Page 1


• 001 •

welcome to april and may’s edition of pebble

• 002 •

illustrations by lydia coventry and kate french-morris


• 004 •


illustration by willy walnut words by julia denni

Spring is slowly showing up with glimpses of flowers braving the cold and flourishing in the gardens. In this issue of Pebble Zine, we are exploring the unseen, hidden beauty, just like those flowers that you may have not quite noticed blooming in their fragility. We look at exploration from new perspectives of forgotten buildings to rediscovered travels, holograms and the latest social networking up in the clouds. We take a glance at Lulu Liu and Robin Tabari’s designs as well as the latest trends. Beauty is back with contrasted photo shoots and an interview with blogger Essie Button. We chat with Swim Deep and The History of Apple Pie and come across the colourful life of Kaffe Fassett and hidden loss and grief, beautifully depicted by American artist Evie Woltil Richner. While we tried to escape winter, we took a trip to Granada and concocted the best vegetarian recipes we could because springcleaning should also come from within.

• 005 •







Have you ever accidentally discovered something or somewhere spectacular? Last year, I travelled across Europe with some friends, and we decided last minute to make a stop in Bruges without really knowing too much about it, apart from what we had seen in the movie ‘In Bruges’. But I can honestly say it is one of my favourite cities that I have ever visited. It really is stunning. Do you have a secret place? Last year, with a friend, we were wandering around one of London’s largest parks when we came across a hidden garden. It had huge Edwardian beams, tunnels and arcs, all covered in vines and colourful flowers. When we walked through it, we came out to a small pond that overlooked the entire park. It really is special and a beautiful place to shoot in, so I shall keep this one a secret for now.

Who or what has been the biggest surprise in your life?

Are you scared or are you excited about the future?

When I was little, I always imagined finding a friend that was a boy, who, just like me, would love going on adventures and exploring. And I finally met him three New Year’s Eves ago. I was dressed as a Scrabble piece and he was dressed up as a ‘cereal killer’. He’s now my best friend.

I would have to say both, but definitely more excited than scared. I love the idea of not knowing where I will end up, or what I will be doing. It’s a journey I can’t wait to begin.

Has there ever been a mystery you never solved?

Under my bunk bed. I have no idea why now, but I wrote my name on the wooden planks every time I hid under there.

The one mystery that I never solved happened when I was six, when my favourite teddy bear - a very fat Winnie the Pooh - fell down the side of my bed in the middle of the night. I hunted for him the next day, but he was never seen again. Something definitely ate him. Do you have a secret place? My secret place... will remain just that.

• 006 •

Where was your favourite hide-and-seek hiding place as a child?

Have you ever accidentally discovered something or somewhere spectacular? The zoo. It sounds silly, but I had never been to a proper one until very recently. And it really was amazing - especially all the monkeys.




video editor


assistant sub-editor

Have you ever accidentally discovered something or somewhere spectacular? While on location hunting for my final major project at college, I came across a perfectly picturesque field with a beautiful stream that would have fitted my project perfectly. Unfortunately, I was short on time and decided to return to the location at a later date. Despite searching numerous times, I never found the field or stream again, although I was certain I knew where it was. Do you have a secret place? Not so much a secret place, but I do enjoy being outdoors late at night, when there is no one about. The quiet stillness can sometimes be eerie, but it usually makes me feel calm. If it’s quiet enough to hear the click that traffic lights make when they change colour, then that’s just about perfect.

Has there ever been a mystery you never solved? It’s not exactly a great mystery, but my Nan says this phrase in Welsh, which literally translates as: ‘well done little one, quarter five.’ I’ve asked her why she says it, but she said it’s just one of those things people say. I’ve always wanted to know what it originally meant. Have you ever accidentally discovered somewhere spectacular? I used to play in the woods up a hill near my house. One day, my friend and I went deeper than normal and found this clearing where the trees sort of curled over, creating a secluded den. From then on, we always used to go there, because no one could find us or see us from outside the woods. We even painted the trees and took up old furniture.

Where was your favourite hide-and-seek hiding place as a child? I used to always like wardrobes, because you could get comfy sitting under all the clothes, and sometimes my sister wouldn’t see me in my disguise of t-shirts and dresses. It’s a sad day when you get too big to hide in the wardrobe. Has there ever been a mystery you never solved? I always seem to lose items of clothing or books, and then years later, they turn up somewhere and I’ll have no idea how they got there. I’ll never understand what kind of sorcery goes on when things go missing. Are you scared or are you excited about the future? My perception of the future changes almost constantly. Some days, the future makes me anxious. But other days, I feel super excited for it.

• 007 •

IN THIS ISSUE 28 12 84 154 • 008 •





013 breaking into the acting industry 017 blindly going 022 to see is to believe 028 social networking for the skies 042 existence 046 inspired by nature’s unseen 070 I’ll a tee with that please? 080 nice to meet you essie button

048 052 054 058 064 066 072

118 122 131 132 138 140

LIVE 031 094 098 144 160

urban exploration kaffe fassett, a life in colour uncurtained grief take a break tales from granada

london fashion week catwalk april shoe calendar women’s trends a rainbow of secrets may shoe calendar men’s trends graphic details

EAT/ DRINK 146 tea and cake 150 in season 154 veggie delights

• 009 •

swim deep new album releases physical music live reviews the history of apple pie the unseen playlist

LOOK 078 084 086 090 104 110

behind the seen understated glamour sultry in the shadow back to basics moving pictures: previews unseen movies

• 012 •



Taking risks are at the heart of making it in acting says Christian Serritiello, who will be bounding onto our screens later this year in Tarzan 3D. We spoke to him about being the unseen voice behind worldwide commercials, saving a man from choking to death during a live show and daring to step into the spotlight… words by hannah smithson photography courtesy of christian serritiello and diz dau

a free education in theatre

getting paid to play in vancouver

The moment I really knew I wanted to be an actor was when I was working front of house in the West End, while I was at university, and I was watching all these shows. I felt that I wanted to be watched instead of watching, and I wanted to be the one on the stage doing it.

Once I’d graduated again, my instinct was telling me to leave England. I felt like I needed to get out. So by throwing myself in Vancouver, where I had nothing, I didn’t know anybody and I didn’t have much money either by this point, I was forced to make phone calls. Then I got an audition, did a play, got an agent and booked a big US commercial for the Super Bowl. People were paying to come and see me. You wanted to make them think, move them, make them laugh. So to go out there and get the reaction we did which was positive, I felt in a sense like I’d arrived somewhere.

I must have seen about 200 shows - I had access to thousands of pounds worth of free theatre, which is just an education in itself. When you see something great, it really makes you go, ‘wow this is something that I want to do’ - it kind of inspires you and it’s very powerful. I thought about applying for drama schools and I remember reading a newspaper article about this school called Central in London. I’d heard it was a good school and I sent an application off. They gave me an unconditional offer, and so I ended up studying my masters at Central School of Speech and Drama. It’s got state of the art theatres, great practitioners coming in from the National Theatre, and you’re working with world class puppeteers, teachers, voice coaches, directors from the states and other really interesting actors.

• 013 •

the mirage of hollywood The thing is with Hollywood - there are some fantastic people there. I met the actor, David Carradine, who was Bill from Kill Bill, and he was fascinating. I thought he was a really unique personality, very laid back and enigmatic, full of wisdom; and also his career had gone up and down. He started off in B-Movies and then did some work with some fantastic people, became this TV star, then came back with Tarantino – I just found his life so interesting and when you met him you felt that. He was real.


LA has a reputation for being really fickle and fake and there is an element of that, but there’s also the complete opposite. There’s a lot of charm to it. But it’s like anywhere, you have to sieve through to meet interesting people and there are also people that are there for the wrong reasons. They are there to be famous for being famous instead of caring about working and adding to the film industry.

• 014 •

home is where the heart is After Canada and LA, I decided I wanted to go back to Europe and I lost my focus for about six months. I decided to go to Italy, it was this romantic notion I had. My dad’s Italian, I love Italy, and I really love the neorealist films of the 60’s, Fellini and Antonioni. I had this fantasy of learning Italian and I was sort of going - and then I met this American girl. I fell in love and then ended up going over to Cleveland to stay with her for a while, but then we broke up and I was heartbroken.


I hit such a low that, in a way, it revitalised me, because I had nothing to lose anymore, so I was willing to take some risks. I ended up auditioning for this film in Belgium. It was quite a low budget film, but it had a really interesting director and it was a real family vibe on the set. It was an amazing wealth of experience and I learnt a lot from that set about filmmaking and the role of the director. By this time, I was building my show reel and my resume and I was getting more and more opportunities. A major reason for this progress was signing with my agent Isabelle Münch, who stuck by me. I was able to live off being an actor and I didn’t have to do anything else, so it gave me a financial base. Then I was able to do some theatre. I went on tour with a show, The Tortilla Curtain, for a year and a half, all around Germany playing some great theatre to some really interesting audiences.

• 015 •

unseen voice acting I have just finished a voiceover for a Jack Kerouac documentary - On Jack’s Road, which is really cool. I’ve also got Tarzan 3D coming out in October 2013, and it’s the biggest ever motion-capture movie in Europe second biggest behind Avatar, with Kellan Lutz from Twilight as Tarzan. I’m responsible for a good supporting role in the film. Everything is shot for it, but the postproduction have a lot of work to do, because it’s a combination of live action and motion-capture animation essentially. It’s a lot like theatre - there’s a lot of stuff that’s missing and you have to fill in the blanks with your imagination. I guess through word of mouth and people hearing my voiceover work, I also landed some big international voicing commercials. I did Volkswagen, Mexx Pure, Capri Sun and a cartoon series. With voice acting it’s hard sometimes because you’re in this studio in this little black box basically, and you’re having to engage your imagination and trying to spark your emotions somehow. There’s a lot of pressure involved sometimes in voiceover work. Studio time is expensive, so you have to kind of hold your nerve.

keeping the nerves at bay I’ve had things go wrong on stage and I’ve lived through them. Things do go wrong in live theatre. Once I had this elderly actor, about 75, start choking during the show and I had to save him live on stage. The audience thought it was part of the show, but it wasn’t. The guy was actually dying, but we got through it. As a young actor, you prepare everything and sometimes you can stifle your performance by over preparing. By not embracing the spontaneous, you kill your performance, because you’re not living in the moment. I think early on, you’re just waiting for someone to turn up and realise you’re a fake and a fraud and you think ‘the talent police are going to show up and arrest me’. The older you get, hopefully I’m getting there, you just start living in the moment and that’s when you produce your best works, because you’re open to your own instincts and are constantly trying to improve.

• 016 •

top tips

what next?

People have said to me, ‘I really want to be an actor, but I’m just going to study business as a contingency, as a safety net.’ I believe this: if you have a safety net, you invariably fall into it every time. If you have a love of something, do it. No safety nets, no back up plans, go for it.

I’m moving into directing and I’m putting my money into making a film I really believe in. My co-director and video artist, Arthur Patching, and I will be screening our new short film Raffaela as part of the Cannes Film Festival ‘short film corner’. Also, I will be appearing in Tatort - Germany’s highest rated crime series.

You can’t sit back and be passive; you’ve got to keep going and aim really high. Take risks. Just go for the things you believe in. Believe in your voice and believe you have something to say, but listen to people as well. You can’t be an actor without an audience.

I just want to stay on this adventure and see where it takes me. If it’s up or down - it’s all good, as long as I’m attempting to do what I love. I don’t need very much as well. As long as I have a bed and a shower, I’m OK. I’ll hang in there.

Have that ability to keep knocking on doors and be prepared when one opens for you. You’re going to be in lots of interesting predicaments, and if I’m honest, some of the best times I’ve had have been when the odds have been stacked against me.

• 017 •

words and illustrations by julia denni photography by kevin mclaughlin


When talking about travelling, most people would straight away show you the pictures of their trips and the places they have visited. But there is more to traveling than photographs, travelling is an experience above all, an experience of the senses, all five.

media, like immigration, and then you go to that place and it surprises you. That’s the way he felt when he visited Romania. “There has been a lot of bad publicity, it is completely the opposite. You go there and people are really nice and friendly.”

Kevin McLaughlin is 38. He grew up in Northern Ireland and moved to England about twenty-years ago to study journalism. After becoming a journalist for the BBC, he started travelling and has visited more than sixty countries so far.

After he first travelled around the world in 2010, his view of Britain changed a lot: “Travelling changes you completely. I remember the first time I came back to the UK, I just thought people are absolutely obsessed with consumerism. I got rid of a lot of my belongings when it came out of storage. I thought I am going to put half of this stuff away, I don’t need it.”

Kevin is partially impaired and has been since birth. He has some eyesight, but can’t drive, which changes a lot about what he can do when he travels to places. “I can’t just jump off a plane, hire a car and go where I want. It’s a bit more of a challenge. It can be stressful sometimes, but I think a lot of the time it’s quite exciting. You get to do a lot of things that other people wouldn’t consider doing.” Kevin wouldn’t describe himself as a tourist either when he goes to countries, he said: “I am definitely a traveller, I go and experience a country when I go there.” Currently trying to visit every country in Europe and stay overnight, he has just come back from a trip where he went to 15 countries in 17 days. Kevin started travelling properly 12-years ago. “My first trip was to Boston and New York for Saint Patrick’s Day, and that was my first proper start of travelling, I decided to go off and be a bit more adventurous.” When he first went travelling, Kevin fell in love with it and hasn’t stopped since then. “I was in charge, it wasn’t like being on a family holiday or going travelling with friends, when you had to work out what everyone wanted to do. I decided what I wanted to do and I made my schedule. I saw what I wanted to see instead of people deciding for me.”

