Daphne Guinness: a melodic memoir

20.10.2016 | Fashion , Music | BY:

Daphne Guinness is a woman who has little trouble turning heads. For years now she has been a fashion behemoth, attracting attention for simply existing. Akin, almost, to a mythical creature on whom sartorial enthusiasts project their likes and dislikes, her characteristically monochrome silhouette — all angles, hair and vertiginous heels — has become something of the caricature. And for the most part, silent. But now, Daphne has found her voice.

Back in 2011, following the gut-wrenching loss of some of her dearest friends and family — Alexander McQueen and Isabella Blow amongst them — Daphne retreated from the fashion industry that had, in her words, left her feeling “burned”, and isolated herself in a secluded Irish landscape to record a cover of a Dylan track as some kind of cathartic release. However, what actually happened turned out to be rather different. The person she was meant to be working on the Dylan material with never showed up, and so instead, she wrote her own music. Flash forward to now, and she has an album out.

Speaking to the muse come musician on the eve of her first ever live show — an electric performance at the Natural History Museum for a Frieze Art Fair party hosted by Maurice Ostro CBE, Candida Gertler and the Louisa Guinness Gallery — the singer is remarkably calm, and unexpectedly candid. “I’m too honest,” she says, almost to herself.

Optimist In Black, her debut album, is by no means an easy listen. It is classic rock’n’roll story weaving, and plunges you into the depths of despair before soaring phoenix-like into almost jubilant territory. The title track is perhaps the darkest hour, and deservedly so, with its severe etchings of grief ringing out in every ‘60s-infused riff. “The album is completely what happened that year, in order.” Daphne tells us. “When I got to ‘Marionette’ [track five of 14] I had about four seizures and completely collapsed. Then I wrote ‘Optimist In Black’ [track seven], and went and got lost in Mexico.” The escape was undoubtedly needed. “At the time I thought if I do anything darker than ‘Optimist In Black’ then I’m going to kill myself. So I needed that. I got through it, and then I came back and wrote ‘Magic Tea’ [track 8, a pop song]. It was sink or swim,” she explains.

The Guinness sound is one born from pain, reflection and the resolution to find light in the darkest of times. It is determined in its subsequent dealings with life’s sucker punches, but ultimately, she is objective about her experiences. “I realise that everybody’s been through shit,” she says. “They’ve been through ups, downs, bad love affairs, death and disaster. I’m not really writing a unique version of the world here, these are basic human emotions that happen to everybody.”

When speaking about the losses she suffered, Daphne is frank. “It was like a magical time that abruptly ended,” she says. “It felt like dominos going down, down, down. And you can’t do anything. I thought, ‘you can’t just see everybody at funerals, crying their eyes out, and then you know you’re going to have to see them at some fucking party the next day, talking about something else.’ That’s why I started the initiative at Central Saint Martin’s and have tried to support people in terms of their mental health. Because to many people it’s just gossip, which is, you know…” Awful is the word unuttered, but hanging in the air nonetheless.

Daphne Guinness

Credit: Jamie Kendall

Daphne has a knack of bringing something of meaning from truly bleak situations. Thanks to her creation of the Isabella Blow Foundation, she is putting two MA students through Central Saint Martins each year, as well as working with the Samaritans. This remarkable dedication to the nurture of talent is a continuous theme in Daphne’s life. Doing all these positive things “makes a little bit more sense” of the situation, she says.

And Daphne has always been a woman surrounded by and somewhat immersed in creative genius. From McQueen and Blow, to close collaborators such as Nick Knight and open-admirer Lady Gaga, she is a magnet for inextinguishable talent. Another such person, who influenced and encouraged Daphne a great deal, is Bowie. Although the musician is hesitant to discuss their relationship too much, for fear of capitalising on his legacy, it was he who set her up with her album’s producer: the legendary Tony Visconti. “Everybody’s talking about David at the moment and it [all] feels cheap.” She admits. “But he was incredibly supportive, and I always just thought: ‘But why me?’” She reluctantly continues, “He was the most remarkable person. And also, more simple than everybody gave him credit for. He was a very magical man.”

Despite having lived her life through somewhat of a lens, the stage isn’t Daphne’s natural home. “Yeah I’m very, very shy — strangely enough — but I’m getting better at it. I’m getting better at becoming someone else, when there’s a point to it, rather than just to be seen [performing].” Music is something of a shield, it seems. “I feel that you are protected in some sort of way by the art that you make, and by the people that you work with. And that’s fine.”

