Issue 20 celebrates a landmark in Twin’s history: 10 years of championing women and emerging creativity. Fittingly, this issue is packed with interviews and contributors that embody our independent and boundary pushing spirit. Who more emblematic of that ethos than Katharine Hamnett? Her radical vision has consistently held power to account and advocated for sustainable values and the power of education. Or boxer Ramla Ali, who knocked out the idea that ‘women don’t box’ and became a champion – inside and outside of the ring. Both women shattered existing expectations to establish new rules of their own. Also in this issue, filmmaker Fenn O’Meally and poet Debris Stevenson talk feminism, community and creativity, dismantling the system one punchy takedown at a time. You’ll want to read this interview twice. These are the influencers of our times, but we’ve also asked leading creatives to talk about the icons who came before. Designers Michael Halpern, Mimi Wade and Art School’s Tom Barratt contribute loving family portraits of the women who originally inspired them.
This anniversary, community is key. In ‘Queens of Scampia’, photographer Jess Kohl offers an intimate portrait of the trans women in northern Naples, while Lotte van Raelte’s discusses her open, natural portraits of women’s bodies in all their unique wonder. Francesca Allen’s ‘Tokyo Girls’ is a love letter to women and the city, while back in Britain, artists Jeremy Deller talks Stonehenge and his collaboration with Aries. And with a similar nod to the pagan, photographer Steph Wilson’s ‘White Nightmare’ conjures surreal and weird world where the white male has been overpowered and the freakish and strange rule. Looking back to look forward, Philomena Epps reflects on the original contributed for our first issue, in the context of where we are now. “The Age of Aquarius will last for another 2000 years”, she says, “but will we?”
Given the innovative creatives that have helped to promote original thinking over Twin’s last 10 years, the answer is probably, yes. The range of talent that has helped to establish the magazine’s pioneering voice is a reason to be optimistic about the future. Here’s to a bright, bold and disruptive decade ahead.
It was a kind of mock-gothic, Hollywood bridal party that only Mimi Wade, with her proven aptitude for taking the fantastically kitsch and making it fantastically sexy, could have pulled off. For AW18, Wade ostensibly stripped back her signature aesthetic but managed to retain a raw, vamp-like glamour even while working across a monochrome base.
Part of a new generation of designers in London adept at creating clans – the likes of Molly Goddard and Sadie Williams have delivered a powerful, unifying aesthetic language too – Mimi Wade has established a strong identity for her women, mixing a sense of nonchalance (this season through bias cuts and frayed hems) with feline sultriness (velvet bows, ruched, deep collars and puffed sleeves). It’s Wade’s World, and we want in.
Mimi Wade is one of the most exciting designers to have come out of London in the last few seasons. With her hyper feminine, seductive and playful designs she has created a new space for women to enjoy dressing up, and in doing so invites women to enjoy their bodies and the power they hold.
A Central Saint Martins graduate who came through the Fashion East platform, you can expect exciting things to come from Wade in the seasons to follow. Twin caught up with Mimi to talk about her grandmother, Hollywood and carving a new fashion structure.
Your last collection was inspired by your Grandmother’s Hollywood home, can you tell us a bit more about what the place was like?
Her house is slap bang in the middle of Hollywood, movie posters and lobby cards adorn every inch of wall space, mixed in with numerous photographs of herself , portraits by different artists and ex-boyfriends (including Cecil Beaton, and one by Matisse -not actually of her but one which bears a very striking resemblance) film stills – it’s all very ‘Sunset Boulevard’ !
Hollywood is infinitely seductive, why do you think that is?
The possibility in the air, that’s very seductive. People flock from all over the world to the city to pursue their dreams. In the same way that movies promote fantasy and detach us from reality, so does Hollywood. It is both trashy, dangerous and completely magical.
You embrace femininity and sexuality in your designs – what about that kind of aesthetic interests you?
There have been times where I’ve felt undervalued for embracing and embodying my femininity and it only made me want to continue to push further. Women are too often underestimated, especially beautiful women who embrace their femininity and sexuality. My grandmother had a boob reduction, died her hair an unflattering colour and tried to rid herself of her stereotypical bombshell looks in an attempt to get more fulfilling roles in the movies – it’s frightening how often women are put in a box because of the way they look. Take Hedy Lamarr for example- she is responsible for inventing wifi and yet she is often merely remembered for being beautiful. Things need to change and I want to be part of it.
Aside from personal experience, who or what do you draw aesthetic inspiration from when you’re building a collection?
I watch a lot of films, I collect packaging and movie memorabilia, I take pictures and draw a lot, I look at vintage clothes.
You graduated from CSM and then did Fashion East, what were the biggest challenges of launching a label in London? What were your biggest learning curves?
I’m still learning a lot, mostly from my mistakes!
What are your favourite materials to work with?
I have had an ongoing sponsorship from Sophie Hallette since St Martins, they make the most exquisite lace in Paris which is a joy to work with. I also love painting on leather.
When did you have the most fun designing?
My graduate collection at St Martins, having the freedom to design something with no commercial constraints whatsoever was pure joy.
All you want for Christmas is….?
A lilac Birman kitten.
Where do you want to take the brand in 2018?
I’m restructuring the way I show collections, I’m not going to be a slave to the schedule anymore. In 2018 I’m doing things on my own terms. I’m launching my website and e-store in the new year too which I’m really excited about.
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