He described how sometimes people get jealous of his travels: “They say I am lucky, but I don’t think I am lucky, I made a decision; I spend my money on experiences. Life has to be more about experiences than things.” Kevin is currently working on a book on his adventures, ‘Blindly Going Who Knows Where’, to share his experience. “I am trying to find a nice place, peaceful and quiet like a rainforest, to finish writing my book, because my most successful writing was in a rainforest in New Zealand. In five days, I wrote 4,000 words. It was some of my best writing, because there was no internet, no telephone, there was no distraction and that’s what you need to write.” You can read more about Kevin’s travels at

“It is quite interesting when you go somewhere new, the anticipation you have of that place.” He explained that places get a reputation because of issues we see in the • 019 •



“Tokyo is an absolute assault on your senses.”

Smell “There was the smell of incense wherever you went, there were lots of temples.” Taste “When I was there, it was in November, and you can get pretty much anything you want from the vending machines. They have hot drinks inside the vending machines. I used to get something called Royal tea. It’s basically just a cup of tea with lots of sugar and milk, but it’s in a can almost like a metal bottle with a screw top lead. It’s a really nice cup of tea and it’s brilliant for warming up when it’s cold outside. They also do coffee in a can and that was weird. I thought this is going to be disgusting and horrible. My friend’s girlfriend is Japanese and she said, ‘You really have to try it, it’s really good.’ And it was nice.” Feel “Japan has got tactile pavement everywhere for blind people. You walk down the street and every little section will have tactile bumps or grooves, so you can walk in certain directions.”

“The women were very elegantly dressed, very beautiful and attractive.”

Smell “There are lots of things burning in the fields, it was like the 1970s in Ireland. When I was on the train, some farmers had fires on the fields. You don’t really see that any more, because of the environmental issues.” Taste “I am not a really big fan of McDonald’s, but when I got to Timisoara, Romania, before I went to Serbia, I went out for a couple of beers with the guy who ran the hostel. I had heard a rumour that you can buy beer in McDonald’s, that’s the only good reason to go there. They don’t sell healthy food, but they don’t sell healthy drinks either.” Feel “There was nice carpet in the bus that took me to Moldova. Even the ceiling had carpet on it.” Sound “The people when they spoke sounded almost Italian and looked like them.”

Sound “On the metro, they play different music at every station when the doors are closing on the trains, like a theme tune for each station.”

• 020 •

new zealand


”The air was so fresh and crisp.”

Smell “Rotten eggs - that’s the smell I remember from New Zealand. When we went to Rotorua, the hot springs stank of gas and eggs bubbling up.” Taste “There is only one taste in the whole of New Zealand, it’s the Fergburger. It’s a massive beef burger; they have long queues of people waiting for it. If you stretch your hand wide open, you could barely hold this burger. It’s very high quality and you can see them making it in front of you. You starve yourself for two days before you go for this burger. It’s the best burger I have ever had in the world.” Feel “When I went back to New Zealand, I went to my hostel, and about two hours after arriving, there was a 5.4 earthquake and it lasted about 30 seconds. It was such a weird experience, the whole building was shaking, and everything on the shelves, some stuff was falling off. The cat tried to jump through the glass window.” Sound “The sounds I remember there, when trying to sleep at night in Christchurch, all you could hear were the sound of the bulldozers 24-hours a day.”

“The whole culture is completely different from anywhere I have ever been in the world.”

Smell “I remember the smell of fresh bread from the bakery, when I did a tour of the main island.” Taste “When I stayed in Tongatapu, I stayed in a resort on the main island and they have coconuts everywhere. I started to get fresh coconut and it was so weird, because when we eat it it’s always dry, but even when you think there is coconut milk inside it, it’s not really coconut milk. It’s almost like white jelly.” Feel “The only feel I remember of Tonga is the feel of the mosquito net. There are lots of mosquitoes. In fact, when I was there, they said it was the worst they had in about 25 years.” Sound “There is electricity, but not much street light at night and you can hear everything. I remember being woken up by cockerels at five in the morning. I recorded some of the sounds; you can hear the crickets, the insects and animals at night.”

• 021 •

TO SEE IS TO BELIEVE words by amanda jane

photography by musion

• 022 •

You may have only seen holograms in sci-fi films before, but holographic technology is set to revolutionise live musical performance with visuals you’d have to see to believe - and even after that, you might need to double take. Amanda Jane spoke to James Rock, co-director of Musion, the company responsible for the Gorillaz’s live shows, transforming a shoe into Dita Von Teese, and last year’s holographic resurrection of Tupac Shakur

• 023 •

Coachella Festival, one of America’s most popular music events, hit the headlines last year for bringing an artist to the stage that had not performed in public for over 15-years. Tupac Shakur, the legendary hiphop artist raised in California, was killed in a drive-by shooting in September 1996. But Coachella Valley Music and Arts Festival, in April 2012, was the site of his digital resurrection. Tupac’s performance, with fellow rappers Snoop Dogg and Dr. Dre, was watched by 90,000 fans at the live event and then by an additional 15 million fans on YouTube within the following 48 hours of the show alone. Chances are you are one of those YouTube viewers, and you probably already know the performance was a virtual hologram of the late rapper. But how exactly, does this breathtaking technology work? And what does it mean for the future of entertainment?

• 024 •

the technical bit

marketing & entertainment

James Rock had been living in Dubai for quite a long period of the early 90s and into the start of the millennium, before he had his first experience of a real life vanishing act. “I walked into the Jumeirah Emirates Towers ballroom on Sheikh Zayed Road and stopped mid-step as I walked in the room and saw what was on the stage. There was a projection of a female model, and at first I thought she was just on stage practising, when suddenly she disappeared. Like in a puff of smoke. She disappeared right in front of my eyes. I just thought, what on earth was that? And the rest is history really.”

So, if you weren’t one of the 15 million to check out the Tupac YouTube video last year, you have probably just brought it up on your smart phone as you read the introduction of this article. However, it isn’t likely this is the first time you have witnessed Musion’s work. They regularly work on high profile projects around the globe, with world-renowned brands, so you may well have seen their magic before, without even realising it.

“The first few jobs we did were for International car brand BMW”, says James. “We then beamed Richard Branson into Oxford Street’s Virgin Records store when they were still going to launch their digital download This incredible encounter introduced James to Uwe facility. We’ve also recorded Prince Charles for a global Maass, who had developed an old projection technique warming speech that he wanted to give, so he could known as Pepper’s Ghost, a 19th century illusion that show he didn’t need to get on a plane to deliver his cleverly uses glass and lighting in such a way for an message. But generally the business is absolutely object to appear or disappear right before your eyes. across the board, so for example, we have done work This technique has been used in many ways, including in education and we’ve done work in the entertainment as long ago as 1862 for a performance of Charles industry. The company is also moving into retail Dickens’ novella “The Haunted Man”, which dazzled possibilities. I was talking this morning with a German the London audience of the time. In our modern world, fashion and jewellery brand, which has a prominent the technique is used by museums and theme parks; brand ambassador. So, we’ve been talking about how in particular for that favourite fairground haunted house can we put them into their retail spaces and drive traffic ride, such as the Haunted Mansion in many Disney that way.” Additionally, Musion has much experience Parks around the globe. James explains how Uwe working in the fashion world on projects with luxury Maass took these techniques and developed them to industry greats like Burberry and Dunhill. They have bring them into the 21st century, and make the illusion even worked at the British Fashion Awards in years what it is today: “Pepper’s Ghost works on a reflection, gone by. And if you were one of the lucky fashionistas such as when you see yourself on the outside of the to get tickets for the Christian Louboutin Exhibition at tube or when you look outside in winter and see yourself the Design Museum in London last year, you would on the other side of the window. Our technology is have been able to witness one most coveted events basically a modified version of that, but instead of glass, - watching a glittering red-sole shoe transform into we use a plastic foil substrate, which means we can burlesque star Dita Von Teese. do things on a very big scale. If you imagine trying to move a sheet of glass around, it’s got loads of inherent With so many projects under his belt, James often gets issues with it. But the foil solves all of that, and because into trouble for choosing the ‘wrong’ favourite. “I was it’s a thin membrane, it means the image that is being asked that a few days ago, and when I didn’t say Tupac, reflected doesn’t have fuzzy edges or a double image.” the bloke said, “Whoa whoa, why didn’t you think of But it’s not just about making the image perfect. “It’s Tupac?” But, personally for me, still my favourite job about producing the best content. We’ve learnt how to was working with the cartoon band the Gorillaz, where produce content for this platform in a way that nobody we did a show in Lisbon and a TV Awards show, the else has.” European MTV awards, which Madonna was on the bill for. On the day after the music awards, we got a phone call from Madonna’s manager saying she wanted to open the Grammy’s with the Gorillaz performance - and that project was and still is my favourite.” But it’s not just superstar Madonna who calls on Musion; Black Eyed Peas frontman Will I Am is also a fan. “People like Will I Am repeatedly come back to us, and when he’s in London he pops in to see what we’re up to.”

• 025 •

threat or compliment

the million dollar question

If hologram technology is set to stay, and get even bigger for the future, how will it affect the world we live in now? The company has attracted criticism following their visual debuts, but more often than not, even their critics are won over by the holograms before them, explains James: “It’s not actually negative feedback; most people who come with something negative have never actually seen it with their own eyes. They’re sort of like, ‘Yeah, well, we know what it is and we’ve seen lots of video tricks before and that’s all it is.’ But when you take it in a live environment, very often the doubters, even if it’s grudgingly, sort of go ‘oh, OK I get it.’”

OK, you are all thinking it. If I could see a hologram of anyone who it would be… Bob Marley? Marilyn Monroe? Martin Luther King Jr.? The list goes on. But for Simon Cowell, his artist of choice was reportedly an illusion of swing king Frank Sinatra, who performed at his 50th birthday party. And for James? “I’ve been asked it quite a lot and my answer varies. It’s a difficult one. Someone like Kurt Cobain would be quite good, but I don’t think it’s about that. Maybe I would choose myself, so that I can leave my legacy going forward and I don’t have to worry about it. We’ve actually done a couple of things, where people have actually pre-recorded cheeky things for the future, but I can’t talk about it. I guess it’s a great way to come back and say things you really wanted to say.”

The reality of this technology means that many artists, whether they’re alive or dead, could still put on a show for thousands of people, without ever actually being there. Could this spell the end for live performance and Watch this space. The world we live in is already just starting out modern musicians of tomorrow getting developing, advancing and changing. Get ready to their break? “When Tupac suddenly hit the news, there witness real life magic before your very own eyes. was this question about do people want to see people who are no longer here and would they want it to happen? But we just batted that back; his mum wanted it to happen and was happy for it to happen. I don’t think anybody has yet said, “When I’m gone, I don’t want anything to happen with my image rights.” But if they do, people will have to respect that. And then on the live music side, it will never replace a live performance. But what is certainly better is that if the option of them not being able to go to a live concert is for them to go to a cinema and see it on a flat screen, we’ve then got a technology that’s much more closer to what the live experience is.”

• 026 •

• 027 •


ING FOR THE SKIES Social media is landing in a new destination - the travel industry. Amanda Jane investigates a new trend that links your social network with the seat on your next flight, in order to relieve a little of those stresses that come with travelling. words by amanda jane illustrations by samantha dance

• 029 •

We’ve all been there. Your legs are cramped, and however hard you try, you just can’t get comfortable. It doesn’t help that the person next to you has got their heavy, drooling-from-the-mouth head resting on your shoulder. You can hear their snoring through the headphones you’ve had to pay an additional £5.99 to use, purely for the flight, as they are too rubbish to use anywhere else. God forbid you have to go to the toilet and haphazardly climb over their long legs. Flights can be a nightmare, even when this said snorer is your very own best friend or partner. So, what to do when you’re dreading the start of your next holiday, because the thought of spending multiple hours sat next to a stranger, who smells or just won’t stop talking, is sending butterflies swirling around your stomach like a tornado? Well, it seems a few airlines have come up with a solution. KLM Airlines call it Meet and Seat, Air Baltic has named it Seat Buddy and Malaysia Airlines MHBuddy. Whatever it’s named, this free-of-charge service is the opportunity for you to find out a little bit more about the person you may potentially sit next to when you book your seat on your flight. With KLM airlines booking system, when customers log on to their trip booking they can log in to their Facebook or LinkedIn account at the same time. They select what details of their profile they do or most definitely don’t want fellow travellers to see,

and add their travel details. The seat map for the flight will then show the profile details of other travellers, and passengers can pick their seat next to a fellow traveller with common interests. If you to choose to fly with Malaysia Airlines, their MHBuddy system is very similar to KLM’s system, yet they have gone a step further by offering travellers a MHBuddy Facebook app, so travellers can link up with friends and choose their seat direct from the social networking site. The service appears very popular, with the app receiving over 600,000 “likes” on Facebook so far. Air Baltic however, with the help of Satisfly, an aptly named intelligent seating website, permits customers the option of categorising themselves as a social or non-social flyer. Passengers are able to pick their flight mood; either “relax” or “work”, and can even decide whether they want a “Business-networking” or an “Easy chat” conversation with the person they could be sat next to. Eran Savir, co-founder and pioneer of SeatID, a travel application website that orchestrates seat booking through social networks, speaks about the trend: “With all the information available on social networks today, why not be able to choose the seatmate you might be stuck with for up to half a day in the sky? The information is there, but was not yet available

• 030 •

or accessible to passengers. We’re seeing a lot of excitement around this new concept and already received some major coverage and won a few awards.” Savir, from Tel Aviv, created SeatID in 2011, after one of his partners in the company had an awful flight whilst sat next to someone who, “it was pretty clear, had not said hello to his shower for quite a while – in other words, he was rather less than fragrant.”

to.” Whilst KLM states that you can “find out about interesting people who will be on board your flight, who will be attending the same event as you at your destination,” whether you want your travel “buddy” to be tagging along with you at the concert or festival you’re attending is another question.

