K-SWISS #Klassof18

PRESENTS

K LASS OF ‘18

KNOTS AND VIBES SIRIUS FILM MALIK BLACKFISH COLLECTIVE KAY DAVIS

KLASS OF ‘18 Throughout 2018, K-SWISS invited a selection of entrepreneurial creatives to collaborate on a range of artistic projects exploring the themes of culture and identity. With a hand-picked group of photographers, artists, designers and more - KLASS OF 18 aims to showcase emerging talent, supporting them on their way to shaping the creative industries worldwide.

@KSWISS #KLASSOF18

E M A N UNAJI

Emmanuel is an artist and model whose work focuses on perceptions of culture, drawing attention to how we view the world and why.

Combining collage, paint, illustration and fashion design, Emannuel is constantly growing in his artistic endeavours alongside his modelling career which has seen him star in editorials for GQ and Highsnobiety.

describe it, and that is the revolving dialogue of my work.

The split images are the perfect metaphor. Each illustration is derived from two parallel narratives - ‘Blacks in Grey’ & ‘PLAYGOD’. Whenever I see an image or hear a song that connects, it’s a quick reaction to write some words about it. Then to find an image that embodies the concept and to gradually tear it apart in order to re-envision and create a more factual perspective.

@eman_unaji @unaji_ www.unaji.co.uk

Tell us about ‘Unaji’ – When did you decide to translate your art onto wearable pieces?

Tell us about your journey as an artist – where did it all begin?

I’ve always been a fairly quiet yet highly opinionated person, so making art has always interested me throughout school.

The idea of visualising and materialising a thought is priceless to me, especially concepts that communicate personal, social and political issues. My brother Lemuel would have to be the main catalyst in my career as an artist, his early scope of both our potentials to be what we are now was staggering. He would always talk about the relationship between Art, Fashion & Music back in 2013 when there wasn’t much of a scene, that sparked my interest.

Who are your favourite artists?

Dave Chappelle. Virgil Abloh. In the fine art world Jenny Holzer, Franz Kline, Picasso, Lemi Ghariokwu, Sterling Ruby and Roy Lichtenstein to name a few. Musically: Fela Kuti, James Brown, Skepta, Asap Rocky, Studio 32, Wiz kid etc. I like the picture authentic music creates. It’s also funny how art connects, I’m beginning to work with a couple of the musicians in my playlist, shout out Lancey Foux, Poppy Ajudha & Kojey Radical.

Do you have a process when designing new pieces? What inspires you?

I’m triggered by the contrast between mainstream media and the real world. Perception vs Reality is the best way to

Unaji&co is an art and design company and a collective team of two fine artists & a web designer. Artistic innovation is at the heart of our business, creating artwork that resonates with a wide audience regardless of race, age, social class etc.

Our aim is to champion authentic creativity and to compete at the highest level artistically. After seeing Sterling Ruby’s work wear: garment & textile archive in Spurth Magers exhibition back in 2016 I was inspired to translate my illustrations into wearable art. I see clothes as a unique surface and the concept of mobile art has always interested me.

A lot of your pieces combine text with photo and illustration – what kind of messages are you trying to get across?

I’m gravely moved by the miscommunications from mass media. My mixed media style is an exploration of information and images we are bombarded with on a daily basis, imagine a photograph as a lie and the drawn/painted element as a search for inner truth. Inspiration is drawn from the zeitgeist, the pulse of a forever evolving time. As an artist I’m compelled to find meaning in a world with a fleeting attention span.

Has being a fashion model influenced your process as a designer?

Yes, majorly. I had a conversation with Ayishat Akanbi on set for a campaign which honestly changed my life. All she asked me was “What kind of artist are you, are you one that reacts?”

I was lost for words at the time, she might not know but that

challenged me and I’ve been on fire ever since. Challenged me in the sense that I began to observe and question my surroundings more, and articulate my conclusions on our unfair capitalist society through my art. From being entitled I quickly realised modelling is somewhat a blessing only a few people ever get to experience. Whenever I’m on set I do the same, I observe, sketch, take notes etc. It’s always something different, interesting locations and people. I have begun to see ‘modelling’ as a metaphor for a capitalist society, putting the obvious power dynamic aside I realised we are all trying to sell something good or bad. Does it ever stop?

Where would you like to see yourself in 5 years time?

In 3-5 years time I honestly see myself and my brother as fully established fine artists, collaborating with some of our favourite inspirations and brands. Things are already unfolding and our paths are beginning to cross. We want to champion authentic creativity and compete at the highest level. I’ve written it down to get nominated for a Turner Prize by 2020, God willing. Life is random, but I think brands would have fully understood the connection between my career as a fine artist and fashion model in that time, which would have lead to some very rare campaigns in the future that incorporate my art style. I'd also like to see our art and design company Unaji&co become a staple in the world, with frequent art exhibitions in England and abroad.

PHOTOGRAPHY: ALEX MASSEK @RIVERSIDEBLUES

G I L L E T T S Q U A R E WORDS: LUCI WILDEN PHOTOGRAPHY: STEFY TASCA

O

ne of East London’s most celebrated public spaces, Gillett Square was developed in the 1990s, transforming a disused carpark into a well designed urban outdoor space with areas for performances and teaching. Part of this redevelopment was the introduction of the market pods that now house local traders such as an Ethiopian coffee shop, Jerk Chicken vendor and NTS Radio station.

Last year a petition was launched to save the Dalston hub from the threat of redevelopment – over 5,000 people signed their name to the cause, expressing their concerns about the gentrification of a space that has become a sanctuary to so many. Although Hackney Council have confirmed they will not be considering sale of the square, there is a planning application in place to create more office space in Bradbury St which will in turn leave the 9 ‘pod’ businesses displaced for at least a year.

“One of London’s great benefits was the variety of different types of neighbourhoods, but it keeps getting rid of the places that have character. Gillett Square is my favourite spot in London, it has an atmosphere I can’t describe. Filled with a vibrant mix of cultures, small businesses and crowds of skaters, the square is a focal point for the local community and one of the only places in London that has a sense of communal freedom, but is now facing a metamorphosis." - Stefy Tasca If approved, the development will inevitably result in considerable disruption to both the local community and the traders operating in the square. Although the outcome is uncertain, a manager at Hackney Co-Operative Developments has stated ‘We do not intend to lose sight of how valuable Gillett Square is for so many in the community.’

Photographer Stefy Tasca chose Gillett Square as a location for her latest shoot, capturing a group of skaters in the place they’ve grown to call home.

"In recent years the skaters’ community in London has faced challenges as a result of urban gentrification. This project is aimed to celebrate youth, freedom, diversity and friendship during a big political change, while gentrification is destroying London’s soul.” - Stefy Tasca

S T E F Y T A S C A Stefy is an Italian photographer based in London. Shooting in a documentary style, her work focuses on capturing the faces and personalities of people she comes across in day to day life and while travelling. @stefypocket www.stefypocket.com How did you become a photographer?

I started taking photos when I arrived in London 10 years ago, coming from Italy, London was made for me, there was too much going on for my eyes. I started seeing everything as a frame and took photos of everything that surrounded me. I used to upload my photos on Tumblr, there was no clear intent but I was just doing it because it was fun. Then I started to study photography, graduating in Photojournalism at the London College of Communication. After graduating I did an internship at Tyron Lebon’s studio and assisted photographer Amelia Troubridge now I’m a freelance photographer.

What brought you to London?

I came to London 10 years ago the plan was to stay few months to learn English but then I decided to stay a bit longer. I love London, multiculturalism and being part of this mix, and what excites me most is seeing how different cultures mix and mutate.

How has travelling inspired you creatively and personally?

Exploring and going on adventures allowed me to come across interesting situations and people. As a documentary photographer, I always felt the creative benefits of travel, but my favourite thing is the whole process of the cultural immersion and engagement with the people I photograph.

Tell us about the people you photograph and what you are trying to capture

I like to document what I observe. I’m fascinated by faces and I love personalities and people who are under represented.

Who are some of your favourite photographers?

There are so many of them but I think my main inspirations are the legends Martin Parr, Boogie and Alex Webb.

Why do you shoot on film as opposed to digital?

I like the fact that film makes me more disciplined in what I shoot, when I shoot on film I’m only shooting the frames I want to take. What excites me most is the waiting after I drop my film off at the lab and the happiness of when the pictures come back.

What do you consider to be your greatest achievement so far?

Making it happen! Spending my life jumping around places and always collecting faces for my archive.

Tell us about the images you shot in Gillett Square – what do they mean to you?

There’s something very special about Gillett Square! It’s a square in the heart of Dalston, filled with a wonderful mix of people, big Afro and Caribbean community, skaters, the Kaffa coffee, the Jerk place, the children, the people hanging out and the people marginalised by the rapid social and economic change occurring around them. Hackney Council is considering selling on the open market to private developers... It's quite a unique space, there aren’t many places like that left in London and it would be another big loss if the sale goes ahead. For the 'Klass of 18' project, I decided to shoot Dan, Nelly, Rhi and T - a crew of skaters I met few years ago in Dalston - to celebrate youth, freedom and diversity through the spirit of the skate community during a large political change in London.

RUBY

L O N D O N

PHOTOGRAPHY: ANNA PORS @EDEN_SPACE STYLING: HOLLY WOOD @HOLLYBLOWSLIGHTLY HAIR: AMBER JENNA MERCEDES LAVENDER @PEROXIDEAMBER MAKEUP: JEMMA BARCLAY @JEMMA.BARCLAY MODEL: SAMANTHA MAIA JAMES @SAM_MAIA

Ruby is a freelance illustrator and artist based in London. Taking inspiration from life experience, her work combines imagery with short, punchy slogans. With a background in fashion design and product development, Ruby is also becoming known for creating unique, statement tracksuits. @rubydoobylondon www.rubydoobylondon.com

Tell us about your journey as a creative I’ve always been into drawing and making things from young, forever encouraged by my nan and grandad. I feel like we are lucky if we know where we want to be when we are little but for some of us it takes us a long time to figure out if it’s actually the right thing to do. We are constantly being led by society to think education = good job = happy.

As we are figuring out, this is not the case we can get lost in jobs that we believe are the ‘norm’. I had a hard home life, but I went to a good school. I then got kicked out of school and became slightly lost. I moved in with my nan in Camden to work for a while, then got myself back into studying and somehow got myself into London college of fashion. Then, like the norm, went onto work in an office and in various design houses/fashion roles, but I just forever felt stunted. It was time to make a change, and after personal traumas and some basic realization while arts volunteering at a charity I turned to what I loved most, drawing.

Where do you get the inspiration for your illustrations?

From pretty much all personal life experiences and experiences of my nearest n dearest. Social and cultural topics and weed of course.

When did you start making clothing and how did you learn?

To be honest I still don’t know every trick in the book and I’m very dyslexic so I am always messing up and unpicking things because no matter how many times I stared at a pattern, when it comes to sewing, something will go wrong. I was a terrible seamstress in all parts of my education however I worked really hard and read loads of books and

with lots of practice I have become a level of intermediate. As soon as I can afford an incredible seamstress he/she will be my first employed.

