London Runway Issue 79: The Peace Issue

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RRP £12.99


CONTRIBUTORS Chief Editor: Rhiannon D'Averc - Editorial Assistant: Candice Wu - Publishing Assistant: Amber Johnson - Lead Photographer: Fil Mazzarino Staff Photographers: Ian Clark, Mrityunjoy 'MJ' Mitra Senior Graphic Designer: Lauren Rowley Staff Graphic Designers: Bruno Jorge


each issue, we let you meet one of our team members

Staff Writers: Amrit Virdi, Kwabena Gyane, Emily Poncia, Advertising enquiries - Submissions - Contributors: Nell Richmond, Anastasia Rolland, Holly Bulbrook, Ellie Moseley, Fire Lily, Kaela, Judah Townsend, Flinn Andreae, Georgia Dyer, Holly Thompson, Hudson Swan, Print and Shop CIQ, Matthew Merciez, Nejuan Nicole, Onur Kuru, Eyüpcan Öcüt at Toğan Kuter Eren, Let's Curate, Lena Snow, Rose and Guy, My Little Green Wardrobe, Kal Babies, Bear Rehal, Hazze Beauty, Felix Shtein, Kina Serebnitsky, Maria Talis, Pop PR, Rich Gould, Hannah Whittaker, Rabi Sultan, Pardesi Photos, and i.dea PR

Special thanks to the Savita Kaye, Tom McDonald, Christina Hunt, Louise Hunt Skelley, Caitlin Holford, and Ellie Mullis

Interested in working with us? We currently have internships available in the following positions: Staff Writers Staff Illustrator Send your CV and covering letter to

© 2022, London Runway Ltd and contributors Printed by Mixam and distributed in-house by London Runway Ltd 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. Face of London Runway 2022 ambassadors are Pippa Winn and Flinn Andreae


My name is Kwabena Gyane and I am joining London Runway as a contributing writer. Coming from a science heavy background and having a creative flair means that researching topics and putting words down in a succinct manner just comes naturally. Outside of writing for London Runway, I write prose and poetry and I am learning to play the violin because why not. Working with London Runway is quickly becoming an amazing learning experience.



22 VISUALS House of iKons Part 2


De Fichier


F.L.I.N.N (Cover Editorial)


New Faces


Portfolio Piece: Lena Snow


Bear (Editorial)


Vin + Omi

45 FJU Talents


Karina Bond


WORDS Maison Margiela: The Brand with No Face


Disability Access at London Fashion Week


The Lifelong Trends of Ariana Grande



Style (Conscious) Guide: White Doves


How to Write an Artist’s Statement


New Business: Hazze Beauty


Flower Theme (Editorial)

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Book Club: The Authenticity Project by Clare Pooley


KWK by Kay Kwok Fashions Finest


Review: Soul Circus


Jaded Life Collective


Your Style Horoscope


House of iKons Show 2


How Fashion Affects Politics




The Big Question




s ' r o t i d E ter t e l Welcome to this 79th issue of London Runway! We have a lot of beautiful photographs for you to browse through this month, including a lot of shots from the most recent London Fashion Week. Even if you weren’t able to attend the shows in person, don’t worry – we’ve got you covered! You’ll also have noticed already our cover image, which features the first of our Face of London Runway winners for 2022. Flinn is our much-deserving menswear winner and he allowed us to really push the boundaries with this cover shoot, doing something unexpected in the menswear sphere: a beauty and jewellery editorial focused on bright, youthful colours and items marketed as womenswear. We always love trying to go beyond the norm, to question expectations and limits, and see where we can go if they are removed. Don’t forget, our womenswear winner Pippa is still to come with her cover shoot coming up soon as well! In the rest of this issue, you’ll find some

intriguing articles about how to write an artist’s statement and fashion in politics. We’ve been looking at disability access for London Fashion Week and whether enough is being done to make it open for all who might wish to attend, as well as reviewing the fabulous Soul Circus event which we gave away tickets for a few issues ago. The overall theme of our issue is ‘peace’, and that comes in many forms. Whether it’s finding your own inner peace through meditation and yoga, getting the peace that comes with true equality, or wearing your wish for world peace on your sleeve by carefully choosing the colours that you wear – we can all agree that peace is something worth working towards. Next issue, get your wishlists at the ready – we’ll be sharing our Christmas gift guide. Can you believe we’re so close to the end of the year already? No, me either – and who knows who will be Prime Minister by the time we get there? In a year which has seen so much conflict, I know I’m also not alone in wishing for a resolution before 2023 dawns, so that those affected can begin to rebuild, recover, and put their lives back together in any way they can. And maybe, just maybe, we can start the new year with peace.

Enjoy -

Lastly, this issue we also say a fond farewell to one of our long-running features – Portfolio Piece. We’re still open to showcasing the work of artists in all mediums, but in the future, it will be done in a different format. For those who want to showcase their work (of any kind) with us and don’t know how, it’s simple – just visit our page at




MAISON MARGIELA: THE BRAND WITH NO FACE Em Poncia explores the history of the secretive brand where clothes, rather than big names, take centre stage.

Maison Margiela, founded by the clandestine Martin Margiela, is a brand whose name has become synonymous with secrecy. Becoming famous for deconstructive designs and fashion shows that obscure the models’ faces, the brand has long been a design, and ethos, pioneer.

However, although the point that fashion is over-commercialised and focused on celebrity is made well by these gestures, the attention that Margiela has garnered from such creative decisions is distinctly opposite, earning him the mysterious and intriguing title of the ‘invisible man’ of fashion.

MR. MARGIELA HIMSELF Belgian-born Martin Margiela is the elusive founder and from whom this fashion house takes its name. He attended the Antwerp Royal Academy of Fine Arts before moving to Paris and working under JeanPaul Gaultier as a design assistant. The brand was launched in 1989, originally under his full name, as Maison Martin Margiela. Preferring the focus to be on his designs from the very beginning, Margiela’s face has never been publicly broadcast, with no photograph of him ever being officially verified. He would refuse to bow after his shows, take interviews (other than by fax answered as ‘we’), or pose for paparazzi, resulting in his status as a mythical creature amongst designers. This unorthodox approach matches the brand’s ethos of being counterculture, preferring for clothes to speak for themselves, dismantling the idea of the individual creative genius that has been the modus operandi in the fashion industry for decades. This anonymity also extends to the models that Margiela employs, their faces usually being covered either by garments or through hair and makeup.





Margiela’s designs have long been innovative, often using existing garments and transforming them into monuments to the design and manufacturing process.

Remaining with the theme of anonymity, a key choice incorporated into items by the Margiela label is the use of large, blank, white labels. Attached to the garment via distinctive white stitches, the tag has no indication of brand or size. By creating this logoless label, Maison Margiela establishes a conundrum in its branding. The pure white label is instantly recognisable to anyone who knows the brand, anyone who is ‘in the know’. It is equally, if not more, effective as having an actual logo.

The Maison Margiela Artisanal collection, begun in 2006, is testament to this attitude. A travelling band of designers take vintage, rare, and interesting clothing and transform them into pieces that overturn design expectations. The pieces, made by hand, have included the repurposing of plastic as a fabric, scarves dismantled and turned into dresses, and chainmail being created out of interlocking gold rings. This architecturally innovative approach to design is one that has been the hallmark of Maison Margiela since the brand’s inception. The repurposing of fabrics and garments that are already in existence speaks to a focus on the limits of these items, the idea that materials should be pushed to the total end of their potential. In the 1998 summer collection, the main feature of the garments was their flatness. When not worn by the models, the items in this collection appeared like paper patterns, with details such as arm holes being cut into the front to increase this effect. When worn, they took on their true three-dimensional shape, making the act of donning the clothes somewhat akin to the design and manufacturing process. Equally important to this idea of stretching garments to their limits is the return of popular silhouettes season after season. The Tabi shoe for example is an item that has been reimagined for different collections, with classic versions being available and seemingly never unstylish.

THE MAISON AFTER ITS MAKER Having maintained anonymity throughout his career, it wasn't immediately made known to the public when Margiela left the brand.

In 2008, a majority stakeholder revealed that Margiela the man had not been involved in Margiela the company ‘for a long time.’ Years after this stepping-down, he wrote that he had grown tired of the growing pressure, and also that social media and its increasingly sporous reach into life had ruined an element that was essential to him, the ‘thrill of the wait.’ In 2009 an official press release announced that no new creative director would replace the company’s namesake, and that the design team would be working collaboratively to fill this role. Reportedly designers Raf Simmons and Haider Ackerman both turned down an offer to succeed Margiela. In 2014, John Galliano, previous head of Galliano and Dior, took over the reigns of creative director, ending the period in which Margiela had operated as a republic without a leader.