Whether you like the idea of sharing your social profile with fellow sightseers or not, the airlines are realising However, travel agency manager, Suzanne Harnett, customers want more options when it comes to who works for leading travel firm Bath Travel, has seating. We have yet to see if this seat buddy system concerns on the security and safety aspects of the is going to take off with other airlines, but they are trend. “I’ve worked in travel for over ten-years, and starting to give passengers more options when flying. obviously I expect things to develop and change. But I For example, Virgin Atlantic Airlines are now offering would be concerned about people I don’t know finding their customers Seat Plus. Whether you fly solo, in a out too much about me, and then being able to sit next couple or as a family, you can book and pay for the to me on a flight for hours at a time.” seat next to you to be kept free – so you don’t have to sit next to anyone! So what are the security issues? Are people right to be concerned? For all of the services offered by Social networking has successfully infiltrated our these airlines at the moment, passengers have to ‘opt personal, work and educational lives for a number in’ in order to view people’s profiles and be viewed of years, and it now appears to be working its way themselves. Additionally, some of the sites allow into our travel lives too. SeatID is a company leading passengers to change their seat number numerous the way and changing the way we use our Facebook times - just in case someone they don’t like the look of account, and Savir reveals that for the future, it’s going chooses to sit next to them. Well, as long as it’s done further than just our flights. “We started with airlines 48 hours or more before departure. but very quickly realised that we’re onto something bigger. We widened the concept and built the first MHBuddy’s website states that its service offers and only - social seating platform. We’re now offering “friends twice the fun of travelling solo. Hook up and social seating to all online ticket sellers: airlines, travel find friends who are in the same city you are travelling websites, stadiums, trains, concerts and even hotels.”

• 031 •


• 032 •

The act of venturing into places unknown is deeply embedded within our cultural psyche – the names of Scott, Shackleton and Fiennes are revered as some of the greatest of Great Britons. But is the human compulsion to explore being conditioned out of us by our attitudes towards health and safety? And if so, what can we learn from urban explorers? words by sam thomson photography by sebastien ernest, steven bley and dave baker

• 033 •

Anyone who thinks Urban Exploration is a glamorous pursuit should probably think again. Crossing rotten floors, navigating rusty barbed wire fences and lying face down in the dirt to hide from security are just a few of the many challenges urban explorers must overcome in the course of a single day. Any explorer will tell you: you never know what to expect. There is no getting away from the fact that this can be a very dangerous hobby. “I injured myself once, just doing a real stupid ramshackle house,” grimaces Cambridgeshire-based explorer ‘UrbanX’. “I saw it on my way back from work one day and I thought, ‘Oh that’s nice’. So I nipped in on my own and I tripped and fell. My head went against a fence and there was a rod sticking out of it, which went straight into my ear canal. That was a horrible moment where I thought, ‘I’ve got to get myself to hospital, no two ways about it’, and there was no one there to help me.” But, despite a trip to A&E, UrbanX continues to explore. Why? Dr. Bradley Garrett, a researcher in technological natures at Oxford University, undertook an ethnographic study of urban exploration for his PhD, which involved total immersion in the world of urbex. He says the compulsion to explore is a natural human instinct, which is marginalised by society: “This curiosity that we have to explore the world around us is something that everyone is born with. You look at a newborn baby and you see it in their eyes. They’re processing information. They want to touch everything, taste everything. We get to a point where we feel that we’ve come to terms with the world around us. At the same time, we begin to be socially conditioned to think that certain activities and behaviours are inappropriate… You reach a certain age and you’re supposed to stop behaving foolishly. I just never did.” So what’s the difference between our celebrated polar heroes and the supposedly foolhardy urban explorer? In many ways, to compare the two is like comparing climbing your stairs at home to scaling Mount Everest. But surprising as it may seem, it is possible to draw some parallels between the two.

• 034 •

• 035 •

• 036 •

polar paralells Pen Hadow is the only Briton to have trekked solo to both the North and South poles with no resupply. He is also one of the few people to have survived a career based on polar exploration. Inspired by tales of polar explorers told to him by his nanny, who had been the same nanny to the children of Scott of the Antarctic, Pen poured all his time and resources into his explorations. Though he says he’s never been “turned on” by risk, he has never let potential danger get in the way of exploration: “In my view, explorers have to be very good at risk management - slightly boring corporate term, but actually, you do need to be able to do it. Otherwise, you don’t come back. “Because we go to an environment that most people have no working knowledge of, ignorance breeds fear. Once you’ve been up there, you get the hang of it, and a lot of those objective risks are very small. The subjective risks, if you’ve never been there, are huge.” This is something that resonates with many urban explorers, who like to step outside of a culture so heavily governed by Health and Safety. “I think urban explorers are actually very cautious. You have to keep an eye out for dangerous materials, dangerous floors, dangerous roofs and keep in mind that the place is not as safe as it should be,” says Simon Cornwell – one of Britain’s best-known and wellestablished urban explorers. “We know what we’re dealing with. Does that roof look safe? You’re with your mates and you’ll ask them. On all the explorations I’ve been on, people are very cautious and very careful with what they do. Urbexers are against health and safety, but we do look after ourselves in our own ways. “You can step outside of [health and safety] and realise that everyone’s okay. No one got injured, no one died. All these silly regulations are a bit of a waste of time and effort and money. And in actual fact, if you take rules away from people, then they’ll start using this long forgotten thing called common sense and do their own risk appraisals of things, and decide what’s right and what’s wrong, and where you can go and where you can’t.”

• 037 •

the upside to risk To non-explorers, this kind of logic may sound rather alien. So is there any value to breaking away from the supposedly restrictive health and safety culture that has evolved to protect us? Pen Hadow seems to think so: “If there’s an old tree in the playground and a small boy climbs up it, falls off and breaks his arm, I think that has a major upside. He breaks his arm and thinks, ‘I’m going to assess the situation a lot more carefully next time’. Everyone in the playground hears this screaming child and they all learn. It doesn’t mean they’ll never climb the tree, it just means they’ve learned something. “If you have the tree removed, I think there are advantages. But at a deep and broad and societal level, we are also losing something really important to our ability to lead fulfilled lives individually and to be effective in the modern world, globally – at a national and economic level. “I think there’s a looming crisis in the ability to take risks. There are fewer and fewer people with the drive, oomph, nous, to reach out and deliberately do something they think’s going to be very difficult.”

• 038 •

• 039 •

• 040 •

• 041 •

EXISTENCE poem by daniel wilkes illustration by becky hill

The city is soaked in it, it’s in the walls and the rats. In mouths, pinching at nostrils. The beast subsists inside. In clogged toilet cisterns, hiding behind Michelin stars. It’s the whistle on the wind. The damp on the wall. In glass spires with no end, in the broken man’s whisky. In the houses of the holy. And the eyes of the dammed. It chokes, takes hold and blossoms in the faces of children. Dribbles out of deaf ears, back into keen minds. It rears its silent head. The same slick webs that bind us let go. And we slip out of it. Into yesterday.

• 042 •

• 043 •

INSPIRED BY NATURE’S UNSEEN words by will oxford

In an industry so heavily focused on image and beauty, the concept of fashion without vision is challenging, to say the least. Yet fashion is not aesthetically based - like a precious gem it is multifaceted. The inspiration for designs is not always obvious, as our way of interpreting the things that inspire us is always different. The designers’ unseen process of creation is often the most beautiful. Enter Ada Zanditon. A London fashion designer whose love of the natural world lies at the heart of what she does. She is riding on a wave of success after her AW13 collection has been shown in both Berlin and London Fashion Week, “It’s an exciting time” she says. Ada’s fashion profile has been slowly building since her London Fashion Week debut in September 2009, with her brand attracting increasing numbers of famous faces. Last year the singer Katie Melua chose a piece from her SS11 collection for her new album cover, a huge boost for Zandition and her brand. This season’s collection is a mix of structural shaping, sinuous trains and lustrous fabrics all created using environmentally sustainable products. “Sustainability

is the cogs of our whole operation, the way in which we run,” Ada explains. In fact, Ada’s passion for environmental concerns and the natural world is the common denominator that unites her collections, her inspiration and her way of working. It is the unseen link. “When I was younger my two loves were animals and fashion. But then I realised that they were kind of at odds with each other - fashion and the natural world. I wanted to rectify this.” As well as only sourcing fully sustainable fabrics to construct her designs, Ada is currently part of the Greenpeace campaign to detox the fashion industry of harmful chemicals. It’s a campaign attempting to get an industry centralised around beauty to stop destroying the natural beauty of the world around us. “There are some parts of China where you can tell what colours are in next season by the colour of the rivers. It’s something that needs to change, more people need to be aware of it.” Ada’s passion for the environment is not just limited to how she constructs her designs, but it is her first point of call when looking for inspiration. “I always draw my inspiration from the natural world. I’ll start small

• 046 •

then work my outwards, looking at the bigger picture” she says. Her fixation is currently on tigers – they’re fuelling both her SS and AW collections for this year. Yet their inspiration is far from literal. The focus is on the characteristics, attributes, and the qualities she identifies within these creatures, reinterpreting them through the clothes she designs. “I wanted to portray their strength, how as mothers they are so determined to protect their young. This is something any mother can relate to, it’s about making people understand that we and animals are the same, because somehow we seemed to have distanced ourselves from them.”

Where does she see herself in five years’ time? She is reluctant to answer. “I hate that question” she says. “I just want to keep working, never losing sight of how I started out, who I am.” One thing she is passionate about is preaching the sustainable gospel, hoping to spread the eco word amongst the fashion community. “More people need to be aware of the damage being done, not just consumers, but throughout the chain, buyers etcetera. People need to open their eyes.”

Ultimately it is this way of looking at nature, using its assets and evolved tendencies, that provides Ada with the rich fuel for her inspiration. It’s about looking further than the visual element, drawing inspiration from the unseen but nevertheless beautiful parts. As well as illustrating that the unseen beauties of the natural world can be exploited for creative means, Ada shows that eco-fashion doesn’t have to look eco or sustainable to help the very thing it’s inspired by.

• 047 •

LONDON FASHION WEEK CATWALK London Fashion Week once again offered a wealth of creativity and flair for the upcoming season of women’s fashion. Joseph Kent reviews three of the best independent designers to make their mark on the runway

words and photography by joseph kent

Ekaterina Kukhareva Following her debut show at London Fashion Week last season, knitwear designer Ekaterina Kukhareva has created yet another beautiful 70s-esque collection, offering bursts of colour and psychedelic prints. Knee to floor-length dresses dominate the collection, alongside separate blouses and pencil pants. Middle Eastern inspired patterns are woven into the vibrant and shimmering luxe knit, giving the collection a somewhat surreal and fantasy-like quality. During the catwalk, the models were dolled up with bouffant hair and oversized, jewelencrusted rollers by Lara Jensen, to create a glamorous 70s housewife persona. Kukhareva is certainly a unique and promising designer, reinventing the purpose of knitwear. Why wear a jumper when you can wear a dress? Her specialism is attracting the right attention, and we can only look forward to what she will dream up next.

• 049 •

Lulu Liu In stark contrast to the brand’s spring/ summer collection, Lulu Liu have swapped prints and a rainbow of colours for a more neutral palette of beige, brown, black and white. Waved blocks of colour draw attention to the curves of a woman’s physique, however much they are naturally defined. Leather, fur and wool are incorporated into this collection for a luxurious variety of textures. Bursts of red and large ruffles in the fabric turn dresses and skirts into statement pieces. This is a collection that is wearable, classy and quirky.

• 050 •

Ziad Ghanem When a fashion show is as much a performance as it is a catwalk, you know you are witnessing something special. Ziad Ghanem showcased his autumn/winter collection with a theatrical and colourful display at Freemasons’ Hall, which irrefutably captivated the audience. The show featured burlesque, theatrics, dramatic make-up, cross-dressing, and a diversity of models. “Candy...Darling?” presents flamboyant couture, with baroque prints, bright colours, billowing dresses and capes, and so much more. The collection is undeniably loud and daring, almost as if it were taken directly from the stage wardrobe of an avant-garde theatre. But fashion need not be modest. This collection is a reflection of a wild and wonderful personality, one that cares not what the status quo dictates, and one which absorbs itself in life’s glamour.