Do you have a process when designing new pieces?

I take inspiration from my favorite subject matters, trends, friends etc.

Then I will start with a mood board and pull together my favorite reference imagery and just sketch, sketch, sketch until I come up with one I like. Also, I have always kept a back log of things I have wanted to make so I’m always tapping into that.

Tell us about the vision and inspiration behind the tracksuit you made for 'Klass of 18' I just thought what sort of K-Swiss tracksuit would my friends or I want to wear? I then fused it a bit with current trends and past trends. Added the K-Swiss colors and then boom.

Any plans to sell your pieces or start your own brand?

I sell bits of my work but I won’t create a store of items until I’m happy.

I don’t want the pressure of it until I’m confident enough myself. It’s never been about the money for me, it’s about learning how to work for myself happily and effectively and that’s still a process in the making.

If I had to put a time scale on it then I hope within the next year I will have a live store.

What advice would you give to others just starting out in the creative industry?

I would say you need to establish whether you want to work for yourself or somebody else. If the answer is somebody else then be accepting that you might have to float around a lot until you find the right job for you. If you do, then make sure you settle with a company that is kind to you, where you are valued. Don’t work for no micro-management- it will piss you off and run you into the ground.

If you want to work for yourself, get a side job you love that will allow you space to create and the right finances to do your thing in your spare time. Other than that, believe in your idea and just fully go for it because even when there are set backs, well who cares? Being creative should be your personal therapy in life.

ABBEY KENNEDY Abbey is a London based photographer whose work focuses on representing and highlighting youth culture. Capturing a long list of music artists such as Lukey Storey, Chip and Blackfish Collective, Abbey's photographs have been featured by the likes of Highsnobiety, Viper magazine and PAUSE. @shotandstyled @saucenetwork www.shotandstyled.co.uk

Tell us the story of how you became a photographer I was studying Fashion Styling and Creative Direction at Uni - part of the course was to learn about photography but I didn’t take it very seriously until I finished. For Christmas my parents bought me a camera, which is the same one I use today. I started shooting my friends for fun and got into editing. I then started DM-ing freelance models and other creatives on Instagram and it just kind of went from there.

Who is your favourite person to shoot and why?

My favourite person to shoot would probably be Lil Xan. I recently got into videography as well and started shooting for DJ Semtex. The

security asked me to come out the pit for the rest of the show which was really annoying because i'd only managed to get a few shots. I snuck backstage and managed to actually shoot on the stage while he was performing and create a vlog from the whole show so it was really fun just to see what happens behind the scenes and what the artists are really like.

What’s your main source of inspiration and drive?

My main source of inspiration would be other aspiring artists. There are so many low-key photographers/videographers who work so hard who haven’t been noticed yet and it really inspires me when I see them posting all of their work when I have a lack of motivation.

Also @maxdotbam, the photographer for $uicide boy$ - He creates tour vids/pics for the duo which is what I really aspire to do.

Do you have a creative process when planning a shoot?

I hardly ever have a creative process to my shoots - a lot of the work is unplanned. It’s very spontaneous, I base it around the people I shoot and their aesthetic. I used to style my shoots, but now I prefer to ask the models to bring whatever they feel comfortable in and google map an area that looks interesting. The main aim is to capture their personality in the picture and make them feel as comfortable as possible because the people I normally ask, aren’t normally models.

What do you consider to be your greatest achievement so far?

I don’t have a particular achievement I’m proud of. For me, I have been shooting for free a lot and started to doubt my work as I quit my job and had no income so it was hard to keep motivated.

However, recently, I think just people messaging me and acknowledging my work has been my biggest achievement because that’s all I wanted. I have also just accepted a job as junior editor which I’m excited to start working. I was really tired of bar/retail work.

Tell us about Sauce Network and how it came about Sauce network formed from seeing the culture around us and

wanting to represent and connect it more. As active members in the community all freelancing and doing our own things to advance it, it made sense to come together and work on a joint project. We work on productions behind the scenes, pooling our resources and talents to document music and fashion culture as it’s happening in our areas, with a goal of connecting cultures, particularly youth scenes, from around the world. @RICOSORZANO @ASSSTHETIC @_PHOTOSBYAJ @B.CREATIVE You recently directed a music video for Lukey Storey – is this something you plan to do more of?

I’m really grateful for shooting with Luke. I had been following him for a while and saw he posted about needing someone to shoot a video for him, so I just DM’d him. I sent him some of my little BTS vids from my shoots and he liked it. On the day of the shoot we changed locations and it was very last minute however it worked out perfectly and it was the first proper music vid I had directed.

He was happy with the outcome – we’ve now filmed 3 music vids together and I’m going to be shooting another with him soon. He has a SBTV vid coming out soon and its going really well so I’m excited for him!

Where would you like to see yourself in 5 years time?

In five years time, I want to be shooting for my favourite artists on tour. I want to be filming at festivals, especially in America. Music is a big thing for me. I listen to a lot of American underground artists and I would love to shoot them from the beginning of their journey before they blow up.

What advice would you give to others just starting out?

The best advice would be to not give up which sounds cliché to say but, I feel my work has evolved a lot since my first photo/video.

I used to compare my work to everyone else all the time which would make me want to quit but I realised everyone’s journey is different and stick to your own style. Just try to shoot as much as you can in your free time, because the more your practise the better you’ll get. And binge watch youtube tutorials! That’s how I learned to use Adobe.

BLACK FISH COLLECTIVE Photography: ABBEY KENNEDY Styling: PALESA DLAMINI

Blackfish are a creative collective formed in Dublin, with the purpose of encouraging freedom and individuality through creativity. Hailing from various African countries including Nigeria, Angola and Zimbabwe, many of the group arrived in Ireland as asylum seekers with their families when they were children. Brought together by a bond of being the ‘weird kids’, Blackfish consists of: Demi Gosh, Caleb Kunle, The Vice, Prettyboy Francis, PRNC$$ and Mo-Tabs. @blackfishcollective @demig0sh @_the_vice @prettyboyfrancis @caleb_kunle @prncss.blackfish @moigbosonu http://www.blackfishcollective.com

How did you all meet and how was Blackfish formed?

Prettyboy Francis: Dublin is a very small city, we had known each other through primary school and through a variety of activities like church and house parties. It originally started as an idea; but as time progressed this idea developed into a strong desire.

Demigosh: Like Francis said it started as an idea and developed into a strong desire, although we had known each other from a very young age and some of us grew up in the same areas, we bonded in the music and gigging scene in Dublin. Some of us were already in our Indie band (The Notas) - We were all spending so much time together and shared creative ideas, taste in sound and appreciation for art that it only felt natural to form a group that we can put out and perform the body of work we created together.

What’s the music scene like in Ireland? Why did you decide to move to London?

Demigosh: The music scene in Ireland is on a massive come up right now.

Before we moved we felt it wasn’t quite ready for what we had to offer, it was very much saturated with a very specific type of artists catering to a specific genre. In order to develop and craft the ideas we had at the time we needed to be in an environment that allowed us to do that. We decided to move to London to facilitate this, the spirit of the melting pot resonates with the merge in sounds and characters within the collective.

How would you describe your musical style?

PRNC$$: Our musical style is a range and a clash of a few genres. We mostly create edgy alternative urban music. We range from dark ethereal sonics to a lighter alternative pop sound.

Demigosh: Yes. Over the course of our career we will be releasing music which varies in style. Our aim is to prove that we are unlike any other collective our audiences have come across, in the sense that we have a diverse pallet of sounds in which we can craft, produce and perform.

What/who inspires you the most when it comes to making new music?

Prettyboy Francis: When we come together as a group we want to make new music our individual inspiration and interest helps us forge the ideas we use to create what we do. The fact that we all have different inspirations and draw from different types of artist in various fields gives us a unique edge to creating which means everyone has something to contribute. I have always had an admiration for Michael Jackson, Marvin Gaye, Prince, Bob Dylan, Kanye & Gorillaz.

Demigosh: For me, it’s Bon Iver, Spooky Black, Fela Kuti, Sylvan Esso and Sigur Ros. Experiences and stimulating conversations inspire us to make new music. We all live together so it’s just natural that I’d come home to hear someone playing a draft of something that they have created based on a previous conversation or scenario that’s happened in the house. Naturally I would catch a vibe add a thing or two, Mo Tabs would do something when he hears it too and it’s the same with all the other members.

Tell us about your new single – Sitta Bella.

Prettyboy Francis: Its one of many feel good pop songs we cooked up since the release of our last single. Its sonically different from ZOBO, our last one.

PRNC$$: This single aims to remind us all that we all have a Sitta Bella—an ‘it girl’—within us or around us in our lives and providing all those things vital for making your Sitta Bella feel good, how they are empowering and how they are powerful. Sitta Bella is the greater representation of women.

MO Tabs: Its and Ode to summer, we want people to relive their summer vicariously through the song and the visuals Demigosh: As far as we can remember The “it girl”, the “one that got away”

has always been inaccurately depicted by society, media and art.

Take “The Birth of Venus” (Featured in the Single’s Cover Art) by the renaissance Sandro Botticelli, in this painting the he depicts Venus the Roman Goddess of love, beauty, desire, sex, fertility and prosperity is the same way our current society depicts “it girls” with unrealistic bodily features and behavioural attributes which are not true representations of the women within our society. true representations of the women within our society.

Aside from music, what else do you do?

PRNC$$: Aside from music we are involved in short films, photography, fashion, art installation pieces - most creative mediums we are somewhat involved.

Demigosh: A lot of our other involvements are yet to be released but we are working away in other creative outlets and will very soon be sharing what we are getting up to.

Where do you get the inspiration for your visuals and music videos?

Demigosh: A lot of different sources and it varies depending on the song and topics within it. We usually draw inspiration from artists i.e Botticelli as mentioned earlier on or from movies for example Dead Presidents, Snatch and A Clockwork Orange. We also look to our peers for inspiration either to decide what direction to go in and which not to. Personally, I love the works of Es Devlin, Salvador Dali, Alejandro Jorodorowski and HR Geiger.

For anyone that hasn’t yet seen you perform, what can you tell us about a Blackfish show?

Prettyboy Francis: It depends, our shows can be controversial, wild, energetic, dark, LOUD DRONES, flashing lights, tribal afro sounds, delivered with a layer of eerie R&B Sonics, giving chills. It can get a little intense at times and there was this one time where Demigosh & I were giving out so much heat that someone actually passed out in the crowd. But it is the perfect balance of Yin & Yang with a spiritual element to it. You would have to be there to experience it. I can confidently say we have the best show in Europe. Yes EUROPE. What else does Blackfish have coming up this year?

MO Tabs: We are realising Sitta Bella, our first single in over a year and this will be swiftly followed by individual releases from Demigosh, Caleb Kunle and Princess.

Demigosh: I won’t say too much but we are working on something to close out 2018, to know you’ll have to keep an eye on our social. All I can say for now is it’ll be very sick and you’d be gutted if you miss it.

