Every small attribute of Sarah Burton’s Alexander McQueen collections are created with some type of story. Each piece from the share to them hems to the embroidery is built with some type of intention. A special detail from the house’s SS20 RTW collection was the implementation of endangered flowers. For the collection, a selection of endangered flowers were hand-embroidered on ivory irish linen dresses with cocoon backs and exploded sleeves and cotton silk tailoring.
The Alexander McQueen team were who contributed with drawings sketched in glass houses and filled with rare blooms which were all transformed into embroidery artworks. The process included lots of research into engendered and extinct flowers, and required an operation of several steps including painting and silk threading using several thread techniques. For more info on the SS20 collection visit Alexander McQueen.
Marguerite was founded in Joanna Payne’s living room after a few glasses of the bubbly stuff. Hey, who hasn’t concocted their million dollar idea on the sofa, or a brilliantly innovative concept with mates in the pub. For Joanna however – Marguerite came to be a living, breathing, invigorating association for women in the arts to come together, and share their thoughts/views/frustrations/hopes with other women that might feel the same.
After the adage of the ‘members club’ gratefully comes to wear off – the notions of exclusivity wearing thin in a world that has never felt more isolated and alone – Joanna is shifting the dynamics and the dusty insinuations members clubs have come to imply, and has built a community across the globe that looks to if not inspire at least articulate a universe where women can feel the confidence to advance their own interests, passions and careers.
Here we talk to Joanna about starting her own business, the importance of sharing experiences, and the art of slowing down.
David Seymour, Venice. Peggy Guggenheim in her palace on the Grand Canal, 1950
What made you want to start Marguerite?
After seven years of working in the art world, for organisations including Whitechapel Gallery and Frieze Art Fair, I wanted to do something about the fact that women often found it harder to realise their potential than men. By that, I mean that I so often found that my female colleagues and friends found it much harder to do things like ask for a pay rise than their male counterparts. Whilst there are many reasons for the pay gap in the UK, one of them is women’s confidence in comparison to men’s. If men are happy to ask for a pay rise whereas a woman isn’t, guess who’s more likely to get it?
I was very lucky in that I landed my dream job at the age of 23, working in the VIP department at Frieze Art Fair, where I was meeting collectors, artists, gallerists, museum curators.. even Jay Z and Beyonce! I found that having such a strong network in the industry really helped me in my career and I was made to feel pretty confident as a result. I wanted to share that network with my friends and peers in the hope that it would do the same for them – so in February 2015, set Marguerite up as very casual drinks in my living room. It didn’t have a name back then and the initial idea was for a different woman to host a similar sort of thing in their own home every other month. The idea was simple: to bring women in the arts together to meet, share ideas and in turn, build their careers in the industry.
Has the original purpose changed at all over the years?
The concept of Marguerite changed pretty quickly after that first event in my home. After a friend had to pull out of hosting the second event, I decided that it would be better to instead ask artists, curators, photographers and designers whether they would in fact play host to our events. This was very much drawing on my experience from Frieze and later Photo London, where I was organising special events in artist studios and collectors’ homes for some of the best known collectors, museum directors and curators in the world. From that experience, I was taught the importance of having ‘content’ at events in the form of a talk, panel discussion, workshop or some other form of entertainment. I really wanted to step away from your awful average networking event where a bunch of people are just chucked into the same room with a name badge and a glass of wine and expected to find things in common.
Our core values are still very much the same: to advance the careers of women in the arts by providing a ready-made professional network and spaces in which to hear from some of the most influential people working in the creative industries today. The caliber of our hosts has always been pretty high (two of our first events were hosted by the world renowned fashion photographer, Rankin and winners of the Turner Prize 2015, architecture collective, Assemble) but we’ve built on that hugely and have welcomed some incredible speakers including the likes of fashion designers such as: Dame Zandra Rhodes, Roksanda and Alice Temperley MBE; photographers: Miles Aldridge, Nick Knight & Juno Calypso; artists: Idris Khan OBE, Gavin Turk and Michael Craig-Martin; and museum directors: Maria Balshaw (Tate), Dr Tristram Hunt (V&A) and Tim Marlow (then the Royal Academy of Arts, now The Design Museum).
Despite the hosts and the quality of our events (hosted everywhere from London and Somerset to Venice to New York) growing ever more magnificent, we’ve worked hard to ensure that the original energy of friends meeting over a couple of glasses of prosecco in my living room remains.
Idris Khan & Annie Morris for Marguerite by Dunja Opalko
You have turned 5 years old which is amazing: how has our definition of members clubs changed in that time?
Thank you!Whilst the concept of ‘private members’ clubs’ seemed very glam when we first started out, we now actually steer away from the term as we don’t want the network to seem too exclusive or off-limits to anyone who works in the arts. Anyone in the industry can buy a ticket to our events if they’re interested in one particular topic or want to ‘try before they buy’ a full membership.
Unlike many private members’ clubs which operate in the way they do so that they can be strict about who they do and don’t let in, the reason we offer membership is to encourage the same group of people can come together six or more times a year. The frequency means you’re much more likely to actually make friends at our events than if you just attended a standalone talk. Marguerite’s aim is to foster friendships as opposed to make people feel left out because they’re not included.
Linder Sterling & Charlie Porter for Marguerite by Luke Fullalove
Why did you choose to build a female only members club?
