Noctis Issue 6
Noctis Editor in Chief Leoni-Blue
Welcome to our Folklore and Fantasy Issue. Throughout this issue the ever-growing NOCTIS network will give you some of the best legends that music, imagery, fairy tales and traditions has to offer; and we have some very special little gems for you. Illustrators such as Olivia Henry and Dan Morison have created their own fantasy worlds; while photography boasts talent including the likes of James Stopforth (assistant to Tim Walker), Chris Lane and his beautiful winter landscapes, Onasoglu Eleni, Dani Bower's surreal worlds and our own editor Leoni Blue, shares her beautiful fantasy tale.
After brief thought of what to cover, our music section this issue comprises the best of 2012 and a “who’s hot” for 2013. Fake Blood graces our pages, the creative mind behind a new album which has rocked the dance world, and Flume, the newcomer to the scene whose debut album knocked One Direction off of the top spot in his native Australia. We are also pleased to introduce Parisa, Charli XCX, MS MR and Picture Book. We have delved into many areas of the artistic community this issue, but with most of us belonging to the MTV generation we decided to look a little further into music videos and look at Jake Harmer; then continue our ongoing insight into the designers behind beautiful garments. Interviews include Helen Steele and Mary Benson, as well as a very special feature with Void Apparel.
To top off the whole issue we see the return of our beauty section after a brief sabbatical, and our slightly off centre features writer Greg Swaby presents you with his very own twist on a classic fairy tale.
Fashion Editor Sophie Monro-Pruett
Music Editor Erin Davies
Beauty Editor Marie Isabel
Artwork Editor Jennifer Geach
Features Editor Carl Ellis-Coward
Fashion Features Editor Hannah Oakley
Graphic Designer Jo Smolaga
Editorial Assistant & Web Content Editor Jodie Shepherd email@example.com
Web Editor Joe Stephens
Interns Melis Erdem Maria Pizzeria Leah Adams
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Features 8 Jake Harmer 18 Mary Benson 22 Helen Steele 32 Void Limited Apparel 42 James Stopforth 50 Winter Wonderland 70 Fairyfale 144 Jugular Fever
Fashion 60 Skipping School 82 Spring-Heeled Jack 88 Epiphany 96 Coombe Tracey 114 Industrial Folklore 122 Devil's Footprints 128 Frida 132 Magdalena 146 Bloodlines 156 Ornamental
Art 12 Jennifer Geach 26 Olivia Henry 74 Ă„lva 106 Godiva 140 Dan Morison
Beauty 166 170 175 176
...as the flower fadeth Diamond in the Rough Get the Look Beauty Editor's Top 5
Music 14 Lola Blanc 178 Fake Blood 182 Parisa 186 Charli XCX 190 MK 194 MS MR 200 Picture Book 204 Flume 206 Saint Lou Lou
IMAGE MAKERS Andres Silva www.andresilvaphoto.com
Helen Kirkbright www.helenkirkbright.co.uk Ielena Mojarova James Stopforth www.jamesstopforth.com
Marina Castagna www.cargocollective.com/ mcphotography
STYLE MAKERS Alice Chan Aya Tsuchii
Jim king www.jamesariking.com Max Eremine
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Jessie Hyebin Lily Park
Lucy Allen Marianna Faitos Mikio Aizawa Mimi Hraib Nina Sagri
Scarlett Burton Veronica Sitterding
Anna Inglis Hall
NOCTIS MAGAZINE ISSUE 6
Xannie @ Select
Agata WoĹşniak Daisy Tinker
Nicola Goodman www.swoonpr.com
Paul Maynard @thepaulmaynard
Maria Pizzeria stylishpizza.com
Russel Crank www.bad-life.com
DESIGNERS Mawi Jewelry. Dagda. Ruoxin Jim. PPQ. Void.
Sophia J @ Factor Women
BLOGGERS Ambra Caroni Camilla Liley
SNOW PR. H PR. DUST PR. IPR. BLOODY GRAY PR. FELICITIES PR. POP PR.
Clarrisa Bowman Emily Beeson
MODELS AND THEIR AGENCIES Nahel @ D1 Models
Rebecca S & Justine @ Models1
Whitney @ Premier
Zaklina Djuricic @ Ace Models
Lianne La Touche
EXTRA THANKS TO
Aisling Cook. Bryony Friend. Chanie Munn. Emily Shanks. Emily Springs. Katie Bowker. Fanny Alice Ramis. Fenella Cook. Jodie Shepherd. Grace Jean-Louis Constantine. Mitsuhiro Kanemoto. Hope Morrison. Zoe Hancock. Parisa.
Issy @ Model-Union
Mikela & Catia @ M+P London Katerina @ Strike Hope Morrison Aisling Cook
The winter edition of Noctis is inspired by Folklore Fantasy and we have created a playlist from our contributors with music from past and present to be the soundtrack to this issue. Click here to listen now! Illustration Bleu Pickard www.bleu-lines.com 6 Issue 6 www.NoctisMag.com
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Rachel Holland Stylist
Joanna Newsom - 81
The song that helps me escape into a dream world. It's bittersweet and it manages to make me feel both happy, sad and nostalgic all at the same time.
Claudia Ceccantini Photographer
High Places - Head Spins
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Jim King Photographer
Mythos - Ulysses B.Smart
I listen to this when I think about what I'm going to wear at my funeral.
Erin Davies DJ
LFO - Think a Moment
It is one of the most played in our studio and reminds us of the flowing of things.
Despite many of our fantasies, there is one which we all fall into. We fantasise about our futures. From 70's sci fi films to Tomorrows world. What does the future hold?
Jake Harmer Director
Leoni Blue Photographer
Peace - 1998
Play it backwards.
Xanthe Hutchinson Photographer
Fleet Foxes - Mykonos
It's very atmospheric and somehow reminds me of balmy summer nights and holiday romance...
Vicki Ivie Photographer
Windsor for the Derby - The Melody of a Fallen Tree
The song is very dreamy and the lyrics link a lot to the elements and nature.
Kylie M - Confide in Me
I love the drawn out intro its haunting and has a eerie feel, establishing the setting for my editorial.
James Stopforth Photographer
Jenkins:Adiemus - Miriam Stockley and London Philharmonic Orchestra. I find the song has a real power to it and a song that lets you drift away.
Marie Isabel Nail Artist
Bat for Lashes - What's a Girl to Do Because love is life's biggest fantasy
“Nightmares” and “fantasy” I’m particularly drawn to. Whether pure horror or sexual desire these are for me the most exciting areas of the subconscious.
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Jake Harmer is a Film maker whose clients have included Vivienne Westwood, Peace, Duffy Jewelry, Banana Republic and Emalkay. He took time out between projects to talk to Noctis about himself and his work. Who are you Jake Harmer, where are you from and what has brought you to where you are in your career at present? Iâ€™m a filmmaker from Hastings Old Town. When I was a boy I used to play football on the streets with the other kids whilst my parents were in the pub. Nowhere else have I witnessed drunk fishermen, bohemians, junglists, morris dancers and hells angels in total harmony dancing to the Talking Heads. This period of my life definitely had an impact, as did the science fiction and David Lynch movies of that era. I made the move to London in 2002 to pursue a career in film. Starting out as an Editor then on to directing fashion films and pop promos.
What drives and inspires your work? An exploration of beauty in its multiple forms and a desire to project visceral experiences to my audience. Those are the key elements that inspire me and I try to maintain throughout my work. Though the level of exploration varies massively depending on the nature of the film and client. Can’t have people fucking in the Sombrero Galaxy for a Banana Republic ad… Is that sometimes a struggle between your own artists and professional vision and the idea that the client may want as well? Constantly. In the end you have to make a decision whether to make an honest living from your craft or only create for arts sake.
Why do you enjoy the medium of film and your focus on using dreams/nightmares/ fantasy elements in your art? For me film is the ultimate. I love music/sound and photography though the marriage of these has the ability to spark something next level. Tarkovsky and Kubrick are examples of almost mystic creative mastery. They have the ability to make films that can compel and haunt over an entire lifetime. Sometimes I have such intense dreams that make no sense in the realm of our conscious reality though feel completely logical within the dream. This and the existential fascinate me. I feel that dreams are still a completely unknown entity. Skeptics may explain these visions purely as the brain processing imagery though I don’t buy this. I believe that as humans we are still in such a naive stage and that in the future we will discover multiple planes and levels of perception. I believe dreams will then be of a far greater significance. “Nightmares” and “fantasy” I’m particularly drawn to. Whether pure horror or sexual desire these are for me the most exciting areas of the subconscious. Do you keep a pen and paper or Dictaphone by your bedside then to make sure you note down your dreams when something truly fascinating has happened in a dream? I wish I did. It’s an ideal that everyone should do. No one does.
Where do you generate your ideas from? Ideas come constantly, could be anywhere. I jot them down on my Iphone notes then write them up at my studio or at home. 10 Issue 6 www.NoctisMag.com
Do you have a place you like to wander or a corner of your home where you mull and muse over things? Getting out of London always helps. The Seaside. Kayaking. Whilst running. I’ve recently developed a habit of picking up old photographs at boot fairs. I find it fascinating to look at intimate photos of people who are dead and gone with whom I have no connection whatsoever. Picturing who they were and what this precise moment in time meant to them has given me some vivid “daydreams”. How does your creative process work? Do you storyboard, draw or dictate?
I’m very visual in my approach. Whilst an idea is forming I will scan pages from books, tear apart magazines and trawl the Internet looking for imagery. These images are accompanied by a brief synopsis that I then develop. Music videos are notoriously quick turnaround which will sometimes only allow a matter of hours to churn out a video treatment, whereas personal projects can grow more organically over months or even years as is the case with a script that I’m currently working on for my first short. Without wishing to give too much away (spoilers!) would you like to tell us about your film idea a little?
It’s premise is extreme heightened states of consciousness that as human beings we all occasionally encounter. Moments from the intimate to the epic. Raw. Unsettling. Ultimately, I hope, Inspiring. On a more practical note, what bits of kit could you simply not do without when making films or do you have a lucky charm maybe?
My Duffy ring seems to be standing me in good stead. And finally what tips do you have for any aspiring film-makers reading this?
Work harder than anybody else. When I was younger I thought I was talented and I was impatient. I wanted everything now. I’ve learnt that most talent is acquired through dedication and hard work and not god given. I’m a million miles from where I want to be in my career and I’m cool with that. It takes time. Words Greg Swaby
Jennifer Geach JENNIFERGEACH.TUMBLR.COM
ctopuses are Cephalopods, meaning they just have heads or feet and have no internal or external skeleton which allows them to pass through tight spaces. I had a friend who worked in an aquarium who told me the story of arriving into work and finding an Octopus splayed out and dying on the concrete floor. During the night that boneless creature slowly squeezed itself through the air pump in it's tank sliding through the pipe until it fell to the ground
That image stayed with me, imagining tentacles slipping through a tiny crack has been a recurring nightmare ever since.
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octis magazine is here today to check in with one of the coolest up and coming new pop sensations to hit our shores since Pink got the party started! Blanc infuses the right mix of sultry pop diva with girl next-door friendliness and charm, sharing her amazing vintage, designer wardrobe and DVD collection while we nurse our hangovers together after a crazy night listening to her first single “You Like Me" and dancing on those glitter disco shoes (a Blanc favourite!) Only to creat a repeat performance to the incredibly velvet coated pop sonnet “Love Potion No’9”. German born Blanc spent a childhood honing her performance and song writing talents, before taking her chances at making it big in the heady music business of LA, working with high profile producers and collaborating with the likes of Ammo, Jimmy Harry and Jonas Jeberg. Bubbling under the European music radar, the raven haired starlet is set to take over our airwaves this year with her own unique brand of electro- pretty punk pop music with a hint of darkness! So watch out for the one teaming next season’s most outrageous attire with last decade’s vintage treasures and tearing up the very fabric of fashion, only to re sew the seams once more with a fresh new look and sound!
Actually, I was born on an American military base in Bavaria, so I’m not a real German. Don’t tell anyone. I do have some German in me but I’m half Greek. And aside from going through an obsessive Xena: Warrior Princess phase, I regretfully grew up pretty out of touch with my heritage. But I make a mean Greek cookie!
