I think it’s like splitting a milk shake. You decide on the flavour before you decide to share.

S: We’re becoming firmer in our individual likes through experience and we happen to be fortunate that our shared likes outweigh the dislikes. Plus, whatever I say, goes. ha!

You seem to work a lot in exterior locations – do you prefer them to the studio?

M: I love to work outdoors – partially the reason I don’t paint anymore. Following the sun and the earth’s textures really makes me feel connected. Although a studio shoot does have its appeal from time to time.

S: Yes! Light, colour, space. I never get tired of it.

© Stevie Mada

© Stevie Mada

That said, the environment of your images never overwhelms the subject – what draws you to that?

S: We like open spaces – probably because we grew up near deserts in the LA valleys.

Do you have any interest in making work without a human subject?

M: Yes, but working with cool peeps outweighs that. :)

S: I love looking at photographs of empty spaces. I can look at Stephen Shore for hours. But to take them myself, I crave people.

The ‘naughty & nice’ story you shot for the newest issue is very playful but also very sexual, how did you approach the shoot?

S: I’m naughty, Mada’s nice :) It really is a female/male perspective on sexuality and femininity. Can you tell which is which?

There is a very rich, almost painterly quality to your images – how do you think about colour?

M: Colour is the 5th element.

S: It’s my obsession.

Do you ever hope to work on any individual projects, separate from each other?

M: I’m open to it, but no.

S: I have fun doing what I love the most with my best friend.

© Stevie Mada

© Stevie Mada

How do you see your partnership developing in to the future?

M: Kids? (we’re a couple). I LOVE short films!

And to close on something lighter – do you have a favourite anecdote about working with the other?

S: Mada loves to wear a t-shirt with Rihanna’s baby photo printed on it. It’s become a uniform.

M: Stevie blushes when you compliment her.. haha, BiG time! Try it!

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Georgina Starr, Moment Memory Monument, 2017. Photo Henrik Blomqvist

Twin curates: the best things to see at Frieze 2017

02.10.2017 | Art , Blog | BY:

Frieze is here this week and even those with the most tentative interest in art will be blown away by the onslaught of visual experience coming to the city. Twin rounds up the ten best things to catch at Frieze 2017.

 

1:54 African Art Fair

 

This satellite fair in Somerset House, focused on galleries and artists from Africa, has grown every year and shows some of the most interesting and less known work you’ll see in the week. You are guaranteed to discover new artists – keep an eye out for Ouattara Watts, Marlene Steyn and Admire Kamudzengerere. If you cant make it in person the website has a good visual compendium of featured artists.

 

Ouattara Watts, After rain, 2017, Mixed media on canvas, 182 x 160 cm. Courtesy Primo Marella Gallery

Ouattara Watts, After rain, 2017, Mixed media on canvas, 182 x 160 cm. Courtesy Primo Marella Gallery

 

Seth Price at the ICA

 

This retrospective brings together 20 years of one aspect of Price’s work – his videos. They are amazing, influential and worth every minute you watch them.

 

 Jeremy Shaw, Arthur Jafa and Everything at Once by Lisson Gallery at 180 The Strand

180 The Strand is putting on three killer shows for the next few months. Past Twin interviewee Jeremy Shaw has a solo show on the ground floor, Arthur Jafa is showing a film on the roof in a tent and Lisson gallery has filled the former office block with massive installations. All free. All exceptionally good.

 

Jeremy Shaw's sci-fi pseudo-documentary Liminals to be exhibited at Store Studios this autumn, presented by The Vinyl Factory and König Galerie.

Jeremy Shaw’s sci-fi pseudo-documentary Liminals to be exhibited at Store Studios this autumn, presented by The Vinyl Factory and König Galerie.

 

Georgina Starr at Frieze Art Fair Projects

 

Starr is getting some well deserved attention with a narrative performance project at Frieze, showcasing her mysterious and marvellous take on brains, bubbles, disembodied voices and strong female characters.