I think that incredible things happen when women come together. I wanted to provide a space in which women would be made to feel more confident which would hopefully go on to have an impact in their careers and most importantly, their lives. Judging by our talks in comparison to many others I’ve been to, I’m always struck by how many questions from the audience there are at the end. I think women feel a lot more confident in the company of other women which means they get more out of the situation. Furthermore, if there’s one thing the #MeToo movement taught us, it’s that there’s a lot to be learnt from women sharing their experiences with one another.
I should say that Marguerite is female and non binary-focussed. If a man wanted to come to one of our regular events, he would be very welcome and we host some events that are open to all. We hosted one of these with Lean In just before lockdown began on how people feel in the workplace post #MeToo – a discussion that would have been a pointless echo chamber if it was just had by a group of women!
Marguerite members at their Polly Morgan studio visit by Luke Fullalove
You have aligned your online presence to support the creative industries: tell us a little bit about this
The week before the official lockdown began, we began to see many members of our community (especially freelancers) lose their jobs. We therefore instantly shifted our attention to launch a forum where freelancers could meet potential employers. It was way more successful than we could ever had imagined and we paired our first freelancer with a paid job in under 24 hours. The following week we also launched a forum to support small businesses – where independent brands could present their products and anyone who was in the position to shop could find them! In the absence of our usual events, we wanted to pivot quickly to best suit the new needs of our community.
We’ve also been hosting online talks and workshops on our Instagram Live focussing on the things people are most worried about right now including money, managing anxiety and parenting kids and teenagers when you’re trying to hold down your other full time job! We’re now running ‘Marguerite Creates’ every Saturday and Sunday morning where creatives are showing us how to do things like: draw our house plants; collage; make simple home improvements; and take better photographs on our phones! We wanted to provide quick, fun activities to allow people to try something new to alleviate the lockdown boredom – and maybe even get that “Oh my god! I did it!” feeling I think we all need a bit of right now!
Unlike our usual events, these new online features are all quite ‘rough and ready’. We felt it was important to act quickly to give people what they needed rather than spending lots of time (and money!) producing something really sleek that may become redundant by the time it was ready. People’s requirements and moods are changing every day at the moment and we’re very mindful of being relevant. It’s actually also been a brilliant time to test out new things and throw us out of our comfort zone!
Marguerite Presents Snappy Salons on Women in the Arts part of the February 2017 Uniqlo Tate Lates at Tate Modern Image by Dunja Opalko
What has C19 taught you?
Professionally, the joy of slowing down. We’ve hosted 40 events a year for the past few years which is a lot and can mean up to three events taking place in one week. I think once this is all over, we’ll consider hosting fewer events but maximising the quality.
What will the most important lessons be for the creative industry post C19 do you think?
Much like many industries, I think coronavirus will force the creative industries to slow down. The hectic merry-go-round of private views, art fairs, fashion weeks and events was tiring for everyone involved and I think ultimately, unsustainable. Furthermore, the shipping and travel required for the larger international events of course had huge environmental implications. It’s been interesting to see how quickly art fairs and galleries have shifted to host their events online – I hope a lot of this will remain in place once this is all over.
As a part of Milan Design Week last year, Marni presented a line of bags furniture and designs objects under what they dubbed their online Folk Market. This year, regardless of the absence of design week as a result of COVD-19, the Italian brand returns with another collection entitled MARNI HOME MARKET. The collection reflects Marni’s multifaceted universe with an exploration of colours and forms. It features a range of bags including playful hammock bags, retro-inspired crochet bags, small striped shopping bags, natural canapa bags and crochet fish bags.
Each piece from the collection is specially handmade by Colombian artisans who have been collaborating with the brand for several years. With respect for local traditions, each item is made according to meticulous artisanal processes that require close attention to detail. The collection will is currently available for pre-order online Marni.com
One of Gucci’s last exhibitions was their iconic collaboration in Maurizio Cattelan two years ago in Shanghai which gained much critical acclaim. Which is why we’re so excited for their latest venture. The house has returned to the content in the city of Seoul for their recently opened exhibit entitled “No Space, Just A Place.” Gucci’s Artistic director Alessandro Michele teamed up with curator Myriam Ben Salah to create a visual story which pays homage to the city’s art and culture.
Hosted at the Daelim Museum, the showcase poses questions of cultural identity, nonconformity and belonging at the hands of several local Korean artists and institutions including d/p , the Boan1942, Hapjungjigu, OF, space illi, Tastehouse, Post Territory Ujeongguk , White Noise as well as the likes of some international artists like Meriem Bennani, Cecil B. Evans , Martine Syms, Olivia Erlanger & Kong Seung.
Each project within the exhibit opens a door to an alternate world, as an exploration of several dimensions of utopia. Among the project titles included in the showcase are ‘Psychedelic Nature’ by Boan1942; ‘Secret of Longevity by White Noise which is a exploration of collaboration among artists and ‘Swimming QFWFQ’ by space illi which speaks on what society deems natural through the eyes of female artists. The exhibition is one that is sure to leave it’s audience thinking for hours and even days, and as a result of the COVID outbreak m the house has managed to treat us to virtual rendition of the exhibit which can be viewed here. The physical exhibit is currently active and will run until July 12th, for more information visit No Space, Just A Place.
When looking at motherhood and its lineage within the canon of art history, images of Madonna and Child are at the forefront. A prevalent symbol in Christian iconography, depictions were greatly diversified by Renaissance masters such as Leonardo Da Vinci and Caravaggio. Yet it was only in the last century that motherhood emerged from the skirts of the Madonna into a space of critical and conceptual practice. During the 1970s second-wave feminism nudged a more rigorous and expanded consideration of women’s issues into the arena. Take artist Mary Kelly’s Post Partum Document 1973 – 1979; a six-year documentation of Kelly’s relationship with her newborn son that includes drawings, annotations, and recorded conversations.