How does your life compare now to being raised on a farm? What advice would you give to any small town youngsters who dream of making it big?
“Raised on a farm” always sounds like cowmilking and tractor-riding, and, granted, we had our fair share of cows (and some horses and goats), but it wasn’t exactly typical farm life because we were performing and doing such eccentric things. But of course it’s a completely different experience going from hanging out in the barn and feeling isolated to being submerged in an industry that dictates the culture of most of the world. It blows my mind that now I can go to third-world countries and hear songs in the middle of nowhere where I’m like, “Oh, I was just working with the guy who wrote that!”
No one ever made it big by being realistic.
So you were born in Germany, do you ever visit the country? And what inspirations go you take from your German heritage? 14 Issue 6 www.NoctisMag.com
When you live in a small town, it can be easy to feel like your dreams are silly or unrealistic, but no one ever made it big by being realistic. Whatever it is, chances are it will take a huge amount of work and setbacks and patience, but if it were easy, it wouldn’t be worth dreaming about.
Photographer Andrew Quesada • Makeup Gloria Rios • Styling & Model Lola Blanc • Thanks to Erica @ Neon castle
Who were your inspirations as a child and why?
I was barely even aware of “real” music until I was 13 and discovered punk and then indie rock from my brothers’ skateboard videos. Up until that point, it was strictly country music and pop radio in my family, so for me it was all about Shania Twain and the Spice Girls. They were so confident and unafraid; I wanted to be like them. And like any little girl, I looked up to my mother - she was fearless, exceptionally creative, and she always did exactly what she wanted, whether it be motivational speaking, book writing, beauty pageants, or, you know, ventriloquism. You’ve certainly travelled and been around, what are your favourite destinations and how have they shaped the Lola Blanc we see today?
What is your favourite way to relax after a hard day conquering the pop industry?
Film! Since I don’t drink or anything, watching movies and shows is my way of escaping from my brain for a little while. Going to the theater or binge-watching Breaking Bad or Homeland is my idea of a raging night. I love to read too, though I started reading Infinite Jest recently and it may take me until the apocalypse to finish it.
The only pressure I feel is to do whatever the fuck I want
Maybe it’s just because I’ve spent the most time there, but there’s a South America-shaped place in my heart. I’m sure it helps that I speak eight words of Spanish, but I have a thing for Latin American culture - I’m inspired by the cities, the 16 Issue 6 www.NoctisMag.com
art, the religious iconography, and the primitive, exotic jungle areas. And some of those flavors come through in the new music I’m working on now.
You’ve recently been spending time in London; what would you say are your favourite hangouts around London and what can we expect to find you doing there?
I know I’m supposed to talk about how much I love East London and how I’m so hip and untouristy, but I’d be lying if I said my favorite place wasn’t Oxford Street. I went to all the markets and I did
like East London, but Oxford was kind of magical for me. I shopped at places like Topshop and Irregular Choice and ate at all the delightful little cafes. Don’t even get me started on the Indian food. How would you say your style has evolved since being in England?
I feel like my style is generally a bit more maximalist and colorful than the English aesthetic - which to me is more understated and sophisticatedcool - but since being there during the Olympics I confess I’ve felt the need to incorporate Union Jacks into outfits as often as possible. How important is image to you as an artist and how big a role do you feel sexuality plays in your image?
Image is key for every pop artist and I’m no exception, but it’s equally important to me that what I put out into the world is me. An amplified version of Lola, but still Lola. When you begin to think too much about how others think of you, it becomes unnatural and forced and I think people are smart enough to see through that. So my goal is to do what I love in a clear, consistent way, operating under the assumption that there are other people who will love it too. And at my core I feel comfortable as a sexual being, so if I’m being me, especially if I’m a visually-driven female artist, that’s going to come through no matter what. But I believe in the music and I don’t think I have to be a substanceless sex kitten or write vaguely shocking sex songs to be a great entertainer. Do you feel any pressure at all to conform to a standard in order to be more accepted by the media? Not so much. Right now I’m at the stage where the only pressure I feel is to do whatever the fuck I want, in spite of all the men in suits who are afraid for their jobs.
What do you feel the future holds for Lola Blanc? Where can we expect to see you in five years time?
Albums, Grammys and tours, oh my! Not to mention a host of fun things I have in store for 2013. What artists have you yet to work with that you’d like to?
There was a Far East Movement collaboration that never got released, but aside from that I haven’t worked with any rappers yet and I’m dying to do a song with Eminem. I admire the honesty in his
music so much. And I’ve always wanted to do a Lady Marmalade-style collaboration with other female artists. Producer-wise, Danger Mouse and Bloodshy & Avant (from Mike Snow) are crazy talented and I’d give my left testicle to work with them. Finally, is there a Mr Blanc on the cards? How could a guy impress you enough to score a date with Lola Blanc? My lips are sealed! All I’ll say is I like my men smart, talented and funny as hell. Words Annabel Wyatt
CLOTHING MARY BENSON • PHOTOS HELEN KIRKBRIGHT • STYLING HANNAH OAKLEY • MUA ANNA INGLIS HALL • HAIR STELIOS CHONDROS • PHOTO ASSISTANT MELIS ERDEM •MODEL JUSTINE @ MODELS 1 • WORDS DAISY TINKER
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Aged just 22, Mary Benson is already renowned for her cutting edge designs. Having formed her self-named label in March 2012, she’s since been featured in Vogue, Drapers and Tavi Gevinson’s Rookie magazine (to name but a few) and counts pop princess Rita Ora as a fan. Daisy Tinker talks to the talented designer about what the future has in store for her eye-catching collections.
hat made you want to get into the world of fashion?
I started making funny little bags at school selling them to girls in the years above me; I loved seeing people wear things I’d made and actually wanting to buy them. Straight after I finished school I started making clothes and had them stocked in some shops, I loved the business side of it all from a young age. What process do you go through when you’re designing a collection?
I research for ages and collect all sorts of things that inspire me. I draw loads and loads from my research and it all comes together. I put my inspiration all over the walls and keep my post it notes by my bed so if I think of anything I can quickly write it down and stick it on my wall for morning! I always have my best ideas when I’m winding down and thinking about everything I’ve done. Do you design to a particular aesthetic or with a particular person in mind?
It’s very youthful and high spirited. I design for me, what I would want to wear. What do you enjoy about what you do?
I don’t know where to start. It’s literally all I want to do and when I’m not doing it I get agitated and fidgety! It’s the best feeling ever when I finish a collection and I absolutely love it - I just can’t wait to show everyone! How would you describe your latest collection in three words? Holographic glamour puss
You count Rita Ora and VV Brown as fans of your label; how did it feel seeing them wear your clothes? It was so exciting because I didn’t expect it! I woke up one morning feeling really ill and had a picture message on my phone saying, “Is this Rita Ora in your shiny stuff?” I jumped about for a bit and suddenly didn’t feel as ill any more! Who would you like to see wearing your clothes? Gwen Stefani; she is brilliant.
Do you wear your own designs, and if so, how do you style them? Yes! I sold most of my old bought clothes, I just didn’t want them any more. My clothes sort of style themselves, I usually put one of my shiny dresses on with my big black boots and that’s me done!
You recently designed a collection of dresses particularly for a shoot for Tavi’s Rookie website; what was the inspiration behind the collection, and what’s it like to work with Tavi? Well, Tavi lives in America so I’ve only had the chance to exchange emails! But Rookie is so cool, and I was super excited when I was asked to make clothes for it! The photos from the shoot were beautiful and worked so well with the clothes. Do you admire any other designs in particular, if so, why?
I absolutely love Christopher Kane, his collections are always incredibly beautiful and so FUN. Where do you hope to take your label in the future?
I’m working on my next collection as we speak....I can’t wait to show everyone. I’m also launching my website in January with a party to celebrate!! I want to continue to be involved in London Fashion Week each season and continue to work super hard and most importantly, keep enjoying what I’m doing!!
The garments you design are typically very bright and youthful, do you think they reflect your own personality?
Definitely! I have this crazy amount of endless energy, everything goes a million miles an hour sometimes. It must be something I eat... Your collection for VV Vintage was actually created using old clothes; why is it important to you to promote upcycling? Well there’s so much potential in vintage clothing, especially because I focus on the print a lot it gives me a really good base for experimenting as well as recycling!
You and your work have featured in magazines like Vogue and Drapers, but what has been your proudest moment of your career so far?
A cross between when I saw my look book from my first collection and when I was on Mary Queen of Shops when I was 17. I was so excited to meet Mary Portas and be on the telly; I love making my Mum and Dad proud. 20 Issue 6 www.NoctisMag.com
our story is quite interesting, when did you decide to get into fashion design and how did you get started?
My degree is in Fashion design, however I always felt that I had to put my stamp on my work in a different way so after uni I began to work during the day with a South African artist Patrick O Conner who helped me to learn to develop my own style of painting. During the night I was working as a lead singer with a thrash metal band to pay the bills! Fast forward ten years and my art was selling internationally when I began to make prints from my art work to print onto kaftans that I wore when working in the middle east. I then began to get orders for the kaftans and around the same time my husbands company Silverhillfoods (who produce Peking duck, and duck down duvets and pillows) asked me to create a range of duck down jackets that would be filled with their pure Irish duck down. We were granted a Fusion grant to research and develop the product which was brilliant because it fused our company with a graduate in Fashion design from The University of Ulster in Belfast. We had the professor of textiles come on board to consult. I launched Helen Steele in SS12 (which sold out internationally)at London and Paris fashion weeks and the puffa jackets launched in AW12. Your living and working environment is very different to most UK designers who are based in London. How do you feel this affects your work?
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feather factory my mobile network jumps from Irish to UK networks which can be expensive!! But on a lighter note it’s a very rural but beautiful place that I live in, our home is on the family run duck farm and is nestled in a beautiful valley with green hills all around us. And at night (when it's not cloudy) you can see so many stars in the sky due to lack of light pollution. It’s a visually inspiring place to work and live. I personally don’t feel that it affects my work - I think it enhances it. We do have a London showroom and press room with Snow PR in Great Portland St. How would you sum up your brand for those unfamiliar with your work?
Bright, beautiful three dimensional prints created by performance art. Created for the woman who travels, a capsule collection of lightweight prints in silks and jersey, that can take you from home to holiday and back again. Your work fuses fashion and art, how would you describe your creative process?
Messy! All of our prints are created by getting fluid paint to mix and run in the air. We use wind machines to propel the wet paint into the air then we photograph the paint mixing and we film the process and create our prints from the images. From the design aspect I try to create a blank canvas of clean lines to show off the print without being restrictive to the body.
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prints. Our SS13 collection has loads of fantastical prints such as the ethereal and misty prints, I tried to evoke a dreamy dewy summer dawn landscape with these two prints. I think a healthy dose of fantasy is important especially today. Your Spring Summer â€™13 collection features lots of loud prints, what were your inspirations? The inspirations for SS13 were as I said before the misty dawn landscape of the English and Irish countryside, and the visually blindingly bright colours found along the new silk route. I was traveling for work in the UAE and China and I just found myself blinded by the amazing visual stimulation that I captured on my camera and tried to re-create in my studio. How would you describe the typical Helen Steele girl and who do you aim your designs at?
I feel that there is something for everyone in each collection that I create . I do see the more wacky Greyson Perry type of person wearing my work. I LOVE him! But realistically the girl who wears Helen Steele is a confident creative leader, who is not afraid of fashion , or anything really... well maybe spiders.
To what extent do you follow trends within the fashion industry? Does this affect your work in any way? I try to create work that is visually appealing and flattering to all ages and sizes regardless of trend. What are your aspirations as a fashion designer?
Colourful world domination creatively and financially, to continue to create clothing that makes people feel happy through colour therapy and constructive prints. Other than fashion, what motivates you in life? Colour, my kids and husband and the pursuit of happiness.
This is the Folklore Fantasy issue of Noctis, what does this theme mean to you? Would you say your collections have any fantastical elements?
The theme of Folklore and Fantasy especially fantasy is the foundation of the basis of our prints, we try to create a fantastical world where paint becomes a living creature jumping from season to season in fantastical colourful three dimensional
Do you have any design heroes, fashion or otherwise? Greyson Perry the artist is amazing, I am also pretty inspired by Comme Des Garcons and DuroOlowu.