• 051 •

APRI L 2013 SHOE wednesday thur tuesday

monday 1







DUNE £80









BLUE INC £26.99



DUNE £135










BLUE INC £34.99







ErsdayCALENDAR friday 5

LAND £15


CI £200






S £18

CI £230




DUNE £99



EVANS £39.50









OFFICE £59.99



• 053 •



90s GRUNGE With loose fitting jeans, oversized jumpers and ‘I just threw this on’ styling, 90s grunge is set to be scattered through SS13 collections - but this time, everything is metallic. Logo sweaters and high shine trousers feature heavily throughout recent collections, alongside trademark cropped slogan tees. Get your 90s fix from DSquared2 and Monki to get the best picks.

topshop £48

miss selfridge £42

miss selfridge £39

• 054 •

wallis £40



Sheer and sleek is a dish best served with sequins and embellishment this spring. Wear this style as a deluxe evening ensemble in the form of a beaded dress, with luxurious jewellery to match and statement platform heels to add an edge. Colour spectrums include metallics and nudes, mixed in with the occasional pastel. Mesh is the way to wear this style for every day – go for lurex crops and bodysuits with high top trainers.

miss selfridge £85

miss selfridge £110

miss selfridge £110

• 055 •

topshop concession £TBC


NEON BRIGHTS Be bold and shine bright in hot neons in the most structured styles this summer, and really embrace the most striking colours. Aim for midi dresses and jackets to go bold, or keep it understated with accents in jewellery and accessories. Combine with Aztec monochrome patterns for a colour pop, or be brave and mix and match for the ultimate colour clash.

asos £36

asos £35

asos £TBC

• 056 •

asos £120



Embrace the sunnier months with the lightest of whites, combined with metallic jewellery for extra emphasis. Style A-line dresses with matching jackets, and combine boxy tops with pencil skirts to create geometric shapes. Think big and go for oversized garments for a more dramatic effect.

topshop £TBC

tamaris £TBC

topshop £TBC

asos £38

• 057 •

new look £24.99

• 058 •

A RAINBOW OF SECRETS Some of the best ideas are hidden behind a bright mask

photography by estefania aviles • model marie osmon make up karen bradshaw • clothes lulu liu

• 060 •

• 061 •

• 062 •

• 063 •







DUNE £65





DUNE £79






DUNE £123


• 064 •


DUNE £65


OFFICE £44.99







DUNE £35

DUNE £75

OFFICE £69.99







wednesday 1

MAY 2013 SH

OFFICE £74.99






E £99




DUNE £75




LAND £45

CCI £65



BLUE INC £36.99







EVANS £29.50






DUNE £30



• 065 •



rocha john rocha £35

river island £45

FLORALS OK fellas, it’s time to embrace your feminine side. That’s not saying that florals are girly, but it takes some nerve to wear them. Our advice is to keep away from light pastel colours and get your wardrobe involved with darker floral patterns involving blues and blacks. Jil Sander has given us shirts likely to catch anyone’s eye, but with the combination of blue, black and cream in a large pattern, they remain sophisticated. For the fashion-forward, why not take a note out of Dolce and Gabbana’s book and pair a floral t-shirt and jacket? Print clashing is not an option here, so coordination is key. Make sure your colours match and if one print is louder, tone the other down a bit. Not a fan of flowers all over your torso? Geometric patterns inspired by floral designs are pretty big too. Alexander McQueen’s shirts, again in the colours of blue and black, come in a more painted symmetrical design rather than simply flowers.

burton £22

• 066 •


burton £25

asos £30

FLUORESCENTS It would seem that designers and fashion lovers alike are still fully obsessed with the 1990s, and the clothes we buy considerably still reflect that. The brightest colours that you never thought you’d attempt to wear could be descending into your wardrobe this summer. Fluorescent pinks, yellows, oranges, greens and blues have been featured on everything from suits to t-shirts. Paul Smith and Topman led the catwalks with bright casual daywear and along with American Apparel are bringing our slouchy hoodies and jumpers to life. Whereas, a bit more out there than the antioffice suits, Salvatore Ferragamo has given us the gift of fluorescent and almost neon suits. So whether you are raving it up like our 90s predecessors or just hanging out with friends, beat the dull British weather with sunny colours of your own.

asos £18

• 067 •


river island £100

next £65


Spring is not only bringing the promise of colour to casual wear, but is now also being injected into suits. Leave the darker suits of grey and black at home and venture to work and nights out with brighter suits in red and blue. And if you’re feeling daring, why not a bright green? The prospect of a potentially garish matching two-piece may send you cowering to a not-so-stylish corner, but have no fear and take confidence from designers who demonstrate this trend. Gucci and Paul Smith have produced some bright blue and red suits for this season - matching jacket and trousers in a bright shade is the bravest move you could make. For the more faint hearted, Prada have reassured that oxblood is still a must-have colour, and thankfully a tad more understated than cobalt blue. So forget Don Draper and embrace your inner Chuck Bass as the antioffice suit is yours to rock this season. burton £79

• 068 •


matalan £tbc

river island £tbc


Letterman jackets have been kicking around for a while now, the one thrill Britons can get having never been to an American high school. But this light jacket is a stylish and practical item great for heading into summer. The baseball motifs and college insignias make for the most characteristic jackets, and look great parred with retro stonewashed jeans and snapback for those willing to embrace the complete high school look. But designers and high street stores are offering casual and less brazen alternatives by combining the letterman style with the quilted jacket. Burton offers navy and oxblood jackets in the same fit as a letterman, but quilted like a Barbour.

burton £40

• 069 •

I’LL HAVE A TEE WITH THAT PLEASE? Menswear designer, Robin Tabari shows the journey that creativity can really take you, moulding his own story that has never been shared before words by tazz gault • illustrations by lydia coventry Slogan tees in recent years have transported themselves back from our childhoods and have returned with vengeance, hanging themselves in a crude manner off our bodies at least once a week. Graphic tees, however, have sailed through unnoticed, desperate for expert hands to sprinkle in some personality and make a tee you can chat about. Meet Robin Tabari, new menswear designer of a tee with a twist; there’s no need to add sugar with this one. His opening SS13 collection graced our screens on the 25th March, providing a sophisticated edge to a classic graphic. The unique artistic designs slot into a cosy gap in the market, which take thoughts and emotions from around the world and display them with simplicity. “For a number of the designs, they do resemble my travels around the world. I took a whole year out to not just enjoy myself, but to understand what I really wanted to pursue. It was summer of 2012 when I noticed there was a whole collection of men’s tees that I felt was missing. I wanted to bring natural beauty to open a new window to someone so they ask, ‘where is that?’.” Creativity is something Robin is certainly not short of, after dabbling in a whole field of artistic careers.

“I began with studying dance as both a diploma and degree, while playing guitar in a rock band. Funding was tough as a dancer and choreographer, so I moved into doing massage therapy for a while out in Australia.” A dream of Robin’s for some time, the regular Aloe Vera drinks and lunch on the beach were enough, until a desire for learning yearned stronger, causing his career path to take yet another unexpected turn. “I started to write for my own fashion magazine, which led me into both web design and fashion photography. Next minute, I was doing model bookings and working as a personal shopper for friends and a few clients. I’m just 26 and I never know what will come next.” Career paths and final goals are perhaps planned out for us already; we just don’t notice the subtle hints. “14-year-old Robin would probably smile and laugh if he thought I’d end up a fashion designer. He’d be thinking he would still be a pilot, even though that little Robin would have been wearing his bow tie and Chelsea boots. Makes sense now really.” Robin’s depiction of summer is clean and sharp, using white, slim fit tailored tees to make men’s style look effortless. Humorous plays on popular culture hide

• 070 •

within the collection - men are offered the chance to know what the fuss is about, as one tee proudly owns the name ’50 shades.’ Inspiration is one thing, but the passion is the thread that ties it all together, and Robin sure has a fair few. “My passions will never lie in just one thing. I adore fashion, playing my guitar on lonely days, having a cheeky gin and tonic with friends, but beyond that comes family. If you don’t have a passion, I don’t know what you would have.” The design process is something that is easy to look over and to just focus on the finished product. “Designers don’t usually admit this, but many of us work long hours throughout the day and night on our own, sat in front of a screen, researching or going through various samples. To escape, my head is clear, ironically, when with a lot of friends. I can take a break that way and it’s wonderful to get other people’s opinions and feedback. Currently focusing on menswear, Robin plans to release an AW13 collection for women too, something which he has yet to previously announce. “My new

collection will be around the theme fur and feathers. It will bring both elements from the high street and high end, putting them together. To my eyes, graphic t-shirts originate from slogans and graffiti, and high end originates from tailor made, wacky, bold and elegant designs. This AW collection will combine the two together to create something that hasn’t been seen before.” When looking at a creation from start to finish, it would be impossible to understand every strand of thought involved without putting precedence on the past. “I love to observe, and I think I developed this from my dance degree and as a choreographer. We had to observe pedestrian movements, taking themes and transforming this into art. I feel that all design is influenced by observation, whether it be from ourselves, objects, locations or people. “In honesty, I will never forget my days of contemporary dance, or playing as a guitarist on stage. It’s silly to say that we should stick to one thing. As humans we all can evolve, learn new skills and just go for it.”

• 071 •

GRAPHIC DETAILS Memories to graphics – a step forward for fashion by designer Robin Tabari

photography by joseph kent model ant edwards

• 072 •

• 073 •

• 074 •

• 075 •


photography by charlotte dart models alice briggs, benedicte lombe and yasmine sabri make up rebecca lloyd and stacey hall

• 078 •

• 079 •

NICE TO MEET YOU ESSIE BUTTON words by rosie lord • photography by rhys cooper • illustrations by jenny cooper

• 080 •

Beauty blogging is not a new thing. For years, make-up artists and experts have posted tutorials, hints and tips online to the ever-expanding market of young female readers. In the past few years, however, YouTube has taken on a life of it’s own, replacing the humble make-up tutorial with video equivalents, beauty hauls and has given readers an altogether more personal experience. Whilst the market of YouTube-ers is still dominated by the professional make-up artists, there’s a select few who break through and attract a mass following, despite no formal make-up artist training. Estée is 22-yearsold, and started her channel Essiebutton in 2011. She’s never studied beauty or make-up - in fact, she’s midway through a Psychology degree - yet her channel has attracted over 120,000 subscribers. Estée’s background is a little different to the traditional beauty blogger, however. Born and raised in Canada, it wasn’t until she met her boyfriend online that Estée upped sticks and moved to London. “We’d been talking online for a year, and the whole time I’d been thinking about whether I’d move to England. In the end it was an easy decision to make, but it wasn’t an easy transition” she admits, and has spoken in previous videos about her difficult first few months in England. “When I moved up here, I had a lot of time to myself. I stumbled across the world of beauty blogs, and I thought that’d be a great way to fill time and make friends,” and so in March 2011, Estée started up her blog. Essiebutton started as a beauty and lifestyle blog, a daily outlet for Estée to post about her favourite make-up and skincare products, as well as a few lifestyle posts; often recipes or photos from days out in and around London. It wasn’t until her blog became relatively established that she decided to join on the community of beauty ‘gurus’ on YouTube. “I’d always been obsessed with beauty” she begins, “I was blogging for three months before I started doing YouTube videos, and I was really nervous to start because I was watching girls who were really professional and I knew I couldn’t be like that, I swear a lot!” These ‘professional’ videos were

• 081 •

recorded and uploaded by channels like PixiWoo and TanyaBurr, that are run by trained make-up artists. The videos that Estée and a lot of other YouTube-ers make are a bit more personal, and stray away from the ‘guru’ image that’s attached to many beauty channels. “My first video was fifteen minutes long, and it was about three make-up brushes” she says, “I really didn’t know what I was talking about, it was so boring!” Since that first video, Estée’s YouTube channel has gained over 100,000 subscribers, and 4 million views. She wasn’t an overnight success, though. Like many of the more popular and successful channels, Estée’s fan base was slow burning. “I get a lot of emails saying ‘how do I get views’ and they don’t realise that I’ve been doing it for three years, it’s not like it was an instant overnight thing!” She insists, and is the first to admit that as many lovely and flattering comments she gets, there’s always a few mean ones. The anonymous nature of the internet means that hateful or nasty comments can be posted without filtering, and YouTube is one of the top offenders. “In all the mean comments I get, like ‘you think you’re all that now’ people are downright mean! The comments don’t bother me because they don’t know me, but they can be really horrible.” Estée’s channel has also received an unexpected backlash from parents, “I get emails from mums saying ‘You said the F-word and now my daughter’s saying it’ but I don’t look at myself as a role model. It really makes you censor yourself.”

• 082 •

There’s also a stigma attached to blogs and channels that are sent PR samples for free, something which Estée understands, “I can appreciate why people don’t trust some of the reviews, but I can’t go out buying all the new collections each week! If I get sent products and they’re shit, I don’t want to put them on my blog! People don’t see the emails I send saying ‘Thank you for that foundation, but I got a head to toe rash, so I won’t be featuring it.” The ethical side of having such influence over her readers affects Estée too, “I don’t want to say that I really like something, then have my 14-yearold viewers save up all their money and go to Space NK to buy it! That’s not what I’m about.” Despite finding out quite early on that she could forge a career from YouTube-ing, Estée insists that it was never about that for her, and she doesn’t live the flashy, glamorous lifestyle that so many bloggers seem to. “I don’t go out, ever! If I get some money, instead of buying a top or a camera, I’ll buy a blush! I’ve been collecting make-up since I was about 15. It’s my passion” and despite her success on both YouTube and as a blogger, Estée has other ideas for her future. “I’ve always liked the idea of being a school counselor. I’d like something that I can be creative and have fun with. Or actually my dream job is a travel journalist, I know everyone says that but I’d love that!” The carefree, humble and self-deprecating attitude of Estée, both in person and in her videos is what attracts so many viewers, and allowed her to meet and befriend so many of her fellow bloggers. “I felt so lonely when I moved here, and when I actually started finding a common interest, that was brilliant. It’s like we have a bond. All of my friends are from the internet, and making these videos and going to these blogger events has really been the best way for me to make such close friends.”