SIRIUS FILM Danika Magdelena, also known as Sirius Film, is a London based photographer that has become known for her candid, snap-shot style. Often photographing influential models and musicians, Danika has also shot look-books for the likes of Wray & Nephew, ASOS and Patta NL. @sirius.film @thegdcproject Tell us about the journey that brought you to this point

I started Sirius Film just over 3 years ago. I studied photography during A-Levels but it was never something I took that seriously, as I never imagined myself becoming a photographer at that point. It wasn’t until I started my art foundation that I started to develop more of an interest in taking photos. I’ve recently just finished studying at London College of fashion and can now I say that I officially have a degree in BA Fashion photography.

It was quite difficult balancing studying with freelancing, personal projects and working in retail but the results so far have been very rewarding and I believe it can only get better.

What’s been your proudest moment so far as a photographer?

It always changes but I think my first exhibition for my ‘Girls Don’t Cry’ project is definitely top 3. It was such a great night filled with proud moments for me and the responses and opportunities I received afterwards were amazing. I would also say my first shoot working for a global iconic sportswear brand when I was 20. Definitely a proud moment.

What have you learned over the last few years as a creative?

I’ve learned how to be more conceptual with my art, manage my finances, improve (and still improving) the

quality of my work and most importantly recognising my worth and only investing my time and effort into projects I actually feel passionate about or serve me a purpose. Also working with people for personal projects that I genuinely respect.

Tell us about the GDC project and what it means to you.

Girl’s Don’t Cry is my passion project. The easiest way to describe it at the moment is a platform promoting female empowerment, mental health awareness and selfexpression, through art and creativity. However, my ideas for the brand are still developing. I really want to find more time to collaborate with female artists, as well as working with brands to have more workshops surrounding these subjects. It’s a work in progress that I’m still nurturing.

Do you think social media has played a big part in your success?

A huge part! Instagram holds the largest body of work I have, and has played a huge part in promoting Sirius Film- Twitter included. There are definitely downsides to social media but from a business perspective, I don’t think I would have been able to share my work as successfully without it. There are also so many different features and aspects to different social media platforms that help to showcase art even better than before.

Where would you like to see yourself in 5 years time?

Hopefully with a super successful freelancing career!

What advice would you give to others just starting out?

‘FCHW’. I used to watch this guy called @SpokenReasons on Youtube and when I first read this question it was the first thing that popped into my mind. It stands for Faith, Consistency & Hard Work.

JJC CLOTHING

PHOTOGRAPHY: SIRIUS FILM @SIRIUS.FILM

JOSIE

CARR

Josie Carr is the founder and designer of J.J.C clothing- a womenswear brand making made-toorder and custom pieces. Working with a variety of textures, Josie’s creations range from bra-tops to coords, halter mesh dresses and the iconic frilly ‘meanie’ top. @j.j.c.clothing How did you learn to sew?

I learnt to sew from my mum, she’s always loved clothes and making them so I think it’s something that just naturally got passed on to me. She’s taught me everything I know, you can show her any item of clothing and she’ll know to make it.

What inspired you to launch your designs as a brand?

I don’t know really! I always just get a load of different ideas for designs in my head and I didn’t really know what to do with them.

I’ve never got on with uni and I didn’t have any connections in fashion so creating an online brand just seemed like the most logical way to get all my ideas out into the big old wide world! I love doing it and it’s been brill to see how people wear my clothes.

What does a day in your life look like and how do you balance other work with the brand?

I try to be productive as I can! Some days are kind of chilled, others can be a bit nonstop. I usually try to wake up early, seize the day!

Sew any orders I have, slowly work on new designs and also work a couple of shifts at the pub. I spend the rest of my time cook, cook, cooking for me and my friend’s new food baby, the BBQ BBY. Tell us about your other business – BBQ BBY! BBQ BBY is the name of me and my pal Liz’s new pop up food stall.

We’ve been going around to events grilling up lots of barbecued dishes for both meat eaters and vegans. It’s all still pretty new to us and it’s a lot harder work than I thought it would be! But, at the end of the day I love cooking, coming up with new recipes and I get to do it with my best mate!

Where do you find your inspiration when you’re designing?

Can be from anything like films, books, lots of googling, Instagram.

Mainly it’s from what I see people wearing around me, I can get easily obsessed with how a certain person dresses.

Any plans for a new collection?

Yes yes, I have been looking at old Victorian books and have lots of ideas involving frills, I also want to get better at making lingerie so I can start creating a new underwear range!

What was your vision behind the clothing you designed for ‘Klass of 18’?

I have a massive pile of fashion and music magazines from the 90s and early 2000s so I started getting loads of ideas out of there. I was looking at people like Aaliyah and TLC I love all the matching two-pieces and the bandanas!

OMAR KHALEEL

STYLING: NAOMI GORDON @NAOMIXGORDON MODEL: MUSSAB BAKER @BAKERR_BREAKERR

Omar is a British-Yemeni photographer raised in Birmingham, UK. Specialising in fashion editorial and portraits, Omar has previously shot music artists such as Novelist, MIST and Nines. Along with an impressive client list, Omar’s achievements include being featured in The Guardian, Hypebeast and Highsnobiety. @omarkhaleel.co.uk www.omarkhaleel.co.uk

on the same journey as you. I enjoyed my time at university, but only because I found my lane and the friendships I made. I would say the most beneficial things I got from going to university was the time to understand and develop my own style as a conceptual artist and the friends who shared the same passions as me because we encouraged and bounced off each other.

Are there any photographers that inspire you?

I enjoy the work of Dean Martindale and Filmawi Efrem as well as many other great photographers.

Tell us about the journey that led you to become a photographer

What was the vision behind your ‘Klass of 18’ shoot in Morocco?

I got into graphics first during my last term or so of school when we were asked to design a brochure for an ICT project. My school didn’t teach art subjects back then so I used YouTube to learn what to do.

I loved it and quickly picked it up. Then I enrolled at college using a basic portfolio of work that I put together that summer whilst waiting for my GCSE results. I planned to go all the way doing Graphics, but by the time I started university, I was starting to feel constrained by the images available to me. They didn’t always fit my vision so I always felt my work was compromised. During my first semester I had made new friends who were doing Photography. Between them, my tutor and the way I was already feeling about my course, I felt encouraged to switch lanes to Photography. It was the best thing I did.

I was asked to produce a shoot with a focus on cultural identity. So, I built on the social documentary shoots I have done previously, referencing the bi-cultural social identity of young British Arabs through fashion. I worked with a male British Arab model to demonstrate the fluid and hybrid nature of fashion and places. There is a lot of retro vibes in fashion these days, especially from the 90’s, so I used this shoot to show how it blends in easily with traditional fashions in traditional locations such as the famous souq (market place) and square in Jemaa el Fna, Marrakesh, Morocco.

Do you think going to University was an important part of developing your skills?

If you are really into something, you can pretty much learn most techniques yourself. And the truth is, you keep on learning after you leave. What university gives you is a broad overview of the different skills needed and a globally recognised certificate that gives you confidence in yourself and abilities: that you are good enough. It also exposes you to people who share the same passion as you and are

Where would you like to see yourself in 5 years time?

Shooting more campaigns with bigger establishments and growing as an artist.

What advice would you give to others that are just starting out?

It’s not easy and it won’t happen overnight. There will be highs and there will be lows, so you have to use your own initiative, be resilient and determined if you want to have a shot in the real world.

PHOTOGRAPHY: ZAMANI ISTIFANUS @XAMANIJNR STYLING: UGONNA NWAKA @UGONNA_ MAKE UP: PHOEBE BEN-KALIO @PHOEBEBENKALIO

Joy is a Nigerian-British hair artist fast becoming known for her braiding skills. Taking inspiration from traditional African styles, Joy’s work explores a range of techniques and designs leading her to work on set with Jorja Smith and Asap Rocky. With a background in architecture, Joy is continuously searching for ways to translate and transform hair into architectural forms. @joydarlinginnit How old were you when you started styling hair and what sparked your interest?

I remember being in primary school aged 11/12 braiding my friend's hair in the playground. Every other week my aunty would come over to braid our hair, I really wanted the independence to braid my own hair, I wanted that luxury. So I would watch my aunty, follow her to other clients houses to watch her braid. My mum saw my interest and bought me a barbie doll head, which I practiced on every day after school. I was obsessed, practising and failing until i could cornrow, french braid, then box braid. Then at around 16 i stopped.

When did you start braiding again? How did you get into braiding?

After undergrad, I took time off - I was burnt out and seeing a therapist, she asked me what skills / talents I had. I went home washed/ conditioned/ blowdried my hair, and did box braids. It had been a while, it looked terrible. But my friend asked if i could do the same style for her. Then another, and slowly I was braiding and having conversations with people I hadn’t seen in a while.

I created a tumblr using what i learnt in architecture school around the different hairstyles i was braiding and it became a mini project.

How does your Nigerian heritage inspire you creatively?

It forms my identity, therefore informs my work, the culture, food, dress, languages, braiding styles etc. My mum grew up in Borno and Dad in Southern Kaduna. I’m hugely influenced by Northern Nigeria, I love how Hausa girls dress, speak, smell, omg, i tried to copy them when i was younger, and failed miserably. I guess my love is manifest through my work instead?

Tell us about the cultural significance of your work I strongly believe in our local crafts industry in Nigeria from weaving, metal and wood work to braiding. However, it has been devalued and severely appropriated by the West. I’m passionate about reclaiming and re-appropriating these creative processes especially braiding.

How do you feel about black hair in the beauty and fashion industries?

It’s annoying to talk about but because there’s still a lack of representation and understanding, the conversation needs to be brought up until there is change. Authentic change. If I walk into a Boots or Target, black hair products are labelled under the title “Ethnic” a side shelf at the end of a mainstream “Hair” aisle. Growing up any hair advert was a white woman flicking their hair after a great blow-dry. We are treated and marketed too differently. It feels like when black hair is being marketed now - its trendy, because inclusivity is “in” right? I’m not sure. That’s why I started my @blackgirlslovepink instagram account. It’s almost like a response to the teen mags i used to read as a kid who would never include black hair ads.

Do you do any other kinds of creative work?

I trained in Architecture and Interiors, and have experience in Set Design. One of my first jobs was assisting a milliner and jewellery designer!

Is there anyone who’s hair you’re dying to do?

Not necessarily, I really enjoy working with certain hair types though - 4c is my fave!

PHOTOGRAPHY: AMY LIMOR @AMYGOESTHERE STYLING: UGONNA NWAKA @UGONNA_ MAKEUP: AZUKA WILLIAMS @MAKETOPIA MODEL: NENO WADA @NENOWADA

Phugo are a creative production company based in Abuja, Nigeria.

Made up of Phoebe Ben-Kalio (makeup artist) and Ugonna Nwaka (stylist, production designer), the duo curate content for fashion/ lifestyle brands and magazines, handling the production process from start to finish. @itsphugo @phoebebenkalio @ugonna_ How did the both of you meet and when did you decide to team up and form Phugo?

