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Issue 8

55pages Creative Director Christopher George Editor Sara Darling Contributing Editors Jonathan Bright Karolina Kivimaki Fashion Editor Sara Darling Arts Editor Christopher George Beauty and Grooming Editor Philipp Ueberfellner Contributing Fashion Editor Joseph Toronka Contributing Arts Editor Bert Gilbert Contributing Videographer Ivo Cambraia Contributors Marcin Filip Cybulski Adriana Krawcewicz Jaswant Flora Will Samme Renda Attia Tom Bernard Michelle Court Digital Developer Joe Barbour Designer Lyn Devenney Technical Consultant Demir Sayiner Publishing Director Christopher George Digital Publishing Director Joe Barbour

Editor’s Letter We are delighted to share our slightly oversized 55Pages, with the one and only Dame Vivienne Westwood. Her #talkfracking campaign is the perfect place to get involved in what is happening to the planet, and something that concerns us all. With political support for fracking crumbling, it’s about time that Westminster takes notice of what the public want. And that certainly isn’t radiation! With politics touching most of us at some point, and especially those involved in the media, we analyse the fine line between having a voice and getting persecuted for it in our Je Suis Charlie commentary. Is there such a thing as safety in numbers, or can we all hide behind a unified mask…? Which nestles a little too comfortably in the question of identity, where we desperately seek one in our fashion choices. A question of personal taste? Perhaps… As usual we break some fashion rules and take inspiration from the legend Chrissie Hynde. The 55 girls love the clashing prints and lounge lizard appeal of the sizzling 70s, where the boys on the other hand are getting up to monkey business down on the estate in the perfect mischief making outfits for Spring Summer. Educating you with the best underground art, photography, music, controversy, culture and a good dose of style, we hope that you share the love of 55 and feel free to steal a kiss and pass it on! Cover Credits Vivienne Westwood Photographer - Christopher Sims 55Factory 55 Holmes Road, Kentish Town London NW5 3AN 020 3286 8558


Bag: Paul MagĂ­ Shirt: Libertine-Libertine Jumper: Libertine-Libertine Turtleneck: Rascals Trousers: AG jeans Watch: STORM

03 Article - Jonathan Bright Illustration - Jaswant Flora

What can you say about charlie? What can I say about Charlie Hebdo that hasn’t been said? What can I say that I shouldn’t? For one, why do we assume that our freedom of speech is suddenly under threat? Depending on your leanings, it either always is, or cannot be threatened.

Following January’s attacks on the Paris-based satirical magazine Charlie Hebdo, a few strangely ironic happenings happened. And so many of them had to do with ‘that photo’. Yep, the photo. The one where world leaders convened on a specially selected, pre-deserted Paris street and made their defiant stand, arm-inarm, against those that seek to attack our freedom of expression. Nothing came so ironically as one very astute set of tweets from LSE student Daniel Wickham, quick to point out the hypocrisy of world leaders appearing united in defence of free speech, yet who themselves represent among the most infamous oppressors of a free press. A snapshot of Daniel’s serial tweets reads:

magazine’s reaction. Charlie Hebdo published three million copies of the ‘survivalists’ issue’ (versus normal circulation of about 60,000) – adorned with a cartoon of a sobbing Prophet underneath the moniker “All is forgiven” – because they had to. It wasn’t extortionate; it was a retaliatory blow of epic proportion, such that the message was heard loud and clear. It was defiantly admirable and above all, human - another carnation daintily threaded down the barrel of a rifle. Freedom of expression – and with it let’s not forget the printed press, standing tall on a digital battleground – are swords to wield. That comes with a responsibility, of course, but I think Charlie’s was measured and the biggest irony is how much that ideal scares terrorists, politicians and monopolising corporations alike.

• “Here are some of the staunch defenders of the free press attending the solidarity rally in Paris...” Expression is a message. For artists, journalists, cartoonists, expressionists, that is a faith to defend to • “King Abdullah of Jordan, which last year the hilt. You could say it’s a faith that pre-dates faith sentenced a Palestinian journalist to 15 years in itself: what is faith without its message? prison with hard labour.” Je suis Charlie, in that I strive to inform, warn, • “Prime Minister Netanyahu of Israel, whose forces question and entertain. My message is my most killed 7 journalists in Gaza last year (second highest human trait – the same reason a Neanderthal looked after Syria).” at a wall and saw a canvas on which to tell his buddies where to find all the tasty deer. • “Attorney General of the US, where police in Ferguson have recently detained and assaulted In the case of the cartoons, the method of expression WashPost reporters.” may be controversial, but let’s not forget the message was only ever aimed at the violent extremists – to say It goes on. that they cannot hold themselves beyond question and above others by threat of intimidation. It‘s a The ironies were not lost on Charlie Hebdo’s surviving method that has offended people on the cartoonists either. They were also quick to deplore periphery – who it should be said have the right to be the photo’s protagonists for suddenly showing offended. No one has a right to kill. Hebdo’s ability to feigned solidarity when they are so often the subjects express that message is the reason that its carof Hebdo’s derision. toonists put themselves in harm’s way – as so many journalists and artists continue to do in conflicts and Attempts to suppress freedom of expression are trouble spots worldwide – and we should hold that commonplace, far beyond acts of terrorism or of dearest of all as humans. governments covering their arses. They’re frequently necessary. We have laws that prevent defamation of PR brought the world leaders, but humanity brought character being published, and with good reason. the world to the streets, none more defiantly than the Meanwhile there are scant publications not at the Parisians who, the gunmen still at large and the threat behest of their advertising revenue stream. to the city palpable, also stood in harm’s way. No, freedom of expression is always under constraint. What is important is that the message can never be silenced, and the attacks on Charlie Hebdo only serve to support that ideal. The Paris massacre was not an attack on free speech. It was another abhorrent PR stunt, the type of which we’ve seen far too often lately. After all, why fight a noiseless war when you can simply shoot a cartoonist and make every headline and every tweet, everywhere? What was not ironic, profiteering or opportunistic, as some commentators have opined, was the

