The World Through the Lens of Lucy Luscombe for Twin Magazine blog

Lately we’ve been glued to our screens thanks to the work of film writer/director/producer Lucy Luscombe, who has recently garnered accolades such as the BFI Future Film Award and Outstanding Female Talent Award at Underwire Festival for her work. From the trials and tribulations of a young gymnast in Candy Girl to late night occurrences in a Dalston kebab shop inAgain Sometime, the CSM graduate’s films offers a captivatingly honest insight into the everyday challenges of human existence.

Twin spoke to the promising talent about her earnest beginnings, the inspirational factor of failure and the future of the British film industry…

What initially sparked your interest in film?

I’ve always been interested in ‘moments’; creating or recreating them. I remember finding a lot of fleeting situations/moments significant growing up and sounding pretty spacey when trying to explain why. In film you can take that moment, light it, slow it down, blow it up and say ‘that’s why’. Equally, if you’re told ‘don’t sweat the small stuff’ a lot, film is a good place to sweat it.

What was the first piece of cinematic work you ever made?

I made a lot of questionable video art at St Martins: a lot of raw meat, wedding dresses and Bataille. Pretty earnest stuff. A highlight was ‘My womb/ the mosh pit (Beat down)’. Not sure how cinematic it was.

Sum up your style of directing in three words.

One. More. Take.

How has working as an actress informed your work?

I know how to talk to people and get the performance I need. I don’t force anything because I know what that feels like as a performer. I’m better at reading the person when they walk through the door and knowing what they can give me or what they can’t – that’s the foundation and the performance is the surprise.

From late nights in Dalston to coming-of-age flicks, there is a very personal sense to your work. How much of your films would you say is autobiographical and where do you get the inspiration for your work from?

I’d like to think my work is quite human and that comes from a personal place or from listening to people, properly. I suppose I’ve also always been fascinated by failure – it’s managed to seep through a lot of pieces and like anyone who’s serious about making art and making sacrifices for it, they’ll know that’s personal.

Since your early beginnings, how have you seen the London film industry develop?

The old gatekeepers have lost a bit of dough and there are new exciting funding bodies who want to make interesting work, whether it’s through brave brands or online magazines. Specifically in features, where once you needed a lot of money, there is now cheap equipment that allows you to tell the story you want without going through a funding application process that wants to know everything from your grandparents’ ethnicity to your sexual orientation. Theres a ‘get up and go’ mindset emerging, most notably from filmmakers such as Tom Schkolnik (The Comedian). Sure, there’s an issue with quality control but there are great curators out there . If you wanted to make ‘The Fast and the Furious UK edition’, however, I think the British film industry would be a bad place to start.

In the day and age of rom coms and reality television, how important do you think it is for film to tackle serious subject matter such as human existence, identity and disillusion?

There has always been banal entertainment and who am I to tell Joe Bloggs what he should watch when he gets home, I don’t know what kind of day he’s had, and if it’s been pretty shitty I wouldn’t judge him for watching TOWIE to switch off. Film/television/theatre/musicals can offer an interlude to be numbed or moved, enlightened or educated. My interest lies in questions of human existence, identity and disillusion, but that’s my privilege and laughing at Kim Kardashian’s swollen ankles is Joe Bloggs’s.

What are your future projects, goals and plans?

I’ve got some music videos and a fashion film coming out which I’m pretty excited about. There’s also a beautiful short story I’m adapting to keep me fresh while developing a feature.

Read the full article here.

The Denim is in the Details for Twin Magazine blog

Whether it was workwear overalls, slashed punk jeans or Daisy Duke cutoffs, denim has always been labelled as the most democratic of fabrics. However, since its founding in 2003, Superfine has managed to propel this everyday basic to stylish new heights, gaining a cult like status among premium denim fans. The brand’s SS 13 collection ‘War & Peace’ puts a light yet luxurious spin on utilitarian dressing with camouflage-printed leather trousers, chambray chino jumpsuits and cargo jodhpurs.

Twin spoke to its founder Lucy Pinter about political fashion, the label’s upcoming ten year anniversary and what puts the ‘super’ in Superfine…

What inspired you to start Superfine?

I was a stylist in London and wanted a skinny jean to work with (and wear). I also wanted something clean; at that time there were only distressed bootlegs available. The Ramones were my inspiration.

You mentioned the importance of the SS 13 collection reflecting our tumultuous times. Should fashion be political?

Good question. To be honest I usually avoid any politics in my work but last season it just seemed difficult to avoid, as the doom was everywhere. Usually for me it’s about something simple. Fashion is not conceptual or deep. I make what I want to wear. That’s it. But I totally understand and respect people that bring political statements to their work. It can be a good way to voice your opinion.