We met at foundation school before university and became really close friends. After foundation we moved to different countries for university. In late 2016, we moved back to Nigeria. Phoebe has always had a unique eye for beauty and Ugo has always loved fashion styling and we share a similar love for art direction, visual storytelling and content creation so when we moved back we decided to start honing our skills by doing test shoots with creatives in Abuja. We did that for the most part of 2017 and in June 2017 we decided to create PHUGO. We are a creative production agency that creates content for fashion/lifestyle brands and magazines, handling the production process from start to finish with an efficient team thereby relieving the client of the hassle involved in single outsourcing. Services offered include art direction, set design, photography, filmmaking, fashion styling and beauty depending on the brand. We aim to always create content that is visually appealing, aesthetically pleasing and thought provoking whilst ensuring client satisfaction.

What’s the creative industry like in Abuja and how does it compare to Lagos?

The creative industry in Abuja is growing! We get to work with a lot of amazing creatives who are really good at what they do. There is also a diverse pool of creatives offering different aesthetics, which we find amazing. Although Lagos is the creative hub of the country, we believe that the creative industry in Abuja in comparison is also thriving!

What is the response and impact of the services you offer in Abuja?

The response to the services we offer has been interesting. When we started off the response was not as supportive. However, within this year we have noticed an improvement, as there has been an increase in the demand for our services. We believe that this is due to the awareness that content creation is as important as any other factor required to build any brand.

Where do you get the inspiration for your visuals?

We are inspired by various cultures and ideas around the world and our immediate environment. In living in Nigeria, there is always something to be inspired by. Generally, we love telling stories that tie into overall human experiences through the work we create.

What’s been the most enjoyable project you’ve worked on so far?

Our first project in January 2017 was so exciting. We collaborated with an all female team, which was so amazing. Everyone brought their A-game and it was so organic. You could literally feel the love. We had the best time on set and the work created came out so well.

What would be your dream magazine or brand to work with?

Our dream magazine to work with is Vogue magazine. We hope this happens in the near future! If given the chance, we would love to tell a multicultural story and work with a diverse team through that medium. In Nigeria we look forward to working with fashion brands such as Lisa Folawiyo, Orange Culture, Andrea Iyamah and Maki Oh. We also anticipate working with international brands.

How did you meet Joy and what was your vision for the ‘Klass of 18’ shoot?

It’s such a funny story. Joy and Ugo’s sister went to high school together in England and when we were planning our first shoot Ugo’s sister said “my friend is in town you should collaborate with her” so that’s how we met Joy! She came on set and was such a joy, literally! She is so good at what she does and has unique eye for detail. Since then we always collaborate on projects whenever she’s in Nigeria. When she told us about the Klass of 18 project, we were excited because we grew up wearing K-Swiss and it was great to get the chance to create with the brand. Joy had the idea to represent the cultural diversity of Nigeria through hairstyling so we sourced models that represented various tribes in Nigeria.

Phoebe created make up looks that resonated with tribes represented and Ugonna styled accordingly. The tribes represented include Yoruba, Igbo and Hausa. Some of the looks were inspired by Fela Kutis wives, which is symbolic of the Yoruba tribe. Overall, the entire creative process was all in sync and we all loved the final outcome.

Where would you like to see Phugo in 5 years time?

In 5 years time, we hope to be the number one go to agency for creative production in Africa. We also hope to have a broad reach in terms of brands we work with.

PHOTOGRAPHY: ARINZE AREH @ARINZEAREH NAILS: KIONE GRANDISON @KIONE_G MODEL: DESMOND JIMOH @PABLO_CHURCHILL

PHOTOGRAPHY: ZAMANI ISTIFANUS @XAMANIJNR STYLING: UGONNA NWAKA @UGONNA_ MAKEUP: PHOEBE BEN-KALIO @PHOEBEBENKALIO HAIR: JOY MATASHI @JOYDARLINGINNIT

LEILA AFGHAN

Leila is a London based artist working across creative direction, fashion styling, photography and videography. With a focus on culture and style, Leila’s work has been featured by a long list of titles including The Guardian, Viper and Hunger Magazine. @leilaafghan www.leilaafghan.com

Tell us about how you came to be a photographer and stylist During my degree, I interned at a load of different places to find what I liked. I started styling assisting, then styling. Soon after, I started taking photos of people I styled which led me into photography and now video.

What are the hardest things about working in the fashion/creative industry?

more with musicians and creating visuals to go with sounds now too.

Has travelling influenced your creative style?

Style is a form of communication. This is influenced by everything I see. Travelling helps with using fashion as communication (style) because travelling helps with understanding different people.

What was the vision behind your ‘Klass of 18’ shoot?

I wanted to represent Muslims in London because they are highly misrepresented although a huge demographic. The times you see Muslims in the media is terrorism or about Islamaphobia which isn’t realistic. My childhood was in West London in my Grandparent’s house and we’d sit on rugs outside all the time so I wanted to incorporate that. I cast a bunch of different races to portray the variety in London. I happened to shoot during the Muslim holy month of Ramadan and most of the cast were fasting at the time. I used stereotypical Islamic related styling references mixed with western street style to create a juxtaposition.

If you love what you do, nothing is hard.

Where would you like to see yourself in 5 years time?

This year you released your first film project ‘MIMI’ which was shot in Guadeloupe. Are you going to continue working with video?

International. If I’m not travelling I’m not happy. Air Pangea is coming soon. I’m also working to create a fundraising exhibition for my favourite charity SKATEISTAN.

Mimi was the first film I directed, styled, shot and edited, it was just for fun and was just for us - a sort of art documentary about Mimi exploring her motherland. Shout out Mimi and Bobby my NY family!!

That film definitely inspired me to make more and now I got a couple short videos which are not out yet - video is next level. I’m working

What advice would you give to others just starting out?

Only do it if you love it.

PHOTOGRAPHY & STYLING: LEILA AFGHAN @LEILAAFGHAN

MALIK

PHOTOGRAPHY & STYLING: LEILA AFGHAN @LEILAAFGHAN

How does the music scene in Dubai and London compare?

It’s cute in Dubai but not a fully developed scene yet. A lot of brands are coming in and throwing money at kids because they want to look good to the world, that they are involved with “artists” in the middle east. It helps these big brands image when they do such things, there are a very few people out there that are holding it down and doing it for the scene itself rather than the Ps. London is a whole new ball game, for me I can grow a lot more in London. However, there are a few artists in Dubai that will surprise the world soon.

What inspires you during the creative process?

My environment, my friends, the producer I’m working with. Many factors to be frank. I like to read a lot and sometimes I’ll see an amazingly well written line and think holy shit I want to write some lyrics now!

Tell us about the SZNS EP you brought out this year with Déoba.

Originally from Dubai, Malik is a musician who moved to London in 2013. While he started out just freestyling with friends, Malik has since shared the stage with Sampha and curated numerous events with his creative collective NEOTENY.

Me and Dèoba met almost a year ago and started making tunes. We did a lot of our own stuff while we were together and only made about 5 tunes together with no real incentive to release any of it. Each song was so different and we wanted it to resemble the way we made it and the time it took, we were up and down the whole year so they type of music we were coming out with mirrored our emotions. When we realised this we wanted a name for the tape to be one that reflected the different moods we can be in at times, something for the morning, mid day and something for the evening. SZNS! We have a really cool video coming out soon as well!

@musicbymalik

Who are some of your favourite music artists?

What was it like growing up in Dubai and why did you move to London?

Isaiah Rashad, Damian Marley, Kendrick Lamar, CASISDEAD. Tell us about your collective Neoteny.

Dubai was fun when I was younger, as I got older I became a bit more curious of what the world had to offer. The city was very young when I was living there and didn’t have enough to cater a young teenager with a lot of energy. Moving to London was the only way I would of been able to focus on studying and not end up in trouble or kicked out of another school.

The NEOTENY Collective involves creatives that are brought together in collaboration of artwork and events. Our plan is to create urban events that include upcoming musicians, fashion designers, film directors and artists in London. In addition, Neoteny Collective has an in-house film, Illustration and music production team that works with artists and brands to help build their career.

How would you describe your music?

What has been your proudest moment so far as an artist?

In one word, Real. I’m always writing after I’ve just experienced something either positive or negative. I decided to make music after my first time being arrested in Dubai which also happened to be the same time my ex dumped me. It was and still is a way of expressing how I feel when sometimes I’m not capable. On a more technical note, my dad was a Rasta and my mum is an Egyptian queen so I’m very influenced by reggae and a lot of traditional Arabic music played at home.

I shared a stage with Sampha at one of our Neoteny events. That for me was a surreal moment, he showed up un expectedly just before my set and span a few riddimz. It was a very re assuring moment for me that’s motivated me ever since.

Tomi is a fine art student at Leeds College of Art – his work combines exceptional realism with elaborate surface pattern designs while providing a modern representation of black people. With a background in illustration, Tomi has already received recognition from musicians such as Joey Bada$$ and Maverick Sabre. @tomiwithaneye www.tomiwithaneye.com Tell us about your journey as an artist - How long have you been painting and how did you develop your style?

I have been into making art for as long as I can remember, I started oil painting when I was 16. For most of my time as an artist, I thought what I wanted to be was an illustrator. During my foundation year, I discovered artists such as Kehinde Wiley, Barbara Walker, Yinka Shonibare and Kerry James Marshall, then realised I had a lot that I wanted to say myself. I didn’t enjoy creating images for other people’s ideas. My style is influenced by them all but is also constantly developing and evolving.

Who inspires you?

As well as the artists above, my inspirations come from creatives in all kinds of disciplines such as, filmmakers, musicians, photographers, and animators. I have aspirations to eventually delve into all of them.

You’ve designed album covers for Big Zuu & Maverick Sabre – how did this come about?

In 2014 I remember Joey Bada$$ was gearing up to release his debut album B4da$$, he posted on twitter that he wanted to see concept artworks form fans for the album. At this time, I had just dropped out of studying architecture and was thinking about becoming an illustrator. I thought this was a perfect opportunity for me so I made a concept album art for him, the image I made got liked and shared online by members of Joeys crew Pro Era, a few blogs, and fan Instagram accounts, and eventually it came across Maverick Sabrehe liked it so DM’d me on Twitter. Big Zuu found my art through a mutual friend and hit me up on Facebook. I sent him the image I had done for the Joey Bada$$ concept and he liked that idea.

Your work includes paintings and illustrations of various HipHop artists – how does music influence your art?

I see music, painting, filmmaking and photography as just different ways of telling a story, so things I learn from any of them are transferable to how I make art. I used to, as a kid, redesign my own album covers from some of my favourite albums so I think the connection between music and art has always been there for me. I have since, however, decided to take focus away from celebrities in my art.

Tell us about your series ‘Good Hair’ and what it means to you Good Hair was a series I began after having discovered the artists mentioned earlier. Although I was always into creating art, growing up I had never paid much attention to the contemporary art scene.

When I started art school I soon discovered the works of Kehinde Wiley. I was so moved by them I immediately realised that I wanted to create paintings that represented black people. Good hair was a celebration of black people and our relationship with our hair. I had originally planned for it to be a larger collection, definitely featuring more female paintings, but whilst working on it I started planning another project that I was even more excited about. I felt that with this new project I would be saying something that better spoke from my perspective so I cut it short. However, the good hair series still represents the period of time in which I realised what I wanted to speak about in my art.