• 083 •


• 084 •


1. Comb through hair 2. Section back of hair, backcomb and hairspray 3. Start putting hair in to a messy low ponytail, on last pull through only halfway 4. With hair that is out of the loop, pull random bits back through and under the hair tie, which starts to create the messy bun shape. 5. With hair pins, clip up random pieces of hair in to a messy bun 6. Secure bun to head with more hair clips 7. Hairspray 8. Finished Hairstyle

• 085 •

• 086 •


photography by saskia lawson model nadine mendes make up roseanna-mae heymann • 087 •

• 088 •

• 089 •


Revlon nearly naked foundation a la carte moisture tint in sand mac mineralize skinfinish natural in light clinique age defense bb cream in shade 01 no7 stay perfect primer maybelline fit me concealer GOSh velvet touch lipstick in 134 darling • 090 •

• 091 •

• 092 •

• 093 •

• 094 •

Kaffe fassett: a life in colour words by jodie packwood

• 095 •

The colourful world of Kaffe Fassett has attracted audiences from all over the globe to the art of craft and needlework. Known as a best selling author, a television presenter and the man behind a record-breaking textile exhibition at the V&A, Kaffe Fassett looks set to impress again. His brand new exhibition at the Fashion and Textile Museum in London showcases over five decades of his work from designs for Bill Gibb, knitwear for Missoni, printed patchwork fabrics, glorious quilts and inspired needle print. “My life in crafts started almost at once when I came to England in 1964,” explains Kaffe. “When I realised I wanted to create textiles more than anything else in my life, I set about finding a way to make it pay.” Since then, Kaffe’s work has attracted a considerable following. His work was part of a 1988 one-man exhibition at the Victoria and Albert Museum in London, and went on to tour nine other countries.

and knitting very fine work in many colours. I’ve never suffered being a male in a woman’s world. Most men are interested to learn knitting when they see me working other than being put off.” Fassett’s new exhibition seems sure to be another success as Kaffe admits, “Knitting is one of the most life enhancing and therapeutic activities I’ve ever discovered and becomes more intriguing the older I get and the more I explore it.” In a world where art is seemingly cluttered and originality hard to come by, Kaffe’s knitting will prove to hold a truly unique place within the Fashion and Textile Museum, definitely worthy of a visit. The exhibition will be at the Fashion and Textile Museum in London from 23rd March - 29th June 2013.

“When I did the V&A show I hadn’t been lured into the world of patchwork, so there were no quilts, so it was only knitting and needlepoint,” says Fassett. “The new show will show significant early works and sketches, then a broad section showcasing my almost 50-years of work done in the UK.” With knitting and needlework predominantly having a female stereotype aired towards it, Kaffe explains, “I’m told that knitting was done only by men in ancient times. I still see men in Morocco, Peru and Turkey crocheting

• 096 •

• 097 •

• 098 •

curtained grief words by julia denni

There is always a certain discomfort floating around the room when talking about loss, death or grief. Death is an inherently uncomfortable subject and while we try to avoid it as much as possible in conversations, we are increasingly faced dealing with them on our own. In her unsettling pieces, Evie Woltil Richner explores personal loss and memorialises those who are no longer living.

• 099 •

grief and loss Richner says that she is not sure that she could talk about death or loss in a piece of art without it being a little discomforting. However these pieces aren’t all about burying someone, they are also about remembering that person. “I see the ritual process of working through loss as one that is both incredibly sad, but also as a time that we can reflect on memories of that person and celebrate their life.” Through old family pictures of her grandmother, her “Grammy” as she used to call her, Richner shares her memories working through her own personal experience of loss. “These pieces have incredibly significant

personal meaning to me, and in a small way as more people see them, images of my Grammy are embedded in the memories of others, allowing her to live on.” Although none of us can escape death or loss, she believes “we can find strength and empathy from everyone around us because we are all in this together. Loss and death are common human experiences, and with age everyone is confronted with the death of those around them, as well as their own mortality.”

• 100 •

• 101 •

a physical connection

heaven and earth

She depicts each of these pieces as a burial, but also a memorial. Working from photographs of deceased relatives, she is physically burying them in a shroud of drawn feathers. “Through burying, we acknowledge loss. The person is removed from our lives.”

The feathers preponderant in her work reference the cross-cultural symbolism of the bird as a connection between heaven and earth. “I have always been fascinated by old photos partially because of my own nostalgic yearning to experience the past, but also because after my Grammy died these were my only physical connection to her. Working with the photos in my art was a way that I could still connect with her.”

Her grandmother, who suffered from Alzheimer moved in with her family when she was in elementary school so they could take care of her. “Over time I could see her memory disappearing. She would forget who people were and repeat the same stories and phrases over and over. She lives now only in my memory and in the memory of those who knew her, but my memories are wispy like bits of dreams a few hours after you’ve had them.”

When Richner graduated from school, she began to think more about why she was so drawn to using old photographs. She read Roland Barthe’s Camera Lucida, in which the author talks about the piercing feeling, or punctum, you can get from viewing some old photographs. Discussing a photograph of his mother he realises that this feeling of punctum is often stronger Describing some of the memories as being “barely in photographs of people who are no longer alive. there”, she says she can only see “a sliver of Looking at them frozen at a younger age in the past, them”. “Afraid of the erosion of my own memory, these you are confronted both with their own ephemerality pieces are also an act of remembrance – remembering and your own. “A photographed moment is always my Grammy as she was when she lived with us and also gone. We can only access it again in our memory.” reconstructing who she might have been before that by looking at old photos.” In every picture, her grandmother is covered with drawn cardinal feathers. “I chose a cardinal partially Through the ritual of drawing over images of her, because it is so easy to recognise a female cardinal, so Richner returns to thoughts of her Grammy again and I view them as a feminine bird. When I was a kid if we again. “When finished the pieces become a signifier, saw a pair of cardinals outside, we would often refer to like a gravestone, of a person who once was, and just them as a papa cardinal and a mama cardinal.” She as gravestones serve as a connection for people with wanted to choose a bird that she sees very often. “A a loved one after they’ve passed, these pieces are a pair of cardinals lives in the tree outside my apartment, physical connection I have to her.“ and I often see them singing on the power line outside my kitchen window. By linking my Grammy to cardinals, I now think of her every time I see one.” In the Untitled series, Richner took an old family photograph of a group of people, separating out each person and memorialising them individually. “Photographs are static and unchanging. Altering them through this separation was a way for me to change the otherwise unchangeable. Each person is covered with a feather shroud from different local birds. A man holding a dog is covered with pigeon feathers, a little girl with wren feathers, and my great-grandmother with chicken feathers.” After finishing her MFA degree in painting and drawing at the University of Florida, Richner plans on teaching at college level, while continuing her career as an artist. To see more of her work, take a look at her website

• 102 •

• 103 •

MOVING PICTURES: PREVIEWS words by samantha sharp

• 104 •

A HIJACKING To be released May 10th, A Hijacking is a Danish ransom thriller certain to keep you on the edge of your seat. The story unfolds with the hijacking of a Danish cargo ship on the Indian Ocean by Somali pirates. The film continues to be action packed as the pirates demand ransom, audiences are then enthralled in the drama that evolves on the ship as well as the shipping company’s CEO negotiating with the pirates. Directed by Denmark’s leading screenwriter Tobias Lindholm, this intense and fast paced piece is sure to grab your attention and keep you engrossed throughout the whole 99-minutes.

SOMETHING IN THE AIR Written and directed by Olivier Assayas, Something In the Air is a thought provoking drama based on a group of Parisian teenagers and their lives after 1968. It follows the group as they confront their beliefs, their loves and their ambitions head on. This captivating tale presents the time of the 1970s well by showcasing how things were changing, with more choices for the young people of that generation. However, the drama unfolds and reveals ‘a time too tense to last forever, and brightly burning flames that must inevitably wither or die together.’ So get yourself down to the cinema on May 24th for this 122-minute eye-opening feature and find out for yourself if life really was better ‘back in the day’.

THE PLACE BEYOND THE PINES This American independent movie will definitely be a hit with the ladies who love a bit of heartthrob Ryan Gosling splashed across their screens. The film portrays small town boy Luke, who is plastered with tattoos from head-to-toe looking the ultimate dishevelled bad boy. Appearances aside, he gives a moving performance of a young man living a life of crime trying to do his best for his son throughout this multi-generational melodrama. As the crime increases, the story follows a collision between him and a corrupt copper played by Bradley Cooper. The girls are getting spoilt here but the beautiful Eva Mendes also gives a stunning supporting performance alongside Gosling. Make space in the diary for April 12th to catch this worthwhile watch.

• 107 •

WHITE ELEPHANT (ELEFANTE BIANCO) This Argentine movie features well-known Argentine actors Ricardo Darín and Martina Gusman and Belgian actor Jérémie Renier as the leading roles. It focuses on two catholic priests with a strong friendship and shared interest in helping others, as they begin working in a rundown slum. However, we are soon to realise that it is overrun by a powerful drug cartel and a corrupted police service. As the story develops, their friendship comes under threat as conflict concerning the different ways of doing their jobs and considering the correct thing to do. Without a doubt their faith as priests is tested too, and it comes to no surprise there is trouble ahead when a non-religious character portrayed by Gusman succumbs a burgeoning relationship with one of the leading roles. Directed by Cannes favourite, Pablo Trapero, this 111-minute feature is sure to be a hit.

• 108 •

Wadjda This 97-minute spectacular is depicted through two completely different angles. Not only is it directed by Haifaa al-Mansour, the first female director in Saudi Arabia, but it also tells a harrowing story of the challenges women and young girls face within the Saudi culture. 12-year-old Waad Mohammed gives a beautiful performance as a ten-year-old challenged by her culture’s rules and expectations. When told she isn’t allowed a bike like the boy next door because she is female, little Wadjda decides to take it upon herself to raise the money.

• 109 •

unseen movies words by nick reilly

Let’s face it. We’ve all been interested at some point in what happens behind closed doors and the unseen side of society. Does happiness truly exist once the curtains are drawn and the public view is totally diminished? We’ve compiled a list of what we think are the best films that explore the idea of the unseen. As you’d expect, they’re kooky and surreal but they all succeed fantastically in deconstructing the thin layer of perfection that’s often portrayed in society

• 110 •

AMOUR Featured as one to watch in the first ever issue of Pebble, Michael Haneke’s Amour is an uncomfortable, harrowing watch but a remarkable meditation on life and death. Anne and Georges are an elderly couple whose relationship is put under severe strain when Anne suffers a stroke which paralyses her on one side. It’s an unseen look into the wider effects of illness upon relationships, family and ultimately the Amour (Love) of the title. Emmanuelle Riva’s performance is a revelation and Haneke’s direction of the couple is an effortless examination of whether love truly is unconditional. It’s so affecting that you’ll probably want to steer clear of a second viewing, but the emotional pay off of the film means that it’ll stay with you long after the credits have rolled.

• 111 •

BLUE VELVET Blue Velvet is a masterpiece, with David Lynch fantastically disintegrating the idea of traditional American values in a post second world war society. White picket fences and perfectly manicured lawns show an apparent perfection in the small town of Lumberton. It’s not long until a severed ear is discovered, leading Jeffrey Beaumont - Kyle MacLachlan - to unravel a hideously surreal crime ring. Dennis Hopper gives the best performance of his career as the monstrous Frank Booth leads it all. The film’s true brilliance, however, lies in Lynch’s ability to portray his trademark surrealism within the film, so that the apparent perfection of Lumberton begins to border on dystopian. Similarly, there’s a fantastically outlandish moment when one of Booth’s associates bursts into a rendition of Roy Orbison’s ‘In Dreams’. It was released at a time when President Ronald Reagan was calling for a return to traditional, conservative American values - and with Blue Velvet, it ultimately seems that Lynch is using cinema to brilliantly scoff at the idea.

• 112 •

the hurt locker It’s easy to talk about the harrowing effects of war for those who were there, but it’s rare that we get a film that conjures up a stirring image of the psychological effects war has on everyday soldiers. The Hurt Locker does exactly that as Kathryn Bigelow builds up the untold story of a man who is effectively addicted to war. Jeremy Renner is stunning as Sergeant William James, a man struggling to fit back into everyday American society after becoming adjusted to the ways of the Gulf War. The scene where Renner battles with supermarket shopping back home is a fantastically poignant statement about the effects of war on the male psyche.

• 113 •

REAR WINDOW We’re all only too aware that Alfred Hitchcock is the undisputed master of suspense, and it’s something that he brilliantly proves in Rear Window. Jimmy Stewart plays a wheelchair bound photographer who begins to suspect that a neighbour in the opposite flat is a murderer. It’s a brilliantly sinister take on the idea of what happens when the curtains are drawn, and gives little away, teasing the audience and throwing in the Hitchcock “McGuffin” trademark to act as a real curveball in the plot.

• 114 •

AMERICAN BEAUTY Lester Burnham has it all: a wife, a daughter, a secure job and a home in a safe American suburb. But in Sam Mendes’ 1999 classic, this manifestation of the American dream is destroyed as false and shallow, because behind closed doors, Lester is a man on the edge. He’s quit his job and has started to partake in an extremely risky relationship with his daughter’s best friend, played to sultry perfection by Mena Suvari, whilst his overbearing wife is also having an affair. It’s a brilliant display of strained American families; the scene where Lester has a full-blown row with his wife over dinner is brilliantly executed. Lester’s admission that he told his boss to “go fuck himself” perfectly juxtaposes the safe and sterile setting of the dining room. Mendes also succeeds at suggesting that commercialism can lead to a state where the value of things are deemed more important than the quality of living as his wife remonstrates him for suggesting they have sex on “a $4,000 sofa, upholstered in Italian silk”.