Naturally, photography became a popular medium through which to depict motherhood and to reflect the fascination and controversy it attracts. Sally Mann’s Immediate Family series from 1992, capturing her naked and roaming free children highlights a departure from the stereotypical portrayal of motherhood that dominated contemporary visual culture.
Like photography itself, the expectations and demands of motherhood are in flux; both subject and medium grapple for new meaning in a changing world. Simone Steenberg’s series Motherhood & Pregnancy explores just this, as she records the transformation that women experience on this journey. Capturing this transitory state of the female body is simultaneously an exploration of their strengths and vulnerabilities.
Steenberg’s subjects are observed in varied guises. Some are adorned in flamboyant and playful outfits positioned in both assertive and contrived poses within the studio setting, some proudly nurse their new-born within the familiar domestic setting, while others are immersed in water, gracefully floating in what appears to be their natural habitat. Ultimately, Steenberg’s series showcases how women navigate an experience that is both collective and deeply personal.
Using analog film cameras, Steenberg began documenting mother and child three years ago;
“I’ve always been intrigued by the different states women go through, the physical and psychological transformations, and especially the different shapes of the female body. The women I photograph are a mixture of friends, women I cast through Instagram or women who contact me directly. I shoot everything with analog so it’s a very performative and intimate process. I love shooting outdoors in nature and I feel the pregnant body relates so beautifully to mother earth, its curves, and diverse landscapes. “
With a background in fashion photography, Steenberg was sensitive to the stereotypical image of the pregnant woman;
“Maternity/ Pregnancy shoots have always been done in a certain way, very polished and not hugely sensual or empowering. I want to produce images which challenge the norms and beauty ideals inherent in society, and where women have ownership of their bodies and are allowed or free to express pleasure and desires. I want to create a special experience, an exchange between me and my subject, where we reveal things about ourselves to each other. It is very much about intimacy and trust.“
The dialogue Steenberg fosters with her subjects allows for images that present the reality of motherhood; beautiful, personal, raw – matter of fact; one of the main elements in this project is that everyone involved learns and grows from working together.
The intimate bond between photographer and subject is reflected in her documentation of various mothers breastfeeding their children; a natural and universal exchange, yet one that has forever been tainted by cultural perceptions. Steenberg wishes to celebrate this intimate bond, yet without sentimentality; “I’ve done many images of women breastfeeding where I highlight their milk leaking. I want to open up a dialogue about this phenomenon, and also celebrate this state and the natural wetness created from women’s bodies.“
Acknowledging that she has yet to experience motherhood, Steenberg draws on her fascination with the relationship between women and water. We observe it in the milk that oozes from her subject’s breasts and the mouths of the naked, heavily pregnant females surrounded by water reeds, or those who flow freely in the lakes near to her hometown in Copenhagen;
“I see water as reflective, always bouncing back and forward, like an exchange. I grew up in Copenhagen, surrounded by the ocean, and have always felt very close to the water. I am fascinated by the effect it has on us, which is why I believe it has become such an essential part of my photography. “
The mother has unprecedented visibility and influence in both our cultural and political spheres. As a result, our evolution into a technological dependent and consumer-driven planet has given rise to an obsession with social platforms that host a growing number of communities.
‘The Mummy Blogger’, Twitter, Facebook, and Instagram are vessels for celebrity bumps and babies; literature and film regularly take mothering as their main storyline; and in society, debates around women’s work-life balance and childcare are in regular political focus. Instead of fetishizing the mother, Steenberg offers a reflective and safe environment where her subjects are allowed to express their connections and experiences of motherhood. Steenberg’s images are consistent in that they always manage to convey the intense power and beauty inherent to mothering. Pain and happiness are paired with the exhaustion and vulnerability of motherhood; all of which must be acknowledged as part of this collective and deeply personal journey.
Be sure to keep up with Simone’s journey and her latest series via instagram.
During the creation of Alexander McQueen’s SS20 collection last year, the house enlisted a handful of students from Central Saint Martin’s MA course to join them in a life drawing class at the educational space of their London flagship store. The results of this class were what resulted in the dancing girls embroideries included in the house’s SS20 collection. During the process, The Stitch School — a group which reconnects communities through the art of embroidery — provided special tables and looms, both in London as well as in Paris so that the entire McQueen team were also able to get involved in the hand embroidery of the ivory linen dress that was worn by British model Stella Tennant on the runway. The team effort that was put into the dress is a symbolic commitment of Sarah Burton and the house of McQueen in their efforts of passing on valuable knowledge and honing young talents and also in regards to creating a wider sense of community.
Another fundamental part of the SS20 collection, were also the minimalistic yet glamorous mini bags. The two main styles included in the collection were the Mini Jewelled Satchel and the Mini Skull Lock Bag. Each one carries its own story, that of the Mini Jewelled Satchel being characterised by the signature jewelled handle with the Alexander McQueen skull, which can be worn cross body or as a clutch. The Mini Skull Lock bag however carries its own skull clasp and can be hand.held using the top handle , or worn with a removable leather cross body strap . The bags are available in a range of various colours which can be discovered on AlexanderMcQueen.com
Helmut Newton is known by many as one the most dexterous photographers of the 20th century. His notorious black and white work pushed the boundaries for fashion and fine-art photography, as he was one of the pioneers to explore themes such as sexuality and femininity within fashion. The Newlands House Gallery was recently opened which is a space located in Petworth dedicated to contemporary art, photography and design.
