Collaboration as the core of creative vision: Colville founders Lucinda Chambers and Molly Molloy discuss the cultivation of an authentic vision with Marte Mei and Viviane Sassen for Twin.
There is never just a single solitary eye in fashion. No isolated roving thoughts, or an action not inspired by another. Colville might be named after a street in London, but its name feels drawn from the family of collaboration, cross-pollination, creative inspiration.
Founded by Lucinda Chambers and Molly Molloy, there are so many creatives, resources, ideas at play it feels like more than two: it is a river of thoughts, streams pulling in and rolling through.
In anticipation of their most recent collaboration with Marte Mei and Viviane Sassen, we spoke to the four respective collaborators about the freedoms of sharing visions and the interconnectivity of the creaive landscape.
If 2020 has taught us anything, do you think it is the vital importance of collaboration and creative cross-pollination?
Lucinda Chambers
I think I have always felt the joy of collaborations, not just during this time. I truly think no man is an island and it is one of the greatest pleasures to have a criss-crossing of minds, hearing others’ point of view and expressing ourselves creatively. Also, as I get older, I let go more, not needing to hold on to my ideas or my way of doing things. I enjoy the freedom of collaborative work, and I feel very fortunate to have identified amazing collaborators to take the journey, and some have found me!
Molly Molloy
Absolutely, I think the incredible moments that happened for me during the first lockdown were the ideas and collaborations that came out of it. We worked with people all over the world to knit squares for blankets that we will eventually auction next year for a women’s refuge here in Milan. It was moving to involve so many people and to read the letters they sent along with the squares. I also took part in a group talk with BoF and many other designers, everyone coming together in a think tank to exchange ideas and make changes. These and many other projects we started during this year have reinforced our vision of collaboration. This was something we all talked about at the beginning of Colville: we all have collaborative natures and it just makes the creative process fresh and inspiring.
Marte Mei
I think 2020 has showed us how fragile our systems are. The interconnectivity of our global economy but also as a species within the ecosystem. Hopefully it has also showed people how much we depend on a healthy ecosystem around us, and how much we depend on that as a species to survive.
Viviane Sassen
I believe the vital importance of collaboration and creative cross-pollination is something of all times.
How can fashion cultivate authentic visions in a creative climate in flux?
Lucinda Chambers
Now more than ever creativity flourishes. You must be authentic these days – people’s money is precious. They want to know where it is going and what the journey was. There are so many good stories out there and I think things are being scrutinised in a way that’s never happened before, and that’s a good thing. So, the more authentic you are, the better tale you have to tell.
Molly Molloy
To quote Louise Bourgeois “Tell your own story and you will be interesting”. I think what stands out are designers being authentic and working from their hearts and creating what they believe in.
Marte Mei
Fashion to me has always been about making something that triggers a new vision, sets a new tone or creates new examples. In the context of this project, it was all about freedom about coming together as a woman-only team. We also worked very local and with low carbon emissions and a very small team. The shoot took place in Amsterdam, the clothes were sent do us by mail, and nobody had to travel for the job apart from biking to the studio. I hope that becomes the new norm of creating within the industry.
Viviane Sassen
By embracing true and original creative minds and give them a platform. Like Marte got through her collaboration with Colville!
How has this image series come about, and do you think it expresses a convergence of unique viewpoints that come together as a greater whole?
Lucinda Chambers
Molly contacted Marte Mei. We have worked with her from the very beginning of Colville. One of the beautiful things about Colville is the friendships we have all made along the way, for years now, way before we dreamt of having our own company. We have gathered around us a band of really dear and important friends who are creatives. Collaboration and giving everyone a voice is something that is very important to us, always has been. It’s about relationships, friendships and respect. In that sense we feel that Colville is a real collective. A meeting of the minds.
Molly Molloy
Marte has worked with Colville from the very beginning, I worked with her creatively in the past and Lucinda and I love her vision, use of colour and sensitivity to what surrounds her. What’s amazing about letting go of control is what it brings back to you and how it surprises you. We didn’t give Marte or Viviane any constraints, they created something together that was for us completely unique and took the clothes somewhere else. It was an incredible privilege to work with two such inspiring women.
Marte Mei
To me, the process felt like a chain reaction of appreciation and admiration. Both the textile design collaboration, the set design, the image making, all felt like an overlapping patchwork of creation without clear borders. I found that really special in the way that Lucinda and Molly approached me for the textile design. They asked if I wanted to create a special follow up of an artwork I’d made in the past. I find it fascinating that they acknowledge potential within that sculpture from paper and wood, to become a piece of clothing. To see their brand as a space without borders, entering the field of art and going beyond their set team of designers by having me as an outsider creator woven into their collection.