What is the new project about?

The new project I started is entitled ‘Black to the Bone.’ A basic explanation of the project would be that it revolves around the image of a black skeleton with plant life extending from it. The skeleton a metaphor for monolithic and negative; representations, ideas and assumptions of black people. The growth represents individuality. The project so far consists of two paintings and a sculpture and I’m excited to share the project more as it grows.

Where would you like to see yourself in 5 years time?

I hope to have had my first solo show and be in a position where making art is my full time job. I would also like to have extended my creative practice into areas such as filmmaking, music and clothing.

SIIMONSTER Simon is a photographer and DJ currently living in Indonesia. Originally from London, Simon’s shots present an honest representation of youth culture and people from all walks of life. @siimonster @andrea.noberg @naps.digital www.naps.digital How did you get into photography?

What do you do aside from photography?

I like to DJ lots but I hate to tell people cause everyone with an aux cable and a thousand followers is a DJ now. But yeah shout out @thespot_ldn & @dubiousdoobies - that’s my family.

What’s the biggest lesson you’ve learned on your travels?

Respect everyone, everywhere always. Remember it’s not that people can’t speak English but, you can’t speak their language. Seek out genuine culture and history in each place you visit, if you wanna jam on the beach and be a cunt go to Blackpool.

I got my first point and shoot about 3 years ago when I worked at depop and you could still get Agfa Vista 200 from Poundland- that was my come up tbh. The cheap film gave me the chance to fuck around enough to kind of figure out what I was doing. The camera was an Olympus mju ii from man like @onenorf who def had a lot to do with the resurgence of analogue photography in Britain. He’s a sick photographer, check his stuff out.

Tell us about Naps Digital!

Why do you prefer to shoot on film?

Where would you like to see yourself in 5 years time?

The whole process is so banging. Finding bargain cameras at car boot sales, charity shops or online. Random places that sell film anywhere and everywhere all over the world. Dropping off a jumble of random rolls ready to process full of shots that you’ve forgotten about. Then the feeling when they’re ready to pick up or when that WeTransfer hits your inbox is hard to beat.

Naps serves as a creative umbrella with the aim of connecting like-minded creatives both locally and globally. Andrea and I wanted to highlight all the steezy people we meet in Indonesia doing creative stuff, it’s still early days and we’ve got some exciting stuff in the pipeline as well as some other side hustles pending. Watch this space.

Self-sufficient. Working for other people is always gonna be kind of long so definitely gonna try to not do that anymore. Wish me luck!

BIANCA

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Bianca is an artist from Trinidad, currently living and studying in London. Working predominantly in paint but also in illustration and animation, Bianca’s work is a reflection of her Trini identity - her bright paintings of Caribbean women and street-sign style text have led to commissions for various event posters and flyers. @p3ake

What was the journey that led you to become an artist?

It was a long time coming before I decided “I WANT TO BE AN ARTIST” and honestly it took me a really long time to even feel like I could claim the title for myself. For as long as I can remember I’ve always enjoyed making things, the whole idea of making something from nothing was always deeply satisfying for me. It’s validation that “Yes I am here, I exist and I can leave something that may last”. I’m still on the journey and I’m no way anywhere close to being that artist I want to be but I think I’m getting there slowly and I know I want it more than I’ve wanted anything else in my life.

list of phrases in the notes section of my phone. Currently in my notes I have , “MANGO AS AN ASHTRAY” “Ting to jam yuh Gyal while rain falling” and “Dat gyul does have more red flags than Maracas Beach” . Obviously, all Trini phrases that I find amusing and feel like can go somewhere. Hand painted signs and labels from popular Caribbean snacks are also really enjoyable starting points for me as well - they’re fun pop culture references and the speak to a certain time in a Trinis life (be it nowadays in Trinidad) or a snack from childhood. I suppose I like using a lot of visual symbolic language in hopes that my West Indian viewers can look at a piece and feel like “yes I get this and I can relate to this” rather than something alien to them.

What/who inspires you?

I’m like a sponge taking in a lot at all times - I have ADHD (like everyone and their mother it would seem) so I’m always zoning out and picking up things in the background. Painter wise: Boscoe Holder, Ndjeka Akunyili Crosby, Liu Xiaodong, Che Lovelace along with sign painters and other unnamed artisans from the Caribbean. Also, my friends and the hilarious things they say!

What message are your trying to get across in your work?

From the get go I suppose my work has always had a female oriented subject matter. I’m obviously a feminist (which is still hard for people in Trinidad to swallow somehow) and I used to be very literal. But I’ve recently pulled back and rather than try aggressively scream my point at I was born in Trinidad and spent 17 years growing up there, granted that people I try and do it in subtle ways now. I have always painted and drawn my family was blessed enough that we have the ability to travel a lot the women I would like to be - self-possessed, in charge of their bodies, and that allowed me to be in London in the first place. I’m a Trinidadian through and through, I spent a lot of my teens looking for a way to escape autonomous and unafraid of their sexuality. At the same time, I want the work to be fun! In the Caribbean we are a people of movement, dance and Trinidad. It felt like a close-minded cage, I felt stifled and I felt unsafe theatrics, that’s hard to convey in still images (which is why I like (physically unsafe). That reflected itself a lot in my work at the time. I experimenting with animation) and have a certain way of carrying didn’t want to make art like Trinidadian, I wanted to make art like people living in the states on in the UK. I thought that’s how I would succeed as an ourselves- I try to convey that in my figures somehow. My work has now artist. More than anything moving away made me realise the importance such evolved to a point where I want to connect with where I’m from rather than cater to purely English eyes. All my life I learnt about American of Trinidadian art and speaking to where I come from and the and English artists, and while their work is great I’m kind of sick of seeing experience West Indians share. I love the art here in London and its and hearing a narrative that we can’t connect to. I’m sick of watching definitely impacted the way I see things. Also coming to art school here American movies and not seeing faces that are familiar. I don’t care if my has made me more critical and to ask more questions. I would be an amateur if I didn’t come here, being in London I get to experience and see work isn’t necessarily relatable to an English audience. things in the art world that I never would dream of. It’s made me want to be ambitious and it’s broadened my scope of what is even possible Where would you like to see yourself in 5yrs time? creatively.

How does your Trini heritage inspire your work? Has living in London affected your artistic style?

That’s the hardest question of all. 5 years ago was when I first moved to London, the city of my dreams since I first visited at 10 years old. Lately I’ve been struggling a lot with the idea of belonging, where will I go, will I always feel like I’m out of place? This is my last year in London for now My process of starting new pieces is kind of all over the place to be that I know for sure. Beyond that is vague - I would like to try my hand at honest. In order to draw inspiration from the world one must first BE in the world. The way I would say I start for a concept is kind of the way that a tattoo apprenticeship and continue painting and exhibiting, more than in dreams your mind mashing together things you’ve seen during the day likely I will go back to Trinidad. At the end of it all I’m hoping to come back to do my masters in Curation. and jumbles them together. For example, many times I’ve started numerous pieces by a phrase I had heard out of context. I usually have a Do you have a process when starting a new piece?

BUCKY

JO

Bucky Jo is the co-founder of Buzwakk records and manager of the recording studio on Ferndale rd. Offering a range of services including mixing, mastering, editing, dubplates and recording live band rehearsals, Buzwakk also help to mentor artists and have plans to start an apprenticeship programme.

teacher ‘The Real African’ who said to me “you know you’re an artist, you have the voice, have some confidence in yourself”. He taught me how to write in a constructive manner, he put a mic in my hand and taught me how to hold the mic properly. The rest is history. One of my main musical influences is the veteran Supercat. I love his image how he mc’s and flows, although I don’t follow a trend or sound like anyone I keep the green grass roots alive and modernise it, old with the new which keeps me unique to sound only like me.

Address: 600B Ferndale rd, SW9 8AG

When did you set up Buzwakk Records and where does the name come from?

www.buzwakkrecords.com @bucky_jo @buzwakkrecords Clients: Gyptian, Stylo G, Gappy Ranks, Jimmy London, Macka Diamond, Christopher Ellis, Spragga Benz + more

We set up Buzwakk in 2008 - Myself and Real African formed Buzwakk records then Queeny Da Empress joined a bit later and we became the Buzwakk team. The name Buzwakk means “warriors being strong”. It comes from the ancient days of our ancestors so we uphold that by our slogan to keep the heartbeat of music alive right here in buzwakk studios.

Who have been some of your favourite artists to work with?

Tell us about your upbringing, was music always a big part of your life?

Growing up in a Caribbean household and going to church was a way of life for me. As you know, church is always associated with music and I was very much involved in the church choir and live instruments such as the drums and piano- always eager to be involved. My parents also had a love for music so I guess I also inherited that love.

How did you learn to produce and mix music?

I started off at a young age playing sound systems. I was introduced into the recording studio environment by voicing dubplates, from there I fell in love with the studio. I felt like this is me - I had a vision every time I stepped into the studio, I felt at home. With the passion I had I started to mix and slowly started teaching myself to produce.

When did you start writing your own songs – what inspires you?

From playing sound systems then becoming a producer, I had a little studio in my house, I had a few artists around me that I would put on my own riddims and productions but it wasn’t moving fast enough for me and wasn’t as consistent back then. It was my mentor, my

Wow so many- Jimmy London, Luciano, Michael Prophet, Junior Cat, Bunny Lye Lye, Real African, Anthony Johnson, Gyptian, Al Campbell, Little Roy + much more.

What advice would you give to the youth in London who want to work in music?

I would say straight pursue your dreams. If you’re confident and know for sure music is in your heart, go for it. Many doors lead to other doors opening, dreams become reality. Be confident, strong, focused and it will happen. The major factor is hard work -you may have to give up many other things to be able to dedicate but it’s worth it.

What does the future hold for Bucky Jo? Well right now I’m in the process of finishing my debut album; so much reggae flavours vibes, collabs, great music to look forward with the new album. I’ve just returned from Morocco on a promotional pre-album tour was great -the love of the supporters was amazing. I was also recently on the Damien Marley Stony Hill tour so a lot happening - I just want to keep giving great music to the masses and say thank you to all supporting Bucky Jo and Buzwakk records.

K I O N E

G R A N D I S O N

Kione is a London based multi-disciplinary artist whose work ranges from painting to sculpture, illustration and nail art. Channelling her Jamaican roots, Kione is largely inspired by Afro hair styling and Caribbean street art – this unique style has led to various commissions for large-scale pieces in bars and restaurants internationally. @kione_g @kionegnails What was the journey that led you to become an artist?

Being an artist was very natural and intuitive for me from a young age, I have been painting and drawing ever since I can remember.

I don’t think I really imagined doing anything else in my future! Art was my only real interest at school, and I come from a family of creatives, so I was never discouraged from pursuing art or made to feel like it couldn’t become a career which I know I’m very lucky for.