THE MESSAGE The overarching theme of this brand is critique of the established and historical form and functioning of the fashion industry, both its abstract qualities and the designs that it churns out. Margiela’s approach, however, is one that can be slightly repudiated for a certain lack of both consistency, and perhaps even genuineness, although this is a large accusation to levy. Perhaps it is cynicism coming from an age of fashion houses greenwashing and using political causes as jumping off points up to greater profit margins, but the hype created by the ‘invisible man’ appears to have been more effective at drumming up attention, rather than quieting it. By being elusive, Margiela has garnered more attention than other designers who are perfectly visible. Equally, his designs, whilst innovative and visually interesting, lean into commercialisation to a certain extent, being tied to a label, put at high price points, and advertised in the same way as other design houses have done and are doing. Regardless of these quandaries, Maison Margiela has certainly provided an opportunity for reflection, a stark contrast to other fashion houses that requires pausing to fully understand. Perhaps by fully showing the branding power of anonymity, Margiela’s point is fully realised: today it is even possible to capitalise on nothing and no one.

Images via Maison Margiela



Show 1


BC Munich Marcel of London Grindei Denisa Viviene Tsai

Singer - Young Athena Drisha's Closet CLC Couture L Royal


Photography by Ian Clark













DE DE FICHIER FICHIER Photography by Mrityunjoy Mitra @the_mj_studio


A CASE FOR CHANGE: LFW INCLUSIVITY FOR PERSONS WITH DISABILITIES How can London Fashion Week better cater to people with disabilities? Nell speaks with exParalympian and activist Louise Hunt Skelley, model Caitlin Holford, and fashion influencer Ellie Mullis for answers. Growing up - fashion seemed only to be for the chosen few. This was no better seen than in the exclusivity of London Fashion Week. Twice a year, only the elite group would receive highly coveted invites to attend shows and parties in the capital. The season’s trends and new styles would then be accepted by everyone. This was part of the reason why high fashion was so lucrative. Its exclusivity made it all the more desirable. This ‘Devil Wears Prada’ image of fashion is largely outdated in 2022, as fashion houses have responded to wider societal pressures to become more conscious and egalitarian businesses. With the rise of social media, power has been passed to the people to, rightfully, criticise brands and high-fashion magazines for excluding groups from the industry. However, even with the move towards positive change, the disabled community are still fighting for their place in the fashion world. Invites themselves are still hard to come by and shows often are not well-equipped to be accessible for people with disabilities.

Since the COVID pandemic, there have been some moves to rectify this. It is now possible for anyone with WiFi to have front-row access to one of the most important fashion events in the world. I was delighted to see that LFW continued to offer a hybrid schedule this year, following suit with most sectors that have dramatically changed their way of working since the pandemic. This has better affected the disabled community, and whilst it is slightly frustrating that these changes were always possible before, it has made it more apparent that major industries can adapt and open their (digital) doors to make events more accessible for everyone.

I wanted to know precisely how digital schedules in the industry are beneficial and what LFW could do better to build upon this change. To find answers, I reached out to these three amazing women who kindly agreed to share their views on this topic and their experiences with the fashion industry. Louise Hunt Skelley recently retired from her successful career as an elite wheelchair racer and tennis player and is now self-employed, working across various industries, including mentoring and public speaking. Her biggest drive throughout her career has been to change perspectives and stereotypes and make the world a “more accessible, brighter place”. Since retiring, she has had a variety of opportunities to make this a reality, including modelling in fashion shows hosted by London Represents and Surrey Fashion Week. Since Caitlin Holford was a teenager, she aspired to model but never felt that she would be welcomed by an industry that only favoured women fitting a conventional model image. However, after striking up a friendship with the founder of Chamiah Dewey, the UK’s first fashion brand catering to people of short stature, she made that dream a reality. This LFW, Caitlin walked her first-ever show for the brand, and it has since made waves in the fashion industry. She hopes that this will pave the way for more opportunities to model. Outside of fashion, Caitlin has attended events for Restricted Growth Society and Little People UK with Chamiah. Ellie Mullis is a digital creator and style influencer using her platform to spread awareness about chronic illness. She has always been passionate about fashion and style but never saw fashion influencers with disabilities growing up. For this reason, Ellie is looking to change perceptions of people who use wheelchairs by sharing her story - and amazing style - with the world. She looks to challenge the prejudice “to look away from those with


mobility aids as if it’s something to hide”. After getting to know a bit about our interviewees, I discussed the importance of events like LFW offering hybrid fashion shows. As Louise succinctly put it, “There are so many accessibility challenges that are easy fixes, and that is one of them.” There is no excuse. Fashion is known to be one of the fastest-moving industries there is and giving everyone access to live shows allows more people to experience these events as they happen. Ellie said, “the chronically ill and disabled community is full of vibrant, creative people who deserve to be seen andheard”. As one of the most dynamic art forms, we need to hear the opinions of everybody, not just those with the time, funds and ability to attend in-person shows. Ellie also made the excellent point that: "It’s a chance for the brand to get to be creative; to make the experience just as much for those at home as those in person. We are so lucky to have the range of technology that we do in this day & age; it’s a chance to really take advantage of that."

Image via Louise

LONDON RUNWAY This idea is an important one as creating a hybrid schedule is not just a way to make shows more accessible for people. As shown in Hanifa’s 2020 virtual show featuring 3D models, digital shows have heralded cutting-edge, exciting ways to display clothing. The benefits of a hybrid schedule at fashion week are vast, but one of the critical improvements Louise, Caitlin, and Ellie felt the event could make was better representation. When Louise was invited to participate in the London Represents show, she didn’t foresee the personal confidence boost it gave her. “I felt pretty and attractive,” she said. It was rewarding to know that she could show off an outfit well. Public figures like Louise do so much to make the world a better place, so it is sometimes easy to forget that these opportunities can have such a positive effect on self-confidence and image. Feeling the weight of continuously challenging perspectives and making positive change is exhausting, and it is certainly not selfish to have the opportunity to feel glamorous and empowered. Caitlin also discussed this point with me, and her experience modelling for Chamiah Dewey should show us that it is a no-brainer for fashion houses to diversify their models.

Being the same age, we passionately discussed being a teenager in the Victoria’s Secret era where the fashion industry offered us no alternative to unattainable beauty ideals. The models in the yearly shows were almost always white, thin, and seemingly without any flaws which added to their ‘angel’ image - they didn’t reflect how real humans looked. Despite this, fashion periodicals were flooded with restrictive diet and exercise tips with the models as their poster girls. They were simultaneously otherworldly angelic beauties and ‘thinspiration’ for everyday people a combination that has always led to poor self-esteem for women. Caitlin had always wanted to model but as a teenager felt that this would never be possible due to her height. When walking for Chamiah Dewey, she thought back to her 16-year-old self and how she would be crying watching herself be a part of a runway show now. “Anybody should have the opportunity to do this, I’d always hoped but never believed it would happen.” People she hadn’t spoken to since school reached out to show their support and it was affirming to show “normal everyday people” that having this experience is not impossible. We also briefly discussed some of the negative comments Chamiah Dewey received after the show online. It is astonishing that some commenters still felt that models should look a certain way, questioning why we are now “letting everyone into the fashion industry.” It seems that some are still clinging to the noughties idea that fashion has one beauty standard to adhere to. It is certainly not cynical to make the argument that better representation — more business for fashion houses. Louise referenced the iconic Pretty Woman scene in our conversation where Vivian is refused service, even though she is willing to spend money in the designer fashion store. By excluding people, companies will lose out on millions. As Ellie put it, “we’re customers too; make sure to include us!” We only need to look at Victoria’s Secret rebrand and efforts to celebrate body diversity to know that the era of high fashion body standards is no longer in.

Image via Ellie

Image via Ellie


However, representation for models is not enough for the fashion industry to show that they are truly willing to change. This is not simply a case of ticking boxes, and the best way to avoid this accusation is to properly represent everyone in the organising committees of fashion shows and the boards of fashion brands.

Image via Caitlin

In my discussions with Louise, Ellie and Caitlin my eyes were opened to ways LFW could make the event more accessible. For example, Louise highlighted the importance of a diverse guest list for in-person shows, as well as hybrid schedules. “Can we invite a broader audience?” she asked, it sends a message that fashion houses want to cater to everyone. Louise also mentioned that we need to make sure that shows include hearing loops and screens for those who are visually impaired.