Viviane Sassen
It was a super organic collaboration; I have known Marte for years and we’ve worked together so many times – she’s one of my muses so to speak. The whole process of working on this project together was very intuitive and smooth and a lot of fun. It is also a matter of mutual trust and understanding, that makes for a good collaboration, and Marte and I absolutely recognize that in each other.
What does fashion and photography come to learn from another?
Lucinda Chambers
I think they are totally intertwined. As is art and fashion, theatre and fashion, music and fashion. Fashion can be expressed so beautifully through photography. Fashion and in particular clothes are the tools we use for storytelling. The narrative and dialogue that fashion and photography has can create something wonderful, standalone images or a drawn out tale. Clothes facilitate that. And they can also be the inspiration, the beginning of the photograph.
Molly Molloy
They are ever evolving together, it’s so exciting when you see the two combine in original and unique ways, it’s such an incredible feeling when you see a shoot that’s inspiring, it will stay with you for years if not ever. It’s like moving image and sound, the two go hand in hand and can really evoke emotion.
Marte Mei
I think that it was a revolutionary experience for me as a former model, to take on a different role within the dynamic of the team I really look up to. Having designed the textile, and the set design, but also modelling within the project. On a personal level I still think there is a lot to learn in being comfortable within that role of being both the creator as the subject of creation. For instance, when we were working with the clay on my body, I wanted to just trust the image of Irena within applying it to me, so when she asked for my opinion to guide her, it was hard for me to switch between having a creative vision to the outcome of project but also being subjected to her creative expression in the project and onto my body.
Viviane Sassen
I’ve always perceived my fashion photography as a great way to express myself; to play, to experiment, and to collaborate with other creative people. I also work as an artist and that is a much more solitary process, so I love working as a fashion photographer too, as it enables me to work together in a group, have a mutual goal, and create images together with others who are often super inspiring. In that sense, I feel I’ve learned so much from collaborations with stylists, designers, models, hair & make-up artists!
What does fashion and photography come to learn from another?
Lucinda Chambers
I always learn from Molly and everyone really, we have an incredible team, Danny, Alice and Luisa. I think I’ve learnt from Molly to try things out even if they are out of my comfort zone, out of my field of vision, to give things a go and see where it leads or takes you. Also not always getting my own way and that’s fine. I’ve learnt to let go. And to like vegetables more.
Molly Molloy
I’m learning every minute of the day being a founder with Lucinda we are both on a huge learning curve having our own business and bringing people in to Colville that constantly keep it evolving and exciting.
Viviane Sassen
I really love watching Marte work, the refined gestures she makes and the thing(s) she creates, both while modelling and while working on her own art; it all comes from the same source, the creative energy which is within her. I recognize her inner drive to create beauty, and I admire her sense of colour, texture, and shape. It’s a true joy to watch her work evolve and refine over time!
What was the last thing that made you feel inspired?
Lucinda Chambers
Well, everything really, but probably the leaves on the pavement tonight coming home, I wanted to collect them all, the colours, shocking reds and yellows, blowing around. Beautiful.
Molly Molloy
Heavy Metal by Osamu Matsuo, I hadn’t seen it for a while and forgot how beautiful it is!
Marte Mei
Nature is a limitless source of inspiration to me, being inside due to corona and wintertime limits the possibility of going outdoors, so for me this is a time for reading and thinking.
Viviane Sassen
A few documentaries I recently watched about climate change, and how some new technologies and (futuristic) solutions will be able to help humankind towards a better, more sustainable future.
Lockdown has lifted, and FENDI is here to up the festive ante this month. Announcing the launch of a new FENDI CAFFE at Selfridges, this pop up will see the Italian fashion powerhouse takeover of the 14-seater Champagne Bar Selfridges’ Accessories Hall on the Ground Floor, bringing with it an exclusive curated menu – and a creative transformation, of course.
The FENDI CAFFE is inspired by the FENDI ROMA Holiday collection, bringing signature FENDI yellows and pastel pinks to every aspect of the experience.
For an instant pick me up, glassware, coasters, napkins as well as decorative details for the menu’s food and beverage all feature the iconic FF logo in pink too – which makes the custom cocktails and aperitifs on offer even harder to resit. If we needed another excuse to toast the end 2020, FENDI CAFFE has us covered – and with such style.
Covid-19 altered our reality in many ways. For renowned photographer Jermaine Francis, this was felt in the dislocation of everyday London environments.
