Louis Vuitton Presents Its Debut Perfume

09.09.2016 | Beauty | BY:

For the first time, the maison of Louis Vuitton has unveiled a series of seven fragrances, created by master perfumer Jacques Cavallier Belletrud. The accompanying campaign, shot by Patrick Demarchelier, features the sultry gaze of Palm d’Or-winning actress Léa Seydoux.

LV parfum

Of the range of scents in the premier collection – ‘Rose des Vents’, ‘Turbulences’, ‘Dans la Peau’, ‘Apogée’, ‘Contre Moi’, ‘Matière Noire’ and ‘Mille Feux’ – a full journey of emotions, from dark to light and self-revelation is the aim.

In keeping with the brand’s history of, and with, travel – Demarchelier and Seydoux journeyed to South Africa to shoot the coinciding ads, and wanted the wet-haired nonchalance of adventure to add to the purity of the actress’s natural beauty, mirroring the simple ethos of the perfumes themselves.

“Louis Vuitton is about travel, but it’s also about dreams. Its spirit blends adventure, discovery and emotion. I am very honoured to embody this universe.” – Léa Seydoux


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Topshop Unveils Runway-To-Retail Concept

03.09.2016 | Fashion | BY:

For its September 2016 Topshop Unique collection, customers around the world will be able to immediately shop a selection of looks straight from the runway as they appear before them.

Taking place on 18th September, the show will be a pioneering highlight of the upcoming London Fashion Week schedule, and see East London’s iconic Old Spitalfield’s market as the setting for the mother of all democratic industry initiatives.

The clever approach to enabling all to sample the new season wares with such immediacy is both technology-led, with select styles being available to shop online, as well as physical, thanks to a capsule edit of pieces also being ready to buy in key stores around the world.

Topshop has always operated as a particularly consumer-driven brand, and this September is further proof, if needed, that it is a company that places the focus firmly on its customers. In a statement released to the press, Mary Homer, Topshop’s Managing Director, said: “Bringing our customers closer to the London Fashion Week experience has always been a focus for us, but now, more than ever, in a rapidly changing global marketplace where consumers demand immediacy, we recognise the importance of disrupting the traditional model.”

Twin was one of a handful of titles that had exclusive access to the collection on offer earlier this year, and what is coming up will not disappoint. Oversize, cropped puffer jackets were a highlight, as were the nods to ’80s tailoring, delicate evening slips and clever-as-always tailoring.

“The starting point for the Unique collection is always the celebration of British style and its rich heritage, so we feel Spitalfields provides the perfect backdrop to showcase our new collection. With a history steeped in over 350 years of selling to the general public, we also feel it’s a fitting venue in which to debut our ‘Runway-to-Retail’ concept.” – Kate Phelan, Topshop’s Creative Director


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Dani Miller: ‘Where the freaks at?’

02.09.2016 | Music | BY:

For the latest issue of Twin – issue XIV – we chronicled some of the most exciting female figures in the music industry to be aware of, right now. One of these girls, was 22-year-old Dani Miller, lead singer of the riotous band SURFBORT, who fills our Instagram feeds with infectious mayhem under the guise @alienzarereal. Here, we discover a little more about what makes this brilliant young woman tick.

Where are you from?

What was it like growing up there?
I learned how to chill hard, smoke a ton of weed and dodge beach jocks.

Where do you now live?
Brooklyn, New York.

Why do you like it?
It’s nasty, full of dreamers and magical aliens that constantly are creating and loving each other. The streets are alive and make me feel an electricity that is specific to New York. Also the weather is nice, the blazing heat cooking the rats and puke right onto the sidewalk wakes me up and influences my art in a completely different way than the art I make in the slushie ice queen winters. It really mixes my world up.

Where did you study?
San Francisco, but do not plan on returning anytime soon. I hate that the tech industry has taken over, especially when it so concentrated and sterile. It’s just making everything boring and shitty. You could really say that about a lot of areas. Rich people who don’t understand the arts just pollute the world with ugly establishments and ugly energy. Where are the freaks at?

What did you study?