“What I don’t really understand,” she continues, “is what’s happened [to the music industry] in the last 20 years, where it’s all surface and there’s not much underneath… I’d much rather see almost nothing and hear what people actually have to say, rather than seeing just a whole lot of images.” She references YouTube and social media, and seems perplexed by the lack of authentic narrative, as well as the abundance of the visual above all else. For someone who has previously been so much a part of the aesthetic frontiers of society, it seems to be something of an about turn. “Fashion was a huge part of my life, but when all of that happened I thought ‘I can’t do this anymore,’” she reveals. “I sort of put myself into isolation and wrote this album instead.”

The sound that accompanies such a raw confessional is, as previously mentioned, a distinctively ‘60s one. Citing Marc Bolan as her “first big love” explains a lot about Daphne, although there are echoes of Nico and Faithfull too. For a woman who recounts making her album as a mix between “mad and brave”, and describes walking into the studio to record with her band thinking “Shit! What am I doing? I’m a complete amateur,” the result is incredibly accomplished. “I’m glad I didn’t know how difficult it was going to be, because I would never have done it,” she admits. “But I’m very glad I did. And I’m very glad I didn’t just do a cover of someone else’s song, because there are so many songs to be written.”

Optimist In Black is out now on Agent Anonyme/Absolute

Daphneguinness.com

Main photo credit: Jamie Kendall

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Evening In Space

18.08.2014 | Music | BY:

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Textile Memories

10.05.2013 | Art , Blog , Fashion | BY:

Somerset House has just announced its latest exhibition in honour of the late fashion and art champion Isabella Blow. The woman who helped launch designers such as Alexander McQueen will be honoured in the retrospective Isabella Blow: Fashion Galore!

The exhibition will showcase over a hundred pieces from Blow’s personal wardrobe, famously saved from being auctioned off by her close friend Daphne Guinness, who purchased the art patron’s entire collection. Expect to see work from designers such as McQueen, Philip Treacy, Hussein Chalayan and Julien Macdonald.

Set designer Shona Heath will be creating installations for the show, which not only offers an opportunity to view extraordinary fashion pieces up close, but also to discover the life of the woman who wore them.

Isabella Blow: Fashion Galore! will run from 20 November to 2 March at Somerset House.

somersethouse.org.uk

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Biba Redux

26.10.2011 | Blog , Fashion | BY:

The celebrity beauty juggernaut show no signs of slowing down: the latest additions being Dita Von Teese perfume, Kate Moss lipsticks, Rachel Zoe lipsticks (in the US) and the rumour of a Coty created Madonna perfume.

Trust MAC to subvert it all by co-opting haute-eccentric-heiress and couture-buyer-extraordinaire Daphne Guinness to dream up some pre-Christmas make up products for them. Gaga perfume is apparently arriving next year and I can’t help wondering if she will live up to her image and make something along the lines of Commes Des Garcons Odeur 53 (the smell of dust and metal and glass) or if she will go for the bubblegum synthetic pop of her music (which I personally dislike in general) and fashion something saccharine and obvious.

Of the other new launches around I’m particularly enamoured of Biba make up – great palettes, bright colours – I’m a sucker for a dinky little box. What’s more it’s reasonably priced and I’m so over obscenely priced beauty products. Frankly I’d rather spend the money in Cos‘ new online store.

It’s actually the third time Biba have launched their make up. The first time, in the early seventies it was only available in the store and they were famously the first brand to provide testers – and they did wonderfully weird shades such as black lipstick. The brand made a brief reappearance in the mid Nineties – prompted by the seventies fetishism of that decade – but sadly fizzled out. And now it’s back again, accompanying the revived fashion line.

I do hope it survives but in all honesty I’m not sure what the identity of Biba is any more. I know what it stood for in the early Seventies, but I fear it has been so diluted and corrupted there’s not much of the original spirit left in terms of fashion or beauty.

Words by Bethan Cole

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The DSM Takeover

14.10.2011 | Art , Blog , Fashion | BY:

Dover Street Market is engulfed by a variety of installations this week, all in celebration of London’s Frieze Art Fair.

The work of Brazilian/French artist duo Vivid Astro Focus encases the ground floor entrance, creating a 360-degree tunnel of vibrant paintings, which the DSM team is calling it “one of the greatest installations we have ever done”. Three stories upwards resides an exhibition of creations by heel-less shoe God/Daphne Guinness favourite Noritaka Tatehana and New Yorker ceramicist/sculptor James Salaiz.

The store is also exclusively hosting Dr Marten’s Bespoke in its basement event space, where the iconic boots can be completely customised, right down to the last eyelet.

If you ever needed an excuse to get lost in Dover Street Market for a few hours, this is it.

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