cool brother // issue one: plantlife by cool brother

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Nature buffers as twigs tug your arms, pausing for a short moment, before swinging back into motion. Leaves twitch, out of focus. Birch cracks. Lengths of light dangle freely like thick noodles.

Take a walk through these pages and discover Plantlife illustrations by some of our favourite artists. Dan Whitehouse, Robbie Simon and Steph Dutton make artworks exclusively for your eyes, creating a visual contrast from the rest of the zine.

Donâ&#x20AC;&#x2122;t just buy their records â&#x20AC;&#x201C; get to know them. The bands featured helped make this issue. Reside inside these woods unknown, as Goat Girl, Black Lips, Lice and Hinds cackle and crunch in your palms. Woody Cecilia, Editor

PLANTLIFE ILLUSTRATION BY DAN WHITEHOUSE FOR COOL BROTHER VOL 02, ISS 01.

he FaMil Art director: Emma Balebela

Photographer: Caoimhe Hahn

Editor-in-chief, creative director, stylist: Woody CeciliA

The self-published print zine created by bands, illustrators and young creatives. Cool Brother is an ever-expanding family.

Contributing photographers: Fiona Smallshaw Conor Todd Contributing music editors: Lorenzo Ottone Cal Cashin Contributing style editor: Lorenzo Ottone Contributing illustrators: Noah Harmon Stepien Waldemar Ana Popescu Antony Huchette Dan Whitehouse Jun Cen Kate Pugsley Kit Agar Robbie Simon Steph Dutton Tishk Barzanji Big thanks to: Katherine Plumb Sara Fernholm Tom Flynn KANA Print Future Awards Iconic Images Advertising enquiries: advertise.at.cool.brother@gmail.com All other enquiries: cool.brother.magazine@gmail.com

Editor’s Letter Tour Diaries 9 Join Th e Brita nys at SXSW, a s they documen t the f estival on disp osable cameras

The Family

with Black Lips, A Very Short Interview Cosmos 15 Frankie and Wife Hinds, Dream more, rather g tin wan you Designed to leave d than feeling overfe

Split Lips: Goat Girl vs. Lice 25 It’s Lice and Goat Girl all aboard the same ship, and it’s their turn to ask the questions

Rock ‘n’ Roll Tuesdays: Yassassin 31 Leave your shoes at the door, as we head to Yassassin’s house. Candidly shot, we capture the band on their day off

Ask Your Mother : Pizzagirl 37 What’s the best way to get to kn ow someone? Sit them in fron t of their pare nts

Terry O’Neill 41 Behind the Lens with worth ary icons, it’s not end leg not If they’re talks Bowie, her rap tog pho s the film. The sixtie atra Brian Jones and Sin

On the Road with Allah-Las 49 Ride to Saskatoon with Allah-Las, as they meddle with the tape deck

Style 53 Celebrating autonomy over compliance

Charlotte Patmore Shoots From the Hip 51 Charlotte Patmore lives the lives of the musicians she captures. We snapped fifty quick-fire questions her way Sixties Style: Shot by Duffy 61 The unpublished archives exhibited at Proud Central The Illustration Collection 85 We joined Katherine Plumb in her Brixton studio to screen print Plantlife tote bags

PLANTLIFE ILLUSTRATION BY KIT AGAR FOR COOL BROTHER VOL 02, ISS 01.

PLANTLIFE ILLUSTRATION BY KATE PUGSLEY FOR COOL BROTHER VOL 02, ISS 01.

“We spend three quarters of our waking lives together,” so claim The Britanys. Hear their music and this will hardly come as surprising news. The Brooklyn boys are as tight on record as their friendship is strong. They’re a band of brothers, essentially. All living under the same Bushwick rooftop, their apartment also serves as a recording studio and rehearsal space for the foursome. Silky, bruised Lou Reed vocals trip and tease in a gutter of raspy instrumentals that howl the kind of hell we all crave in famish. They may still await all the recognition they’re due, but they’ll get there. If they’ve surpassed living in one another’s fraying pockets for this long, chances are they’ll last a lifetime. Here’s your ticket. Go on tour with The Britanys to this year’s SXSW festival, as they document it all on their own film cameras.

