Tuesday, 3 April 2018

Janette Beckman: A Career in Pictures

Run DMC, Public Enemy, NWA – what sounds like a top trio of hip hop’s finest is actually just the beginning of the roster of famous names that Janette Beckman has photographed. Not limiting herself to one music genre – she started off photographing punk bands like the Sex Pistols and The Clash for publications such as The Face and Melody Maker – Beckman has an eye for capturing musicians and influencers of the moment in their element. The Londoner’s extensive portfolio of work also includes the documentation of various subcultures, from east L.A.’s El Hoyo Maravilla gang to Teds proudly presenting their Elvis Presley records on the streets of London.

Meeting Beckman at her Lower East Side studio on a hot summer’s day, it’s easy to see how she manages to capture her subjects in such a natural and laid-back manner. With her wildly curled raven-coloured locks, friendly smile and relaxed attitude, the photographer immediately makes one feel comfortable in her presence. Slouched back in a chair, her two cats freely prancing around the open loft space, she recounts each experience with the same enthusiasm and excitement as if it had just happened yesterday. Nowadays she may be photographing her subjects on a Fuji XT1 digital camera instead of her trusted Hasselblad, but her images have the same subversive edge as ever. Flipping through her four published volumes of work, Rap, Portraits & Lyrics of a Generation of Black Rockers, Made In The UK: The Music of Attitude 1977-1983, The Breaks, Stylin’ and Profilin’ 1982-1990 and El Hoyo Maravilla, Beckman contemplates her earliest artistic influences, the changing face of photography, and creativity on both sides of the pond.

Can you tell me a bit about your upbringing and how that affected you as an artist?

I grew up in North London and went to a kind of a hippie school from the age of 4 to 17. It was very artsy, and that really shaped my trajectory and life. My mom was always interested in art, so we went to museums a lot when I was a kid; we visited France and looked at the churches and art there too. She was also a bit of a painter and I used to go to these classes in Hampstead with her at night and paint. So I grew up with a lot of art around. I was always drawing at home, cutting pictures out of magazines and making a big pin board in my room. And I got a little Brownie camera, and was taking snaps. I started doing portraits of people. Going to the beach, I would be sitting there with my uncle and drawing him. I was just really into it. No parent wants their kid to be an artist; it’s not the greatest way to make a living, but there really was no stopping me. So in the end, I ended up at Saint Martins. It was just an exciting time because it was very experimental. It was a foundation course that I did there, but it really shaped me. Basically you’re at college doing anything you want. I made a bunch of friends immediately. It was also very political at the time and we were all into leftie magazines. There was about eight of us and we would go to Patisserie Valerie on Old Compton Street every morning to talk about politics, art, plotting the downfall of Western society or whatever we were doing at the time. But we were also drawing the whole time. I lived in this semi-squat in Streatham. My rent was £5 a week and it was full of other students, so we used to do what students do: sit around drawing each other, go to jumble sales and smoke pot. It was definitely a hybrid art environment. The foundation course itself was very free form – you had to attend classes, but it was more about being in the environment. We were all hyper into our art, doing little performance pieces on the street, those crazy things. At that time David Hockney was really big and I thought I wanted to be a portrait artist like Hockney, but I never thought my drawings were quite good enough. So after Saint Martins I decided to go and study photography at the London College of Printing, which is now the LLC.

I think it’s interesting, though, because if you look at painting versus photography, there are some parallels in terms of composition, use of colour, things like that. So those skills did transfer.

Totally, it’s about looking and documenting. When I do portraits now, it’s all about the relationship and I think that’s the same. I still go to the odd life drawing class to keep up. It wasn’t like the drawings I was doing were imaginative or conceptual. I just liked to sit and draw somebody and that morphed into taking portraits.

Your work is a documentation of the time, but then obviously has an artistic value as well. How do those two things come together for you?

I love to take portraits in the street and I’m always aware of the surroundings, what’s going on in the street, in the background. It makes a timeline. I took a picture of Futura and Dondi, two really famous graffiti artists, and an English dumpster which they tagged; this makes a whole story. I would always find walls that had things on them. It was a document of the times because that stuff isn’t there anymore. As much as I love my studio pictures, this [gang] project I did is a prime example. I took this picture of three girls who were part of this East L.A. gang called the Hoyo Maravilla. I spent the whole summer going there and shooting them. I recently reconnected with them a couple of years ago. They’re all fully grown women now: one of them works for the D.A.’s office, one works in rehabilitation for gang members and the other drives a Mercedes and has a big office job. We timelined the photo as I thought it was taken in 1982. They asked me if I remembered what colour the car in the photograph was. If it was blue, it was 1982, and if it was gold it was 1983, because somebody was shot in this car, the car was covered in blood and they had to repaint it. So you know, things like this can really make a timeline, and obviously clothing, style, the way the kids are, their attitude. It gives a lot of flavour. Here’s a picture of Run DMC, on the street they grew up on in Hollis, Queens, in 1984. I had never been to Hollis and got this assignment. I just had a phone number and met someone at a subway, I wasn’t expecting this tree-lined street. I grew up going to the National Portrait Gallery a lot and looking at paintings done by artists in the 17th and 18th centuries. Those were the things that influenced me, portraits of life in those days. And I guess I somehow try and make portraits of what life is like today.

Was there a specific photographer that inspired you?

I got this August Sander book out of the library when I was in college and loved it so much, I never brought it back. He photographed working people, where they worked, on the street. They are simple photographs and not posed, people are just looking in the camera, [it’s] very natural. Irving Penn’s portraits; Avedon; Cartier-Bresson; William Klein – they mostly photographed people in environments, too. Even now, I’m the New York editor of Jocks&Nerds magazine, and we do a lot of portraits. I try to put people where they live. I get an assignment to photograph somebody and they’re like, “Oh, should I come around to see you,” and I say, “No, that’s okay, I’ll just come around to where you are – on the street where you live, in the living room, around the corner in front of a deli.” Signage, cars going by, taxis… all of that stuff means a lot to me, getting that flavour of the city.

There’s this very stripped back aesthetic to August Sander’s work and it’s an interesting contrast to what we have nowadays. There are still a few photographers that keep it in that natural environment as so much of it is Photoshopped, with colour filters or the backgrounds added in.