The space’s inaugural exhibition titled HELMUT NEWTON 100, which debuted in March was temporarily closed as a result of the current health crisis, but in response the gallery has introduced “Inside Helmut Newton 100.”
Curated by the gallery’s artistic director, auctioneer, art dealer and DJ Simon De Pury, the digital exhibition features a virtual tour of the exhibition which can be viewed via instagram and facebook as he takes the audience through the collection of iconic portraits, landscapes and fashion images, as well as glimpses of some never before seen artwork from the photographer. The virtual initiative will also feature a section titled “friends of Helmut” which will engage some of the photographer’s friends such as Mary McCartney & Juergen Teller in discussion . Keep up with gallery’s digital endeavours by following Newlands.House.Gallery.
Jenny Capitain, Pension Dorian, Berlin,
1977’ by Helmut NewtonNeewlands House Gallery by Elizabeth Zeschin
Retro Verseau, Vogue France, 1979 by Helmut Newton
Designer Nensi Dojaka’s vision is strictly about the modern woman – and that means embracing her in all her polarities. AW20 marks the designer’s first season with Fashion East, and already it’s clear her message is as powerful as the designs it informs. A recent Central Saint Martins MA graduate, it’s her BA in Lingerie Design that serves as the underpinnings of a delicate interplay, where strength and vulnerability are held together by the finest thread, or just-concealed among collaged layers of sheer silk. Talking to Twin about subverting sensuality with a female-first mindset, the Albanian-born creative tells us just why empowerment is shaping her approach to femininity.
How did your label begin?
After finishing my MA, SSENSE contacted me about buying the MA collection, and their trust and support pushed me towards working on my own brand. I followed with another capsule for SS20, and now AW20 with Fashion East, and things started to evolve naturally.
Where do you find inspiration?
At the beginning of each collection, I always have a ‘mood’ I want to convey. My woman is out there to stun, but she does it discreetly and this gives her a flavour of danger and fun. After that, I start to drape it all on the mannequin and it comes naturally as a result of visual research. My references of ‘90s fashion will always be there as most of my fashion research stems from ‘90s magazines, and looking a lot at designers like Ann Demeulemeester, Alessandro Dell’Acqua, Jean Colonna.
Your designs are intimately feminine – what made you want to explore femininity through your collections?
I studied lingerie during my BA so naturally, my work is about silhouettes that complement the female body. It is about embracing the strong and the soft duality of modern womanhood. I love working in the same amount of detail and scale that lingerie has, the mini details like straps, rings, which I use a lot.
I like the way lingerie contours the body because of the way it’s constructed; how some delicate straps can hold and create the dynamics of the whole piece. There’s always some bra elements in my work. I try to come up with unconventional shapes like the circle bra part of a top in AW20, which is held together by a contrasting elastic strap and goes across the bust in a very graphic way.
There’s both a strength and a vulnerability to your designs. How would you describe the message behind your aesthetic?
I think my woman is complex and her beauty stands in the fact that there is a perfect marriage between severity and delicacy in her, and I try to translate this idea onto my clothes. By distorting the perception that comes along certain materials; creating delicacy from severity, and vice versa.
To mirror that duality of softness and severity in women, I work with different levels of transparency intermingled together in every piece; some bolder drapes against lighter bits which are placed next to each other in an asymmetric, more erratic way. The way the drapes fall onto one another in a more “unexpected” way is to distort that notion of being just pretty and give it a twist into something more aggressive. The sheer fabrics also allow for me to play around with layers, which gives a more ethereal look and also serves as an “armour” by covering up despite being sheer.
Why do you feel fashion is the best way to communicate your message?
Because it is the wearer that brings that message to life and I love the relationship between the wearer and the garment and the meanings attached to it.
How do you want women to feel when wearing your pieces?
Beautiful, strong, alluring yet mysterious.
How has your connection to London and Albania shaped your design approach?
Both places have shaped the way I think for sure. In Albania, I had the luck to have the help of amazing tutors who contributed to my well-rounded knowledge. And when I came to UK, it opened up even more possibilities for me. Both places have a nice juxtaposition of chaos and order that really inspires me and is reflected in my work and the way I see things.
How do you see the fashion industry adapting in this time of uncertainty?
The pace is suddenly much slower but I see brands passionately trying to move forward despite the difficulties, and of course adapting to finding ways around it without having the comfort of being at the studio with the team or the usual cash flow.
What have you got planned for your next steps?
I’m looking forward to showing my next collection in September, and figuring out the best way to do it to ensure safety during these tough times.
Decorum and value: this is where our headspace is at right now. From a tightening of ethics and a loosening of excess – we are paring things back to what we have found bestows upon us a sense of purpose, significance, worth. Le Kasha is a brand that is not about screaming, yet nor is it about ignoring either. It is quiet in its voice, and clear in its motive. As we all take soft steps into a new way of thinking, Le Kasha gives us a new way of seeing too.
How did you come to take over Le Kasha?
Le Kasha was founded in France in 1918 and was part of my family heritage. Le Kasha was originally a revolutionary fabric that was supplied to the big fashion houses of the time (Chanel, Lanvin, Jean Patou) which they used in creating their collections.