• 115 •

• 118 •

SWIM DEEP words by rosie lord photography by charlotte dart

“The one thing we asked not to be on our rider was tortilla chips… And they’ve given us tortilla chips. We’re fuming,” sighs bassist Cavan McCarthy as he, along with the rest of Swim Deep settle into their dressing room, prior to their slot supporting Two Door Cinema Club. The dressing room at Southampton Guildhall is almost as plain and unsuspecting as the contents of their rider - which in fact extends to a selection of off-brand crisps and juice - and provides an alarming contrast to the band, particularly drummer Zach Robinson, who removes his jacket and hood to reveal a nipple-grazing crop top and bright green dip-dyed hair. The gig is the latest in a line of support slots for the band, who recently toured with Spector and Splashh, a period which lead singer Austin Williams describes as “a learning experience…probably”. When asked what knowledge it was that he actually picked up from the tour, he responds “when you tour with other bands, you learn a lot about how tight you need to be as a band and how much rehearsal you need to do to sound right.” Considering Swim Deep are a fairly young group, both in terms of their time together and their own years spent alive, having only started performing as a four-piece last March, they’ve been given plenty of opportunities to fine-tune and hone their sound. Since releasing their first single ‘King City’ last year, the band have popped up on virtually every ‘ones to watch’ list worth reading and their wistful, brooding lyrics on their debut single ‘King City’ caught the eye of Chess Club

• 119 •

Records, who signed them last August. “Wanting to be in places outside of Birmingham inspired ‘King City’. I don’t think many of us have really travelled that much, apart from Newcastle and Southampton… But I can confirm the M42 is amazing,” claims Austin, who’s trying his hand at learning Spanish on the tour bus between their current shows. “I downloaded a Spanish thing for my iPad, so I’m gonna be learning bloody Spanish soon, because we’ve got a few foreign festivals coming up.” In actual fact, they’ve got more than a few foreign festivals coming up. As well as booking a number of coveted festival slots, including Austin’s SXSW and Benicassim, the band are about to set out on their first ever headline tour later this month. “I think people should expect a really good show, because we want to work really hard for it, and to get a taste of the album,” says Cavan. Ah, the album. With a handful of singles released thus far to a rousing reception, the pressure is really on the band to deliver with their debut full length. Recorded entirely in a studio in Belgium, it’s currently shaping up to be ready for release by May, or so they hope. “We were living in the studio when we made it, so when you wake up in the morning you’d just leave your bed and go to the studio in your dressing gown, it was very trippy, because it was so surreal,” recalls Zach, who adds that the band were used to recording in the middle of the night, crowded around in one room. “When we started, we were just jamming, and then we realised we were good at it. Swim Deep is actually quite a recent thing, but it feels like it’s been leading up to this for years,” remembers Austin, who met guitarist Higgy when they were both working in Morrison’s. From there, they recruited drummer Zach, and eventually Cavan joined the group last year. Before working in Morrison’s, Austin claims he’d always wanted to work as a musician, or something similar… “I used to want to be a rapper. I became a singer because it’s the closest thing, I’m pretty much a rapper… Just a little bit slower.” Despite most of their songs culminating from various “jamming sessions”, the band does actually have a songwriter in Austin. Since they began rehearsing and playing together, he’s noticed the way he writes his music adapting and evolving, and one influence keeps popping up throughout our interview. “The main influence for me was David Bowie. Before, we were just writing songs to fill the set that you’d been booked to play, but I ended up taking some time to actually write some songs instead. I spent a lot of time listening to Bowie, and that’s when I started realising what a song could be, and it could be so much more, and it doesn’t matter how small or big a song is, if it’s got a great melody it can be the greatest thing in the world.” They might not have come anywhere near to Ziggy Stardust’s decade spanning success yet, but if the throes of teenage fans they’ve amassed are anything to go by, they could be heroes, even if only for one album.

• 120 •

"When we started, we were just jamming, then we realised we were good at it"

• 121 •

New Album Releases

• 122 •


9/10 words by sally rose mccormack

Keaton Henson’s second album Birthdays should come with an emotional healthwarning label. The most private man in the musical world once again creates a pure, emotional and bare album. Birthdays doesn’t come across as the difficult second album in the traditional sense, this is as much of a masterpiece as his first, just slightly punchier. The difficult part of the “difficult second album” was due to Keaton having to fly to America. Anyone who knows of Keaton Henson’s work will know of his anxiety issues, and of the famous scheduled recording session to avoid catching the noise of planes coming in and out of an airport near his house. So producer Joe Chiccarelli, who has worked with The White Stripes, is either a part-time wizard, or Keaton is pushing his own boundaries. The biggest leap from first album Dear… is ‘Kronos’, a song Keaton almost had to apologise to irate YouTube fans for, but they are missing the point. Each album should be another chapter, Dear… was the first stage of love and loss, the misty haze that blinds us all, whereas Birthdays is the sickening jolt of realization. A disgustingly good sickening jolt.

• 123 •

These aren’t the mushy boy band love songs either. ‘Kronos’, ‘Lying To You’ and ‘Teach Me’ all reflect that well through Keaton’s writing, almost like off the cuff remarks to an unseen other. Though ‘Kronos’ punches you with its angry guitar, nothing is lost in the lyrics punch too. “I gave you all I had” sums up the desperation and anger at losing more than just a loved one, with classic Keaton slipping in at the end, “You son of a bitch stop writing songs like this”, his biggest enemy. With Keaton breaking out of his comfort zone, it meant he could work with people such as Tyler Ramsey of Band of Horses and Jesca Hoop, all adding extra dimensions that enrich the album. Though Keaton makes it clear he’s not ready to become a clean-shaven chauvinist, and why would we want that anyway? Especially if it meant he could no longer write lyrics such as “Mould me to the man I should be, but don’t expect that man to be free” from ‘Teach Me’. It’s hard to pick fault with something that is completely honest with itself and us. Keaton knows his faults, flaws and downfalls and he explores them all in this album.

GIRLS NAMES the new life

7/10 words by nicholas williams

The New Life by the Northern Irish band sounds like an amalgamation of some of the prestigious sounds of the 70s/80s. It could be mistaken for Morrissey and Ian Curtis meeting up to create a record, and perhaps a bit of Robert Smith too. The record itself glides along at a pleasant pace, it’s nothing too distracting, but amidst the drones and distorted guitars, the record sounds strong. However, with bands such as Splashh, My Bloody Valentine and Swim Deep also creating surf/dream pop, shoegaze and grunge, it’ll be difficult for Girls Names to establish themselves.

an 80s post-punk dream, however the record could easily be mistaken for someone else’s. It’s not unoriginal, it just feels heavily influenced. This is the second record released by the band, who are currently collaborating with Captured Tracks, a label that host the likes of DIIV and Wild Nothing. For lovers of Joy Division, The Cure, The Smiths, or My Bloody Valentine, Girls Names are the band for you. They create an archaic 70s/80s sound which is enjoyably and convincingly re-created.

The album is strong, but is it strong enough to withstand tough competition? The teasing guitar licks and punchy drums all make up

BEACH FOSSILS clash the truth 6/10 words by rosie lord

In the three years since Beach Fossils released their self-titled debut album, they’ve been busy. After the unexpected success of their first release, the band released an EP in 2011, and now it’s time for their second effort. Frontman Dustin Payseur has recruited a live band this time round, and spent some time in New York with Captured Tracks label mates DIIV and Wild Nothing. Opening track ‘Clash the Truth’ continues where ‘What a Pleasure’ left off, a short burst of their signature reverb-drenched jangly indie-pop culminating in the Beach Fossils equivalent of a football chant. Next is the album’s highlight, ‘Generational Synthetic’, a fast-paced, catchy collection

• 124 •

of harmonies that again echo their earlier material. Unfortunately, from the third track onwards, the album dips slightly. Apart from a few standout tracks - ‘Taking Off’ and ‘Shallow’ - the album isn’t memorable, and you get the feeling Dustin’s become complacent, and not taken the risks necessary to make this album great. When competing with bands such as DIIV, who produce similar slices of nostalgic indie-pop, Clash The Truth doesn’t stand out. It’s another nice record from Beach Fossils, but the band are at their best when they take risks, and they haven’t taken enough this time around.

daughter if you leave

8/10 words by rosie lord

As the title would suggest, If You Leave is quite a bleak album. Singer Elena Tonra has obviously had a tough time lately, and she’s not afraid to share her heartbreak, particularly in ‘Tomorrow’, in which she whispers, “by tomorrow I’ll be left in the darkness, among your cold sheets,” and, “I’ve been dreaming of strangers kissing me in the night just so I can feel something,” in ‘Human’. Pairing her fragile, vulnerable sounding vocals with equally vulnerable and heartbreaking lyrics, the album should make for a depressing listen.

The album falters only in that it runs a little long in places. Album closer ‘Shallows’ comes in at a lengthy seven minutes, and compared to the four/five-minute average of the rest of the album, it lingers for a little too long. Despite this, Daughter have managed to create a beautifully bleak first effort, and if heartbreak is what inspired this album, from a selfish perspective, let’s hope someone breaks Elena’s heart again soon.

Instead, it’s saved by the addition of a bursting, thumping band accompanying her, and some of the best moments on the album come from Elena’s eerie-layered harmonies being interrupted by crashing drums.

Darwin deez songs for imaginative people 5/10 words by ben fisher

Songs for Imaginative People allows those willing enough an insight into the curly hair and alice band of Darwin Smith.

It’s also hard to picture these songs live, after touring across the world with the debut and gaining a notorious hype over the live shows’ well-choreographed dance routines, this album seems to be lacking.

‘(800) Human’ attempts to kick-start the album in familiar Deez fashion – the track acting as an inhuman and wobbly fast-track ‘Alice’ is a whirlwind that offers listeners a tour behind the scenes of the New Yorker. clever clunking of instruments. With lyrical The album however fails to reach the dizzy references to Skype and other technology, and dazzling heights of their debut album, the track is certainly more relatable than which reached number 3 in the UK charts. others, but it is six songs in. ‘Redshift’ - the ‘You Can’t Be My Girl’ and ‘Good to Lose’ best track on the album - is sound and are both far too easy to bypass, while delivers directly to the front door, whilst ‘Moonlit’ offers only glimpses of some divine ‘Free’ also confirms that all is not lost in the 80’s grooving that Deez had previously fault- Deez camp. Deez is back but nowhere near lessly grasped. as funky as before.

• 125 •

nick cave and the bad seeds push the sky away 9/10 words by honor martin

Welcome back to the King of smoldering vocals and cool exteriors, after an absence in album releases since 2008, it’s hard not to be excited for the latest album Push The Sky Away.

The album’s namesake, ‘Push the Sky Away’, is another intense track that is full of emotion, as if Cave was working through a struggle that we can’t help but accompany him on. Its sorrowful sounds are hauntingly beautiful, much like the dark lyrics and Within the first few seconds of opening track unique groaning we would expect to hear ‘We No Who U R’, the musical ensemble from the frontman in ‘Higgs Boson Blues’. exemplify their cool, cutting-edge style to us once again. The simple and heavy bass Religion is always a key theme when it line is accompanied by a quiet drumbeat comes to Cave’s lyrics, and it’s easy to that only enhances the greatness of the see this album will bring about religious song, and there’s no over complication or listening from all of us. unnecessary decorating. String sections and flutes are interwoven throughout the album, pairing brilliantly with the intensity of Cave’s voice and lyrics.

palma violets 180

5/10 words by charlie case

Never trust anyone who self-applauds. More so if it is a premature applaud. And this is exactly what happens just past the halfway mark on 180. As a band that has gained its hype through gigs and dodgy fan footage, it’s a record that’s set to capture that ‘live’ sound. Howls, screeches, and statements of ‘fucking brilliant’ are sprinkled throughout. Understandably calling similarities to previous Rough Trade signers The Libertines, and has had many calling them the latest in a long line of many saviours of rock. ‘Best of Friends’ grabs you by the ears, shakes hard, and never lets go. A headache has never felt so good. It’s a perfect

• 126 •

slice of streamlined garage rock. So to open with the best indie-pop song of the year, so far, it’s a shame to finish on the worst. ‘14’ is a thrashing noise to get any neighbour banging on the garage door. Full of pointless lyrics - “I’ve got a brand new car” - and tiresome chords, it’s dragged out for eight minutes for no reason other than it’s “the album closer”. Between these two tracks lies nine others which never quite equal either of their extremes. Maybe it’s a band growing tiresome over the course of 40 minutes, but it feels they have everything thrown in, dirt, gold and all. At least it sounds like they’re having fun.

my bloody valentine mbv

9/10 words by samuel cornforth

After several stop starts and advances shattered, along with front man Kevin Shields being locked up in a house surrounded by chinchillas, the 22-year wait for ‘m b v’ has produced a legendary backstory. The opening salvo picks up exactly where Loveless left off with the challenging opener ‘she found out now’, soothing any worries that the famed shoegazers had lost their touch, with the track consisting of layers of bass, drums and hushed vocals. The first flurry of tracks on ‘m b v’ are a continuation of the carefully constructed walls of noise on ‘Loveless’ that had been destined to be crank up to full volume. But in an instant, the droning and surging distorted guitars are replaced with a dreamy and beautiful that broods over ‘is this and yes’.