 

Haroon Mirza at Zabludowicz Collection

Psychedelic film installations, a sensory deprivation chamber and mix and match take on collaboration. This brilliant show which is evolving over three months is also the show for a performance by dancer Wayne Macgregor on Thursday (book now).

Nathalie Du Pasquier Other Rooms at Camden Arts Centre

Nathalie Du Pasquier Other Rooms at Camden Arts Centre

 

Natalie du Pasquier at Camden Arts Centre

 

Du Pasquier was one of the members of iconic 80s design collective Memphis, who are having a serious moment. This exhibition brings together paintings and art objects she has created since in a fine art context but still have a touch of individualistic colour and architectural shapes from her earlier work.

 

Dream Art Fair

 

You can visit one of the most interesting emerging art fairs from your own bedroom – Dream. This five day online fair is a great project, with a well curated selection of galleries. Experimental while still being accessible.

 

Renate Bertlmann, Eva im sack (‘Eva in bag’, 2010) (detail). Digital print, 80 x 80 cm. Courtesy: the artist and Richard Saltoun, London

Renate Bertlmann, Eva im sack (‘Eva in bag’, 2010) (detail). Digital print, 80 x 80 cm. Courtesy: the artist and Richard Saltoun, London

 

Sex Work curated by Alison Gingeras at Frieze

 

Twin profiled Black Sheep Feminism curated by Alison Gingeras in Texas, showing female artists from the 60s and 70s who were ostracised for their sexual imagery. The curator brings her research to London in a new form. Expect from beautiful and brilliant takes on genitalia.

 

Bob Parks Open Air Gospel Choir at Gallery of Everything

 

If you want something extra crazy, performance artist Bob Parks is your guy. To activate his show at the Gallery of Everything this Tuesday between 3 and 5pm he’ll be bringing a gospel choice to Chiltern Sreet. Expect it to have a large dose of wildness added on.
 

10 Sunday Art Fair

 

This long running fair down Marylebone Rd from Frieze focuses on smaller and often more interesting galleries. Always worth going to see new work and have real conversations with exciting international spaces.

 

Honourable mentions, because then things is not enough: Douglas Gordon at Gagosian, Tobjorn Rodland at Serpentine, Dorothea Tanning at Alison Jacques, Superflex at Tate Modern. 
(Featured image credit: Georgina Starr, Moment Memory Monument, 2017. Photo Henrik Blomqvist). 

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Balenciaga shoes

The Croc takeover has begun

01.10.2017 | Fashion | BY:

When crocs made their comeback on the London stage they rightly induced scepticism – Crocs! – but it seems they are the shoe that won’t go away.

Christopher Kane got there first, with quite innocuous looking pairs during his AW17 show; they came in marble and camo print and were lightly adorned with gems and glittering rocks. Then for SS18 Kane did it again, this time going further with large Swarovski diamonds and bright yellow hues.

Now in Paris, Balenciaga has taken up the mantle, offering platform pairs in bright, bubblegum pink and strong yellow. So perhaps it’s time to embrace the unthinkable: after all this time in the dark, are Crocs the shoe of the season?

 

 

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Alex Cameron

“Tender but brutal: exactly how I like a character to be.” Twin meets Alex Cameron

28.09.2017 | Blog , Music | BY:

One of the pleasures of seeing bands in small venues (when they’re good) is that you get to witness how much they enjoy playing with each other – which was certainly true of Alex Cameron and his gang on their most recent visit to London. In amongst a slick delivery of the latest album, Forced Witness, were plenty of banterful asides, whispered knowing eye catches and asides made while sweat poured and Stella Artois spilled.

Such synchronicity is hardly surprising given that frontman Alex and saxophonist / business partner Roy Molloy have known each other since they were 5, when Alex was sent round to play with Roy because he was lonely (– “don’t put that in” – sorry, Roy). That they wouldn’t tell me the name of the band they had when they were 17, or their worst lyrics, also speaks of a deep, artistic bond that means some ten years later, they’re more on it than ever.