What can we expect from Helen Steele in the future? Brighter bolder three dimensional prints on smart textiles that shield and protect the body, a brand spanking new online store going live in March and pop up shops in the coolest of resorts worldwide! Words Jordan Porteous
Olivia Henry WWW.FACEBOOK.COM/OLIVIAHENRYILLUSTRATION
nspired by the oldest recorded version of Little Red Riding Hood by Charles Perrault. The original story included disturbing actions and meanings which have been lost due to censorship. The illustrations focus on the dark side of classical children's Fairy Tales.
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Omar Hraib & Sam Bell on their influences behind Void, a doom-inspired t-shirt brand out of East London.
oid was born about a year ago, when we built a screen printing press out of an old desk and some scrap wood. The reason for its birth was to create a platform for our graphics, something real and tangible that people could get their hands on
The idea of creating something that directly draws from our interests is the main reason we started. We wanted to create a brand that identifies the interesting and unique aspects of doom metal and psychedelic culture, a whole sub-genre that feels underexposed. Most people don’t even know what doom sounds like, which is part of its appeal. There is no real vanity or front to anything in doom which feels like rare thing. We wanted to take this approach to Void.
It is very clear to us that small brands can really drive a subculture, brands that are run by those truly involved with the culture that inspires their products. Growing up skateboarding this was especially apparent. Each brand in skateboarding had its own style and they all offered something different – their own take on skateboarding by showcasing there own selection of art and music on decks, clothing and videos.
With any brand there has to be a level of selfawareness and we are no exception, however the fundamentals of our operation are fairly basic. From the start we’ve designed and printed all our clothing ourselves. It’s great to have such a hands-on approach with an idea, as it allows you to see it develop and keeps you inspired and excited. This also imparts a raw, lo-fi element to the outcome, which echoes the aesthetic of the majority of music from which we draw our inspiration.
As the brand grows we want to increase our involvement with the scene. We’ve had the opportunity to host a couple of shows on NTS Radio, which has been a great chance to play emerging bands to a wider audience in an attempt to offer another perception of metal to those who otherwise may never hear it. Its important for us to keep things on a level, and rather than cater too heavily to trends we want to keep the brand close to our interests in the hope that those who love doom or just enjoy subculture will put their support into something genuine.
Facebook | www.thisisvoid.com | Twitter
PHOTOGRAPHY JIM KING • ARTISTIC DIRECTORS OMAR HRAIB & SAM BELL – VOID • STYLIST JENNIFER GEACH • STYLISTS ASSISTANT MARIA PIZZERIA • MUA MIMI HRAIB • MODEL KATERINA @ STRIKE
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JAMES STOPFORTH WWW.JAMESSTOPFORTH.COM
ames is a London based photographer and a graduate from The Arts University College at Bournemouth with BA Hons in Commercial Photography. Since 2008 to present, he has been Tim Walker’s assistant and he also has a background in set design. He enjoys building large-scale sets and is known by his innovative use of sculptural imagery. James shows great talent towards both photography and set design while also successfully managing to combine both passions to capture aesthetically theatrical and original photographs.
One of his main inspirations being mythical and fantastical influences, he doesn’t fail to practice surreal concepts within photography and, regardless of the technological advantages in post–production, he still prefers capturing most effects on the camera, experimenting with lighting and mixed media. Can you tell us what inspired you to do photography? Not knowing what happened in that red tinted dark room at school, and a curiosity to experiment. I did Art and Design, Product design and Photography at A-level, In an attempt to listen to teachers I took English too to achieve ‘academic balance’, I dropped it after 2 weeks. I spent the two years rotating between rooms in the same block and I know my Photography tutor told me none of the teachers knew what direction I’d end up taking, but that it would be very creative. What’s the first photograph you can recall taking, and why did you take that photograph?
He was a big Golden Retriever. When I was about 7 I used to dress him up and stage funny pictures around him with toys etc. A Cowboy!?..with holster, Waistcoat, hat and sheriff badge. I still have pictures somewhere of him with a headset and roller-skates, wrapped in toilet roll as a Mummy and even one where I got en empty bottle of wine and his paw around a glass. He loved it! 42 Issue 6 www.NoctisMag.com
Which form of art, other than photography, do you find most your inspiration?
Filmmaking ties so many references and whether old or new I have always been able to sit through the worst film and take something inspiring from it. Cinematography, lighting, or maybe something about the setting. I tend to take inspiration from historical ideas like mythology and mysterious events. Years ago my dad used to read these books by a guy called Arthur C Clarke which were crammed with spontaneous human combustion, big foot and crystal skulls, it must have rubbed off. I think these references are more inspiring as a starting point as it links to something real that has happened or been experienced by someone. I think nature is probably the strongest influence as I grew up in Dorset. What makes an image precious for you? Someone you care about or a moment you’d fear to forget.
How do you feel about the memory vs. photograph debate? Do you believe in mental pictures?
Mental pictures in terms of creativity is an interesting area because when I think of an idea, it is not so much from a photographic point of view, but how things could be constructed and rigged, lit and placed. It takes design of a whole scene rather than making something look like an Art/Fashion picture ‘should’. It’s sometimes a bit hard because I see or draw a picture like it has already been shot but then to recreate that on a tight budget is tricky. It is why so far I build all my Props as I don’t need to pay anyone, enjoy it, and makes the end shot ever closer to initial idea. Seems to make the work feel complete. In terms of memory, my Nan had Alzheimers so I could see first hand how when someone’s memories un-willingly fade, Photographs of family and favorite places are the only way to keep a grip on a life you have lived.
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Do you always know why you want to capture something?
I know what and how, but not always why?
Do you take photographs aside from work?
I used to take a lot before University. From that point I think you are made to focus on quality and editing is introduced. Pictures I take day to day are normally references back to work. Otherwise friends and the dogs….
Can you talk us through your process of image making from the beginning to the finial outcome?
Sit in the ‘Man cave’ (office) sketching of an idea amongst piles of sketchbooks full of references.Design of the shots or narrative and do a final drawing. How do I build it? Lots of trips to B&Q normally followed by hours/days of carving/painting/gluing. Frequent visits to the Antique Gumball machine filled with Skittles. Model/Friend? (only so much you
can expect a model to agree to, friends however…. endless). Get rest of a team together and shoot it. Scan it, look at it. Take all the mess to leave at family’s house in Dorset. Find a way to let the world see. Do you take a camera everywhere with you?
No, as mostly the pictures are pre-planned. When I go back to Dorset I do as it tends to be more inspiring than trips on the Tube. I didn’t take it the other week trying to cheat a light bag. Possibly the most amazing sight ever as tens of thousands of starlings took off outside the house carving huge shapes and painting the sky black. Karma. They proceeded to do it every evening I was there just to rub it in. What else do you take everywhere? (Excluding mobile phone)
Three pocket pat-down, wallet, phone, keys… normally a notebook if I have a coat or bag. For all those random scribbling even I don’t understand.
What is your opinion on photographs being forever? Certainly although it won’t be printed, more likely projected in some way. The still image has a power which cant be seen in moving image.
Do you own any cameras? If so, have they got names? I own some cameras but it have never occurred to me to name them. Do people do that? When was the last time you were scared?
Blimey, I mean properly scared, rarely. But there was a time a few years back when I went into these caves along a coastline thinking of pictures, an enormous cliff which had been quarried heavily deep into the cliff leaving pillars of different pieces of stone wedged in to support the cliff above. There were puddles all over where the water was filtering through the ground from the cliff above and I went all the way to the back, it was like another world. I have had so many tempting ideas but it’s a big risk for a picture.
What do you think of Folklore Fantasy, how would you determine the brief?
Fantasy is Escapism into the idea of something outside of what we do and see. Folklore is essentially British heritage. The two makes for an exploration into weird and quirky ideas. Do you think it's possible for any photograph to remain unseen forever?
Sure, send it to space, if you bury it then those Time Team guys will dig it up. If a famous Photographer’s Archive is left then there is normally someone who will want to show the world unseen pictures that the photographer clearly didn’t want to show for one reason or another. Tell us a really unexpected thing that you got inspired from?
Burning wood grain? Mostly I can predict an effect but blow torching softwood gently makes a nice finish. Worked that out when I built the burning standard lamps in the river. Most inspirations are random so it is tricky to list them.
When you meet a stranger, when would be the point at which they figure out that you're a photographer? 46 Issue 6 www.NoctisMag.com
If they come to my home then they are equally likely to think I was a sculptor as much as a photographer because there are many half made projects. I don’t go pointing cameras in people’s faces so probably a simple chat or what we all do.
What were you thinking before you went to sleep the night before your first day of assisting Tim Walker?
If I was an obsessed fan then I probably wouldn’t have slept but the truth is I had met him before when building some of the Props and Assisting Shona Heath with her creations. So I had an established respect for someone who was doing things differently and making Photography as creative as I want it to be. I just hoped I could load film quick enough as the camera he uses is notorious for taking a while to master any sort of speed. It went fine! If you were to put your life into chapters, which chapter would you be in now, and what would it be called?
In the point where the struggle to identify a direction is over, the merge of interests complete, a step forward to simply produce more work. Words Melis Erdem Photography James Stopforth
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Walking in a
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PHOTOGRAPHY CHRIS LANE WORDS JODIE SHEPHERD
ith a style rooted in the essence of drama, Chris Lane is an American photographer and graphic designer with a lean to the fine arts. Dedicated to detail, Lane strives to make an image the best it can be, though understanding the importance of often needing to keep something raw and beautiful like his 35mm snowy landscapes. Here he speaks of finding beauty in the benign, defacing photographs, delving into the commercial world and using shoeboxes as a camera. Fine art has a strong sense of freedom in itself, what first prompted you to delve into the photographic medium? Having enjoyed the arts from a young age, I originally considered myself a painter. But unfortunately I am something of a perfectionist, and not terribly patient; this is where I found photography. It is far more immediate, particularly digitally, though I still shoot analogue. And when I feel the need to manipulate something, I can control a lot with post-production. I still paint when I can though, but photography is my primary art form right now, what with all the time constraints in my life.
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Since your â€œSnowy Wonderlandâ€? series then, have you been developing any new projects? Of course! I am always thinking up new projects. Sometimes I start them and see them through, other times I leave them in my sketchbook with the intention to work on them later. Currently I have been working on a series of defacement photographs. In this instance I take a number of photographs of the same subject with various manipulations and collage them together with Photoshop. This creates something hideous, but still mildly recognisable. How do you feel you have grown as an artist over the recent years?
From the first moment I started photography, my earlier work is unrecognisable to myself as my own. Not only has the technical aspect of my practice grown while I learn new things, but my creativity has come a long way to. I once believed that if a photograph is touched after the shutter has been released, it was cheating, now I realise it is often a necessity. At the end of the day it is my work so I can do what I like with it.
Where do you find your inspiration to make photographic work? Everywhere and anywhere; I can find beauty in almost anything. From the decay of an abandoned house to the natural beauty of the striations in a leaf.
In your opinion, what makes a good photographer? This is a difficult question to say the least as I think it can vary so greatly. There are technically great photographers in the world that arenâ€™t creative, and then there are those that are incredibly creative that donâ€™t always have the technical abilities. I guess, the best thing is to know what your strongest point is. Passion and drive are important components in making a great photographer too. The best are those that never stop trying new things. Does this affect the photography equipment you choose?
Sometimes, but I like to use a range of things. For example, cardboard tubes and shoeboxes make great pinhole cameras. Infact, Iâ€™ve used an entire room with blackened windows so that only a small fraction of light can enter and mark the opposing wall. This being said, I have used a number of digital and analogue cameras. I like experimenting with lighting too; natural light is beautiful but often I feel the need to
shape and control it with either hot lights or a strobe. It is important to try and get the lighting perfect in camera, rather than relying on post-production. Would you say that post-production is an important aspect of your work or not?
Yes and no; creatively yes, but in my landscape work it is not important. It depends on the image I have in mind and whether this can be achieved within the camera. You work within graphic design too. Does this ever cross the line into your photographic and fine art practices, or do you keep them completely separate?