What did you learn?
I have always been constantly making films and imagining how passing moments would translate onto the screen. but what I learned the most was about gender studies and I discovered I wanted to make experimental films that wake people up and inspire them to create positive change in one’s society/world.

Describe what you do for a living.
I am the lead singer in SURFBORT, I am also a director and set designer and I DJ for my Jarritos™ and pizza budget.

Why did you want to do that?
Singing, screaming and laughing on stage is such good therapy and it gives me a voice in the community. I enjoy bringing friends and people together. One: to have everyone realise they aren’t alone in their suffering and that we can all dance and run around and scream to let our frustrations out together, this is a fucked up world. Two: I enjoy that being in a band lets me publicly address things that matter to me like pollution and exposing the fucked-up government.

Do you think you’ll do it forever?
I will always create forever. I will always sing my poetry and thoughts into the universe.

Did anyone inspire you to do what you’re doing?
Patti Smith and Exene Cervenka, but my loneliness and sadness inspired me the most.


Dani Miller by Ben Rayner for Twin

What are you currently working on?
Just finished recording a 7” with SURFBORT. Have been working on another project where I also sing, called Hippie Vomit Inhaler. I am making a film about a post-apocalyptic New York where the water supply is so toxic it drugs people, and a group of women plan a trip to a “magical milk mother” in the city who will trade holistic healing crystals and potions to counteract the poison coming from the water supply. In return for putrid milk from the last remaining cows in the country,which are located in Brooklyn.

What would you like to work on?
Finding more time to paint in my basement.

Is there anyone you’d love to work with?
Nickelback, Slipknot, Patti Smith.

What are you the most proud of so far?
Doing what makes me happy – which is art – and surrounding myself with magical witches and wizards.

How would your friends describe you?

How do you think a stranger would describe you?
Fucking psychotic angel.

Would you say you have a ‘look’?
My “look” is comfort, things that make me go “hahaha”: ’70s, up tha punx. I basically don’t really give a fuck and I think it is important for any human to look the way that makes them feel electric. I am missing teeth, very hairy everywhere, and love wearing anything that makes me laugh and that’s what makes me feel good. A “feel-good look”!

How important is your image to what you do?
My image is important to my art because being in the public eye coincides with exposing a certain type of freak to the world, and letting other young women who look up to you or identify with the same type of alien I do that it is completely acceptable to be yourself. Shave or don’t shave, be toothless, wear clown clothes. Say R.I.P. to caring or letting toxic media define you.

How important is social media to you? What do you like and dislike about it?
I use it for a joke and to connect to other people and laugh at current events of the day. I also just enjoy seeing my friends paintings especially @chaka_sean. On the @therealsurfbort Instagram I am more political and point out how idiotic many of the current politicians are. The main things I dislike about social media is when people use it in an abusive ways to personally attack or shame each other. I also hate that Instagram over-sexualises women’s bodies and shames them into thinking their bodies don’t belong to them. There are a lot of negative things to say about social media because it can be extremely narcissistic and known to rot brains, but I overall just acknowledge that it is a powerful tool and it usually brings me more smiles and laughs than anything else.

What pisses you off the most?
Donald Trump and violence.

What makes you happy?
My puppy and Mom.

All images by Ben Rayner, exclusively for Twin. Benrayner.com

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Nite Jewel Unearthed

26.08.2016 | Music | BY:

LA-based musician, Ramona Gonzalez, otherwise known as Nite Jewel, is quite literally going it alone with her latest album: ‘Liquid Cool’. Since making her way onto the music scene in 2008, creating songs with her husband using a portable eight-track cassette recorder, Gonzalez has caught the attention and imagination of many, including director Noah Baumbach who selected her track ‘Suburbia’ to appear in his film Greenberg.

Now, as she embarks on the road to play her brand new material in Europe, Twin caught up with the much-hyped electro artist to discover how solitude can be one of the best things to ever happen to someone.

You have said that you recorded much, if not all, of your latest album ‘Liquid Cool’ in various closets. How? Why?
Well, it just so turned out that the two places I ended up living in in Los Angeles over the course of recording ‘Liquid Cool’ had these large walk-in closets. I wanted the sound of the record to be very intimate, so I decided to set up shop in these spaces with just a few instruments, in order have privacy and go deep into that fantasy world I was creating.