How would you sum up the collection in one sentence?

A strong, vibrant, rock ‘n’ roll collection with military feel.

What were the challenges of creating this season’s range?

The colours were completely new. I had agents screaming for them so I went for it, but it’s a challenge to see such strong colours in development. I’m more into neutrals in general. We also had some heavy laundry trips and getting the washes right was challenging.

Superfine started off as a very denim-focused brand. What has the process of broadening its design horizons been like?

It’s been a very natural progression to be honest. Again, it’s just about what I like to wear. Denim will always be my first love, but I do love covering all bases. It’s more challenging to design a full collection.

What makes the perfect pair of jeans and what do high-end brands offer that the high street cannot?

A perfect pair of jeans is the jean that makes you feel good, the one you throw on with anything for any event. It’s about the fit, wash and details. High end brands (mine anyway) offer a small manufacturing feel that huge production can’t — it’s in the details. Superfine has lasered print pocket linings in good fabrics (the print design changes every season), we have personalised zips in different colour zip tape for each collection, use the highest quality fabrics and don’t bulk buy cheap. I think it’s absolutely incomparable.

What projects do you have lined up for the future?

We have a 10 year anniversary coming up. Watch this space!

Read the full article here.

Miles Aldridge Interview for Twin Magazine blog

This week presents a double bill of exhibitions for Miles Aldridge fans. The London photographer’s intensely colour saturated and fantastically glamourous images are now on display as part of the I Only Want You to Love Me and Short Breaths shows, exhibiting at Somerset House and Brancolini Grimaldi respectively.

Twin caught up with the photographer at the opening of his retrospective to talk about childhood memories of the camera, why flaws make a woman beautiful and the age of postmodern photography…

When was the first time you realised that you loved photography?

I went in and out of photography throughout my childhood and teens. My dad gave me a camera when I was about ten. He was an art director and bought a Nikon in the sixties to photograph the Beatles. He gave me this camera I think to kind of get rid of me really; it was a summer holiday and one reason go off and do something. I remember hanging up one of my sister’s doll by the neck and taking a photograph of that, it was quite a cinematic image from the beginning.

But I didn’t pursue photography, because my father was an illustrator I pursued drawing. I went to art school, was determined to be an illustrator and became one. That went quite well but I found it boring. Photography kept coming back into my sphere of experiences. I thought photography would be a way to become a filmmaker, I didn’t intend to stay a photographer. I picked up this camera, that my father had given me, again in my early twenties and started taking pictures. That coincided with a grunge movement in London, which was a really simple route for me to follow.

At that point the idea that you were not a professional fashion photographer was a bonus — it meant that you were authentic. I hadn’t trained or assisted anyone to be a fashion photographer. The real fundamentals of being a fashion photographer are really more the credentials that I had, meaning that I was a guy who had a camera who had a girlfriend that he photographed a lot. In a way that was more authentic than somebody who’d done lots of tests with models.

What I’ve always liked about being a photographer is that it puts a frame around something that you see, whether it’s your girlfriend or a doll hanging by its neck. By putting a frame around it, it becomes a picture. By containing it, you’re able to judge whether its interesting. For example, I don’t think I’d be very good at theatre direction because I don’t like the way the eye is able to rove freely on the stage. Ultimately, I’m not sure if I have the talent for storytelling. I think more my talent lies in presenting frames around images.

How do you see women represented in your images? They are very beautifully stylised but then upon second look there is something cracked underneath that perfect exterior.

I think the women are very beautiful heroes of the picture and in a way, we kind of worship them. They’re to be adored and represent the world that they come from and we live in presently, because that world is not a happy place of contentment. I read the newspapers everyday and it’s unbelievable how bizarre, inhumane and amoral the human animal can be.

I don’t feel comfortable presenting beautiful women as perfect beings. I think about them much more as broken, wounded and beautiful at the same time. Beauty goes hand in hand with being wounded. In movies a heroine who has it all and is successful is not very likable, but if she’s suffered and is a representative of this society that she lives in, then we have empathy with her. When people see the pictures of these goddesses that I make, they’ve all got cracks in them, they’re not immaculate. They represent, not complete unhappiness, but the questioning and troubling nature of our times, which is what I’m after.

That’s also interesting because you say you are inspired by Fellini and Hitchcock, who have very specific types of women in their imagery as well.

Yes, there’s often a mother figure, a girlfriend, a wife. There’s three kind of archetypes and that’s mostly the women I know. My mother is a very strong memory for me. The fact that she died when I was young and then short of vanished, I think for anyone creates a mystery about the mother figure. You’re left with the enigma of what she left behind: her makeup, her clothes in the wardrobe, who is this woman that is gone? To quote Robert Smith from The Cure, ‘Nobody ever knows or loves another’. I think that’s interesting and there’s some truth to that.