Oh, absolutely they cross over now and again. Graphic design can really influence the colour choices I make and the composition of the piece. What plans do you have for your photography in the New Year?
Well, I plan to make conceptual work that is far more challenging to myself as an individual, and is on a grander scale. I also hope to work collaboratively with more of my photographer friends and push into the commercial world so that I can hope to support myself on photography and graphic design alone.
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These are the actions you must do: Stand to attention, stand at ease, Bend your elbows, Bend your knees.
LOCATION HAGGERSTON HALL • ALL CLOTHING CREDITS DAGDA • STYLING STUDIO DAGDA • HAIR & MAKE UP STUDIO DAGDA • PHOTOGRAPHY IELENA MOJAROVA
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Due to super-injunctions and age restrictions the actual characters in this story cannot be named for legal reasons. Ronsel and Creta are the young children of a poor Pine World furniture salesman. But due to global economic conditions, high rents in The Big City and firms like IKEA under-cutting on price, things weren’t so great in the world of Pine furniture, but he made do best he could to look after his two children and their step-mother.
When a great money drought had well and truly settled over the land, the Salesman’s second, abusive, wife decided to take the children into zone 9 and leave them there to fend for themselves, so that she and her husband did not starve to death or miss a mortgage payment and so damage their credit rating.
The salesman opposed the plan but finally, and reluctantly, submitted to his wife’s scheme, a neighbor had overhead them discussing it in their garden and called social services, but they were too overworked and understaffed to be able to follow up the call. They were also unaware that in the children’s bedroom, Ronsel and Creta had overheard them. After the parents had gone to bed, Ronsel snuck out of the bedroom and using his fathers ePeach laptop downloaded to his SkittPhone the 4Square app, so that he could check into locations along the way to where his wicked step mother planned to dump them, so that they could track their way home. The following morning, the family made the trip to all the way to Zone 9. Ronsel took his SkittPhone and began leaving his 4Square trail for them to follow home.
Once they were abandoned, however, they found that the Chopsy Sparrow game Creta had been playing had almost eaten the whole battery life of their phone! Only a few, erm, crumbs of power were left and they were soon lost in a borough that was rather ironically called The Woods.
ILLUSTRATIONS OLIVIA HENRY
After what seemed like days of wandering to them, due to their lack of patience and short attention spans, they ended up wandering into a less than affluent inner city estate. It had a a run down shopping precinct, due to the openings of a series of huge antipodean owned mega shopping malls being opened in The Big City, attracting customers away from smaller, local firms who were forced to cut prices to try to compete in what were eventually, for most, entirely futile efforts to compete with big business.
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Hungry and tired, the children wandered into a little paper shop and as there was no one behind the counter or in sight they began to help themselves to chocolate and sweets, their parents had failed to set proper boundaries or discipline in them due to their liberal and lassefair parental style and some might say soft, Observer on Sunday, Brunch munching, flat white drinking, small glass of red each night with dinner, caravan holidays in southern France ways. When suddenly the door at the back of shop opened and a Very Old Woman emerged andâ€Ś
Now this is where the story splits in two, one version is the truth and the other is what the children would later rely on in court;
…Lured the children inside, with the promise of soft beds and delicious food. They did this without knowing the fact that their hostess was a wicked witch who waylaid children to cook and eat them, officer
The next morning, the witch locked Ronsel in an iron cage in the back room and forces Creta into becoming a slave. The witch fed Ronsel regularly to fatten him up, but he cleverly offered a bone he found in the cage and the witch felt it, thinking it to be his finger. Due to her blindness, she was fooled into thinking he was still too thin to eat. After weeks of this, the witch grows impatient and decides to eat Ronsel, “be he fat or lean.” She prepared the oven but decided she was hungry enough to eat Creta, too. She coaxed her to the open oven and prodded her to lean over in front of it to see if it was hot enough.
Creta, sensed the witch’s intent, pretended she did not understand what she had meant. Infuriated, the witch demonstrated, and Creta instantly shoved the witch into the oven, slamming the door shut, leaving “The ungodly witch to be burned to ashes”, the witch screamed in pain until she died. Creta freed Ronsel from the cage and the pair discovered a vase full of money and jewelery. Putting the jewels and money in their pockets, the children set off for home.
They had enough money to pay for a minicab all the way home and at home they found only their father; his wife died from an unknown cause. Their father had spent all his days lamenting the loss of his children, and was delighted to see them safe and sound. With the witch’s wealth, they all lived happily ever after.
However as the barrister for the prosecution said in court what really happened is much more likely that when suddenly the door at the back of shop opened and a Very Old Woman emerged and asked the children what they were doing, they panicked and set upon her in a frenzy, beating and attacking her, pushing her into the back room and in the ensuing melay broke the vase in which the Very Old Woman had hidden her pension money and other valuables. The children believed they had killed the VOW and being keen fans of CSI set about trying to dispose of her body and attempted to stuff her into the oven. However she had been knocked unconscious and her screams were heard to ring out across the estate, one witness told the court. The children then cleared out the shop till and safe, ransacked her flat above the shop for any further loot, and were then so tired that they spent the night at the place before making their way back to their father the following day.
And with initial newspaper reports being based on unclear statements and facts that had been quickly seized upon, especially the fact that the Very Old Woman was a practicing Christian she was quickly branded a lunatic by the Daily Mail and the red tops, with initial headlines such as “SICK OLD BWITCH” and “GOD SQUAD BUTCHER BURNT” and the slightly more bizarre, “TWO BLONDE MIDDLE CLASS KIDS KILL VERY OLD WOMAN IN SELF DEFENSE – COME ON, EVERYONE OVER 60 AND LIVING ON THEIR OWN IS PROBABLY A BIT OF A WEIRDO OR A NOUNCE” They believed they would get away with it but foolishly Creta had charged their mobile phone and checked in to the shop using 4Square… Words Greg Swaby
Älva PHOTOGRAPHER DANI BOWER PHOTOGRAPHY
DANIBOWERPHOTOGRAPHY.COM MODELS MAGDALENA CZARNIECKA, SOPHIE NICOLE THORPE, MILLY MOSS, BRIONY BOWER, EMMA BOYNS
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There every herd, by sad experience, knows How, winged with fate, their elf-shot arrows fly, When the sick ewe her summer food forgoes, Or, stretched on earth, the heart-smit heifers lie
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Suit Joseph Turvey • Shirt Joseph Turvey • Tie Beyond Retro • Socks Stylist’s own • Shoes Beyond Retro
g n i r p S heeled
PHOTOGRAPHER DAVID SHELDRICK • MODEL NAHEL @ D1 MODELS • STYLIST MAGGIE IBIAM • MUA CHLOE HAN • HAIR LILY PARK
Hat, Shirt & Shorts Joseph Turvey â€˘ Jacket Xander Zhou
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Coat Joseph Turvey • Shirt & Joggers AquabyAqua • Jumper Humor • Shoes Xander Zhou
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Jacket Xander Zhou • Shirt Beyond Retro • Kilt Beyond Retro
EPIPHANY Mysterious movement
PHOTOGRAPHER KAZUNORI NISHIBIRO • STYLIST AYA TSUCHII • HAIR MIKIO AIZAWA • MAKE UP YOKO NAKATA,JESSIE HYEBIN, CLAIRE KYUNGJU • MODELS (DANCERS) AISLING COOK, FENELLA COOK, EMILY SPRINGGS • HAIR ASSISTANT MITSUHIRO KANEMOTO
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Top Vintage (Stylist’s own) • Skirt Evelina Romano (available at ASOS) • Jacket Takafumi Suzuki
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Dress Binny Panel â€˘ Necklace Vintage Dior
Top/Skirt Evelina Romano (Available at ASOS)
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Dress & Accessory Sin Yi Chung
Dress Sin Yi Chung â€˘ Coat Evelina Romano (available at ASOS)
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Jumper Binny panel â€˘ Skirt Sophie Jones
Dress Orphanage(available at shop 172)
b oom e c a r ey
A mong the old houses on the hillside
~ where the old folk used to live PHOTOGRAPHER LEONI BLUE • STYLIST HANNAH OAKLEY • MUA MIMI HRAIB • HAIR STYLIST AMY BISS • FILM EDITOR ERIN DAVIES • PHOTOGRAPHER’S ASSISTANT JODIE SHEPHERD • MODELS REBECCA S @ MODELS1 & WHITNEY @ PREMIER
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Left: Tartan dress PPQ • Tights Jonathon Aston │ Right: Shirt China Doll Boutique • Dress PPQ • Tights Wolford
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Right: Shirt Nelly.com • Skirt Rockmyvintage • Tights Jonathon Aston • Shoes Lovespy.com Left: Shirt Nelly.com • Trousers Stylist's own • Shoes Nelly.com
Shirt China Doll Boutique • Dress PPQ • Tights Wolford
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Left: Jumper 18 is East â”‚ Right: Jumper Paul & Joe Sister
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Jumper Pretaportobello â€˘Tights Urban outfitters
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Left: Leggings Helen Steele • Dress Negarin • Jacket Gudrun Gudrun • Shoes Own The Runway Right: Silk Tee Helen Steele • Dress Paul & Joe Sister • Tights Wolford • Shoes Shellys
The Gift of God
PHOTOGRAPHER ONASOGLOU ELENI • STYLING DANAI SIMOU • MUA FRANTZESKA KOUKOULA • HAIR STYLIST ARCHONTOPOULOS DIMITRIS • MODEL ZAKLINA DJURICIC @ ACE MODELS
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INDUSTRIAL FOLKLORE ABSTRACTIONS OF THE INDUSTRIAL NORTH
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Shirt COS • Harness Stylist's Own
Fur Sleeve Kieran Ho • Shirt Zara • Trousers Vintage Jager
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Jacket Kieran Ho • Shirt COS • Cuff Stylist's Own
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Roll Neck Kieran Ho â€˘ Harness & Collar Stylist's Own
Shirt COS • Trousers Valerie Hui • Harness Stylist's Own
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Leotard American Apparel • Leggings Kieran Ho • Jacket Evelina Romano • Collar & Knee Cuffs Vintage
Many townspeople armed themselves and attempted to track down the beast responsible, without success.
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Dress Hayley Grundmann • Hat Yeashin Kim
Black Dress Photographer's Own • Top Dress Yeashin Kim • Hat Yeashin Kim
Dress Hayley Grundmann • Hand Jewellery Bianca Laporta • Headpiece Photographer's own
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Dress Hayley Grundmann â€˘ Hand Jewellery Bianca Laporta
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Jumper & Skirt Elly Cheng â€˘ Headpiece Bianca Laporta
Blazer, Skirt & Cape Elly Cheng â€˘ Headpiece Bianca Laporta
Lady of the Manor
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agdalena M The Broken Pianolita
PHOTOGRAPHER XANTHE HUTCHINSON • STYLING ZOE HANCOCK • MAKE-UP FREDA LIL • HAIR OLIVER JAMES • PHOTOGRAPHER'S ASSISTANT SOPHIE LICKISS • MODEL VIRGINIJA • SET DESIGN KATIE BOWKER & ZOE HANCOCK
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Boob Tube Top Topshop • Necklace Stylist's Own • Installation Worn as Skirt Katie Bowker
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Lace shirt COW vintage • Leather skirt COW vintage • Cape Katie Bowker • Tights & Hair Bow H&M
Jumper Vintage â€˘ Cape Katie Bowker
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Neck Piece Katie Bowker • Dress Vintage – Stylist's Own • Necklace Urban Outfitters
Jumper Vintage • Cape Katie Bowker • Shorts Ralph Lauren • Tights H&M • Shoes New Look
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Lace shirt COW vintage • Cape Katie Bowker • Hair Bow H&M
Visor Stylists Own • T-Shirt Vintage • Dungaree Shorts & Cape Katie Bowker • Leggings H&M • Shoes New Look
antasy and Science Fiction have been a driving force behind my work for as long as I can remember. The real world just seems so dull and flat, and above all, predictable. At least in my drawings I can escape to worlds where rocks float in the sky, where starships drift between multi-coloured nebulas, mystic priests perform secret rituals underneath moons and giant robots are made just for the hell of it.