Was there a specific event that lead you into leaving your previous label? And how did you feel, both creatively and personally, to go solo?
No specific event, but just a general feeling of a poor fit over the course of our relationship. It’s a big commitment to get into a relationship with a label, not only a financial partnership, but a creative partnership as well. If you aren’t feeling like the whole is greater than the sum of it’s parts, then it’s probably best to get out while you can. There’s nothing worse than giving away 50% of your rights/ownership/and profits to an entity you can’t get behind.

I’ve been releasing my music independently since 2008. ‘One second of love’ was the only release done with a label other than my own. The main thing Secretly Canadian [record label] and I agreed upon was perhaps I did a better job at releasing my music on my own independently. So it felt great to get that kind of reassurance. And generally it’s been a better experience doing it on my own, albeit more of a personal expense.

There is an oft-mentioned sensuality to your music, is this deliberate? If so, how do you achieve it?
Definitely not deliberate but perhaps just the way that I sing, coupled with the prominence of the bass and rhythm section.

How has your style and sound progressed over the past ten years? What do you want to say now, in comparison to what you wanted to say then?
It’s progressed immensely and honed itself, but always been very much Nite Jewel. I think I’ve always toyed with similar themes throughout my career. The cross-section of love and technology has always interested me from the very beginning, and continues to be a theme in my work.

Your sound has also been described as “dreamlike” – what was the last thing you dreamt of?
I have very vivid dreams, but the last one I can remember being woken up by, was one where I was doing some sort of very dangerous aerial gymnastics à la Cirque d’Soleil. I’m afraid of heights but have consistent dreams of daredevil type mid-air acrobatics.

‘Liquid Cool’ is said to look a lot at the idea of being alone, is this something you are, or previously have been, afraid of? Have your perceptions of being on your own changed over the years?
I think aloneness is something I have always cherished, but at times it has been something I’ve grappled with being an artist. Aloneness is always directly linked to productivity/creativity. If that isn’t going well one day, aloneness can seem daunting, but most of the time it is a great thing. For ‘Liquid Cool’ I was more exploring the pervasive feeling of aloneness in a world where we are also so virtually interconnected. The internet can prove claustrophobic and crowded, but in reality we are experiencing that alone. That somewhat paradoxical dichotomy was what drove the concept of the album.

This album has been described as a “stripping back the pieces of our own lives until we can really see one another again” – is there anything in particular that you feel is particularly obstructive when it comes to communicating with those around you?
Yes, our online lives/personas.

You’ve done almost everything on this album yourself, how does the feeling of seeing it finished and out there now compare with previous work?
It’s refreshing! But also familiar. I have always done everything on my own, so it’s nothing new. Even when I have worked with other people, in the end, it’s my work, my voice.

Who else, musically, is inspiring you right now? Is there anyone you’d like to collaborate with?
For new stuff: The Internet, Kaitlyn Aurelia Smith, Harriet Brown and Jessy Lanza.

What is the rest of the year looking like? What are you up to next?
Our UK and European tour starts on the 15th September. Come see us!

For a full list of Nite Jewel’s upcoming tour dates, click HERE.


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Topshop Unique AW16 hits stores

24.08.2016 | Fashion | BY:

The shift in seasons is truly upon us, well, in a sartorial sense at least. Today sees the long-awaited launch of Topshop Unique‘s stellar AW16 collection, as it arrives in stores and online. So distract yourself from flimsy cotton dresses and kick your way out of those well-worn three-stripe slides, there’s some new kit to play with.

As ever, the girl being designed for by Topshop is part rebellious, part slick – just like London itself. Alongside late-night worthy velvet suiting and slips, there are sequins and corseted minis. Meanwhile, daytime gets a heritage feel, with houndstooth appearing in a variety of blown-out proportions, cropped knits, collared lace and exquisite printed silks inspired by the Bard – The Winter’s Tale landscape.

There is a military element, too, with the introduction of voluminous fur-collar bombers, plenty of khaki and mustard, and hip-skimming mannish army trousers. The final flourish is undoubtedly the swathed duster coats, resplendent with Arctic white shearling. They are the perfect accompaniment to second-skin long johns, a leather mini, those aforementioned sequins or a barely-there negligée. Or, perhaps even nothing at all.