I shoot digital now, but I don’t do that much to my pictures. I tweak the contrast a little bit, but I don’t approve of that [excessive digital alteration]. I grew up shooting film, where every shot has a dollar value to it. You had to be a lot more careful and I still work that way now. I don’t shoot hundreds and hundreds of shots. It’s not that hard, you just have to stop and think for a minute. I’ve been lucky, because I do portraits, I have someone’s attention, be it for five minutes or two hours, and we can figure stuff out. I think it’s important to compose and get it right the first time. Photoshop is an incredible tool, but it’s pretty horrendous the way they make everyone look like they are 20 years old. It’s really strange – in 100 years, when people look back they’ll say everybody just looked like Barbie dolls. I understand people want to look young and beautiful, but old and beautiful is great as well.

With punk and hip hop being more male-dominated fields back then, how was it for you getting into those scenes and photographing them?

When I started at Melody Maker, there was only one other woman working there. It was all guys and they’re more or less rocker types that went down to the pub and got drunk. I was an art student, wearing white Levi’s and a Madness T-shirt. I felt more like I didn’t fit in because I was so artsy and they would make comments about my style, with me being there dressed in my pyjamas and sneakers. I thought I looked cool and they were like, what’s wrong with you? But all the bands were cool with it because a lot of the punk bands were former art students. I never felt discriminated against particularly as a woman. Melody Maker was more of a rock magazine and because I was into punk, mods and all the new genres, when those assignments came up they were just like, “Oh chuck them to her.” That was fine by me, I got to photograph Boy George, the Sex Pistols, I got all of that stuff. When I came to New York in 1982, it really worked to my advantage that I was a woman. I’d go up to the Bronx to take a photograph of Afrika Bambaataa, he was expecting some American male photographer and I’d turn up. I was like a stranger walking around in their land and because I was a woman I was less threatening. I was photographing a lot of African American culture and because I wasn’t from here, I got what they call a “hood pass”. I was very curious about them and they were curious about me. It was exactly the same when I went to photograph this East L.A. gang. They’re like, “You’re not American, what are you doing here?” I brought a box of my punk and mod photographs. I would say, “These are the gangs in England, I want to photograph you and take these pictures back to the people in Europe.” They got that concept. People were always really nice to me and respectful. Even some of the rap artists that were so-called dangerous or scary, I never had any problems with whatsoever. I think they didn’t look at me with the same expectations they would have had if I was American.

What were the most memorable moments and people you encountered?

I worked a lot with Salt-N-Pepa. The first time that I shot them was for a British magazine and they hadn’t even put out a record. I don’t know how this magazine had heard of them. I was living over on Avenue B and had them come over. It was a hot summer’s day like this and we took a walk in the neighbourhood. They were just giggly girls and we were just hanging out and having fun. I was taking pictures of them in front of various murals and little stores, this that and the other. We got along really well and that led to a long relationship. I did a lot of album covers for them, it was always super chill. They had their own style: jackets made by this guy Dapper Dan in Harlem, earrings and gold chains.

Yeah, it was very DIY and just small communities back then.

Totally, just turn up and take pictures. This guy Just-Ice, I was working for his record label, Sleeping Bag Records, and they told me they wanted me to do the album cover for him. He was this big guy, completely scary. I was like, whatever. So he comes over, a nice guy, very polite, we do all the shots and end up going to drink Long Island Iced Teas in the bar across the street. I remember he had these gold caps and had to take them out and put them in his pocket because we were eating taco chips and he didn’t want the chips to get on his gold teeth. This is supposed to be this guy who possibly might have murdered somebody, but obviously it turned out he hadn’t. A few days later somebody is ringing at the studio door and it’s him. He’s got this box and inside is this little tiny kitten he’s just adopted. He said, “I got this little kitten and wanted to show you. I’m going to call him Money Clip.” There were a lot of stories like that. Things that were supposed to be frightening were not really frightening to me. I mean, these L.A. gang girls, they apparently used to go to school with razor blades in their mouth because there’s so much violence there and they could just whip out these razor blades and cut people up. I’m just sitting there listening to these stories and taking pictures of them.

View the full article here.

Wednesday, 4 October 2017

Stephen Dirkes of Euphorium Brooklyn on crafting scentscapes and olfactory deconstruction

Founded by Stephen Dirkes in 2015, Euphorium Brooklyn has already garnered a cult following for its deep, multi-faceted and no-holds-barred scents. A creative polymath with a background in music composition and film production, Dirkes has applied his love of fragrance to art installations, multi media projects and teaching the Perfumer’s Library perfumery program at FlowerSchool New York.
The brand’s concept stems from his stop-motion film project, Euphorium Bile Works, which depicts the story of an 1860s Brooklyn fragrance factory focused on transcendental sensualism run by Etienne Chevreuil, Dr. Christian Rosenkreuz and Rudolph Komodo. Dirkes’ meticulous attention to detail sees the narrative for every fragrance release interconnect with all three creators.

The scents themselves retain an ode to classic perfumery while still being wearable enough for a daily, offbeat olfactory experience. Creations include USAR, an Indonesian vetiver-inspired fragrance with lime, ginger, and agarwood accents; CHOCOLATL, a hedonistic cocoa, clove and coffee creation; and WALD, a beautifully realistic forest scent comprised of smoky fir, cedar, juniper and damp earth notes.

Dirkes found his inspiration for the brand’s recent release, BUTTERFLY, at the New Town Creek waterfront in Greenpoint. The result is a fougere scent comprised of the olfactory plants that sustain butterfly life — violet, lilac, lavender, mint, sage and moss to name a few. The corresponding special edition kit, comprised of an 8ml EdP decant and curated seed packet, combines both sustainability and scent in one.

In the following interview, Dirkes discusses the process behind his newest fragrance, creative cross-pollination and constructing an idiosyncratic olfactive aesthetic.

What made you want to structure Euphorium Brooklyn around the work of three fictional perfumers as opposed to the traditional route?

The Euphorium Brooklyn perfume house, its perfumers, and the fragrances in the collection are all aspects of story telling and are all telling the same story. I became a perfumer to specifically tell the Euphorium Brooklyn story and that research evolved into a life of its own. I can't really say that there was much of a choice on my part, as I had no intention of setting up a perfume house in any other way. I love perfumery and the history of its materials, but beyond that, I'm not so interested in commercial perfumes or the business structures of contemporary fashion/beauty brands.

As someone who also works as an artist, teacher and musician, what in your eyes is the role of today's perfumer — storyteller, educator, olfactory chemist or something else?

Speaking in regards to the current trend of perfumer-driven niche houses, what is new and important is that the perfumer becomes more creative by controlling the narrative. Perfumery becomes more artful, in that it is the perfumer who is deciding both what to express and how to express it. These creative expressions are brought to market and noses around the world get to vote on what becomes successful.