Image via Caitlin Louise offers consultations with companies with advice on how to better cater to everyone’s needs, so has experienced the benefits of companies seeking help on this issue. Louise met the organisers of Surrey Fashion Week at an event and it only took her mentioning diverse models for them to jump on board and open that conversation. Louise felt completely heard by the organisers and was delighted to model for them. More brands that make it their mission to cater for all body types should be celebrated at fashion week. Caitlin told me about when she first heard about Chamiah Dewey. She’d rushed to buy a trench coat, something that she’d always wanted, which by chance was named ‘The Caitlin’. ‘I had to get something, it’s made for me’. It was this purchase that led to a friendship between Chamiah and Caitlin and the opportunity to model for the brand at LFW. When these brands are given recognition, LFW brings more attention to these stories. It will encourage big designers to follow suit to create more adaptive accessible clothing. Ellie said, “I understand how it can feel overwhelming to consider all access needs, especially if you don’t have experience with disabilities” adding later that ‘we need to be considered from the conception of the show’s design’. As a society, we often either forget to be inclusive or are frightened to do or say the wrong thing, but by inviting people in to share their views we can make meaningful changes.

Ellie shed light on practical changes such as allowing early access and headphones for those with sensitivity to loud music. If fashion houses want to be relatable to everyone, they need to consider every need when organising their shows. The adaptive fashion market is rapidly increasing, with expectations that it will be worth 350 billion dollars by 2024. However, adaptive clothing from big brands is often very basic and do not cater to those who want to feel on-trend. This issue is often reflected in the plussize market as well, where it is mostly bland, neutral basics. The joy of experimenting with interesting silhouettes, bold colours and wild patterns should not be limited to a select few.

Everybody has their ‘thing’, their personal challenges, and yes some are bigger than others…but everyone’s got a thing that makes their life challenging…we all have something going on. In this way, hybrid schedules should be the future. We all face challenges that make in-person events a struggle and opening this up benefits us all. In the same vein, both Caitlin and I were deeply affected by the lack of representation of models in our teenage years. Wouldn’t we all have something to gain from seeing runway shows with more people that look like us? Finally, Ellie said, “The way you can express yourself through colours, shapes and aesthetics is a gift.” It should be fun, and the more we get rid of boundaries that prevent people from partaking in fashion the more fun it will be. Making fashion an elitist club is outdated and, quite frankly, boring. We do the world a disservice by excluding people.

To see more of what Nell has written, visit @nelllanne on Instagram. Louise’s website: Caitlin’s Instagram: @caitlinemiliana Ellie’s Instagram: @ellie_ology

In my discussions with Louise, Ellie and Cailtin, the running theme was that increasing the accessibility of fashion shows for people with disabilities isn’t special treatment - it benefits everyone. Louise and I discussed labels when it comes to “disabled” versus “able-bodied”.

Images of Caitlin by Tom Buller @tombullerphotography


Photographer: Rhiannon D'Averc @rhiannondaverc Model: Flinn Andreae @flinn_stagram MUA: Georgia Dyer @georgiadyermuhd Introducing Flinn, our Face of London Runway 2022! Flinn wears: Pack of 6 Hairclips with Glitter Flower Design in Multi - £6, ASOS Design; Letter Charm Necklace in Multi - £10, Pieces; Miracle Makeover HD Fibre Clip In Hair Extensions - £49.99, Easilocks


Flinn wears: Exclusive Corset Puff Sleeve Dress in Powder Blue Heart £85, Lace and Beads Plus; 7 Pack Hair Slides in Multi - £18, Pieces



Flinn wears: Pack of 10 Hair Clips in Multi - £8, ASOS Design; Exclusive Pack of 3 Stretch Rings in Flower Design - £8, Daisy Street; Pack Gold Hoop Earrings with Fruit Charms - £20, Madein; Miracle Makeover HD Fibre Clip In Hair Extensions £49.99, Easilocks



Flinn wears: Pack of 3 Glass Stone Bead Bracelets - £10, DesignB London; Oversized Hair Clip 2 Pack in Green and Blue Bead - £8, My Accessories London; 4 Pack Gold Hoop Earrings with Fruit Charms - £20, Madein

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LONDON RUNWAY Flinn wears: Pack of 6 Hairclips with Glitter Flower Design in Multi - £6, ASOS Design; Letter Charm Necklace in Multi - £10, Pieces; Miracle Makeover HD Fibre Clip In Hair Extensions - £49.99, Easilocks


Flinn wears: Pack of 3 Glass Stone Bead Bracelets - £10, DesignB London; Oversized Hair Clip 2 Pack in Green and Blue Bead - £8, My Accessories London; 4 Pack Gold Hoop Earrings with Fruit Charms - £20, Madein

LONDON RUNWAY Flinn wears: Pack of 10 Hair Clips in Multi - £8, ASOS Design; Exclusive Pack of 3 Stretch Rings in Flower Design - £8, Daisy Street; Pack Gold Hoop Earrings with Fruit Charms - £20, Madein; Miracle Makeover HD Fibre Clip In Hair Extensions - £49.99, Easilocks



Flinn wears: Exclusive Corset Puff Sleeve Dress in Powder Blue Heart £85, Lace and Beads Plus; 7 Pack Hair Slides in Multi - £18, Pieces




ARIANA GRANDE Amrit Virdi examines the fashion evolution of Nickelodeon actress, turned pop princess, turned musical theatre starlet, Ariana Grande. To those that aren’t diehard fans of her, Ariana Grande’s fashion may be of no notice. However, her carefully chosen looks match each musical era of hers, and have defined her evolving style. Ariana Grande rose to fame after playing ditsy side-character, Cat Valentine, in Nickelodeon’s ‘Victorious’, which led to her garnering more success than the show’s lead. The now 29-year-old has stylistically come a long way since her children’s TV days, and has made some impactful and long lasting trends in the process.

Cat Valentine’s pastel looks embodied in spaghetti strap camis and floaty day dresses made way for Ariana’s image during the run of her first album, ‘Yours Truly’. Released in 2013 during the star’s red-head era, it was often tipped as the album Cat Valentine would have made if she were a popstar. Churning out classic bubblegum pop songs such as ‘Honeymoon Avenue’ and ‘The Way’, Grande truly embodied a a pop princess, and her Cat Valentine inspired style helped with this. This also saw the emergence of her iconic high ponytail, which has seen an evolution within itself over the past nine years. It is natural that as you grow up, your

style changes with you, so a shift away from her cutesy, girly image came of no surprise to anybody. 2014 brought with it the end of ‘Victorious’ and its spin off show ‘Sam and Cat’, and of course there were people who criticised Grande for starting to express her own fashion choices, rather than being restricted to her character’s style bubble. Even in her music video for ‘The Way’, Ariana’s style maturity shone through as she ditched the red hair for her natural brown, which coincidentally fitted with the sleek but sexy aura around her next era, formed around her second studio album, ‘My Everything’.

When you think of Nickelodeon, bright colours, fun, and any form of vibrancy bringing children’s fictional worlds to life comes to mind. So it is of no surprise that Grande’s ‘Victorious’ alter ego, Cat Valentine, embodied the stereotypical ‘teenage American high school girl’ through her fashion choices. From 2010 to 2014, Grande bleached her hair bright red to achieve Cat’s iconic look. Although she has since spoken out about regretting this decision, when paired with the character’s fashion choices, it did bring her personality to life, and also signified the importance of fashion in television.

Image via Youtube



Following the tragic 2017 Manchester bombings, Grande took some time away from the spotlight. Upon her 2018 return to public life, she donned blonde hair and a colour-dominated fashion, all of which coincided with the themes of albums ‘sweetener’ and ‘thank u, next’, which sought to bring light into tough situations that listeners may be going through. These themes particularly shone through in the music video for her comeback single ‘no tears left to cry’, where we saw the high pony ditched for a low one, and pastel colours, floaty dresses, and skirts dominate her wardrobe – a sign of what was to come over the next year or so. floral prints, along with pink frills – something which came back during her ‘sweetener’ reincarnation years later.