How do you see yourself in terms of your work? It would be too simplifying to say it’s just fashion photography, especially now that we are seeing fashion photography as more of an art form.

Luckily I’ve been of a generation where photographers have pushed through. People like Helmut Newton and Richard Avedon had exhibitions, but it’s interesting that Avedon’s exhibitions were about his so-called personal work. I’m coming from a postmodern point of view where I’m taking pictures for a fashion magazines that I know go on a gallery wall, whereas Newton was taking pictures for a fashion magazine only and then they went on a gallery wall.

I’m coming from a much more technical point of view. I know I have to make these pictures work so that they can be enlarged in scale. And again with Avedon, even though he was the greatest living fashion photographer, in order to be taken seriously as an artist he had to do pictures in asylums, things that document. Instead of photographing his beautiful models, he now had to go and photograph the white trash of America. All of that is brilliant work, but when people ask me if I have any personal work, I do have personal work but really this is my personal work.

I’ve probably taken Newton’s and Avedon’s lead in the sense that you document your world as well as the clothes. I’ve probably taken that to a degree beyond where even they had imagined. When I have meetings with Vogue Italia, we don’t talk about clothes at all. We talk about women, ideas about women and what these metaphors and symbols might mean. Fashion magazines have transformed over the last ten years because of the internet, they have less power to dictate to the photographer what they need from them. I think I’ve moved into that vacuum. I present an idea instead of just accepting commissions because of my very lucky relationship with Franca Sozzani. She will give me enough rope to hang myself in that she will let me do what I want to do.

How has your method of working changed since the earliest and most recent pictures in this exhibition?

The earliest picture is from around 2004, so it’s ten years of work more or less, yet it all hangs together as one body. That was the intention quite early on. I wanted the work to have a signature, whether it was in the colour, focus, clarity or in the kind of bittersweet imagery that was being made. I wanted it to be within the same universe yet be as broad as Shakespeare. It’s working on the human condition: those ideas of love, mothering, death, addictions, religion, the relationship between your child and you and vice versa. Everything begins with the human so it’s a small but at the same time huge universe.

Read the full article here.

Holy Handbags for Twin Magazine blog

Amy Davidson, a BA (Hons) Fashion student at Manchester School of Art, recent won the Mulberry Accessories Award at Graduate Fashion Week for her intricate wood and laser cut leather men's accessories. Twin spoke to the young designer about her gothic architecture and French cathedral-inspired collection and post graduate plans…


How did it feel to win the Mulberry Accessories Award at 
GFW?


I couldn’t believe it, the competition was tough this year so I was 
overwhelmed with joy. It also gave me the confidence to keep designing and
 thinking of new ideas. I want to use the same methods from making these bags 
into something new.

What inspired you to pursue womenswear and men's accessories?

Throughout university and college I enjoyed designing and making feminine
 clothes. I love lace and girly printed fabrics. As I grew and developed my
 design philosophy, I began to love the idea of having these same designs on a
 man. Sometimes designing traditional feminine shapes on a woman can be quite 
predictable and bland, however if you put this on a man it becomes edgy and 
unusual. I chose accessories as a career choice because my work is very 3D. I am 
always trying to place unusual fabrications around the body, so it made more
 sense to study accessories. It’s important for me to find a career I enjoy
 and feel comfortable in.

You mentioned that you like to question why and how we wear fashion 
and how you can influence others. Would you like to elaborate on how 
this ethos feeds into your designs?

This ethos feeds into my designs by taking a generic garment and using it in a new way. In my final degree project I started making a
 traditional corset shape out of boning, then covered it in knitting and 
twisted it into new mysterious shapes around the body. The idea that we have
 to dress a certain way with certain rules doesn’t apply to my designs. I 
would much rather create an art form on the body then a generic shirt and
 pants collection.

Where do you find your inspiration and which designers do you look 
up to?


The inspiration for my collection came from my travels in France last
 summer. I visited a few cathedrals and fell in love with the intricate
 details found around the buildings and on the ceilings. I also love things 
that are delicate like lace, you can see the skill and time that went into
 making something like that. My fascination with both these things lead me to
 design detailed laser cut patterns inspired by gothic imagery.

I chose to 
use the colours black and silver because they are the colours most used in
 my research and work best with the look I tried to achieve.
 The designer I look at the most is Iris Van Herpen, she uses multiple textile techniques and unusual fashion materials to create beautiful
 garments that shock and inspire her audience.
 Another designer is Sandra Backlund, her visionary knitwear breaks the
 mould and shows how sometimes the best way to create exciting garments is to
 let the fabric inform the designs, not flat 2D drawings.