On his daily walks during the first UK lockdown in March, Jermaine documented the ever shifting landscape of the city. The people had gone, but London was far from silent.
Francis’ portraits reflect the cultural, political and economic movement that were unfolding on the streets. The anxiety, anger, hope and care which have shaped 2020 in equal measure, when social distancing signs were printed on pavements, boarded up shops became commonplace, yet even in isolation, people found power in each other.
It is these photographs which form a beautiful new book, ‘Something that was so Familiar becomes Distant’. 171 pages of visual imagery that offers an evocative living memory of this transformative year.
A dedication to dancehall – the fashion, the community and the music: Wales Bonner’s campaign is titled ‘Lovers Rock’; an ode to the work of British-Jamaican photographer John Goto. Photographed by Liz Johnson Artur, this line includes distinct pieces that hark back to the lively culture of the British youth in the 1970s: the donkey jackets, repurposed 1960s Saville Row tailoring, and moleskin double-breasted blazers adorned with found buttons.
Based on the British-born music genre ‘Lovers’ Rock’, which was a style that used the softer notes of reggae to create this passionate sub-genre. The romantic musings that were found in the dancehall scene and the underground blues parties created a convivial connection between black and Asian communities; this is shown through the integrated Adidas and Wales Bonner collaboration. An eclectic mix of colours can be seen in the Adidas freizeit in crimson, ochre and emerald green.
There is a heavy emphasis placed on Caribbean culture in the campaign, with mod jackets in two-tone tweeds and windowpane check mixed with crocheted sportswear silhouettes. The hand-knit beanies crafted in raw Scottish shetland wool, courtesy of Stephen Jones, reflects a strong Rastafarian presence. The military influence is also felt, with the inclusion of a tobacco gabardine cadet jacket and a navy twill pea coat fastened with Jamaican gold brass buttons.
From the turtlenecks layered with tailored jackets, the ankle-length skirts matched with dark tights and knitted sweater vests, this launch is a love letter to the vibrant culture in 1970’s Britain.
Celebrating transparency and craftsmanship within the industry, the International Woolmark Prize 2021 nominees inspire hope for the future of fashion at time when innovation is needed more than ever.
This year’s theme, ‘Less is More’, focuses on slow, conscious and responsible design. Buzzwords these may be, but this year’s crop of design talent are showing how to put ambitious principles into action. The nominations brings together a group of bright young designers who have built innovative new models from the ground up.
Twin talks to Bethany Williams, Casablanca, Kenneth Ize, Lecavalier, Matty Bovan, Thebe Magugu about putting sustainability first and creating a green hype cycle.
Matty Bovan, United Kingdom
We have always tried to be sustainable, and to question where we source materials and artisan makers. We make everything in the United Kingdom and try and source as much as we can from the UK and even more locally, Yorkshire where we are based. We use deadstock fabrics, deadstock yarns, and end of line pieces alongside stock service fabrics. This is very important to myself, and my business, in a world where we have such huge amounts of materials and garments made every day – it’s important to rework and make something special.
I am very interested in upcycling, whether this be vintage pieces, or end of line, damaged fabrics; it excites me to be able to transform something under an artisan process. We rework all leftover fabric we have each season, alongside any excess yarns we have, nothing is ever disposed of and always reused in some way. Constantly experimenting with craft and process is very important to me and helps aid me in transforming materials that others may disregard. We use screenprinting in-house, embroidery and hand-dying to rework.
We are in a great place in fashion, with people asking more questions about who is making what we buy, who is putting love into these pieces. Traceability has always been very important to me, and I have always found it key to understand who we work with and where they are in the world. I try to work with artisans with hand skills. I try to make and treat a lot of textiles in-house. I like the touch of the hand on everything that comes under Matty Bovan.
If the current state of the world is enough to go on, I think it’s critical for anyone working in creative output of any kind to consider their sustainability practices. We are effectively destroying the world and sustainability is all our pledges to try to counter that destruction as much as possible.
I am very proud of the fact that most of our resources and production are made locally in South Africa. I am excited about the continuation of problem-solving through fashion, and the growing consciousness our industry is having towards its role in solving those problems. This is very particular to the younger generation especially.
As a young generation of creators, we were put in front of a reality that fashion production and consumption was creating a lot of waste. My creativity comes also from a place where I want to make special pieces by reusing discard materials, there is so much material available out there and it is our duty to find new ways to be creative with it. I’m really proud that I have created a unique technique to weave discard leather. There is still so much for us to explore in terms of new weaving technics but also to explore of different fabrics. I’m looking forward to an era where the craftsmanship and savoir-faire will become more present. Fashion has always been about the garment, it’s not only a product and it’s not only hype.