After school for 6th form I went to an art college in Hampstead and being there for two years studying Art, History of Art, Photography and textiles really developed my skill and understanding of a wide range of forms of art. From there I went straight on to a BA course in Fine Art which was definitely the start of finding my style and subject matter.

and the constant feed of fashion imagery but I’m not sure. I have always liked the idea of my Art not only being visually pleasing but also functional or wearable. Maybe that’s why I started doing Nail art.

I studied textiles before university and for a moment thought that I would apply for textiles or fashion BA courses but decided that Fine art could be broader and include all of them in one. Many women in my family work in fashion, my mum was a head buyer for high street brands for years and i’d go into work with her a lot and draw with the design team and also take nail bookings in her office to make pocket money when I was young. When I was about 13 I hand drew and designed prints for scarves and purses for River Island which were then sold in store. So that made me very aware of how art could translate into fashion. I also used to assist my Auntie (a fashion stylist) on shoots a lot growing up. As I began to do more nail art work I was in a fashion environment a lot. I think choosing a BA course in Fine art really steered me in that direction, but I have ideas for future projects which are also much more fashion oriented.

What’s been your proudest moment as an artist?

Being shortlisted and coming third place in the Woon Prize last year (a UK art prize for recent graduates). I was so proud of myself and how hard I worked in my final year and it was cool to have that recognized by an art establishment. I was proud to even be shortlisted among 10 artists let alone be awarded 3rd place so yes that was definitely my proudest moment so far.

Tell us a bit about the themes you explore in your work and what inspires you

Tell us about your vision behind the mural for the Buzwakk Records Studio.

In my work I explore themes of Identity- particularly focusing on the black beauty industry and Afro hair styling as a signifier of culture and identity. I would say that I have many sides to my work- I am hugely inspired by my roots in Jamaica and the street art there, as well as West African Barbershop signage and paintings. I’m inspired by many other artists work, past and present- film, music and record sleeves, Dancehall flyers. I’m also just inspired by traveling and seeing new places, that’s when I feel like I evolve the most. I just returned from being in LA for two months, and in my last few days there visited the Underground museum. I felt so inspired by its energy and just by the space and objects inside it. It made me excited for my future art practice, so spaces can really inspire me too.

My vision for Buzwakk was to create an uplifting homage to a collection of iconic musicians and to brighten up the wall for the guys that own and use it, and the community. I was predominantly inspired by Jamaican street art, the film ‘Rockers’- its colour scheme and 70s Jamaica feel, Reggae/ Dub record sleeve artwork, as well as Ghanaian Barbershop paintings for the head and shoulder poses of the figures. The artists that I chose to paint were a collection of some that had recorded at Buzwakk , some that Bucky Jo (the head producer there) felt were needed on the wall, and some of my faves.

Choosing the musicians and narrowing them down was the hardest part but my vision was also to brighten up the wall and make it clear what was happening inside the space - there was no indication of that before. I feel grateful to have been asked to do that for the studio.

Who do you admire most in your field?

Its hard to just chose one. I love the work of Faith Ringgold, Chris Ofili, Wangetchi Mutu, Arthur Jafa, Hassan Hajjaj, soo many more.

It sounds typical but I think Basquiat is probably the artist I admire most because he painted so freely and filled his work with endless symbolism and information. I admire how well read and sure of his ideas he was- he didn’t need approval from others and wasn’t interested in perfection. I’m trying to get closer to that place.

You’re also a nail artist and paint onto clothing how has fashion influenced your art?

I think fashion is always influencing my work. Maybe its Instagram

Now that you’ve graduated, what are your plans for the future?

I plan to travel as much as I can. I would like to do an MA course, in something probably like African art history but I’m still deciding and I don’t always think planning out the future is the best thing for me. When I let go of what’s to come I find that things naturally fall into place. So we’ll see- I have so many ideas for future projects and future artworks that I am yet to make and I’m currently working on something very exciting. I’m just excited for the future and open to anything that comes with it.

KNOTS& V

I

B

E

PHOTOGRAPHY: LUCI WILDEN

S

Luci Wilden is the founder of Knots & Vibes - a hand-made crochet label based in London. Inspired by travels around the Caribbean, the brand takes influence from Jamaica’s vibrant dancehall culture fused with elements of Rastafarian style. Since its launch, Knots & Vibes has been worn by the likes of Ray Blk, Aluna George, Stefflon Don and Ella Eyre. @knots.and.vibes @luci_wilden www.knotsandvibes.com When did you start crocheting?

I started teaching myself in March 2016 - I was just really bored at the time and needed a creative outlet. I got obsessed with it straight away and by the summer I was launching K&V. What motivated you to launch Knots & Vibes?

I posted the pieces I’d made on Instagram and people were messaging me asking to buy things so turning it into a brand was just a natural progression. I did Styling and Photography at uni and went on to work in Fashion PR so I had some experience in the industry which helped.

Mainly I just launched it because I was enjoying the whole process – designing and making clothing but also making a set and shooting the first look book all by myself.

What inspires you?

My main inspiration both personally and with K&V always comes back to dancehall culture - music and dance. Female dancers especially are so inspiring to me - they’re basically gymnasts and have this amazing confidence and fearlessness about them. To some people this sexual style of dancing is demeaning... but what I see is an assertion of power.

When the ‘gal tunes’ come on, women take control- often forcing men into submission. It’s about owning the space, owning their sexuality and of course - entertainment! Only in the dancehall will you see girls dancing upside down with their head in a bucket, lighting themselves on fire, on top of buildings, hanging from the ceiling – it really is madness! Big up some of di baddest and my real-life heroines: DHQ Sashi, Dancing Rebel, Twin Starz, Tuff Crackaz & Danger!

How has Caribbean culture and dancehall influenced your brand?

From the beginning, Knots & Vibes was created to be a celebration of Caribbean culture and the Jamaican Dancehall scene. After leaving my full-time PR job I moved to Jamaica for 3 months and then spent the following year going between Jamaica and London – this really helped to develop the brand both in terms of design and the content I was putting out there. Jamaicans are very proud to be Jamaican – you’ll always see people wearing the green/yellow/black flag colours and

also the red/yellow/green of the Rastafarian flag - both of these colour schemes are central to my designs even if they are just a subtle feature. In terms of dancehall, I’ve been doing photoshoots with Jamaican dancers since the start, but the product being cotton was never really suitable for a lot of movement. This led me to developing a range of netted stretch pieces designed to be flexible and comfortable for dancing. This summer I produced a video in London with a few dancers and friends wearing Knots & Vibes which was so much fun! You can watch it on the K&V website.

All the pieces are hand-made, how long does it take to create a piece?

It varies massively - some of the simpler bralets can be 3 hours while some of the dresses can be 15 hours. Sometimes I make things for myself that are so labour intensive I can’t bear to make it available to buy - I would have to charge hundreds for it to be worth my time.

Who would your dream person to wear Knots & Vibes be?

RIHANNA! Been looking for a connect for the longest time... someone hook me up please!

What advice would you give young creatives looking to launch a brand?

Only do it if you're really passionate about it...be prepared to work 24/7.

Also make sure your product is original - competing with cheap high-street stores isn't easy, you need to give customers a reason to buy from you and not them.

What are your hopes for the future of Knots & Vibes?

It was never really my dream to have a clothing brand - I just love creating new pieces and producing content. The way the fashion industry is set up, it's impossible to make real money if your prices are reasonable, unless you're exploiting someone, somewhere... I've always had a problem with that. My dream has always been to transform Knots & Vibes into a social enterprise company - to train girls and women in Jamaica to make my designs and sell online/in stores. In Jamaica, it's common for women to rely on men for money and sadly this means many females including young girls enter into relationships for this purpose, often staying in abusive and unhappy situations to survive.

In some of the poorer communities, parents even encourage their teenage daughters to find older men to finance them. There are girls that sleep with the taxi men in order to get to school... the stories are endless. I want to be able to do something to give girls and women financial independence so they don't have to put themselves through these situations. Right now, this is just a dream... I would need some kind of funding to ever be able to action it. For now, though, I plan to just do some workshops on my next trip to JA - soon come!

MODELS: SHERNET @SHERNETSWEARINE - NICKEISHA @NIKKIBOO_OFFICIAL - RASHEEDA @XOXOSHEDA

Ed

Pa rso n s

'HARM'

Ed Parsons is a designer and film editor based in Bristol, UK. Launching ‘HARM’ in 2005, Ed produces graphic heavy tees and sweats inspired by the skate-punk scene he grew up in while combining elements of rave culture. @harm_tees @leathertriangle

What inspired you to start designing?

I wanted to have a skate brand around the age of ten or eleven… Harm is the eventual realisation of this daydream!

How has your life experiences shaped your creative thinking?

I definitely have strong, nostalgic memories about the first time I saw certain brands in that era: Spliffy, Fuct and World Industries stand out for a sheltered thirteen year old me they would have all seemed quite confrontational and subversive and much more desirable than say, putting on a football shirt, largely because I had no aptitude for sport and always associated it with compulsory school activities performed under sufferance...

What are your main influences and reference points?

A combination of elements of skate graphics, album covers, road signs,

corporate identities, food packaging… It’s probably a bit of a cliché now to mention 90s tribalism but there maybe were only a handful of my peers who skated or listened to punk, so starting to dress in a certain way did then fix you to one social group. The skater uniform was not exactly hard to pull off but it was still quite specific - you wanted an authentic link to that identity by way of a certain band or brand. I can recall pouring over Thrasher magazine or Transworld and 411 skate videos, looking at the tricks but also as much the clothes, then trying to figure out how to buy these things physically from America through mail order catalogues... I think a lot of that quite obsessive (debatably useless) knowledge built up during my teens is finding an output through the stuff I’ve done with Harm so far...

Do you have a process when designing new tees and graphics?

Mainly just drawing together found information, snapshots from my phone and graphics made on a computer and to then arrange them in a way that seems interesting / pleasing to the eye. Sometimes they might be images that are intended for a zine but then work better in a wearable context.

Tell us about your new magazine ‘Order Form’.

Order Form originated from buying a collecting certain brands like Undercover, Perks & Mini and Cav Empt, which are huge influences on Harm too. I took the name from the way that these products were mainly sourced through online shops. I started to create scenarios around the clothes and then photograph them, gradually building this into a section for each brand. It’s a self-released magazine that’s available now through my Instagram -@leathertriangle.

“IN 2001 I’D JUST LEFT SCHOOL, KEEN TO AVOID WORK FOR AS LONG AS POSSIBLE IN ORDER TO SPEND THE NEXT FEW MONTHS HANGING OUT AND SKATEBOARDING. I WAS GOING THROUGH A STAGE OF BORROWING MY DAD’S CLOTHES AT THE TIME AND I STARTED WEARING A PAIR OF LOW TOP K-SWISS: THEY WERE WHITE LEATHER WITH PINK AND GREEN ACCENTS. TO MY EYE – SICK LOOKING IN AN 80S RETRO SORT OF WAY. AS IT TURNED OUT, THEY WERE THE PERFECT SKATE SHOE. I USED THEM SO MUCH A HOLE GRADUALLY APPEARED IN THE FRONT EVENTUALLY MAKING MY TOES BLEED.”