When the perfumer embraces the creative responsibility from beginning to end as an individual creative voice, it becomes much more possible to create original work. That isn’t the case for a corporate perfumer executing a brief within a traditional structure of a client marketing team, brand managers, fragrance developers, assistants, etc. Traditional fragrance industry structures bring a scent to market in a manner much more similar to creating a breakfast cereal than an artwork and corporate perfumers are often placed in the role of specialty chemist.

Not only is the perfumer's creative and artistic role of storyteller made possible by niche perfume houses, it serves to motivate and reward more and more idiosyncratic, iconoclastic, and unique stories being told. Consumer expectations of the perfumer's creative role rises and the art form of perfumery begins to drive all sectors of the market, from hobbyist to independent and corporate perfume houses.

Your latest fragrance, BUTTERFLY, has a much more lightweight and playful palette compared to some of your earlier fragrances. In an interview you once said that you embrace the idea of working with things that take you out of your comfort zone. How did the work on BUTTERFLY fit into this mantra, and also into the pre-existing catalogue of perfumes?

Composing BUTTERFLY EdP, I wanted to explore the same Euphorium Brooklyn conceptual ethos with a lighter olfactive palette. Similar to all of the other Euphorium Brooklyn fragrances by it being a manifestation of the personal history of the perfumer, BUTTERFLY also refers to the botanical or natural history of an environmental landscape.

I often present multiple, widely varied scents simultaneously to obligate the smeller to analyze or deconstruct what's going on and did not want to shy away from the complexity of the preceding Euphorium Brooklyn fragrances. Complexity can often lead to density and it was a challenge to create several micro-transitions within a note or cluster of similar notes over short spans of time with the added challenge of maintaining the clarity required to make a lighter, brighter summer accord.

While conceptually remaining true to form, I did force myself out of my ‘comfort zone’ to attempt to overcome some technical challenges and personal issues. Although early curation of fragrance notes as per butterfly habitat led to an inspiring and varied fragrant palette of mint, floral, and aquatic notes, these are also some of the most difficult families of scent for me to embrace. It became an interesting challenge to ‘make sense’ of these scents.

It was very important for me to launch the BUTTERFLY SET to take both conceptual and practical aspects of that fragrance to its full circle conclusion by pairing the fragrance with a seed packet. It is a positive fulfillment of the first inspiration for the Eau de Parfum to become an environmental call to action.

You previously stated that materials are often overlooked in favor of the narrative in fragrance. How do you strike the balance between those two factors?

I don't really see it as a balance, in that the stories and the materials are totally integrated. The stories are often about the materials themselves and reflect the histories and origins of the characters. I involve the personal history of the characters and their regional origins to inform both the choice of perfumery materials used and the stories behind the fragrances. I can’t get into something without a concept, it's just bad art-making. If I'm not trying to do some art-making, what's the point?

How do all eight scents work together to express the ideology of Euphorium Brooklyn?

Euphorium Brooklyn has a very clearly defined olfactive aesthetic and each one of the eight fragrances adds to the richness of that aesthetic while further defining it. Each scent makes a bold statement in terms of the richness, complexity, and density of the accord. The fragrances all reference a geo-specific or environment scentscape that further unites them expressing the Euphorium Brooklyn story. I involve the personal history of the characters and their regional origins to inform both the choice of perfumery materials used and the stories behind the fragrances.

I evolve each fragrance by using a combination of natural materials and single molecules in dense clusters to achieve fragrant and durational effects throughout the collection. I employ high quality natural materials to emphasize the raw, pure, and powerful sensation of smelling them straight from the source. As the characters had very influential pursuits and areas of study outside of perfumery, I wanted all of the scents to also express the conceptual, mystic, scientific, sensual and euphoric aspects of the perfumer's interests.

As a self taught perfumer, what figures and creative movements have had the most profound influence on your work?

I began my interest in perfumery with the specific terms of fragrance functioning within the context of multi media storytelling. I began my music studies with 19th century operatic composers and the conceit of a ‘total art’ in which the vision of a singular voice would take overall creative responsibility and have, in one way or another, continued to explore that notion.

You admire Harry Partch for his "determined pursuit of creative vision at all costs". What have been the biggest hardships you faced building Euphorium Brooklyn?

I don't think that I've suffered any hardships with Euphorium Brooklyn. Difficulties, set backs, & challenges yes… Harry Partch is admirable in that his creative vision was unstoppable and he rolled up his sleeves and made the instruments he needed, taught musicians to play them and was able to further his work with a certain amount of dogged self-reliance and convection.

Euphorium Brooklyn has been a creative joy for me to evolve. Commercially there is tons of room for improvement, but my focus has really been on the creative aspects of the brand. I'm a pretty self-motivated beaver and am happy to push my choo-choo train up the hill when required. That being said, I've been so overwhelmed that people out there are into it and Euphorium Brooklyn has a mini fanbase in the niche corner of niche. I am so happy to have only worked with really supportive retail partners and have gotten generous feedback and advice from fragrance industry mentors.

Having just started teaching the Perfumer's Library perfumery program at FlowerSchool New York, what are the biggest misconceptions people have about creating scents?

I am obsessed by fragrance and love to interact with people about it. Teaching students and creating the Perfumer's Library perfumery program with FlowerSchool New York gives me fantastic feedback from a wide variety of people. I'm always impressed by how instinctively people explore making scent when provided with the materials, tools, and techniques to get going. Even within the already interested community of people I interact with in New York City's fragrance world, I think most people underestimate how fun and rewarding trying it for yourself can be. One common misconception about perfumery I hear is the general idea that ‘naturals’ are safer than molecules, which is untrue.

Since you apply your love of olfactory pursuits to many different projects, how do you see your body of work as opening up the limitations of the often insular world of niche fragrance?

Euphorium Brooklyn came to be as a perfume house and I'm interested to recognize and preserve its function as that. I don't want to take away from the core story or force the story into other directions as the single repository for all the ways one can explore olfaction.

I have a long career of creating as a composer, film maker, and new media artist. Once developing some technical skill to express myself in olfactive terms, it was very natural to apply those skills outside of a perfume house context. I don't feel as though I'm trying to “expand on the limitations of niche fragrance". Olfactive art exhibitions, multi media collaborations, and events can have different objectives, explore different concepts and exist outside of the perfume house. There is a lot of cross-pollination and all work informs you. I am grateful that small successes with Euphorium Brooklyn allow me to take on projects outside of niche perfumery. I try to focus on education and study, fine art/olfactive art exhibitions, and collaborative events. This variety of endeavor maintains a high level of curiosity, excitement, and growth. The creative metabolism of a professional here in Brooklyn can be manic and that can fuel and inspire you to rise to the occasion.

