SKIN CARE . FACE OF LR FINALISTS . GIANNI VERSACE'S MURDER . THE HUNT . FESTIVAL FASHION . PRIDE
ICEBERG . FASHION EAST . STEFAN COOKE . PHILIP BROOKS . JORDANLUCA . OLIVER SPENCER . MUNN
ISSUE 40 27TH JULY 2019
THE MENSWEAR ISSUE
CONTRIBUTORS Chief Editor: Rhiannon D'Averc - email@example.com Editorial Assistant: Candice Wu - firstname.lastname@example.org Staff Photographers: Ian Clark and Fil Mazzarino Music Editor: Neil Dowd - email@example.com Arts Editor: Marie Fourmeaux - firstname.lastname@example.org Staff Writers - Joanna Cunningham, Tola Folarin-Coker, Tyffaine Akkoche, Elizabeth Greatrex Staff Illustrator - Joe Bailey Lead Graphic Designer: Alex Panek Staff Graphic Designers: Alissa Colville, Louisa Kazig Advertising enquiries - email@example.com Submissions - firstname.lastname@example.org Contributors: Guadalupe Ferrandez, Olivia Elliott Special thanks to Sidrah Sardar, Rafael Stier, and Philip Brooks
Interested in working with us? We currently have internships available in the following positions: Staff Writers Send your CV and covering letter to email@example.com
ÂŠ 2019, London Runway Ltd and contributors Printed by Micropress and distributed in-house by London Runway Ltd London distributors: The Model Workshops London at 40 Cumberland Road, N22 7SG All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.
EDITOR'S LETTER Welcome to the first ever double issue of London Runway. Well, we had to do something special for number 40, didn’t we? This time out we’re celebrating two things: the first volume is The Menswear Issue, with galleries from London Fashion Week Mens as well as an upcoming singer you won’t want to miss. Philip Brooks is our cover star as well as interviewee, editorial model, and feature in our live music review – talk about multi-talented! The second volume is The New Start Issue, highlighting the fact that this issue also marks our switch to monthly releases – on the 27th, going forward, you’ll always be able to expect the newest volume of London Runway. There’s almost too much content to mention in this issue, so let’s take a moment to consider what’s been going on since we last spoke – and we’ll let the contents page speak for itself. LFWM saw plenty of interesting looks, though there was a marked lack of creativity across most of the board.
This period of uncertainty in Brexit, political upheaval, and years of continued austerity seem to have dampened colours and pushed styles to amore conservative place. Let’s hope for a release by next season, allowing designers to push boundaries once more. London’s Pride Parade came and went with great fanfare, and we were on the ground enjoying it as spectators. In Menswear volume we’re looking at how brands cash in on Pride to benefit from access to LGBTQ+ customers, and why they really owe it to them to provide more than one nod a year. We won’t mention politics any more than we already have; you already know all the ins and outs from reading the news. And if you don’t, you should – because from what our statistics tell us, our demographic is one of the most important groups when it comes to voting time. At a time when divisions run deep and many people are deeply unhappy with our leaders, fashion can be a great way to escape.
in a responsible way, since each consumer is able to influence the industry. If you are worried about sustainability and the potential impending demise of our planet, as highlighted by ASOS’ misguided #ThanksItsASOS hashtag campaign this week, consider shopping in a different way. In New Start, we’ve got some charity shops that could be a good start. A little note on how this works: a few sections (this letter, New Faces) are the same, while almost everything else is different in each volume. There’s a whole lot to get stuck into, so without further ado: Enjoy!
But it’s important to use your purchases
Creating a Microuniverse
Munn, Per Gotesson, E.Tautz Highlights
Your Skincare Routine and You
The Life and Assassination of Gianni Versace: The Breakdown
Face of London Runway: The Finale 16 New Faces
The Hunt: Almeida Theatre Review 62
Festival Fashion We Have Woodstock to Thank For
Tolu Coker, Zl by Zlism
44 Introducing: Philip Brooks
University of Westminster BA
Live Review: Philip Brooks at the Victoria
Fashion East: Mowalola, Robyn Lynch, Saul Nash Highlights
Your Style Horoscope
Oliver Spencer Highlights
Style (Conscious) Guide: Men's Steetwear
Why Fashion Brands Owe LGBTQ+ 104 Customers More Than Just Pride Collections
The Big Question
Art School, HLA v AEX, 8ON8 by GQ 71 Highlights Dreamer (Cover Editorial)
1x1 Studio, Band of Outsiders, Liam Hodges Highlights
ICEBERG Photography by Ian Clark
MUNN Photography by Ian Clark
PER GOTESSON Photography by Ian Clark
E.TAUTZ Photography by Ian Clark
CREATING A MICROUNIVERSE
THE MOST REMARKABLE SHOWS DURING PARIS MEN’S FASHION WEEK Fashion must be an immersive experience, and runway shows must make the public feel strong emotions. Guadalupe Ferrández reviews the most exceptional and engrossing runway shows of Men’s Spring/Summer 2020 in Paris.
Dreaming is the reason why we consume clothes. Historically, fashion has been a creative form through which people could express their individuality and identify with their community. The value of garments has always lain in the messages they convey. Therefore, nowadays, brands must embellish their collections with storytelling, in order to keep this dream alive. Fashion’s evolution over the years has not only impacted the design and style of garments, but also how designers must communicate their concepts. Brands need to create inspiring stories that can deeply connect with the people watching them. Alexander McQueen, the renowned British designer, is a great example of this. McQueen’s collections were remarkable, as well as the quality and creativity of his designs. Nevertheless, what made him become a fashion legend was his talent as storyteller; his way of transmitting stories - but especially emotions. Each of his shows could be compared to a theatrical performance, a universe where clothes were just another element that completed his tale. Currently, due to social media's influence and the younger generation’s demand for experiences, almost every brand has started to stage monumental
showcases. Fashion houses are asked to render performance-like shows with an immersive atmosphere, where the audience is able to get inspired and engage with the collection’s own, and unique, micro-universe. Fashion talents must be able to connect with an awaiting public searching for emotions. The London fashion scene has always been prominent for its talents’ creative universes. Designers such as Charles Jeffrey LOVERBOY, Koché, or Wales Bonner have successfully built brands based on strong statements, communicated through engagingly experiential representations instead of simple runway shows. On the other hand, Paris Fashion Week has normally been associated with sober and elegant representations. Yet, more and more brands have recently started to boost their creative universes. During Men’s Spring/Summer 2020, the most exciting shows were as follows.
LOUIS VUITTON BY VIRGIL ABLOH Virgil Abloh’s show for Louis Vuitton, which homaged Notre Dame’s vestiges and the present moment, was perfectly staged to be an unforgettable experience. The orchestra playing live music, the red bouncy castle with the monogram logo, the LV creperie and the bookstore, the branded park benches and decorations; every element recreated Louis Vuitton’s vision of a typical Parisian location. A microuniverse that clung to the perfect cityscape of Paris, to be sensed by the audience.
Demna Gvasalia’s anti-capitalist fantasy for Vetements offered the audience the McDonalds experience in one of the chain’s most emblematic locations, Champs Elysées. The Georgian designer, known for his sarcasm and critical reflections on society, recreated a satirical micro-universe in which the invitees could taste McDonalds milkshakes while reading the brand’s anarchist menu and watching a collection ironically inspired by multinationals’ logos.
Jacquemus, who celebrated his 10th anniversary show, decided to travel to the South of France, the inspiration behind all his collections. The show was staged under the blue Provençal sky, in the middle of a field of purple lavender covered by a vibrant pink fabric, which steered the walk of the models. The bees, the white umbrellas, the misty colours, the sunlight… everything within the environment generated the dreamy feeling of being in an Impressionist painting.
Thom Browne, known for his brilliant presentations, gave us Marie Antoinette references blended with sports references (NFL, NBA, MLB, Ballet). The runway, led by James Whiteside – the American Ballet Theatre’s principal dancer - included models posing like statues on pedestals and walking dressed in frivolously theatrical garments. The designer managed to turn the École des Beaux-Arts into an artistic space that conveyed the grandeur of the late 18th Century with the robustness of sports.
Humberto Leon and Carol Lim’s final show for Kenzo took over Paris’ AccorArena. Once the last look disappeared from the runway, Solange Knowles along a brass band appeared to fill the place with her magical voice, in this case, with her new song ‘I’m A Witness’. The show became a melancholically sublime farewell celebration of this exceptional creative duo.
RICK OWENS Presented at the Palais du Tokyo courtyard, the designer drew inspiration from his Mexican origins. Weaving their way around Thomas Houseago’s sculpture, models moved to the rhythm of Michele Lamy’s track mixed into live Azteca’s drums. The experience artistically transmitted both social criticism in regard to immigration, and an homage to the culture of Mexico.
How will fashion creatives surprise us next season? Let’s wait for September to see which shows will immerse us in new dreamy universes and which stories will be told by designers.
9 1 ' f o s as
FACE OF LONDON RUNWAY: THE FINALE t’s been a journey, but now we’re happy to announce the finale round of voting for Face of London Runway 2019.The winner will be chosen from a combination of our judging scores – and your votes! Head over to our Facebook page at facebook.com/londonrunwaymag to find images of all of our contestants and vote for them by liking their shots. You’ll see the portrait shots of our finalists over the next pages, showcasing them at their best under studio conditions. Which is your favourite? Be sure to let us know!
