Chase Tha Worst: London’s Artist on the Rise

East London-based rapper Chase Tha Worst has been catching the internet’s ear with a stolid and infectious flow. Hailing from Trinidad and Tobago, he’s carved his own distinct aesthetic and sound; an intoxicating blend of hip hop and funk, challenging conventions and offering a fresh perspective. That same spark is on display on No Friendz, his new single and video out now.

Last week, the rapper and producer released his debut album Tha Worst Mixtape. Tongue-in-cheek lyricism and effortless delivery can be heard drifting across his 10 self-produced songs, crossing into different genres. In No Friendz, Chase channels an energetic and laid back flow, coupled with striking visuals shot in London. 

“I think in current times, music alone is not enough. I wanted to use all the creative fields I love- music, creative direction and comedy to bring the project to life and create a world around it,” says Chase.

Speaking further on his debut, “I hope that it inspires others to do the same. I hope to bring some originality and craft to not just the music but all that surrounds it – the promos, the videos, the visual identity. I think that a lot of people are caught up with trends and numbers. How do I get famous? How do I make my next song blow up? A lot of people are trying to use a formula but it’s killing the art form. I hope to inspire other artists to stop trying to feed algorithms, stop jumping on trends, and make what they really want to make.”

You can watch the official No Friendz video here, out now.

Toga Archives x Dickies

Designer Yasuko Furuta’s Tokyo-based luxury label, TOGA, is set to launch a collaborative collection with the American workwear brand Dickies. The lineup showcases timeless silhouettes infused with a Japanese Americana flair, drawing inspiration from TOGA ARCHIVES.

The collection is available from October 27. Click here for more details

Hypha Studios and Creative Land Trust Unveil MELT

Hypha Studios (HS) and Creative Land Trust (CLT) have come together to unveil MELT as part of Frieze 2023. The exhibition shines a light on 32 artists and creatives who have flourished through the support of these visionary organisations

The brainchild of Camilla Cole and Will Jennings, Hypha Studios emerged as an idea during the pandemic, prompted by the three-sided problem of increasing high street vacancies, loss of community spaces and deteriorating conditions for artists and creatives.

Set against the backdrop of London’s effervescent creative landscape, MELT stands as a testament to the city’s vibrant artistic spirit. The exhibition’s centerpiece features CLT’s remarkable studio holders from the Wallis Road site, including luminaries like Shiori Akiba, Enej Gala, and Zarina Khan. Notably, CLT’s esteemed ambassadors – Adelaide Damoah, Haroon Mirza, and Emmanuel Unaji – also take center stage, championing the cause of creating fertile ground for artists to thrive. Augmenting this eclectic gathering are Hypha Studios’ very own talents, comprising Margaret Ayres, Luca Bosani, and Kialy Tihngang.

The exhibition’s title, MELT, pays homage to the legendary FREEZE exhibition curated by Damien Hirst in 1988—a pivotal moment that reverberates through the current era of creative evolution.

Creative Land Trust’s mission revolves around the acquisition, preservation, and protection of long-term affordable workspaces for artists, while Hypha Studios facilitates free short-term studio and exhibition spaces for artists, in exchange for a public program that enriches local communities.

MELT marks a significant milestone as the inaugural exhibition at Hypha Studios’ brand-new central London location, Regent’s Place, as part of a transformative three-year partnership with British Land.

MELT will be open to public Monday 9th – 22nd October 2023, 12 – 6pm daily at Unit 3, Euston Tower, 286 Euston Road, London NW1 3DP

Sophia Webster: “Oh My Gosh, I Love Your Shoes!”

British shoe and accessories designer, Sophia Webster has just released a coffee table book.

Famed for her iconic butterfly heels, Webster’s eponymous footwear label was dubbed the shoe world’s new rising star since its inception in 2012, counting fashion’s key retailers -Dover Street Market, Harvey Nichols and as stockists. 

In Oh My Gosh, I Love Your Shoes!, Sophia shares an intimate narrative that unveils the highs and lows of a remarkable decade spent shaping the landscape of shoe-making and fashion. 

The book is part memoir, part homage to the world of high heels and haute couture. Sophia Webster takes the reins, recounting her captivating story in her own words. 

Oh My Gosh, I Love Your Shoes! launches October 5th. You can find out more here.

Twin Issue XXIX


Summer might well be over but fear not – there’s a lot to look forward to, and reminisce about, in the new issue of Twin. Vagabon, aka Laetitia Tamko, has a new album out full of poignant and mood-shaping tracks. The musician and music producer gives us the lowdown on them plus what she has planned next; meanwhile we meet one of couture’s new leading lights Imane Ayissi; there’s a Q&A with the artist Paul McCarthy, an up-close with Kira Freije’s sculptures; and the latest art talent from Milan. Plus, jewellery to catch the light in; how to wear the opposite of the naked dress; new season scents and a look at how fragrance shapes one’s life. A lot to get stuck into as the new season finally gets underway. 