Shop the new collection HERE.


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Björk in London this September

22.08.2016 | Culture , Music | BY:

This September in London is about one thing only: Björk. Riding high off the success of her critically-acclaimed album ‘Vulnicura’ she is set to play a number of London shows, as well as hold her own exhibition – ‘Björk : Digital’ – at London’s Somerset House.

For years Björk’s music and visual genius has proved to be both pioneering and iconic in equal measure, and now, the British capital is set to feast on her creative fruits in a variety of mediums. Following the high demand, and subsequent selling out, of her Royal Albert Hall performance on 21st September, an additional show has been announced at the Hammersmith Eventim Apollo on the 24th, with tickets going on sale on Wednesday 17th August. These will be the artist’s first performances in London since the release of her latest album.

Meanwhile, the exhibition at Somerset House is due to feature a number of her digital works, such as virtual reality videos, interactive apps and archive music videos that were created in unison with some of the most spectacular talents from the worlds of visual artistry and programming. Booking is strongly advised.

‘Björk : Digital’ will be on from 1st September – 23rd October 2016. Click HERE for tickets.


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Guerrilla Girls Finally Get Their Own Show

11.08.2016 | Art | BY:

Founded in New York in 1985, the anonymous art collective – the Guerrilla Girls – are finally getting their own, dedicated show. Set to commence this October at London’s Whitechapel Gallery, it is a long-awaited spotlight on over three decades of important work they have done in highlighting the staggering inequalities that take place both historically – and currently – in the art world.

Though the group has seen members come and go over the years, one thing unifies: all participants take the names of dead women – Frida Khalo, Georgia O’Keeffe – and conceal their identities with gorilla masks when appearing in public.

Guerrilla Girls

‘Do Women Have To Be Naked To Get Into The Met. Museum?’, 2012, Courtesy of the Whitechapel Gallery

Speaking to The Guardian earlier this week, Iwona Blazwick, director of the Whitechapel Gallery reiterated the real need for such an exhibition to take place, and further demonstrated why the Guerrilla Girls are so vital. “I was just at the Kunstmuseum in Basel where they have just rehung the entire collection from 1900 to the present and I think there are five women.” She said. “Sadly it is still an issue.”

Guerrilla Girls

‘It’s Even Worse In Europe’, 1986, Courtesy of the Whitechapel Gallery

Entitled ‘Is It Even Worse In Europe?’, the new show will feature famous works such as the 1986 inspiration behind the aforementioned title, as well as ‘Do women have to be naked to get into the Met museum?’ and ‘Pop Quiz’. However, the large crux of the exhibition will be based on the results of 400 questionnaires that the Whitechapel Gallery have commissioned the group to send out to European museum directors, including their own.

Guerrilla Girls

‘Pop Quiz’, 2016, Courtesy of the Whitechapel Gallery

In a public statement, the Guerrilla Girls said: “With this project, we wanted to pose the question, ‘Are museums today presenting a diverse history of contemporary art or the history of money and power?’ Our research into this will be presented at Whitechapel Gallery this fall.”

Let’s see, shall we?

‘Guerrilla Girls: Is it even worse in Europe?’ will be co-curated by Nayia Yiakoumaki, and runs from 1 October 2016 – 5 March 2017; entry is free.


Main image: by Andrew Hindraker

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Louis Vuitton Cruise ’17: Her Name Was Rio

29.07.2016 | Fashion | BY:

It’s mere days until Rio de Janeiro becomes the focus of the world’s gaze, as the 2016 Olympic Games get under way. But all this talk of athletic prowess in a stunning setting has made us yearn for the Louis Vuitton Cruise ’17 collection, which took place in the famed city a few months ago.

While we were enraptured then, the prospect of last-minute August escapes has thrown us headfirst into a search for things to wear, and we’re coming up lacking, as all we really want are these creations from Nicolas Ghesquière. The industry favourite, who has always managed to put his finger on exactly ‘what women want’ has done it again – bien sur. “I think what defines our time is that women want to look sophisticated and they want casual sports clothes,” he said. “Those are the two big obsessions.”