Dan Morison WWW.DANMORISON.COM
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Contemporary Cultural Review:
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BLOOD is the NEW BLACK
ith 2012 marking the centenary of the death of Bram Stoker, author of spinechilling classic Dracula, we are more mesmerised than ever with vampires. It is a myth that resonates with audiences across generations. Children grow up with cartoon characters like Sesame Street’s The Count, teenage girls devour Twilight, adults watch TV’s True Blood. It is a fascination that refuses to die. ‘Once bitten, twice shy’ has never applied. Literature, TV, film, fashion, video games … if it has fangs we want it. Despite the main star’s cold-blooded nature and lack of reflection, it is a genre that is alive and well. Vampires dramatically differ from other things that go bump in the night. Ghosts drip ectoplasm; zombies seep blood and decaying flesh; werewolves moult; vampires ooze sex appeal. This dark charisma and sexual prowess combined with impressive physical and mental power infatuates us. Dracula is the epitome of the tall, dark and handsome stranger. And he can transform into a bat. In the world of fashion too our appetite for all things vamp is insatiable. Halloween always heralds the continuation of our love affair with horror and ‘shriek chic’. And vampires, undisputed spooks of style, are consistently celebrated on the Autumn/ Winter catwalks, duty-bound to showcase the pale and interesting look, blood-stained lips, spellbindingly smoky eyes and black. Lots of black. Vampires, true embodiment of otherness, inspire fashionistas to embrace the dark side.
This year, fashion has gone dark indeed. Autumn/ Winter 2012 showcased Christian Siriano’s beautiful collection of dark bodice mini-dresses, caped gowns
and burgundy lips - all inspired by 1933 horror Vampire Bat. At the Viktor and Rolf catwalk, lit exquisitely by a full moon, the deathly pale skin and dark lips look was key. Versace gave us femme fatales wearing crucifix embellished velvet and skin-tight mini-dresses while at D&G the theme was gothic opulence, with gold brocade adorning black lux fabrics, heavy gold earrings and models styled like immortal tsarinas. At LFW design duo Aminaka Wilmont also made a focus of dark-stained lips but combined the beauty trend with wearable fashion – with a gothic twist. Givenchy too opted to vamp it up with sophisticated black, flashes of blood red and heavy corpse couture make-up.
Fundamental to perpetual popularity is the fact that vampires have succeeded in moving with the times. They are no longer old-fashioned, old-aged, capewearing, heavy Eastern-European-accented Counts likely to be hunted down by pitchfork-wielding peasants. Instead, like a fine wine, they’ve aged exceptionally well. They are young-looking (even if they’ve seen more centuries than the English cricket team), good-looking (think Kiefer Sutherland in Lost Boys), cool (and not just in the cold-blooded sense), exceptionally well-dressed – no more of those scarletlined cloaks except for on very special occasions – and fairly sociable – these days they can be in the same room as a human without jumping on their jugular. It is this undeniable ability to evolve that means fashion’s fling with vampires is far from over. This is one trend that shows no signs of being buried. Words Leah Nedahl
Bloodlines PHOTOGRAPHER ANDRÉ CUNHA E SILVA • PHOTOGRAPHER ASSISTANT DAV SEHMI • FASHION STYLING RACHEL HOLLAND • STYLING ASSISTANT BRYONY FRIEND • MAKE UP ARTIST NINA SAGRI using GIORGIO ARMANI • HAIR STYLIST TOMOYUKI from EARTH HAIR DRESSING • MODEL JUSTINE @ MODELS 1 • ARTWORK MR PHOMER 146 Issue 6 www.NoctisMag.com
Sheer Dotted Shirt with Tie Corrie Nielsen â€˘ Tartan Skirt Corrie Nielsen
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Red Satin Jacket Jan Alhoren • Red Satin Skirt Jan Alhoren • Multicoloured dress (worn as top) Subfusco
White Polo Neck Missoni â€˘ Red Wool Dress Sand
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Grey Dress MM6 • Akong London Tribal Necklace From Union Jewllery • 'Solwara' A Peace Treaty Earrings From Union Jewellery
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Red Quilted Tailcoat Jacket Shan Peng • Red Trousers Sand • Red Chiffon Shirt Sand • Silver Boots MM6
Red PVC Skirrt with train Shan Peng • White and Red Padded Jacket Shan Peng • Black Patent Ankle Boots MM6
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Red Leather Dress L.2. Mae • Black Leather Trenchcoat Maryling • 50 Denier Red Tights Oroblu • Black Glitter Ankle Boots Bertie
White Oversized Top Mother of Pearl • Black Wide-Legged Trousers Maryling • Akong London Necklace From Union Jewellers • Tin Hinan' A Peace Treaty Earrings From Union Jewellers
Ornamental Combining decorative embellishment with large figurative elements to create the ornamental human figure
PHOTOGRAPHER DAVID SHIH • CLOTHING DESIGNER RUOXIN JIM • MODEL CHANIE MUNN • MAKEUP & HAIR DOSIA PIJANOWSKA • STYLING ASSISTANT ALICE CHAN • PHOTOGRAPHY ASSISTANT FANNY ALICE RAMIS
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PHOTOGRAPHY DANIEL FRASER • PHOTOGRAPHY ASSISTANT CAMERON JACK • RETOUCHING OLIVER COUPE • MAKE UP & HAIR KATHERINE GOULD • MODEL XANNIE @ SELECT
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...as the aflower fadeth dark tale of gothic beauty
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MODEL SOPHIA J. @ FACTOR WOMEN MODEL MANAGEMENT • MAKEUP VERONICA SITTERDING for OBSESSIVE COMPULSIVE COSMETICS • HAIR STEPHEN POSTA for DYER & POSTA
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PHOTOGRAPHY HELEN KIRKBRIGHT • MAKE UP MARIE-ISABEL USING NUDE SKINCARE + SLEEK COSMETICS • HAIR LUCY ALLEN USING BUMBLE & BUMBLE • STYLING HANNAH OAKLEY • MODEL CATIA @ M+P • STOCK PHOTOGRAPHY KANYE STOCK
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Winter weather can make your nails weak and brittle. Pop this handy cuticle pen in your make up bag and apply it every time you apply your mascara. No mess, no fuss, beautiful nails.
BLO OD OO
heo Keating aka Fake Blood is a producer and DJ from London. A veteran on the scene, he has been releasing music for twenty years under various different guises, and his success has followed him around the globe playing to crowds in the USA, Canada, Ibiza and beyond. His persona and style has developed along with his aliases into what we now know and love as Fake Blood. Originally making his name as one half of 90s outfit The Wiseguys and releasing some classic tracks including ‘Start the Commotion’ and ‘Ooh La La’; he has consistently made successful tracks and albums, whether it’s as The Wiseguys, DJ Touché or Fake Blood.
Outsider music - to dance to, and to soundtrack a doomed space mission to a dark planet. A bit like “Event Horizon” but with an onboard disco. How has Fake Blood’s style changed since your massive 2008 single Mars?
It’s hard for me to say. That’s for others to determine. I just continue making music and being inspired by stuff around me. How that distills into my tunes over time - who knows.
Along with the signature huge baselines; Cells has an obvious darker, even macabre side to it. Is this sinister vision of music an expression of your personality?
I’ve never been an “industry” guy. I’m the one skulking in the corner!
Fake Blood released his new album ‘Cells’ in November and it has gained positive reviews across the board. It’s instantly recognisable with his mixture of house and techno all woven together with shuddering, dark bass lines. The first track and first single Yes/No tells you all that you need to know about where this album will take you. Kicking off with a solid 4/4 beat, you are drawn in by whispered vocals and a melody not too unlike the theme song from The Exorcist; but when the drop arrives with an incredibly sinister bass line, you realise why Fake Blood is killing clubs all round the world. Your new album Cells dropped in November. It sounds fantastic but for people who are new to your music, what can they expect to hear? 178 Issue 6 www.NoctisMag.com
Not especially. I am interested in the darker side of things, but no more so than anyone else. Hmm… maybe that’s not strictly true. I’m fascinated by that stuff. But whether that affects my personality?...
When starting to make this album did you have a certain inspiration or theme in mind or did it happen organically?
No there was no overall theme or concept. I wanted to make a range of tracks and moods, but also just see what ideas came to me as I progressed. I often make tracks in parallel - concurrently rather than consecutively - so I can switch between different types of vibe and keep my mind fresh, rather than go off down a dark tunnel!
Have you been pleased with the reaction in clubs when you play your new material?
Absolutely. It’s always great to see/hear a crowd respond to a track they’ve never heard before, so those early test plays were nervous but very rewarding. And now I’m getting asked for those same tunes, and the response is one of recognition - which is just as great. For someone who originally came to prominence because of your remixes for the likes of The Kills, Little Boots and Armand Van Helden, what was it like making a full album of original productions?
This year has seen you playing all around the world, including gigs in the US, Canada, Ibiza and closer to home in Scotland. How do the different scenes differ to that in London?
Ibiza can be excellent, or souldestroying. It very Ibiza can be excellent, or soulmuch depends destroying. It very much depends on where you play. Scotland is on where you almost always brilliant. The crowds play are some of the most reactive and
I’ve made albums before, so it wasn’t something new to me. Making one’s own originals is slightly different to remixing other people’s tunes (as far as the mechanics and techniques) but only in the initial stages really - the starting points aren’t the same. But the main difference is that with an album you can experiment, and take risks - you have more time/songs to play with, and they’re yours. It’s 100% your vision - you don’t have anyone to answer to. What do you enjoy most; being in the studio or playing in a club?
It’s impossible to answer this really, as they are so completely different. One hand washes the other! Recently you have worked on a new soundtrack to the classic 1977 horror film Suspiria. How did you become involved in that?
The BFI were running their Sonic Cinema nights that combined film and music, and a friend of mine asked if I’d like to be involved as he had also worked with them on a couple of events. Initially I suggested that I do a DJ set over the top of Suspiria, as it is a personal favourite of mine and lends itself so well to music. But as I started working on it, I realised I’d much rather make all the music myself, instead of sourcing tracks to form a DJ set. So I set about producing about 20 new pieces of music for the film. However, removing the audio in the original
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film (where music was playing) meant I then had to rebuild all the sound effects to sync up to the onscreen action - layering glass crashes, water sounds, wind & rain, footsteps etc to play under my own music, so it seemed to the audience like the original sound was still in tact. Some might say I didn’t HAVE to do that - but it’s my obsessive side!
passionate you’ll find anywhere. Canada’s always a lot of fun, too. It’s more clubbased rather than huge “EDM” events, so you can play proper-length sets to people dancing in dark rooms - which is what it’s all about. The US has really changed over the past few years. I’m having a really good time when I play out there. There is definitely more going on, and more awareness - but I hope that it doesn’t burn out and be seen as a passing fad. And hopefully the club scene will remain strong, and it not just become about huge events. Those big shows can be really amazing, but you need the balance of the sweaty clubs and basements. Cos that is where this all stems from - it’s the lab, the petri dish. Do you think that being born and raised in London helped you when starting out in the music industry?
It helped in that I was in a really healthy environment for music - constantly surrounded by great clubs, radio, record shops etc. But the very first introduction, that led to my first release, came from hanging around a famous London record shop as a youth, and knowing the guys in there. So I guess that proximity was an advantage. But I’ve never been an “industry” guy. I’m the one skulking in the corner! People may not realise that you were once part of The Wiseguys and responsible for some classic tracks like Ooh La La and Start the
Commotion in the late nineties. How did you go from there to what you are producing now?
From my standpoint, I can see a fade - a gradual shift across from the very first tracks I made, right up til now. But to an outside observer they might only see jumps. It’s like looking at mountains from a distance - you only see the peaks. But at ground level, it’s all just the same earth, moving up and down in an unbroken line. There are probably lesser-known tracks of mine that fill in those gaps! But I’ve always loved house and techno etc - I just hadn’t really learnt how to make it back then, and it wasn’t really what that project was about. After that I started experimenting and combining other sounds, trying to find my own style and approach. To be different. How did you first start making music? Was it something you were interested in as a kid?