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JW Anderson and Offer Waterman present On Foot

This coming fall, Offer Waterman Gallery will unveil On Foot, an exhibition curated by Jonathan Anderson. 

On Foot will bring contemporary artists into dialogue with iconic works of modern British art, from the likes of seminal artists Igshaan Adams, Frank Auerbach, and Lynette Yiadom-Boakye amongst many others.

Also on display will be Anderson’s pieces from recent seasons for JW Anderson and LOEWE, each hand-picked for its sculptural and transformative forms.

The exhibition transforms the galleries of Offer Waterman into the iconic streets of Mayfair and Soho, unfolding like a walk-through London. From your local watering hole to garden squares, the gallery’s corridors and stairways will transform into the city’s traffic-clogged streets, and busy pavements, with ceramics and sculptures representing the city’s energetic crowd. You may even spot JW Anderson’s pigeons taking over what was once the gallery’s storeroom.

British artist, Anthea Hamilton, has collaborated with JW Anderson to present a limited-edition version of the iconic pigeon clutch which will be available at both Offer Waterman and the JW Anderson Soho store.

The exhibition will open on September 18, two days after Anderson presents his S/S 2024 womenswear collection for JW Anderson as part of London Fashion Week on 16 September.

JW Anderson at Offer Waterman On Foot runs from 18 September – 28 October 2023.


Asmaa Jama. Portrait by Kevin Lake. All About Love commission by BUILDHOLLYWOOD, 2023

After a successful launch across five UK cities with new commissions by five leading artists, the final instalment of this national billboard takeover comes to Bristol, led by artist Asmaa Jama. Twin’s digital editor Susanna Davies-Crook caught up with the large-scale public art project’s curator Zarina Rossheart to hear all about love….

Why did you choose Bell Hooks’ masterpiece book All About Love to be the title of this series? 

In the period of time when I was conceiving this project, coming out of the uncertainty of the global pandemic with a sudden war starting in Ukraine and an everyday reminder of ongoing climate crisis, there was heaviness in my heart. I was looking for answers and I wanted to do work that would counter the pain individually and collectively. Reading Bell Hooks’ All About Love in that moment provided inspiration and encouragement. I came across this paragraph that really spoke to me and it became a point of departure for the project:

‘Whether it is the ongoing worldwide presence of violence expressed by the persistence of the man-made war, hunger and starvation, the day-to-day reality of violence, the presence of life-threatening diseases that cause the unexpected deaths of friends, comrades, and loved ones, there is much that brings everyone to the brink of despair. Knowing love or the hope of knowing love is the anchor that keeps us from falling into the sea of despair’. – Bell Hooks

Helen Cammock, ‘the deepest crease in the fold of stone and the sweet taste of salt’ (2023). All About Love commission by BUILDHOLLYWOOD. Courtesy the artist. Photo_ Kevin Lake

What is your hope for the effect of the billboards on people who pass them?

I have always worked in public realm and hardly ever inside galleries. To me the billboards are the outdoor canvas for the artists to bring their work closer to everyone without exception. It is for the street workers and night workers as much as for anyone else passing by on their way about their life. As opposed to advertising that we are so used to, and immune to in a way, the art on billboards makes you stop, feel and hopefully contemplate life. It also allows to make invisible, unrepresented or other come to the forefront: For conversations held behind closed doors to become a shared or communal experience. It’s about amplification, being louder and having the courage to take up space.

Asmaa Jama, Except This Time Nothing Comes Back From The Ashes. Courtesy of Asmaa Jama and Gouled Ahmed. All About Love commission by BUILDHOLLYWOOD, 2023 Photo by Kevin Lake

Has anything unexpected happened as a result of embarking on this project?

The magic and mystery of working with artists leaves a lot of space to the unexpected and the unknown. I find beauty and meditation in that. I guess I could have never predicted though that the project would unfold in such an expansive and generous way. Including sharing difficult personal life moments with artists, and building incredibly supportive relationships that inspire me and hopefully the audience to continue on our chosen paths. 

Eve Stainton, You can take the _ out of _, 2023. All About Love commission by Buildhollywood. Courtesy the artist. Collage feat photography by David Laskowski, Stephen Bishop and Eve Stainton (48 sheet)


‘All About Love’ is BUILDHOLLYWOOD’s first major curatorial and artist commission that took over large-format billboards across Birmingham, Brighton, Bristol, Glasgow and Manchester between April – September 2023. The project champions artists who are either born in those cities or live and work there, curated by Zarina Rossheart.