I think it’s important we all play a role in sustainable practices. The fact that we go from the idea to the creation of the garment is very special for me. My most proudest is that I am continuing the techniques of French classic fashion traditions. The whole process of creating the print and the fabrics. In terms of my own designs, I am optimistic about bringing more joy and gratitude through the clothing to people’s lives. I am optimistic that there is going to be more diversity and more acceptance towards people from different backgrounds. I think we have experienced a small part of the ongoing evolution that will create a better a future.
Growing up my mum has always been very socially and environmentally conscious, and very caring, so this has been something that has been of interest to me from a young age. I want to create beautiful things but I always want to create something with a purpose, something that can support and protect the maker and the supply chain it is a part of. Each item we produce is made from recycled, deadstock, or organic materials and made in the UK and Italy. I feel it’s really important to have produce locally or close to home so that you know exactly where your garments are made and who exactly is making them.
I think our most recent collection titled ‘All Our Children’ is what I’m most proud of. Not just because of the outcome of the final collection of garments but also the groups of creatives and like-minded people that worked on the project alongside me. I really like the network of amazing people we are building through each collection and how positive and supportive the network is that we are surrounded by and look to grow and add to this network each season.
I’m always really excited to develop my skills and look forward to introducing new techniques each season, alongside the research into and introduction of new social manufacturing partners. I hope to expand my knowledge of social manufacturing, supply chain, and craft, and strive to share this at every opportunity to help drive change within industry. I feel the presence of change starting to happen within the fashion industry, and I’m optimistic that this will continue and build momentum towards a more environmentally and socially conscious system, however there is a long way to go yet.
My love for the traditional Nigerian design textile culture of Aso Oke. Historically Aso Oke weaving created fabrics that were used to create everyday clothing that lasts for centuries and can be passed down from generation to generation. However, we started seeing less and less use of the textile except in occasion wear. With my brand I hope to bring the use of this textile to the forefront.
I’m also very passionate about the weaving villages we empower, and I hope to do all I can to continue to push opportunities for them to grow and develop
In a collaboration with Nigerian Product design firm nmbello Studio, we were able to redesign the loom. The old loom had never been redesigned or updated, the weavers had complained about the discomfort they felt while using it. By redesigning the loom we were able to birth new life into the industry as a new generation of weavers have come forward with an eagerness to learn and push Aso Oke weaving into a modern era.
I am most optimistic about the economic empowerment that is the bedrock of my atelier. We are currently building a factory to house many of our local artisans, creating more opportunities for local textile designers and establishing a more structured industry within Western Africa.
Dior celebrates this Thanksgiving with actress Kat Graham, welcoming all into her beautifully decorated, convivial abode. To celebrate the holiday, Kat introduces her “famous” sweet potato gnocchi, glazed in a sage and cinnamon butter sauce.
The delicious dish is presented on hand-painted faience plates from Dior’s Maison collection. This set of plates takes its inspiration from the beauty of wildflowers, and the spirit of Puglia, Italy. The designs echo the essence of the incoming 2021 Cruise Show by Maria Grazia Chiuri.
Each dish mimics the designs of traditional tarot card images, bringing a touch of magic to every meal. Enjoy the holidays with the warming and homely energy this set emits.
Introducing a limited edition collection of sophisticated coloured glassware by Marni. The holiday edition includes kaleidoscope patterns that are offered in vases, glasses and carafes. Inspired by nature, each piece of glassware is made to be one of a kind: unique in shape and beautiful in design.
The selection is formed by two Columbian artisans who work in harmony, using local traditions to forge the eccentric pieces. Recycled glass is used in the process with the hodgepodge of fragments representing the unpredictable, raw, and creative essence of Marni. This collaboration yields a variety of tones and unexpected shapes, with warm and homely functionality.
Each vase is carefully crafted, taking up to two hours of steady workmanship to create one. The chords that are used to mould the goblets and tumbler glasses, brings about alluring dances of colour in the mixed glass. The line of carafes and glasses are smoothed over, also producing refined colour combinations.
The pieces take on the meticulous and intricate workings of the craftsmen; the singularity of the construction process can be seen in each design. The glassware physically embodies a material metamorphosis: from glass shards to artistic centrepieces.
This line will be available in select boutiques around the world at the end of November.
Mansur Gavriel is bringing love and community to 2020 with a new campaign to mark the launch of the brand’s latest collection.