What was the process of creating your graduate accessories 
collection like?


The process of creating my graduate accessories collection was mainly trial 
and error. With most of my technical knowledge in pattern cutting and
sewing, I was faced with the challenge of using wood to create my bags. The most
 logical way for me was to have small holes around each piece of wood and sew 
them together with thick leather thread. Luckily this technique worked well
 and fitted in with the rest of my design.

How would you describe your aesthetic and how would you like to 
further develop as a designer in the future?

My design aesthetic is a real mix of my love for history, be it 
architecture or costume, and modern art. I keep my designs contemporary by 
mixing both research areas to create something original. 
I would like to further develop as a designer in the future by finding new
 ways to use my inspirational imagery. I think I would like to not be so
 literal in my design themes in the future. I enjoy collections that are not 
too overstated, where you can't see straight away where there designs came from, and that are a mix of ideas or a different take on the brand's own
 signature style.

What are your postgraduate plans?


My post graduate plans are to do some freelance design work and then a
 Masters in accessories at the Royal College of Art in September.
 My dream career scenario would be to work for Mulberry or Marc Jacobs, I 
love the quality of finish and the craftsmanship in each item. They design
 stylish accessories that are clean and sophisticated which I’m really 
interested in.

artsthread.com/p/amyloudavidson


Read the full article here.

Cunt Today for Twin Magazine blog

Founded by Phoebe Collings-James, Cunt Today is the latest online platform for feminist interaction and debate, gathering information on current news and events alongside original contributor articles.
Twin spoke to the artist about the inspiration behind her site and her views on fourth wave feminism…

What inspired you to launch Cunt Today?
I’ve been using the word cunt since I was at primary school, shouting it at boys, girls and inanimate broken objects. Before I even understood what it meant. It is a powerful word, it is supposedly offensive, especially seductive and very pleasurable to use.

But powerful and offensive is how women’s sexuality and freedom is treated in society on the whole. I feel as though men and women are increasingly aware of how important gender issues are and wanted to set up a forum to share ideas and promote action.

Who got you involved in feminism and what does modern-day feminism mean to you?

My mother, even though she still won’t call herself one. She says she is a humanist, which is interesting when you think of one of the most important phrases of the women’s movement: ‘Womens Rights are Human Rights’. She taught me that I could do, say and be whatever I wanted.

Feminism today is about affirming those things for every girl and woman, through law and society. Feminism means something different to everyone. For me, it’s about equality and empowerment, and not letting gendered ideas of who or what we should be prevail.

It’s about addressing violence against women, supporting new structures of work and child care that deal with the realities of contemporary families. Not the Dickensian ones that David Cameron seems to be enamoured by.

How do you think does your background as an artist feed into the project?

A lot of the projects I have been involved in have been especially arts based, like the East London Fawcett group. They recently did an extensive audit into the ratios of male to female artists represented in galleries, museums, art magazines and auctions. This was a really important survey for me, simply to confirm that I am not totally delusional and that the massive indifference is real.

Creative people have the potential to change the way we live and a lot of their decisions affect our politics — in architecture, fashion and advertising, as well as art. I think it is especially important that they are morally conscious of the decisions they make.

What do you hope for viewers to take away from the site and what can we expect from it in the future?

I want them to speak about what they have read and open up debates. Get people talking and thinking.  I wanted the site to be in the style of a blog rather than a magazine because it is supposed to be an open resource, for people to contribute and gather information. It would be great for this to grow and continue into the future.

cunttoday.com
phoebecollingsjames.com


Read the full article here.

1 Granary for Twin Magazine blog

Central Saint Martins boasts a reputation as one of the world's most prestigious art schools. Now a group of its students have launched a biannual print publication celebrating the university's exceptional talents, entitled 1 Granary.

Founded and edited by Olya Kuryshchuk, the debut issue features alumni such as Katie Grand, Robin Derrick, Kate Phelan and John Galliano, as well as the most exciting new talent currently studying at CSM's King's Cross campus.

Twin spoke to associate editor Greg French about the magazine's inception, vision and future. Read on for the exclusive interview…

Central Saint Martins has had a longstanding reputation and legacy. In the age of digital publishing and university spending cuts, what made it important to do this magazine now?

I think it's incredibly important to be able to find a sense of permanent presence alongside digital publishing. There seems to be a constant conflict between digital and print, yet there needs to be more of an understanding that both can support and be used alongside each other to push concepts further than previously possible. It seemed important as it's a new beginning for the college in its new premises. We really wanted something physical to sit alongside our site, as a milestone for this great turning point in the college's history.