Given your love of raw materials, what is your single favorite smell of all time and why?

Java vetiver! It's a wonderful complex little forest of scent that ranges from bright green tinselly aspects & warm amber tones to smoky leather & deep dark rooty notes. There's also a great history and culture around it in Java. I really got to know and love vetiver when I lived there myself, but it has been a material that I've always loved at many different times in my life and many different locations.

What can Euphorium Brooklyn fans expect in the future?

So much going on! I'm composing music for a little ballet I'll film at the end of the summer to tell perfumer Etienne Chevreuil's story of the inspiration for BUTTERFLY EdP. I was so pleased with the new direction that BUTTERFLY took in terms of exploring lighter, brighter aesthetics and will continue in that direction for two more fragrances. I'm leaving NYC to do a residency at Santa Fe Art Institute to work on some olfactive/multi media installations and will have another gallery show here in New York this winter. This fall, The Perfumer's Library perfumery program I put together for FlowerSchool New York starts up and I've created 8 classes, with each one centered on a different fragrance family.

View the entire article here.

Tuesday, 12 September 2017

Building a Fragrance Democracy, One City at a Time: Nick Steward of Gallivant on the Wonders of Wearability and Everyday Appeal

True to the dictionary definition of its name, Nick Steward’s new line Gallivant is sure to offer many a delightful olfactory pursuit. Created in collaboration with perfumers Karine Chevallier and Giorgia Navarra, the range consist of the energetic and bright citrus Brooklyn, unconventional green rose London, delicately wafting white floral Tel Aviv and spicy amber-scented Istanbul.

Each scent comes in a sleek 30ml size flacon, retailing for $95 each. There is something refreshingly democratic, accessible (and travel-friendly) about such a product, which in turn offers all the more opportunities to enjoy each consecutive olfactive journey. “You can mix and match your fragrance wardrobe as you do your clothes and food — there’s a fluidity to Gallivant,” Steward comments.
Given his own multicultural upbringing, the former creative director of L’Artisan Parfumeur wanted to emphasize the concept of universal communication, even in the now often jargon-jammed world of niche perfumery. “Fragrance is something really beautiful that we are passionate about. Given that, don’t we want to invite more people into our world, rather than make them feel stupid because they don’t know the notes or how to pronounce certain words? I don’t like that kind of elitist attitude,” he states.

Not only is the packaging modernly minimalist, the fragrances themselves are equally subtle, with Steward commenting that “perfume doesn’t have to be loud to speak, sometimes you need to listen close to the skin for it to express itself.” Take for example the noisy and constantly buzzing city of Brooklyn, which was translated into an uplifting orange, magnolia and musk concoction. “Brooklyn was never going to be grimy as some people imagine I would have done. Like the American Dream, it was always going to be something optimistic,” he says. Fittingly enough, the independently owned, Boerum Hill-based boutique Twisted Lily recently hosted Gallivant’s stateside debut. “Places like Twisted Lily are really important gateways to discovering this kind of perfumery. I think it’s the time where we need to get back in touch with business actually being about human connections,” Steward explains. “My hope with Gallivant is to create a brand which people can feel close to.”

Next stop on the voyage is London, a melting pool of grit-meets-glam set to to the soundtrack of Pet Shop Boys’ West End Girls. The traditional English rose is given an edge thanks to rugged suede and gin-laced cucumber notes. Despite the name of style icon Kate Moss being on Steward’s mind during the creation of the scent, even this one reads universally unisex. He notes that “there was a really positive energy in the co-creation of these fragrances. I tried to balance my own tastes with those of Karine Chevallier and Giorgia Navarra, hopefully that has made for genuinely unisex fragrances. I also believe people are much more open minded than we give them credit for. A lot of men, if you tell them it is a rose or floral, might be put off. But if you just spray it and they smell it, most people don’t have the binary that we think they have.”

Speaking of florals, Tel Aviv is awash with a plethora of them: jasmine, ylang ylang, rose and freesia. “Tel Aviv for me was quite an emotional one to work on, full of a lot of memories,” Steward reminisces. “There is something really comforting about it at the same time. And I’m actually not the world’s biggest fan of jasmine, of itself. It can feel very introverted and dense sometimes, but in this it’s open, fresh and fruity.” Said sheer complexity is gained through notes such as clementine, blackcurrant bud and deer’s tongue absolute. 

The last stop on the olfactive odyssey is filled with the patchouli, myrrh and cardamom notes of Istanbul. By incorporating lavender, geranium and thyme, there is a fresher kick to this composition which veers it away from a cliched oriental territory. “Istanbul has an incredible history as a meeting point between cultures, so I wanted to reference that on some level,” Steward explains. “Sometimes there is a slightly stereotypical view of what Istanbul is and then you go there and realize it’s a mega city of 18 million people that stretches physically from Europe across the Boszporusz into Asia.”
Despite each scent having its own distinct personality and unique namesake inspiration, a vibrant modernity unifies the Gallivant line-up. Much like travel itself, once reserved for only the upper class elite, it offers an exciting and welcoming opportunity to explore. “I want Gallivant to be an invitation for people to travel the world in their senses, broaden their palette, mix things up,” Steward concludes. Thankfully of us fragrance nomads, with two additional releases on the horizon, the
Gallivant journey is far from over.

View the entire article here.

Monday, 14 August 2017

Parfums de Marly launches Delina

Housed in a pale millennial pink bottle, Parfums de Marly’s newest female fragrance, Delina, has all the makings of a modern classic. The fruity floral scent, created by Quentin Bisch, opens with crisp top notes of bergamot, rhubarb and lychee before developing into a heart composed of Turkish rose, peony and lily of the valley. The combination of quirky and feminine components alike rests on a base of vanilla, musk, frankincense and cashmeran.

There is an approachable playfulness to Delina which gives it a youthful edge while still commemorating the brand’s rich heritage. Parfums de Marly pays tribute to Louis XV (and his in-house perfumer Jean-Louis Fargeon) as pioneers of perfumery and advocates of the equestrian world, with each scent being named after a different horse breed. “With Delina, we wanted to remain true to ourselves whilst creating an elegant, fruity floral fragrance. It is sweeter and therefore appealing to a larger audience, although the dry down makes it a very Parfums de Marly fragrance. It is young and sexy with class and elegance — a mix of all of those things,” explains Nicolas Parat, the brand’s sales director.