The finalists, in no particular order, are: Lorenzo Luciano Jordan Walfall Lucas Danton Soren Paillou Ophelie Agboton Shelby Howard Leyre Gomez Ruth Ricardo Leianda Burke Johnny Cheung Our makeup artist was Sidrah Sardar, and phtographer was Rhiannon D'Averc..
Voting closes on the 17th August, and we’ll announce the winners in Issue 41 on the 27th August!
The male and female winners of the Face of London Runway 2019 will receive: an editorial photoshoot with their face on the cover of London Runway; appearances in the magazine throughout 2019; the chance to walk in a runway show; and more special opportunities. Two male and female runners-up will receive the chance to walk in a runway show.
YOUR SKINCARE ROUTINE AND YOU This week, Tola gives you a guide to putting together your skincare routine. Skincare has been a popular topic of discussion recently, and has people aiming to achieve clear and flawless skin but not knowing where to start. The first step to formulating your skin care routine is to determine what type of skin you have. There are five different skin types: normal, oily, combination, dry and sensitive. Normal skin types usually have little to no texture, are not often prone to breakouts, and have minimal pores. Those with normal skin are able to use the majority of skincare products available. As for oily skin types, the skin thinks it is too dry and therefore produces more oils than are needed in order to compensate. Many think that the answer to drying out oily skin is to not use serums, moisturisers or any oil-based product, however this approach will do the opposite and make the skin produce more oils. Because of this, the skin is more prone to breakouts and acne.
Those who wear makeup and have oily skin may also notice that their makeup is not lasting as long throughout the day. Combination skin types are a combination of both dry and oily skin. The T-zone maybe oily but the cheeks may be dry for example, but it differs from person to person. Dry skin types, however, don’t produce enough oils, so the skin becomes dry. The dryness typically appears flaky and in patches, around the perimeter of the face, under the eyes and cheeks. While dry skin can typically be naturally occurring, external factors can also play a part in what your skin is like: things such as cold weather, dry air, exposure to harsh chemicals in soaps or other products, excessively washing the skin, skin conditions, unbalanced skin Ph, or smoking, for example. Sensitive skin types are usually prone to redness as well as breakouts and are easily irritable. Once you have determined your skin type, you can now figure out what is right for your skin and put together a skincare routine.
Your routine should consist of four main steps: cleansing, exfoliating, toning, and then moisturising. Cleansing then removes the excess dirt from your pores. There are cleansers tailored to your specific skin types, so choose the one made for you. When cleansing, it is advised that you do so for at least one minute, this to make sure that the cleanser has time to absorb in the surface of your skin and break down the dirt in your pores. Be careful as not to over cleanse as this can strip your skin of its natural oils. Try: For men, Facial Fuel Energizing Face Wash Women: Dermalogica Special Cleansing Gel Exfoliating gets rid of the skin dead cells and reveals a brighter, softer surface. Over-exfoliating can lead to your skin becoming irritated and inflamed so it is advised to exfoliate two to three times a week. Though they are popular, and they may feel like they are having an effect,
LONDON RUNWAY exfoliating scrubs aren’t good for your skin as they create micro dermal abrasions on the surface of the skin which leads to inflammation and irritation. The micro abrasions are also entry points for germs and bacteria which of course will lead to breakouts – which is what we’re are trying to avoid in the first place! Instead of using scrubs, you can use gel or chemical exfoliators as these are much gentler on the skin. Chemical exfoliators - typically AHA’s, PHA’s and BHA’s - can increase the skin’s sensitivity to the sun, so be sure to wear an SPF. Try Glossier Solution Exfoliating Skin Perfector The Body Shop Drops of Light™ Pure Resurfacing Liquid Peel The Ordinary AHA 30% + BHA 2% peeling solution The purpose of a facial toner is to restore your skin to its natural PH levels after cleansing and exfoliating and they can be used day and night. Look for toners that include soothing or calming ingredients such as rosewater or chamomile. Some toners may contain alcohol which is an antibacterial ingredient – although it’s not a bad ingredient, alcohol is drying and can be an irritant so don’t use them excessively.
Try For Women: Pixi Glow Tonic For Men: Anthony astringent oil control toner pads If you want to be extra and add a few more steps to your skincare routine, you can include serums to add some more moisture. A serum is a product that you use between cleansing and moisturising, with the aim of delivering potent chemicals to the skin to retain moisture. Serums are made up of smaller molecules that can deeply penetrate into the skin so it can do what it was created to do. Serums can be used day and night depending on the product and brand.
The skin around our eyes is thinner than the rest of our face and therefore, blood vessels are more visible, making that area appear darker. Incorporating the use of eye creams into your routine can aid with reducing dark circles, puffiness and even premature wrinkles. The skin around the eyes can also be one of the driest parts of our face. Many women think that you don’t have to start using eye creams until you are in your early to mid-thirties, but the truth is the sooner the better. Think preventative rather that curing. Eye creams are applied after serums and before moisturiser with the ring finger as it gentler and less likely to tug on the skin. Try
Vitamin C serums can help tackle hyperpigmentation and can brighten the skin. Other serums such as those that contain Hyaluronic acid are popular too as it can help with redness, uneven skin tone, ageing, and texture, to name a few. "It's a humectant that attracts water, hydrating the skin without making it oily," explains William Kwan, MD, a San Francisco-based dermatologist. Try Kiehl’s Midnight Recovery Concentrate Niod Multi-Molecular Hyaluronic Complex: The Ordinary Niacinamide 10% + Zinc 1%
For Women: Olay Eyes Ultimate Eye Cream For Men: L'Oréal Paris Men Expert Vita Lift Anti-Wrinkle Eye Cream Moisturising is essential as it stops the skin from drying out. Regularly hydrating your skin will better protect your skin against the development of fine lines and wrinkles. Additionally, when your skin is properly moisturised it is stronger, plumper and more radiantlooking. As mentioned previously, moisturising also helps balance your skin’s natural oil production. Bonus; like primer, it helps your makeup apply better.
Try For women: Glossier Priming Moisturiser Neutrogena Hydro Boost Water Gel Moisturiser For men: Bulldog Skincare For Men Protective Moisturiser Face masks are a very popular trend, with almost everyone and their mother using them. You have clay face masks, gel, sheet masks and even glitter masks. Although face masks can be gimmicky, they contain butylene glycol. This acts as a delivery agent and solvent, which allows your skin to absorb the other ingredients. There are masks for moisture, elasticity, soothing, detoxing, and brightening. If you feel that there are too many options and you aren’t sure as to which products will work for you, look at your skin type and think about the benefits you are looking for.
Clinique Mineral Sunscreen Fluid for Face SPF50
Garnier Moisture Bomb Pomegranate Hydrating Face Sheet Mask Himalayan Charcoal Purifying Glow MaskGlamglow Thirstymud™ Hydrating Treatment Glam To Go SPF... the forgotten step in many skincare routines. SPF isn’t only for when you are on holiday sunbathing, it helps protect your skin again free radicals, air pollutants and most importantly UVA and UVB rays –which can cause serious sun damage. SPF also helps tackle hyperpigmentation, especially with darker skin tones and is antiageing. Apply after moisturiser and be sure to apply every two to three hours.
Though skincare is typically viewed as feminine, men should also aim to keep a skincare regime just as women do. Over time, harsh elements in the environment wear on the skin making it dryer and tougher. And don’t forget that with age comes wrinkles and sagging in the skin. A good skin care routine can slow down the unwelcomed effects of time and our environment.
You can read more of Tola’s work at AffinityMagazine.com
Try Glossier Invisible Shield SPF 30
Images via Charisse Kenion and Lauren Fleischmann on Unsplash.
FOLLOW US ON INSTAGRAM
READ ONLINE ON ISSUU
NEW FACE Name: Precious Joy Oni Age: 22 Location: I'm from South London Agency: I am currently freelance. How long have you been modelling for? I've had an interest in modelling since the ages of 16 but I had a crippling shyness. I've been taking it seriously now (and confidently!) for about 4 years! Where are you from originally? My origin is Nigeria, I'm from the Yoruba and Edo (Benin) tribe. Do you have an unusual talent or party trick? I'm not sure if this counts but I can do really weird shapes with my fingers, we can thank being double jointed for that haha! Photography by Fill Mazzarino
What would surprise people to know about you? I'm a lady of many mysterious talents - I sing, write music, poetry, spoken word and short erotica; I also play the piano by ear and I'm a young carer. What are your modelling ambitions? To be honest, I spent a lot of time trying to make myself into the perfect model. But now I aspire to shake the industry by modelling just how I am, unapologetically. Of course all aspiring models have the ambition to be on TV screens, billboards and social recognition and 100% I would love that - but I mainly would like to induce a change in the industry to include more women who look like me.
NEW FACE Name: Filippo Catalano Age: 19 Location: Harlow, Essex Agency: Pulse Agency and freelance How long have you been modelling for? Almost 3 years. Where are you from originally? I was born in Italy. Do you have an unusual talent or party trick? I can speak fluent Italian, get asked a lot to say something in Italian, especially when I meet new people! Photography by Fill Mazzarino
What would surprise people to know about you? I moved to the UK just a few years back and learnt the English language watching films and interacting with people every day, at work or at college, while I was studying performing arts. What are your modelling ambitions? I grow and learn every day, improving myself and be influential for other people with my story.