Cameron himself likes character, starring on his first album cover ‘Jumping the Shark’ as a Scarface-esque bruiser. For Forced Witness the physical performance may have changed, but the album delves deep into various personalities and identites, unpacking as it does ideas around gender and specifically the ‘Alpha’ males of rock and roll, and the wide world beyond. And though while for the video of ‘Stranger’s Kiss’, a record that features Angel Olsen, Cameron and Jemima Kirke play with the nuances of gender of screen, the best and most surprising expositions are most definitely to be found in the lyrics.

Co-produced with Foxygen’s Johnathan Rado and recorded partly in Las Vegas (“a completely rational and sane place”) it’s a record to pay attention to.

Read Twin’s interview with Alex Cameron (guest starring Roy Malloy) below.

Where do you get ideas for your characters?

A lot of my ideas come from conversations with people. A lot of it is dialogue with people that I’m on the road with. Someone like Mclean Stevenson who is a photographer from Australian. I worked in a government legal office working with victims of corruption, so a lot of my process is to do with taking that skill of being an assistant to an investigator; what I is a breakdown or a study of a story that I’m interested in.

Alex Cameron

Alex Cameron

Do you have a favourite one?

On the new record I really like country figs. My car broke down on a highway, it was me and Roy and our two ex-girlfriends and we got towed. That whole song came from a conversation with a tow truck driver.

How do you come up with melodies to support to the character?

I just try and focus on whether or not it’s a good song. The melody is quite natural, I’m kind of drawn towards them. I’m more interested in the stories and the melodies, they come together after a while. You have to be patient, and I tend to let things happen over time.

Do you find yourself looking at people on the street and get a sound to them?

Um no, I wouldn’t say so. I’ve written songs on the bus before but that comes more from absentmindedness. I do a lot of song writing when I’m walking and when I’m on public transport.

Some people write very confessional lyrics and you choose to write through the lens of character, but how much of yourself do you put into it?

I’d  like to think that if you get a sense of moral awakening then that’s me trying to put some humanity into the characters, even if they are bastards or misguided. I wonder about the process of everyone having a bullshit detector, I’m fascinated by that. Some people have a strong edit before they speak and others just speak based on their emotions,without contemplating the fact that they’re an animal. So I think a lot of stories are just me wondering about certain circumstances, and I just try and let the characters take me to where they want to go. Often that’s somewhere decrepit because when I’m writing it feels like I’m writing a tiny world where someone can behave, that I’m not in control of; I’m just there. Part of it is just based on the flow of emotion and not so much trying to ruthlessly understand something and then examine it in retrospect.

Was music the most instinctive form of doing that to you?

Most of my song writing comes from words I’m constantly taking down; long sentences and utterances, lines, poems and things like that. Then I’ll find the ones with the right cadence and the right syncopation that fit with certain melodies I have recorded as well. I write short stories, but I felt that there was no way for me to access that industry. Some of my favourite authors have been more responsive to my records than they ever would be to a story.

What was it like starting out in Sydney?

Sydney was really hard. Not in a knocks way, but it’s not the place to write music with a sense of realness to it; it’s very much a paradise over there. I don’t think Sydney is the place where groundbreaking music happens. The only way for me to make a living was to leave. Sydney has been taken over by investor money, it’s corporate. It doesn’t has any nightlife. You’d have to go up against the laws and the corporations to really get a subculture going.

ENTER ROY MALLOY

Hello Roy. How did you meet Alex, and how did you get into the saxophone?

I met Alex because we went to stay at friend’s when I was kid, and that was two doors down from Al’s, so we lived next door to each other when we were 5 or 6. We met each other because his mother made him come and play with me because she thought that I was lonely. But I wasn’t lonely. Don’t print that I was lonely.

And the saxophone I came across because the school had a program where you could rent them, and  I thought Lisa Simpson was pretty cool so, that’s how it happened?

Have you ever been tempted by another instrument?

I guess between the ages of 16 – 25 I didn’t think that the saxophone was suitable for rock music so I was playing the bass guitar. Then 4 or 5 years ago we started doing this live thing with the horn, and it just came into it I guess.