Launched exclusively at Bloomingdale’s in the US, the scent is already shaping up to be one of the brand’s best sellers alongside the saffron, almond, and amber-infused Pegasus and lavender, violet, and cardamom-laced Layton. “For us, luxury is rarity. We’re not a mainstream or commercial brand, so by using lychee and rhubarb, we wanted to create something special,” Parat comments, “To wear something elegant yet rare, that is not widely represented, is the ultimate luxury.”

Available at Bloomingdales (US), Selfridges (UK) and http://www.pmarly.com/

View the entire article here.

Thursday, 6 April 2017

Clara Molloy of Memo Paris on the Artistic Originality of Tuberose

The secluded town of Marfa, with its scorching temperatures and dry landscape, would probably be the last place one would associate with a luscious white floral fragrance. However, for Memo Paris this creative contrast turned out to be the perfect inspiration. “I loved the name Marfa even before going there and I was not disappointed - the landscape is as beautiful as the name,” says co-founder Clara Molloy.

After Les Echappées, Cuirs Nomades and Graines Vagabondes, the fragrance house has now inaugurated its fourth collection, Art Land, with Marfa, a concoction of orange blossom, tuberose and white musk. But how exactly does one recreate the olfactory landscape of a place almost devoid of all natural vegetation, save for the odd cactus? “We were looking for a ‘sand effect’ because of the desert, an element of softness. But we were also looking for heat, and for originality. This side would reflect the art part of Marfa,” Molloy explains.
Out of all the fragrance’s components, be mandarin, ylang ylang, agave or sandalwood, there is one in particular that takes center stage. “With the tuberose we found a flower that had sophistication and a different vibe than all the others,” she states. “You cannot hide a tuberose in a fragrance, it is always noticeable. I thought that was interesting because good art is also like that –  it stands on its own.”

Seeing as this is the first scent in the Art Land range, it’s only natural to wonder what other fragrances Memo Paris has up its sleeve, to which Molloy simply responds, “I wish I knew! You cannot predict where and when inspiration comes. The collections are a way to stimulate our imagination, it is like changing the language you usually use, speaking French then Russian then Spanish…” No matter which language the house decides on next, it will be intriguing to see which cultural capital becomes the successor to this beautiful debut.

View the entire article here.

Parfums Quartana Interview, Part Two: The Creation of Les Potions Fatale

In Part 1, Joseph Quartana explained the story behind each of the nine scents in his Les Potions Fatales collection. In the following interview, the Six Scents and Parfums Quartana founder discusses the deeply personal process behind his latest range of fragrances and redefining gender in perfume.

First off, how is Les Potions Fatales different from your previous projects like Six Scents?

This is the first time I’ve explored a singular concept in perfumery. All of the Six Scents were of collaborative nature and about trying to get the designer’s unique vision across. I spent a lot of time selecting those specific designers because I felt like they have interesting visions. They were all influential enough in the industry that they should have a fragrance but are not necessarily big enough to do so. That was the whole sort of spiel.

Six Scents also built on your background in fashion.

Absolutely. I was a buyer for 14 years so that was a logical extension of the work I was doing already, just more curatorial.

So how did that shift from a collection like that to Les Potions Fatales happen?

I was actually going to relaunch the best sellers of Six Scents, this was in late 2013, but at the time my business partner and I decided to go in separate directions. I had just closed my shop, Seven New York due to a landlord dispute/nightmare, and Six Scents was suddenly penniless after our "divorce" so I was at a crossroads. In short, I lost 15 years of work and hundreds of thousands of dollars, so I was really angry. This whole collection was a catharsis of all the venom that had built up. So it comes from a real place. After I finished the collection I felt so much better. I got it out.

Each fragrance has a dedicated perfumer with their own signature style. How were you able to keep the common thread flowing throughout the collection?

I told them two things: first the guiding principle behind the development of this is the notion of the femme fatale. Beautiful but deadly, just like a poison flower. It's deceptive. That's really what we were going for from the packaging to the films to the formulas. Secondly, I told them to think about gasoline — which is sweet smelling but you know it's toxic — so that they didn't waver too far from the original concept. That's how I held it together.

From a merchandising perspective they're all going in different directions. We did this on purpose, we didn't want there to be any overlap. It became obvious what they were going to be once we looked over all the folklore and had this holistic picture of it. For example, Bloodflower should be a gourmand, Venetian Belladonna is a fruity floral, Digitalis is a green, spicy aromatic. They fell into line in that way, it was a happy accident. We did a lot of field testing with both random people and creative professionals. I didn't want to hear that it smelled like something else out there. If we got that feedback, we had to go back to the drawing board and pivot it.

Fragrance itself is about deception in a way, because what you smell in the beginning is not what you smell at the end.

Absolutely. It's not necessarily what we think it is. Another thing: perfumers traditionally were also the poison makers in the royal courts. So historically there's always been a huge connection between the two crafts. David Apel, who did Digitalis, was fascinated by that concept. It’s so fundamentally rooted in the history of perfumery and yet no one has done it. It’s been staring at us in the face, so much so that we didn't see it.

In terms of gender assignment, some of the scents have a femme fatale and others a more unisex character.

Well, there's the flip side of the femme fatale concept and that’s the metrosexual movement, men being held to the same beauty standards as women. It’s a pretty recent phenomenon, this didn't happen in the 1950s. So our men's scents are pretty "boys". The folklore ultimately dictated what the gender would be though. All of them are unisex except Venetian Belladonna and Midnight Datura, which are definitely more on the feminine side.

It's interesting that a lot of them are unisex because floral scents were traditionally seen as more feminine. Obviously there has been a shift with that.

Well, in this case just because they are based on flowers, doesn't make them necessarily floral; it's the folklore we interpreted. But yeah, commercially it's been a huge hang-up for men to wear a floral but it's been changing. With this whole collection I wanted to make it dark and romantic. Perfumery lends itself to that concept so naturally, right?

Usually with flowers, there's this idea of them being a delicate object which has a vulnerability to it.

At the same time they have a wicked power to seduce and, in the case of these, to literally kill. That's a serious power. I look at them as strong. As a male I will be the first to admit that these are feminist and female empowering.

From the films to the packaging, it’s all one unified concept.