Tomo Campbell Presents Spitting Feathers

Highly acclaimed British artist, Tomo Campbell, has announced his latest exhibition, Spitting Feathers. From September 14th, the Cob Gallery will host Campbell’s exceptional works, marking his third solo exhibition at the coveted venue and promises to captivate art enthusiasts and connoisseurs alike. Spitting Feathers will showcase his most extensive collection yet, displaying an intricate fusion of past, present, and future themes.

Collected by notable figures such as Harry Styles and Alexa Chung, Campbell has garnered attention for his unique artistic voice that seamlessly blends the classical with the contemporary. His creative journey navigates the delicate balance between abstraction and figuration, weaving a narrative that delves into timeless subjects such as the hunt, parades, and exploration. What sets his art apart is his distinctive style, characterised by an interplay of bold and layered arrangements in soft pastel hues reminiscent of the elegant Rococo era.

Inspired by a diverse array of source material, the exhibition invites viewers to step into a realm where tradition meets innovation.

As we await the official reveal, it’s clear that Tomo Campbell’s creative prowess continues to make waves across London’s creative landscape. Spitting Feather opens to the public on Thursday 14 September and will be on view until Saturday 7 October.

Jupiter Artland at Edinburgh Art Festival

This weekend Edinburgh lights up at Jupiter Artland. Alongside the many delights and sights of the Edinburgh Fringe, this new programme and festival lands with a bang, as part of Edinburgh Art Festival and with JUPITER RISING. 

Curated by artist Lindsey Mendick, whose solo commission SH*TFACED is currently presented across Jupiter Artland’s galleries, and queer workers’ co-op Bonjour, this year’s JUPITER RISING x EAF features artist-performance, live music, talks, workshops and DJ sets from An(dre)a Spisto and Joana NastariGuy OliverHoney RevlonPink SuitsSgàire WoodsSTASISZiah Ziah and a new commissioned performance by Lindsey Mendick.

JUPITER RISING is set to be a riot – expect dancing, karaoke, DJs, performances and live music across the iconic landscape of Jupiter Artland, 30 minutes from the city centre.

As Kim McAleese, Director of Edinburgh Art Festival describes “Our EAF 2023 programme is one which seeks to platform local grassroots artists alongside those working globally and is a programme which is deeply connected to feminist and queer practice”.

Bonjour’s Late Night Stage brings together two of Scotland’s favourite QTIPOC (and ally) cabaret and club nights MOJXMMA and Q’IWA with sets from Halal Kitty and Jam Eye and performance by Lala Munan, Malaikah, Thea Transformo, Kiki Rivera and Caramella Coins.

“This free event continues Jupiter’s mission to support artists at every stage of their career. It will be an unmissable night” adds Nicky Wilson, Director of Jupiter Artland 

Time to get on the Megabus!


A party curated by Lindsey Mendick & Bonjour

Saturday 19 August, 6pm – 1am

Doors open 5.30pm for 6pm start

Free / £5 including complimentary drink

Bus ticket: £15, leaves Jupiter Artland at 1am

Jupiter Artland, The Steadings, Bonnington House, Wilkieston, EH27 8BY

Wed – Sun, 10am—5pm | @jupiterartland @jupiterrising_fest

Burn Out at E-WERK

This weekend, just outside of Berlin, a recommissioned power station hosts Burn Out – a summer symposium weekend of music, performance and discussion to truly address the power of art and radical change.

E-WERK Luckenwalde is a fully functioning power station re-envisioned as a sustainable Kunststrom Kraftwerk by curator Helen Turner and artist Pablo Wendall. The former coal power station built in 1913 – which ceased production in 1989 after the fall of the Berlin wall – was acquired by the couple in 2017, and since this gigantic space has played host to some of the foremost names in music and contemporary art. Legends including FM Einheit and Suzanne Ciani have resonated through the building, whilst artists from Himali Soin Singh to Cooking Sections have provided propositions on sustainability – a key focus for this iteration of E-WERK. In 2021, E-WERK hosted and curated the German premiere and only CO2 neutral performances of Golden Lion awarded opera Sun & Sea by Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelytė.

Burn Out – presented at this extraordinary location – seeks to address climate and capitalism, de-growth, and environmental imperialism. The symposium is all about driving ecological, economic and human change to the cultural sector.