So were you guys in bands together when you were younger?

Yeah we played in a band at the end of school –

What was it called?

(Inaudible shouts from Alex)

That’s a secret (laughs).

EXIT ROY MALLOY

Hey again Alex. I wanted to talk to you about the video for Stranger’s Kiss and the way in which you play around with binaries in it, and also in the album more widely. Do you think that music has a specifically female or male sound?

Well the whole record was kind of intentionally made with the intention of subverting those masculine qualities in pop rock music. And so when Jemima came with the idea with this video that also challenged that it was kind of natural and perfect.

The song was produced in a way that was really strong, but the lyrics suggest a lot of denial of weakness. I certainly view the record of being a direct challenge to those tropes of masculinity, those male-dominant forms of song. Like that song Jesse’s girl I always think is pretty interesting – it’s oestensibly a song about a woman but it’s actually a discussion between two men. It doesn’t even mention Jesse’s girl’s name.

Interestingly when Angel came into the studio and laid down her vocals it became really evident that she was the strong one in that world. So we made her the one that was really not giving a fuck about the breakup, so we made her tender but brutal – which is exactly how I like a character to be.

 Forced Witness is out now on Secretly Canadian.

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© Sophie Davis

Looking at Women, by Sophie Davis

25.09.2017 | Art | BY:

Photographer Sophie Davis talks to Twin about her series of work, ‘The Unresolved’.

I began this series nearly two years ago, having been constantly exposed to images of beauty ideals from a young age through media and popular culture. Starting this series felt like a necessary step for me to try and understand my fascination with beauty and the female form.

‘The Unresolved’ is a growing body of work and the girls I photograph start out as strangers to me. I ‘collect’ my subjects around London, they are just normal women who I feel instantly drawn to because of their physical appearance. I ask them to sit for me if they are interested. These sittings are mostly done nude.

© Sophie Davis

© Sophie Davis

Surprisingly, through the many girls I have photographed I have only ever had one no, which I think speaks volumes about how we as women are curious about seeing ourselves laid bare. It could be seen as searching for validation, wanting to feel beautiful in a world that makes us constantly insecure.

The images have become part of a growing archive, a collection of female flesh, both a celebration of the magnetising allure of the woman but also an exploration into the limits of objectification.

© Sophie Davis

© Sophie Davis

The method of my work has been described as predatory in nature, more ‘male gaze’ than ‘female’ (which I can’t help but see as reductive, as women have the ability to desire just as much as men). But alongside the seemingly callous ‘pick ups’ there is a tenderness to the photographs that remove them from an objectifying, colder viewpoint – it is down to the close ups. The details in the folds of skin and stray hairs, the remnants of another human being.  There is the intimacy and closeness you would assume exist between lovers. I am always amazed at the level of trust each girl puts in me, and the friendships that come out of some encounters.

© Sophie Davis

© Sophie Davis

‘The Unresolved ‘is an exploration of the limits of the female gaze and the ‘trap of beauty’ and our constant hunt for it. In exploring with such issues with this body of work, it has given me further insight into our conditioning, and the confusion that surrounds the self in relation to images of the  ‘ideal’. There is a hunger in the images, both from myself as photographer and from the subjects themselves, it’s a desire to be seen, to be looked at to be the one do the looking.

© Sophie Davis

© Sophie Davis

© Sophie Davis

© Sophie Davis

© Sophie Davis

© Sophie Davis

Follow Sophie on Instagram: @sophiexzx and Skin and Blister collective on @skin.and.blister

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Azadi(Independence) by Khanwal Dhawali_Image courtesy of the artist

Nasty Women UK

22.09.2017 | Art , Blog , Culture | BY:

This weekend, Stour Space in Hackney Wick will be transformed into a free art exhibition, packed with talks, comedy shows, DJ sets and spoken word performances, as well as live music and workshops. Alongside these creative events, there will be artwork on sale, with all proceeds going towards End Violence Against Women

The event is being put on as part of the Nasty Women global art movement, which began in New York to increase awareness for women’s rights, using art to channel freedom of speech and self-expression. The organisation brings together people of all genders, races, faiths and LGBTQIA identities, and its name comes from a comment Donald Trump made about Hilary Clinton during a televised debate. It has since become a rallying call for women who are standing up against misogyny and gender inequality.