Freedom of expression is not under threat; it is the threat. It’s a threat that makes terrorists shoot cartoonists and it’s a threat that puts authorities on the defensive – arm-in-arm. They cower, equally and oppositely, behind the veneer of freedom of expression’s political smokescreen. We embody it. It is the power of that message that only gets louder, and Charlie Hebdo showed that. To quote one of Hebdo’s surviving cartoonists on the magazine’s decision to print the survivalists’ issue, she said, simply: “It wasn’t necessary, but it was important”. @brightywriting

Interview - Christopher George


55employees were doing everything they should be doing in Amsterdam when they stumbled on a pop-up exhibition from the Dutch ‘Bluesky & Greenyard’ collective. They were looking for innovative new underground artists. Obviously. What else does one do in Amsterdam? The curator of Bluesky & Greenyard told us about the shy nature of one of their most interesting artists – Bernou Schram – and the powers of persuasion they needed to get her into the show. Naturally, 55 was curious to meet the mysterious Bernou. Being the resourceful types that we are, we arranged that very day for an instant interview about her work. Based in the centre of Amsterdam and having graduated with a BA in Fine Art from Utrecht School of Arts in 2012, Bernou’s striking and almost harrowing monotone portraits seem to stem from a primitive notion. As anti-graphic and frantic drawings on canvas, her pieces have a strangely personalised, calm and realistic emotion. More than simply representing a figure, these paintings have a mystical value. When faced with the works, its impossible not to be drawn in, and the external world shut out.

55 - Where do you get the ideas for your paintings – what is the structure? Bernou - I don’t start with ideas; I just start by drawing lines and it becomes something and that’s what it’s going to be. For me, the most important thing is to just go with the flow. When I start painting, I just start, instead of thinking too much about what I want to paint or how I think it should look. As soon as the first line is set on the canvas, the work takes it from there and evolves into something that I could never have thought of in the first place. Sometimes it goes completely in the other direction and the painting doesn’t live up to my expectations. If that happens, I erase the painting and start again, until it becomes what I want it to be. It’s how I live my life. I just take it as it is and live day by day. If something doesn’t quite live up to my expectations of life, I take a step back and make a change, until it becomes what I want.

55 - Why just in black and white? Bernou - I work with the black and white because of it’s purity. I also use inks rather than paint because I find that working with paints gives you too many chances to cover things up; I don’t like that. It happens a lot with artists everywhere and it’s just not how I work. 55 - Do you think it is harder to gain exposure as a contemporary female artist? Bernou - In my own environment I don't really experience a difference being a male or female artist in terms of exposing one’s work. We are equally troubled with finding a platform on which to show our work. I believe it is all about putting yourself and your work out there. That requires confidence, good connections and a lot of luck – it doesn't matter if you’re male or female. 55 - The portraits you paint: do they become someone to you, or is it just an image of a figure?

Bernou - My paintings start with a feeling or an image of a certain person. This feeling or image evolves into a painting that’s never completely recognisable; the person changes on the way. It’s never a full portrait of someone I know or something I’ve seen. There are small characteristics of people in the paintings, which I can recognize, but mainly it becomes something or someone completely new. Sometimes it’s not only one person, but also multiple people combined into one portrait. As I say, as soon as I start painting everything is open and fluid. It goes from one direction to another and back again.

55 - Do you paint for yourself or for others? Bernou - The only person I paint for is myself. My intention in painting is never to please others. If I’m pleased with the work, then it’s accomplished. If I am not pleased with the work, I start from scratch until it becomes what I want. I believe that the interaction between the visitors of a gallery and my paintings is very important, but it’s not the most important outcome. The paintings have certain energy of their own; as soon as that energy connects with a visitor, this magic moment happens and the painting comes alive. But if there is no magic between the painting and me in the first place, the painting won’t be shown. I’ll keep painting over it until it has that magic.


Interview - Tom Bernard Photography - Christopher Sims


Gaps is a musical two piece, spanning the vast spectrum of sounds from ultraviolet to infrared, coupling intense and precise productions with a raw mix of DIY vocal recordings. From the worlds of Vangelis, Portishead and The Boards of Canada, Gaps have a feeling rather than a narrative. Their meditative and tribally hypnotic sound slides up the scale from electro to folk, allowing them to experiment a great deal. They are, in many ways, a yin and yang of sound. 55 - Where does this undercurrent of unease in your music come from? GAPS - (Rachel) The nature of our vocal recordings are very lo-fi and quite dark; however, they actually come from a good place. We don’t try to come across as negative, more empowering. I always write in response to events. It could be one moment in time or a relationship that I try to express. When I am writing, I am always trying to find notes that resonate within me; these are often more dark. 55 - You have a clean, sharp sound. It seems to enter your chest almost like a surgical incision. How do you achieve this? GAPS - (Ed) The tone of the music is generally set with the lyrics. Some of the time the lyrics are recorded on a phone- it gives the vocal a deliberate edge and raw lo-fi. For our sound, we decide at the beginning what the palette would be, and take from this palette. It has changed over time, but the basis generally stays the same. We’ve agreed on sounds we tend to like. Lyrically, Rachel can be very sparse about one narrative – a feeling rather than a story. 55 - Your live show created a sound of perfection – the noise that came together stuck with me. Can you tell me more about how you mould and create sounds? GAPS - (Ed) We’re very flattered. Rachel produces chaos and I produce order; that’s how we work. There is a happy place in the middle for us. Rachel records in such a minimal way with the sound of the room – seagulls flying past, doors shutting and general noise. We decided we would not create those sounds, we’d just let them happen. And if that occurred during a take that we wanted to use, we’d just keep the background noises in.

If we have just recorded some wind coming down a chimney, then that’s the only time it’s been recorded and it is the moment that we capture. With elements like that, this album has been more a documentary in its creation. We have tried to fall away from a band mentality – what do we want to look like? How do we want to sound? We didn’t want to create an identity or a label for ourselves. 55 - So Ed seems to be the blade and Rachel seems to be the darkness. (Rachel) We approach things in such different ways. Ed is a multi-talented musician and a great producer who understands notes. I don’t know what I’m doing, so I just lose myself searching. (Ed) I can get too involved with the details when putting it all together. Then I lose sight of what I’m doing. Rachel will listen to how I have put it together and just come up with an answer from her gut that I just haven’t seen. It’s so hard to work on your own, you just become blind to what you’re doing. We can be pretty brutal with each other and totally disagree, but we both respect the fact that we come together to finish what we are doing. 55 - Why do you think duos work so successfully, musically? (Rachel) Two is more definite. More then two people you can tend to have a floating person who doesn’t bring enough to the band. We’ve known each other since we were in our early teens. We started hang out again via mutual friends later on, but it wasn’t until our mutual friends started to move away that we began doing music together. It’s been a natural evolution that we’ve made work. We share strong values with each other.