Featuring artist and model Laura Morgan and Twin cover star Dilone, alongside LGBTQ activist Jari Jones and social media maven Parker Kit Hill, the ‘Love Forward’ celebrates individuality and creativity.
In an exclusive interview for Twin, Alexander McQueen muse Laura Morgan explores her love of fashion, and what’s getting her through 2020.
Laura Morgan for Mansur Gavriel ‘Love Forward’ campaign
What does fashion mean to you? I think fashion is a lot more influential that people give it credit for. I’ve worked in front of, and behind the camera in the fashion and entertainment industry for 23 years. For me my work as a model is about trying to express myself as much as possible within the constraints of the business of fashion. To keep pushing in the hopes there will be some breakthroughs. I know I am not alone in this process. I believe fashion has the ability to challenge norms, and stereotypes and bring what would have been marginalized perspectives into the mainstream. I believe it has the responsibility to do so.
Laura Morgan for Mansur Gavriel ‘Love Forward’ campaign
Speaking of self expression, 2020 has been quite a year – what has been your outlet?
Art. It’s the only thing that helps me attempt to make sense of this world, and of the situation that is going on around and in us. I try to bring creative self-expression to everything I do. Be it an interview such as this, modeling, my art. In this precise moment I am concentrating on developing my art to be able to understand and communicate what I feel so passionately about. I remain close to the people I love and respect, and collaborate with other artists. I feel the reason we are in this situation in the world right now is because we believe in the prevailing idea that the individual is more important than community. Humans are pack animals. We need each other to survive. The communities that have the longest life span are those who deem success by their relationships and not by the amount of money they make.
Where do you find your inspiration? Life.
If you could sum up 2020 in one word, what would it be? Disbelief.
What is the one thing that you are saying goodbye to in 2020? Expectations.
Laura Morgan for Mansur Gavriel ‘Love Forward’ campaign
What do you hop to communicate through this campaign? And what does being a part of it mean to you? Through this campaign Mansur Gavriel has chosen to work with an all-female crew and a range of models that reflect the diversity in society, rather than the very narrow one that most of the fashion world represents. This is really important to me.
Everyone has their first memories of Chanel N°5. It’s a scent you almost hear of first, whispered and revered.
Chanel N°5 represents ultimate aspiration. Sexy and undone. It’s glamour in the most heady sense of that word. And then there’s the first electrifying memory of a family member, lover or friend – it’s never yourself who wears it first. But you know the scent, you don’t have to ask.
“One must start from the beginning: what does N°5 have to tell us? N°5 is not a simple fragrance. It is an idea. It is an equation that was built to stand the test of time. How can we embody this idea today?” asks Thomas Du Pré de Saint-Maur, Head of Global Creative Resources for Fragrance and Beauty at Chanel.
100 years later, and the parfum continues to captivate wearers. Tasked with reimagining the next chapter for this iconic scent is a significant and exhilarating challenge. And perfect for a figure such as Thomas Du Pré de Saint-Maur, who is adept at drawing inspiration from the past and imaginatively infusing it with the present.
He explains: “I am driven by words, literature and art. I cannot live without reading. I cannot think without speaking. Literature stimulates the imagination; the images are there indirectly. As for art, and particularly Greek and Roman antiquities, it never ceases to trigger intense emotions within me and make me question my concept of modernity and universality.”
Behind the scenes for the new CHANEL N°5 fragrance campaign, with Marion Cotillard.
Historic and renowned, as a fragrance N°5 is modern, and timeless. It always was. When initially conceptualising the scent Coco Chanel asked for “an artificial fragrance like a dress, something crafted.” She sought “a woman’s fragrance that smells like a woman”. Then, it was a marked departure from the singular floral, natural scents that traditional perfumers had sought to evoke. Today, it is the aspirational precedent.
Who better to represent that precedent today than Marion Cotillard, a talent who lingers in your memory as if a fragrance herself – compelling, confident and Cotillard embodies a modern myth.
In the latest campaign, Chanel offers a welcome moment of pure, fantastical escapism. Filmed in Saint-Denis, at the Cité du Cinéma and featuring “500 square kilometers of golden moon”, the CHANEL woman embarks on an adventure to the moon and back. The film, Thomas Du Pré de Saint-Maur explains “is decidedly resonant with the present. The song by Lorde, “We are on each other’s team” echoes this perfectly.”
Back to that first evocative note of Chanel N°5. The moment of olfactory revelation. It has always been about aspiration, about the dream of who one might become, who one could become. “The power of N°5 lies in its promise” Thomas Du Pré de Saint-Maur surmises, “which is namely the ability of every woman to make things happen for herself, if she chooses to put her heart and soul into her life.”