Originally from Paris, May Wirtz Racon is a London based artist who's predominantly recognised for her paintings of hip-hop musicians, executed with a unique geometric process and colour block backgrounds. @perplexsquare www.maywirtzracon.com Tell us about your journey as an artist - How long have you been painting and how did you develop your style?

I’ve been painting on regular basis for probably 7 years, but I started my “rappers project” 3 years ago. Before that I was into abstract and geometric things, well I still am, but I extended my style to faces as well. Even though I wanted to do something representing rap artists I still wanted it to be kind of geometric.

Who are your favourite artists?

Well if you are talking painting wise, I’m a big fan of Dali he is by far my fave. I’m fascinated by the colours he uses.

Botero, David Bacon, David Hockney and Piet Mondrian are part of my top 10 for sure. Music wise, I’m really eclectic, even though I tend to listen to a lot of rap and Rnb, I listen of a lot of Congolese music, they have a sound I love. To enumerate a few, I listen to Damso and Naza (French rappers), Action Bronson, DMX, Rejjie Snow, 6black, Wiki, Drake, Cardi B, Nas, Solange, Anderson Paak, Kendrick Lamar, H.E.R, Abra etc …

Your work is mainly portraits of hip-hop artists – does music play a big part in your inspiration?

Yes, sometimes I listen to a song and I just feel like “I need to paint this artist right now”. Even if I’m in the middle of something else or a commission I get obsessed with it until I paint it!

Do you have a process when starting a new piece?

When I paint I need noise around me, but also peace. I usually put a Breakfast Club interview on or listen to an album of the person I’m painting. But I like to be by myself.

You print your art onto t-shirts and tote bags, do you have any more plans to develop wearable pieces?

I’m pretty content with totes and t-shirt’s, as I think it’s the best support. Maybe hoodies for the winter! I also do post cards and stickers that I love. When I do merch, I’m trying to think about things I would like to wear or to have.

Where would you like to see yourself and your art in 5 years time?

In 5 years, I see myself exhibiting a lot more and not only in Europe. I would also like to learn oil painting and get better at watercolours. I’d also like to be able to work with different types of companies on some collaborations.

A N N A FEARON

PHOTOGRAPHY: ANNA FEARON @ANNA_FEARON STYLING: FAYE HERAN @EPINETTEFILES HAIR: JOY MATASHI @JOYDARLINGINNIT MAKEUP: SNOWKEI LAN @SNOWKEILAN MODELS: AISHA & MOMO @CULPAVINUM

Anna is a fashion photographer and art director based in London. Along with bold use of colour, the culture of black hair and hair-braiding is often central to her work. This year, Anna created her own publication - Blue Zine - which celebrates all aspects of black beauty.

What are some of the challenges you’ve faced working in the creative/fashion industry?

@anna_fearon @blue.zine

How did you develop your technical skills as a photographer and what advice would you give to others who are just starting out?

Tell us about the journey that led you to become a photographer I was studying Graphic Design at University and wasn’t really feeling the course and was not sure it was the right direction for me. I started assisting a stylist and loved the atmosphere of being on set, but found styling wasn’t creative enough for me so I started assisting a photographer and realised that was exactly what I wanted to do From there I did a bit more assisting and then started organising my own shoots, I absolutely love the creative freedom and really enjoy getting the opportunity to collaborate with talented stylists, makeup artists and hair stylists.

Who is your biggest inspiration?

Finding clients and getting paid work has been a challenge and also knowing your worth I’ve turned down quite a few projects who through it was acceptable to pay with exposure...exposure doesn’t pay the rent!

I learnt from assisting but there is only so much you can learn from watching others, I really learnt the most when I started shooting myself, picking things up as I went along and developing my own style. The advice I would give to anyone starting out would be shoot as much as possible and collaborate with as many people as you can.

Why did you decide to launch Blue Zine?

Blue Magazine was launched out of a desire to see more publications celebrating Black beauty. At the time I was also feeling frustrated with doing editorials for other magazines and wanting to have full creative control.

What can you tell us about the next issue?

I am constantly inspired by my creative friends who are paving their own lanes in the industry.

The next issue is going to be even bigger and better! The theme I am going to explore this time around is movement so there will be lots of beautiful editorials with dancers.

How has your Caribbean heritage influenced your work?

Where would you like to see yourself, and blue zine, in 5 years time?

I think my Caribbean heritage comes through with my use of colour in my work. When I first visited Jamaica I was blown away by the beautiful colours of the buildings and bold colours everyone wears. I am very passionate about the culture of black hair within my work and hair braiding is often central to my work.

In 5 years time I would like to have my own photography studio and be freelancing full time. I would also like to be shooting music videos and working with more artists and performers. I hope that Blue Magazine will still be going strong and hopefully shooting some big artists for the covers.

D E A N

D AV I E S

Dean is an award-winning photographer whose work sits somewhere between fashion, portraiture and documentary. With his family playing an important role in personal projects, the ongoing ‘Sisters’ series has received recognition from titles such as i-D and AnOther Magazine. @deansdavies @tripmag www.deandavies.co.uk www.tripmag.co.uk Tell us about your background and how you came to be a photographer I’m from Birkenhead - a working-class town in Merseyside, North West England. I studied photography via the Fashion Communication programme at the University of the West of England (where I am now also a lecturer), Since graduating I have been photographing both personal and commissioned projects, all of which explore people, and their connection with place.

Are there any other photographers or artists that have influenced you and helped shape your style?

Three people who inspired me early on in my studies and career, and continue to do so to this day, are photographer, Tom Wood, and filmmakers, Shane Meadows and Andrea Arnold. I discovered all three in my second year of university, and each one inspired me to pull up on my own experiences to create work that is representative of me. Wood for his considered documentation of Merseyside, Meadows for his honest story-telling, inspired by his own upbringing, and Arnold for her depiction of strong women.

A lot of your work is around siblings and families – why is this an interesting subject matter for you?

I’m from quite a large family of multiple siblings, and have been surrounded by sibling relationships all my life, so it was only natural that I would begin to explore these dynamics within my work. I started photographing my own family within my work as a student, as I found it difficult to find ‘models’. I quickly realised that photographing the overlooked was much more interesting, allowing me to tell more diverse stories.

STYLING: CHARLOTTE JAMES @_CHARLOTTEJAMES_

Do you have a process when prepping for a shoot?

Casting, styling and the location are important elements of my photography, so I am typically involved in each element, to varying degrees and depending on the project. Prep for a shoot will involve scouting models, collaborating with stylists and discussing styling, and sourcing and deciding upon possible locations.

How do you balance paid jobs with your personal projects?

I financed all my personal projects for 4 years following graduation, but I am now in a fortunate position where paid jobs finance personal projects.

I am also incredibly lucky that I am being commissioned for projects that are extensions of my personal projects. I think it’s important for all photographers who are taking on paid jobs, to strike a balance between work they want to produce, and work they are being paid to produce, especially if the two look quite different.

What was your vision behind Trip Magazine?

I started Trip Magazine in 2013 almost immediately after I graduated. My aim was to create a platform to share work by image makers irrespective of their instagram followings or client base. I wasn't looking to share work of a particular style or medium, just great, honest imagery that captured people and place. In 5 years i've featured over 800 photographers from all over the world through TRIP's website, 5 magazines and 3 zines. I'm really proud of what I've accomplished with no financial backing and a sole desire to shine a spotlight on great work. In the coming months I will be relaunching TRIP with Art Director and friend, Alfie Allen as an independent publisher with community at its core.

What advice would you give to other photographers who are just starting out?

I’ve spoken to a number of young photographers who are looking at the work of others online, and judging their work by the standards of photographers who have been working, and refining their craft for years, which appears to stop them from picking up their camera. I think the most important thing to do is not take your inspiration from other people’s work, but your own experiences and interests. What is it about you that make you unique? How can you bring this to your own image making? This might sound obvious to some, but the only way to take great photographs, is by picking up a camera and taking shit ones first.

SO P H I E

BRAMPTON

Sophie is a freelance illustrator based in London.

With a focus on female sexuality, feminism and womanhood, these issues serve as an inspiration for her digitally drawn work. Her use of colour and tongue-in-cheek humour has helped Sophie to become recognisable online, leading to an impressive client list including Missguided, JD Sports and Skinny Dip. @sophierosebrampton www.sophiebrampton.co.uk Tell us about how you came to be an illustrator – where did the journey begin?

I started illustration when I was at university studying Fashion Communication. This involved more of the marketing and promotions side of fashion which I was never that interested in, but I made every project in some way to do with either design or illustration. I borrowed a tablet from uni and learnt how to use photoshop which led me to start the digital style that I do and love today! I’m not the most patient person, so being able to ‘erase’ and draw things on a computer is so much more convenient as well as versatile. After graduating I realised that marketing wasn’t something I wanted to pursue but illustration was - so I got onto Instagram and tried to promote myself as much as possible by posting my work constantly. I’ve been freelancing for almost two years now and I love it!

How did you develop your style? What are your influences?

What other artists and illustrators inspire you?

I love the work of Florence Given, Venus Libido, Laura Callaghan, Anjelica Roslyn, Ailie Banks, Kay Davis and Kei Maye. They all interpret women in different ways and have incredible unique styles.

Your work often includes women with stretch marks- what’s the significance of this?

I always try to be inclusive of all kinds of women, and there are still so many types of women that I have not yet drawn, but with stretch marks this is something that basically all women will have at some point of their lives and as a normal feature of the body I think it’s right to include them.

Especially in my more sexuality focused pieces I want to show that having stretch marks doesn’t affect your ability to be sexy or beautiful.

What does a day in your life look like?

I work a part time job around freelancing, so usually get up for work, home by dinner, then work on some freelance stuff after! I’m often up until midnight working during the week as I try to keep my weekends free for some me time and to stop me going crazy. The type of things I work on vary from designing for t shirts, to illustrating custom prints for birthdays.

I try to always keep in the same style however, and always for brands that support women!

Where would you like to see yourself and your work in 5 years time?

Mainly through finding cool photography I liked and thinking up ways that I could illustrate it to make it into something so unique. I’m influenced by fashion, activism, relationships, but mostly inspired by the confidence of women I’ve either met or follow online.

I would love to still be freelancing, full time would be great - also perhaps extending my Etsy store into a full business with many products. I want to work with more music artists too as there’s so much creative freedom within that. Maybe an animated music video would be a good goal. I would love my work to be featured in a lot more print magazines too.

Tell us about the themes you explore in your work and why they’re important to you

What advice would you give to others that are just starting out?

I love to create imagery that is relatable, inclusive and positive. I want them to be empowering and something that someone can save on their phone or have as their wallpaper and be like ‘that image makes me smile’.

I try to celebrate confidence in women and show all different body types and skin tones as that’s what makes women beautiful.

Keep going, always post your work constantly on social media and interact with other creatives. Build up your contacts and network, get in touch with everyone and make sure they know what you’re about. It will be difficult and you might need to work two jobs like me, but if you enjoy what you do it will work out!