Words: Woody Cecilia

Was this your first time at SXSW? Second! Best band to party with and why? My cousin, whose house we were staying at. She is a legend! (Not in a band though). Tell us a story from your trip. On the plane down, the flight attendants noticed we were a band and gifted us a handful of those little bottles of liquor each. We got groomed though. They said we had to sing for them in return, so we sang really shitty renditions of Frankie Valli and Beatles songs, and they gave us even more free booze. Just before landing, a man who was walking down the aisle collapsed in a diabetic shock onto Jake. Then, after he came to, we helped him to a seat to get examined by a doctor. The flight attendants told us to find them after landing because they had a gift for us, which was every shooter of liquor in the cabinâ&#x20AC;&#x2122;s inventory. It set us up perfectly for a very saucy week. What are your favourite memories of the festival? Lucas being a party boi all week long, Lucas busting his lip on a mic and Lucas squeezing a cactus.

Let’s talk about that tattoo now, if we may. It’s a pretty big talking point! The other day, I made Jake show it to a group of teenagers and they all roasted him. He’s got equally bad ones in the past year. ‘Opps... I did it’s again – Britany’s Spear.’ ‘SXSW 2017 I Shredded It Thank You Daddy’ (which he was supposed to update this year, but didn’t).

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17 Ready to read in full at coolbrother.co.uk

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‘Somebody’ is a ballad for women reclamation of . It’s about identity, soli darity and stre through the sh ngth aring of voices . When we play it live, Rakel calls the girl s to the front, saying ‘Bad bi tches, claim yo ur space.’ When you are on this level with in that room an everyone d there are al l these incred women at the fr ible ont singing, “I am not my body I’m somebody” , together, it fe els empowering .

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21 Ready to read in full at coolbrother.co.uk

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PLANTLIFE ILLUSTRATION BY STEPH DUTTON FOR COOL BROTHER VOL 02, ISS 01.

Alastair Shuttleworth: I still haven’t seen you guys play! How would you describe a Goat Girl live set to me? Naima Jelly: We’re not exactly your typical band. We don’t jump around a lot. We’ve never done that, because when we started, we were quite nervous, so we didn’t then – and it’s stuck with us since. It’s kind of nice, as it means we don’t have to show off. I guess it’s just a projection of the songs, really. What about a Lice show? AS: It’s weird. Our guitarist Silas is a bit of a war manager. He just stands there and watches over us. He’s a guitar genius. Our bassist Gareth is just running around, getting his dick out, naked... NJ: It’s always the bassist, I swear [laughs]. AS: Exactly. He’s legitimately one of the weirdest fucking dudes I’ve ever met. He’s just a renegade. And it’s a weird contrast, as it kind of shows up how much of a non-musician I am. I play keyboards on two songs for twenty seconds, and I still fuck it up.

Words: Woody Cecilia

It’s Lice and Goat Girl all aboard the same ship, and it’s their turn to ask the questions. Gather forth as Naima Jelly [Goat Girl, bass] and Alastair Shuttleworth [Lice, vocals] discuss starting out shy, playing live and meeting Mark E. Smith.

NJ: [L aughs] The sa for us me goe though s – we’v offici e neve ally l r e a rnt ho our in w to p strume lay nts. S singer o , ? are yo u the AS: I sing i n a ve of the r y loos term. e sens I shou That’s e t vagu the th ely. ing – are li the ot terall hers y thre musici e of t ans I’ he bes ve eve just s t r met, ort of and I showed strang up, so e that i I t NJ: Th ’s get to at’s q front uite c it. AS: Ye ool th ah, it o u g ’ h! s grea to sor t. I j t of f ust ge loat a you li t bout. stenin W h o’re g to a t the moment ?

Photography: Holly Whitaker

NJ: We went on tour with Jerkcurb recently. His music’s just fucking beautiful. It was one of those moments when you’re like, ‘I can’t believe I know that person, because they’re so ridiculously good.’ AS: Oh, shit, yeah. I listen to Jerkcurb a lot. NJ: Yeah, he’s really good. Milk Disco are great too. And then, have you heard of Suitman Jungle? AS: Oh, no, I’ve not actually... NJ: It’s the drummer from Micachu & the Shapes! He’s got all these live drums, and he just plays jungle beats on them for about an hour. It’s the most mind- blowing thing. To actually see jungle in a gig setting feels so out of place, but it works so well. It’s nice having more dance bands popping up in London. It gives people some moves, because the crowds can be quite static here sometimes. AS: Do you know Blood Sport? They call themselves agrobeat, because it’s kind of based on afrobeat – but with an industrial, post-punk aesthetic with Mark E. Smith kind of yelped vocals. It’s kind of horrible, but they’re one of the best bands on the planet. NJ: Oh, okay, I’ll listen to them now. You’ve supported The Fall, right? What was that like? AS: So, basically, when you get offered to support The Fall, the first thing you realise is that all of your friends in music have a story about Mark E. Smith.