When I was a kid, like a lot of people I started by making pause-button loops on my cassette deck from records I had, but also all the amazing music that was being played on pirate radio in London at that time. Then my friend borrowed his mum’s computer and we did loops on there. That was enough fun for me to buy my own crummy 2nd hand computer and start layering up these samples. I always find it interesting to hear how people’s musical taste develops throughout their life. Did you have an eclectic musical upbringing or have you always been interested in electronic music?
that has been constructed as a barrier by the old guard of “real rock n roll” to subtly stigmatise and trivialise music that doesn’t sound like the Dave Matthews Band. A record can be 2% electronic or 100% - analysing at what point it crosses the line is pointless. To me, a synth, sample, or even a plugin are just as valid a tool as a guitar or piano. You’re playing at the Bugged Out! weekender in Bognor Regis in January which looks like it’s going to be a huge event. Are there any DJs you’re looking forward to seeing? I haven’t seen The Chemical Brothers DJ for ages, so I’m looking forward to that.
How long does it take you to produce a new track and what is your starting point?
It really varies. Some tunes come together in a few days, while others take months. It’s like a lot of painters - they work on something, but if they hit a wall or get distracted, they put that painting to the side and come back to it with a fresh approach a while later - sometimes a long while. But there are tunes which just propel themselves forward, and come together really quickly. The starting point also varies. It could be a sample which I want to chop up, or a drum track that I’ve built up, or a strange synth sound that needs a home. Or a mood that needs exorcising.
Those big shows can be really amazing, but you need the balance of the sweaty clubs and basements
Well there wasn’t really electronic music in my house as a little kid, but my Dad was always listening to quite odd stuff on the radio. So I was always aware of other strands of making music. But synth-based music and new wave type stuff was huge when I was first becoming aware of pop, and developing my tastes, so it’s always been part of my make-up. However I’m just as much into non-electronic music. In fact, the whole thing of branding music as “electronic” or not is slightly bullshit anyway. It’s just a label
If you were to give the next Fake Blood one piece of advice about how to get started in the industry, what would it be?
Wow. This is a discussion that needs good wine and a couple of hours. I have very positive things to say about all this - it can be fantastic - but there are things to watch out for. And personality types. Big time. However I don’t think now is the time or place. Words Paul Maynard
PA R I S A P
arisa Wilkinson is a 21 year old, über cool singer/songwriter and self proclaimed ‘Alien’, ready to take over our planet. Brought up in London by her model mother and band member father, it’s clear to see where Parisa gets her kooky creative talent and intoxicating charm. She was definitely no ordinary child and is proving to be an extra-ordinary adult destined for greatness. Noctis chatted to Parisa about witches, writing and waiting for vampires. Join us on a tour around her ‘world of pure imagination’. What kind of ‘Alien’ are you?
I am definitely the inquisitive kind. Ever since I was a kid I felt I didn’t fit in with the others around me. It led me to create a fantasy world of being a witch or a vampire and drove my obsession with UFOs and the paranormal. This was especially strong at primary school where I would let my imagination run wild and convinced fellow classmates that I was a witch. My fantasy wasn’t discouraged by my family, whilst other children were watching Disney movies my father gave me ‘Cujo’ (based on the Stephen King novel). This fuelled my interest in film… I love Taratino and Tim Burton.
Describe your musical style?
My musical style is intimate and personal. It contains a lot of primal drums that stand out along with melodic synths. The rhythms are playful and melancholy, with a choral style influenced by my years in a choir at a Christian school. Who are your musical influences?
I am influenced by songs rather artists really. Peter Bjorn and John - ‘Gimme Some’ and ‘Living Thing’, for their playful use of sound. Santigold is extremely talented and really cool. I am influenced by different experiences I have had including the Gospel Choir tour of Venice I had in my final year at school. And Bjork! (Who isn’t influenced by Bjork?) For both her image and sound, a definite influence on me.
Ever since I was a kid I felt I didn’t fit in with the others around me.
When did you start singing?
I started off very young writing stories and books as my parents would encourage me to express myself on paper rather than telling lies at school. I can remember my first book, ‘Billy and the Aliens’, it was great! I then developed on to poetry and melodies in my angst teenage years. From that point writing songs just developed naturally. I started performing at 9 when I joined an amateur dramatics group, with my first big performance at age 10 playing the part Dorothy in the Wizard of Oz. 182 Issue 6 www.NoctisMag.com
If you could collaborate with three people (dead or alive) who would you choose?
Bjork – I would hunt her down! Mark Ronson – he’s an amazing producer! Jeff Buckley – I love his voice! (Sadly he’s no longer with us)
What is your favourite song and/or album?
The music I like listening to isn’t the same as the music that influences me, funnily enough. My favourites are The Fourth Album by Led Zeppelin, Goo album by Sonic Youth and In Vitro by Nirvana. What drives you to write music?
It’s a way of getting something out of my system. I still write stories and poetry as well as music, its therapeutic for me. When I was younger I wrote about things that weren’t real now I write about what is real. It is as personal as I can be.
PHOTOGRAPHY JODIE SHEPHERD • STYLING LEAH ADAMS • PHOTO ASSISTANT EMILY SHANKS • STYLING ASSISTANT GRACE JEAN-LOUIS CONSTANTINE
I have performed at both The Royal Albert Hall and The Palladium with my drama tours but I think The Albert hall was the most amazing venue. Do you have any interesting fans?
I have a lot of lovely people supporting me, no weirdos… if that’s what you mean?! People have requested acapella versions of my tracks before so nothing too weird. I love meeting people and I really will talk to anyone. Do you plan to tour the UK?
I would like to do a couple of specific shows in the summer of next year. There are certain people I really want to support on tour that’s what I plan to do next before I get to do head lining tours. I am not signed to a label yet, but I have been approached. I am only just producing my first EP after the interest from a couple of tracks I posted online, it’s crazy! What would tell your 16 year old self?
Honestly…Just get on with it!!! Don’t mess around. Nothing should hold you back , and who cares what other people think. Have no fear, you’re the only person who can hold you back. If it wasn’t singing what would you be doing? What is your writing process from concept to completion?
I have an unorthodox way I suppose, as I don’t play an instrument in the traditional sense. I come up with a melody, this can be at anytime, even 2am. I will then develop that melody, recording it on my ipod or computer and build up the lyrics. Sometimes it is the other way round and I have loads of lyrics first and try and build the melody. I have a great friend who is my producer, so we then sit down and create the sound together, everything is computer based so it’s not a massive production, it’s quite simple and sounds cool. I really would love to do a live album one day with a live band, that would be great.
Something creative like Art, or film. I have to use that part of my brain otherwise I would go crazy. I love Film and there’s not enough people going into film. Name three things you can’t live without?
1. My iphone 2. My pair of old converse trainers 3. My family (including my cat, The Wolf!)
Tell the Noctis readers a secret about you?
I love meeting people and I really will talk to anyone!
What is the best gig you’ve been to?
Placebo at the O2, about four years ago. It was a really great gig as they played all my favourite songs… I was really happy! What is the largest audience you’ve played to? 184 Issue 6 www.NoctisMag.com
When I was young I would sit out on the porch late at night and fall asleep, waiting to be turned into a vampire! (way before it was cool)
Parisa’s EP will be available on itunes at the end January 2013.
Words Nicola Goodman of Swoon PR
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harli XCX known to friends and family as Charlotte Aitchison is a young one to watch for 2013 although she has already been around for over half a decade shooting with the likes of David Bailey for Vogue and playing out her early teen years in East London’s underground New rave scene. Noctis had a chance to catch up with her before the release of her debut album in 2013. You have been in music since a very young age. How did you get into the scene in 2006? I started making music very young and started putting my songs online, and an east london promoter got in contact with me asking me to play at one of his warehouse parties.
I did and I didn’t know anything about the whole scene. I was supposed to be on at 10 so got there at 9 but there was nobody there till about midnight so I didn’t end up playing till 3am. It was so weird and I’d never experienced anything like that before. But I became part of the scene and I started releasing songs. But it was never meant to become anything. It began to spiral into something I didn’t want. But I had become a name and lots of labels and managers started coming to my shows, which led to me being signed when I was 15. It gave me a chance to start over and learn what I liked.
I then spent 3 years listening to new music and working with new people. Till I put Stay away out and that’s where I think my career began.
Talking of looking back your father was working in the music business as a promoter quite a while ago. Does he help you out nowadays? No not at all as he was a promoter in the 70’s for like 3 years. He owned a club putting on people like Bob Marley before he was big but it was never a family business. He now collects stamps. But it is good that he has knowledge of the business which he can impart to me.
You have shot with both David Bailey and Rankin. How did those shoots come about? And how was it to be involved from such a young age?
When I had my first photo shoot I was 14 with Rankin but to be honest i didn’t realize how much of a big deal it is. Because I was still involved in the new rave culture I went to the shoot dressed as Marge Simpson as I thought it would be a good idea. Although he didn’t get it.
When I was shooting with David Bailey we hated each other when we started shooting but then it all clicked and he reshot me for Vogue. I also reshot with David Bailey for Hunger magazine. Although I have grown into it as I do get the fashion world now and I know a lot more about it than when I was 14. It’s a real honor to have shot with them.
When it comes to writing music I am generally inspired visually by photo and film.
Do you look back on what you were doing back then and think that it influenced your music today? Yeah, I’m not embarrassed about it as I was 14 and it was pretty cool. even though I have more perspective now. Everything did help and I can
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look back and be inspired by the people and the fashion as I really like the club kid thing.
Your opinion of fashion does seem to have changed over the years and people will see that you are heavily influenced by fashion, what would you say that your fashion influences are?
I’m massively inspired by the 90’s as that is when I was born. I was hugely into the spice girls and aqua, people like that. I guess now I’ve kind of gone back to that. The 90’s were cool because there was so many different styles and
statements. From Grunge to Pop it really inspires me visually. When it comes to writing music I am generally inspired visually by photo and film. Mentioning the spice girls is funny as there have been some cases where you have been compared to a cross between the Spice Girls and The Knife, although there is a quite wide spectrum to find yourself in there. Where would you put yourself as far as tying down your sound goes?
You are starting to do DJ sets now. Especially playing at Fred Perry’s night this month. How do you sort out what your wearing?
I have only just started DJing but fashion is part of every single thing i do/ show I play. Although I think I can wear more outrageous shit when I DJ as there is less practicality issues, I don’t have to run round and jump off shit. Although I probably will I don’t know.
Maybe I’m the Wednesday Adams version of Britney Spears combined with Kate Bush?
I do kind of understand that. with my fashion sense and dark music. But when it comes to performance it’s much more rock and roll. For me recently the music I have been making sounds a lot like angel pop, more melancholic. Maybe I’m the Wednesday Adams version of Britney Spears combined with Kate Bush?
When it comes to your music you have collaborated with many different producers such as Alex Metric. How have those collaborations come about?
To be honest Alex and I haven’t worked together for 2 years. We did End of the world and put that out. But it came about as he came to a show and we just started working together literally the next day. I have been working with a lot of people in L.A recently, mainly over the internet. Like I have worked with Blood Diamond and 2 inch punch, just online.
We just talked about producers are there any other acts or vocalists you would want to collaborate with? My dream collaboration would be Die Antwoord as I think they are incredible. Super Cool. I’ve recently collaborated with Brook Candy a killer badass stripper rapper from L.A which has now come out. And I want to collaborate with Micky Blanco but I want to work on my own stuff right now and get everything I want done.
Your have a mixtape which is already out by now. But what was the idea behind doing a mixtape?
For me I like mixes. Previously I’ve done a 25 minute one track. But this one is 8 tracks, some new beats and some of me going over stuff. But I wanted to do something before the album, not quite as a teaser but something that is on the internet. And I always want to be putting stuff out not waiting around. The internet has been pretty big for you. Is it a love hate relationship? Do you want to give back as well as use it?
Well I like it when I get free shit on the internet so I thought I’d give some people some free shit aswell. After this I’m really looking to my album for something that’s real and you can hold as I don’t want to be just a cyber person. This is me doing that for now but I want to show the dramatic twist on that and release a classic album. What’s next for you?
Well My album and my first single from you record which is called “You hahaha” and I’ve recently done the video which I think is the best thing I’ve done as an artist. I felt super cool doing it and I’m really excited about it. But the album is out next year. Words Erin Davies
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irstly what is your definition of a good track?