What ethos lies at the heart of 1 Granary?

At the heart of magazine are unity and hard w

ork, not only in terms of the amount of work that we put into establishing 1 Granary, but also in the level of craftsmanship that is put into each garment, artwork and editorial content that we show. It's about showcasing all the amazing talent and saying that it is possible and achievable, regardless of what is or isn't happening in the education system or the economy.

How would you describe the process of putting together the debut issue, were there any surprises or directional changes?

It was actually really liberating. I've worked on magazines before, but this was the first thing that wasn't bound to anything. We didn't answer to anyone and that gave us a platform to experiment, try new things and do it completely in the way that we wanted. We have an amazing team and had so much fun putting it all together. It was exhausting at times as we were all juggling internships, jobs and college work, but at the same time it was our way of resting because we loved doing it so much.

What can we expect for Issue No. 2?

It's still very much in its early stages, but the main thing you can expect is a continuing debut of really great, fresh, raw talent and a team that isn't afraid to take risks.

1 Granary Issue #1 is available to pre-order here and hits newstands on May 20.

1granary.com

Read the full article here.

Long Live Rock N' Roll for Twin Magazine blog

Joan Jett, Bob Dylan, The Sex Pistols — name any legendary musician and Brad Elterman is sure to have photographed them. His images depict a long bygone world of pure rock n’ roll hedonism and recklessly good times. Following a long hiatus, Elterman has returned. Twin decided to ask him about his work process, the nature of celebrity photography, and the experience of hanging out with Debbie Harry & co.

How would you describe working in the late 70s/early 80s?

My timing was good. I was young and always had a camera with me which was really a blessing. There was not much in the way of publicist BS to deal with back then. I adored the cool subjects who I was photographing and that certainly helped. I was doing exactly what I wanted to do in 1977.

What is the interaction between you and the subject in front of the camera like?

It’s about a comfort level. I am not crazy about over producing photos and external lighting. I operate the best with a small point and shoot type camera so I can get close to a subject. I try and speak to them. The last half of the session is always better than the first. It’s all about getting comfortable.

Why did you decide to take a break from photography and how does it feel to be back?

I took a break for all these days because suddenly in the early 80′s punk and glam rock was over and it was all disco and heavy metal. I loved disco, but magazines never brought disco band photos except for The Village People. I hated heavy metal. I did not want to listen to it and thought that the whole thing about hair bands was a joke.

The other reason I ditched my cameras and put my photos in storage was that the publicists started sniffing around on the scene and when they saw all of these teenage photographers driving around in their Mercedes Benz, it was sort of the kiss of death. Suddenly photo sessions where not done without their permission even though they never heard of any of the the European or Japanese magazines that I dealt with. They would just say no to everything out of ignorance. If you wanted to shoot a concert it was now restricted to the first three songs. I did not care about concerts anyways. Boring!

What got me back to taking photos again was all of my cool tumblr followers who loved my old 70′s photos of Joan Jett and Debbie. I posted hundreds of my old photos and my tumblr kids demanded more and they would ask me from time to time to shoot this band and that band so I sort of came out of photo hibernation.

It was not easy for me. I was full of anxiety taking photos again with all of the great young photographers out there today. I started getting some press on the internet about my modern photo sessions and was encouraged by my friend Olivier Zahm to take photos for their Purple Diary. I took the offer very seriously. I just took the bull by the horns and went with it. 

How do you think has the nature of celebrity photography changed, especially with the likes of the paparazzi?

Today it’s all controlled by the celebrity’s team. PR, manager, lawyer with a sprinkling of their glam squads. That is the reason there was this massive interest in paparazzi photography over the last decade. Readers wanted to see the real deal. The editor photo business including paparazzi is a disaster. The internet destroyed some of the greatest publications and their budgets. It will never come back.

Why do you think celebrities and musicians are so fascinating to the everyday consumer?

They just want to know a bit more about someone who they look up to and respect. I was that way with Dylan when I was a kid and with Lindsay Lohan today.

What was the most memorable photograph you ever took?

For sure the evening that I met Bob Dylan back in 1976, and shook his hand. He told me that I looked just like him and that he wanted me to bring up this young actor named Robert DeNiro to the dressing room so he could have his photo taken with him! This sort of shit does not happen on House Wives of Beverly Hills.

What projects do you have lined up for the future?

I am finishing up a new book designed by my good friend, photographer Sandy Kim. She is the best editor for my 70′s photos and has a great eye for design. The book is entitled Dog Dance and will be out in early fall. I am doing a compilation record for Opus Records featuring some of the cool bands I have photographed recently. Taking more photos, of course!