The original logo was an illustration by the French poster artist Géo Dorival. It had always intrigued me and I’d always wanted to one day give new life to the story and heritage of the brand. Eventually, 4 years ago, I decided to rework the illustration and to make it a bit more modern and easy to read, marking a new journey for Le Kasha; creating a luxury lifestyle brand inspired by travel and adventure, to offer timeless pieces to wear anytime and anywhere, made only in natural and noble fabrics
What changes did you implement upon becoming creative director of the brand?
The brand had been dormant for more than 50 years. I went through the archives, repurposed the original logo and with these created a completely new story but keeping the essence of the spirit of the original Le Kasha.
Talk us through where you source your fabrics, and the reasoning behind each textile. We use only noble and natural fabrics at Le Kasha. For the cashmere: The fabrics are sourced in the Alashan and Arbus regions of Inner Mongolia, at our Eco Label factory farm. Those regions are acknowledged to be the foremost regions for producing the highest and finest quality cashmere fibres.
Regarding the linen collection, Le Kasha uses only organic, pure linen fabrics. We found a very specific linen which doesn’t crease and you can spend the full day or night wearing the pieces and they remain elegant and comfortable. The 100% Silk fabrics are sourced in Italy and feel incredible against your skin. Both the linen and silk collections are produced locally in our atelier in Paris.
What role does travel play in Le Kasha?
Le Kasha gets it’s inspiration from travel: for the story behind each collection, for the colours, the styles and the spirit.
I also love the idea that Le Kasha pieces are what you chose to travel with. The sweater that you always carry in your bag and follows you everywhere. Not just a random sweater; but a travel companion that carries with it the memories of all your travels and keeps you warm and soft on all your trips.
What projects are on the horizon for Le Kasha?
A complete men’s collection is on it’s way.. Le Kasha is also due to open a shop « Boutique de Voyage » in a new luxury hotel in the South of France by next year.
Is there a beauty in specialisation?
Specialisation can allow you to take time to make sure to do that thing really well and properly; release only the best possible version of products to the market.
It’s also more sustainable as you can focus on one supplier, one factory, and avoid the waste of a high volume of shipments and working with too many fabrics.
What principles are at the heart of your brand?
Quality & authenticity
What changes do you want to see in the fashion landscape post COVID19?
I hope there will be less pressure on brands to create and produce so quickly; giving more time to designers who aren’t given the time to be creative because there is always more and more pressure to be quick.
I hope people will realise that they need less clothes and will chose to buy with more consciousness. Which in turn will also be with a respect to the environment.
This week, Alexander McQueen is inviting their followers to explore the art of embroidery, with a hint of inspiration from the house’s SS13 RTW collection. The challenge encourages creators to use whatever resources available at home to recreate an embroidered bee inspired by the bee dresses from the SS13 collection. The house also tapped a member of their in-house embroidery team Aneliya Kyurkchieva for a detailed tutorial on how the bees from the SS13 bee dresses were created.
McQueen Creators is a weekly initiative brought forth in reaction to the current global quarantine, and calls on the house’s followers to artistically engage with their favourite pieces from a selection of images shared on the McQueen instagram page. A selection of final will be published across their social media platforms. Follow the house’s social media channels for updates, and to be considered in the batch of images shared on the McQueen page, be sure to tag @alexandermcqueen and include the hashtag #McQueenCreators in your caption.
London based, Italian-Nigerian photographer Adaeze Ihebom makes intimate self-portraits, turning the camera on herself to explore her identity, the lives of Igbo women and the power of the gaze. In her ongoing body of work Imagining the Self, Ihebom uses the camera to explore her duality as an Igbo and Italian woman. Creating a project on the self brings the viewer into intimate and private moments. But, by being in control of the camera, Ihebom’s project is ultimately an act of empowerment as she retains control of her own narrative and the gaze.
The title of the project, Imagining the Self, alludes to an element of performance. For Ihebom, these photographs are a mix of performance and reality. Through exploring her identity as an Igbo-Italian woman living and working in London, she is staging a conversation with herself. The series was created in response to an identity crisis that she experienced during her teens — when Ihebom had refused to let people take her photograph. ‘I had low self- esteem’, she recalls, ‘and, as a result, I have no pictures of my adolescence. Photography has helped me overcome that and portraying myself makes me feel empowered.’ She recreates some of these lost moments in the project and through this act, regains control over these periods of uncertainty. We see Ihebom in a number of intimate and private scenes. In one image, she is in the bath, looking directly at the camera. She is holding our gaze, as if she isn’t afraid to be seen in this way. In another, she is in her underwear looking in the mirror, a private moment we can all resonate with. We also see her lying on a bed with the light streaming through the window. Was someone originally there with her to share this moment she is recreating?
Images of women are often subjected to the male gaze. By taking self-portraits, Ihebom is in total control of her image and can capture herself in authenticity. When it comes to others taking her photograph, she is aware that she ‘is losing that control’ which makes her uncomfortable: ’weirdly I am more at ease with photographers that I know or love because in a way I can sense that they can capture my true essence.’