NEW FACE Name: Sarah Lott Age: 26 Location:Â London Agency: Frame Perfect How long have you been modelling for? So it all began in August last year! I applied to ELM Management who began to create a portfolio with me, and then got me my first London Fashion Week Runway in February this year. I began to model professionally after LFW AW19 and have been lucky enough to have worked with some really wonderful people already! Where are you from originally? Darwin, Australia Do you have an unusual talent or party trick? I can make my tongue into a clover shape? I guess that's not very cool. Probably not something I should whip out at parties.
Photography by Fill Mazzarino
What would surprise people to know about you? Alongside the acting and modelling, I actually also work in a hostel for homeless men and women in Pimlico. I've been there for 3 years and still love it. What are your modelling ambitions? This year I want to make it to Paris Fashion Week - that's the main immediate goal for me. Long term, I'd love to work on runways and editorials for haute couture designers. I recently went to see the Dior show at the V&A which was spectacular, so to get the opportunity to walk for a Dior designer would be an absolute dream. Eventually I'd like to be the face of a high end brand campaign, but I never want to stop working with new designers who are building and developing their own styles. There's something really magic about watching a designer you've worked with from the start going from strength to strength and getting the recognition they deserve.
THE LIFE AND ASSASSINATION OF GIANNI VERSACE: THE BREAK-DOWN This week, Tyffaine Akkouche explores the life and tragic murder of world-renowned fashion designer Gianni Versace, depicting the timeline of the ordeal and zeroing in on his brutal murderer, Andrew Cunanan.
the pop-punk scene at the time. So when they, at the height of their career, announced a complete change in musical direction through a series of Instagram and Twitter posts from Walters’ account, the one question on the mind of fans everywhere was; why?
The name Versace cannot be said without the imagery of lavish, sexual and sophisticated designs following it close behind. Created in 1978, the fashion brand still to this day and perhaps every day to follow will have its imprint on the industry. Gianni Versace - the man behind the now multi-billion dollar company was one of the most influential designers of his time. Although his designs stirred much criticism within the media for being overtly sexual and promiscuous, it never made him falter on his way to the top. A fashion pioneer and revolutionary, Mr. Versace had very humble beginnings in the small Italian town of Reggio Calabria where he grew up watching his mother work at her sewing shop as a dress-maker. His passion sparked from there and became a fire so bright, it lives on even after his death. One of the most notable impacts Mr. Versace had on the industry was the way he transformed it into the celebrity-centred, luxurious and extravagant show it is now. ''He was the first to realize the value of the celebrity in the front row, and the value of the supermodel, and put
The Great Depression is the band's third full-length album. It is a concept album which focuses on the themes of mental health and the societal romanticisation of depression throughout. The album’s title is derived from the severe economic depression of the same name that occurred in the 1930s in the United States, although the album’s namesake refers more to a psychological depression as opposed to an economic one.
The main concept behind the idea was suggested by guitarist Benjamin Biss and follows the story of a narrator whom the band refer to as The Poet. The album follows The Poet’s struggles with depression and the band have stated that the character is one that they feel they can relate to on some level; being a typically normal, married man living life like anyone else. As the album progresses, the severity of The Poet’s depression becomes so high that he begins to talk with
All images via Wikimedia Commons
his mind’s depiction of Death. He speaks to Death in the same way he would speak to his wife, neither Death or his wife acting as a clear protagonist or antagonist, but both offering their solutions to his problems. His wife desperately tries to show him the beauty that life has to offer and ask him to stay with her, whilst Death is trying to take his suffering away, with both characters trying to do what is best for The Poet. The End is the closing song of the record which lyrically conveys The Poet’s frustrations with the events occurring across the album, leaving The Poet’s story unfinished. In their official announcement on their Facebook page, the band wrote “This album is about asking questions rather than offering answers, exploring the lines where consolation and glorification collide, and asking if art is too subjective to offer a universal solution.” The drastic change in musical styling that is prominent in this record was subtly hinted at in their older works. For example, when looking at the middle section of No Way Out (a single from their second studio album Okay), the band’s emo-rock/ post-hardcore influences begin to subtly show, in the form of roaring, distorted guitar riffs and Walters’ raspy, shouted vocals. However, it is also
LONDON RUNWAY fashion on an international media platform,'' Anna Wintour told the New York Times. He elevated his models to ‘supermodel’ status with the extremely large pay-checks and high coverage he provided. He had very close and loving relationships with many big celebrities such as model Naomi Campbell and singer Elton John who he often designed pieces for. One of his biggest celebrity clients was Diana, Princess of Wales, who was often seen adorned in the most beautiful Versace dresses. On the November 1997 cover of Harper’s Bazaar’s ‘Diana: A Tribute to a Princess’ issue, she wore a magnificent italic baby blue embellished dress, oozing class and royalty with just a hint of sex appeal - something Mr. Versace excelled at. It seemed that everywhere he passed, beauty and innovation followed. When a particular design or fabric didn’t work, he simply went around it - creating his own materials using neo-couture technology, such as ‘Oroton’. This is a very light-weight chain mail that moves like silk which he invented in 1982 and is still used in modern Versace designs. Donatella, the Vice President and head designer of the house, made a tribute to her brother on the 20th anniversary of his death at the 2017 September Milan fashion show by gathering some of the highest profile models he worked with in his life, such as Cindy Crawford and Claudia Schiffer, and dressed them in the iconic gold Oroton dresses.
Many say that at the time of his death, the Versace house was the most successful it had ever been. Mr. Versace seemed to have reached a peak in his career, success and money coming from every direction he poured creativity in. With 130 boutiques open world-wide and a business worth $807 million at the time of his death, the company was ever-expanding. They had menswear, womenswear, a line for children, perfume, house decor; all of which are still thriving and bringing in revenue. Andrew Cunanan, 27 at the time of his self-inflicted death, was the man who mercilessly murdered Gianni Versace on the footsteps of his Miami beach home on July 15th 1997. Obsessed with the designer, jealous of his success and fame as a gay man, Cunanan thought the only way to match and get on the same level as his idol was by murdering him.
The murders were all violent, gruesome and inhumane – the recent Netflix drama ‘The Assassination of Gianni Versace: American Crime Story’, produced by Ryan Murphy, tells the story based on investigative journalist Maureen Orth’s book. The show depicts Andrew Cunanan to be charming, manipulative, unstable and violent. The nature of the relationship between Mr. Versace and his murderer remains unclear and always will be. They had allegedly met in a nightclub, introduced by a mutual friend in San Francisco years before where Mr. Versace had been designing costumes for the Opera ‘Capriccio’. But Cunanan’s delusions of grandeur led him to brag about his close, romantic relationship with the designer. Of course, none of this was ever confirmed by any factual evidence, but rather was pinned down to his pathological lying and disconnect with reality. His close friends knew him for his constant lies that ranged from his father owning a pineapple plantation in the Philippines to meeting with the famous designer for dinner once a year. Modesto Cunanan, the serial killer’s father, was reportedly an abusive man and after embezzling over $100,000 from the stock broking company he worked for, he abandoned his family to escape imprisonment. He moved back home to the Philippines, and after his son’s death joined a survivalist cult which searches for lost Japanese gold. He continually denied the crimes of his son and even refused to believe he was
LONDON RUNWAY gay. Mr. Cunanan left a note before fleeing his home in 1997 reading, “My son was an altar boy. He is not a serial killer or homosexual”. It is known that he idolised his son and treated him like a prince - Andrew’s sister, Elena, told Diana Sawyer in 1997: “My dad gave him a sports car. He had the master bedroom. He had his own bath and everything". Growing up Andrew was constantly being told he was special, and when his life didn’t live up to those expectations, he turned to dark methods to make sure the world would know his name. Mr. Versace was the fifth and last murder on Cunanan’s rampage. It started on April 27th 1997 with his first victim, Jeffrey Trail (28 years old), who Cunanan pummeled in the head with a hammer approximately 27 times. He left the ex-U.S. Navy officer rolled up in a rug in David Madson’s apartment, who was believed to have been held hostage by Cunanan for two days - up until they drove to a deserted area outside of Minneapolis where Madson was shot three times. Andrew Cunanan was utterly in love with Madson, disturbingly so, as the rejection he felt when the love wasn’t reciprocated is believed to be the triggering event that led to the massacre of the five men. Cunanan’s former roommate Erik Greenman told ABC News: “David was Andrew’s life. He said many, many times that he would give up everything to move out to Minneapolis for David”. However, it didn’t seem like Cunanan had much to give up anyway - lazy and entitled, the only career path he ever truly explored was being a gigolo to elderly, rich men. This is how he met his third victim, 72-year-old Lee Miglin, a successful real estate developer who was known for living the American dream. He was found in his basement where he had been stabbed with a screwdriver 20 times, had his throat slit and had his hands, feet and entire head wrapped with duct tape. Chillingly, it was reported Cunanan had made himself a sandwich and had possibly slept over before stealing Miglin’s car. This third murder managed to get Cunanan on the FBI’s 10 most wanted
list, and as he fled yet another crime without capture the police knew they were dealing with an extremely dangerous individual. They were tracking his every movement using the phone that was inside Miglin’s car. However, once this information reached the press, Cunanan quickly realised and ripped the phone out of the vehicle. Five days later in Pensville, New Jersey, Andrew Cunanan found his fourth victim in the form of 45-year-old caretaker, William Reece, who he shot with Jeffrey Trail’s gun. The motive in this case was to steal Reece’s red pickup truck which he used to reach his final destination - Miami beach, where his final and most famous victim resided. There he continued to evade capture for a further two months using the oldest and most infuriating trick in the book - hiding in plain sight. The Normandy Plaza Hotel is where Cunanan stayed and also met 43-yearold Ronnie Holston, a retired florist who was also staying at the hotel. He spoke to Maureen Orth exclusively who reported in her book that Holston helped Cunanan get sex work - “I set him up with a few old men, old rich guys around here. They would use my room.” On the 15th July, after murdering Mr. Versace with two gunshot wounds, even after being pursued by a witness, Cunanan successfully fled the scene. The red truck was found in a nearby parking garage with a few of the shooter’s belongings such as clothes and passport. It took the police eight days to find the murderer, but by that time
Andrew Cunanan had already taken his own life, having shot himself in the head on July 23rd 1997. His body was found in a luxury houseboat, which mysteriously sunk in December later that same year. The true motives behind Cunanan’s killing spree can never truly be known. Psychologists and experts can only speculate what was going on in the dark mind of this murderer. There were some early signs to the destruction he would later cause: his year-book quote, reading ‘Après mois le déluge’ which translates literally to ‘after me, the flood’ but is more accurately interpreted as ‘after me comes disaster’. And that is exactly what happened. Andrew Cunanan left the world in a worse state he found it - robbing the victims’ families of a brother, friend, uncle, father, husband - and the world of an incomparably talented designer that can never be forgotten and lives on in the success of the Versace House. You can read more of Tyffaine’s work on Instagram by following @tiff.akkouche
RICHARD MALONE We take a jump back in time to London Fashion Week in February, when Richard Malone presented a mixed collection of vibrance and variety. Images by Fil Mazzarino
TOLU COKER Another designer that presented both womenswear and menswear during London Fashion Week - the lines are getting more and more blurred... Images via Fashion Scout
ZL BY ZLISM Images via Fashion Scout
UNIVERSITY OF WESTMINSTER BA Check out volume B of this issue (the New Start Issue) for coverage of the University of Westminster MA graduate collections! Images via University of Westminster
FASHION EAST: MOWALOLA Fashion East showcased three great brands this season, but Mowalola was the one that stood out the most to us. As a result, you'll see the full gallery here of Mowalola's entire catwalk collection, with highlights only of the others to follow.