Read the full article here.

Pillow Talk for Twin Magazine blog

Sex. Such an essential part of life, literally, and yet still a taboo subject of sorts, only shared with one’s closest circle of  friends over a bottle of wine. That is until now. The Anonymous Sex Journal, the brainchild of Alex Tieghi-Walker featuring illustrations by Margot Bowman, is an unflinchingly honest account of sexual experiences, submitted by 21 contributors, including anecdotes such as:

“Yesterday I accidentally set a picture of my willy as my instagram profile pic.”

“For some weird reason we didn’t stop or hide… just sort of froze in position: me on all fours with my bum facing his dad.. at least he couldn’t see my face.. or my mouth to be specific.”

“He used to call the dried cum on his belly ‘Cornflakes’ and his penis ‘Pendejo,’ which means dumbass in Spanish.”

“Remember when your friends strapped that camera to a broom handle and secretly filmed us fucking on the balcony of the chalet?”

Not just material for an amusing read, the print publication shows a wide range of the act’s emotional impact across the spectrum, and offers a chance to break down any last standing reservations we may have about those three infamous letters.

 

Twin spoke to Alex Tieghi-Walker about the appeal of awkward sex, whimsical illustrations and what to expect after Foreplay…

What inspired you to start The Anonymous Sex Journal and how would you sum up its ethos?

A friend and I were talking about our more unusual sexual exploits, and once we’d shared a few we just kept going. When others joined in the conversation too, I thought it would be really interesting to open this conversation to a wider audience and create a database of sorts where interesting stories could be shared. So few people actually have a normal sex life and this journal is somewhere to celebrate those more peculiar incidents. This journal really shows just how colourful our sex lives are — and not in a boastful way as is often the case when people do talk about sex — these stories are a combination of virginity loss, post-coital clumsiness, graphic, vivid fantasies and weird, awkward and embarrassing incidents; they capture those small moments that stick in your mind and influence the rest of your sex life.

What is your publication’s stance on sex and sexuality, and the private versus public spheres of it?

When reading the stories you really have no idea whether the stories are experiences between a man and a woman, or two men, or two women. I think it’s nice that the stories have that ambiguity, or just that sexuality isn’t really the main priority when recalling sexual history. Instead the stories are about real emotions — whether it’s embarrassment, longing, warmth, fantasy or guilt. I think it’s really important to recognise that sex brings about so many feelings and thoughts, and that those need to be embraced and shared, not kept away and never shared or expressed in other areas of life.

Why did you decide to use illustrations as opposed to photography in the journal?

I asked Margot to illustrate the journal as her drawings have a charming, whimsical quality. I also really liked the idea of the illustrations being rather literal or fantastic, something that would be difficult to create with photography — it would either look too considered, or sombre, or simply gross.

What surprised you most during the process of putting the journal together?

I wasn’t surprised by it but I really enjoyed the honesty of peoples’ stories. I like that in nearly every story the writer concluded the experience — writing anonymously creates a stream of thought, rather than something that is written, rewritten, rehashed and edited. These stories are as experienced, you almost live the action without being there, so to speak.

Seeing as you are launching the debut issue on Valentine’s Day, what are your thoughts on the holiday: consumerist nonsense, a sweet anecdote or something else?

Oh dear, it’s a tough one. I think people can go very overboard with Valentine’s Day and there is certainly a lot of hype and exploitation. But fundamentally I think it is actually a very charming day when you can make small gestures to those you love, letting them know you appreciate their company and their involvement in your life. It’s also good to celebrate love — how can a celebration of love ever be a bad thing?

What can we expect for issue two?

The Pilot Issue, or Foreplay, is just the start of a much larger project. I want to see how everyone reacts to a journal like this and whether it amuses them, makes them laugh or wince, and how they connect to it. For subsequent issues I’d like to categorise the stories to focus individually on topics relating to sex — so an issue dedicated to jealousy, one to fantasy, love, technology, fetish, passion etc. Perhaps the next one should be those sexual experiences that didn’t happen but nearly did and still contribute to your sexual DNA.

Read the full article here.

Comme Des Garcons x Hermes for Twin Magazine blog

What do you get when you combine one of the most influential designers from the East with one of the most prestigious luxury brands of the West? A limited edition line of silk scarves entitled Comme des Carrés to be exact.

Fusing together Rei Kawakubo’s eye for the all things off-kilter with Hermès’ reputation for craftsmanship and quality, the capsule collection is  comprised of five Black and White styles in everyone’s favourite non-colours, plus six Colour scarves printed with geometric patterns such as gingham and stripes. The former will be exclusive to Comme des Garçons stores in Paris, New-York and Aoyama-Tokyo, whilst the latter will be launched at the Dover Street Market retail venues in London and Tokyo.