That’s a good question, but it’s a hard question to answer though because it is never the same for me. I like so many kinds of music that it’s hard to narrow it down like that. I think the best answer is something that has kicking bass line with a really deep feel and a hook or two. And great vocals never hurt. Good hint: if i am moving my head back and forth, you know I like it. How did it feel to be picked up by Kevin Saunderson at just 16 years old?
Well he didn’t exactly pick me up, that sounds kind of strange, don’t you think (haha). But it’s not far from the truth since he did kind of act big brother to me when I was 16... he let me hang out play in the studio, and he actually taught me a lot about using the equipment. It was great, I got to sit in and learn and also make my own records. We are still good friends today. You have been claimed as an influence to huge hitters nowadays such as Afrojack and Todd Edwards. How does it feel to be told you have had such an impact on people?
How was it working with some of the people you have worked with including Quincy Jones and many top artists? What is the funniest story you have lived whilst working with somebody?
It was really amazing and daunting at the same time. People like Quincy Jones, and Will Smith... I mean I grew up with those guys being these larger than life icons. I learned alot and watched... Those guys have so much patience and grace when they are working with artists and other producers. You can see why Quincy is considered to be a master... He is really a true professional on every level. Funny Stories... Oh my god there are so many, I wouldn’t know which one to pick.... Need a little while to think which would be appropriate to tell about. Is there anyone that you would really like to work with?
If i am moving I want to pick more than one... I would my head back love to work with Azaelia Banks, lately I have been making a lot of music and forth, you with Lee Foss and Jamie Jones and boy we would love to work with her. But know I like it. then there is also Rita Ohra, Santigold,
People tell me that all the time and it’s kind of funny since those guys are friends of mine. I work with Afrojack and just did a few shows with Todd. It’s super flattering and its amazing that such talented producers say that I had
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a big influence on them. I don’t really know what to say other than thanks... That’s really nice to hear.
Robert Smith (The Cure), Depeche Mode, Calvin Harris, The Weekend and Jessie Ware. Oh and then there are the artists I would love to remix.... I am just finishing the new Lana Del Rey and next Creep single and my single with Lee Foss and Anabel Englund “Electricity” just dropped.
You avoided Djing for a long time what changed your mind about this?
Ha, ha I don’t know that it was avoiding as much as it was that I almost never left the studio and had not experienced the thrill of playing out. I changed my mind slowly, little by little, my managers set up a couple of dates for me here and there and I started to really have a great time doing it, so here i am now hooked... completely hooked. You have worked on over 20 number 1 records how does that feel?
Is there a big difference when working on your own songs?
Just a bit of a different approach, but mostly it’s very similar, I like to deliver on my originals and also on my remixes, one inspires the other.
There is no way we could interview you without asking about your remix of ‘Nightcrawlers’. Does that song keep creeping up on you? Is it something that you are happy with?
I have a lot of secret collabs coming up in 2013
Another good question, it feels great, but you never really look at it like that except when you look back....these victories are generally spread out, so the information does not overwhelm you or go to your head. Looking back is there anything that you wish you hadn’t done?
Yes, I wish i didn’t get rid of my loft in bed stuy, Brooklyn property is going off the hook.
How do you approach working in the studio with such a big range of artists over the years?
I try my best to be reliable, connected and focused on the project I am working on and the music takes the lead, as long as i like the people i am working with, which is 99.9% of the time, since I choose who I work with everything works out fine.
Yes, that song does have a way of creeping up time and time again, it’s been around 20 years since it came out and people just never seem to get sick of it... It’s great... It makes me feel really good.
What would your advice be for any young producer or songwriter?
Just keep doing it, and doing it and doing it, don’t give up and always make time to help the next wave coming up... Slow and Steady Wins The Race. What is next for MK?
I have a lot of secret collabs coming up in 2013 including the Lee Foss - MK ftring Annabel called “Electicity”, I have plans to do more songs with Lee Foss and Jamie Jones--collabs coming fast and furious but they are surprises... Words Erin Davies
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his year has experienced a taste of new global music sensation, MS MR. They have already excited the likes of Jay-Z, Grimmy, and Tom Ford who used MS MR’s No.1 Hype Machine record, ‘Hurricane’, in his September spring/summer presentation. After having a short history of song covers and the ‘official’ release of ‘Hurricane’, MS MR released an exclusive EP called ‘Candy Bar Creep Show’, in September this year. The four-song EP includes tracks ‘Ash Tree Lane’, ‘Dark Doo Wop’, ‘Bones’, and ’Hurricane’. Previous releases Hurricane and Bones have alluring dark hooks and almost haunting lyrics (“Welcome to the inner workings of my mind/So dark and foul I can’t disguise.”) Music mogul Zane Lowe described ‘Hurricane’ as his ‘Hottest Record’, and since the release of the EP The Guardian declared MS MR ‘Potential Superstars.’ Now, the world waits in suspense for the release of MS MR’s new single, ‘Fantasy’, in March 2013, shortly followed by the hugely anticipated untitled debut album in May.
In the run-up to ‘Fantasy’, MS MR are on a European tour this winter and are stopping in the UK for two sought after gigs at Manchester and London in November. Despite acclaim, the duo who are behind the track remained an impenetrable secret, Noctis had a chance to meet up with these two and get to know them. Who are MS and MR? Firstly, with you guys being so new, lets introduce you..
Tell us how MS MR first formed?
I think she knew me well enough that I could be honest with with her but not well enough that we ever had to talk again.
I got the email with the song attached but I was so scared i didn’t listen to it for like four days. But there was a really nice sickeningly sweet melody and her voice was super compelling. So we got together and did the Patrick Wolf cover. It was good to start with the cover; We couldn’t argue about it. You guys seem like you were more of a straight up collaboration than a band when you started?
Lizzy: Yeah we didn’t go into this thinking this is the start of something. We started with the cover because it gave us a chance to test the water and feel each other out. Just see how it goes. We wrote on a track by track basis and it wasn’t till the following spring when we had a body of work and thought Ohh, we could turn this into something more. The MS MR sound is instantly recognisable. Did you establish the band’s sound early on? How does the writing process work for you guys?
Max: Well sometimes I’ll start writing a track and I’ll send it to Lizzy and she’ll sing over it. Sometimes she’ll send me melodies and lyrics and I’ll work into it together. or an accapella and I’ll write under that. There is so much cross editing.
We recorded our entire record in a spare bedroom in my apartment.
Max: We went to university together in upstate New York. We had a couple of classes together but never really spoke, we weren’t friends really. I had started producing music in my bed room in a DIY way, a bit like now really. Lizzy had started a record label called Neon Gold in her softmore year. After university some of my other projects fell apart so I contacted Lizzy to see if she had any artists she
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was interested in developing. So she sent me some names and an email about how she had been writing for a long time but had never shown it to anyone.
Lizzy: We don’t lock ourselves away and work on something. We do work together sometimes but are doing that less and less now it’s easy for us to both start and exchange.
Max: It’s super organic every song develops in its own way.
Zane Lowe described ‘Hurricane’ as his ‘hottest record’ and it reached No.1 on Hype Machine.
Baring that in mind, what has been the pinnacle moment so far for MS MR?
Lizzy: This is very new for us too. But I was born and raised in London so Zane Lowe is a big deal for me I remember listening to him on XFM and watching his MTV2 show Gonzo. When Zane Lowe played our track I was streaming it online, fist pumping in my apartment and freaking out, jumping up and down. Your music has been exciting everyone from designer Tom Ford to music legend Jay-Z, how does that feel?
Lizzy: It’s basically a closet.
Max: A bed doesn’t even fit in there. But we recorded the whole thing with one keyboard and a microphone. You can do that now, you don’t need to invest a lot of money to create good quality music. Maybe $500. There are so many possibilities for people to create good quality music. It levels the playing field I guess. Anyone who can write a good song can do it now without spending the money or without going to school for it.
When Zane Lowe played our track I was streaming it online, fist pumping in my apartment and freaking out, jumping up and down!
Lizzy: I think it’s flattering. Max and I are taken aback and humbled. It’s mostly nice because we don’t really think about what people like when we were writing the track, just when we finished it we were happy with it.
Max: I think it is a really personal expression for both of us, something really deep at our core that we are putting out there and to have people react so positively it’s like the cherry on the top. It’s cool. This partnership is so fulfilling in its own right and having other people say it’s something they want to listen to as well and it’s speaking to people, is an incredible feeling.
Lizzy: It’s also nice to be part of this community and be observed by other artists that we also admire. I feel a bit in awe of it really.
Do you feel that the industry has changed with the wave of new acts that are writing and performing. Rather than the model of the songwriter in pop music and the old label structures? Max: Absolutely I think it’s really expanded the musical landscape in a positive way. The fact that you can create. We recorded our entire record in a spare bedroom in my apartment.
Saying that do you ever worry about over saturations of the music market?
Lizzy: Absolutely but it raises the bar, you can’t just be base level good. You have to be better and that's a pressure artists should put on themselves if you want to make music. You need that to push the evolution of music forward. I think that’s an important ethos for us. Max: I think all this sort of thing reminds you that pop isn’t a set category. Lizzy: We aren’t embarrassed to say that we are pop and we want to be pop music. It’s all about accessibility.
When talking of pop music, most people like to pigeon hole artists into one little genre. We noticed an interesting one when listening to you called “Tumblr Wave” Is this something of your doing? Max: I love that
Lizzy: I sort of made that up
Max: When we made our first E.P on Bandcamp you have to put a genre.
Lizzy: I put Soul Fuzz and Tumblr Glitch pop.
Max: Now people are referencing those names. It’s so accurate.
We love what we have done but we aren’t precious about it. It’s endlessly fascinating.
Lizzy: We don’t have to take ourselves too seriously to relate to our music.
Max: I love that people have taken that and are making more and more ridiculous genre names. Lizzy: Music is crossing over to so many genres now and i think it’s good that pop now encompasses so much more than you would have thought a couple of years ago. Talking of the internet. You two get great coverage on blogs...
Lizzy: It’s really nice of you to say that because I don’t have a sense of it so it’s really nice to hear that. .. how is it to have that response from people in the public rather than the big names we spoke about earlier?
Max: It’s nice to hear. We are all children of the internet and are really inspired by it so it’s nice to see that the blog community have been supportive of what we do. It’s something that we care a lot about.
The European tour has just kicked off. What do you have in store?
Lizzy: “Tour is coming” please have that written in a Game of thrones voice.
What is your favourite show you have played and where are you looking forward to? Max and Lizzy: We are so Lucky to be able to do that.
Lizzy: We said to our managers to start with, that we want to spend as much time in Europe as we do the states especially as we have a connection here.
You need that to push the evolution of music forward. It’s been awesome so far but the favorite is Atlanta. There I think that’s an were incredible rock crowd but important ethos we were a bit worried about it as we were on tour with Group for us. Love. It was easy with Marina and
Lizzy: It’s something we have tried to stay close to especially the Tumblr E.P release and devoting alot of time to that site as it’s such a great extension of who we are as people.
You're currently releasing a lot of stems in formats which seem completely new to us. We have seen remix competitions and acapella b-sides but giving away every stem seemed to be something new and interesting. What was the idea behind this? Max: I think there is a lot of freedom of speech and democratizing music. We are really interested in the idea of collage and mixed media. How the music inspires other forms of art, and how it transcends mediums. It’s interesting to see how people interpret it.
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Lizzy: From a music lover standpoint we are interested in finding new artists and hopefully we can be supportive of people. It’s about building a community around us.
the Diamonds but we thought we’d have to work a bit more for this. But the crowd were mental it was a huge show.
Max: Lizzy was all over the place jumping on the barrier.
Lizzy: That was my most rock and roll moment. People always compare new acts to others how do you feel about that?
Lizzy: I think we are pretty self aware of where we sit and who people compare us too. Max: Sometimes just for the imagery.
Lizzy: We don’t mind comparisons, especially as we are a new band. People need to put you in context
so they can understand or relate you to something. It’s part of the process. I think it’s interesting how people relate to music and tie it up to other artists. Ultimately i think it’s interesting and flattering as we are such music lovers. Wouldn’t it be interesting to find out why people make those?
Max: We draw so many influences from so many different time zones and genres from Opera to pure pop and we don’t really have control of what it’s going to sound like. With our theme of Folklore or fantasy is there anything specific story you can remember from your childhood?