Von Teese, Carmen Electra with Dennis Rodman - strangely enough, when looking at the collection through this lens, you can really see the influence. "This is the reinvention of punk for today: finding yourself and doing exactly what you want, with whoever you want to do it with" Mowalola
The collection is something of a tribute to the odd couples of the nineties, during a time when all things seemed sexy and new. Angelina Jolie with Jenny Shimizu, Marilyn Manson with Dita
Photography by Fil Mazzarino
FASHION EAST: ROBYN LYNCH
Photography by Fil Mazzarino
FASHION EAST: SAUL NASH
HIGHLIGHTS Photography by Fil Mazzarino
HIGHLIGHTS Photography by Ian Clark
ALMEIDA THEATRE Rhiannon D’Averc reviews The Hunt, now playing at the Almeida theatre. A woman walks onto the stage and welcomes us all to the theatre. She makes a quip about the heavy winds which are, indeed, plaguing the streets outside. This must be some kind of announcement from the theatre – a request to turn off our mobile phones, to not film the performance… Wait, but what was that about fallen trees? And a path home through the forest? Aha – this is not an address to the audience of a play. It is aimed at the proud parents of the children of the Sunbeam school, who are putting on a performance for the Harvest Festival. And we’re in. Throughout the performance of The
Hunt, a wood and plastic structure stands on a rotating part of the stage. It is a home; a school classroom; a hunting lodge; and at times, it is even the outdoors, inverting the stage and making the outside, in. This forms a large basis of the staging, with all manner of tricks of lighting and dry ice transforming this unassuming structure into whatever it needs to be. At times, it is impossible to see within. At others, all too clear. And at still other times, a mythic creature – a man with the head of a stag’s skull – inhabits a whirling fog to be seen or not seen at will. Intervals of song break up the modern setting of the performance with something primal – the men could easily be chanting war cries, or reminiscing on old Viking raids. This is a real men’s club, the hunting lodge where boys are initiated into adulthood,
and we soon dive in to their rituals. Quite literally so, as the male cast members appear to emerge onto the set for the first time out of a swimming hole cut into the ice. Around this age-old setting of camaraderie, however, is the thoroughly ‘now’ of a primary school where the failure to remove a video from the browser history of an old phone sets terrible events into motion. The script is packed with humour from the start, which is a good job: otherwise, it might all appear a bit too bleak. There is an ongoing build-up of tension and apprehension, as the story goes from bad to worse for our protagonist. So much so that, making notes in my Moleskine, I ended up writing “OH NO” in capital letters over and over again after the interval. The plot is, for the most part, laid out clearly after the first act. You can see what will happen. Perhaps it is even more terrible for the fact that it does. As the audience, we feel this sickening sensation of a man’s life falling apart right in front of him – and there is nothing he, or we, can do about it. Tackling the topic of child abuse – and on the other side, the righteous anger a community can bring to bear even when an accusation has not been proven – is not for the faint-hearted. Here, it is done exceedingly well. Your heart is in your mouth at times, and you feel desperately for the players on stage. The well-meaning teacher who truly did nothing wrong; the heartbroken parents who feel that it just might have been their fault that their daughter is damaged; the son who believes in his father against all odds.
In a production which includes both child actors and a live dog – the two
classic things we are warned against – everything comes together extremely well. The timing is done to perfection: a pamphlet shoved into a pocket and hidden just as the topic comes up in conversation, for instance. The only wobbly moment comes in an on-stage fight which doesn’t feel quite believable – although the cast more than make up for it when descending into chaos, all crammed into the small hut (this time, a church). The play is brutal. It is confrontational. It pulls very few punches, even with the child actors. The wardrobe paints the picture perfectly of this small Norwegian town. The actors are dressed for the most part in apparel fit for hunting: plaid shirts, padding, dowdy layers of knitwear for the women, fur-lined boots, boots that look as though they have been worn for years already. They wear Fair Isle jumpers at Christmas, and the women wear their hair in practical yet pretty twists and plaits. The appearance of Marcus, central character Lucas’ son, underlines the more fitted, simpler, and perhaps cooler attire of our main protagonists. We notice that they are cleaner, neater, maybe even better off than the other characters. The lighting and sound are used to strong effect, particularly as we approach the climax. Flashes of light land the stage in darkness with frightening glimpses of action inbetween, and booming and crashing sound on irregular beats leave your heart pounding. It all culminates in a scene in which the crashing soundtrack and flashing lights serve to remind us that – however safe our lives may seem – we’re only one moment away from becoming the hunted ourselves.
The Hunt, by Thomas Vinterberg and Tobias Lindholm, adapted by David Farr and Rupert Goold. At the Almeida Theatre 17 June – 3 August 2019.
STYLE (CONSCIOUS) GUIDE ethical and sustainable style guide selected by Rhiannon D'Averc
Komodo MARK Green Merino Wool Hat £25.00
Rapanui Not Cool T-shirt £19.00
NORTH on ASOS Marketplace Reworked Adidas Denim Jacket £124.99
H&M Conscious Skinny Jeans £34.99
Veja Wata Canvas Sneakers £80.00
ck So s d t ir gh al B u o ic Th op Tr ck 0 Pa 8.0 £1
FESTIVAL FASHION WE HAVE WOODSTOCK TO THANK FOR This festival season, Elizabeth Greatrex explores the roots of some popular festival fashion statements, and the part that legendary festival Woodstock 1969 had to play in inspiring generations of modern festival goers.
It is July, which means we are officially in the midst of summer. Or so our calendars tell us - the unpredictable weather changes seem to be giving us mixed signals. Nevertheless, whether it be sunny, rainy, or somewhere inbetween, the festival season is most definitely upon us. And like always, everyone is embracing it. Attending a festival during this season is a rite of passage for many people across the globe, who are determined to enjoy themselves to the fullest. It is easy to see why as festivals are, and always have been, exciting for many reasons. Even if just for a day, people flock to experience fantastic live music, bond with friends, make unforgettable memories, forget their troubles and live in the moment. However, there is another part of going to a festival which many people revel
in the most: the fashion. There is no better place to express your individuality and take pride in wearing the clothes that make you feel truly alive and happy. If festivals are anything, they are certainly not boring - so neither should the fashion be! Embracing the culture of the festival with extravagant or rebellious fashion certainly isn’t a modern idea. And when one thinks of a memorable festival that took some serious steps forward in encouraging expressive festival attire, there is only one word that comes to mind: Woodstock. Woodstock was a music festival held near White Lake in Bethel, New York, from the 15th-18th August 1969. Over three days, 32 acts performed outdoors, including John Lennon, Led Zeppelin, Janis Joplin, The Who and Jimi Hendrix. It was expected that around 200,000 people would attend. Overall, estimates put the real figure at one million people who descended onto the festival grounds and its unprepared organisers. Woodstock took place during a time when hippie culture was at its highest
point. The ‘hippie movement’ came about from people who rejected the Vietnam War, opposed traditional values, took illegal drugs, worshiped rock and roll, and dressed in a very individual style. Woodstock was an opportunity for people to escape from the violent realities of their time and rejoice in listening to music and practicing peace and love. Although many parts of the festival failed to impress - such as the lack of toilets, muddy conditions and lack of food, there was one thing that did not: the fashion. In 1994, Joni Mitchell described Woodstock to Life Magazine as “a spark of beauty”. This description perfectly encompasses the rebellious spirit of the people that attended Woodstock and their choice of clothing (or lack of it). The ‘mother’ of all music festivals was a key inspiration for many festival looks that people proudly flaunt today. Here are some looks that you will definitely see this summer, that we largely have Woodstock to thank for.