“In our project together, rather than wanting to wear the scarves, I was looking forward to the change that would happen when I added something to the beautiful ‘paintings’ of Hermès scarf designs. I think through the addition of abstract images, we have transformed the scarf and created something new,” explains Kawakubo.

Mission most definitely accomplished.

doverstreetmarket.com

Read the full article here.

Stylishly Serpentine for Twin Magazine blog

MAC Cosmetics is chiming in 2013 – known in the Chinese New Year as year of the snake – with an intriguing new make up collection.

Not only are the swirly scales of the animal embossed into every lipstick, eye shadow and powder, but thanks to a shimmering colour palette of rich golds, plums and reds, each product creates a lushly dramatic effect.

Whether it’s a simple swipe of pearl blush to brighten up your complexion or a full-on crimson lip, consider yourself cosmetically prepared for the new year.

maccosmetics.co.uk

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Guy Bourdin: A Legacy for Twin Magazine blog

Tonight, the ICA is hosting a panel discussion on the one and only Guy Bourdin. With his hyper real use of colour and surrealist techniques, the French photographer’s work for the likes of French Vogue and Charles Jourdan managed to strike the delicate balance between provocative, trailblazing and timeless.

Guy Bourdin: A Legacy will not only delve into his long-lasting influence on fashion imagery, but also show rare footage of Bourdin’s cine films. Leading the discussion will be curator and lecturer Judith Clark, Christie’s Director Philippe Garner and Samuel Bourdin, the artist’s only son and Exhibit A: Guy Bourdin co-author. Expect an insightful and interesting look at one of the 20th century’s most prolific image makers.

ica.org.uk

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Ink & Needles for Twin Magazine blog

Aside from the horribly misogynistic term ‘tramp stamp’, little has been said about the relationship between women and tattoos.

Bodies of Subversion studies the involvement of women in the ink industry from the nineteenth century until today, not only as customers but also as artists, such as the legendary Maud Wagner or Kat Von D. Covering topics including body art as custom couture in Victorian society, author Margot Mifflin delves into tattoos not only for decoration purposes but also as a helpful healing process for breast cancer or domestic abuse survivors.

Extensive as it is visual, Bodies of Subversion is an insightful look at what happens when the body becomes a canvas.

powerhousebooks.com

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Everyday Extraordinary for Twin Magazine blog

Opening today, the Design Museum’s Extraordinary Stories About Ordinary Things is a love letter to the often overlooked design details of everyday life.

Thanks to its exploration of contemporary design and architecture, the exhibition not only examines furniture objects, but also fashion designs from the 1970s to the 1990s — in specific the Issey Miyake 132 5. collection, constructed out of a single piece of recycled plastic, which acts as both a folded two-dimensional object and a three-dimensional garment.

“Issey Miyake’s work tries to find a balance between the practical and the beautiful, a concept that is as relevant today as it was when he started the fashion house. His constant experimentation with both forms and also production has kept him at the peak of international fashion and design,” comments the presentation’s curator Gemma Curtain.

Getting a new perspective on the seemingly ordinary is always a visual delight, and this exhibition does its task more than justice.

Extraordinary Stories About Ordinary Things is on display at the Design Museum, 28 Shad Thames, London, SE1 2YD.

designmuseum.org

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Insight Photography for Twin Magazine blog

Iconic is an often overused word, but when someone manages to not only profoundly shape their art form, but also stay relevant 20 something years into their career, the term is more than justified. Opening today at the ICA, Juergen Teller: W00 is an expansive study of the Erlangen-born photographer’s work.

From his black and white images of Kurt Cobain during Nirvana’s tour in 1991 to the provocative nudes of Vivienne Westwood, every honest and intimate portrait by the German photographer, alongside his longstanding collaborations with brands such as Helmut Lang and Marc Jacobs, not only commemorates his longevity as both a commercial and art photographer but also shows that aside from his trademark overexposed photography technique, what really makes a Juergen Teller image is his connection to the individual.

During a preview of the exhibition yesterday, Teller spoke openly about his work process and decades’ worth of pressing the shutter button:

“With every picture you have to be really open and honest about it and tell people what you want to do. I have no idea what I am looking for in an image, it really varies. I have to have complete concentration on the subject, I never have music playing or people standing behind me talking, it drives me crazy. I need the full attention, of their attention to me as I have attention to them, and that’s why it’s powerful and direct in every picture. My way of working hasn’t really changed that much since the beginning, but I have become a lot more careful, project-based and tend to work in series. I am more confident and secure within myself.  I want to explore and see things, I’m curious about life. You only live once, you can’t just be miserable and complain all the time, you have to take risks to do something exciting and that’s what I try to do. You have to fucking go out there and do it.”