The process of making the image is as important to Ihebom as the final outcome. This is particularly visible in her project Igbo Woman in which she performs different fictional characters inspired by China Achebe’s novel Things Fall Apart. In this series of self-portraits, she ‘traces the evolution of family identity from pre-colonial, through colonial and post-colonial times.’ Her clothing and pose are particularly important as each character represents women from different time periods. We see Ihebom dressed as Ezinma Okwonkwo who was born in 1900. Here, she is wearing a white head wrap, beads around her neck and stands bare footed, looking directly at the camera. In another, she is dressed as Reverand Sister Mary Uzoamaka Okwonkwo from 1930. She is wearing religious dress, looking down at the prayer beads in her hands. We then move through time to see Ihebom as women from 1950, 1960 and 1967. By the time we get to 1972, we see her as Alexandra Daberechi Okonkwo. Here, Ihebom is sitting on a high stool, sitting casually, her hair in an afro, wearing sunglasses and platform shoes. We move through 1981 and finally finish on Ihebom as Claudia Onyeka Okonkwo in 2015. Here she is wearing an off-the-shoulder dress and heels, holding a book and looking directly at us. In this final image, she is representing the modern Igbo woman, giving them a voice and their own identity.
‘I knew there was a need to represent them as there is an enormous lack of visual illustration and narrative. I feel that history has not portrayed the Igbo woman in her rightful perspective. She is customarily shown in images that correspond to a supposed African man’s world and the idea of feminine submissiveness to the man. The series is a way to challenge this mistaken notion and to show how colonialism has further removed feminine freedom from the Igbo woman. I want the spectators to question if these ideas have always been there or colonialism has planted that idea into us.’
Ihebom originally planned to shoot different women but realised that by using herself and becoming both the photographer and model, she could connect more closely with the characters. Ihebom describes the image-making process as ‘really fun’ – she listened to music, danced and created a positive atmosphere. She meticulously planned each image, creating storyboards of each character she portrayed. When it came to actually taking the image, she removed herself from the world, turned off her phone and imagined herself in the lives of each individual. Through this perfectly staged act of self-portraiture, she reimagines the characters as real women, tracing them through time to give them their own story. Through turning the camera on herself, Ihebom brings us into her world, while also creating visibility for Igbo women who have historically been misrepresented and left out of the visual narrative.
Gucci’s latest campaign not only features the vibrant colours and intricate textiles of Alessandro Michele’s Pre-Fall 2020 collection, but also an incredibly adorable cast. The campaign titled #SoDeerToMe is a story shot by Alasdair McLellan in celebration of nature in all its forms. Like a scene out of sleeping beauty models are clad in full Gucci PF20 looks of androgynous silhouette & flashy 70’s accessories in the company of free roaming deer, rabbits, squirrels, skunks, owls and other animals.
Since February of this year, the brand joined The Lion’s Share Fund, which is an initiative that raises funds to protect endangered species and their natural habitats. A part of the partnership entails that the fashion house will donate 0.5% of its media spending to the organisation’s fund every time an animal appears in its advertisement, and this Pre-Fall campaign is no exception. To find out more about Gucci Pre-Fall 2020 collection, visit Gucci.com
Damien Frost is a London-based Australian-British art director / graphic designer who spends his time during the day working in the theatres of The Big Smoke and immerses himself to document the city’s alternative queer life by night. His latest project is an ode to social distancing as he uses his opportunity in isolation to portrait creative compositions featuring some of the world’s most dynamic drag queens.
“I began the Social distancing project when we first went into lockdown in March as I quickly realised i was going to miss capturing the ephemeral art of the people I normally document and not only did I want to find an excuse to keep using my camera but I also needed to focus on something to distract me a little from the unfolding drama and try and document it in some safe way.
Around the same time that I began the project many people who work in the nightlife economy had their livelihoods and cash flow immediately cut off – there were parties due to happen that people were depending on to pay their rent and some of these people began to pivot towards creating online social content – doing smaller scale performances form their bedrooms or party organisers moved the parties to be Facebook live feeds where the do’s would still play and people would tune in, dance around their lounge rooms and still talk shit over drinks (or warm tea even) and collectively solve the worlds problems albeit via text chat rather than the smoking area of a club, and so I’ve been capturing people before they do a show or after they do a performance or makeup tutorial video and present these portraits in The Social Distancing project,” Frost commented.
Each portrait from the series carefully captures each queen’s individual character in the comfort of their homes as they transform themselves for their respective performances which creates a raw outlook / performance out of the concept of social distancing in itself.
“I find the term Social Distancing fascinating for it’s inherent oxymoron being social and distant at the same time and so this project is exploring that, how we are connecting with each other during this strange moment in time. I wanted to show the process also- the image quality of the photos is mostly terrible as it’s very dependent on both the video call connection, the camera the other person is using on the other end and the lighting they have available and then I’m just taking photos with my camera of a pixelated video feed on an old iPad but this poor quality is also partly the point – the technology we have is imperfect and nothing can replace the personal social experience but at the moment this is all we have and so we make-do.“
“ At first I thought there wouldn’t be a lot of people doing transformative looks during this period but I’ve been surprised by just how many people are still practicing their craft – using this time to play with new ideas, engage with challenges with other artists and just keep ploughing on. Despite the fact that many people are in extremely precarious and difficult circumstances and often not knowing where they will get the money for the next rent payment people are trying to keep positive in the knowledge that we are all in this together and there’s a strong desire amongst everyone I talk to that hopefully we can all learn from this situation and we might come out of this situation more thoughtful about each other and the delicate balance of the world we live in.”
Keep up with the artist and view the full version of the artists featured @damienfrost.
Alexander McQueen’s latest instalment of their McQueen Creators initiative invites their followers to explore the art of creating silhouettes. With the use of a sketchbook and charcoals, pencils, pastels, paint or whatever materials available, we are welcomed to join the McQueen world and interpret of favourite looks from the women’s SS20 & men’s AW20 collections with images specially chosen by Creative Director Sarah Burton as inspiration. The house also taps on the Head of BA Womenswear at Central Saint Martins Howard Tangye to spearhead the project as he takes part and shares his expertise in the field with a video tutorial. Tangye is seen guiding the McQueen audience through his process of painting an ivory tailored double breasted wool overcoat and trousers from the men’s AW20 collection. The full tutorial can be viewed below.