There were promises of jungle-influenced tracks, which comes in the form of ‘new you’, a baggy number dominated by a repetitive beat at its core, which is the closest to a pop song they have ever created. Although ‘m b v’ is a staggering comeback, the album does not work as fluidly as previous material, but for this reason it features a more diverse range of tracks. Only time will tell how good ‘m b v’ really is, as we finally decipher all the layers of noise, but after twenty or so years, My Bloody Valentine have proved just how relevant they are still are.

stornoway tales from terra firma

4/10 words by chris rickett

Three years on from the Oxford-outfit’s brilliant debut effort, Beachcomber’s Windowsill, Stornoway are back with a more layered, self-important and over-confident record.

like Fleet Foxes doing Bon Iver doing a cover. Sonically, tracks like ‘November Song’ are evocative and comfortingly familiar, yet this is immediately graffitied with lackluster lyrics, including: “with my nose like a fox and my skin like a chicken, I steal into bed where Absent of the shy fragility and ‘stand-out’ it’s warm as an oven” - it’s almost as if they hazy-folk tracks that romanced me in the first predicted a roasting. encounter, the foreplay-less Tales from Terra Firma seems to take a step backwards, then Rare moments of brilliance in this record are trip, then roll down a hill for a bit. too often lost in a haystack of over-indulged strings and half-arsed nursery rhyme. ‘(A Belated) Invite To Eternity’ is the closest the quartet come to their original mojo, but If you’re not going to finish me off then don’t a push for versatility seems to have largely bother at all. resulted in an identity crisis as ‘Farewell Appalachia’ seems almost Tarantino-esque and ‘The Ones We Hurt The Most’ sounds

• 127 •


7/10 words by sally rose mccormack

As super bands go, Atoms For Peace is a modest atomic bomb of electronica. With a band consisting of an interesting mixture of Red Hot Chili Peppers and Radiohead members, it makes you step back and wonder how this works. Amok, the debut from the super band, displays an impressive ability for being able to create the completely abstract yet mesmerising pieces of music so far in 2013.

Atoms for Peace and Radiohead. Thom Yorke does take center stage, but it did grow from his solo project, what did you expect? This isn’t to say it isn’t a good album. In fact, it’s great. It isn’t going to convert a new crowd of listeners, but it will certainly grab attention. Maybe Flea managed to inject some Red Hot Chili Peppers spice, as though still melodic, it isn’t lumbering.

If you’re looking for more Chili, with Flea at the bassy helm, than Radiohead, then this might not be completely for you. On the social networking sites some fans have been struggling to distinguish between

‘Default’ is a crunchy take with a satisfying outcome and ‘Ingenue’ is typical Thom Yorke style, dance included.

The polished duo return with their second album Exile with an even more distinguishable sound than what had gone before.

Exile tees-off the album in a sound nearest to ‘Happiness’, their debut album before the boys explore what would appear to be a deeper and darker world. The album is a learning curve for youthful listeners, whereas the nine-to-five city workers may find more comfort in this one.

HURTS exile

6/10 words by ben fisher

Theo and Adam throw in more 80’s backdrop in ‘Only You’, whilst ‘Sandman’ has glimpses of hip-hop and sheer arrogance prior to what is a routine Hurts formula chopped sounds and ragged lyrics. ‘Miracle’ is the best track on the album, where somehow the Manchester pairing manage to create a sound that cherry picks the best of Keane frontman Tom Chaplin, The Editors and one of Coldplay’s long-lost B-sides. The sound is unforgiving, abrupt and monstrous in ‘Mercy’, whilst ‘Somebody To Die For’ is certainly a sound for the masses.

• 128 •

‘Cupid’ is rough and nearer third gear than a smooth fourth and ‘Only Road’ is passable. ‘The Rope’ is lyrically wishy-washy, but the album does flow rather spectacularly, and whilst the music is executed beautifully, the expulsion of the Hurts funk is hard to come to terms with.

Bastille bad blood

6/10 words by tazz gault

Many say Bastille crept up on us like a cuddly bear tap dancing its way into our minds, their rhythms standing tall, their lyrics quite small. Originally a solo project by singer-songwriter Dan Smith, early Bastille flirted with the hearts of the blogosphere, dependent only on a good mash up. Now, debut album Bad Blood has stormed the charts, taking a new sound to a different taste of ear.

Failing to provide anything new, it fits in the charts alongside Example better than expected. ‘Overjoyed’ continues to haunt you long after the song has finished, with a heart warming piano solo running smooth throughout. ‘Flaws’ glitchy synths draw you in, peppered with repetition in all the right places, and ‘Icarus’ marches in with importance.

Opening track ‘Pompeii’ does the job - it’s upbeat, catchy and sets the pace for the album. Packed with organic harmonies, the track is sewn together with happy notes, juxtaposed with dark yet catchy lyrics.

PEACE in love

9/10 words by nick reilly

Riding in on a wave of psychedelic tinged pop, Peace have finally arrived with their debut In Love, which is easily an early contender for album of the year. It wastes no time in setting out what the band are trying to achieve, with opener ‘Higher Than The Sun’ containing hooks bigger than the sun soaked shores that it was made for. ‘Lovesick’ stakes an early claim to being the anthem of the summer, with a central refrain of “I wanna get lovesick with you” destined for sweaty festival tents. The album does have it’s tender moments. ‘California Daze’ and ‘Float Forever’ are fantastically simple odes to lost romance, with lead singer Harry Koisser effortlessly wrapping his crooning vocals around

• 129 •

guitarist Doug Castle’s stripped back guitar line. The keys on recent single ‘Wraith’ seem to display the band experimenting further with the trance driven direction that was shown on EP track 1998, itself a cover of Binary Finary’s rave classic. It’s by no means a perfect, with ‘Sugarstone’ standing out like as a perfunctory slice of hazy dream-pop driven, but it really doesn’t matter when the rest of the album is so good. Peace have done so much more than live up the to the hype, they’ve created an album that’s fantastically eclectic.

theme park theme park

7/10 words by honor martin

London’s new and upcoming band Theme Park are sure to be a hit this summer with their debut album, fittingly titled Theme Park. The band oozes fun, and really capture all that is great about the summer season, which is most definitely embodied in their songs. Tracks such as ‘Jamaica’, ‘Tonight’ and ‘Wax’ all automatically take us back to our previous summer parties. They’re feel good songs, they make us happy and want to dance. Their echoing anthems beg to be played in a huge venue, so that their sweet summer sounds can bounce back against the wall to really emphasise their full sound. Group

vocals are featured in most of their tracks, and it really works for them, as it conveys that the band have got a clear musical style that they will hopefully carry on in albums to come. Many of the songs have a similar feel to them, but then ‘Still Life’ comes on. The vocals are much more mature, with a breakdown followed by an epic re-build, showing us that the band aren’t two-dimensional; they tease us into anticipation for their follow up album. Theme Park really have the power to make you feel happy.

youth lagoon wondrous bughouse 8/10 words by nicholas williams

Youth Lagoon’s debut record was a whirlwind of tranquil, delicate and reclusive music. An album that glided by slowly at a miserable poor mans rate. However, the return of Youth Lagoon offers an optimistic, hypnotic and bohemian style to creative music. The man behind the name Trevor Powers’ (who should really be a superhero) second album is one that seems to be a step in a different direction to the previous record, Year of Hibernation. At times, the new record is utterly bizarre, and tracks such as ‘Attic Doctor’ utters tones of a bohemian past, yet Powers’ work is one that, although difficult to digest at times, is one that is beautifully layered. Singles ‘Dropla’ and ‘Mute’ both stand out

• 130 •

as strong tracks on the album, however the rest of the album slots in perfectly. Youth Lagoon is eccentric, and yes, at times you can be washed over by the weirdest and most wonderful sounds, but the record itself is produced magnificently. Wondrous Bughouse feels like the stepping outside for Youth Lagoon, in comparison to the interior recluse that created The Year of Hibernation. At first listen, the album can just be seen as bizarre, and non-sensical, however the more and more it’s heard, and the more and more it grows, the greater it becomes.

Physical Music words by sally rose mccormack

There is nothing better than spending your evening being bashed against a metal bar and covered in someone else’s sweat - occasionally wee. I attended my first gig as a naïve 14-year-old, charged an adult train ticket desperate to get to Birmingham, and so leaving six hours early made sense. My mum had finally cracked and she was letting me free on a Friday night, to see Reverend and the Makers. It didn’t matter who I was seeing, The Ting Tings were supporting, and I was a teenager running wild with a curfew of midnight. This was far from the best gig I’ve attended, but the excitement, the sweat and back pain of standing for nearly 4 hours got my juices flowing. I would literally go to any gig, from Mindless Self Indulgence to James Morrison, I was and still am a live music junky. Don’t get me wrong, I love sitting in my room volume up drinking some tea, but there is nothing like breathing the same air as one of your idols or just a randomer that can bring in a crowd, or even lose one.

• 131 •


• 132 •

local natives wedgewood rooms, portsmouth // 13.02.13 // There are three things you don’t expect to see at the intimate 500 capacity Wedgewood Rooms in Portsmouth. First, seeing Local Natives playing there. Second, Local Natives setting themselves up for a sound check on stage. Third, guitarist Taylor Rice strolling past the venue, while eager fans waited to enter the queue. But that’s just it, all these things are actually what you SHOULD expect from the Local Natives. Forget leaving the sound check to roadies - these guys actually care about the music and want to personally ensure that they’ve set everything up correctly. It’s something that came across that night when they played new album Hummingbird live. They opened with the album’s first song ‘You and I’ and the drums and guitar came together tightly. Next, ‘Breakers’ and ‘Wide Eyes’ proved to be perfect follow ups with the sing-a-long elements of the latter. ‘Wide Eyes’ showed a crazed side to Rice in the song’s crescendo and the vocal harmonies between Rice, the band’s guitarist Ryan Hahn and Kelsey Ayer on keyboards were flawless. It was actually a wonderful component, which appeared regularly throughout the set to add extra layers, as it has done on their albums, and the harmonies were certainly a magnificent sound to be heard in person. First album favourite ‘Camera Talk’ came next, but then so did the more solemn and delicate numbers, ‘Ceilings’ and ‘Columbia’. ‘Columbia’ showed that Ayer is an impeccable artist when performing solo on his keyboards or when complementing the rest of Local Natives. Ending the melancholy air were ‘World News’ and the long awaited ‘Airplanes’ from first album Gorilla Manor. Taking the hint from the chord progressions, the audience automatically booed, but not because the song is a bad choice, but because the booing emulates the actual booing on the recorded version. It’s a beautiful moment, showing just how far the band has come in two albums and four years. Finally, back to the forlornness of Hummingbird, ‘Bowery’ helped to detach Local Natives from the relatively less sorrowful Gorilla Manor break. It was an interesting move to constantly interchange the favourites of Gorilla Manor with their sadder heart-breaking new songs. But ultimately, Wedgewood Rooms proved to be a perfect venue as it was a gig for the fans, who welcomed back Local Natives with open arms.

words and photography by carrie mok

• 133 •

JAWS the joiners, southampton // 14.02.13 // words by nicholas williams photography by richard mannig The revival of drowned, shoe-gaze grunge has been created by a host of bands over the past year and indeed the forthcoming year. It gives a chance for the droney washed-out lovers to sink into an atmospheric state. Valentine’s Day saw Southampton’s dingy joiners pub as the perfect compliment to a dark, atmospheric jam for Birmingham’s JAWS, who gladly accepted a support slot for up-and-coming band Swim Deep. From the off, the setting was geared to create an intimate, laid-back performance. However, for a crowd packed with teenage drunks, the atmosphere created by JAWS was tainted by the outcries of birthday chants and spilled drinks. Yet the band still managed to perform, an albeit slightly lifeless, but grand performance. The simplicity of bands such as JAWS and Swim Deep is what is making their music so accessible; a crowd that, although packed with teens, also saw a few older faces crammed into the 150 capacity venue. The dull drones of frontman Connor Schofield create a sombre quality in comparison to the hyped-up teens, the complimentary guitars and consistent drum sound made for a polished and engaging set, considering it was the first night of the tour. Despite the teenage boozers with their consistent nattering, JAWS gave an enjoyable and strong set for a band that are still attempting to make a name for themselves. The difficult part of the band is to sustain themselves in a packed field. Drone is beginning to influence a vast amount of bands, yet JAWS’ use of synth and complimentary guitars gears them up as something fresh. The track ‘Toucan Surf’ uses synthy pop sounds, complimentary guitars and a stripped back approach, and it made for complete captivation and engagement from a crowd that bounces along with them. Tracks ‘Stay In’, ‘Donut’ and ‘Toucan Surf’ stood out as the bands strongest tracks and are definitely worth acquiring. JAWS are on the right track with the style of their music, it’s accessible to a wide variety of tastes and it’s music that can wash over you - it’s not too in your face, it just sits behind. To partner Swim Deep for the first few shows on the bands first solo tour has to be something for the band to really relish.

• 134 •

• 135 •

COSMO JARVIS joiners, southampton // 23.02.13 // words by jack dudley photography by joni andrews The Joiner’s Southampton is a place that takes its small size very seriously. To the point that it has given itself the reputation to provide sweaty live music, with the walls of the music-house covered in memorabilia of stories. Cosmo Jarvis on add to the venues stories, February 23rd 2013. The American-born singer/songwriter showed up for yet another album tour titled Think Bigger at this legendary musical venue. The freshly shaven 23 year old with Devon origins and a filmography career firmly behind him gave a performance to what can only be described as a young crowd. It’s fair to say that many of his onlookers were expecting great things from their idol on the night. Unfortunately however, their expectations were not sufficiently met.

well as his band mates was sorely missed. A little usher halfway through his set list stating that ‘Love This’ was to be released as a number one was all that sprung from the Wall of Sound labelled heartthrob throughout his visit. Giving credit to Jarvis for his performance at the Joiners is difficult, but that cannot be said for his stage time in the past. For example, his set at the Ivy Live Festival in Plymouth in 2009 was very energetic. His connection with both the audience and his band made the event special. One thing for sure is that if Jarvis wants to fit in with his parody music genre and his fans, he is certainly going to need to pick things up.