Nothing is arbitrary. This is the result of me really meditating for hundreds of hours on the folklore and visual symbolism. Me sitting in my local bar every night until four in the morning staring into the bottom of my wine glass and jotting stuff down. It just came alive, I don't know how else to put it. The packaging is an extension of all the research. The sleeve is symbolic of the hallucinations you get from being poisoned with the flowers. The colors were selected through a blindfold test. I had people smell the fragrance without knowing anything about it, and asked them what the first three colors were that came to mind. I wanted them (the boxes) to look like they smelled, sort of a synesthesia effect. The box front badge design is supposed to be a combination lock. We were inspired by Hellraiser. In the film there's this mystery box which is where the demons come from, it's a Pandora's box of sorts. and we chose a blue amethyst inspired vessel because that was what the ancient Greeks used to hold their poisons. You've got multiple layers to the unveiling of the experience, like an onion.

Throughout the three years of creating the line, what’s been the most fascinating thing that you've learned?

For me personally, that I can actually see a project through with this degree of scope, from start to finish. I've surprised myself. I've never worked on something this long in my life, this was a fucking journey [laughs]. I would liken the whole process to writing an album with nine different songs. I was reading up biographies on Depeche Mode and followed a lot of how they went from one album to the next. What I was setting out to create with this collection was cult items. I didn’t expect them to be successful in the beginning, but instead and hopefully 10 years down the road. And that’s just like the Depeche Mode albums, when they first came out they were hated, except by the most avant-garde people. You should see the early reviews, they’re so scathing. They stuck to their guns, didn’t listen to critical reactions and their fan base just snowballed from there on out.

In a way, it’s good if a fragrance is polarizing. I would rather have something that gets love or hate reactions than just the average, middle ground.

Absolutely. That middle ground is the worst insult. I really prefer a scent which elicits a reaction. It’s like effective art in that way. You might not like it, but does it strike you? Do you learn something about yourself, does it have a jarring effect, does it stop you in your tracks? That’s the power of a good fragrance, and I’m all for it.


View the entire article here.

Parfums Quartana Interview, Part One: Nine Tales of Deadly Deception

As far as inspirations for a perfume line go, Breaking Bad is pretty much the pinnacle of badass-ry. And just like its source material, the Les Potions Fatales collection by Parfums Quartana is highly addictive and undeniably captivating. “I was watching an episode of the show, and in it the protagonist Walter used lily of the valley to poison Jessie’s girlfriend’s son, Brock. A lightbulb went on in my head. I thought to myself, why hasn’t anyone done poisonous flowers in perfumery yet? That’s when the eureka moment happened,” Joseph Quartana explains.

Packaged in psychedelic original artwork by Aersoyn-Lex Mestrovic, each of the range’s nine eau de parfums explores the folkloric, mythical, and biological traits of its namesake flower. “The notion of deception is the concept that runs through the entirety of the collection. Things are not what they seem,” Quartana adds. In the following text, the brand’s founder depicts the narrative behind each scent.

The Tale of Fiery Seduction: Venetian Belladonna

“We wanted it to be straight-up super slutty and seductive. Firstly, venetian belladonna was equated with aggressive female sexuality. Secondly, it was used by the witches of Italy to put seduction spells on men. So we put plum, honey, all of these feminine notes into it. The witches would also drop it into their eyes, partially because it was considered cosmetically attractive to have blown out pupils, but also to have black masses. They were putting a hallucinogen into their eyeballs, so we made the scent psychedelic in that way too. Styrax progeny, which smells like something is on fire, was added into the dry down. The idea is that once the witch seduces you, she burns you with her hellfire. It’s also a symbol for the fire of passion. There is both the literal aspect of hellfire, and then the symbolism of passion.”

The Tale of the Rageful Hunter: Wolfsbane

“Wolfsbane was used for the extermination of the wolf population by dipping the arrows into the poison. It was also used for warfare in the same way. With this scent we were trying to capture the virility of a hunter, the rage of a warrior and the ferocity of a wolf. It's so vicious and intense. I wanted it to be a macho scent, so dripping with raw male sex appeal and rage that you don't know if he's going to kill you or fuck you. That's what we were going for, and making it opulent. Not only in the sense of dark, rich woods but by literally having symbols of wealth in there. That's why we added black truffle to reinforce this excess of luxury. We also wanted it to be so full of rage as to be psychedelically intense and got that twist by incorporating absinthe into the heart note.”

The Tale of the Deflowered Floral: Lily of the Valley

“Lily of the Valley is a light floral. Muguet was always used to celebrate innocence in spring time. It's said to come from the tears of the Virgin Mary and used in May Day festivals all over the world. Lily of the valley flower was one we really struggled with. We could not decide on a concept, after two years we were not happy with it and kept going in circles. Finally, we just focused very strictly on it being toxic, because no one has focused on its dark side. You have tons of lily of the valley fragrances out there, but they're all quite floral, innocent, spring-time bullshit. So we wrapped it in a black little veil, dirtied it up with cassis on black leather, corrupted its innocence. I liken it to the wedding dress the next day. It's a floral scent that's deflowered. It's not virgin anymore.

The Tale of Wicked Liquid: Hemlock

“In ancient Greece hemlock was used to execute prisoners, most famously Socrates, by inducing vertigo and ultimately death. It’s name is derived from the Greek word for ‘konas’, which means to whirl about, so we added a black vinyl accord to suggest a wicked black liquid. The flower itself grows in green fields, so notes such as crushed leaves and patchouli were added to create a vegetal backdrop.”

The Tale of Forest Fairies: Digitalis

“Digitalis in small doses was used for the treatment of heart conditions. In moderate doses it was a hallucinogenic drug, used to summon fairies in the forest and alter one’s state of mind. We wanted to evoke a magical wooded stream through ozonic notes and the scent of wet moss, plus give it a sparkling and bubbly quality with the incorporation of floral notes like iris, jasmine and neroli.”
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The Tale of a Gothic Vampire: Bloodflower

“Each of the fragrances vary in a spectrum of being very loyal to the folklore all the way over to being completely imaginary, like in the case of the Bloodflower. For me and the perfumer Alexandra Carlin, the first thing that came to mind is the album Bloodflowers by The Cure. So we went into a gothic direction with it. Our concept was to make it really vampiric. We had to add a blood accord, but had to make it more palatable. I was back home for the holidays in Jersey with my very Italian family and what we drink after the meal on Christmas Day is black sambuca. It smells like licorice and anise. I thought, let's try throwing it into the Bloodflower recipe and see what happens. It turns out it really blended nicely with the clove, orris and rose. Suddenly it all harmonized. It transforms the blood accord into sweet blood that you want to lap up. You, the smeller, become the vampire.”