Juergen Teller: Woo exhibits at ICA until March 17.

ica.org.uk

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Rebel Talk for Twin Magazine blog

The title of tonight’s event at LSE says it all: Women, Protest and the Nature of Female Rebellion. Hosted by  journalist Laurie Penny, who currently writes for publications such as The Independent, the talk will look at courageous women throughout history,  from the time of the Paris Commune through to the defiant ladies of Pussy Riot. There may have been years when it was unthinkable of a woman to raise her voice, but 2013 definitely isn’t one of them.

Women, Protest and the Nature of Female Rebellion runs from 6.30-8pm at the London School of Economic’s Sheikh Zayed Theatre, New Academic Building.

lse.ac.uk

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Marni Reincarnated for Twin Magazine blog

The brainchild of Consuelo Castiglioni, Marni is that quirky Italian label which always manages to put a new spin on its eclectic aesthetic. It’s only natural that the house’s first ever fragrance carry on that tradition.

The subtly masculine scent steers far away from stereotypical smells of femininity such as florals and saccharine sweetness. Instead, the crisp yet spicy top notes of bergamot, ginger and pink peppercorn make way for a rose, cardamom and cinnamon bark concoction, grounded by a woody accord of patchouli, incense, vetiver and cedarwood. So while there is a ‘feminine’ heart of rose notes, it is enveloped in multiple layers of spices and woody notes, making for an elusive, multi-faceted and original scent.

As a house renowned for its use of prints, the polka dot-covered and clean-lined bottle makes the fragrance come full circle to a pure olfactory reincarnation of the Marni brand.

MARNI launches exclusively at Harrods and Harrods.com in February.

marni.com

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Legendary Prints for Twin Magazine blog

For most people, the Louis Vuitton brand name immediately conjures up images of those infamous, and often copied, interlocking L and V letters. But in fact, its little logo sister, the Damier canvas, celebrates a proud 125 years of iconography this year.

The first ever patented invention by the house of Vuitton, this discretely brown and beige checkered design has literally proven to stand the test of time since its introduction in 1888.

Since then, it has undergone several colour palette changes, but nonetheless is a universally recognisable trademark of the French design house. For this anniversary, the Damier has been given a neon-hued and athletically shaped makeover. Further proof that a luxurious classic never goes out of style.

louisvuitton.com

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A Celebration of Cinema for Twin Magazine blog

Commemorating its tenth anniversary this year, the London Short Film Festival provides its genre with the same compelling spotlight as its lengthy, blockbuster counterparts. Showcasing the best of the UK’s independent film scene in venues all across town, from the ICA to Curzon Soho, the festival has divided the work of the nation’s rising talents into according themes such as Fucked Up Love, Femmes Fantastique and Youth Of Today.

Screening this Saturday, I am Dora by Jemma Desai is a special highlight.  A collaboration with designer Claire Huss, the project is an ongoing personal study  of fellow female identification, and the flaws and misunderstandings that come with it. This edition will focus on the legacy of Sylvia Plath. “Perhaps when we find ourselves wanting everything, it is because we are dangerously near to wanting nothing,” Plath wrote in 1955, and the weight of her words are studied in two versions of Lady Lazarus — Sandra Lahire’s 1991 film and the Mad Men episode — plus an ‘In Conversation’ discussion between Desai and psychotherapist Sandra Hebron.

Alongside this intriguing project, the short film compilations, documentary screenings and special events like Club des Femmes presents… The Art of Conscience: A Pussy Riot Fundraiser are all the more reason to get your cinematic fix this week.

The London Short Film Festival runs until January 13.

shortfilms.org.uk

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Fo(u)rward Thinking for Twin Magazine blog

This week, contemporary artists Alexandra Baumgartner, Beatriz Crespo, Florence Reidenbach and Su Ling Gyr are displaying their own personal confrontations with femininity at the GYNAECEUM exhibition in Berlin.

Curated by Tippi Ling, the installation is set in a 1920s apartment — a rather fitting location considering the exhibit’s questioning of female confinement to the domestic space.

Baumgartner’s collages will explore themes such as social constraints and the decay of the human body, whilst Crespo’s paintings examine the daily rituals in women’s lives. Reidenbach’s combination of folklore and fantasy delves into the creation of feminine identity, whereas Gyr analyses notions of beauty throughout history with her multimedia approach.

GYNAECEUM is not just a beautiful ode to the female artistic talent of today, but also an empowering retrospective on just how far we’ve come.

beatrizcrespo.com

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