Gaps latest single “All Me All You” out March. Gaps Album “In, Around The Moments” out summer 2015.

Article: Liam Feltham Illustration: Marcin Cybulski


As we propel ourselves with vigour into 2015, we at 55 have taken it upon ourselves to explore what shape our identity will take, and in turn go on to shape us over the course of the year ahead. Thankfully we all have the ability to construct a distinct identity, which positions us in society. Harder to understand is how pressing it is to convey that identity. Look no further for a non-scientific insight….

Dressing up and stripping down. Fashion is undeniably one of the most accessible means of creating an identity, displayed through nurturing a self-image that speaks to us. Identity nonetheless generally speaks for the truth and if and when one’s identity opposes one’s image of the ‘self’, it creates turmoil. So be warned when you soak up the fashion mags. What part of the human psyche is it that makes us want an identity? The simple answer is a sense of belonging. A ‘cult of identity’ has to some extent emerged over recent years, which dictates what we should be identifying with in order to be considered a rounded person – something which as social beings we, for some absurdly tedious reason, strive for. In fact, the lengths that we go to in order to ‘belong’ are clear to see. Establishing an identity for oneself is a way of communicating, thus ensuring that we do not remain alone once we step out into the big wide world. Assuming the ‘big wide world’ is the Big Smoke, nothing talks louder than fashion. This is nothing new, image has always been the closest and most tangible association from which we are led to derive identity, but the sands of time have shifted the mechanisms by which we consume fashion as a means to an end. Self-image is a fickle thing, much like your heart, but perhaps with a more knavish tendency; some people opt to wear it on their sleeve (sometimes if you’re that way inclined,


quite literally). Be it through a wrap dress with one of those jet-setting DVF prints, or one of those, ahem, demure Michael Kors bags that you’ve probably seen once or twice if you have eyes. We herd together with a common goal in mind: to uniform ourselves. Some might do it more subtly with a carnal perfume or a concealed tattoo and probably think they are projecting some form of resistance, but I’ve got news: they aren’t!

Not intending to victimise, identity is contrary (so we kind of do at the same time). It is generally accepted that an obvious outward identity gives an introduction to the self. Yet, despite the only meagre superficial capabilities of the masses, what is more concerning is that, as any truly rounded person knows, a real introduction should involve mind, body and soul, so just you bear that in mind. Clothing is a prime agency for going about this basic act of human connection with other humans. It is the basis of physical chemistry; it’s the roundabout where you constantly have to ask yourself: ‘do my clothes define me or do I define myself by my clothing?’ Or, by some divine logic, can you actually do both like Imelda Marcos?! It just so happens to be the insatiable hunger to assert some kind of curated self-image in public that has led to the turgid consumer culture that has gone way beyond a ‘me-generation’ phenomenon and is now a me, myself and my eating habits world gone mad. With the quaint days of Vogue patterns a long-forgotten memory, it is now possible to acquire clothing as rapidly as a Big Mac, at the expense of quality, sentimental value and the indignities that are committed during its production. But hey-ho, at least those factors aren’t visible to the naked eye on your new selfie. When it comes to really curating an identity, however, keep in mind that being only fabric, threads and miscellaneous hues, clothing can only do so much. On a grand scale clothing only plays a small part in instructing identity in the modern world. Now moreover, likes, followers, retweets, favourites and views are representative of one’s identity. Broadcasting to the world not only one’s ideal self-image, but essentially one’s worth too. It’s practically child’s play, if those children happen to be residents of the Village of the Damned that is. We must now be attuned to our identities

being monitored by unseen forces and in return monitor our own identities meticulously, to maintain the belief that we hold the power over it. This is the mind game that now goes hand in hand with projecting one’s identity, so heaven help us if that hasn’t at least given us a thicker skin in the process. Over the past five years or so the sheer number of social platforms that have emerged online point to one thing: social identity overload. These are now the 21st century agencies we rely upon to ‘find oneself’, while generation Y are the ones who are quite literally in the thick of it. As it goes, they’ll leave generation Z to get all but utterly lost in the terrain they will one day have to traverse. But then there’s always the selfie…. Narcissism is a term that derives from early Greek mythology, wherein the dashing young Narcissus, so taken by his own reflection in a pool of water, fell in and drowned. That’s right, folks; narcissism is that much a problem. The postmodern narcissism dilemma is a huge aspect of the ubiquities fixation with oneself that our internet-led culture dwells in. The fact of the matter is that the more attention you dote upon yourself in trying to project the most ideal image online isn’t going to necessarily ‘help’ you find your true identity. In some ways it may even hinder your true self-image: the side of you that makes you worthwhile. God only knows that if the aborigine belief that along with each image that captures our physical being we lose a part of our soul actually holds any credence, we are all doomed.

Personally, even I would consider myself a relatively vain person and I do admit to spending a prolonged time inspecting my face in front of the mirror. This is not, however, an enslaved condition of seeing myself, face contorted in a pout, through an iPhone snapshot in someone else’s eyes. I can’t remember the last time I have slaved over taking a photograph of myself for someone else’s acknowledgment and that’s a lovely feeling! All the hours I spend in preening my visage in front of the mirror are for my own comfort that on the next day I will be able to walk outside with a readied face that I have had my mark on, not a prostituted face that I peddle to strangers for a throwaway moment. What counts in life (and in having the privilege of gaining an identity) are those moments in the flesh. As the divine Deborah Harry once lyricized in one of her first ever singles, In The Flesh, she gushes: “Darlin’, darlin’, darlin’ – I can’t wait to see you / Your picture ain’t enough / I can’t wait to touch you in the flesh”. For us gorgeous millennials, seeking an identity in 2015 is a force that has drastically altered the way that we give something an identity; we identify with it, and in turn gain some identity of our own.