“One of the fascinating things about bloodflower as a flower is that it's eaten by the monarch caterpillar before it transforms into a butterfly. This notion of metamorphosis is why the fragrance transforms so quickly into this very sweet drydown. And so the accompanying film is really about that metamorphosis, the idea of spiritual ascension, shedding the body and finding the white light.”

The Tale of the Drunk Moon Goddess: Midnight Datura

“Midnight datura is a white flower that only blooms at nighttime and is known to glow in the moonlight, hence it's nickname 'moonflower'.  It figures into lunar worship and witches used it to hunt and worship the goddesses of the moon, Diana and Artemis. Midnight Datura is an homage to Diana; we imagined many daturas glowing in the moonlight, which is why we made it a super floral scent with 10 different flowers. We gave it a powdery note to suggest the glow. Initially I had some reservation about using powder as an accord as it screams grandma to me, but in this case, the perfumer, Lisa Fleischmann, is only 27 and this is her debut fragrance. Point is, if powder is ok for a 27-year-old, well, then everything old is new again. The femme-fatale here, like Diana, is on the hunt, she's a little drunk (hence the rum note), and wishes to open her flower after midnight. It’s unapologetically sexual, much like Venetian Belladonna.”

The Tale of Medieval Masculinity: Mandrake

“Originally Mandrake was shaping up to be a female fragrance, then Carlos Vinals and I had a eureka moment, like wait a second, Man-drake. So we shifted it back over to the masculine side, mainly with the addition of the leather. There is one accord in the scent called deadly addiction accord, that's basically a creamy gourmand wood. With Mandrake, the root is as important as the flower. It's said that when you pull the root out of the ground it emits a sonic shriek that is fatal. In folklore, mandrake was actually used as a kind of medieval Viagra, a fertility enhancer referenced by Shakespeare in A Midsummer Night’s Dream. This whole fragrance is really a celebration of the male phallus.”

“It's also said that if you mix mandrake with milk and verbena you can summon a demon. The creamy gourmand wood aspect is the milk, and then the aromatic aspect that also simulates the scream is the verbena. It's a sexual male fragrance. And to really emphasize the root aspect we added birch leaf and root, which, combined with the creamy gourmand wood, captures the effervescence of root beer. Mandrake itself also smells like apple. It's one of the only poison flowers we really liked the smell of, so it became the essence of a heart note and we reinforced it with pomegranate and rhubarb.”

The Tale of Narcotic Nectar: Poppy Soma

“Poppy Soma was done by Emilie Coppermann, who was the understudy of none other than Jean-Louis Sieuzac, who co-created Opium for YSL in the late ‘70s. She wanted reinterpret her mentor's original vision and update the concept for 2016. Our version is vastly different. Poppy Soma is the sweet white sap that bleeds out of the bulbs, which is collected and refined into black tar opium (that is then smoked). Ours is just that, the before and after of the nectar, its sweetness, and the pungent smoke that is then consumed as a drug. It's dream inducing, literally narcotic, and as the Chinese used it for sex, we wanted to impart a warm sensuality to it as well.”

View the entire article here.

Monday, 27 April 2015

Dom Perignon & Iris Van Herpen - Metamorphisis

Dear Diane and Shaded Viewers,

Dom Pérignon has teamed up with Iris van Herpen to explore themes of evolution, transformation and renaissance for their latest Creator collaboration.

The fruits of their labor - the Dom Pérignon Limited Edition by Iris van Herpen gift box set and a bespoke sculpture entitled Cocoonase - were unveiled at Pioneer Works Center for Arts and Innovation in Red Hook, with the entire site being immersed in the metallic green color of van Herpen's design for the night.

In the following interview, the ANDAM Fashion Award winner and Pérignon's Chef de Cave Richard Geoffroy discuss futuristic innovation and the beauty of creation.
How did this collaboration come about?

Richard Geoffroy: Dom Pérignon was drawn to working with Iris van Herpen because of how she pushes established boundaries.  She innovates in terms of techniques, technologies and materials, and her creative curiosity extends beyond the world of fashion into all art forms. She revels in contradiction, much like Dom Pérignon, with one foot firmly planted in traditional craftsmanship and the other in futuristic innovation. She is a perfect example of the Power of Creation that Dom Pérignon inspires.

Iris van Herpen: I am so honored to collaborate with Dom Pérignon, which is an exquisite icon and an undeniable symbol of creation and metamorphoses. It is a pleasure to work with a Maison that encourages and inspires creation in all its forms. Dom Pérignon exudes mystery and paradox, embodying its own distinct style yet always reinventing itself. I was strongly attracted by these qualities, as I always want to push fashion to the extreme and embrace contradiction and new forms of expression. Dom Pérignon’s Power of Creation is linked to venturing beyond the frontiers of the known, and inventing extraordinary experiences, sensations, emotions and images. I express this in my work by constantly experimenting with my own creation and in collaboration with other artists and visionaries.

What was a key moment in the collaboration?

Iris van Herpen: The most heartening and joyful moment for me was visiting the graceful landscape and monastery of Epernay, experiencing the magical tasting with Richard and hearing his beautiful words. This day was so inspirational for me. One thing he said to me I found particularly mesmerizing as it was a true difference between our worlds of creation in between all our similarities; it is the memory that is in the essence of all his creation, it is the experience and moments of joy that leave traces of memories. He somehow focuses towards the inside of the body, where I focus on the outside of the body. This beautiful difference in creation I found very inspirational and it was the start of my research into fossilization, where change is shaped by time.

What is the link between the worlds of fashion and champagne?

Richard Geoffroy: Those who create fashion and those who create champagne do so for the audience who will appreciate and interact with the design or the wine. Our creations are very personal – whether they are creations that we wear on our body to express ourselves, or creations that we physically consume – and both are centered upon forging an ever-greater connection with our followers and lovers.


Read the full post here: http://ashadedviewonfashion.com/blog/dom-pérignon-iris-van-herpen-metamorphisis

Thursday, 31 July 2014

A Gnarmads Life for Boys By Girls Magazine

 If you think the guys behind Gnarmads are just another two Larry Clark-esque kids splitting their time between the half-pipe and house parties, you are in for a big surprise. Whilst these guys are about as laid back as they come, make no mistake about it, Bodgand and Matt Kruz are in it for more than just a few kickflips.