Released in 2014, the album brought with it a completely new era of fashion for Grande. Pastel prints were ditched for knee high stiletto boots, with sultry black outfits and an air of maturity, along with the iconic kawaii cat ears, being the statement takeaways from this time. As she marked it as a clear break away from her Nickelodeon days, there are some memorable looks from this time that scream ‘pop princess… but mature’. It also showcased Grande’s versatility to pull off different styles. From the intergalactic, everything glitter aesthetic of ‘Break Free’, to the monochrome, classy aura around ‘Problem’, Ariana brought her music to life with creatively crafted music videos. Her red carpet looks of the time also emphasised her assuredness in her fashion as a young woman. 2015 marked her first Grammy nominations, where Grande graced the red carpet in a white Versace dress with silver sequin detailing. Yet elements of ‘Cat Valentine’ and her former ‘girly’ style peeked through, namely with her 2015 American Music Awards look, a black minidress detailed with white and pink

‘My Everything’ still reflected Ariana’s easing into the pop world, yet follow up album ‘Dangerous Woman’ symbolised Ariana’s true emergence as a stylish, powerful, and indeed ‘dangerous’ woman in pop. The kawaii cat ears were ditched for latex bunny ears, as Grande used her songs, and her emphatic fashion, to make a statement against the press who labelled her solely by her romantic relations. Along with more stunning red carpet and tour looks, the era brought with it something which may be Grande’s longest-lasting trend. The high ponytail got even higher, and threaded with blonde highlights, and the knee-high stiletto boots were paired with a classic oversized hoody. Whenever she was papped out and about, this would be her go to look, as she had a seemingly endless supply of different hoodies and sweaters. I’m not saying that Ariana ‘pioneered’ this trend, but her celebrity influence certainly played a part in increasing its popularity, as even myself and my friends would try to emulate this look back in the mid 2010’s. There were even reports that searches for ‘oversized hoodies’ on Vera Wang and Burberry’s website went up by 130% in 2018, after she was spotted in particular looks by these brands. It also serves as a nice reminder that celebrities are not dolled up for the red carpet all the time, and do have looks achievable to recreate at home.


A special mention also has to be given to Grande’s 2018 Met Gala look, which is one of my favourite ever looks to ever grace the Met Steps. Inspired by her anthemic hit single ‘God is a woman’, Ariana wore a Vera Wang ball dress, screenprinted with the ceiling of the Sistine Chapel. The nude underlining of the dress contrasted beautifully to the blue detail of the screenprint, and was intrinsically topped off with a matching veil atop her newly blonde hair. If this wasn’t perfect promotion for ‘God is a woman’, I don’t know what is. A year later, the ‘sweetener’ tour saw Grande show a more playful side to her fashion, as neon pinks, oranges, reds, and purples, as well as miniskirts and bralettes dominated her onstage wardrobe. Solidifying her popstar status, it seemed to be her last hurrah in the industry given her recent switch to beauty and musical theatre. Grande’s onstage wardrobes have set trends for rising popstars to follow, with Sabrina Carpenter and Olivia Rodrigo donning similar looks on their headline tours.

LONDON RUNWAY The ’sweetener’ tour era stylistically seems to be Ariana’s last embark on the teen-pop world, as her 2020 record 'Positions’ truly transitioned her into a more stable adulthood. Being engaged, and now married, and going through some truly traumatic events, Grande’s fashion seemed to reflect this and brought with it a refined, yet still suggestive, maturity. A hint of this shift was also presented at the 2020 Grammy Awards, where one of her most stunning looks was shown to the world. Ditching the 2019 awards and the chance to wear a Cinderellastyle Zac Posen dress, due to creative differences over her performance, Grande clearly made her presence known the year after through her fashion. The star graced the red carpet in grey tulle Giambattista Valli dress, paired with a blonde high ponytail and long gloves. If a record of her best looks was to be made, this would without a doubt be up there. After this, the go-to high ponytail was well and truly ditched, along with the iconic cat and bunny ears. Ariana seemingly embraced ‘60s glamour for the album cover photoshoot, and her big beehive hairdo paired with a green mini skirt and crop top represented her stylish but maturing look. Even dressing as a president in her music video, it seemed that her fashion reflected her awareness of her role as a powerful woman. Nowadays, Grande has kept out of the direct spotlight, and snippets of her fashion can be seen on Instagram or on television, thanks to her brief time as a judge on ‘The Voice’. Her heavy winged eyeliner has been replaced for minimal makeup, and the bright colours and frills have been swapped for neutral leather looks. Still maintaining an element of girliness with the odd frills and bows however, her true ‘Yours Truly’ roots are still there in a refined and classy manner. Being one of the most influential women in music right now, Ariana Grande’s simple yet maturing style is without a doubt one which will set steadfast trends for teen popstars to come. You can read more of Amrit’s work via her portfolio,, or by following her Instagram @thevinylwriter.



NEW FACE: FIRE LILY Name: Fire Lily Age: 32 Location: Charlotte, NC Agency: Freelance

How long have you been modelling for? About 2 years Where are you from originally? Upstate NY

Do you have an unusual talent or party trick? I can make almost everyone smile. What would surprise people to know about you? I love learning foreign languages and studied Italian, French, and German. What are your modelling ambitions? I want to empower other women to feel confident being fully authentic.

Model: Fire Lily @firelilyofficial Makeup Artist: Kaela @kaela_poses Photographer: Judah Townsend @lightweaverimages Wardrobe: IWEMEK



NEW FACE: HOLLY Name: Holly Thompson Age: 17 Location: Truro, United Kingdom Agency: Freelance, in search of agency

How long have you been modelling for? I have been modelling for just over year, with mostly Time For Print shoots, but am hoping to make modelling a full time job! Where are you from originally? I am originally from the UK, and I plan to travel worldwide with my modelling.

Do you have an unusual talent or party trick? I have an unusual look, and a 'trick' is that I sew my own clothes! What would surprise people to know about you? It might surprise people to know that I have nine piercings! And not all of them are visible to everyone ;-) What are your modelling ambitions? My modelling ambitions are to make it a paid job and be recognised internationally. A more achievable ambition would be to be called for a paid shoot instead of contacting photographers myself.

Wardrobe Stylist/Model/Makeup Artist/Hair Stylist: Holly Thompson @hollythomp.son Photographer: Hudson Swan



NEW FACE: NEJUAN Name: Nejuan Nicole Age: 36 Location: Hampton Roads, Virginia Agency: Freelance

How long have you been modelling for? Over 15 years Where are you from originally? St. Louis, MO Do you have an unusual talent or party trick?

Using my right foot only, I can curl my middle three toes while keeping the outside two toes straight. What would surprise people to know about you? My age. People are usually shocked when I tell them. They say they thought I was still in my 20s. What are your modelling ambitions? A goal of mine is to model in Paris for a well known brand, agency, and/or magazine.

Fashion Designer: Print and Shop CIQ @printandshopciq Photographer: Matthew Merciez @matt.merciez Model: Nejuan Nicole @only1nejuan



NEW FACE: EYÜPCAN Name: Eyüpcan Öçüt Age: 20 Location: Türkiye/Mersin Agency: Toğan Kuter Eren

How long have you been modelling for? I start now. Where are you from originally? Şanlıurfa.

Do you have an unusual talent or party trick? Yes, I am a fighter. What would surprise people to know about you? I think they will be surprised because I am a fighter. What are your modelling ambitions? I really want to be a part of your website.

Photographer: Onur Kuru @onnkuu Model: Eyüpcan Öcüt at Toğan Kuter Eren @eyupcanocut


"Let's Curate" is a global platform that empowers independent artisans worldwide! Our brand power comes from providing creators with the tools and channels they need to best connect with and build their audience. For lovers of all things creative, our network features one-of-a-kind, handmade, small-batch yet high-end designs steeped in tradition and contemporary interpretations.