Helen Turner as Artistic Director of E-WERK and Burn Out describes, her vision for the programme “the earth sighs deeply with the weight of its own planetary and human exhaustion. Hypercapitalism, the hamster wheel, chronic stress, repetitive strain injury, the rat race and perma-crisis – Burn Out. The hope for systemic change, a slower pace, better working conditions, planetary calm, economic and ecological progress all appear to have faded, and once again humanity and the planet is burning out. This event will bring together artists, thinkers, activists and more to consider how we can catalyse systemic change for the future”

E-WERK have put their money, power and politics where their mouth is – and as such it feels no institution is better placed to host and mount this discussion. In 2019, Performance Electrics gGmbH formally switched the power in the former factory back on, so now it powers itself, and is alos available as an energy provider – a true intervention in the mechanisms of power within the country. E-WERK produces an average of 900,000 KW/h a year, using renewable energy technologies such as solar, wind and wood gas. and now supplies energy to cultural institutions, businesses and private households. By switching energy provider, the client simultaneously supports the development of renewable electricity and contemporary art through their utility bill.

The extraordinary turbine hall at E-WERK currently hosts a stunning exhibition entitled The Material Revolution with a solo presentation by RA graduate Kira Freije who welds her intimate and uncanny human-scale sculptures and for this exhibition worked with a lighting designer and subtle haze to create a feeling of total transcendence and sacred stillness in this historic space.


Further iterations of a series of symposiums at E-WERK and LUMA Arles, Rupert Centre for Art and Education in collaboration with Gallery Climate Coalition on human and planetary sustainability will continue throughout 2023.

Boiler Room x Umbro’s Latest Football Inspired Club Collection

Boiler Room and Umbro have teamed up to release their latest football inspired club collection. Reflecting the freedom, colour and vibrance of rave culture in the UK, it’s presented as the ultimate kit to wear from dawn until dusk, football to festival field.

An independent music platform and cultural curator, the collection follows a series of iconic collaborations Boiler Room has released with P.A.M. and Valentino in previous years. 

Designed to celebrate the early days of rave when music, fashion and football collided, the seven-piece collection features a black pinstripe tracksuit available as a drawstring short and jogger set with co-branded red vinyl gloss detail. Accompanied by a black and neon yellow oversized tee with a 3M Boiler Room x Umbro back print and matching OG sweat towel, to keep you cool from centre-pitch to centre stage. 

Hero styles from the collection take the form of football jerseys, in a neon green long-sleeve goalkeeper style and black short-sleeved option, printed with an x-ray design symbolising underneath we’re all the same, one world, one community, one team.

“Umbro is such an iconic brand, we thought it would be fun to come together to design a uniform for Boiler Room. What does our team look like? It’s constantly changing but it’s always open, energetic, & diverse. A hyperlocal crew with a global mindset,” says Amar Ediriwira, Boiler Room’s Creative Director.

British nightlife photographer, Ewen Spencer captures the campaign’s imagery, worn by an electrifying crowd during the final performances of Jyoty and DJ EZ at Boiler Room London. 

The Boiler Room x Umbro collaboration is available from 30 June available exclusively on the Boiler Room website.

Eden Tan, Central Saint Martins’s Standout Designer

Following this year’s CSM BA show, menswear designer Eden Tan was accorded the top honour of the L’Oréal Professionnel Young Talent. His collection, On Borrowed Fabric,  places heavy emphasis on sustainability and circular production.

A Roll of Denim, image courtesy of Rebecca Maynes Photo

Of Malaysian-Chinese and British heritage, Eden Tan was born and raised in London, a city celebrated for its highly innovative fashion and creative communities. His latest collection draws from his hobby of tinkering and developing new techniques, bringing renewed life to garments and fabric found in charity shops. On Borrowed Fabric follows a material’s journey from creation, to obsolescence, and ultimately, recreation. 

Utilising trompe l’oeil techniques, folds and a handful of slits, Eden had constructed a series of six looks that had been made entirely from one fabric roll -still attached to the garment.

A Roll of Latex, image courtesy of Rebecca Maynes Photo

“I don’t think my work is that deeply rooted in fashion culture, I just like to find a quirk in a piece of material and really elaborate on that,” Tan explained, “the motivation for the collection was the possibility of making clothes which could be as easily reprocessed into new garments as if the fabric had never passed through my hands.” 

Tan references Schrödinger’s Cat, a thought experiment, as a core principle he held during the creation process. “Basically, a scientist puts a cat in the box with a bunch of chemicals and puts a lid over it. We won’t really know if the cat is dead or alive until we open the box. This represents a paradox of quantum superposition, one I want to demonstrate in using the same roll of fabric that remains seemingly untouched though work has been done.”

A Roll of Jersey, image courtesy of Rebecca Maynes Photo

Evidently, upcycling and rebirth are crucial themes at the forefront of Tan’s graduate collection, yet the designer is under no illusion that this project is going to save the planet. “I know it’s not a practical solution to fast fashion, but being as sustainable as possible and preserving the integrity of materials will always be important to me.”