All pictures via Unsplash
Tie-Dye Forever Tie-dyed clothing was a hugely recognisable look for young, rebellious people growing up in the sixties, keen to show their rejection of the Vietnam War, and the rules and regulations that had confined their parents’ generation. Woodstock made tie-dye a countercultural icon, as thousands rocked the look in support of their nonconformist ideals. Legendary artists Janis Joplin and Joe Cocker’s displays of these bright, swirling patterns of colour while performing at Woodstock gave generations of festival goers the seal of approval that tie-dye was cool. Although tie-dye’s popularity has fluctuated over time, there is no doubt that it remains a prevalent choice for today’s festival fashion. Modern festival goers all over the world still choose tiedye as an emblem for their individualism and a symbol of their wild side.
Scandalous Halter Tops and Crop-Tops The sixties gave birth to the idea of using materials such as crochet and macramé, not to make doilies and placemats, but instead to make halter tops to wear to events like Woodstock. Since then, various materials have been introduced to make and adorn these types of tops including spandex, denim, mesh and sequins. The introduction of young women wearing their tops like a bikini was very scandalous for the period, and is clearly a huge inspiration for modern halter tops and crop-tops. These are guaranteed to be seen on many modern young women at festivals every summer. Festivals have become places where young women can feel free to put on a crop-top, pair it with some jazzy bell-bottoms or shorts and have fun while embracing a bare midriff for the day.
Free the Nipple If the conservative members of society in the sixties thought that halter neck tops were a shock to the system, then they were probably flabbergasted that many women chose to go braless at Woodstock. Many even went topless. In fact, it was more common at this festival
to see a woman rocking an outfit without a bra than with one. Women were pushing for gender equality and showing their beliefs through their fashion. This attitude has certainly been maintained at modern festivals, as it has become a norm for women to dress how they feel most comfortable, whether that be with a bra, or without one.
Fringe For Days
The free-flowing attitude of the people of Woodstock was most definitely complemented by wearing fringe. It was an iconic style seen everywhere at this festival, in the style of jackets and tops. What could be better than shaking your fringe to the sound of Jimi Hendrix’s Purple Haze? Even if it was while squelching in mud. This was the perfect way to have fun and show off your spunk while doing it. Needless to say, fringe has become the ultimate festivalchic look. It has survived decades of festival style, and made it to the top of festivalgoers’ choice of outfits today in the form of jackets, tops, trousers, shoes and even earrings.
Denim Rebellion The youth of the sixties were one of the first groups of people to show off the look of faded denim as a fashion statement. At the time, wearing denim was considered very casual attire, and associated with the working class. Youths attending Woodstock therefore used this as an opportunity to wear it in support of social equality and to show their distaste for the boundaries of
social norms. Like every other piece of clothing worn to Woodstock, the textile’s main purpose was to further express one’s freedom and individuality. Modern day festivalgoers are still in love with denim and still revel in the joy of dressing casually that Woodstock enthused. However, denim jeans and jackets have evolved from their reputation in the sixties, and can be dressed up or down. When it comes to festivals, modern attendees can rely on denim for its versatility. A denim jacket will go with almost anything!
In 2019, the business of festival fashion is bigger than ever. Every summer, online retailers prepare months in advance for an influx of sales from those searching for festival-wear buys. Retailers such as ASOS, Boohoo and Missguided have used this type of event
to their advantage, creating a section dedicated to festival fashion on their websites. It is undeniable the influence that Woodstock has had on music festivals today, as well as how it has impacted retailers. The styles and looks seen at Woodstock founded the religion of dressing up for a festival and have been cemented in music and fashion history. Although many modern festivalgoers don’t realise it, when they rock up to their favourite event of the summer in their white crochet crop-top, denim shorts and fringe boots, a legendary weekend that took place decades before they were born is largely responsible for their outfit choice. What is it about the festival that keeps people coming back? Many would say that when a festival is done the right way, there is an indescribable atmosphere that cannot be replicated elsewhere. It can be a place of community where strangers make friends and where people forget their differences. A place where incredible music is played all day long, and of course, where people display some seriously cool fashion statements from throughout the ages. You can read more of Elizabeth Greatrex’s work on her website elizabethgreatrex.wixsite.com/mysite, or follow @elizabethgreatrex96 on Instagram for article updates.
STEFAN COOKE Photography by Ian Clark
ART SCHOOL HIGHLIGHTS
Photography by Ian Clark
HLA V AEX HIGHLIGHTS Photography by Ian Clark
8ON8 BY GQ HIGLIGHTS Photography by Ian Clark
INTRODUCING: PHILIP BROOKS INTERVIEW Neil Dowd got on the phone with an exciting new artist who we couldn’t wait to share– check him out in our cover editorial in the following pages! So you’re currently in Stuttgart, Germany. Are you there to play shows? Oh no, I live here. This is where I grew up, this is where I’ve always lived. I did play ashow last night though. How did that go? Insanely good. The stage was a revolving stage, it was insane! Whenever I opened my eyes, I was somewhere else. It was like I was drunk but without being drunk [laughs]. It was really cool, there was like 200-250 people. It was a lot of fun Was that a one-off show or part of a tour? Yeah, just a one-off. This local pop bureau promotor approached us and invited us toplay this ‘Sound of Stuttgart Festival’ which is like a week-long festival. So yeah, it was a big honour that they asked me. Talk to us about your music. How would you define your sound to anyone who hasn’t heard your music? I used to say like ‘The Cure’ but a little less sad but that’s shifted a lot. Now I’d say it’s like pop with indie and ‘bedroom pop’. Hmmm, I’m struggling to find the right term [laughs].
I’ve heard quite a few people use the term ‘dream pop’ to describe your music. I hadn’t actually heard the term until I came across your sound. How would you describe the genre to anyone that doesn't know about it?
I’m really confused by the term ‘dream pop’ at the minute. The first time I heard the term, it was about Troye Sivan who for me is just synthy pop. The second time it wasfor a band called ‘Slow Dive’ which is like a completely different thing. I’m thinking that
I’m kind of in between those two artists. If I think about it, I guess ‘dream pop’ is kind of fitting in that sense. What would you say the musical characteristics are for ‘dream pop’? Usually something ambient or droning in the background and generally more ‘beachy’/’summery’ vibes. Kind of like there’s a constant breeze going on. I still don’t think I fully understand what ‘dream pop’ is. But whenever I hear something that is dream pop, I know it. At what time did you realise that you wanted to do music? How have you developed musically since then? Well, I first wanted to do music in school when I really understood what music was and that bands do things that aren’t the normal jobby thing. I come from a tiny town so all I’ve ever known and all I’ve ever been taught in school is that the classic jobs are all there is. So then my dad started showing me DVDs about bands and I started reading books and biographies about artists and then I realised that it was a viable path. I guess I wanted to be an artist/ musician as it was the ‘different’ thing to do, it seemed really cool to me. It scared me for a while. I thought ‘maybe I’ll do something normal instead’. Then I listened to a band called ‘Daywave’ and for some reason I just thought his music was so so cool and he was one person and he released all of his music by himself. He was completely DIY and that was the first time I came into contact with dream pop and the whole ‘DIY’ element of being an artist. So I thought I’d try to write something that sounded like him, that was my initial intention and I ended up writing ‘Half Asleep’ which was the first song I uploaded to Spotify. That was the point where I realised that this sound worked for me, I was really proud of it, so I kept writing songs and I haven’t stopped since. I sometimes send like three songs a day to my manager because I just can’t stop writing. So would you say you’re a ‘bulk songwriter’? Yes, definitely. I have a 1TB hard-drive which is just filled with logic files. I never thought I’d use 5% of it [laughs]. But yeah, even if you write a few bad songs, you may like the bass riff or the way you produced the sound of the snare, something tiny, which you can
then apply to the next song.