For those who missed it in May, here are just a few of the reasons why we’re churlishly wishing this summer away, so that we can get our hands on this collection in time for December.

Culture and Ghesquière have always gone hand-in-hand, and this show was no exception. Held at the Oscar Niemeyer–designed Niterói Contemporary Art Museum, artists also both partook, and inspired, the collection itself with the likes of Hélio Oiticica and Aldemir Martins on the credit sheet.

Model-of-the-moment Mica Arganaraz opened the show, while Twin favourites like Heather Kemesky (who features on one of the covers of our latest issue) also walked.

Thought the ubiquitous flip-flop was reserved yuppies in Clapham? Think again. They are now officially desirable, thanks to Ghesquière sending heavily cuffed versions down the catwalk.

US racing insignia, scuba-esque fabrics and chequered flag motifs were prevalent throughout the collection, adding to the sporting feel of the brand for this time of year.

Remember those skinny lurex scarves you used to love so much? Well, great news for hoarders: they’re back, albeit smattered with sequins amping up their luxe feel. Less good news for Marie Kondo advocates, you’ll have to repeat buy.






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Taylor Hill

Taylor Hill is Topshop’s new girl

25.07.2016 | Fashion | BY:

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

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

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


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Petra Tate

Petra Collins x Tate Modern

19.07.2016 | Art | BY:

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

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

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

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

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


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The Art of Storytelling

30.06.2016 | Art | BY:

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

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

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

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

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

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

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

Odyssey 03

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

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

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

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

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

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

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


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LOEWE’s Ibiza concept store

18.06.2016 | Fashion | BY:

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

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

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

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


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Anteros: Sunny Side Up

16.06.2016 | Music | BY:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Poem Baker

Poem Baker’s Hymns From The Bedroom

03.06.2016 | Culture | BY:

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

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

Stef & Jacq, 2011 (main)

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


Daniel, 2012

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

After Party

After party – Harry and friends, 2015

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


James, 2011

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


Vera , Sam & Elise, 2014

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


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The City Is Abstract

02.06.2016 | Art | BY:

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

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

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

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

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

city abstract

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

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

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

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

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Molly Burch

Molly Burch sings the blues

01.06.2016 | Music | BY:

With a voice like pooling honey, and lyrics dripping with longing, Molly Burch is something very rare: a genuine talent. Tonight, she plays London as part of her extensive European tour, showcasing raw and heartbreaking material from her debut album, Please Be Mine.

Having been described as both “re-inventing rock and roll for 2017”, and “exquisite”, Twin caught up with the musician to find out how she makes a smokey, jazz sound so rooted in the past, feel so modern.

You’re about to make your London debut with a show here, have you visited before?
I have, yes! But just on vacation a couple of times. I’ve never played in London before. I’m very excited.

What kind of experience will you be bringing to the UK audiences?
I’ll be traveling with my guitarist Dailey Toliver and our set will be more stripped down than usual. We’ll be bringing an intimate, romantic set.

Do you have a favourite type of venue and city to perform in?
I am really looking forward to this tour in particular because of how intimate it is. I really love playing in listening rooms where the audience is attentive. That always feels so special. As far as cities, I loved playing in my home state Los Angeles on this past tour and I loved our Brooklyn show.

Your music is undeniably nostalgic in its tone, what is it about the greats that you love so much?
I grew up listening to older music. I was raised in a house that put a lot of emphasis on classic movies, both of my parents are in the movie business. We would watch a lot of movies growing up, lots of silent films and musicals. I started listening to jazz music in middle school. I think I was drawn to voices mostly. I was just starting to sing and I felt drawn to voices that I wanted to sound like. That just happened to be female artists with deep voices. When I grew up I went to college for Jazz Vocal Performance. When I started writing songs I was very much influenced by what I learned in school and what I grew up listening to.

How do you think your take on it translates to a modern audience without being ‘retro’ or a novelty?
I would hope that my music comes out as relatable and universal. I write what comes natural to me.