PLANTLIFE ILLUSTRATION BY ANA POPESCU FOR COOL BROTHER VOL 02, ISS 01.

PLANTLIFE ILLUSTRATION BY ROBBIE SIMON FOR COOL BROTHER VOL 02, ISS 01.

NJ: I know, yeah! AS: Shame actually supported them a week before us and Eddie Green, who is about the sweetest man I’ve ever met, went up to him and tried to say hi. Mark E. Smith called him a “Southern cunt,” and kicked him out of his own dressing room. NJ: Yeah, I heard about that. AS: And then Idles got chewed out too, so I was fucking terrified. But after our show, I watched The Fall’s set and thought, ‘Fuck it, we’re not gonna get to play with them again – I’ll try, and he was literally about the sweetest man ever. He gave me a can of Holsten Pils, I got a photo with him, he shook my hand, said thanks for supporting and stuff. It was just out of nowhere. He was really sweet. NJ: Ah, I love The Fall to bits. Apparently he heard us play from his dressing room and liked it, which is nice! I did not even meet him though! What about The Country Teasers? We literally, just... without [Ben Wallers], it would be nothing – do you know what I mean? AS: Yeah, absolutely, he’s a total genius. Wait, your band and my band actually both put out songs that namecheck him! You guys had ‘Country Sleaze’ and we had ‘Gentleman’s Magazine.’

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Photography: Simon Holliday

AS: What was it like when you first played with them? NJ: The first time we played with Ben was great. I think it might have been at The Ivy House in Nunhead. AS: Oh, sick. NJ: I think we were all kind of taken aback by it. All of this attention is just so welldeserved. Like, it wouldn’t make a difference to him whether people cared or not – he’s been working for years and years, just because he likes doing it. He’s just great! AS: Yeah, and the amount of humility... You’re kind of expecting him to be a sort of blunt, brash figure, but he just isn’t. I interviewed him, actually. It was meant to last just fifteen minutes, but I ended up geeking out to him for like an hour, and he was totally cool with it. I gave him a Lice t-shirt after the interview and said, “Dude, can you play with us?” About three months later, he came back to Bristol and supported us. That kind of humility is special, you know? You see it rarely! It’s the real deal.

PLANTLIFE ILLUSTRATION BY NOAH HARMON FOR COOL BROTHER VOL 02, ISS 01.

PLANTLIFE ILLUSTRATION BY JUN CEN FOR COOL BROTHER VOL 02, ISS 01.

ROCK ‘N’ ROLL TUESDAYS WITH

31 (yassassin)

It’s Tuesday and it’s raining, as we make our way to Hackney. We’re here to visit Anna and Moa, two fifths of the band, in their East London home. The plan is to pinpoint and shoot what their days off consist of, documenting it all. Is it granola for breakfast and calls home to mum, or will the carnage simply ensue? Candidly shot, we discover just this, unveiling the outfit that is Yassassin. As we arrive, so do the rest of the band, one-by-one at half-hour intervals. Huddling up to share a two-person sofa, the band are still very much entwined in each others’ lives, even on their midweek weekends. Where do they get their energy? Today, it’s cucumber crumpets doused in hot sauce, shovelled down and swilled around with cafetière coffee. Anna Haara Kristoferson [lead vocals] does this while applying red lipstick and avoiding cramped elbows to the cheek. As the day pans out, things become clear. There are no days off in the land of Yassassin. It’s off to their East London rehearsal studio, with a few stop offs along the way. Like disturbed cats, guitars scratch through the beige walls that surround us. Furrowing themselves free from the mundane, they practice an all new song. Synchronised screams sneer lyrics born out of suppression and injustice, while a cream coloured tambourine quietly taps. They’re a juxtaposition of sorts. Hostile, kind, focused, fun, they’re doing things on their own terms. Words: Woody Cecilia Photography: Caoimhe Hahn

PLANTLIFE ILLUSTRATION BY Antony Huchette FOR COOL BROTHER VOL 02, ISS 01.