One of the top young creatives for hair in the fashion industry has been international hairstylist Jawara Wauchope. His expertise in the avant-garde crafting of black hair resonates deeply with many creatives in and outside of the local industry.
In one of his most recent ventures, the hairstylist has partnered with his creative agency Art Partner for the launch of a virtual exhibition of some of his most iconic work entitled COARSE: The Edges of Black Ingenuity . Curated by the artist himself, the exhibition features images by top fashion photographers such as Tyler Mitchell, Kristin-Lee Moolman, Nadine Ijewere among others that document the intricacy of afro-hairstyles as an art-form. In each piece of his work the artist has managed to use hair to tell stories of a modern reality where black hair styles are seen through a complex artistic light as opposed to whatever stigmatized view that is usually put upon it.
Summer 2019
December 2019
SS 2019
“It is my intention to use this platform to curate a storied journey of triumph through the power of our follicles. I was taught at a young age that “hair is strength” by my mother who hasn’t cut her hair in 43 years. I believe that the best way to convey this truth is through beauty,” he artist explained.
Running from now until late December 2020, the virtual compilation of images from black hair as something way different than a cosmetic feature but enables one to think of it with commentary on gender, class, race and spirituality.
Take a tour on the full virtual exhibition on ArtPartner.com
Prada unveils their holiday campaign ‘A Stranger Calls’, which showcases their pieces through a black and white avant-garde narrative. Photographed by Steven Meisel and based on the works of best-selling author Candice Cathy-Williams, the campaign is not one to miss.
The story surrounds four protagonists and one mysterious stranger, set in an isolated villa in Italy. All characters originate from the Prada Universe, starring Freja Beha, Maty Fall, Mao Xiaoxing, Rudolfs Valbergs and Merlijne Schorren.
“Cinema suggests shifting focus and points of emphasis: here, details of Prada accessories are pulled into macro-scale. Like plot-points, or clues to an unknown mystery, they dominate the frame, drawing attention – before Meisel’s lens, they become characters in themselves,” reads the press release.
The spotlight is placed on the new Prada Cleo handbag which was debuted in the Prada Multiple Views SS21 show and featured in the Spring/Summer 2021 womenswear collection.
The Cleo line utilises classical Prada styles to give way to pieces that perfectly coalesce classicism and futurism. The accessories include reworked traditional jewels in silver and gold with tourmaline, and the emblem appearing on a delicate chain, necklaces and chandelier earrings.
“This campaign – and these Prada accessories – explore emotion, intrigue, attraction and, ultimately, desire.” – Prada
For more information about the campaign and the collection visit Prada.com
Collaboration: one of the greatest learnings of how to remain hopeful in a future uncertain. A vital tenet for Tekla since the start, the value of visions from a plethora of spectrums has given a freedom of expression from a broad playing field to the brand. Working with photographer Laura Coulson, whose intuitive imagery of the everyday holds an exceptional magic, a series of images exploring families and friends with those innate ties that can often never be expressed… but maybe captured on film.
Speaking to Tekla, we talk about knowledge exchange, capturing a particular emotion and finding a common language.
What role does collaboration play with Tekla and your own creative expression?
We like to collaborate with a variety of people whose creative work we find interesting, whether it is with a photographer or a designer, the collaboration itself is a process. You need to find a common language. It is always interesting to get together with other creatives and see things through their eyes to exchange experience and knowledge.
What first attracted you to the photography of Laura Coulson?
I’ve known Laura for ten years now and have been following her works ever since she started taking pictures. She has her unique way of seeing the world, which she projects into her creations. Her ability to see the potential for strong photography in any ordinary situation and capture a particular emotion, makes her images very honest.
What do you think she managed to capture in these images she created with you?
Laura’s idea was to capture the loving spirit of spending time as a family and friends, which we’ve shot during the late summer in London parks. I’ve found that this time has brought everything back to basics and made us refocus our attention on celebrating happiness in the here and now. Appreciating the little things we might have forgotten to enjoy, and I think Laura achieved that abundantly.
How are these emotions captured intrinsic to what you stand for?
I think the honesty and emotions which Laura encapsulates in her works is something we can relate to when it comes to the values in Tekla.
White Cube tells a story about how art can be an ally to a community constricted by neo-colonialism. The feature-length film directed by Renzo Martens documents the formation of Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), and how they mobilised their artwork, to bring economic and ecological growth back to their community. The film is set to premiere in Lusanga, Democratic Republic of Congo, and in the international feature film competition at the IDFA film festival in Amsterdam, this November.