Speeding through his one-hour set list with such delights as ‘Gay Pirates’ and ‘She doesn’t mind’, released singles from his 2011 album, and ‘Is the world strange or am I strange?’, his connection with his fellow fans as

• 136 •

THE JOY FORMIDABLE exeter phoenix, exeter // 05.03.13 // words by laura potter • photography by jareed The Pheonix was home for one night to Welsh wonders Joy Formaidable and support act Kill It Kid. Kill It Kid took to the stage with long manes that 90’s boys Hanson would be proud of, the occasional American accent and a cameo jacket. Nurtured by producer Mike Crossey (Jake Bugg, Arctic Monkeys), ‘Pray On Me’ delves straight into a blues rich formula of strong vigour. Accompanying Welsh undertones of “this is lovlaay, good evening Exeter,” arms wide and her slightly kinked bob synoptic of a 9-5, Ritzy Bryan emerges in a neat black knee-length number. While seemingly more ‘Mumsy’ than Ritzy, the trio’s lead certainly establishes plenty more atmosphere than the standard after-work do. Opening track ‘Austere’ immediately initiates audience excitement. High-pitched yelps gradually morph into growls of enthusiasm as Ritzy prowls the stage, guitar guise in hand. She unleashes a wolfish visage, fairy lit mic amiss, acquainted with albums entitled the likes of The Big Roar and Wolf’s Law. The Joy Formidable’s fierce contribution to the alt-rock scene continues with ‘Endtapes’, used in The Twilight Saga: Breaking Dawn soundtrack. Back at the Phoenix, ‘Endtapes’ has the primarily male audience blaring, “I love you Ritzy,” at the protagonist’s mounting vocals. Impended by thumping drums and Ritzy’s guitar control, ‘This Ladder Is Ours’ fools with a string-led opening. Barely more than a couple of months old, the record already receives a solid sing-a-long recognition reaching an incredible altitude. Moshing inevitably follows. Arguably just as radio-friendly as the aforementioned, ‘Whirring’ stirs further dizziness and aerobic urgency. Although re-released with The Big Roar since mini-album A Balloon Called Moaning, ‘Whirring’ has oddly never fully established the popularity that it deserves. Perhaps The Joy Formidable’s underrated ascriptions lie within Ritzy’s seemingly less alt-rock anterior. However, with her stage presence particularly in mind and dubbed rock’s new heroine by NME, Ritzy is no stranger to unleashing her inner entity. While both support and main act evoke similar dynamism, The Joy Formidable rightly so pay particular attention to exploring charisma and persona before summiting to rock pinnacles.

• 137 •

THE HISTORY OF APPLE PIE words by sally rose mccormack photography by rosie lord

And Pebble’s award for the quickest interview goes to the bubbly indie band The History of Apple Pie

The History of Apple Pie are bang on trend at the moment with scuzzy 90’s grunge oozing out of every pore. The five-piece recently released their debut Out of View on January 28, and have toured around the UK bringing their grunge guitars with them. Bournemouth, aka God’s waiting room, was treated to the musical talents of The History of Apple Pie. The garden of 60 Million Post Cards was full of plaid, small woollen hats and facial hair and the five pie lovers, dashing about answering questions, setting up and having a quick smoke. A fidgety Jerome Watson, the lead guitarist, commented on their tight and busy schedule, “It’s our job, it’s what we do,” then asking whether the answers should be flowered up. Their highly anticipated first album Out of View has gained a warm reception since its release. They formed out of the relationship between Stephanie Min on vocals and Jerome. The couple started making music, which they would then upload to MySpace, without even considering the large following they would gain. After receiving a few emails from record companies, managers and PR people, the couple decided they needed to expand their two-piece in to a group of five by advertising on Gumtree for the rest of the members: Kelly Owens the bassist, James Thomas the drummer, and Aslam Ghauri also on guitar. The success of bedroom-recorded tracks was a bit of a surprise, revealed self-confessed hairbrush singer Stephanie, who unlike Jerome had never been in a band before, let alone been on tour. So far, the shows have all been hectic and well received by the audiences, with Bournemouth being no exception. Even with a slightly poor sound arrangement that drowned the singer in drums, they still managed to get the room to two-step.

Even though they have recorded their first full-length debut, it doesn’t mean they’ve completely stepped away from their bedroom origins. The album was half recorded using old demos from the band’s bedroom and at The Horrors’ studio. The album wasn’t all plain sailing as Jerome explained: “We got given a deadline for it and it was really horrible… It didn’t sound good at all, that was a really horrible time.” Luckily, having friends in high places, such as Josh from The Horrors, helped the album rise from the ashes, as they were allowed to get in to The Horrors’ studio. When asked about themes on the album or if there was a meaning behind Out Of View, the band responded, “We’re just trying not to be pretentious and just have fun,” which might explain the ramshackle goodness of the album. Touring is a staple part of any band’s diet, but can have some of the most boring parts to it - setting up, repetition, interviews and long periods of down time. “It’s been a good tour, it’s just a lot of sitting around, but it’s been really good.” Sometimes though, THOAP got the chance to take a wander, in York particularly. “We went to the railway museum, it’s got mallard in it, the train off the front of the Blur album,” Jerome excitedly spoke about getting his picture with the famous train. With The History of Apple Pie coming to the end of their tour, all eyes are on what happens next. There are a few festivals lined up and potential of new stuff to get recorded. “We are already playing some new stuff at the end of the set now.” In the end this band is fun, they are clearly having a good time up on stage, like a bunch of close friends just having a laugh and in the words of the wise Apple Pie, “Just make fun music that’s fun.”

• 138 •

• 139 •

the unseen playlist photography by andrew mallone

laura marling // typical white lies // taxidermy arctic monkeys // if you found this it’s probably too late swim deep // beach justice the vaccines // we’re happening foals // dearth cults // most wanted vampire weekend // ottoman beach fossils // lessons lykke li // paris blue

• 140 •

• 141 •

TAKE A BREAK compiled by georgia scarr • illustrations by jenny cooper

Dance Stretch Play music Moisturise Go outside Get a drink Text a friend Tidy your Desk Shut your eyes Make your bed Focus on your breathing Remember good memories

• 144 •

• 145 •



TEA AND CAKE words by briana millett photography by charlotte dart

Step out of the sand and into the shade with a visit to this bijou Bournemouth coffee shop

• 146 •


The venue:

This café is tucked away in The Triangle in Bournemouth’s town centre. It may be petite, but what it lacks in size it makes up for with incredible character. The interior is decorated with newspaper style wallpaper, creating a real shabby chic feel. The cosy lighting is wired into surfboards, reminding you that you’re just a few minutes away from Bournemouth’s best asset – its beach.

The products: Le Bateau serves up its wide selection of coffee, tea and hot drinks in quirky mugs. It offers a wide range of cakes, with adventurous flavours ranging from parsnip and orange to cranberry and beetroot – perfect to satisfy that sweet tooth. While you’re there: Take a walk down to Bournemouth’s gardens and along the promenade to discover the beauty of the coast on a springtime afternoon. Perfect for: Beach-lovers looking for shade and a caffeine boost.

IN SEASON Spring is here and it’s brought some amazing fresh produce. Make the most of this season’s asparagus, spinach and rhubarb with these delicious crowd-pleasing recipes

recipes by briana millett photography by charlotte dart

• 150 •

ASPARAGUS WITH ROASTED TOMATOES Serves four Let asparagus take centre stage in this fresh vegetable dish.

Ingredients 300g cherry tomatoes 3 garlic cloves, crushed and finely chopped 2 tbsp olive oil 16 asparagus spears

• 151 •

1. Preheat the oven to 180˚C/350˚F/Gas Mark 4. Prick the tomatoes and spread onto a greased baking tray. Sprinkle with garlic, drizzle with one tablespoon of olive oil and season. Roast for 15 minutes. 2. Heat the remaining tablespoon of olive oil in a large frying pan over a medium heat. Add the asparagus spears, season and fry until evenly coated with oil. 3. Remove tomatoes from the oven and pour off any excess juice. Lay the asparagus in the tray and roast for a further 15 minutes.

SPINACH AND FETA FILO PIE Serves four Go Greek with this satisfying filo pie.

Ingredients 25g butter, melted 10 sheets of filo pastry 200g feta cheese 250g fresh spinach 1 garlic clove, crushed Juice of one lemon 200g drained ricotta

• 152 •

1. Preheat the oven to 190˚C/375˚F/Gas Mark 5. Brush a 20cm loose-bottomed tart tin with a little melted butter and lay a few sheets of the filo pastry across it. Layer up the pastry, brushing each sheet with butter as you go – make sure there is some pastry overhanging the edge of the tin. 2. Crumble half of the feta into a large bowl and mix with the rest of the ingredients. Spoon into the filo case and crumble over the rest of the feta. 3. Fold the overhanging filo on top of the filling, brush with a little more butter and bake for 20 minutes.

RHUBARB SORBET Serves eight Sorbet isn’t just for lemons. This rhubarb version makes a luscious light dessert.

Ingredients 250g rhubarb, washed and cut into 1 inch chunks 110g caster sugar Juice of 1 lemon 75ml water

• 153 •

1. Place rhubarb into a pan with the rest of the ingredients. Simmer for around 15-20 minutes or until the rhubarb is soft. 2. Allow the mixture to cool and liquidise the mixture. 3. Freeze in an airtight container for 4-6 hours, making sure to stir once each hour.

VEGGIE DELIGHTS recipes by georgia scarr photography by charlotte dart

It’s National Vegetarian Week from 20-26 May, so step away from the steak and try our meat-free meals!


Ingredients 500g pack ciabatta bread mix 130ml balsamic vinegar 4 small figs, cut into eighths 1 mozzarella ball, shredded

• 155 •

1. Follow the instructions on the ciabatta bread mix to make a dough. 2. Grease two large baking trays. Preheat the oven to 220˚C/425˚F/Gas Mark 7. 3. Pour the balsamic vinegar into a saucepan. Simmer until its volume has reduced by half, and then remove from the heat. 4. Split the dough into two balls. On a floured board, roll each ball out to a 1cm thickness and place on the baking trays. 5. Place a layer of mozzarella onto each pizza and scatter the figs on top. 6. Bake for 20 minutes or until the pizza crusts are golden. Drizzle the balsamic reduction over the pizzas and serve.


Ingredients 400g tin of chickpeas, drained and rinsed 30g cashew nuts, chopped 2 garlic cloves, crushed and chopped 1 tsp cumin 3 tsp curry powder 2 tbsp tomato puree 1 tbsp vegetable oil Naan bread, lettuce and mango chutney, to serve

• 156 •

1. Mash or blend the chickpeas until they form a thick paste. 2. Add the cashew nuts, garlic, spices and tomato puree and combine thoroughly. 3. Shape the mixture into burgers and chill for 30 minutes. 4. Heat the oil in a frying pan. Fry the burgers for 3-4 minutes on each side, until slightly browned. 5. Serve with naan bread, lettuce and mango chutney.


Ingredients 3 spring onions, finely sliced ½ small red chilli, finely sliced Juice of 2 limes 400g tin black beans, drained and rinsed 200g spinach 1 little gem lettuce, finely sliced 1 red pepper, diced ½ 320g tin sweetcorn, drained and rinsed A few sprigs of coriander

• 157 •

1. Mix the spring onions and chilli with the lime juice and leave for 30 minutes. 2. Place the other ingredients in a large bowl. Add the lime juice mixture and toss to evenly coat the salad.


Ingredients 240g self-raising flour 180g caster sugar Zest and juice of one lemon 90ml water 100ml vegetable oil 65g blueberries

• 158 •

1. Preheat the oven to 180˚C/350˚F/Gas Mark 4. Grease and line a medium-sized brownie tin or square cake tin. 2. Sift the self-raising flour into a bowl. Add the sugar and lemon zest and mix. 3. Add the lemon juice, water and oil, and combine thoroughly. 4. Gently fold in the blueberries. 5. Pour the mixture into the tin and bake for 40 minutes, or until a skewer inserted into the middle comes out clean.

SPRITZ Freshen up your room with this simple home fragrance

words by georgia scarr illustrations by jenny cooper

Find a small bottle with a spray attachment Fill the bottle halfway up with water Add a tablespoon of vodka Add 4-5 drops of your favourite scented essential oil – we love mandarin or honeysuckle Shake it. Spray it. Ta-da! (Well, we did say it was simple!)

• 159 •

TALES FROM GRANAD Explore Spain from the comfort of your laptop with a flick through these striking photos

photography by rosie lord

• 160 •


• 161 •

• 162 •

• 163 •

• 164 •

• 165 •

• 166 •

• 167 •


julia denni editor deputy editor joseph kent joshua saunders features hannah smithson tazz gault fashion tash salmon lauren anthony sally rose mccormack music rosie lord elly rewcastle nick reilly culture jodie packwood georgia scarr lifestyle briana millet photography charlotte dart videography scott craig emily mctavish marketing honor martin sub-editor sinead houlihan rachel currie design milly mcculloch lewis allen shanae staple

illustrations by lydia coventry

• 168 •


our theme for the next issue is FANTASY

image by pareeerica

Millions discover their favorite reads on issuu every month.

Give your content the digital home it deserves. Get it to any device in seconds.