He’s been fiddling with the clocks again. Liverpudlian solo-act Pizzagirl loves all things eighties. Pairing fizzing vocals with garish graphics, he spends most of his days making music from bed. Birthed with the name Liam Brown, he is all about the synths. It’s a Tetris block lock-in, but you won’t feel like leaving any time soon. What’s the best way to get to know someone? Sit them in front of their parents. With this in mind, we passed the pen onto Liam’s wonderful mum, Julie. We explained she could ask anything. Potentially after our own jobs though, she decided to keep things professional – and a very good job she did too. Words: Woody Cecilia

A lot of people have commented on how ‘80s your music sounds. Where would you say your ‘80s influences came from? I think all the ‘80s influences come from you, driving to school. There was an ‘80s compilation on all the time, wasn’t there? I feel like a lot of that rubbed off on me. And I always liked the aesthetic of it – all the colours and the cheesy instruments that were used, so I think I’m definitely in that sort of range. Was there a specific moment that made you know that music was the career for you? I’d go back to that advert – you know the Sony one with the bouncy balls that José González sings on? It’s probably my all-time favourite song. I’ve listened to it for how long now, maybe ten years? And I’ll probably listen to it over and over again. It has a weird, anchored place in my childhood. If I hadn’t seen that advert, I might not be making music today. I feel like adverts with music snapped me into place, going, ‘I wanna do something like that.’ Right then, what do you like the most about making music? Being by myself! I don’t have to listen to anyone, I don’t have to take any influences from other people. The beats are here. I can just sit in my room and crack on, making songs that I feel are just totally me. It’s a bit weird sometimes, but I like the fact that everything I make has one-hundred percent come from my brain. That’s the interesting thing. The songs are everything about me in three minutes. Is there anything that you don’t like about it? Definitely! Probably having no third party input on it – to say, ‘Yeah, this could be tweaked.’ And it gets a bit You don’t know when to start making music, and you don’t so you’re just sitting in your room all the time, making a bit claustrophobic, but I wouldn’t change a thing.

just no other ears mentally draining. know when to stop – ideas. It does get

What would be your dream venue to play a gig at? I think Glastonbury would be cool. You went, didn’t you? And I remember you saying, all the bands at the time were really cool and stuff. Glastonbury or Coachella would be great, with everyone going a bit crazy in the Californian sun. Or The Royal Albert Hall, with a big orchestra.

If you could win a music award, which one would you choose? It would be fun to go around saying you’ve got an Oscar, wouldn’t it, for Best Original Song? Showing it off in Liverpool, or going around the Bluey, the pub around the corner! [Laughs] And finally! You can only answer yes to this question... Is your mum the best in the world? She’s alright, yeah! She asks some good questions, like. She’s debatable at times, but I’d say you’re alright!

BEHIND THE LENS WITH: TERRY O’NEILL

He’s shot them all. Audrey Hepburn, David Bowie, The Rolling Stones, Brigitte Bardot. London-born Terry O’Neill was twenty-one when his career as an icon photographer took flight. By the sixties, he was off to L.A., documenting the lives of legends, spending three weeks straight with Frank Sinatra. He was twenty-four-years-old. There’s an etherial quality to Terry O’Neill’s work. A dreamlike transcendence that sings. He captures the moment, as if sweeping it up and bottling it – dust particles ‘n’ all. You’re there. You can smell what’s been swallowed, you can feel the caress of the sun’s gaze from that day and the metallic tap to the spine, induced by its absence. This is hedonism in pictures. Clamber in and take a dip. Words: Woody Cecilia

What is it about your hero Eugene Smith that particularly strikes a chord in you? I think it’s the moment that strikes me, the emotion of the photo. He was such a master – and when I first started out, that’s what I thought I wanted to be. I had to cover a major plane crash for the paper once, and was then asked to go back to cover the funerals. That’s when I decided I wasn’t cut out for that line of work. It was too hard! I was much happier taking photos of The Beatles. Am I right in thinking The Beatles were the first band you ever shot? I think they must have been. I was the young kid on Fleet Street – probably at least twenty years younger than the next photographer – and that was very much on purpose. The editor said to me, “Look, we think kids are going to be really big and we need a photographer their age. Go down to Abbey Road. There’s a band there recording, and we’d like to run a photo of them.“ When I went down to the recording studio, I suddenly realised I didn’t really know how to take a photo of a band! Paul, John and George were all playing guitars, so that was pretty easy. But then, how do I show that Ringo is the drummer? I know – I’ll have him hold up his sticks and a symbol! Looking back at this photo now, it’s pretty comical. But the photo ran and the papers sold out. The editor was right – kids were going to be really big. Were you aware of how big The Beatles were? At that photo session, they were just lads playing music. They were around my age! The funny thing is, a year or two later when I was in L.A. taking photos of real Hollywood legends like Fred Astaire, all they wanted to talk to me about was The Beatles! I figured, ‘Blimey, if Fred Astaire’s asking me about The Beatles, they must be big!’ In the years that followed, we’d often meet up at the Ad-Lib pub in Covent Garden. We’d have a few drinks and laugh about what we were all going to do next, after our ride was over. None of us thought the moment would last. The next band would come along, the next film-star, the next model... and we’d all have to get proper jobs. I remember Ringo was thinking about buying a chain of hair salons. We’d laugh at even the idea of Mick [Jagger] on-stage at the age of forty. Look at him now, still touring.