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Handmade Leaf-shaped, Gold Plated Earrings $70


Handmade Leaf Shaped Stud Earrings $55

You can buy these pieces as well as browse the rest of the collections and artists on Let's Curate's website below: Instagram: @lets_curate Phone: +1 (217) 737-1366 Email:


Prism III Hexagonal Columned Statement Brooch $900

Prismoid III Honeycomb Sterling Silver Brooch $950

Pyramid II Sterling Silver Minimalist Brooch $900


Neo Aluminium Honeycomb Brooch $550

Neo Aluminium Honeycomb Ring $400

Cell Ring with Resin Encased Aluminium Honeycomb $300

portfolio piece Neptune's Maid

Savouring the Garden

Lena is an international fine artist based in Germany. Her works are strongly influenced by the ideas and philosophy of the American Transcendentalism – a spiritual and literary movement occurring in the middle of the 19th century demanding people to become self-empowered and self-reliant. Also, the thought that intuition, creativity, and imagination were more important than logic and rationality is something she could entirely identify herself with. Especially Margaret Fuller, another important personality that enriched this movement and is considered an early feminist had an impact on Lena’s works. She pointed out that the feminine, sensitive, and emotional side is genius and contributes to a set of very subtle and precise observation skills. Therefore, the topics of spiritual enlightenment, connectivity, and female identity are always present in her art. Her "planetary series" shows alien women in an expressive and colorful style. Each artwork is devoted to a certain planet or simply takes place in a foreign environment. The women in those paintings sometimes simply say from where they are, thereby acknowledging that they are different. Sometimes an ordinary scene just is taking place in a different environment aiming to show an alternate, familiarunfamiliar reality. Although this series has been deeply inspired by the possibility of alien life and by Lena's fascination with space, its deeper meaning is to address the topic of otherness and female identity.


Agnes from Enceladus

Rainbow Girl

Lucy with Sky

Fine Artist: Lena Snow @janagoddessarts

Orange Sunrise


Photography - Rhiannon D'Averc @rhiannondaverc Assistance: Amber Johnson @amberjohn_ Wardrobe: Rose and Guy @rose.and.guy, My Little Green Wardrobe @mylittlegreenwardrobe, Kal Babies @kal_babies, H&M Kids @hm_kids Model: Bear Rehal @bearrehal Bear wears: 2-piece fine-knit cotton set -£18.99, H&M; Wood FSC® Certified Abacus - £9.25, Vertbaudet; Ingabritta Throw - £22, IKEA; Crocheted blanket - homemade

Bear wears: Animal mark outersuit - £28, Turtledove at My Little Green Wardrobe; Wood FSC® Certified Abacus - £9.25; Oeko-Tex® Full Cot Bumper, Green Forest - £30.29, both Vertbaudet


Bear wears: Sweat Dungaree Set Animals (Shirt only) - £30, Lily & Sid at My Little Green Wardrobe; Cord dungarees - £35, Kite Star at My Little Wardrobe; Ingabritta Throw - £22, IKEA


Bear wears: Eternal kindness bodysuit with contrasted collar - $23, Kal Babies; 2piece terry set (shorts only) £12.99, H&M; Ingabritta Throw - £22, IKEA

Bear wears: 2-piece cotton set - £17.99; H&M

Bear wears: Ivory knitted jumper £26; Ribbed leggings in Ocean - £10, both Rose and Guy; Soft toy - £3.99, H&M; Ingabritta Throw - £22, IKEA; Crocheted blanket - homemade

Bear wears: My first cardi - £31, Kite at My Little Green Wardrobe

LONDON RUNWAY Bear wears: Eternal kindness bodysuit with contrasted collar - $23; Eternel friendship fleece hoodie in oatmeal - $33; Eternal happiness elastic waistband pants in sand - $18, all Kal Babies; Ingabritta Throw - £22, IKEA; Crocheted blanket - homemade; Rattling toy ball - part of kit, £80, Lovevery



Above: Bear wears: Sweat Dungaree Set Animals (Shirt only) - £30, Lily & Sid at My Little Green Wardrobe; Cord dungarees - £35, Kite Star at My Little Wardrobe; Ingabritta Throw - £22, IKEA

Right: Bear wears: 2-piece cotton set (shirt only) £17.99, H&M; Ingabritta Throw - £22, IKEA; Crocheted blanket - homemade


Bear wears: Ivory knitted jumper - £26, Rose and Guy; Eternal happiness elastic waistband pants in sand - $18, Kal Babies; Ingabritta Throw - £22, IKEA



This week, Kwabena Gyane dives into the creation of an artist’s statement— what to include, what to exclude, and its multiple purposes to every artist writing one. There are very few things in this world that can shake an artist to the bone, scatter thoughts in one’s cranium and induce palpitations in that muscle in one’s ribcage like an artist’s statement. Trying to get any creative to talk about what they do is usually met with stares and stutters, so imagine asking one to write about it? To a novice artist, an artist’s statement could be a novel term that was thrown around in conversation with other creatives, so the anxiety of writing one has not hit just yet. However, there is no need for it to, at its core an artist’s statement is all about you as the artist, and who can write about your creative work better than you? An artist’s statement acts as your voice to an audience before you even utter a word, helping shape how your work is viewed and provide insight into the ‘what’ and the ‘why.’ What your piece is, what it is trying to tell its viewers, why it was created, and why it is conveying certain themes. It acts as a bridge between artist and audience, giving them details they may not have noticed or considered. This is not to shape their thoughts to match the artist but to give them the entire picture so they can view your work in its complete complexity. Typically, an artist’s statement is roughly 150 to 300 words. They function best if they are succinct. However, longer statements are not uncommon, although the longest they tend to be is a page and no more. Artist’s statements differ based on what they need to convey to the readers. A short project statement gives readers a brief overview on an individual body of work and its themes. A full-page statement touches on your work, the

themes, the medium typically used, the techniques and the inspirations behind your creative pieces, making it a longer version of a short statement (not to be confused with a short *project* statement). It is important to note that your statement is not a curriculum vitae (this is not your time to talk about your work history, your career accomplishments


and every possible relevant skill), it is not a manifesto (you are not writing this to declare anything in such a manner), it is not an aggregation of words informing the readers about every pillar of art history (you are not here to teach your audience), nor is it a checklist of art jargon (so maybe impasto, nastaliq and Neue Sachlichkeit should take a backseat unless they are vital).


We know what an artist’s statement is, we know what it is not, we know its primary function - but what occasions require one? Artist’s statements are needed in a range of events; grant applications to fund your work, exhibition proposals to display your pieces, introductions to potential customers, graduate school and teaching position applications. They even come to your aid when a critic needs to review your work. An artist’s statement allows you, the artist, to articulate your creative process, giving you the opportunity to understand your work from a different perspective, so as the audience begins to create a connection with your work, you solidify your own. So how does one go about writing an artist’s statement? Are there any tricks to ensure yours stands out in a crowd? Any potential shortcuts that lead to a page being filled with words that draw the eyes and keep them there? Not necessarily, as an artist’s statement is yours and yours alone, it already stands out, it is after all unique to you and no two artists have the exact inspirations, motivations, techniques, and topics. There are no instantaneous shortcuts to writing an artist’s statement, for a short

piece of work it does take time and although it may feel like a dreadful experience, with patience, preparation and pacing, your statement will say what needs to be said and draw your audience in by the time they reach the last syllable. As an artist, you already understand that with every piece of work, planning is essential, and your artist’s statement is not different. As previously mentioned, your statement provides your readers with the ‘what’ and the ‘why,’ it also needs to give them the ‘how’. Answering these three questions is the bare minimum your statement should do if it seeks to make your audience, whoever they may be, understand what they are looking at and give them the necessary push in the right direction to pull out key information from your pieces. Take your time with your statement, there is no need to rush it (unless you are reading this and your deadline is mere hours away; if so, plan and pace yourself better next time, you are an artist after all). Speeding through your artist’s statement is a guarantee to a haphazard and unprofessional piece of text, and that does you no favours if your audience cannot comprehend what it is you are trying to tell them.


Deep breaths, make sure the ambience is right and answer the ‘what’, the ‘why’ and the ‘how’. Brainstorming can be an excellent way to jot down responses to the three, these can be single words or paragraphs, it is your draft phase, anything goes. If it helps, have your pieces in front of you, take a good look at them. This could spark ideas, the ‘what’ is the easiest; is the artwork mixed media, a sculpture, a photograph, a print, a painting? What medium was used? The ‘how’ is our moderate question, how was the piece made? Let the audience peek into your process, the techniques you employed to turn an idea into an item of inspiration. ‘Why’ is usually the hardest question for artists as it requires introspection, you need to understand what inspired you to make this piece, what motivated you, why was it so important that it needed to be released in such an artistic manner. The ‘what’ draws their eyes, the ‘how’ let them peek, the ‘why’ lets them gaze, the synergy of all three must be perfect to create a compelling artist’s statement.