McQueen Creators is a weekly initiative brought forth in reaction to the current global quarantine, and calls on the house’s followers to artistically engage with their favourite pieces from a selection of images shared on the McQueen instagram page. A selection of final will be published across their social media platforms. Follow the house’s social media channels for updates, and to be considered in the batch of images shared on the McQueen page, be sure to tag @alexandermcqueen and include the hashtag #McQueenCreators in your caption.
A cult record store and the Japanese art of flower arranging might not make natural bedfellows, but there is plenty to connect the two skills and passions for Haruka Hirata, the co-founder Big Love Records – the ‘if you know, you know’ globally respected record store in Tokyo. Speaking to Twin about what this ancient practice has taught her about life, her musings could act as a reflective signal to how we will need to responsibly think about a future we are carving as we all move forward.
How did Big Love Records come about?
Masashi Naka, co-founder of Big Love Records started his record label in the 90’s, and opened his own record shop called Escalator Records in 2002 in the same location as now. I started working there and changed the name to Big Love Records in 2008. It was to focus more on international bands. That organically made us meet great artists, not only musicians.
What is the ethos of BLR?
To be independent. Be responsible to the world.
Do you think our approach to records and independent music stores will change post COVID-19?
I believe a lot of people has revisited listing to music during their self-isolation, and dug deeper, so it definitely was a good chance to realize how music could be your nutrition. But at the same time, some people may notice it was because you had enough time to do so. Record shops should not just rely on the customers, but needs to create a better platform for people to fully enjoy and experience music and embrace in their lives.
It’s about experience. A community is an experience.
You practice Ikebana: tell us how you got into this and what it has taught you?
Hiroshi Teshigahara, son of the Sogetsu Ikebana School founder and the second Iemoto (grand master), was an avant-garde movie director. I was a big fan of his movies- “Woman in the Dunes”, and “The Face of Another”. One night I was casually googling his name and found out he was an Ikebana artist. I was looking for a medium to address my voice in a better way, and the next day I called my Ikebana school. Been studying for four years, I finally got a certificate last year.
It has been teaching me a lot.
The importance of preparation and cleaning up. Showing respect to your teachers, and classmates. Patience. Never compromise but forgive yourself.
You can never complete learning an art form working with nature, because you will never be able to use the same material ever again.
Can you give us a few pointers on what makes a balanced arrangement, and how can an arrangement effectively come alive?
Focus on three things. Line, color and mass. How do you feel today? Pick one main color. Use three strait or curved materials, in three different lengths.
Create a mass, or keep it
Give space to each other. Don’t fully cover the vase, create a room.
You can keep the flowers or branches live longer if you cut the stems under the water. This is to prevent air coming in the stem, and let it absorb water.
What sensations does ikebana give you? Calm, satisfaction, energy?
Ikebana is about life and death. You need to face how selfish you are to cut, bend, or nail the flowers or branches only to express yourself. You are sacrificing nature.
Do you listen to music while practicing ikebana?
One time I was listening to dark techno while working on the piece, and it was not right.
The sound of the scissors are the best music.
You should always listen to silence and find your own rhythm.
French Maison Christian Dior recently launched a virtual tour to their latest exhibition’s in partnership with Musée des Arts Décoratifs. Titled “Christian Dior: Designer of Dreams,” this exhibition traces the impact of one of the 20th century’s most influential couturiers while exploring the works of the six artistic directors who succeeded him.
“There is no other country in the world, besides my own, whose way of life I like so much. I love English traditions, English politeness, English architecture. I even love English cooking,” a quote from Christian Dior. The designer deeply admired the British way of life, even his first fashion show took place at London’s Savoy Hotel and he then later established the brand as Christian Dior London.
The exhibition also gives insight to Dior’s creative collaborations with jewellers, shoemakers, and glove makers as well as a focus on some of his earliest elite clients. These include author Nancy Mitford, dancer Margot Fonteyn and a special highlight of the Christian Dior dress worn by Princess Margaret for her 21st birthday. The exhibition will presents over 500 objects and over 200 rare Haute Couture garments displayed alongside the designer’s personal possessions. The virtual show reveals the sources of inspiration which help define the Dior aesthetic, from the intricate designs of Yves Saint Laurent to Maria Grazia Chiuri’s feminist vision. Discover the link to the virtual showcase below.
Prada’s latest campaign for Pre-Fall 2020 was crafted with the intention of blurring the lines between reality and digital and re-imagining a new idea of intimacy during these very particular times. The campaign was shot in London back in February by photographer David Sims and recently digitally painted in New York.
The images and campaign films combine hand-painted watercolors with digital artistry. The silhouettes of each look and their seams and patterns, become ‘paint by numbers’ frames for energetic explorations of color – a dozen Prada-ist shades of Celeste blue, pink, yellow, orange, green and more.
“Blurring lines between the photographic and the painterly, between technology and humanity, it is a subconscious echo of our moment. The joy of color via the joy of technology – both a means of communicating a message, immediately. Ultimately, that message is positivity – a fantasy, painted in Prada colors,” read the brand’s campaign notes. For more info on the Pre-Fall ’20 collection, visit Prada.com
In the light of the coronavirus health crisis, Twin Magazine has partnered up with a few of our contributing artists for the sale of 10 printed photographs in charity of the National Health Service (NHS) Fund. The initiative launched this morning, features 10 photographers including Benedict Brink, Ben Weller, Daisy Walker, Jo Metson Scott, Joyce NG, Julia Noni, Marianna Sanvito, Scott Trindle, Stefanie Moshammer & Yaniv Edry who have donated 1 image each for the project.