You mentioned before about the DIY work ethic of other dream pop artists like ‘Daywave’, do you work in the same way? Yes, I write, I record, I produce, I mix and I master. Why would you say that this approach works best for you as an artist? I think it’s because I enjoy every step of the process. Like I enjoy writing, I enjoy recording, I enjoy mixing, I enjoy taking pictures for the cover artwork and finding the right fonts and arranging them to make it look nice and figuring out how to release a song. I ike building a tiny world around my tracks and I feel like being heavily involved with each step of the process is part of it for me. It’s not like I’m against working with other producers, like I kind of wish I could a lot of the time. That’s mainly because I’m in this small town and I’m pretty much the only musician here [laughs]. But for now, it really works for me to do everything myself. Financially, it makes a lot of sense as well. Recording can be very expensive. Yeah, 100%, and I’m really happy that I can. Well I’m gonna say I can, it’s not really for me to judge if it sounds any good. I remember hearing that you travel between Germany and London every two weeks? Yeah, two weeks would be like the average. Sometimes it’s longer or shorter, it’s not like a fixed schedule. But yeah, I try to have the best of both worlds because I have all my music stuff here (Stuttgart) and my family and my friends and then all of the exciting music/ networking opportunities in London. Would you say that’s the thing that always draws you back to London? I mean that’s part of it. I started coming here through my manager and started to grow like a friend base in the UK, so I’m always looking forward to seeing him and allthose familiar places and going to shows with friends. I’ve actually started running into people on the street, which is crazy. London can really small sometimes. I think it’s a combination of things that draws me back to London. There’s just this artist spirit there, there’s so much artistry going on and there’s this big lack of that
where I’m from, so it’s a good change of pace. Is there anything that you absolutely cannot travel without? The hard-drive with my Logic files. Because it also has my Logic sound library and I cannot use Logic without it which would mean I can’t write songs and I can’t live like that [laughs]. I should probably make back ups of it. That’s interesting, I can imagine most people probably would’ve said their phone! guess that’s fair enough. I mean I’d be more okay with not having my phone with me than my hard-drive to be fully honest. I’m not usually hyper productive but when it comes to music I just can’t stop working. I mean it’s not even like work for me IOne of the first things that stood out to me when seeing you perform live was your incredibly personal and visceral lyrics. Could you talk to us about some of the themes you discuss through your lyrical content? Oh, that’s a good question. I usually just write whatever comes to my mind in that moment, which is usually that nothing is my mind or that my mind isn’t working properly and just kind of having that blankness constantly. I never take a piece of paper and a pen and think ‘I’m going to write a song now’, it always starts with the instrumental or a chord progression. I’ll loop it and just set up my microphone and improvise melodies and lyrics and the instrumental will tell me what it’s about. It kind of reveals what I’m thinking or feeling that day, which normally becomes the topic of the lyrics, which is normally the general
feeling of feeling nothing at all and having to do this kind of thing to know what’s going on in my head. I really like the idea that recording vocals helps you process how you’re feeling that day, I feel like my writing style is the polar opposite.
That’s one thing. There’s depersonalition where you don’t recognise your limbs or yourself in the mirror as yourself. Then there’s derealisation which is when you don’t recognise the world around you as the world around you. That’s two things I always get confused.
Yeah, it happens all of the time. It’s kind of confusing but interesting to me. I would really recommend any writers to try it. You just set the song on loop and just press ‘record’ and sing over it. The first seven repeats are normally just nothingness. But then you start to remember tiny phrases and melodies you did in previous takes and your head starts to piece them together into an actual song. By that point, you’ve hadthe song on repeat so many times that you stop losing track of what's going on and you just build the track up
Oh, I didn’t know that. I had only heard about depersonalisation through a Youtuber that I watch whom also has the disorder, thank you for the clarification.
Do you think that your writing process has helped you to come to terms with that feeling of nothingness?
Why did you feel it was important for you to address the topic of mental health in your music?
Yes, absolutely. I normally have to force focus onto any activities I’m doing and in themoments that I’m writing I can sort of accept that I can’t focus. It’s nice that it can aid me in writing songs. I can save a project after just finishing it and I won’t remember that song until I accidentally stumble upon the voice message I sent my manager. I guess it’s like a hidden positive that it helps me to do the thing that I like.
I think you were talking about Dodie when you mentioned the Youtuber? But yeah, for me when she started talking about this and I knew she had it too. It was the moment I realised ‘I am not alone in this’. Before I knew this thing even existed and other people had it, I was worrying like ‘Am I going to die?’ or ‘Is this just how everyone feels and I can’t handle it like other people?’ but then I noticed that other people had it, like a few friends of mine also have it and started talking to me about itonce I started speaking about it. That was really helpful for me to know that there areother people that suffer from the same thing and that I can talk to people about. Using music as an outlet to talk about it in a way that sounds nice, uplifting and pretty just helps to talk about it in a way that isn’t dark, sad or self loathing.
Whilst reading through the lyrics, one that resonated with me in particular was“I’m sorry mum, I know you’re scared, I promise I’ll be fine” from your track ‘Runway’. One thing that I find really impressive about your songwriting is thatthe songs themselves clearly come from a personal place but still remain universally relatable. Was this your intention whilst writing these tracks? I hope this doesn’t sound mean to anyone listening but I never think about the listener whilst writing. Sometimes I try to, but those tend to be the songs I don’t reallylike because they have some kind of bias to them and they’re not completely personal. I like the tracks that are a reflection of my insides. I’ve always wondered if people had that kind of connection to my lyrics. We’ve kind of touched upon the topic already but your 2018 single ‘Honey, Let’s Just Drive’ touches upon the topic of your depersonalisation disorder.
That’s okay, usually depersonalisation is the word that’s used to describe both because the two normally come hand in hand. But yeah, derealisation is kind of like feeling really distant from the world around you, like you’re watching through a TV screen to quote one of my songs [laughs].
Definitely, I think anything that enables people to open up and start talking about how they’re feeling is always a step in the right direction as it helps them to understand how they’re feeling. Have you got any advice regarding self-care or any activities that have been beneficial for your mental well-being? I think self-care is one thing I’m really bad at. I think I just overpower my illness with working way too much, which is something I would never suggest. That is probably the opposite of my advice. .One thing that really helped was telling my parents and friends so that they know what’s going
on, so that I don’t constantly have to pretend that everything's fine. It’s really helped them to understand when I’m being quiet or like ‘spacey’ or not replying to people.That was one thing that was always an issue, it’s really hard for me to keep a conversation going over text. When I’m having a texting conversation, my mind just tends to shut off. Once people know that, they understand it’s not personal or because I don’t want to talk to them. I think people are more understanding than you think they’ll be when you talk to them. It must help to create that mutual understanding between you and your loved ones Yeah definitely, it’s great because then when I do meet them in person, it’s so much more fun to talk to them. Along with your tracks regarding mental health, tracks such as ‘If We Stay’ also touch upon your sexual orientation. Could you talk to us about what that track is about? Well I come from a tiny tiny town with about 400 people living there and I kind of always knew that I had a thing for boys and girls. I didn't understand at a young age that it wasn’t normal for the people around me, especially in that town. So my first best friend was like my first crush but I never knew if I could do anything about it for a number of different reasons. He could out me to the town and change my entire world. So this song is sort of about that one specific thought in my head like ‘can I do something about it’ and I ended up never doing anything about it because I was too afraid and how that shouldn’t be the case. If you like someone, you should be able totell them without worrying that someone around you may have a problem with it or that you may not be a part of the community you’re a part of. Like I was 11, you should be able to have your ‘first loves’ at that age, no-one should have to worry about that. There should be no fear involved. I really hope that for future generations, it can get to a point where these non-heteronormative relationships are just as normalised. Yeah definitely, it’s just really annoying that some people are stuck in the past. I mean I heard a rumour that there is a tiny village around my area that didn’t have electricity until twenty years ago.
They’re sort of playing catch up Looking through your instagram and other social media, it's clear you have a very strongly established image/aesthetic. Would you mind talking us through your image? I don’t really think I have a set ‘image’. I just produce and visually do things that I consume and like. I like film photography so my pictures end up looking like film photography and I like minimalism as it helps with my mental illness as it makes things easier to look at for me, less confusing. I also like using warmer, pastel colours as they make me feel happier. I guess my image, if you could call it that is just a big canvas strip of things that I like [laughs]. What inspires your dress sense? Weirdly enough, I’ve noticed that I’ve started to dress how my parents used to dress me when I was seven. Like sometimes I come across pictures of me in like really small, cropped denimjeans which I still like and stripped and blank white t-shirt and some weird sunglasses and my hair sort of looks the same. Maybe there's something going on there, I’m not sure. But I keep seeing things that I used to wear when I was tiny that I still wear now. Another part is that I love buying second-hand clothes just because of the environment and it’s cheaper! I find it really fun to go to thrift shops and lots of the time, the things that I wear are the things that I like there. It’s a mixture of that and things that are more modern, clean and minimalistic that I kind of see in things that look older. I actually do watch a lot of womens fashion on YouTube and a lot of makeup. YouTube inspires me quite heavily in how I dress. It’s really a big mixture of things, I just like it when they’re comfy but nicely put together! It’s definitely a big confidence thing for me knowing that I’m dressed nicely. You recently played a show at The Victoria in London. Tell us a bit about that show? Was it your first time playing in London? It was actually my second time playing in London. I played my first London show at the Isle of Live showcase in March. But that was just like a three song thing so it didn’t really feel like the official first time. But yeah, it was really fun. We had a really nice and cute backstage area with a nice outdoor garden.