LONDON RUNWAY This is your own statement so always use first-person pronouns and an active voice, your audience needs to know this is you speaking and not someone else regurgitating your words to them. Your artist’s statement highlights your authority over your creative piece and your creative processes, make sure your audience is always aware of this. Depending on the audience, decide on the tone of your artist’s statement, this should complement those who will be reading it. While academic and humorous tones can shuffle in and out, the emotional tone of your statement should always be constant. The art

piece may get their attention, but it is vital to get them invested in the backstory as well. It has been said several times in this article, but it must be said once more: your artist’s statement is uniquely yours, so avoid cliché as much as possible. Using generic language adds nothing to your statement, it only makes your text sound flat and uninspiring. Your statement is meant to be concise, so choose your words wisely, ask yourself how you can create a story that captivates with the least number of words. This may make you feel anxious but remember you do not need to give the reader everything all at once, give them the most important answers, no need to include trivial matters. Your statement is only an introduction opening the door for more questions about your work— treat it as such. An artist’s statement works best if the language used is simple. This does not mean a mundane statement. It means making it easier for all readers. Accessibility is key with your statement. Once finished, as with every written work, check for spelling and grammar, read it aloud and have your friends and peers read it to get feedback, especially on clarity.


As an artist, writing your statement is both a nerve-racking and exciting experience. Your first drafts may not be the stellar statements you envisioned, but as you continue to understand your art in its distinctive complexity, writing a statement becomes easier. You are an artist and you already know practice makes perfect – so, go ahead and write your first word. You can read more of Kwabena's work at, and @whereifoundmyeyes on Instagram. Images via Pexels and Unsplash



Photography by Ian Clark

























SENTIENT THE BRAND Panthera Tote White £223.00

BIRDSONG White Printed Wrap Maxi Dress £179.00

ARTKNIT STUDIOS The Upcycled Cashmere Blanket with fringes €329,00

OPILINE Aliya £132.00

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BRILLIANT EARTH Floating Solitaire Opal Pendant £250.00

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ARTKNIT STUDIOS The Woolen Ribbed Jacket €215,00 BRILLIANT EARTH Jamie Sapphire Ring £2,870 TWOTHIRDS Tuvalu — Navy Peacoat £87.00 LØCI LØCI EIGHT £140.00



Name of company: Hazze Beauty Type of business: Beauty Location: UK

Currently, how many people work for the business? 1-5 What are your company values? Sustainability, luxury, and value.

How long has the company been running? Less than 6 months Where did the idea come from? We always were finding it a struggle to find luxury eyelashes that didn’t come in plastic or unsustainable packaging, with us we provide a hard luxury case to keep the lashes from bending and reusable case with mirror.

What advice would you give to someone who wants to start a business? Just go for it, go with your heart! Where do you hope the company will be in 5 years time? In Harrods, Fenwicks, and luxury retailers.


HOW CAN SHE FIGHT TO SURVIVE WHEN A WHOLE CITY WANTS HER DEAD? Available on Amazon in eBook, paperback, and on Kindle Unlimited

The EU is dead. The UK is gone. London's political climate is one of fear, death, and distrust. In a world where economic hardship makes every day a dog-eat-dog struggle for survival, everyone is going to lose - especially Mira Helling. Don't miss this thrilling dystopian tale from an Amazon best-selling author!


Photographer: Felix Shtein @felix_shtein Makeup Artist: Kina Serebnitsky @kina.serebnitsky Model: Maria Talis @maria_taliss


KWK BY KAY KWOK Images via Pop PR



Images via Rich Gould @richerpictures

FASHIONS featuring

Kamohoalii Viktra Iria Ponte Haus of Junon Mulmi Bibi Sakalieva


More from this show next issue!










The Authenticity Project BY CLARE POOLEY

Each month, our resident book club reviews a new must-read volume that will help to educate, inform, entertain, and thrill you. This issue, Hannah Whittaker reviews Clare Pooley’s fiction book, The Authenticity Project.



This week Hannah Whittaker is looking at the 2021 novel The Authenticity Project by Clare Pooley, her first fictional novel to be released. The book has continued to be published in 32 different languages, was a winner of the RNA Debut Novel Award, a New York Times bestseller, and a Radio 2 Bookclub pick. Pooley herself entices her readers to this novel by describing it as “six strangers with one universal thing in common: their lives aren‘t always what they make them out to be. What would happen if they told the truth instead?”. Publishers weekly described Pooley’s novel as a “wistful, humorous tale… a beautiful and illuminating story of self-creation”, and Good Morning America drew upon the fact that this book covers a “well-suited subject for the Instagram era”. The reviews and commentary on this book certainly made me excited to get into it, and I am very happy to say that it did not disappoint. This book follows the story of a solitary green notebook that brings six complete strangers together, resulting in unlikely friendships, revelations, highs, and lows. Julian Jessop, a lonely, stylish, and complicated widow has the idea to create this notebook, which is designed for the people who find it to write in it and reveal their deepest thoughts on their lives. Monica, a young woman who runs a café on Fulham Road, is the first individual who comes across the notebook, and actively decides to add to it and ultimately pass it on for the next stranger to find. I believe that Monica’s character is explored in the most depth throughout this book by Pooley, and although she’s definitely not completely likeable at times, I ended up having an affinity towards her personality, and believe that she is the driver behind the ultimate friendships between these strangers who come across the green notebook.

When I finished this book I read Pooley’s afterword which explained how her own struggles with alcohol addiction formed the basis and inspiration for one of the characters within the book. Pooley has said that a few of the characters were inspired by her own sufferings in life, but also how she overcame them. The way she portrayed her own addiction through the character of Hazard was inspiring and extremely brave of her, and further adds to the realism and rawness of this novel. The intricate and lovable characters are definitely one of the reasons that this book was such an enjoyable read. Right through to the end of the book we are introduced to new characters who have come across this green notebook, and who equally have a significant impact on all of the characters’ lives and how the story ultimately plays out. The diversity within this unlikely crowd was expertly conveyed by Pooley, including the old and young, the straight and gay, parents and those without kids, and much much more. Regardless of who came across the notebook, no one was ever ostracised from this unconventional group of people, no matter the connection everyone was always welcome into their group and the time that they all spent together. Due to the way Pooley writes her characters being perhaps my favourite element of this book, I certainly had my favourites. Although my life is close to the complete opposite of the character Monica’s life, I found myself enjoying her sections of the book the most, as I believe that she had the most significant character development from the start of the book to its end. Her journey from a woman who was struggling to keep her café afloat and held so much pain in the fact that she had not yet had children, to a thriving individual who has found


tremendous happiness through other people and their own journeys was so heart-warming to me. Even though Monica probably had the most attention throughout this book, every other character, no matter when they were introduced, had their own, descriptive story told with the same attention to detail. Pooley has the ability to give each of her characters a significant amount of development within just a few pages, allowing the reader to create their own opinion of and relationship with each of these characters that come across the dreaded green notebook. Personally, I find it hard to pick up on anything to critique within this novel. It was such a breath of fresh air, and with my previous reads being on the rather serious side, Pooley’s novel really couldn’t have been recommended to me at a better time! The novel is a fairly easy read, which is definitely not a negative thing, but it is still incredibly engaging and full of twists and turns that are entirely unexpected. In all honesty, I would have still enjoyed the book if there weren’t any surprises and it was entirely straight-forward, but evidently these twists and turns give the book an edge and make it even more enticing.


The overall message that this lighthearted book conveys is that kindness will always prevail, you only have one life and that life must be lived outside your comfort zone! These characters achieve that element of realism and raw truth that we all hope to get to in our lives.

Page turner: ⭐️⭐️⭐️⭐️⭐️ Complexity: ⭐️⭐️ Storyline: ⭐️⭐️⭐️⭐️⭐️ You can read more of Hannah’s work by following @hw.reads on Instagram.





Designers: Alisa Vaseghia House of Avida Sibu Dladla Sofie Svenninggaard Taylor Bystrom Photography by Rabi Sultan @roaming.pixel

















Join Tom McDonald on his spiritual voyage as he explores the Cotswold based yoga festival Soul Circus.

Initial Impressions Tucked away in the village of Elmore, Gloucester, Hollow Farm becomes a yoga haven playing host to Soul Circus Festival for four days in August. The brainchild of Ella and Roman Wroath, Soul Circus has inhabited this space in the Gloucestershire Cotswolds since 2016. Marketed as a concoction of yoga, live music, all manner of wellbeing practices, glitter, and good vibes, I was eager to experience it. For context, my personal yoga journey began in earnest during the many idle hours of the COVID lockdown, using YouTube yoga tutorials. My enthusiasm for yoga has since spawned into being a regular attendee of yoga classes at my local gym. Soul Circus 2022 would be however my first immersion into such a yogaintensive environment and the diverse choice of holistic wellbeing practices would be completely new experiences for me. To fully satisfy the intended wholesome nature of the weekend, it was only fitting that I brought my mother along to this spiritual retreat.