Stepping away from the rather metaphysical standpoint I have taken here, it isn’t hard to surmise that the quest for identity is both a major contributor to and at the same time a clear repercussion of the breakdown of Western society, as we surely drift further and further away from anything that resembles a conscious, connected community and culture. Instead, we are now victims of a heightened media dissonance, where we internalise the kinds of affectations we like and thus cherry-pick aspects of what we are lead to believe would make a good identity. All that can be said to avail those that keep the world spinning, even if that may be in the most upside-down, topsy-turvy manner, is to go and find your identity and nurture it – in the flesh.

HENRIK JOHANSSON interview - Christopher George

Using both the classics and more contemporary forms of art as his subjects, Henrik Johnsson collides these distant periods to create an intriguing blend of drama and realism. His ability to reproduce the masters and bring them comfortably into our times, while using fashion’s reflection as art’s muse, is visually stunning.

55 - You work in a classical style and in this collection of paintings you bring together the contemporary figures with the classics of Caravaggio’s work. What was your inspiration for doing this? Henrik - In the beginning, when I was learning to paint, I copied all sorts of older paintings. It is a common practice to do this in order to learn about light brush strokes, composition, things like that. For some reason I got hooked on Caravaggio, initially- without really thinking more about it. But after some time I realised that his paintings contain a lot of what I enjoy. The more I painted, the closer I became to his paintings, and at a certain point I started to understand that I wanted to bring his works into the art of today. Compared to the first time that I discovered his paintings, I now understood so much more of his art. Although Caravaggio´s paintings are from the 16th century, it is striking that much of what he portrays – the emotion and expression – is still current in today’s society. 55 - Who are the contemporary portraits that you place against the classic Caravaggio, and why? Henrik - The modern people that I create in the paintings are often a mixture of different people I have seen, or just from my imagination. For some reason I feel that he or she, more often she, would get on well with that classical

painting. Usually I choose a Caravaggio painting first, searching for a feeling, a reaction or a state that I want to create. Thereafter, the modern person emerges. Sometimes it takes time before the contemporary person comes onto the images. The interaction between the older painting and the modern person is important and can take time to emerge. It can sometimes be difficult for a viewer to see how the subject is linked, but there is always a connection. 55 - Working in a more classical style, it is important to have fresh ideas. What are your views on this and what inspires you both classically and contemporarily? Henrik - I fully agree. In order to make art interesting you have to think fresh. Whether my paintings can be described as that is of course up to the viewer. But my intention is that the meeting between the old and the new is something that adds value to the paintings. Although the old and new may seem different, there are many interfaces and my intention is that the meeting of the two will make new experience. I really like the classical expression and idiom. An older painting initially may seem pretty harmless, but often contain provocative symbolism and hidden messages. In many older paintings, the idea can also be very strong with clear messages or feelings that the painter wants to convey. In modern paintings I do

not see that so often. I like the idea a painting can carry a message this is inspiring. When it comes to contemporary inspiration in general, many different things inspire me. Often it can be something that occurs generally, or something that has happen that makes me want to relay a message. 55 - You obviously have a depth of knowledge about the masters. What are your thought and excitement of classical art? Do you have a certain part of you that kind of lives in a classic way? Henrik - I really like the directness in classical painting, and that they have something to express. This in contrast to modern painting; I feel almost we have taken a step backwards and become more cautious. I wouldn’t say that I live in a classic way, I consider myself to be quite modern. However, I like the mix of classical and modern, even outside my painting. The mixture generally makes my life more interesting, whether it concerns art, people, clothes, interior or music.

55 - What music do you listen to, if any, when you’re painting? Henrik - I have to listen to music or the radio; it can’t be quiet. What music I used to play would go in cycles. I may have listened to the same record over and over again, as this provided the inspiration for a painting. Nowadays I listen more to the radio or a mix of different artists. Two artists I listen to over and over again are Bob Dylan and Leonard Cohen. Another is the Swedish band Kent, and of course Morrissey and The Smiths. 55 - The fashion imagery is evident in your work. Why is this, and what is fashion to you as an artist? Do you find depth in fashion, or do you think it is a disposable object very different to art? Henrik - Fashion reflects the contemporary. Fashion today may seem volatile and superficial, but looking back in vogue throughout history, fashion says a lot about how society appeared at a certain time. Therefore fashion

By definition fashion at a certain time goes ‘out of fashion’, no matter how good it is. With art this is not the same. Myself, I can see a different depth in art compared to fashion. At the same time, fashion and art inspire each other, almost becoming each other muses. There are many examples of the synergy that can be achieved by combining them both together. 55 - Tell us about your new body of work, you are working with a more fashion-based portrait against graffiti backgrounds.

Henrik - Yes, I am doing a series of paintings where people will be standing in front of a graffiti wall, instead of a museum wall. Graffiti has a very clear contrast to the classical paintings I previously used as the background. I think there are interesting differences and similarities between older paintings and modern graffiti. The older paintings have been preserved for centuries, while graffiti is painted over more or less all the time. This is very interesting and something I want to interact with in my new body of work. I also find the constant movement of graffiti being up to date very interesting. In the same way older paintings contained symbolism to express things, graffiti often contains the written language used to express a particular messages or make a statement. This is something that I admire about graffiti and you will find in my new works. You often find political messages or expressions in graffiti that can be very satisfying to incorporate. In the same way the paintings of Caravaggio aroused strong feelings at the time, graffiti evokes similarly forecful feelings today. @henrikfinearts @55factory

is much more than just surface. At the same time, it is not every fashion item you remember, often a certain fashion or some fashion attributes summarize an entire era. Fashion is often lumped together, becoming either loved or hated. Art works in a different way, as every single piece of art has to defend itself differently. Of course, we talk about styles and clumping artworks or groups of artists together. But there are many paintings that are well known and really stand out for that painting. They have to stand up for themselves on many levels.