The sound guy was really good and all my friends came out to see me which was lovely. It was the first time we’d played all of the songs that we have planned to release this year and that was the first time we played a lot of new songs. It was the first time I heard them outside of my bedroom studio. The only other time they left the studio was in voice messages to my manager and otherwise they just sit in my iTunes and wait to be released. There seemed to be quite a few people there avidly singing along with every word of your songs. How does it feel to get that kind of reaction to your music? Really? I mean, I didn’t notice that. That’s really cool! It’s really insane. It’s quite hard to find a reaction because it just shows that there must be something in my music that resonates with them and that they see themselves in my music and maybe that’s why they learn the lyrics and wanna sing along. Maybe they just find them catchy or they do it to be nice [laughs]. At the end of the day, it’s still really really cool. It’s so rewarding to see that people care. Playing live is the only time when you can truly get real live reactions. Usually it’s just like someone shared the song, which is great, don’t get me wrong - I appreciate it so, so much. But as someone who struggles with believing things are real, I can't deny those real life reactions. It just makes me think ‘yeah, maybe these songs are something’ Do you have any more gigs planned in the UK or elsewhere? I do have a tour coming up that is in the end of October with a band called ‘EUT’. They’re from the Netherlands. They’re really cool, we met them at The Great Escape and they are so, so, so nice and we ended off getting along really well and becoming really good friends, just from seeing them twice! We understand each others’ music and vibes, they’re just really cool guys and I like their music alot. Is their music a similar vibe to yours? Hmmm, on their recordings yes. Live, not so much. They definitely bring some 60s / 70s rock elements into their live show, the energy is immense.They are like a bunch of art students who met at art school and formed a band which I find insanely cool. So they’re way more artsy than myself. I’m really glad that we could see them live and get to know them before the shows, now
we know it’s gonna be a great time. Where would you like to see yourself in five years? Do you have any specific goals or aims you’d like to achieve? I’d like to play as many shows as I possibly can. Because they’re always really fun for me. I mean just like the general goal has always been to be financially stable enough to just do music full-time. I just want to be in a good place that allows me to do music without worrying about money or the future. If I couldn’t produce myself or take care of all the other DIY elements of my art, I wouldn't be able to do this, there’s no way I’d have the money to pay people for this. So I’m just glad I’m able to do this by myself . Finally, Is there anything you’d like to say to our readers or your fanbase? Hmmm, well how much can I say? Well there is a new song coming out in the next few months... It’s called ‘I don’t Know If I Ever Wanna Go Back Home’. There is a lot of new music coming. I can’t stop writing songs, I can’t stop releasing songs and I won’t stop releasing songs so new music isn’t going to stop.
Listen to Philip Brooks at philip-brooks.com
dreamer Photography: Rhiannon D'Averc Hair and Makeup: Â Sidrah Sardar Model:Â Philip Brooks Styling: Jagged Dreamland
Philip wears: Oversized shirt - Jagged Dreamland; All others- Philip's own
Philip wears: Oversized shirt - Jagged Dreamland; All otjhers - Philip's own
Philip wears: Oversized shirt - Jagged Dreamland; All otjhers - Philip's own
LIVE REVIEW: PHILIP BROOKS AT THE VICTORIA Neil Dowd takes us into the crowd at Philip’s latest London gig. Upon first arriving at the appropriatelynamed venue, The Victoria, confusion quickly arose due to the lack of musical equipment or staging in the main bar area and the absence of any foreseeable entrance to a venue space. With hindsight, I now know that this is the venue’s intention. The live music space is hidden behind a secret door, subtly disguised as part of the bookshelves, positioned to the left of the bar. While this is a brilliant way of dividing the live venue from the bar for the local clientele, it also added a unique flare, immediately taking everyone who came across it off guard. The livemusic room itself was a long and narrow space, which was minimally lit by the stage lighting. Looking at the
it was immediately clear that Philip had gone the extra mile to embellish his colourful and welcoming personality, wrapping yellow tulips around the visible mic stands. This attention to detail and DIY craftsmanship helped to give the venue a calming vibe, cohesive with Philip’s soothing dream-pop music, with this charming statement of self-expression highlighting the elements that make him so easily likeable. His musically cohesive set went one step further to present Philip’s strong sense of self as an artist. Swelling, ambient synthesisers played through a backing track opened the set, quickly being accompanied by harmonised, legato underlying vocals,which only perpetuated the calming atmosphere created by the synthesiser. However, whilst much of the set revolved around this atmosphere, moments like the indie inspired track ‘Hannah’ allowed Brooks and his band
All images via Philip Brooks
to unleash their energetic side. The roaring, distorted, straight-strummed guitars accompanied Philip’s frantic jumps along with the fast tempo of the track. This, combined with the warming effect,subtly layered into the guitar and synthesiser tones, brought forward a vintage soundscape which evoked a feeling of nostalgia from the listener. Another noteworthy element of Brooks’ set was the consistency of his vocal pitching throughout the show; ‘Can’t Fix’was a track that heavily called attention to this, with Philip effortlessly flipping between chest voice and falsetto on the track’s opening chorus. This vocal technique further embellished the distant, floating feeling that is essential in a dream-pop instrumental. The 1975-inspired ‘Spend Some Time Alone Inside My Head’ was also a defiant highlight of the set which played upon the aforementioned vocal technique.
LONDON RUNWAY The pulsating bass notes during the verse and the sustained chords on the synthesisers created a strong 80’s vibe, further strengthening the ‘timeless/vintage’ aesthetic, prominent across the singers branding. Much like ‘Spend Some Time Alone Inside My Head’, tracks such as ‘If We Stay’ and‘Honey, Let’s Just Drive’ showcased Philip at his most emotionally vulnerable and hisfans at their most engaged. The lyrical content of these songs touch upon Brooks’ personal experiences with his sexuality and delve into his experiences with living with depersonalisation disorder. What made these moments so captivating was Brooks’ visceral audience interaction, wherein he shared the anecdotes behind the songs’ lyrical messages before playing them. His heart-on-hissleeve honesty mixed with the timid, yet incredibly endearing demeanour, whilst discussing these topics, only made these moments feel more special. The audience’s electrifying cheers in response to Brooks’ words and their avid singing along with the tracks created a safe space for every person in that room that had been affected by similar issues, truly affirming just why the discussion of these topics is so important.
Even amongst the raw vulnerability that defines Philip Brooks, the singer was still able to maintain this level of comfort and self-assurance that bled through in his on-stage interactions with his band mates. This translated through simple glances or smiles at one another, or laughter during a song in which Philip’s frantic jumping caused him to subtly trip on the bass drum. The visible enjoyment and happiness from everyone on-stage created such a friendly and soothing atmosphere that was infectious for the audience. From these simple exchanges to the band’s united bow which ended the set, this energy only furthered the
feeling of emotional security that much of the crowd shared, embeddingthe idea that it is okay not to be okay and that it is okay to discuss these things. “It’s a bit sad, but aren’t we all?” a passing comment made by the introverted dream-popper, prior to playing the final song of this set. However, the sentiments expressed through these words are, what I feel to be the underlying ideology behind Brooks’ emotionally raw and authentic lyrical content and his entire project as a whole. The action of addressing the topics of mental health and the demons these issues entail creates a great deal of vulnerability but takes an even greater amount of bravery. And on this night, in the rustic, darkened venue hidden behind the main bar, the audience full of people devotedly singing along to every word, it was a testimony to how one artist's ability to discuss these demons through their music can do so much to make so many people who feel this same way feel a little less alone.
YOUR STYLE HOROSCOPE With LFWM in our pages and hot summer weather in full swing, it’s only fitting that we do a horoscope style guide with men’s swim shorts. Candice brings you a curation of sustainable and ethical swimshorts paired with refreshing, summer-loving cocktails!
Aries March 21 - April 20
Blazing red Naeco swim shorts paired with a Kamikaze will heat up any Aries’s Summer plans!
Taurus April 21 - May 21
Patagonia’s All-Wear Hybrid swim shorts are perfect for the practical Taurus wanting multiple looks in one package. While sipping on this Caipirinha, Brazil’s national drink, they’ll be breezing through summer content and prepared..
Gemini May 22- June 21
Panareha Sanur Boardshorts are playful and colourful, perfect for a Gemini’s summer travel essentials. Compliment the shorts with a tropical piña colada.
Cancer June 22- July 22
A classic Cosmopolitan for the classy Cancer. Sip on this tasty Vodka delight while wearing these graphite plaid Loop Swim Gavin Swim Shorts.
Leo July 23- August 21
The Blighty Boardshort by Riz has a fashionable, standout floral design for the always-on-trend Leo. Sip on a Tequila Sunrise to truly embrace the warmth of summer.
Virgo August 22- September 23
A Long Island Iced Tea will help the Virgo let go and thrive in the Summer. With the Seaboard Trunk, theyâ€™ll be splashing and jumping around in the waters without a care!
Libra September 24- October 23 This pastelly orange Stretch Wavefarer Boardshort by Patagonia will compliment any of Libraâ€™s looks with a Strawberry Daiquiri in hand.
Scorpio October 24- November 22 Black attracts the sun, so these Buckler swim shorts by Riz will illuminate a Scorpio during the holidays. The tang and refreshing nature of a Salty Dog will keep them upbeat!ll!
Sagittarius November 23- December 22
United by Blueâ€™s Seabed Scallop Boardshort in a fun, multi-coloured stripe pattern is durable and playful enough for the on-the-go Sagittarius. Anywhere they travel to will have the classic and popular Mojito ready for them!
Capricorn December 23- January 20
Another Riz innovation, this Braunton Recycled all day short will be perfect for the overworking Capricorn to escape in. Drinking a mild Cuba Libre will keep them still prepared for any work coming their way, but more than one or five…?
Aquarius January 21 - February 19 Pelcomb Boardshorts paired with a Bahama Mama and the Aquarius will be surfing through summer content and tipsy..
Pisces February 20 - March 20
Outer Known’s Apex trunks by Kelly Slater and a Blue Hawaiian in hand will take Pisces to the beachside wherever they’re at.
You can see more of Candice's work on Instagram by following @Candice_x9. All illustrations via Pixabay; product images via their respective retailers.