Your love for the likes of Patsy Cline and Nina Simone is clear to see, and can be felt with authenticity. But who inspires you among your contemporaries?
I am very inspired by Solange, Natalie Prass, Tim Darcy, and I just discovered Aldous Harding – I love her new album.

How key is the element of storytelling to what you do?
I think storytelling is important to any songwriter. I find that it is most key when I am performing live.

Are your songs written from personal experience, or to be more universally relatable?
They are a combination of both. I was going through a break up when I started writing my album and I also had just moved to Austin by myself. I was dealing with a lot of different changes. Some songs are based on that time such as ‘Please Be Mine’ and ‘I Love You Still.

How tough was it to commit to and work towards a career in music? What kind of sacrifices (if at all) have you had to make?
Hmm, I wouldn’t say I have sacrificed anything. There was a time recently when I had three part time jobs and I was spreading myself pretty thin. My days would be very tiring and it was hard to find time to be creative. But I feel it prepared me very well, especially now, since touring so much I feel I can handle juggling a lot at once.

Is image important to you in terms of your ‘brand’? If so, how would you describe it?
Yeah, I do believe that imagery is important. I love making music videos that showcase the songs off my album. I would describe my personal style as casual and feminine.

What kind of advice would you have for someone struggling to get their first record deal?
Do your best work and keep working! And have a thick skin.

Please Be Mine by Molly Burch is out now on Captured Tracks.


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Sarah Louise Stedeford’s Suburban Youth

26.05.2016 | Culture | BY:

Sarah Louise Stedeford, 25, currently lives in north London – but she hasn’t always done. The photographer – who’s currently splitting her time between casting for a zine and shooting fashion editorial and commercial – has produced a haunting personal project called Suburban Youth, which brings to mind heady memories of running for the last train while high, Tommy Girl eau de toilette and White Lightening.

Here, in a short essay, Sarah explains her own relationship with one of the most important – yet overlooked – cornerstones of British adolescence:

“I spent my teenage years between west London and the south west suburbs. I think this demonstrated the differences between the two from quite early on. Home kind of became both or neither places. I guess this allowed me to see the suburbs from both an insider’s and an outsider’s perspective.

“Travelling on the long suburban trains every day, I would always sit near the window and watch the suburban towns pass by. I shot most of the landscapes in this series from the window of the train, it felt quite true to the subject. Anyone from these areas will be very familiar with the train journeys. The train was moving too quickly for me to have much time to compose or focus on something specifically. This was quite interesting to me, to see what I had captured and that when editing, one of the images would speak to me in some way, reminding me of something, even though I couldn’t really put my finger on what it was.”



“The project as a whole does feel like a series of blurred memories to me, and I feel like this when I visit these areas. It’s not something specific that I remember…it’s a feeling. Lots of memories all tied together and kind of blurred.

“I think this is true for the suburbs itself. There is a different feeling in this area. But I don’t think it has a very clear identity.

“Whenever I would say where I was from, to someone who didn’t know the area, the only way to explain was to say where it was between. These areas feel busy, with trains, planes and cars running through, round and over, all leaving a sheet of grey dust behind them. But there is also a feeling of calm, like the dust has settled. This feels quite surreal too. Its not busy on the streets, but there is a sense of movement. Its like a pit stop place, only used in order to get to somewhere else. I guess this is its strange identity in a way.”


Olly @ Milk



Poppy @ Select

Main: Sophia Skoss @ Premier


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Mark Field

TIMANTI: Create Your Own Empire And They Will Come

17.05.2016 | Music | BY:

With the launch of her own label – Templr – a season in Ibiza, the release of an EP, countless festivals and international DJ gigs, artist TIMANTI‘s 24/7 work ethic is clearly paying off. Having made a name for herself with her unashamedly raucous club nights both in the UK and further afield, this London-born young woman – first name Steffie – has been flagged as one to watch in the realms of both music and mogul status.

Forgoing a machine-like team choreographing her success, Steffie has taken the hands-on approach, by doing absolutely everything herself. Here’s how, and why:

When did you start going out to clubs? Did you ever envisage that you’d be hosting nights one day?
I actually started hosting parties before being old enough to go to clubs! I used to hire out spaces and throw mini raves (which usually fell on my birthday) and then moved into proper venues. The parties where crazy, all my mates that were part of the Cali days would agree. I remember I got a couple of my dancer friends to dance in cages! (Sorry girls…) We were all underage – not sure if I should be saying this – and this was before I could even DJ!