HYMN TO HER Photographer - Christopher Sims Fashion Editor - Sara Darling

Make Up- Philipp Ueberfellner using MAC Hair- Renda Attia Model- Martine @ Milk Management Fashion Assistant- Angelo Mitakos Hair Assistant- Selaise Ametewee Photo Assistant- William Samme Post Production- 55Factory

Yellow headpiece- Julia Clancey Blue bustier- Francesca Marotta Neck scarf- Kaaskas

Paisley shirt- Ruby Rocks Patchwork hotpants- Ethologie by Jasper Garvida Charm belt (around neck)- Chatelaine Palm necklace- ChloBo


Yellow silk shirt- Joao Zabaleta Brown leather shorts- Mariana Jungmann Multi窶田oloured jacket- Roopa Pemmaraju Turquoise socks- Item M6 Grey shoes- United Nude Print tie- A Child of the Jago Necklace- Maria Neilsdotter

Map print shirt & tie- A Child of the Jago Sunglasses- Black Eyewear Trousers - Again

Safety pin jacket- Ann-Sofie Back Turquoise shirt- Gyunel Print trousers- Hermione de Paula Grey boots- United Nude

Blue blazer- Ethologie by Jasper Garvida White shirt- Ong-Oaj Pairam Bracelets- House of Holland White shoes- Lamoda Shakeskin belt- Lemiena Green trousers- Darling Choker- Maria Nilsdotter

Yellow shirt- Ozma Bozai Monochrome trousers- Day Birger Red jacket- Darling Necklace- House of Holland Black ring- Pearly

ANNA LAURINI Interview - Christopher George

Moving from Italy to New York was literally an inspired move for artist Anna Laurini. That’s because after spending many years in the Big Apple, surrounded by the positivity of the locals, she found her inspiration to become a professional painter. Now living in London, Anna has developed a unique style that has striking similarities to cubism. Through her joyous and sometimes romantic portraits, she portrays the positive glowingly, but her more abstract works can err towards a darker side of her personality. 55 - Where do you find your inspiration?

What is the reason for this?

Anna - It’s an internal search. I paint when I feel in the right place.

Anna - I believe that an artist creates art without thinking about the classification too much. I make art when and where it calls me.

55 - What’s that internal feeling that pushes your work forward? Anna – It’s the feeling that I do not have a position in this society; I also don’t agree with a lot of what is going on in the world. I need to prove that I have an ability to do something and that’s my painting. I use painting as a positive force; I don’t want to push any negativity out to the world. I look to create something beautiful; however, personally I can be quite dark, though I don’t want to necessarily translate that into my work. 55 - Why do you not explore your negative feelings in your work? Anna - Because there is already so much negativity in the world, I try to make something beautiful. For me, the negative or my anger doesn’t translate onto canvas when I am painting my portraits. 55 - When you paint your abstract work, are you relaying more of your inner emotions? Anna - My abstract paintings do not represent anything of an external visual, so my work tends to be more emotional and dark, coming from within. I work a lot with the surface and sometimes recycled material. This is a good way for me to release what is locked inside me, from this world of madness we live in. 55 - You are not classified as a street artist, but you do quite a lot of street art work.

55 - Is there a sense of freedom doing yourstreet art works? Anna – Certainly, the city becomes your canvas and you have no space limitations. It’s nice to think that the frame of the picture is the city itself.

It’s interesting when an image that describes a mood or an experience is seen in a public, random place. You take it in; you then keep walking the streets on your normal routine. It’s an extremely positive distraction.

I started to do street art almost like a joke, and because I was kind of bored by my surroundings. I understand it can be useful to promote my art and my own vision of beauty; after all, to see art on canvas you need to go and search for it. But art on the streets burst into life on a daily basis, and gives the viewer a moment ‘out of time’ as they move through the streets, as opposed to a gallery.

Raw and energetic, Manchester band The Pink Teens bring sassy experimental and sometimes a pretty extreme sound to your ear holes! With a frantic style that manages to remain surprisingly melodic in parts, The Teens are electrifying, exciting and happy to take you on their ride. Strongly believing in independently produced music, rather than music for the masses, they please themselves, and on the way a loyal and independent crowd.

Jolan Lewis, the band’s front man brings the songwriting and lead guitar to the outfit, along with drummer pal Andy Richardson. Originally called Temple Songs, the duo decided to change moniker, when they let go of old energy and ideas and wanted to start a clean slate. With London being too big for a shared musical community, and most other places being too small; Manchester was the perfect combo for the Teens and they are flourishing with energy that the London music scene seems to have mislaid. Jolan - “It’s common that groups in Manchester will play in each others bands, there isn’t any stand off with the musicians. Everyone plays together and works together, or works around the corner. We share rehearsal space and go to each other gigs. There’s nowhere else that I’m aware of, where this happens so much in the UK” Avoiding the cliché of the ‘Modern London Music Scene’, where bands follow in the footsteps of their successful predecessors, a scene bulging with middle class board kids on a trend mission. The Teens are breaking boundaries by NOT trying to be the ‘new thing’ and just get on with ‘their thing’ rather than searching for a seemingly successful formula. Jolan - ‘It’s not that people in Manchester aren’t trying to do new things, but there not trying to make it big or force it’. The Pink Teens are recording their new single on RIP Records with their debuit album out Autumn 2015

Article - Tom Bernard Photography - Christopher Sims

pink teens

JEROME LORIEAU Article - Christopher George

From England With Love

Discovering the real heart of England and it’s unique social code through French eyes, Parisian photographer Jerome Lorieau has spent several years capturing British personalities that make up our varied landscape and traditions. Expressing himself via documentary and street photography, Lorieau’s work focuses on the social and political scenes which make Britain great….

Discussing his project, he says, “Photography is a medium that allows me to explore the cultural and sociological aspects of life in order to understand the relationship between the people, their traditions/habits/ cultures and their environment.”

The voyeurism of Jerome Lorieau’s photographs capture the sometimes uncomfortable nature of being British – an awkwardness that is timeless and will never disappear.

Avoiding typical historical stereotypes of a foreign visitor to the British shores, Jerome seemingly went undercover to capture an essence of the real English in England. “I preferred to see the photographs like unconventional postcards with no judgment made about the subject.” From England with Love sits between comedy and disaster, which is pretty much how the British tend to see the traditional seaside postcard.

Interview - Sara Darling Photography - Christopher Sims

Outfit – Amber Feroz


It was a pleasure to meet Brighton based singer songwriter Salt Ashes, who is hoping that 2015 will be her year! We talk seaside, Madonna, FKA Twigs and old boats- musicians get their inspiration from everywhere!!