Lizzy: I took American Gothic Literature and most of that is pretty close to those tales so I think we’ll stick with that.
What future projects do you have ahead of you?
Lizzy: This is the first thing we have really ever done together or aside and we feel like we have just begun to find what we are capable of. We are really excited to share this album but we are also really excited to already get back in the studio and find out what the next evolution of this music is as I don’t think either of us really know. The possibilities are so endless. Max: Even when the album was done I didn’t feel that I felt that I had much more exploring to do and that is so exciting and so nice to feel like that. Words Lisa JC & Erin Davies
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rom the successful release of debut EP At Last (a collaboration with Grammy nominated vocalist Greta Svabo Bech) to a string of pivotal performances at the Olympic Games Torch Relay events this summer, it’s fair to say it has been a monumental year for talented band of brothers, Dario Darnell and Lorne Ashley. Known collectively as Picture Book, Dario and Lorne are proud sons of legendary Kid Creole and the Coconuts front man August Darnell and have most definitely developed a certain passion, work ethic and musical flair from their father.
playing little melodies and singing along with lyrics we had made up about girls and playing basketball across the pond. Very surreal. I remember it from the footage rather than from memory. We invited all our family and friends to sit in the garden and watch us. We must have been 7 years old. Ridiculous. What’s it like making music together? Is there ever any sibling rivalry?
The first gig was in our Mum’s back garden, on bin lids and a karaoke machine...
Originally from New York City, Picture Book have spent the past three years in based in Liverpool exploring the musical spectrum and collaborating on many of the songs currently included in their diverse and popular repertoire. As a very fitting conclusion to such a successful year, the duo has recently released their second EP Songs About Aimee which is co-produced by house legend Tony Senghore. When did you decide to start the band?
I can’t think back to a time when we weren’t trying to write music, tell stories, and get people dancing. Which consequently led to a LOT of embarrassing footage.
Do you remember the first ever gig you played?
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It’s only sibling rivalry. We fight to get our individual parts on tracks, and that keeps us on top of our game individually, and keeps the tracks working creatively, with loads of personality and above all - progression. Are you in the process of writing new tracks at the moment?
We never stop writing new tracks. Except for hangover days. Even those are scheduled in these days. Living off Google Calendar. Who are your main musical influences?
Our dad is obviously a big influence. Incubus have been a primary source of inspiration because of their musical evolutions and insane harmonic qualities. Also, Simply Red, from early childhood has been admired by each of us. Have your Dad’s compositions and style had any influence on your music?
Yes, most certainly. But there is also that competitive edge - I know it’ll make him proud to consider a piece of ours being funkier or out-selling one of his singles one day!
Do you ever get together and jam with your Dad?
‘Jamming’ happened when we were kids - and when it did happen, we were terrible. But more recently, as soon we were capable enough as song writers, producers and technicians, Dad seized the opportunity to get cheap studio engineers. Hahaha!!! We did the whole ‘I Wake Up Screaming’ (2008) album with him. It was truly an honour, a lot of hard work went in to that album. And it sounds beautiful, if I may say so myself! What has been playing on your MP3, CD or record player this week?
I think that the summer was pretty startling, all the attention we had on the country was positive, for once. How did you approach the remix of Mark Ronson’s ‘Anywhere in the World’ for Coca Cola?
It wasn’t easy. This current remixing model is something that we both don’t agree with at all. However, we think we’ve found a more honest way to re-imagine someone else’s hard work. What was so interesting about this remix was that the percussion and drums were all sounds of sport recorded by Mark Ronson from athletes around the world. It made the whole thing really challenging, which in turn, made us enjoy the whole experience more!
We had opened a path that had literally no boundaries other than our imaginations
I went to Dad’s place a few weeks ago in Sweden for some recording, and came back with 2 suitcases full of Vinyl. For some reason, the main record on rotation at the moment is Sade’s ‘Promises’ album. On top of that we’ve been researching the origins of Soca for a new Picture Book live show idea.
Do you have any embarrassing skeletons or ‘guilty pleasures’ in your record collection? Too many - Backstreet Boys, N*Sync, Limp Bizkit and The Offspring to name a few.
What have been the ultimate high and low points of your musical career so far?
Good question - the ‘ultimate’ part really puts the pressure on! I think my high point has to be writing the current live set. We have been through a lot of live incarnations, but when we finished creating this new formula at the beginning of 2012, we knew that we had opened up a path that had literally no boundaries other than our imaginations. Which is still just as exciting today as it was the day we completed it! I can’t think of a ‘low point’ per se, but I can think of plenty of embarrassing points... The UK took centre stage this year as host of the 2012 Olympic Games, so it must have been a great honour to be chosen to play at the Olympic Torch relay events. What was the experience like and did you manage to get an up close and personal glimpse of Bradley Wiggins’ side burns? We didn’t meet any Olympians, although not for lack of trying. The tour was incredible. Playing Hyde Park was a rush. We really wanted to meet the Olympians, their life style fascinates me, and the things they can achieve are truly wonderful.
Obviously being able to release music is very important for any musical artist and I notice you have taken the initiative to start your own label, ‘Picture Book Records’. How has the process been?
We have learnt a lot from it and we feel it is the right path of us to follow at the moment. “Picture Book records”... it’s not a very inventive name of course, but it puts our point across: This is music by us, for you, by any means necessary, because we want you to hear it! How has your brand new EP Songs About Aimee been received and what was it like working with House legend, Tony Senghore?
It’s been pretty well received, thank you for asking! It wasn’t intended to be a big smash EP, more as something for song-lovers to hear. It’s a “concept EP” if you will allow the term - a story that we had to tell. There’s stuff to dance to, but there’s stuff in there to really get your teeth in to as well. Chords, harmony and progressions that are slightly off kilter, but everything delivered with constant fusion to the lyrics. Tony is great, he really helped this EP to the next level. Finally, what’s next on Picture Book’s agenda?
More music, videos & content... We are ready to move on to the next stage. All we really want to do is groove. Create some atmosphere around a heap of people, connecting us as we create brand new music just for them at that moment, to close your eyes and shuffle your feet to. Words Dan Hughes
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rom Sydney to Shoreditch, we are more than happy that Flume is finally coming to London early next year! The 21 year old producer tells us how it is to be young in the music industry but also how he celebrated that he beat One Direction in the Australian Itunes Chart. From bouncing dogs to slow burning sex jams, let’s say hi to Flume! What was the first thing on your mind when you woke up today? Oh shit, I have a live to air radio interview in 15 minuets
What did you have for breakfast?
Special K with yogurt and honey and coffee Have you ever made your dog bounce to your music? All the time! I get him to play the keyboard sometimes too And how about girls then?
Now that the album’s done I’m working on a 15-minute long slow burning sex jam. Oooh yeah
Tell us about your first house party!
First proper house party was my 18th birthday. I threw up in a pot plant
Have you been to a gig recently?
I saw Hermitude/The Presets at this secret Triple J event not long ago. That was cool because it was quite small, I got to get up close and see how they play live Tell us how the creative process was for the your self titled album!
I wrote most of it when I was travelling overseas with a friend. We were away for 3 months, I wrote almost the entire thing on my laptop with headphones in cafes/hostels/ lobbys/pubs. Anywhere with a table and a power point.
Did your bucket list include that your debut album would beat a huge boyband in the Australian Itunes Chart? How did you celebrate this?!
Now that the We knew that it was coming out album’s done on the same day and we were I’m working on a 100% sure we would never beat them. It was a massive surprise. 15-minute long I celebrated with a nice big Makers Mark on the rocks. slow burning Do you have a person that sex jam influenced your musical trip
You recently turned 21 what does the age mean for you? It’s probably the last birthday I’ll ever be excited about.
How is it to be young in the music industry?
It’s fun! I think some people look out for you and take you under their wing/help you out a little more when you’re younger. It’s also good because I can party and don’t have to deal with it so much in the morning
to where you are today?
A local Sydney producer Shawn Mohammadi contacted me years ago and has been a bit of a mentor ever since. He’s an amazing producer and taught me so much Any albums you are looking forward to 2013?
New stuff from TNGHT and the Major Lazer record Talking about 2013, what´s the new years resolution for Flume? Drink less, exercise more Words Maria Pizzeria
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2013 is coming closer and as always the predictions of the coming year are out already. The beauty twins SaintLou Lou is one of the bands that already got good things going on. We had a nice chat with Miranda and Elektra about how the duo come to exist to how they are dreaming about meeting Oprah one day. Hi Saint Lou Lou! Why, Hello!
How does it feel to be in London?
We absolutely adore London, it’s almost like home now.. And when we go away it is deeply missed. Coming from Sydney, London is similar but on a grander scale.. Without the beaches of course. And it’s close to Stockholm (our other hometown), jackpot! Also, half of our family originates from London, so there’s definitely a sense of family connection-vibes to this place. How did the project Saint Lou Lou come to exist?
You often described as the Australian/ Swedish twin duo, what is that all about?
We’re half/half - our mother is Swedish and our father is Australian, and we are identical twins, so it is actually pretty simple.
Twins are different from other siblings in the sense (besides sharing the exact same DNA) that we have been together since the very beginning of our existence, hence experiencing all situations together, seeing it from the same perspective and same emotional level of understanding. We process most things almost identically to each other, and therefore understand each other so incredibly well. This applies to working together as well, we share 208 Issue 6 www.NoctisMag.com
How would you girls describe your sound?
It’s so hard to describe your own music sometimes.. But describing it as pop with ethereal and dreamy elements feels the most accurate.
What can we expect from Saint Lou Lou during 2013? You can expect an EP..and an album..a new video(s)…a little tour..
This issue is about Folklore Fantasy, do you have a favourite fairytale that influences you and your music? Not sure if these qualify as fairytales in that sense, rather stories, but we love the sentiments of James and the Giant Peach by Roald Dahl and Narnia. That there is another, parallel world where the impossible feels possible and where you can find qualities within yourself that you aren’t familiar with in the “real” world. Also, finding life and existence in the smallest of things.
Pop with ethereal and dreamy elements
After growing up in a musical family (both parents are musicians), the two of us started doing little music projects together in our late teens, but it was just for fun and without ambition. Then we were set up with AddeboyVsCliff (our producers) by a common friend, and pursuing music ‘professionally’ became a very natural next step.
How is it to be twins and work together? Do you think you have something that “just” brother and sisters doesn´t have?
all aspects of music-making and being on stage in the same way, which in one way makes us reach decisions fast and work effectively most of the time.
What are you dreaming about right now?
At night? We tend to dream so much that our brains are tired in the morning. Every dream is like an episode of a soap-opera..
But assuming that you mean ‘career-wise’, our biggest dream is just that we can continue on working with music full time and dedicate ourselves entirely, and keep on being surrounded by all these fantastic people that we are working with… And one day meet Oprah Winfrey, it’s been a dream since we watched the Oprah Show every day after school as 10-year olds, haha Speaking about dreams, who is your dream person to collab with?
Hmm.. Emiliana Torrini. Or the ghost of Jeff Buckley... No wait! Write an epic pop song with Max Martin! What´s the best piece of advice you been given? Our mother always says to “Kill them with kindness”, when haters hate that is. Words Maria Pizzeria
To all the contributors and readers, We would like to thank you very much for staying with us through the cold and wet months of winter for this special folklore and fantasy issue of Noctis. We would like to thank all our contributors and the people we work with for helping us re-imagine tales and stories as well as looking to the future.
We hope that the Christmas indulgence has started to wear away and we are looking forward to 2013 a year where we hope to work with more people making new friends and showing all of you some great new things.
So lets start looking ahead to our next issue shall we. Spring Fling. It's time to give yourself that new look just so you can ask that very special someone to the dance. We will be injecting a little sunshine back through the clouds and warming you up for the summer. Thank you very much 2012 and lets look forward to a great new year together.
PHOTOGRAPHY LEONI BLUE STYLING HANNAH OAKLEY
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Left: Shirt Nelly.com • Skirt Rockmyvintage • Tights Jonathon Aston • Shoes Lovespy.com Right: Shirt Nelly.com • Trousers Stylist's own • Shoes Nelly.com
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