Kiev-born Bogdan and Brooklyn-born Kruz first bonded over their love of skating on a Sunset Park basketball court over a decade ago. Today, the 23-year-olds spend their time skating, biking and giving back to their community through various charity and mentoring projects. “Skateboarding has no boundaries. Race doesn’t matter, age doesn’t matter - if you share a love for skateboarding, that automatically connects you,” Kruz comments.

As Gnarmads (inspired by Bogdan’s ‘gnar’ knee tattoo and both of their nomadic lifestyles) the two have launched the world’s first mobile skate shop, Tre Truck, collaborated with the Create Skateboard Foundation on children’s skating programmes, and put on a skateboard contest in NYC’s Coleman Park Skatepark among other things.
This month sees Bogdan and Kruz set off on their biggest adventure yet: a cross-country bike journey from NYC to San Francisco, with all benefits proceeding the Stoke Organization’s youth mentoring programs. “Skateboarding teaches you how to keep going no matter how many times you fail. There are tricks that I’ve practised for months, walking back every single week with failure and wanting to break my skateboard and quit. But then the next day you wake up and that rush is still there. That's why we are now riding our bicycles to San Francisco: we want to just keep pushing forward,” Bogdan says. In between the 4,000+ miles on their way to California, Gnarmads will make pit stops in 13 different cities to do skate clinics and organise jams to showcase local skate culture, documenting their journey through photos, videos and written content in the process.

As with all things the two have pursued thus far, there seems to be an accompanying sense of ease and positivity even to this very ambitious project. “We’re planning to be on the road for at least four months,” Bogdan explains. “We are not even trying to plan anything after that - anything could happen. This is probably going to be the biggest adventure of our life.” Support the project here and for regular updates follow Gnarmads’ visual diaries.

Read the entire post here.

Wednesday, 16 July 2014

Nastasia Alberti Interview for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Annin Arts is bringing art to the masses, literally, with their latest exhibition #MYNAMEIS. The show sees five artworks by Nastasia Alberti, Duval Timothy, Kevin Morosky, Annie Mackin and Gillian Wearing displayed on single billboards throughout London. While #MYNAMEIS brings up intriguing questions surrounding a different kind of interaction with art outside of exclusive gallery walls, its main focus lies in the importance, perception and burdens of names.London-based artist Nastasia Alberti chose Slutever blogger and Vogue columnist Karley Sciortino as her subject, depicting the writer in a sepia-toned portrait. In the following interview, Alberti discusses hours of location scouting in public libraries, the single image that inspired her to take up photography and why art consumption needs to catch up with our busy schedules.

When was the first time you realized you were interested in photography?
I start being interested in it when I was about 13 or 14 years old. I can remember that moment exactly: I went to an exhibition with my family and saw a Francesca Woodman photograph, the one where she's disappearing into the wall. That image had a very strong impact on me. Somehow it was showing what I was feeling. From then on, I wanted to do the same.

How do you go about creating your images and what inspires them?
I usually get inspired by my own life. I try to talk about emotions, about feelings.

What was the working process on this exhibition like?
It was really quick. The first aspect was choosing the girl and then timing. When George Annin told me about the exhibition and the subject that Gillian Wearing wanted us to work with, I got a bit freaked out because it was far away from what I usually do. But once I passed that stage it was really fun. I proposed my idea of working with Karley Sciortino to the gallery and they completely supported me, which was great. So then it was only a matter of organization, I had to go to NYC to see her.

Talk to me about the composition and overall feel you were going for in your photograph.
I wanted something moody but peaceful in her expression and an image that somehow would show Karley as a strong person. It was very important that she was seated at a desk surrounded by books. We walked around in the NYC library for hours to find the right place. I really wanted the photo to remind people of those old portrait paintings of writers, where they were always pictured sitting at their old desks with glasses on, looking very wealthy and serious.

How do you see the photograph interpreting the themes of the exhibition?
I really wanted to create a piece on the expectation that goes with names, the idea of clichés and stereotypes that a name can bring. Everyone in the show has done such a different and personal piece of work which is really awesome.

What was the collaboration with Karley Sciortino like and why did you choose her as your subject?
It was so much fun! I love her so much. We basically hung out in NYC all day talking about our lives and taking some photographs. She is the best person to work with because she is very open. She trusts you to do whatever you think is best. When I decided I needed to talk about stereotypes and clichés that came with a name I needed someone with a strong image. It obviously needed to be someone that when you say their name you have an image of said person pop up in your mind straight away.

I thought of Karley straight away because she is the perfect example. I feel that she is one of the best writers of our generation, and she's so smart, but as soon as you mention her name the first thing people seem to have in mind is not her writing but more her boobs, her sexy clothes, her hair, etc. Just because she talks about sex does not mean that she only has to be this sexy girl. It's so cliched and one-dimensional. People have put her in that box : the super sexy writer who talk about sex. So for me, depicting her in a classic portrait looking so different was thrilling, because this seems to be the image that writer should have, which is also a cliché. It was also important for me to work with a woman.

How do you see the public’s interaction with these images, displayed on billboards throughout London, differing from that of a gallery setting? Do you think these kind of shows are perhaps more relevant to our times?
I think it's a brilliant idea, it is relevant to our times and an easier way to consume art that matches our busy lives in this ever-changing social climate. I have a tendency to think that gallery shows are always a bit too snobbish, and not that open to everyone. For me this setting is so much more open, you don't need to take your Saturday off work to go to a gallery, you can just walk to your shop and see art. It's so smart. Everyone is included in this; you can be a young kid and still have access to it. I love that idea.

What are your upcoming projects and goals for the future?
Recently I've been very interested in working in cinema, on set photographs. I would really like to do that for a bit. I'm also gathering more material in order to hopefully publish a book by the end of next year. My biggest project at the moment is getting my US visa as I would like to settle down in NYC for a long time.

#MYNAMEIS is on display until July 7 at the following locations:Karley Sciortino by Nastasia Alberti - 129/127 Hackney Road, E2 7QS - Billboard no 0237
Gillian Wearing by Gillian Wearing - London Bridge Station, SE1 9SL - Billboard no 1331

Lateefa Smith / Chang Jian Wen by Kevin Morosky - 178 Westbourne Grove, W11 2AD - Billboard no 1458
Annie Mac by Annie Mackin - Camden Town, Camden Road Station, NW1 9LS - Billboard no 1105

'London Bridge Arizona Arizona London Bridge' by Duval Timothy - London Bridge Station, Duke Street Hill, SE1 2SW - Billboard no 8171


View the full article here.