55 - Hello Salt Ashes, loving your sound! But what would you have done if you weren’t a singer? SA - I have no idea! It probably would have been something in music though… maybe on the business side of things. When I was eight I wanted to be a vet!! But that soon disintegrated when I realised how much work that would involve! Seven years at Uni... But saying that, there is a lot of work that goes in to being a musician. I am not shy of hard work, but the idea of a long time at Uni, put me off at the time. I need to be practical. The production side of music also interests me, so that’s something I would consider. I also like songwriting for other artists. 55 - How did you get into music in the first place? SA - Music has always been a part of me. I grew up surrounded by music at home. My parents weren’t particularly musical, and didn’t play anything, but my brother and sister are much older than me, and inspired me a lot. I was influenced by what they listened to, and I was singing and dancing around the house along to the album Madonna by Madonna. My brother listened to a lot of punk and indie rock stuff like Nirvana and Smashing Pumpkins and things like that. I used to sing in front of the camera from the age of three- I still have all the recordings!! 55 - Where did the name Salt Ashes come from?

lost, seas and fires, so in that moment it was perfect for me. I wanted to use it in a song to begin with, but I never felt like a song was good enough for it. It needed to be something else…. 55 - Maybe it was a sign, were you looking for a name at that time…. Or were you using your real name on your work? SA - I was looking for a name actually, so perhaps something out there- the universe was sending me subliminal messages! 55 - Talking of subliminal messages, have you ever felt a connection with FKA Twigs? SA - I think FKA Twigs is so talented and an amazing inspiration, so if people compare me to her that would be a massive compliment. I’m not sure I would compare myself as I am not one to big myself up, so personally I don’t see it, but comparisons are always going to be made. It’s some way of placing you in the market and that’s fine for me. It’s whatever people want to see in you. Someone else might see or hear something totally different in me, so I respect everyone’s comparisons. FKA Twigs is so talented and definitely an inspiration. 55 - I’m sure she would be delighted to hear that! So what’s next for Salt Ashes? SA - I’m not one to think too far into the future, maybe because I’m scared of failure. I’m just happy to focus on what’s happening now, and get the music out there to see if people enjoy it. I definitely have enough songs for an album, so we’ll see. I’m just gauging how people take to the music at the moment and will take each single as it comes. Maybe there will be an EPit is down to the fan’s reaction what happens next…I’m happy with the way things are going at the moment and want to continue to make music. Watch this space....

SA - It’s a weird funny story! Living in Brighton, I love going to the sea and I can just sit there for hours and clear my head. It’s very meditative. There are also a lot of old boats along the sea front, and one day there was one with the name Salt Ashes and it just symbolized what I was doing. I was writing a lot about love

Vivienne Westwood

Article - Karolina Kivimaki Photography - Christopher Sims

Don’t just talk, act on it

Karolina Kivimaki goes political and lifts the lid on fracking, the latest threat to our environment and sees what all the commotion is about…. NOT FOR SHALE! THE FRACKING WORD IS A DIRTY WORD! NO FRACKING IN YORKSHIRE! MANCHESTER IS NOT FOR SHALE! ISLE OF WIGHT AGAINST FRACKING! MPs DO YOU REPRESENT US OR CUADRILLA? 74% SAY NO TO DRILLING UNDER HOMES!

But what exactly is ‘fracking’? To those who are unfamiliar with the term, hydraulic fracturing (in short, fracking) is a technique in which hydraulically pressurized liquid of water, sand and chemicals is injected into wellbore to fracture rock deep under the ground to pump natural gas (shale gas) and petroleum, which is not only damaging to the planet, but to us. Fracking is something that affects us all, and has a large political divide. Labour proposed 13 conditions on fracking; banning fracking from landscape and wildlife protected areas as well as areas supplying drinking water. They also wanted a mandatory Environmental Impact Assessments (EIA) for all fracking operations, including notifications to residents in proposed areas. The House of Lords later rejected these.

Joe Corré

These were the messages on demonstration signs outside Houses of Parliament while MP’s gathered for a final Commons debate on fracking legislation. Although attention grabbing and promising some opposition, sadly 308 voted against, winning over 52 in favour of harming our environment.

It will be up to the Secretary of State to define by the end of July, which areas will be covered by this legislation. It’s also likely there will be no requirement for an EIA, meaning that fracking company won’t need to notify residents individually. Worrying indeed! With the whole debate likely to get a whole lot more confusing in run up to the elections in May.

David Cameron and his team have on the other hand, done a u-turn and gone from promising the ‘greenest government ever’ to getting rid of the ‘green crap’ and pursuing shale gas increase at any cost…..

Whichever your political stance the PR spin race is now on, with Labour, pledging to make climate adaptation one of their main priorities, and to protect the country from extreme weather caused by climate change. The Conservative leader David Cameron and his team have on the other hand, done a u-turn and gone from promising the ‘greenest government ever’ to getting rid of the ‘green crap’ and pursuing shale gas increase at any cost….. Choose your vote wisely! Jamie Kelsey-Fry, contributing Editor New Internationalist and BBC Radio Talking News contributor is not surprised about the Infrastructure Bill debate outcome: “What I feared all along, this simply is an example of the corporate capture of democracy. Powerful corporations have decided that they want to frack in the UK. From years ago there was an inordinate amount of meetings held between fracking lobbyists and parliamentarians, and from that moment onwards the decision has been made and the gravy train was in motion. Nothing democratic like the concerns of the public or the mounting peers reviewed evidence that it’s impractical senseless and dangerous practice.” In 2010 a case in the Supreme Court concerning the former Harrods owner Mohammed Al-Fayed who challenged Star Energy for trespassing, and wanting compensation after it had been drilling for oil under his Surrey estate for decades without his permission. His demands for a share of the proceeds were dismissed, however the claim of trespass unanimously sustained. This case brought much needed publicity regarding the rights of landowners in England and Greenpeace soon fired up their Wrong Move campaign to motivate landowners to stand up and protect their rights. To highlight the worrying state of our environment and the climate change to all of us, Dame Vivienne Westwood has been tirelessly touring Britain with her campaign “We Need To Talk About Fracking”. She has made a very valid point that seems to have fallen deaf ears within the government. Fracking ought to be halted until the health and environmental consequences are known.