JORDANLUCA We're living for the cool streatwear vibes of JORDANLUCA's latest collection. There's something about the clothing, combined with the diverse models and their diverse hair colours, that really just looks like it would suit absolutely anyone. "The JORDANLUCA muse walks, runs and dances in the darkness of an early morning or the laser beamed basement of a nighttime rave embracing the promise of the light to come. The crisp air that cuts into a mood and srokes cloth exposed skin. Comforting comfortable courageous." Photography by Fil Mazzarino
HIGHLIGHTS Photography by Fil Mazzarino
HIGHLIGHTS: BAND OF OUTSIDERS Photography by Fil Mazzarino
HIGHLIGHTS: LIAM HODGES Images by Fil Mazzarino
WHY FASHION BRANDS OWE LGBTQ+ CUSTOMERS MORE THAN JUST PRIDE COLLECTIONS This week, Olivia Elliott explores the issues surrounding Pride collections and what more fashion brands can do to support the LGBTQ+ community.
a rainbow t-shirt or rainbow-strap bag, the whole thing couldn’t help but feel like a very cleverly packaged marketing ploy. Was it?
I would be forgiven for thinking that every day earlier this month was both rainy and sunny, as everywhere I turned I could see a rainbow. Maybe there was a contest involving pots of gold and leprechauns that I hadn’t been informed of, or maybe, just maybe, Pride was in full swing. Fashion brands joined members of the LGBTQ+ community and heterosexuals alike in the fight for equal rights and representation for all. Or so I thought.
There’s no denying Pride collections do some good. They raise money for LGBTQ+ organisations and present the community as one which should be celebrated. For their 2019 Pride collection, ASOS partnered with the LGBTQ+ organisation GLAAD and donated 100% of the net profit from the collection to the organisation.
Fashion brands embracing Pride in their collections seems progressive, and on the surface it is. However, how long can we ignore the brands’ motivations behind the appearance of celebration and acceptance? Earlier this month, Pride celebrations erupted in the nation’s capital for London Pride. This only bolstered the marketing of Pride collections from fashion brands such as H&M and Nike. And while the whole country was caught up in a frenzy deciding whether to invest in.
Other companies gave a significant proportion of their profits to similar groups, such as Ralph Lauren Polo who gave 50% of the proceeds from their collection, and H&M who gave 10%. In addition to raising funds, Pride collections show a positive representation of the community, such as H&M’s campaign that starred transgender actress and LGBTQ+ advocate Laverne Cox. A survey by digital marketing agency Reboot Online found that 84% of the LGBTQ+ community feels “positively” about branded
Pride campaigns. However, when looking at the benefits, it’s also important to look at the costs. And no, I’m not referring to the cost of plastering a rainbow stripe on the sole of a trainer - but the cost to the LGBTQ+ community itself. Reboot Online revealed that just 64% of brands with Pride collections donate money to relevant charities. The agency claimed many brands are simply “jumping on the rainbow bandwagon without giving back”. Brands are becoming more aware of the financial benefits of monetising Pride. According to LGBTQ+ research firm, Community Marketing & Insights, 78% of people surveyed said they tend to support companies that market and back the LGBTQ+ community. Furthermore, companies are beginning to understand the power that the community have as consumers. According to the most recent data from Witeck Communications, the marginalised group have a combined buying power of around $917 billion. Therefore, is it really all that surprising that more brands are choosing to capitalise on what has quickly become the latest fashion trend?
LONDON RUNWAY So it would seem - big surprise - that there are financial benefits of monetising Pride. The problem with this is it means that often there is minimum payout from brands, in the sense that not much is required from them when it comes to charitable donations or providing actual support to LGBTQ+ individuals. However, they achieve maximum reward when it comes to profits and their brand image. Pride collections themselves may not be the problem, but instead the actions, or rather the lack of yearround action, from fashion brands when it comes to LGBTQ+ issues. Transgender and non-binary actor and model Indya Moore took to Twitter to express their issues with Pride collections after fronting Calvin Klein’s 2019 Pride campaign. The actor and model wrote, “Celebrating Pride month is giving to queer not selling to queer.” They added, “Representation shouldn't be an annual event, holiday or a marketing strategy. It should be a normalized & regular protocol whenever it's time to hire.” This suggests that Pride collections are too much about the products and not enough about the message or actions of the fashion brands who offer them.
Showing a continued commitment to LGBTQ+ issues even when there is no financial incentive to do so would show consumers that a brand’s celebration of Pride is legitimate. Year-round support for LGBTQ+ issues may not carry a financial incentive, but the impact on the community would be just as powerful, if not more so. Some fashion brands seem to be getting it right.
Take Adidas, for example. The sportswear company enlisted drag performer Flawless Shade, among other celebrities, to make a short film talking about their experiences and the LGBTQ+ movement. Canadian clothing company Club Monaco launched their ‘Love Starts Here’ campaign, which featured their employees wearing the sweatshirt from the brand’s Pride collection and sharing personal stories on how they’ve been impacted by the LGBTQ+ community. In both of these instances the focus of the campaign did not lie solely on the products but instead on real people and their real experiences. The products were merely an extension of this. Lack of representation isn’t just an issue involving the models cast in campaigns but one facing companies as a whole. In some cases brands seriously miss the mark when it comes to the narrative their Pride campaigns run with. For example, in 2018 sportswear brand Nike released their 'Be True' collection for Pride which featured many of their classic designs with the pink triangle. This symbol has been systematically used throughout history to draw attention to LGBTQ+ people, including as a way to mark LGBTQ+ individuals who were murdered by the Nazis. Regardless of the brand’s intentions, they clearly missed the mark, and their collection was deemed insensitive by many.
Images via Adidas and Calvin Klein
When brands try to align themselves with a certain group but don’t have enough representation of this group within their management, they can end up getting the narrative all wrong. Some brands have made efforts to tackle this issue. As the Associate Director of Global Beauty Communications at Procter & Gamble and a member of the LGBTQ+ community, Brent Miller led haircare brand Pantene’s 2019 "Don't Hate Me Because I'm BeautifuLGBTQ" ad campaign. This is an example of a Pride campaign allowing LGBTQ+ people to have control over the way their community’s stories are told. If brands want to get their narrative right and therefore truly appeal to the community their posters say they care about, they should be committed to representation - from their ad campaigns and runway shows, to their head office.
There is the fear that Pride collections will only marginalise the LGBTQ+ community further within the fashion industry. In 2017, LGBTQ+ model, Elizabeth Pinzon, said, "In the industry, in order to fit the 'glass slipper,' I have to delve into my femininity or else I will only be able to model in a niche market." Any fashion brand that launched a Pride collection this year has a commitment to not only support, but promote and progress LGBTQ+ rights and representation. If brands make money out of a social issue by commercialising it, then they have the responsibility to support and promote active social change long after the rainbow banners have come down. London Pride may be over - but the struggle for LGBTQ+ rights is not. You can read more of Olivia’s work on Twitter by following @livielliott09 Images via H&M, Nike, and Pantene
Q A THE BIG QUESTION We asked, you answered
Who’s your favourite British designer?
“I would say Alexander McQueen, for its exquisitely tailored and feminine pieces.” -Marie Fourmeaux, Arts Editor
"My favourite is Stella MCCartney. Love her funky print designs, tailoring and minimal lines. The brand is also working hard regarding sustainability and their environmental impact"
"MY FAVOURITE WOULD HAVE TO BE OZWALD BOATENG AS I AM A HUGE FAN OF THE BESPOKE STYLE" - ETHAN BENNETT, MODEL
“ALEXANDER MCQUEEN/VIVIENNE WESTWOOD” - Leyre Gomez, model and Face Of finalist
“Gareth Pugh” - Alfredo Jesus Carreira, musician and judge on All Together Now
"I really like Jennifer Copeland from Manchester School of Art. She's a recent graduate, but her designs from her collection featured in Issue 39 really caught my eye with the colours and ethereal and airy aesthetic" - Candice Wu, Editorial Assistant
My favourite British designer would definitely be John Galliano. Everything about his work is magical and he's constantly coming up with completely new ideas, loud colours and dramatic silhouettes. He truly channels the excessive, experimental andcreative aspects of British fashion in his work and all of his clothes are extremely artful. - Ashutosh Kukreja, Writer
- Madeleine Oakley, Writer
“VIVIENNE WESTWOOD FOR ME. SHE’S CHANGED THE WAY OF FASHION AND THE CONCEPT OF EXPRESSING OURSELVES NO MATTER WHAT” - FIL MAZZARINO, PHOTOGRAPHER
“My favourite fashion designer is Stella Mcartney for making clothes that real women love to wear” - Katie Sokol, model
Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question
LONDON RUNWAY Find London Runway: londonrunway.co.uk instagram.com/londonrunwaymag twitter.com/londonrunwaymag facebook.com/londonrunwaymag pinterest.com/londonrunwaymag/ firstname.lastname@example.org Front cover: Philip Brooks by Rhiannon D'Averc Back cover: Backstage at GFW by Fil Mazzarino
Issue 40, Volume A. The Menswear Issue. Featuring: Philip Brooks special interview, editorial, and live show review; Iceberg, Munn, Per Gote...
Published on Jul 26, 2019
Issue 40, Volume A. The Menswear Issue. Featuring: Philip Brooks special interview, editorial, and live show review; Iceberg, Munn, Per Gote...