A Roll of Silk, image courtesy of Rebecca Maynes Photo

“My work is never indulgent, it’s always restrained.”

And what’s next for Eden? 

“The truth is I’m taking the whole year to not worry about the deadlines someone else has set for me. This project is over and it was a success, and I now want to take each day as it comes.”

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Saatchi Yates Presents Bathers

In ode to the ultimate summer muse

This June, Saatchi Yates presents ‘Bathers’– a summer group exhibition celebrating the rich tradition of Bathing scenes in the history of painting.

The exhibition presents a collection of contemporary art, alongside renowned Post-War and Historical Masters including David Hockney, Paul Cezanne, J. M. W. Turner and Pablo Picasso. 

Also presenting in the show are contemporary stars Hurvin Anderson, Peter Doig, Henry Taylor, Eric Fischl, and Lynette Yiadom-Boakye, showcasing an artistic prowess that reflects the breadth and diversity of the Bathers theme. 

Pieces by Jean-Baptiste Oudry, Pierre-Auguste Renoir, Damien Hirst, and Auguste Rodin will also be on display.

Speaking on the exhibition, Martin Gayford says: “Bathers in painting are both varied and fundamental to the human condition. The combination of unclothed bodies and water can evoke guilt-free primordial innocence: a sin-free Eden. On the other hand, the same visual ingredients can suggest the consequences of Eve and Adam’s Fall: guilt, lust, death. 

He continues “in either case, the subject combines in one neat package two of the major preoccupations of artists for many centuries – landscape and the nude. It is no surprise that bathers have preoccupied painters for so long, and it is likely that the combination of water and human bodies will continue to intrigue them far into the future.”

Six of Saatchi Yates gallery artists including Danny Fox, Benjamin Spiers and Ethiopian artist Tesfaye Urgessa, will pay homage to this tradition, each one exploring the Bather in their own unique artistic methods and styles. 

Bathers follows Saatchi Yates’ well-regarded Tesfaye Urgessa solo show in Miami in November 2022. The show also follows on from Macabre – the selling exhibition co-organised with Christie’s London in October 2022, featuring works by Otto Dix, Lucas Cranach, Andy Warhol, and Francis Bacon.

The exhibition will be available for viewing from June 1 until August 10.  Admission is free. Additionally, there will be weekly curator-led tours every Saturday throughout June.


Last Chance: I ❤ Campbell @180 Studios

The next in the stream of eagerly awaited exhibitions at 180 Studios is a showstopping showcase of iconic imagery from fashion photographer Campbell Addy, “I ❤ Campbell is a personal meditation on the artist’s roots and inspirations”.

The imagery in the photographer’s first ever solo show was shot on location in Ghana. The 36 new works also feature a new film, spatial design by set designer Ibby Njoya and a soundtrack by CKTRL which all coalesce to create an immersive dip into the artist’s vision: “world within love, grounded by nature.”

In July 2016 Addy founded Nii Journal and Nii Agency as a challenge to the beauty standards of society and the fashion industry and build a new brand around who and what constitutes beauty and style.

Since graduating from Central Saint Martins, Addy has shot for Vogue, Harpers, Wall Street Journal, Dazed and i-D and been behind the lens to legends including Beyoncé, Naomi Campbell and Edward Enninful.

A typically brave and bold show – this is one we wouldn’t miss.

Gnarly: The South of France’s surf and skate culture captured by David Ledoux

‘No posers. Locals only’

In collaboration with stylist Phoebe Arnold for streetwear brand Aries, David Ledoux has released Gnarly, a compelling documentation of youth culture, captured in the Basque country in the southwest of France. The cloth-bound hardback will feature 118 black and white lithographic-printed photographs, capturing sun-kissed portraits of free-spirited young surfers and skaters in the south of France. Ledoux’s imagery pays homage to what it’s like to live, surf and skate on the coast near Biarritz.

Image courtesy of David Ledoux

Aries’ vibrant essence blends seamlessly with Ledoux’s photographs of the carefree surf community in France’s Basque country, reflecting the brand’s deep connection to London subculture and founder Sofia Prantera’s adolescence in the 90s.

Ledoux’s successful photography career spans both reportage and fashion, authentically capturing communities in a state of invisibility, filled with raw energy. reflects his keen sense of discernment and sensitivityThrough the years, his work has captured the eyes of iconoclastic publications like Vice, GQ and Dazed and Confused.