Dame Westwood’s son and entrepreneur Joe Corré, also part of anti-fracking campaign, stands next to his mother on this: “Drilling companies are losing billions of pounds, what is it really about? Well, fossil fuel industry is trying to cling onto it, by trying to get any oil or gas they can get. Our aim (at Talkfracking) is to stop fracking, or at least allow people to make their own informative decision. To see what we can do before the election and try to reach those people who don’t normally vote, to back Green Party or Reality Party.” The campaign has attracted support from Paul and Stella McCartney, Yoko Ono, Helena Bonham Carter, Sir John Elliot, Gardiner, Bianca Jagger, Lily Cole, Russell Brand, Vanessa Redgrave and Sir Antony Gormley. It’s great Dame Westwood has used her position to make the debate on fracking somewhat fashionable.

the devastating impact fracking has on our environment, including risk of contaminating ground water, deterioration of the air quality, potential triggering of earthquakes, noise pollution, health risks from exposure to harmful substances – the list goes on. There’s also a growing concern that the US trend of frackademics or fracademia, when an expert is paid for by an industry group, will take over the fracking industry in the UK. Are we ready for this subjective approach? Are the Americans always right?!

Jamie Kelsey-Fry

It remains to be seen what impact the fracking moratorium announced by the Scottish government in end of January and the Welsh government voting against shale gas fracking in early February will have on the Westminster government.

Fracking has been a popular buzzword amongst British energy companies and investors for the past few years, fuelled on by examples led by the US, who have taken a lead in the shale gas production. I asked around amongst my friends, and worryingly only one in five didn’t know what fracking was. So it’s no wonder the government and energy companies don’t seem to think it’s important to involve the public in the debate. It’s only our planet and the legacy we are leaving to our grandchildren… Why is fracking so controversial? The intriguing thing is that fracking has proved to be expensive and there’s no guaranteed profit for energy companies and investors – so why are they pushing for it? Popular theory is that the government is keen to keep the country hooked on fossil fuels, even more so now in the midst of the rise of renewable energy. Any environmental scientist can tell about

I hope this has given you some food for thought and it’s high time not just talk about fracking but do something about it. As Jamie says, “put your body in front of your convictions.” Don’t think he means literally as in chaining yourself to a railing outside Houses of Parliament, like some more persistent demonstrators have done. Just look into the facts – hurray Google – and decide for yourself. “Pre-election time is perfect ground to call your MPs out, you have the power with your vote. Some local Tory MPs have turned around to be anti-fracking, it’s possible to argue for democracy.” @jamiekelseyfry @talkfracking

Shorts & Jumper (set): Boohoo Shoes: Doc Martens Coat: New Era

BOUT DA BOYS Photographer - Christopher Sims Stylist - Joseph Toronka

Grooming - Michelle Court @ Court - On - Camera Models - Jamie W & George @ Established. Styling Assistant - Lovisa Blomstrand Photography Assistants - Will Samme and Yasmin Narcin Post Production - 55FACTORY

Shirt: Doc Martens Shorts: Christopher RĂŚburn Glasses: Cutler and Gross


Jumpsuit, Shorts, Jumper all: Christopher Ræburn Shoes: Doc Martens Bag: Paul Magí

Shirt: Libertine-Libertine Shorts: Libertine-Libertine Sunglasses: Finest Seven Watch: STORM Opposite Page Shirt: Libertine-Libertine Jumper: Libertine-Libertine Turtleneck: Rascals Trousers: AG jeans Watch: STORM

Thanks to Margatet Monte-Colombi & Rose Hopkins


Long Shirt as Coat: Libertine-Libertine Shirt: McIndoe Shorts: Libertine-Libertine Shoes: Doc Martens

Shirt and Shorts: McIndoe

Jeans Jacket and Shorts: Levis Necklace: Storm Cap: New Era

Shorts & Jacket: Kristian Steinberg T-shirt: Doc Martens Socks: American Apparel Shoes: Doc Martens Watch: Larsson & Jennings

Denim like you’ve never seen it before

Thornton Bregazzi

ss15 trends

Article - Sara Darling Illustrations - Adriana Krawcewicz

Burberry Prorsum is always a popular London show. It sets trends that become instant classics, and SS15 is no different. Creative Director Christopher Bailey wowed us all with a denim trench coat, alongside cropped denim jackets and denim with feathers?!! An unusual choice for the school run mum! Marques’ Almeida took inspiration from the 90’s and used black metallic denim and maintained a dark and moody feel for SS15- perfect for sitting under a tree and writing poetry! Joseph on the other hand did oversized double denim, the loose shirts, frayed edges, chunky jumpers and leather was layered up to accentuate a hippy, carefree mood. Meanwhile in Paris, Kenzo did supersize denim, with wide legged pants, midi length skirts and ¾ sleeve jackets- oh so chic! And even Milan, the capital of sophistication, mixed the humble denim with drummer-boy jackets at Gucci, and menswear is upping it’s game with the Dior Homme double denim suit.

Technology students With designers out-smarting themselves in the field of fabric development, it is great to see how engineering is fused with fashion to make some anti-sports, sportswear designs.

Take a look at new(ish) kid on the block, Nasir Mazhar who knows how to make a good crop top and Alexander Wang, who re-interpreted sportswear with bodycon dresses, high-heeled pumps and sporty accessories- not to be worn at the gym, but gym membeship/toned buns an asset!.

Dior Homme

Richard Nicoll used mesh and fibres in an edgy take on streetwear, whilst H by Hakaan Yildrim worked tech fabrics, cylindrical shapes and hexagonal motifs on skirts and outerwear. Marios Schwab’s collection was an architectural adventure into fitness and travel, and Preen by Thornton Bregazzi led the body con trend in neoprene- making dresses which are both sporty and sexy!

The 70s glamour puss


The 70s have dominated the men’s catwalks for the past two seasons, but now the womenswear designers are claiming the decade. My fave picks showcased flattering flares, platforms and bold prints.


Gracing the catwalks of designers, such as Tom Ford who did a rock chick version- perfect for Kate Moss or Mossy wannabes! House of Holland featured traditional 70s prints on shirts, dresses and skirts in a mixture of that classic vintage curtain palette of yellows, greens, reds and oranges. Even frock King Matthew Williamson’s collection was stacked with halter neck tops and maxi dresses- perfect for embracing your inner hippy.

Flower Power It is never a surprise when the simple flower is on trend for the spring/summer season. After all what summarises the spring more than a blooming bulb? However, this season sees the floral trend a little differently, with 3D floral embellishments leading the way for SS15. Erdem 3D featured floral patterns, and House of Holland featured tops and dresses with 3D floral embellished designs.