How long have you been working in the music industry for? How did you get started?
I’ve been writing songs for as long as I can remember, like Primary School days. I’ve played quite a few instruments too. I’ve found some really embarrassing raps I’d done on my Talk Boy (wonder if anyone remembers those) from the ’90s… I’ve always had a passion for music so can’t think exactly what sparked it, all I know is that it hasn’t come from anyone around me growing up, as there was no one musical in my family… It was just there somehow! I started the parties when I was 15 and got my first DJ gig at the age of 17 while I was at college doing Music Technology.


How would you describe your sound?
A question I always struggle to answer. I’m influenced by so many sounds, so I would just say have a listen and decide for yourself. I would say it’s the TIMANTI sound, and tag it Future World Sounds!

I’ve seen that in the past you’ve mentioned overcoming a prior illness – do you mind me asking what that was and how it’s affected your work since?
It was an attack on my nervous system which caused numbness and permanent tingling around the body. It mainly affected my hands and I couldn’t DJ for about eight weeks last summer. I’m still undergoing tests for diagnosis. It was probably the scariest time of my life so far, but now I see the attack as a blessing. I’ve had to completely change my diet, and pretty much almost eliminated my alcohol consumption. I have to listen to my body a lot more and haven’t got as much strength as I did, but am determined to heal myself this summer in Ibiza, so the doctors won’t ever reach a diagnosis!

There’s a lot of hype surrounding the launch of your own record label – Templr – this summer, when did you decide to do that? And why?
This goes back to your question about my sound, I couldn’t really find a home for my next EP ‘City Of Gods’ (to be honest I only sent it to two labels) so decided to release it myself. There is a story surrounding each of my releases/tracks, and for this release I wanted to dedicate it to my Dad and release it on his 60th Birthday, 15th July. He loves the track and is such an important figure in my life as well as my Mum.

Who – out of your contemporaries – are you really into right now?
I’m really digging what the guys and girls around me are doing, especially Esa! He’s sitting on an absolute bomb which I can’t wait to play out in Ibiza. Voicedrone – who’s working on a remix for me – is creating some stunning analogue masterpieces, and Ireen Amnes is blowing my mind during her live DJ sets! Barber, Taylor, D. Ramirez, Coco Cole, BOY, Amber Shells, all the crew coming out of Hackney Wick and Mainyard & Shapes are, in my opinion, cooking up the future of our dance floors.

Is your professional world a supportive one?
I’m very lucky, I’ve got such an amazing squad that I live and work with. There are way too many to name here, but I would consider many of the following names family: Big Ups all of the Nixwax gang (especially Alec, Rob & Ralph for signing my first ever Vinyl release), Taylor & Tom Starr who have been like musical big brothers to me from day one – without them I wouldn’t be where I am today! Hannah Wants and her team have been awesome too after winning the What Hannah Wants comp in 2014, and playing on tour with her last year. What she does for up and coming artists is mega! Loz and Youngr who I live with in Hackney are two of the best, supportive house mates I could have ever wished for and my adopted baby musical sis Lolé will be in my room for the summer while I’ve moved to the inspiring Sonic Vista Studios for the season with another amazing squad! Literally count my lucky stars everyday!

You’re in Ibiza right now for the season, what are you favourite things to do there?
I get so inspired just being here but love to hang out in the caves, sleep under the stars and meditate at Es Vedra. Nothing can beat spending time exploring the island with my friends and pretending to be pirates – haha… I made a tune once called ‘Pirates of Es Vedra’. The outdoor parties and beach parties are my favourite. I also really love Pikes!

You’re also playing your fair share of festivals this summer, why should people come and check you out over the competition?
I am actually playing quite early at most of them so I guess they’re going to be quite different! I approach each set as a journey and would recommend you stick around for the whole ride. At Secret Garden Party I’m playing 10am-midday, and planning on doing a meditation/transcendental type set; I’ve never done this before so should be quite interesting. I’ve also just been confirmed for Lost Village festival which I’m super excited about! I’ll be opening up the Abandoned Chapel on the Saturday with some special vibes.