Image courtesy of David Ledoux

Phoebe Arnold first discovered Ledoux’s work on Instagram in 2020,  falling in love with his effortlessly bona fide approach to photographing the community around him. She proposed a collaboration, when Ledoux called the stylist with the news he was moving to Portugal. “It felt like fate,” recalls Arnold. “We met on a surf beach and road tripped together from Aljezur to Biarritz in his caddy van.”

Image courtesy of David Ledoux

Aries’s Soho flagship store is currently housing an exhibition which showcases selected images from Gnarly alongside a never-before-seen film documenting the book’s creation process. 

Aries has also partnered with White Claw to create a capsule collection of tees, sweats and shorts featuring Ledoux’s images.



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As the newly announced ambassador of BLEU DE CHANEL fragrance, Chalamet’s iconic look for this campaign will be shot by equally iconic photographer Mario Sorrenti and released this June.

BLEU DE CHANEL is the actor’s first collaboration with CHANEL, and his first official ambassador of any fashion or beauty label, and with it, the French-American 27-year-old actor will underscore his reputation as a style leader and unique presence in the world of fashion. As BLEU DE CHANEL observe, Chalamet has “audacious style and unapologetic charm…a man who does not limit himself to the ordinary boundaries life sets and looks beyond what is visible”.

As we eagerly await the next instalment of Dune and all the other no-doubt remarkable projects the Hollywood darling turns his hand to, CHANEL have bagged another legend to direct the BLEU DE CHANEL campaign film. Martin Scorsese will work with Chalamet and CHANEL to cement this illustrious collaboration, and we’re more than here for it.

MAISON META: The World’s First AI Fashion Week

The brainchild of Cyril Foiret, Maison Meta is behind some of the world’s first AI-generated fashion campaigns and collections. Across global brands like Moncler Genius, REVOLVE, and Pangaia, the creative studio is pioneering a new phase of fashion tech and the way brands interact with an increasingly digital clientele. In April, it launched AI Fashion Week at New York’s Spring Studios, showcasing selected submissions from 133 digital artists and designers worldwide. 

Maison Meta invited the public to take part by voting for the collections they liked the best on its website.

Image courtesy of Alena Stepanova

For some participating designers, the competition was an opportunity to explore sci-fi couture. Futuristic silhouettes and techy fabrics were paired with dystopian makeup looks, set within a desert or a runway underwater. Alena Stepanova and other designers instead presented intricate ready-to-wear garments, focusing on stacked layers, detailed knitwear and embroidery.

Image courtesy of Rachel Koukal

Rachel Koukal highlighted diversity in her collection ‘Soft Apocalypse’. In a series of images, she featured a culturally-diverse group of mostly curvy models, walking amidst a backdrop of sand dune, clad in otherworldly shapes and materials. In an interview with Vogue Business, Koukal explained that she wanted to create a size and body-type inclusive collection, one that she felt was lacking in the fashion industry. With MidJourney, an AI software allowing designers to prompt their creations through text, Koukal was able to feed her own images and re-prompt them to give her any imagined body she wanted, as well as new designs.

Image courtesy of Anya Klyueva

This week, Maison Meta unveiled the top 10 AIFW finalists, including Anya Klyueva and Ope, who will be judged by a panel of industry experts that includes Dame Pat McGrath, Vogue Japan’s head of editorial content, Tiffany Godoy, Céline casting director, Natalie Hazzout, and Erika Wykes-Sneyd of the Adidas Studio Web3, among others. The chosen three winners will then have their AI-generated designs produced and sold by REVOLVE for the real world. 

While still nascent, it seems that the future of fashion will be increasingly intertwined with generative AI, paving the way for new creative endeavours and global collaboration. Physical runway shows in future seasons are currently in the works for Maison Meta’s creative team, with products designed from previous collections said to be going into production. Maison Meta is also working on an incubator programme with REVOLVE to help designers launch their brands. 



Ibiza ’89 by Dave Swindells

IDEA, the publisher and bookseller of Dover Street Market London, New York, Los Angeles, Tokyo, is back with its incredibly popular–sell out in the blink of an eye–coffee table book, Ibiza ’89 by Dave Swindells.

An expansive vibey photo book, the title perfectly captures the hedonism of the White Isle, as seen through the lens of Dave Swindells. Here, he documents one fun-filled week spent in and outside the likes of Pacha, Café del Mar, and Amnesia; after all, he’s famously been photographing nightlife and people since 1983. 