The sculptures are first made using mud and are then 3D scanned and reproduced in cocoa and palm oil in Amsterdam. One sculpture by artist Irene Kanga titled “Forced Love”, depicts a brutal rape to symbolise the catalyst of the Congo Revolt of 1960.
The artwork is then exhibited in museums and art galleries worldwide and the money from these exhibitions is reinvested back into the community. The White Cube sits on a Lusanga plantation as a pillar for a different future, surrounded by new ecological growth.
“Land or art. If I would have to choose, I would choose both. But if I really have to choose only one, I would choose the land. Where can I put my chair and start making art, if I do not own the land?” – Matthieu Kilapi Kasiama, CATPC.
Renzo’s film and the work of the CATPC, brings light to the complex relationship between the Congolese plantations and the art world. With reports of profits extracted from these plantations to fund museums and galleries such as Tate Modern, the question presides: can these museums ever be truly inclusive when reparations have not been paid to plantation workers who have financed these very institutions?
“Is there any way, for working people, for the working class to benefit from art? Is there any way for gentrification to be reversed?” – Renzo Martens
Alexander McQueen’s new addition to their line of luxury bags encompasses elegance and practicality. The Tall Story bags are the taller sister of the previously released “The Story” and includes bags with a contrast colour on the sculptural lining of the tote. First spotted on the Autumn/Winter 2020 runway, the sophisticated bag includes the Alexander McQueen seal on a leather tag.
This tote bag is not only an elegant staple, it is also constructed with an executive interior and features pockets for a laptop, phone, and wallet. The foldable metallic handles make the bag easy to hold or hang over the shoulder via the supple leather straps.
The Tall Story bags are available in black with oversized quilting and with a red lining finish. The line also includes a black stamped croc design and a handmade patchwork style. To view the full collection, visit AlexanderMcQueen.com
This week Prada released their Linea Rossa FW20 campaign, featuring another selection of clean-cut designs for the sportswear inspired line. All the clothing is made from Extreme Tex – Prada’s innovative textile made with eco-sustainable technology. This material also ensures optimal insulation and features waterproof properties.
The campaign incorporates clothing with stark contrasts by utilising black as the base, with only tinctures of colour. There are select pieces that include bright neon colours such as the Tec Rec Cropped Puffer Jacket. Other articles include a bucket hat, Polarius sneakers and sweatshirts, all complete with the signature red strip. This line is reminiscent of Prada’s releases from the late 90s’ and early 00’s, now with a futuristic spin.
A resurgence in 90’s fashion and a push for ecological alternatives has been propped up as an important concern, especially for the incoming generation. The FW20 release features 20-year-old actor Yara Shahidi, EXO member Chanyeol Park and Chinese actress Jin Chen. All images were photographed by Renell Medrano and creative direction under Ferdinando Verderi. View the full collection at PRADA.com
2020 hasn’t given us much to laugh about, but it has changed our experience of time and space. This year we’ve slowed down, ground to a halt, accelerated, activated, organised, experienced deep grief and pure joy all at once, sometimes at the same time. With a global pandemic keeping most people at home, we invited contributors to explore their surroundings, to work with what they had around them.
The result is Twin’s personal issue, and we’re honoured and excited to have been able to create such a rich, intimate, thought provoking magazine at this genuinely strange and largely unprecedented time (remember when that wasn’t the opening line to every single email…?) thanks to the independent, dynamic spirit of our contributors.
At 26 years old, Dilone is one of the leading models in fashion, and wields her influence powerfully. Our cover star model and activist explores the power of protest and community in an interview with Jordan Anderson. The brilliant Leah Thomas, founder of the Intersectional Environmentalism movement, drills into systemic racism within environmentalism. She explains why activism needs work across social justice and sustainability in order to make impactful change, with portraits by Nolwen Cifuentes. And in ‘Words and Pictures’ photographer Jermaine Francis and director Akinola Davies discuss Francis’ portraits of graffiti that were taken during lockdown in London and how they embody our political reality.
2020 is a time to celebrate radical visionaries, so in this issue you’ll also find a rare interview with the iconic Californian pioneer of performance and print, Barbara T. Smith. Kate Neave profiles the inspirational installations of Dominique White. Also, Jess Clark talks to Byredo founder Ben Gorham and beauty maverick and artist Isamaya Ffrench about future colour theory. Photographer Sharif Hamza captures moments of fleeting beauty, style icon Tziporah Salamon, captured by Ben Rayner, offers a love letter to New York post-lockdown. At home, Lara Johnson-Wheeler delivers a love letter to romance and recipes, while in ‘Subversive Skin’, Isabella Davey profiles the new designers changing underwear.