You spent three weeks shooting Sinatra. When you’re with someone for that amount of time, you must surely see their vulnerable moments. Did you experience anything like this with the icons you’ve worked with? You do. When you spend that much time with one person, you become part of their lives, in a way. But I never took that for granted – and I never, ever wanted to take a photo that I wouldn’t be proud of. In the late ‘60s, I was travelling back to London – I can tell this story now. I don’t remember what airport I was in, but I saw a guy completely out of it, slumped over in the waiting area, and it was Brian Jones. Now, when I first started to work with Brian and The Rolling Stones, he was the leader. He was even paid a bit more than everyone else! But the drugs and alcohol won him over, and there he was, absolutely wrecked. I didn’t take that photo. He passed away only a few months later, aged twenty-seven. What’s the best way to get to know the people in front of the camera when you’re under time constraints? Just point and click! When I took photos of Amy Winehouse, she was performing at Nelson Mandela’s 90th birthday celebration in London. I really wanted to take her photo, but I had all of a minute to do it. I asked her to stop, look at me and snap, snap, snap. What’s your favourite memory of David Bowie? I really enjoyed working with him, because it was always a different setting, character, moment – and he was always professional... Except that one time! It was 1975, Los Angeles. Elizabeth Taylor rang me up, and she was really interested in meeting David Bowie to speak about a role in an upcoming film she was involved in. She asked if I could arrange it, so I made the calls and a lunch was set at director George Cukor’s home. Around 1pm, no Bowie. 2, 3, 4.... Then around 5:30 or so, he pulled-up. No one keeps Elizabeth waiting! The light goes early in Los Angeles, and I knew if I didn’t get a few shots in, I would miss the chance. Elizabeth instinctively knew that too, and she swept him up in her arms. I was able to capture some wonderful images of them together, the first time they met. Needless to say, he didn’t get the part in that film, but they did go on to be lifelong friends. What was your relationship like, would you call Bowie a friend? I would, yes, but he was working non-stop at that time – recording, touring, filming – everything. I worked with him on film-sets [Man Who Fell to Earth], on-stage [Diamond Dogs], in the recording studio [Young Americans], and I always enjoyed it. I was able to capture some great photos. Do you think he was hiding behind his Ziggy Stardust imagery? No, not at all. He had dozens of characters throughout his life, his career. When he was Ziggy, he was playing that role. When he ended Ziggy, I think of it as an actor finishing a performance on-stage. Then it’s on to the next role! Bowie’s said in the past that he felt like an actor when on stage, rather than a rock artist. Having worked with actors and musicians heavily, how did you see him? Exactly like that. He was one of the first musicians I ever worked with who transformed on-stage into a different character. You were there during Bowie’s final Ziggy Stardust performance. What was the atmosphere like backstage, did he seem melancholic? He didn’t – I think he moved on months prior to the Marquee performance. He did a big show at Hammersmith a few months before the Marquee, and it was at that show that he announced this would be the last Ziggy performance. And, in many ways, it was. The Marquee performance was being shot for television, so it wasn’t a typical concert. They’d do one song several times to make sure the cameras got different angles and the shots were right. It felt like I was working on set of a film more than a live gig. I was given all-access, which was great, because I took a lot of photos backstage, during rehearsals and of the fans.

And those shots are now available in hardback! We just published a book called ‘When Ziggy Played the Marquee.’ I can’t believe how many photos I took – rolls and rolls. So many of the fans came to the book events – fans who were there, that day, at the Marquee. It was great – and I have to say, David Bowie has the most loyal fans. You must have seen Bowie’s ups and downs, having spent a lot of time with him in the seventies. Did you try to help? That was his business, you know? And, to be honest, there were a lot of people trying all sorts of things from the ‘60s on. I think that was the main reason why I stayed away from all of it. I saw what drugs and alcohol could do to a person, how it could seriously destroy the most talented of them all. Brian Jones, Amy Winehouse – we’ve lost way too many people to drugs.

You’ve said in interviews before that you never particularly liked Bowie’s singing. Did you ever tell him that? Of course not! I was a photographer, and that was my job. I wasn’t a critic – who cares what I thought of his music? What I did know is that he made a great photo, and that’s what was important. But I worked with so many different types of musicians, from Sinatra to Elton John, AC/DC, The Who, Led Zeppelin, Stones, Beatles, the list goes on and on and on. Everyone knew I loved jazz. So why was Sinatra the only jazz musician you photographed? The answer is simple! I was too busy listening to the music to even think of taking a photo. Now, how about an autobiography? Oh, well, you see – I’ve been lucky. Really, really lucky. And I’ve had the most incredible life. The people I’ve met, the places I’ve been – incredible. But I would never want to betray the trust people put in me to sell a few books!