Is there any one track that is guaranteed to get the crowd going at your club nights?
There are a few but the real head-turner for me at the moment seems to be my track ‘City of Gods’. It has this secret bass line that comes out of nowhere and people seem to lose their minds. I wrote this after seeing Gardens of God at Lost Village last year!

If you could only listen to one track for 24 hours, what would it be and why?
Kiasmos – ‘Looped’,  because I think I’ve already done it! Literally reminds me of summer and is such a beautiful track it’s impossible to get bored of.

How would you sum up the success of this year so far in once sentence?
I’m blown away to be honest, it’s all kind of happened because I decided to take risks and create it! I know it’s supposed to be one sentence but would like to extend this question with the hope of helping inspire others. I haven’t got a manager or a booking agent and don’t spend my whole life getting smashed at every party, in fact I’m always busy working so am rarely out. And when I’m not working I only spend time with people that care for me (this I think is fundamental as the industry is extremely tough). Don’t wait for the golden ticket, make your own… Create your own empire and they will come.

TIMANTI’s ‘Don’t U’ is out now on Love & Other; and her EP ‘City of Gods’ will be released on 15th July on Templr.

All images courtesy of Mark Field Photography


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Grear Patterson’s True Romance

12.05.2016 | Art | BY:

This summer, New York-based artist Grear Patterson is presenting an exhibition at London’s Marlborough Contemporary which is centred around something that is often thought of as an ever-deteriorating concept: true romance. With Tony Scott’s seminal film of the same name serving as the catalyst as well as the title, he has produced a series of mixed-media works that both encapsulate and explore the theme.

Utilising the “visceral vernacular of the sunset as an auspicious moment – simultaneously a romanticised ending and yet a promise of new beginnings” – each piece is a study in pop-culture, imagery and processes of perception, all of which have become recurrent motifs in Patterson’s work over the years.


Grear Patterson, Blue Bronx (2010), c-print, 13 x 20, Courtesy the artist and Marlborough Contemporary, London

The symbolism of the sunset is explored both literally and figuratively elsewhere in the show – with banana trees and hammocks physically present within the gallery – further adding to the stereotypical idea of a tropical sunset, especially as is so commonly seen through the millennial lens of social media.

A plethora of found materials – from parachutes, wedding tablecloths, boat sails and vinyl – make up the large scale sunsets, while smaller works are comprised of block colour paper works in purples, pinks, blues, oranges and greens become a “memorialisation of youthful possibility, oddesey and adventure”.


Grear Patterson, Odyssey (2008), Photograph, Courtesy the artist and Marlborough Contemporary, London


Grear Patterson, Quiet Corner (2010), Courtesy the artist and Marlborough Contemporary, London


Grear Patterson, Moonrise (2016), Photograph, Courtesy the artist and Marlborough Contemporary, London

Main image: Grear Patterson, Beachstrollers, (2008), Photograph, Courtesy the artist and Marlborough Contemporary, London

Grear Patterson, True Romance, Marlborough Contemporary, 24 June – 23 July 2016.


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The M.i.h cult denim pop-up shop

07.05.2016 | Fashion | BY:

Premium denim brand M.i.h are celebrating 10 years at the forefront of jean genius with a pop-up shop in London’s Soho. Situated on Upper James street, the store features everything from its beloved denim to homeware and fragrance – all imbued with M.i.h’s signature ‘blue-jean’ spirit.

For its 10th anniversary, the brand has launched a unique ‘cult denim’ project, which sees 10 cult items from its archives be re-released as a special capsule collection.

Featuring everything from the perfect ‘7os shirt dress, to the ‘Topanga’ cropped flares, and ‘Painters’ denim parka – it promises to provide the ultimate denim edit for any woman’s wardrobe.

While the full anniversary collection is available from the Soho pop-up shop, there are also accessories from the likes of Illesteva being sold alongside to help punctuate the looks on offer.

Open until the 23rd May; 7 Upper James Street, London, W1F 9DH.


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