K A Y D AV I S Kay is a multi-disciplinary artist based in London. Channelling childhood nostalgia and Afro-Caribbean culture, Kay’s ideas are translated into illustration, paint, textile design and fashion accessories. @kaydavisartist www.kaydavisartist.com What kind of themes do you explore in your work and why?

In my work I share a narrative, which evokes childhood memories whilst also paying homage to my Caribbean upbringing. Through doing so I also choose to celebrate and uplift women and girls of the diaspora of all shades, as representation truly matters. It’s who I am and a story I can tell which is authentic and from the heart.

What is the significance of the hair clips, bobbles and combs that regularly feature in your work?

I just really love accessories and how playful they are. I appreciate those little but effective objects that allow us to express ourselves on a daily basis, hair care being some of those little things. For me personally, it’s a childhood reference that’s nostalgic, kind of like toys.

This year you worked on an installation for the legendary artist Hattie Stewart – how did this come about?

Hattie’s super humble and such a pleasure to connect with. When she put out that she needed some assistance for her installation I got in touch straight away without hesitation. You naturally want to see people like her continue to prosper. It was the first time I got to work on a project that was not only interactive but also on such a grand scale. Being given the opportunity to collaborate in someone else’s creative space is some powerful stuff.

Aside from art and illustration you also make jewellery and knitted accessories – do you have any plans to expand your fashion range?

YES, that’s all I think about before I sleep. I often daydream about disappearing to Tokyo and starting an actual line of accessories.

At the moment, I’m really just trying to find balance, planning ahead and trying not to rush the things I’m most passionate about. When will these magical moments happen? I don’t know.

Will it happen? YES, YES and YES. We got to call this into existence.

Please and thank you.

What’s your favourite medium to work in?

I actually don’t have a favourite medium but know that I need colour to design. For me painting is powerful because I get to interpret how I see colour and direct that energy into all kinds of mediums.

What do you consider to be your greatest achievement so far?

Not giving up and still persevering by far is my biggest achievement. Sometimes being a creative can feel fragile especially if the results aren’t instant. It takes a lot of time, funds, support and over all energy to stay focused but I’m proud because I’m still here pushing and most importantly still passionate about creativity even when the odds are against me.

Where would you like to see yourself in 5 years time?

Alive, focused and living with good intentions. So much and so little can happen in 5 years. I try not to put a strain on where I think I should be and just create the ideas I strongly need to express. I trust that all the things I do will accumulate into something much bigger than myself. And that in 5 years time my position on this planet will be a beautiful surprise, one with rewards for my patience.

M O J O K O J O

PHOTOGRAPHY: CHARLES OGUNS @C_OGUNS MODEL: DOLAPO ADELADAN @_IAMDOLAPO

Koye Adesanya is the founder and designer of the Afro-centric streetwear brand Mojo Kojo, based between London and Lagos, Nigeria.

Created for the celebration of African culture, each collection is hand-made by a team of artisans both in Nigeria and in the UK. @mojokojouk www.mojokojo.com Where did Mojo Kojo begin?

Thoughts of Mojo Kojo began in the Summer before my final year of university, I didn’t have a Summer job or internship so I wanted to do something productive with my time. I always felt that there was a young, trendy African inspired brand lacking in the market so I decided to do some research on what was out there. I sketched out designs and looks and took a lot of my inspiration from 90s fashion and 90s club style. I officially launched my brand in January 2016 and I’ve been working on it as a part time business up until May 2018, now I am working full time on it.

What is your process for developing designs and products?

I usually have a concept in my head of what I want a design to look like, this is often helped with a few inspiration images and a colour combination/colour tone. Once I have figured this all out, I then source the fabric that goes with my ideal look. A lot of my African print fabrics are sourced from all over Africa and I try to limit them to a certain number so that people recognise what a Mojo Kojo print looks like. The designing of the products is usually done here in the UK and then they are manufactured in Lagos, Nigeria.

Most of your collections have been produced in Nigeria – how did you organise and manage this?

Most of my garments are handmade in Lagos, Nigeria, whilst the Tees are produced here in the UK. I used to live in Nigeria and my parents still do, this link has been beneficial to me as I have a home to go back to when I am working out there. When I’m working on my collections purely for Mojo Kojo, I use a small in-house team of seamstresses to manufacture my clothes.

However, when I am working on larger projects, I expand this team to cater for the larger amounts of garments we are producing. All the seamstresses are employed locally!

Who would you love to see wearing Mojo Kojo?

I really like that guy Aminé, he has a cool flow. Goldlink, Rita Ora,

Jay Versace! SZA would be awesome too.

What do you consider to be your greatest achievement so far?

My greatest achievement so far has to be selling out of my three collections with Urban Outfitters USA. Having the opportunity to make the collection in the first place was awesome, but finishing it successfully was a completely different ball game. Right from the first step, I was emailing UO my designs and them choosing their favourite ones, to me getting the clothes shipped to them by their deadline date! Each step had its own challenge, sourcing the right contacts to get the clothes made in Nigeria was the most difficult. This was the first time I did business on such a large scale, I sourced suppliers, made connections, got samples made, made several trips to the market etc. With such a large number of clothes being made, up to 1000 for the first collection and getting them made by the deadline date…it was a lot!

This year you went full-time with the brand – how was the transition?

I have learned a lot from the transition of moving from a full time job to full time with Mojo Kojo. There are a lot of techniques I learned from working at a job that I am adopting now. The toughest thing I would say is being accountable for yourself, ensuring that you have the self discipline to work when no one is watching you.

What advice would you give to aspiring designers?

For aspiring designers, I would say, try something different, research a lot so that you come out with something fresh that no one is currently doing. Research your competitors, what are they doing, can you provide a better service/product? If so, how are you going to do it? Then I would finally say work hard, but work even smarter. Set a routine and work when everyone else is sleeping. This is advice that I am currently giving myself and I am trying to improve on everyday.

Pop Up & Party - what is that?

I had my first official Pop Up & Party event on the 19th of August 2018 at this event space called NuDawn in East London. I wanted to create an interactive pop up, I had been to a lot of pop up’s and usually you don’t see anything more than just some clothes on some racks available for sale. I wanted to include that but also make it fun as well, so I worked with another brand, Vintings to create the pop up space. She helped design the space and also sold her clothes there too. Vintings and I then had a panel discussion in the early evening about our business pursuits and we opened up later for a party, we had a few DJs and some spoken word from various artists. It was lit!

PHOTOGRAPHY: LAUREN BROWN @ELLEAYYUREN ILLUSTRATION: MOLLY SMITH @MOLLYSMITHDESIGN GARMENT CUTTER: ROBERT JESSE @RJS.STUDIO

Bex Furno is the founder and designer of Baby Girl by BF – a brand that produces bespoke, hand-painted clothing using carefully sourced vintage pieces. Launched in 2017, Baby Girl references feministic slogans and imagery, promoting a sense of female empowerment through one-off designs and commissioned pieces. @babygirl.by.bf STOCKIST: Atika, Hanbury St E1 6QR When did you start painting on clothing and when did you decide to launch Baby Girl as a brand?

It came about as a total accident to be honest. Someone I know asked for a leather jacket to be painted, so I helped her out. She ended up wearing it to LFW and it’s just evolved from there. I hadn’t been painting much in the last couple of years, even though I have a degree in fine art. So getting into this and having some time to be creative again has been amazing. It’s also really good to do something other than my 9-5 job (which I also love) that allows me to not just be sat at a computer!

BABYGIRL launched on 17th February 2017 and has been one of the best things I’ve done.

Where do you find inspiration for your designs?

Everywhere!!! Friends, people watching, social media, galleries, everything. I love pulling inspo from past experiences. Nothing better than just walking along and seeing something that sparks an idea. I’m lucky to live in London and have inspiration everywhere!

Who would you love to see wearing Baby Girl?

Omg so many people!!! I’d love to see the likes of Lily Allen, Rihanna, Baddie Winkle, Kelis etc in my pieces. If Missy Elliott wanted a jacket, I wouldn’t mind haha. I can’t even list all the people I would love to see in my pieces. Something that I love with doing the printed t-shirts is that I’m seeing lots of different people wearing them. That in itself is inspiring.

This year you’ve also been making logo tees and jewellery – do you have any other new products in the pipeline?

I have another new tote bag coming out soon, with the face on. There’s some new colour ways of t-shirts coming out and there will be some sweatshirts etc. I decided to create some printed and lower priced items to make the brand accessible no matter what your budget. I am excited to see what else I can branch out into with BABYGIRL.

Tell us about the slogans you use – what messages are you trying to get across?

Where would you like to see the brand in 5 years time?

It is all about wearing what you want. Feeling empowered and being proud to wear something that is only yours. None of my pieces are repeated, as all items are one offs. All hand sourced vintage garments, that I then paint. That is an important part of the message for me, that my pieces are just for whoever buys them.

Bigger and better! I would love to have a rail or two in Selfridges or Liberty. Who knows!! As long as people are still enjoying my work, I’ll be happy.

PHOTOGRAPHY: MANUEL COLCERIU @CODE_ORANGEKID MODEL: TIA FORBES @TIA.FORBES

EMAN

UNAJI

STEFY

TASCA

RUBY

LONDON

MAGDELENA FILM

JOSIE JJC

CARR CLOTHING

i n f o @ u n a j i . c o . u k

stefytasca@gmail.com

ABBEY

DANIKA SIRUIS

KENNEDY

abbeylouisekenny@hotmail.com

sirius.mode@gmail.com

OMAR

KHALEEL

omarkhaleel@mail.com

JOY

MATASHI

joydarlinginnit@gmail.com

UGONNA

NWAKA

itsphugo@gmail.com

LEILA

AFGHAN

leila.afghan@gmail.com

rubylondon6@gmail.com

jjcclothing@outlook.com

PHOEBE

BEN-KALIO

itsphugo@gmail.com

TOMI

OLOPADE

tomiwithaneye@gmail.com

SIMON

PERSAUD

simoncpersaud@gmail.com

LUCI KNOTS

&

BIANCA

PEAKE

KIONE

GRANDISON

b.peake1@arts.ac.uk

k i o n e g ra n d i s o n @ g m a i l . c o m

WILDEN VIBES

ED

MAY

FEARON

DEAN

DAVIES

DAVIS

KOYE MOJO

ADESANYA KOJO

PARSONS

parsons.ed@gmail.com

WIRTZ

RACON

perplex.square@gmail.com

info@knotsandvibes.com

ANNA

annafearon@gmail.com

KAY

kaydavisartist@gmail.com

dean@deandavies.co.uk

mojokojolabel@gmail.com

SOPHIE

BRAMPTON

sophiebrampton@outlook.com

BEX BABY

GIRL

FURNO BY BF

b a b y g i r l . b y. b f @ g m a i l . c o m

KLASS OF ‘18 Editor Luci Wilden Sub Editor Nicolas Payne-Baader Designer Anna Fearon Assistant Designer Luci Wilden Interviews Luci Wilden Anna Fearon Interviews Coordinator Shae Barry Creative Agency Rich London @_richlondon K-Swiss Brand Director Bart Verdoorn K-Swiss Marketing Manager Ashley Deverell

@KSWISS #KLASSOF18

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