PLANTLIFE ILLUSTRATION BY TISHK BARZANJI FOR COOL BROTHER VOL 02, ISS 01.

On the Road with: Allah-Las Three out of four Allah-Las band members were working at Amoeba Music when they first met. It’s little wonder their knowledge of vintage tracks is so extensive. You can hear it in their art too. Three albums in, and their sound is still ever-wet, drenched in grains of influence and salty flavour. Only one thing’s been a constant, and that’s their location. The hulking avenues that swivel beneath L.A.’s vibrating sun have been a harbouring cot for the band’s creativity. You can hear the city in every note. Join the boys on a car ride to nowhere, as they meddle with the tape deck. Words: Woody Cecilia

What are you wearing on the first day of travel? A robe List five things you packed in your suitcase. Robe, kefir, hammer, scepter, sponge Did you forget anything? Ointment What are you reading? American Alpeh by Wallace Berman If you could revisit a place en route, where would you go? Saskatoon Fancy writing a haiku about it? Tears in Saskatoon. I found a candy wrapper Where the flowers bloom.

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True artists can’t be contained. They inhabit their work until they are their work; and fashion photographer, Charlotte Patmore. Travelling the world with the the musicians she captures. Buried in their being, she becomes part of the band, questions her way. Words: Woody Cecilia

WHAT’S THE BEST WAY TO CAPTURE SOMEONE’S PERSONALITY IN A PHOTOGRAPH? GET TO KNOW THEM! DO YOU GET CREATIVE BLOCK? SOMETIMES. HOW DO YOU OVERCOME IT? WATCH FILMS, DANCE, GO TO GALLERIES, WALK AROUND THE CITY OR NATURE. YOU’RE ON TOUR WITH BLACK HONEY. WHAT DO YOU HAVE FOR BREAKFAST? WHATEVER IS LEFT IN IZZY’S ICE COOLER BAG. WHAT’S THE LAST TEXT YOU SENT? <3 NAME A PERSON WHO INSPIRES YOU. FRIDA KAHLO. WHO’S YOUR FAVOURITE PHOTOGRAPHER? ALASDAIR MCLELLAN. WORST PIECE OF ADVICE YOU’VE EVER BEEN GIVEN? CHANGE YOUR STYLE TO FIT IN. NAME KING KRULE’S BEST QUALITY. INTEGRITY. FILM OR DIGITAL. WHAT’S YOUR PREFERENCE? FILM. IF YOU STARTED A BAND, WHAT WOULD YOU CALL IT? VOTE FOR PATMORE. OF ALL THE ARTISTS YOU’VE WORKED WITH, WHO HAS THE BEST CROWDS? SO HARD TO CHOOSE – THEY’RE ALL OUT OF CONTROL! WHAT’S THE GREATEST LENGTH YOU’VE GONE TO TO GET THAT PERFECT SHOT? UNDERWATER! I’M REALLY BAD AT HOLDING MY BREATH. DO YOU PREFER DOING FASHION SHOOTS OR LIVE PHOTOGRAPHY? FASHION... WELL, PORTRAITURE. CAN YOU RECOMMEND A REALLY GREAT PHOTOBOOK? MINE! COMING SOON TO A MERCH STORE NEAR YOU. WHAT’S YOUR FAVOURITE CAMERA TO SHOOT WITH? MY NIKON FM2 – IT WAS MY FIRST FILM CAMERA. WHERE’S YOUR HOME AWAY FROM HOME? L.A. TOP TOUR TIP? STAY HYDRATED. HOW DO YOU FIND THE MOMENT IN THE MOMENT? THEY JUST PRESENT THEMSELVES TO YOU, BUT YOU CAN NEVER STOP LOOKING. WHAT WERE YOU LIKE AS A CHILD? CREATIVE, DRIVEN AND INDEPENDENT. WHO WAS YOUR BEST PAL? APRIL. SHE PLAYED THE SAXOPHONE AND WE STARTED A CHEERLEADING SQUAD TOGETHER IN PRIMARY SCHOOL. WHO’S YOUR BEST PAL NOW? LAUREN MACCABEE. TELL US SOMETHING ABOUT HER! SHE’S A RIDICULOUSLY TALENTED PHOTOGRAPHER AND HAS ONE OF THE BIGGEST HEARTS IN THE UNIVERSE. COLOUR OR BLACK AND WHITE? COLOUR. WHAT’S SOMETHING YOU WISH YOU’D BEEN TOLD WHEN YOU BEGAN TAKING PHOTOS? THERE’S NO RUSH TO FIND YOUR SIGNATURE STYLE.