All prints have been framed and moulded from the highest quality real black wood and UV reflected as they have been carefully packaged by our handmade sponsor G.F Smith . The cost of each print ranges from £125 -£175 depending on it’s size. For more information on how to purchase directly , visit Twinfornhs.com
Collaboration – never has the creative industry needed to explore the potential of partnerships in such a laterally minded way. As the world goes through what has been dubbed a collective trauma, connected and meaningful interactions have been formulating as the experience of the global crisis solidifies groups – memories that will be shared in the future.
Partnerships are becoming more reasonable, more cultivating, more open to input and experience.We see the term maker traversing a spectrum of craft, limited not to certain adages and opening itself to dialogues with how others are coping and creating. On the crest of the pandemic breaking on western shores, Proenza Schouler collaborated with Birkenstock. Shot by Juergen Teller, the collaboration evokes an impression of the importance to look at function within form once more: of what people want, what people need.
Twin spoke to Jack McCollough and Lazaro Hernandez of Proenza Schouler about this cross pollination of ideas and why we need collaborations now more than ever.
How did this partnership come about?
J&L: The collaboration happened quite organically. A friend of ours who was working on a project with Birkenstock mentioned to them that we were fans of the brand, and that perhaps we should all meet together to discuss a potential collaboration. We met, and the rest is history.
What was the attraction to either design house?
J&L: Birkenstocks have always had a special place in our lives and are one of the few things that the two of us have in common from our separate and completely different childhood experiences.
Lazaro: I grew up in Miami, so the ocean was an important part of my life. Spending your free time on the sand and on boats was what one did as a kid. Birkenstocks were what my friends and I always wore because they were easy, comfortable, and had a kind of counterculture nostalgia associated with them that was very much in the air during those days. I remember wearing them to my first day of college at the University of Miami and not thinking twice about how appropriate that would be. It was simply part of the culture down in the tropics. When I moved to NY, I of course took my Birkenstocks with me and actually still have those exact pair in my closet. They are one of the few things I still have in my possession from those early days before Proenza Schouler.
Jack: I grew up in Tokyo but moved to New Jersey as a child with my family. Growing up in the 90’s and being the free spirited and independent kid that I was, I ended up leaving home at a young age and traveling around the country with the Grateful Dead. It was during those years that Birkenstocks really became a staple of my everyday life. On tour, that was the de facto uniform. They became a kind of symbol of a by gone era that the kids around me were glorifying in a way, and trying to relive on our own. Of course, it was a different time altogether, but Birkenstocks somehow connected the past with the present. I moved to San Francisco after I eventually finished high school, then ended up at an arts boarding school in Massachusetts, before ending up in NY and starting at Parsons. Birkenstock were a part of my entire journey into adulthood and to this day are still a mainstay of my life.
Would you say this is a meeting of likeminded creatives or actually an opposites-attract partnership?
J&L: We love the idea of two New York designers who have a brand firmly planted in the eco system of NY fashion collaborating with a historic German shoemaker. The cross pollinating of cultures and ideas and work styles feels totally pertinent to the world of today.
Why do we need collaboration in the fashion world now more than ever?
Collaborations can be great if they feel organic and natural. We actually don’t do many of them as we like to focus on the work we already do in-house. We have pretty clear ideas of what we like and what we don’t, and sometimes with too many cooks in the kitchen the process can get difficult. There are already two of us, so adding more people into the mix can sometimes get complicated. On the other hand, if the collaborator does something iconic that we feel makes sense for us and our woman, and we have a very clear idea of what we would like to do for it, then of course it is a great thing to do. It opens up your brand to people who wouldn’t normally interact with it and vice versa. It can be an incredibly interesting thing to do on many levels and we think the one-off nature of the project usually makes it exciting and desirable for people.
It’s important to open up your studio to new voices, new ideas, new people, in an effort to push the boundaries of what is possible in-house. We could have done our own version of a Birkenstock sandal with Proenza Schouler shoes, but it would never be a real Birkenstock. Authenticity is something we care deeply about and if we wanted to create something in the world of Birkenstock, who better to do it with than the masters of that kind of shoe: Birkenstock.
One of the most admirable aspects of Sarah Burton’s Alexander McQueen SS20 collection was the clever use of upcycling. The brand has committed to the task of reworking many of it’s textiles including jacquards, silks, lace and others from stock fabric held in the archives. It’s seen throughout several key pieces in the collection such as a panelled dress crafted in ivory lichen lace, cotton tulle and washed organza with oyster ruffles sleeves and skirt. The fabrics from this elegant piece were pulled from the lichen lace materials used in McQueen’s AW17 collection as well as fine cotton, tulle and ivory from the fabric stock. Another one shouldered oyster gown was also pieced together by re-cycled silk jacquard, lace, washed organza and tulle.
The ivory floral lace being brought from the house’s SS16 collection and the pale gold Venus shell and scallop silk faille jacquards from the SS19 pre collection. The house’s commitment to giving new life to old fabrics is quite commendable and stretches beyond their own use, as they recently began an initiative that gives access to students as well. Visit Alexander McQueen for more info on their SS20 collection.
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