We arrived at the festival site on the Friday afternoon to what must be said was a rather unassuming entrance apart from a single roadside sign denoting “festival this way” and two colourful flags. As an infrequent visitor to music festivals, I had mentally prepared for the usual downsides of the festival experience: long queues to get your wristband, abhorrent toilets reminiscent of that iconic scene from Trainspotting and a predominantly junk food-based diet. However, Soul Circus rapidly dismissed this initial fear. The registration process was seamless and within five minutes my mother and I had our festival wristbands, and we were being directed to the main site carpark. Soul Circus do say that “Car parking spaces are limited and are strictly on a first come first serve basis”, but from what I experienced, at least for those visiting the festival for the entire weekend, there was more than ample car parking on site. We unpacked the car and with tent in hand we trudged the short distance across to the campsite to build our weekend base camp. Compact is the key word when describing the Soul Circus layout with everything within a convenient five-minute walking radius or the


same amount of time as the perfect end of yoga class savasana (or to non-yogis, corpse pose). The main festival arena is an assortment of tent-covered stages and tipis in a circular array with a beautifully constructed wooden pyramid and instagrammable Soul Circus sign at its centre. Just beyond this area is a picturesque lake used for paddle board yoga classes and, with the backdrop of the early evening sunset, the setting for this festival really is spectacular. In crossing the threshold onto the main festival field for the first time, I personally committed to leaving any inhibitions behind and to engage with as much content as possible across the weekend. With this personal mantra at the forefront of my mind, my mum and I managed to catch the last yoga class of the day on the Main stage; a class entitled ‘Cuban Brothers Live DJ Class’. Initially dubious at this juxtaposition of soothing vinyasa flows crossed with deep house beats, I soon realised that the yoga classes at Soul Circus would be like nothing I had ever experienced before. Led by our enthusiastic instructor, the class soon descended into a LYCRA-laden disco, with two hundred plus yogis mixing downwardfacing dogs and malasana yogi squats with conga lines and group high fives. If this was anything to go by, then it was going to be a lively weekend.

LONDON RUNWAY Highlights Soul Circus is a hedonist’s paradise. Perhaps most impressive is the seamless transition from yoga festival to joyous rave once the sun goes down.

Across the weekend, I attended ten different sessions encompassing all manner of yoga styles and wellbeing practices. What was immediately obvious was that there was something for everyone within the Soul Circus programme, testament to the open and inclusive environment that has been cultivated by the event organisers and session leaders.

Gone are the spandex yoga tights and the festival becomes a vision of sequins, glitter and festival chic styling to an exquisite blend of expertly mixed tunes. With acts including DJ outfit the Cuban Brothers, beatbox group Duke Official and the Saturday headliner Mike Skinner from The Streets, the evening entertainment is no afterthought and another demonstration of the well-crafted programming. The party goes well into the night and spills over into the early hours of the morning, where the day spent unwinding transcends into busting shapes on the dancefloor. Drinks can be purchased from several bars on site but with so much love and positive energy in the air, I felt an alcohol-fuelled evening was not needed to enjoy the party.

On the Saturday afternoon, I attended laughter medicine for the whole family; a holistic wellbeing workshop led by the wonderfully exuberant Jaycee La Bouche (founder of Zen Laughter, @zenlaughter). Truly something for the whole family, this laughter and relaxation therapy workshop was an hour of the upmost silliness that couldn’t help but put a smile on your face. Full of light-hearted exercises, the distinction between real and fake laughter was well and truly blurred. I’d also like to say a special thanks to the life juggling team (@lukelifejuggling) that provided an exquisitely playful and engrossing insight into mindful juggling on the Sunday morning. Highlighting that the joy is in the process of learning and not necessarily how many times you drop the balls… which turned out to be a lot! The experience provided by the various yoga sessions at Soul Circus was like nothing you will encounter at your typical gym yoga class. Set in the stunning large main stage tent or in charmingly intimate tipis, often complete with the smell of burning incense and the sounds of live music, the Soul Circus yoga classes were a sensory delight. Being treated to the ethereal performance of a live Kirtan band during a Bhakti Flow workshop is a spectacle which will remain with me for some time. For those less inclined by the more active classes there was a myriad of meditative sessions to experience, ranging from large group mantras to very intensive breathwork sessions. Whilst yoga and holistic wellbeing workshops are the core of Soul Circus there is so much more to enjoy: from the onsite spa to the festival-opening comedy night, the comprehensive festival schedule leaves no stone unturned to ensure


So arrived the Sunday afternoon when it was time to pack up and leave this yoga nirvana and return to the outside world. After obtaining one final dose of vinyasa and saying a few goodbyes to new yogi friends, my mum and I drove out of the carpark and crossed the boundary back to normality.


Summary In summarising my experience of Soul Circus 2022, I guess I should start with the setup of the festival. The facilities were more than sufficient for the size of the festival. The size of the campsite was adequate for those who were camping and there wasn’t the claustrophobic sense of tents piled up on top of each other that I’ve experienced at other festivals. The horror show of typical festival toilets was non-existent with the portaloos at Soul Circus being more than acceptable for the weekend. The only downside that I experienced during my three day stay at the campsite was the lack of showers accessible to the general campsite. This resulted in lengthy queues during peak times. Within the main festival arena the food options were bountiful, each one sounding healthier and more eco-friendly than the last. The quality of the food was good, and I enjoyed eating at several of the different vendors across the weekend. The North African aubergine and falafel wrap was a personal favourite. However, across three days, eating out for every meal would have proven quite expensive and given the amount of yoga that was being undertaken a lot of calories were needing to be consumed. Therefore, I was very glad to have my personal snack reserves back at the campsite and I would suggest anyone attending the festival to consider this. But without doubt the overwhelming sensation that I have from Soul Circus 2022 is a deep sense of gratitude that for three glorious days I got to coexist in this yoga utopia within the Cotswolds with a marvellous group of like-minded strangers. All these elements, coupled with the good fortune of relatively dry and sunny weather, culminated in a sincerely welcoming and supportive environment across the festival, and it’s hard not to eulogise about how great Soul Circus makes you feel.


LONDON RUNWAY Having seen nothing but festivalgoers revelling in the Soul Circus experience, perhaps the biggest challenge faced by the festival is maintaining its authenticity yet upscaling to allow even more yogis, novice or experienced, to enjoy the festival. With that being said, I’m already eager to see what they have planned for next year and I took up the opportunity to purchase early bird tickets for Soul Circus 2023. Using a mantra provided during the Zen Laughter workshop, the only way to summarise my experience of Soul Circus 2022 is it was “Very good, very good, very good, yay!!!”.

You can read more of Tom’s work on Instagram by following @tom__mcdonald__

Images via Tom McDonald



House of iKons SHOW TWO

Photography by Pardesi Photos Designers: Active Kids Bold Black Dresses Chantwa Chavez Dorcas Couture Grindei Denisa Joyce Penas Pilarsky Saima Chaudhry Shameless Opinion Sonata Kaminske Suzi Buki

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The world would be a more peaceful, better place if we all just focused on a singular goal of saving the planet we live on. With that, Candice brings you sustainable pieces from brands looking to save the earth one piece at a time.

Aries March 21 - April 20

Gung Ho - Stories Robe This loudly printed robe is perfect for this fiery fire sign. “This print weaves together individual stories, highlighting the people behind the statistics with lived experience of displacement.” Gung Ho’s site gives you the option to shop for a specific cause, with this robe supporting The Worldwide Tribe.

Taurus April 21 - May 21

Hide the Label - Nyssa Top Designed to be seasonless and timeless, this top, among the other pieces this brand offers, is perfect for the practical Taurus wanting good, staple pieces. It is made from 100% recycled polyester and is versatile for any occasion!

Gemini May 22- June 21

Omnes - Ambretta Top in Gold with Blue Trim A fun top for a fun sign, this gold and blue tie features a tie-front and lace-trimmed bodice. The recycled polyester is certified by the Global Recycle Standard and reuses landfill plastics.

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Cancer June 22- July 22 Rapanui Clothing - Boxy Jumper The perfect layering piece for fall, Cancers will feel cosy and comfortable in this staple jumper. Rapanui encourages customers to return worn clothing to be reused, and all pieces are also made to order.