every brush stroke, a shoehorn into the artists’ core. The same goes for music likes of Black Honey, Kate Nash and Charlie XCX, Charlotte lives the lives of uniquely documenting every detail. Cool Brother shoots fifty quick-fire

HAVE YOU GOT A FAVOURITE NOVEL? WEAVEWORLD BY CLIVE BARKER. IF YOU COULD STEAL ANY PIECE OF CLOTHING FROM BLACK HONEY’S IZZY BAXTER WITHOUT HER KNOWING, WHAT WOULD IT BE? PROBABLY HER CUSTOM LEATHER JACKET SHE HAND-PAINTED. BIKE RIDE OR WALK? WALK. IF YOU WERE A SIMPSON, WHO WOULD YOU BE? LISA. DESCRIBE THE BEST PHOTO YOU’VE EVER TAKEN. THIS ONE OF MY BROTHER THAT I TOOK IN OUR FLAT WHEN WE USED TO LIVE TOGETHER. HE HATES IT, BUT THE LIGHT IS UNREAL. WHAT’S THE MOST AWKWARD DATE YOU’VE BEEN ON? WENT ON A TINDER DATE WITH SOMEONE JUST TO USE THEIR WIFI, AS MINE BROKE AND I NEEDED TO SEND PHOTOS TO MEET A DEADLINE. FAVOURITE CITY TO SHOOT IN? L.A. WHAT’S THE ULTIMATE PHOTO PROP? TELEPHONE. GREEN TEA OR COFFEE? COFFEE. WHAT DO YOU LOVE THE MOST ABOUT WHAT YOU DO? IT’S UNPREDICTABLE. ARE YOU INTROVERTED OR EXTROVERTED? EXTROVERTED. HOW DOES THIS AFFECT THE WAY YOU TAKE PHOTOS? I GUESS IT GIVES ME CONFIDENCE. EXPLAIN WHY LAUNDROMATS ARE SO DANG PHOTOGENIC. THEY’RE THE SHAPE AND COLOUR COMBOS OF MY DREAMS. WHAT’S THE MOST PLAYED SONG ON YOUR ITUNES? ‘DREAMS’ BY FLEETWOOD MAC. IF YOU COULD TRADE IN YOUR LIFE FOR ANYONE ELSE’S, WHO’S WOULD IT BE? I WOULDN’T! WES ANDERSON’S IN YOUR UBERPOOL. WHAT’S YOUR PLAN OF ACTION? MINIMUM, I HAVE TO BE AN EXTRA IN THE NEXT FILM. YOU’RE THROWING A DINNER PARTY. WHAT DO YOU MAKE? TAKE OUT. WHAT’S THE MOST OCEANS ELEVEN THING YOU’VE EVER DONE? I BROKE INTO GLASTONBURY. IF YOU COULD PHOTOGRAPH ANYONE, DEAD OR ALIVE, WHO WOULD IT BE? FRIDA KAHLO. PIZZA TOPPING OF CHOICE? PINEAPPLE. WHAT’S YOUR ULTIMATE PICK-ME-UP? ART GALLERIES AND SUNFLOWERS. DESCRIBE YOUR PERSONALITY WITH ONE EMOJI. TAURUS. WHAT DID YOU DO FOR YOUR LAST BIRTHDAY? KARAOKE. WHAT’S YOUR FAVOURITE DISNEY FILM? SPIRITED AWAY (OBV S/O STUDIO GHIBLI). WHAT ARE YOU LISTENING TO AT THE MOMENT? ‘AFTER THE STORM’ BY KALI UCHIS ON REPEAT.