On the other end of the spectrum, Viktor & Rolf showed very wearable loose floral separates, and in Milan, Marni went bold- and daffodils, daisies, lilies and chrysanthemums played a big part in the garden party collection. Achew! Now where did I put my hayfever tabs?


Paul & Joe gave us pretty florals AND stripes (two trends in one!) and Sarah Burton for McQueen showed us a collection inspired by traditional kimonos, complete with leather, buckles and graphic floral motifs. One can only hope the very enviable lace up gladiator sandals will go into production too.

MENS STYLE Article - Sara Darling

It’s inevitable that you need an outdoor jacket. Whatever your weekend persuasion, it probably won’t involve pottering in your joggers ALL weekend! So what you choose to wear to face the world, or the corner shop, you can cover a multitude of take away stains in our pick of the crop jackets. Barbour is a go-to staple. As one of Britain’s oldest labels, it’s reputation for wrapping up the country folk in the finest waxed cotton has been adopted, if not hijacked by the city boys. Now the label is accessible to all and the uniform of camo, patchwork and quilting is set to nestle nicely with the military trend for SS15.

If leather is more your thang. Take inspiration from Italian brand Belstaff who having been re-creating the biker look since 1924! SS15 offers jackets in all kinds of colours- with zips, pockets, poppers and studs. Full of attitude and sex appeal, it’s the perfect combo for dirty denim- perhaps not the best bet for Sunday lunch with your girlfriend’s mum.

54 For a more laid back approach to sartorial Sundays, you can’t go wrong with Universal Works. The master of cotton, canvas and tweed, this is the ideal label to wear for understated traditional cool. With suit style jackets, peacoats and duffle coats, you are sure to find the perfect addition to a working ‘lived in’ wardrobe, Ideal to be worn alone (trousers recommended!!) it’s definitely worth checking out the rest of the collection for Sunday cool.

Alternatively, Dutch label G-Lab, a relative newcomer to the UK market, is the go-to jacket for all seasons. Based on performance wear,it promises to be waterproof, windproof and breathable! Taking design inspiration from the biker jacket, the more accessible trend led cuts are designed for the high tech man fan (and woman) on the move.

Article - Karolina Kivimaki

CHRISTIAN GHAMMACHI TWO WHEELS ACROSS AFRICA What to do when you crave an adventure? Simples, you go on one! In Christian Ghammachi’s case it was him and his BMW motorbike, driving 12,000 miles across fifteen African countries from Cape Town via Zambia, Malawi and Tanzania to Uganda and Kenya, ending in Djibouti six months later.

With vastly eclectic weather conditions ranging from torrential rain to scorching sun, mud slides, barely existent roads, road accidents and sore muscles, have all added to the one man quest. A lawyer turned photographer, is part of the reason for the mission, and Christian’s video diaries turned into several episodes of beautifully shot and edited ‘selfie’ documentaries. His thousands of photos have also been shown in international exhibitions, with the next one taking place in Dubai in May and London later on in the year. Although he camped in many locations with sparse mod cons, one of his pit stops was the luxurious Rhino Africa lodgings. Founded as a socially responsible tour operator, the company believes that the way forward in African tourism is via alleviating poverty, supporting communities and local resources and conserving wildlife. They are also avid supporters of

Genocide Memorial, Rwanda.


Swaziland near the southern border with South Africa

Equipped with bare essentials to survive and his photography equipment (including an airborne drone called Casper) plus few gadgets like Thuraya iPhone SatSleeve and satellite broadband, this was no fancy bike ride.

With the journey complete, Christian only has glowing praise for the country and his journey, stating, “The greatest asset in Africa is its people, incredibly warm and sincere, I never felt lonely,” But he is not just enthusiastic about the drive and scenery; he visited forsaken places and made friends with locals in villages and remote towns. Having formed a contact with SOS Children’s Village in Nhlangano, Swaziland prior to the trip, he also took personal images and footage of the inspirational children and their carers living there. “These children live in a family environment with a ‘mother’, who is in charge of the children. It feels like a family. I want to help as much as I can by bringing awareness and planning a fundraiser in Dubai around March.”

Malawi-Zambia border

With a few adrenalin filled ‘bucket list’ achievements like bungee jumping off Zambezi River Bridge in Victoria Falls, white-water rafting in Great Usutu River in Swaziland and witnessing the annual wildebeest and zebra migration in Tanzania, the largest mammal migration in the world, Christian has definitely inspired 55 to go and explore the rest of the world. And take a camera with us. Where to stay from budget-friendly to luxury by Rhino Africa, ( Chitwa Chitwa Game Lodge in Kruger National Park, South Africa Bomene Bay Lodge, Inhambane, Mozambique Serengeti Migration Camp, Serengeti National Park, Tanzania Mountain Gorilla’s Nest Lodge, Volcanoes National Park, Rwanda See Christian Ghammachi’s journey and video episodes on Find out more about SOS Children’s Villages in Swaziland on

Save The Rhino Trust, hence the name.

58 Stockists Again - Amber Feroz - Ethologie by Jasper Garvida Mariana Jungmann Ruby Rocks - Chatelaine - ChloBo - Julia Clancey - Francesca Marotta - Kaaskas – Roopa Pemmaraju – Item M6 - United Nude - A Child of the Jago - Maria Nilsdotter - Ong-Oaj Pairam - House of Holland - Lamoda - Uzma Bozai - Day Birger - Darling - Pearly - Black Eyewear - Hermione de Paula

Gyunel - Ann - Sofie Back - Lemiena - Kristian Steinberg - Doc Martens - American apparel - Larsson & Boohoo - New era - Libertine-Libertine - Rascals - AG jeans - STORM - Spangled - Christopher Ræburn Paul Magí - Ashley Marc Hovelle McIndoe - Iceberg - Cutler and Gross - Levis - Finest Seven - Gabicci -

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55pages issue 8.  

We are delighted to share our slightly oversized 55Pages, with the one and only Dame Vivienne Westwood. Her #talkfracking campaign is the pe...

55pages issue 8.  

We are delighted to share our slightly oversized 55Pages, with the one and only Dame Vivienne Westwood. Her #talkfracking campaign is the pe...