“It was easy to believe that almost anything was possible in Ibiza in 1989; that many of the big clubs put MDMA powder into their cocktails; that the music could jump across genres and not only be exciting, but better than the sum of its parts; that there was always another club or bar to carry on to as long as you wanted to carry on; that it didn’t really matter about your age or sexual preference or how much money you had if you came for the fiesta and the music (although it helped to dress up to get into Pacha, and only the wealthy could buy tables overlooking the dance floors there); that there was always a secret cove or beach where you could create your own party…And all of that was pretty much true.” Dave SwindellsSnapping the Brits abroad, Dave also recalls first-hand the story of the British guy in the pink shirt framed so perfectly in the mirrored morning light of Amnesia’s terrace, “When a group of Spanish clubbers turned up at the gate I went down on all fours and crawled in behind them. Boom! I was in! The girl in the photo with me was an Italian Princess. She was with a group of people who had water pistols filled with liquid E – it was mental! That was without doubt the best night of my life.”

Back by popular demand, the title it now on its third edition, with four times as many photographs in the new book and has been released this week as an edition of 1,200 at Dover Street Market London. 

Text: Felicity Carter

Twin Issue XXVVIII: Marguerite Humeau speaks to Francesca Gavin

Natural Companions: Ecosystems and Existence in the art of Marguerite Humeau

Marguerite Humeau is an artist unafraid of realization the imaginary. Her art practices fuses historic and futuristic research with the skills of craftsmanship and design, and the emotions and ideas of sprituality, philosophy and science. The French artist has been based in London since she studied at the Royal College of Art, and shows at White Cube in the UK and C L E A R I N G in Brussels and New York. She has had stand out solo shows at Tate Britain, Lafayette Anticipations, Jeu de Paume and New Museum, as well as inclusions in the most recent Venice Biennale, Sydney Biennial and Kunsthalle Basel. She’s an artist who is unafraid of working big, bold and addressing the huge issues of existence.

Humeau’s aesthetic is shifting. Best known for giant fluid biological style sculptural installations with sound elements, her new projects are pushing medium, collaboration and what her projects look like. There is always something mind-blowing alongside the accessible in her work. Here the esoteric walks hand in hand with the factual. The results are art experiences that make us address what is it to be human, in this world, at this moment in time. Humeau highlights are place in the long now of civilization.

Your work began as large, sculptural installations with sound elements, and really particular aesthetic. Your work now seems to be going in new directions from video to earthworks. What do you find interesting about how your work is shifting? How does connect to the work you are best known for?

It was a natural transition. Conceptually, I am exploring further many ideas that I have been preoccupied with for a very long time now. Things are also evolving. I’m still interested in mythological ecosystems and how they relate to existing ecosystems. I’m still digging into the deep past and the far future to understand the present(s). I am also still exploring parallel presents and their possible multitude. I had huge desire to bring more texture to my work. I never really talked about this – I’m thinking out loud. But I always felt that there was a lot of texture to my research and my conceptual thinking. And there was a big gap between what I was presenting as pure, raw experiences of death and life and states in between. These semi-mythological presences. There was a gap between that and all the texture that was happening before getting there. I started to wonder, what if I would bring that texture more to my sculptural and installation work? What would happen then?

For a long time, I was interested in accelerating life to a point where death doesn’t exist anymore, and analyzing what that could mean, and the horror that is triggered as a result. I then went on a quest exploring transcendence and how we can exist beyond our physical body. How can our existences persevere in eternal cycles? And I got much more interested – it’s been three years now – in our physical shells and inner worlds. Our imaginaries, dreams and how they crack, how they melt. How they maybe get reborn. I felt especially during the pandemic that we all had to almost collapse to get reborn. We were really lonely. It was very much about survival and then regeneration. It was a transition that started early 2020, when I was doing my explorations on weeds and the soil, that then gave birth to ‘Surface Horizon’ at Lafayette Anticipations.

Let’s talk about research. Even just looking at your Instagram, when you were going around all these crazy postmodern buildings. We could feel your research process, this flow. What sparks your interest and draws you in? What makes you look at something?

That’s a really good question. I think it depends. Last year I went with my partner to the north of Australia, we crossed the Northern Territory from Darwin to Broome. It was amazing. I never travel with something specific in mind. I discovered the termite mounds there in Australia. I became completely obsessed. I downloaded this book that’s called ‘The Soul of the White Ant’ by Eugène Marais, written in the 30s. We were listening to this audiobook, as we were driving through the mounds. I’m encountering something and sometimes it clicks because it speaks to a broader concept that I’m interested in.

For a while, I had been thinking about how we could become collective bodies, how could we merge within the greater whole of Life. For a long time, I had been making bodies that are individuals – a vessel unto themselves, that would become communities as they would be brought together, for example, the elephant family mourning their matriarch in ‘FOXP2’ (2016), or ‘The Dancers in High Tide’ (2019). This time I wanted to create bodies, that would be the sum of their parts. I discovered the termite mounds. I was listening to this audio book. I connected the mounds to beehives and all the collective structures built by insects and also to the concept of human community centers. These concepts are also connected to my project in Colorado, ‘Orisons’. I feel we need to merge within the greater whole of life. It’s not so much about will we survive as a human species that really matters. It’s more about having the confidence that life will make it through all these different crises, and we need to nurture life around us. There are forms of life that will survive us. How can we take them as our guides or companions to understand how to navigate our own futures?