Celebrating autonomy over compliance, style is an attitude, rather than a code of conduct. Itâ&#x20AC;&#x2122;s as much about the clothes as the people wearing them. This is an appreciation for the construction of clothing â&#x20AC;&#x201C; the fabrics used, the way the garments fall and the curation of everyday pieces. Photography: Caoimhe Hahn Styling: Woody Cecilia

Sara wears – JACKET: Weekday, TOP: Re.Sustain, TROUSERS: Mulberry, SOCKS: COS, SHOES: Converse Tom wears – SHIRT: The Cords & Co, TOP: Printed Goods, TOTE BAG: KJP x Cool Brother

Sara wears – JACKET: Re.Sustain, TOP: Printed Goods, TROUSERS: The Cords & Co, SOCKS: COS, SHOES: Vans, SUNGLASSES: vintage Tom wears – TOP: Have a Good Time, TROUSERS: Weekday, SOCKS: COS, SHOES: Converse

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SIXTIES STY SHOT BY DU The unpubl archiv exhibited Proud Cen It’s 1979. Smoke and flames are lifting from a backyard in King Henry’s Road, Swiss Cottage, filling London air of the acrid smell of burning plastic. Some film negatives are slowly melting, eaten up by unstoppable fire. The backyard belongs to the studio of Brian Duffy – one of the pivotal lenses of 1960s’ London. Duffy was experiencing an existential crisis, followed by a breakdown, that convinced him to quit his career, completely let down by the media industry. Fortunately, his attempt was stopped soon enough to avoid a big loss of his age-defining work. This is Sixties Style: Shot by Duffy, a show of saved and signed shots Duffy left us before passing away in 2010, aged seventy-six. The exhibition took place at Proud Central between 2nd February and 18th March this year. Here, we reflect upon his most iconic highlights which would revolutionise society and style for years to come. Take the changing face of ‘the woman’ in 1960s’ London, for example. Breaking the rigidity of traditional fashion photography, Duffy’s models are dynamic and independent. Capturing that quintessential Swinging London Blowup suspended pipe dream, Duffy uses studios and the streets to canvas his photographs. This creates a mixture of classic cool versus playful candour. Actors, actresses, models and musicians were shaping the fashion of their time and the society of tomorrow. Duffy may have looked like a bank employee, with his sparse hair and white-shirt-black-tie combo, but he had the gift of capturing the stills of ideas to come. He was the avant-garde. Simply consider his pop-arty experimentations with coloured gloss in 1963, a good three years before this aesthetic became mainstream. Fashion, lifestyle and jet set, this is 1960s Duffy. Words: Lorenzo Ottone

Michael Caine Smoking, 1964, Photo Duffy © Duffy Archive You can’t really be a Swinging London photographer if you haven’t snapped Michael Caine at least once. Duffy didn’t only shoot Caine, but indeed managed to frame his most iconic representations – the contact sheet, also used for the recent Caine-directed My Generation documentary. In ‘64, Michael Caine was the upcoming face of British showbiz. A self-made man taking London by storm from Elephant and Castle. With his essential but flawless style, Caine embodied the typical working-class Brit who fought to affirm his auto-determination, despite the poor upbringing. Duffy’s skill is all about capturing on film the human and joyous side of the South London boy, differently from the more authoritarian Ipcress File style of David Bailey’s work with Caine. No photographer ever made a nerdy thick frame and a cigarette look more seducing.

E-Type Jaguar, Opening of the M1 Motorway, 1960, Photo Duffy © Duffy Archive It’s assumed that in 1963, a Liverpool band revolutionised style by sporting Pierre Cardin round-collared jackets on their record sleeves. Well, two years earlier, Duffy shot a male model in that very jacket. No wonder the photographer’s considered such a connoisseur of culture. He studied dress design at Saint Martins School of Fashion, which provided him with knowledge about how to obtain the best results from clothes, when shooting.

John Lennon with UFO Detector, 1965, Photo Duffy © Duffy Archive In this portrait, Lennon is holding is a ‘UFO detector’ that he had just bought in New York during The Beatles’ infamous last U.S. tour. Lennon brought the novelty item along with him to the studio for the amusement of Duffy’s team. This tongue-in-cheek gaiety is fully captured by Duffy’s lens, which gives justice to Lennon’s comedic side. This shot surely stands out among Duffy’s studio work, proving the photographer’s ability to capture dynamic and lively portraits in a traditionally strict environment.

Ponte Vecchio Florence, Vogue, 1962, Photo Duffy © Duffy Archive The provincial quiet of lazy early 1960s’ Italy is disrupted by the stormy arrival of a model on the scene of this picture, who takes the role of an art installation. This neorealist vibe is common to other Duffy works for this 1962 Vogue feature. The model standing next to the arch seems to be compared in grace and elegance to ancient Renaissance architecture. The guy riding a Vespa, glancing in a quintessentially Mediterranean style at the model, is another neorealistic dolce vita staple – in turn, sparking some strong inspiration for those London kids who would soon revolutionise British culture.

PLANTLIFE ILLUSTRATION BY WALDEMAR STEPIEN FOR COOL BROTHER VOL 02, ISS 01.

Photography: Fiona Smallshaw

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