Eat Cake Like a Boss by Rachael Rebus_Image courtesy of the artist

Eat Cake Like a Boss by Rachael Rebus_Image courtesy of the artist

Taking place across the weekend of the 23rd and 24th September, the multidisciplinary exhibition employs a variety of different art forms, including sculpture, street art, ceramics, and an immersive art installation in which visitors can create their own virtual artwork. Virtual Reality is a recurring theme throughout the exhibition, with other spaces recreating instances of street harassment and everyday sexism using VR, to give a visceral understanding of what those experiences are like.

Famed comedian Ava Vidal will be taking to the stage over the weekend, along with spoken word artists Salena Godden and Joelle Taylor. Included amongst those who have donated their work are experimental ceramicist Carrie Reichardt, and Louisa Johnson, the great granddaughter of Suffragette Emmeline Pankhurst. One of Johnson’s donated items is a handwritten letter by Pankhurst herself, written during her stay at Holloway Prison.

Fuck Washing Up_by Stacey Guthrie_Image courtesy of the artist

Fuck Washing Up_by Stacey Guthrie_Image courtesy of the artist

Nasty Women will be open on Saturday 23rd September and Sunday 24th September, from 9am until late, at Stour Space in Hackney Wick. http://www.nastywomenuk.com/

 

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Fenty Beauty

FENTY BEAUTY: RiRi’s beautiful vision

21.09.2017 | Beauty , Fashion | BY:

Something about this month’s launch of Rihanna’s new beauty line – Fenty Beauty – has touched a nerve with consumers and it’s not entirely owing to her A-list cred. In a sea of celebrity-endorsed fashion and beauty collections, Fenty stands out thanks to its notably diverse range of foundation shades (all 40 of them, near revolutionary in its inclusivity), from lightest of alabasters to the deepest of coffees, with a range of authentic skin-loving undertones as well. Word on the street is that customers are liking – and buying – what they see: there are reports of the darkest shades selling out instantly, which flies in the face of the argument of bigger brands that producing darker shades is a risk for their profit margin. But it’s not only dark-skinned girls loving the range, a number of people with albinism have sung the praises of Fenty for making shades light enough for pigment-free skin, using the hashtag #AlbinoMatch to broadcast the discovery on various social platforms.

Of course this isn’t Rihanna’s first foray into the world of beauty, with products from her RiRi for MAC collection reportedly selling out in hours. However, with a whole makeup line created by the original bad girl herself – and with names like Trophy Wife, Moscow Mule, Sinnamon, Killawatt and Pro Filt’R – this one’s got RiRi written all over it, in a very good way.

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Aries x Vans

19.09.2017 | Blog , Fashion | BY:

Catch it quick! The new collaboration between Aries x Vans launches at midnight. There’s also fresh patches, sweats and a whole new AW17 collection to get stuck into.

Founded by Central Saint Martins graduateSofia Prantera and graphic designer Fergus Purcell, Aries has quickly become a cult brand since it launched some five years ago. Marrying the 90s streetwear aesthetic with modern style, the label offers easy, transitional pieces all with that Aries edge. Think logo t-shirts, frayed denim and hoodies, as well as patches, tie dye and silk tracksuits to boot.

Aries 'No Problemo' sweatshirt, £120

Aries ‘No Problemo’ sweatshirt, £120

This latest collaboration sees the brand delving further into subcultures, offering a new customised trainer that will debut alongside a film by Jeremy Pollard. Expect these shoes to sell out as fast as their printed t-shirts, and be ready to click ‘buy’ when the clock strikes 12.

Browse the full Aries x Vans collection here.

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