Meys is on show at White Cube Bermondsey April 5 to May 14

Full Interview by Twin’s Art Editor Francesca Gavin in this issue of Twin


Marguerite Humeau
Migrations (El Niño, La Niña, Kuroshio), 2022, Installation view,
59th Biennale di Venezia.
Courtesy the artist, C L E A R I N G and White Cube
Photo: Roberto Marossi

Marguerite Humeau
The Oracles of the Desert (detail)
Steel, diamond drum cut prismatic light diffusers, aluminium dibond, Plexiglass, Plywood, grow lights, pale amber gold filters, clay soil, mattress foam, clairvoyant, plants variable dimensions, bioindicator plants : Greater Plantain / Plantago major, Annual Mercury / Mercurialis annua, Buck’s-Horn Plantain / Plantago coronopus, Ribwort Plantain / Plantago lanceolata, Broad-Leaved Dock / Rumex obtusifolius, Nipplewort / Lapsana communis, Ragweed / Ambrosia artemisiifolia, Common Amaranth / Amaranthus retroflexus, Fat-Hen / Chenopodium album, Curled Dock / Rumex crispus, Canadian Fleabane / Erigeron canadensis, Cuckoo-Pint / Arum maculatum, Hairy Bitter-Cress / Cardamine hirsute
561 x 654 x 381.3 cm
Courtesy the Artist, C L E A R I N G New York/Brussels
Image Credit: Julia Andréone

Marguerite Humeau Collective Effervescence 2023 Human and AI-produced digital video, silent 2 min 35 sec, looped  © Marguerite Humeau. The artist generated this image in part with DALL-E, OpenAI’s image-generation model. 

Guendalina Cerruti at Miart, Milan

Twin correspondent and artist Cecilie Norgaard travelled to Milan to explore the emergent section of miart fair this April. London-based gallery Ginny on Frederick presented five sculptures on a high table by artist Guendalina Cerruti. They resembled miniature rides in a fun park and urban landmarks forming the skyline of a city. All the objects, clearly handcrafted, are made from a mix of wood, plastic beads, wire steel mesh, glitters, glue, fabric, and none of their dimensions exceed 70 centimetres. They seem direct extension of toys, underlining associations to childhood with their rainbow and soft pastel colour scheme. The bigger pieces are decorated by photographs from what seems like someone’s photo roll.

I have a thing for miniatures. The part of me that pressed a fascinated face against the glass montre of a large miniature landscape, through which different electric trains drove upon the toss of a small coin in the central station of my childhood lives on. Many childish miniature passions have matured into adult dedication and dexterity and become complicated, nerdy, professional hobbies – from Warhammer to collections of electronic and self-assembled miniature vehicles, to the elaborate design of the landscapes that these objects inhabit. Art too, I would argue, is “refined” childhood passion matured in a subject over time. The minimum criterion for good art, I would propose, is when the subject, the artist, opens their eyes to their surroundings to the extent of finding resonance outside themselves with whatever their passion is – and creates from there. 

The reason why I find Cerruti’s sculptures brilliant in the context of the fair is because they’re very effective mirrors of a contemporary condition. By literally thematising entertainment and spectacle, one can perceive the works as a metaphor for the art fair as fun park: hysterical and sensation-driven, too sweet, too loud, too exciting, way too exhausting. I really like how meticulously they’re crafted. To me this communicates authenticity and intimacy which makes the sweet mockery they engage translate as sympathetic and self-aware, rather than sarcastic and condescending. These objects are someone’s darlings. The care they hold, combined with the alludes to innocence, contrasts the cynicism of the market within which they’re traded. They’re aware that they quite concretely depict entertainment value and old fashioned stimuli, like ice cream and rollercoasters. They are the entertainment around which all the hysterical transactionality happens. 

As I inquire the gallerist about the work he goes on to demonstrate how it can be interacted with; he spins the work ‘Life is a Giant Wheel’ and multi-coloured beads slide up and down the spokes as they used to on the rear wheel of my bicycle. It is clear that the interactive part of the work is sensitive. “It has already been sold, so we shouldn’t spin it too much,” he says. In the context of the fair, the works function as good mirrors of the holy Trinity inner-child-professionalist-Artist, fun-fair-ride-promoter-conductor-Gallerist, and of the Consumer, for whom the spin is reserved. 

Text: Cecilie Norgaard

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