And so much more! As winter looms, get up close & personal with this latest issue; be inspired and energised to face this brave new world we’re in.
Cover image: Homage to Louise Bourgoise (quadriptych) 2018
The Brattleboro Museum & Art Center (BMAC) in Vermont recently opened an exhibition with Artist Rachel Portesi and BMAC Chief Curator Mara Williams exploring the sentimental values of hair as it pertains to identity and its relationship women and femme-identifying individuals throughout society. The exhibit entitled Hair Portraits features a series of Portesi’s tintype photographs of femme identifying models of various ages and ethnicity who see consider hair to be a large part of their identity. Each image through the series reflects on hair’s symbolic significance throughout history, with linkage to culture, fertility, sexual identity and ethnicity.
Abuela (diptych 2) 2018
Floating (2018)
“Also informing Hair Portraits is Portesi’s fascination with the cross-cultural presence of hair in historic memorialization and mourning practices. During the Victorian era—which coincided with the rise of tintype photography—wreaths, art, and sculpture were often made using the deceased’s hair as the primary medium, especially among families that couldn’t afford photography. In the Ndebele culture of Zimbabwe and northeastern South Africa (among other ethnic groups), it is customary for family members of all sexes to shave their head during the mourning period, unless the deceased relative willed them exempt prior to passing. Religious sculptures from first-century China have been found to contain human hair in their hollow recesses. And in present-day Western culture, it is not unusual for a parent to save a lock of hair to memorialize their child’s first haircut,” – BMAC
Flower Crown (2017)
Goddess (2018)
Branches (2017)
“I use hair to both honor and say goodbye to past parts of myself. These images address fertility, sexuality, creativity, nurturement, and harmony and discord with nature. Above all, these images — photographs of elaborate, pinned hair sculptures constructed in the studio with the input of their subjects—are a testament to change. In my case, that change is a record of metamorphosis from a past fractured self to an integrated, confident, self-actualized woman,” the artist explained.
Rachel Portesi is now on show at The Brattleboro Museum & Art Center, for more information visit The BMAC.
This week Italian fashion house FENDI officially launched their capsule collection collaboration with London-based accessory brand CHAOS — helmed by Charlotte Stockdale and Katie Lyall. The collection which was first revealed and the FENDI Women’s FW20 show earlier this year in Milan features a series of tech jewellery pieces that offer a luxury take on everyday accessories.
With old Hollywood glamour as inspiration , it reinterprets some classic vintage pieces through the modern eye. Vintage cigarette cases, gold lighters, and evening clutches are re-created and engraved in metal shapes with FENDI’s iconic craftsmanship and style. A four-piece metal shot glass set is suspended from a moulded leather keyring, the traditional clip-on smartphone case is made in metal; a leather and satin minaudière case features a gold chain handle; and even a laptop is given a fur and shearling protective casing. The FENDI X CHAOS collection is now out. For more information visit FENDI.COM
Rihanna has branded herself as more than just a musician. Through the release of the brand “Fenty” she has stormed the beauty and fashion world, breaking down barrier after barrier. On the 2nd October 2020, she invited the world to the second instalment of her fast-paced, high-energy: Savage X Fenty lingerie showcase.
The hour-long show features unique pieces from the new line, stitched together with elaborate live performances. Each dance section transitions seamlessly into a catwalk, all choreographed by world-renowned dancer and choreographer: Parris Goebel.
“Inclusion” was the phrase of the show. The final section introduced the “Men’s Shop”, featuring a broad menswear’s selection, with sizes that go up to 3XXL.
“[Rihanna] kicked the door down. And she opened up the world to all these possibilities of makeup, fashion lingerie, all that being for every size, every shape. That’s some ballsy, powerful shit” – Yusef Williams.
The show pulls the audience in from start to finish, each shot adorned with enticing visuals. Pyrotechnics, a mechanical garden of flowers and a factory filled with conveyor belts, all add to the elaborate narrative. Behind the scene shots reveal Rihanna’s modus operandi and the genius behind her vision with her team. Rihanna’s process and the outcome of Savage X Fenty’s success is all a manifestation of things that inspired her.
“Inspiration can come from anything. What makes it unique is your own interpretation on that message, that colour scheme, that texture. And so everything that I do is going to be personal to me when it comes to Savage” – Rihanna.
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