Leo July 23- August 21 Albaray - Animal Ruffle Midi Dress With a ruffle neck and slightly puffed sleeves, Leos wearing this fun animal printed midi dress will subtly draw eyes this Fall.

Virgo August 22- September 23 Omnes - Aya Wrap Coat in Brown & Black Made to order from deadstock fabric, this coat features a wrap design that will keep the constantly active Virgos warm and cosy while stylishly accentuating their figures.

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Libra September 24- October 23

Molby the Label - Patty Dress in Biscuit A country-prairie chic dress that’s perfect for Spring or Fall! Libras will love the puff sleeves and gingham print.


October 24- November 22

Aligne - Gellar Leather Trouser This chrome-free leather trouser with a high-waist and straight-leg design will accentuate the chic and sleek styles of Scorpios. With all-around affordable and environmentally friendly pieces, Aligne definitely knows what they’re doing!

Sagittarius November 23- December 22 Everpress - Be Natural Sound Good This graphic tee is a limited edition piece by MARK IOMAL, and Sagittariuses will adore the earth-conscious and quirky design. The 100% organic cotton is Climate Neutral and vegan.

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Capricorn December 23- January 20 Deploy London - Short Blazer Cape This cape is designed with every detail in mind to highlight the best features of the wearer. Capricorns looking to freshen their wardrobe with a twist will love this professional yet still unique addition.

Aquarius January 21 - February 19

Albaray - Harlequin Dress Only Aquarians can truly pull off a Harlequin print. Made from 100% Ecovero Viscose, this dress features an empire line shape, ruffle trim, and a tiered hem.

Pisces February 20 - March 20 Monika the Label - The Izzy Maxi Dress 100% pure silk satin, puff sleeves, and a wildflower print design— it’s like Pisces’s dream! “... we design sustainable clothes for wild-hearted women who want to make a change and feel pretty damn cool when they do it.”

You can see more of Candice's work on Instagram by following @Candice_x9. Zodiac illustrations by Lauren Rowley All images via respective retailers.

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JU-NNA Photography by Mrityunjoy Mitra @the_mj_studio

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FJU TALENTS Photography by Chris Yates via i.dea PR








Images via Pop PR

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HOW FASHION AFFECTS POLITICS Anastasia Rolland dives into how politics and people’s perceptions of others in politics are affected by their fashion. As I am sure you are all aware, we temporarily had a new Prime Minister in the form of Liz Truss. Now, whatever your view of her may be, it is undeniable that she made a statement with her choice of clothing. She set herself apart from the rest of her notorious and ironically - conservatively dressed Conservative Party, with her bold colour-blocking outfits. Much like Queen Elizabeth II, she is easily spotted in the crowd through her bold choices from head to toe and normally being of a much brighter nature. Or is Liz Truss taking a leaf out of Margaret Thatcher’s power dressing wardrobe, as Twitter has been keen to voice? Social media is aflame with memes comparing the new PM’s clothing to rubbish bins. Twitter users in the first instance found it amusing to compare her outfits to the different bin colour combinations we have in the UK. This feedback approach is of the new era we live in but does show the instantaneous criticism politicians can face. The appearance of our politicians is a topical conversation not only in the traditional media but with all communication outlets and is no doubt overwhelming for some. We also saw former Prime Minister Theresa May exhibit a bold shoe collection and jewellery statement pieces, indicating women in politics assert their authority through their image. This may be necessary in a male-dominated world, whereby men don’t need to use all the tools at their disposal to get noticed. There is nothing like a bright red dress to scream power!

Image of Theressa May via Controller of Her Majesty's Stationery Office

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LONDON RUNWAY Margaret Thatcher definitely showed up Liz Truss in the power suit department when she wowed the public with her '80s fashion. The woman spoke volumes through her clothes. For the first female PM in the UK, she had to make her mark in parliament, which she did. Although some may remember her in a somewhat distasteful light, I believe her choice of clothes could not be more iconic.

Image of Margret Thatcher by Rob Bogaerts, CC0, via Wikimedia Commons

Her bold balloon sleeve shirts drew attention to her hand gestures when addressing chambers. The oversized bows on her blouses practically shouted, I’ve arrived!Even the cobalt blue power suits, highlighting her allegiance to the party, are so bold that they are imprinted on fashion history forever. The woman was definitely not known for her sentimentality, but she did always wear her two-layered pearl necklace. Her loyal husband, Denis, gifted her the necklace after the birth of her twins. This provided a personal and caring touch to her aesthetic, which gave the public a glimpse of her private life. This side of her was rarely seen but there were subtle hints, which people may have related to subconsciously.

Most politicians, being men, sport their party colours through their choice of tie. Jeremy Corbyn, known for his red tie and scruffy guise, projected an image of what he stood for. The everyday relatable look attaches him to the general Labour message: “for the many and not the few”. This ties him neatly to the party’s agenda by making him appear more approachable and relatable to the general public. Not to mention the infamous baker cap that he frequently sports, which many have called his “comrade” cap. Again validating his sentiment of Labour ethics. I think we can all agree that Jezza Corbyn is a complete style icon.

Image of Jeremy Corbyn by Sophie Brown via Wikimedia Commons

LONDON RUNWAY Maybe men are at a disadvantage where fashion is concerned in politics. Being limited to only a tie to exhibit a message can be described as dull, but women can go all out with their choice of clothes, shoes, and jewellery. Yet, tie colour matters more than you may think. The classic Labour red is a tie that signifies “power”; it shows strength and creativity. The Labour colour also shows unity with many, especially women. Thus, tying their general message of strength to the collective general public. On the other hand, the opposing party's blue tie colour imposes feelings of calmness and stability. This probably has strong links to why so many of our older generation consistently vote Conservative, as it is statistically a colour strongly linked with reliability. As a whole, most elderly people are opposed to change as they are usually routinedriven and prefer the normality of the everyday. The rich cobalt blue that is associated with politicians such as Boris Johnson usually gives the public a sense of softness and relatability. Boris’ scruffy and relatable branding links to this calming and relatable blue colour that many politicians use as a safe colour of clothing. Ironic due to the current fluctuations and inconsistency in the Conservative party.

Angela Rayner was dammed for wearing her party colour in the form of a red coat when representing Labour on Remembrance Day. She was portrayed negatively in the press for wearing a red coat with stripper heels. Had the heels been worn with a black coat, I’m not sure she would have been so critically sexualised. Theresa May has also fallen victim to being sexualised by her clothing, with the press reporting she had strolled the red carpet in a slinky red dress and kitten heels. Yet, on another occasion, her choice of a red dress was seen as savvy and glamorous. It really does appear women in politics need to take their choice of clothing as seriously as what they say, as clothes speak volumes. Understanding how much our clothing, in particular, colour can affect our power and influence on people shouldn’t be underestimated. It could be argued, women’s clothing is judged and analysed more than men’s clothing but is this due to society's bad side or do men just have fewer clothing options than women, resulting in less controversy? Politics is, at its simplest, a game of influence - and our politician’s choice in clothing matters more than you may think. Read more of Anastasia’s work at @Anastasiaroll11 on Twitter

Women asserting themselves in politics can always be challenging, with their choice of clothing being more topical than their male counterparts. Statistics show that women’s clothes drastically affect how they are perceived. Although the colour red is associated with power and aggression, it has also been seen to sexualise women in multiple studies in comparison to the colour white which is seen as pure and innocent.

Image of Liz Truss by Simon Dawson / No10 Downing Street via Foreign, Commonwealth & Development Office and The Rt Hon Elizabeth Truss MP

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Image of Prime Minister David Cameron via Number 10


THE BIG QUESTION We asked, you answered

What would you ask for with one wish?


“If I had one wish, I would ask for myself and my family to live a long and happy life.” – Izzy Dry, Senior Account Executive


- Ella Carey, Senior Account Executive

“THE WORLD TO HAVE PEACE.” – Louise Tagaloa, Model

"To become a model." – Riyana Khan

“As a freelancer my one wish would be to have certainty that I can live comfortably for the rest of my life and have my name out in the industry enough that I'm never without the panic of no work or income.” - Jess Johnson, Standby Art Director in TV & Film

“Bring back relatives that have passed away.” – Cat Daniel, Social Media Manager

“Good health for life (and for those I love but then I guess for the whole world?)”

“To financially secure the people around me.” – George Brown, Trainee Financial Advisor

- Amalia Strand, Model

"To have my face in a magazine!" – Mihaela Biea, HGV Technician Driver

Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question

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