UN_FOLD Magazine Vol 07

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V_07


UN_FOLD Magazine an experiment for the fashion voices of tomorrow.

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ISSN 2398-2713


HELLO

vol_07 CULTURE IN QUARANTINE

Welcome to the seventh issue of UN_FOLD Magazine; Culture in Quarantine a theme which has officially been our life since March 23rd 2020. Words aren’t really enough to sum up this last year and a bit. It’s been truly tough on everyone. Printed magazines around the world have had to embrace digital life, sharing content on social and digital media platforms in a variety of formats and we questioned was this really the end of print... Here at UN_FOLD just as the global pandemic hit, like everyone around us we moved away from our studios into our bedrooms and onto our kitchen tables. We shared WIFI and said “you’re on mute” (a lot), as our physical world rapidly morphed into a digital chasm - something which soon became the norm. And having missed out on publishing Volume 06 last year, we knuckled down determined to put this issue together, with a collective feeling that there was hope on the horizon. So, in breaking the tradition of sharing a studio space, a small team worked remotely, with three key themes that summed up what Lockdown meant to us – People, Place and Time. For inspiration, we also looked back at the UN_FOLD archive and reminisced about the times we spoke about all the things that made us tick in the real world, from diversity to freedom, from the future of fashion to cultural heritage. Responding to life in Lockdown took on various forms for everyone, and it was all wrapped up and entangled in our emotions, behaviours, hopes and dreams. We looked to the past, present and future, from the mundane to the surreal and much more. So, we hope you can enjoy this latest issue, something we are proud to have published during such tough times - something we think is truly representative of this moment in history. Enjoy Paul Owen Founder + Creative Director | 03


08 | Waves of Emotion 22 | Miss Represented 26 | Fantasy VS Reality 28 | Forgotten Behavior 30 | Lockdown Madhouse

32 | Occupy 36 | Coffee Run 40 | From Genesis to Exodus 48 | We are All Golden

WE MADE THIS

PEOPLE

PL ACE 54 | Lost in Nature 64 | Hamilton Square 66 | Fashion is a Place 68 | Reminisce

70 | Safe Place 74 | Searching For Solace 78 | Nobody

TIME

contents

84 | A sign of the times 90 | The Little Things 92 | Keyboard Dreamers 96 | Spring Tide

102 | Wasted Time 104 | Reflection 108 | Loading 112 | Bodacious Time 114 | Hope

ARCHIVE Looking back at the first five volumes of UN_FOLD we’ve created a digital archive follow us at instagram UN_FOLD.mag 118 | Print is Dead

UN_e d i t e d

an for

A new chapter that brings together a collection conversations, meetings and questions with our friends from industry.

experiment

the

126 | Jermaine Francis 128 | Paul (copyright) Davis 130 | Safwaan Motara 132 | Josh Marriott + David Vassou 136 | Josue Dimbele

fashion

voices

of

The views expressed in UN_FOLD Magazine are those of the respective contributors and are not necessarily shared by Liverpool John Moores University or its staff. Whilst every effort has been made to ensure the accuracy of the information in the magazine, Liverpool John Moores University cannot be held responsible for any errors or omissions. All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publishers. First Published in the UK, by Liverpool John Moores University.

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CULTURE IN QUARANTINE

Creative Director | Paul Owen Guest Art Directors | Sarah Graham + Rachel Worsley Design Interns

This year we see UN_FOLD bring together a collection of work inspired by the passing of 2020/21 with this the Culture of Quarantine issue. The creative minds behind these pages have successfully managed to shape the content to be much more than just a collection of words and images. They have no interest in creating throw-away media. They want to make the permanency of the printed magazine feel treasured, where it lives on your bookshelves and coffee tables for months on end. But whilst this last year has been an opportunity to look back on and reflect and re-set, UN_FOLD has also become a digital magazine where you will find even more content. Watch this space

Issue_No_07

UN_FOLD is an independent magazine that allows young creatives to collaborate and contribute to something real and tangible. It empowers them and provides a platform for ownership through visual storytelling. These are the next generation of Art Directors, Designers, Content Creators, Copy Writers, Stylists, Editors, Photographers, Bloggers, Hashtaggers, Risk Takers, Curators, Marketeers, Researchers and much more.

| Amina Mwande | Brittany Harrison | Brooklyn Neal | Grace Woodhead

Image making: Grace Woodhead & Lydia Hardman

| Lydia Hardman

Acknowledgments We would like to thank the following people + thanks for their generous support and input on our seventh edition – this wouldn’t have been possible without you: Marc Provins, Nicole Watkinson, Carlos Santos Barea, Milos Simpraga, Hannah Booth, Kate Hodgson, Kayla Owen and Viktorija Grigorjevaite. Thank you

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UN_FOLD.mag | 05


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Image making: Grace Woodhead & Lydia Hardman


The emergence of Covid-19 dramatically impacted the World and the way we live. It is hard to believe that just over 12 months ago, ripples of information about the virus were beginning to make their way to our shores before waves of new rules and restrictions swept across the country, massively impacting on lives - and people’s livelihoods. What was certain was that the pandemic did not discriminate. Regardless of age, race or religion, its effects were felt by all, bringing with it a tsunami of conflicting emotions ranging from fear, anxiety, anger, lethargy, isolation, boredom to an appreciation of nature, time, peace, calm and wellbeing 08 |

Casting, Photography & Styling: Brittany Harrison. Models: Lucy Lymer, Eliza Burt, Earle Veitch & Aurora Karati

Waves of Emotion


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Trapped

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Disconnected

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Restricted

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Deflated

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in conversation with Jenna Green. Last month, we had the privilege to share a socially distanced sit down and chat with podcaster Jenna Green. We wanted to know more about her life behind the mic and her journey into the industry. SOCIAL MEDIA “There was definitely a long period when I first came into the industry where it was just awful because all I’d ever see was people who didn’t look like me. I would try this make-up look or dress in certain clothes, but a spade is a spade; I was never going to look good in that style because it wasn’t my style. The key thing today is awareness, I wasn’t aware of what was happening and that I was letting it happen to me. I see enough people in my day-to-day life that don’t look like me, I don’t need to come onto Instagram and see more people who don’t look like me. But, recently I’ve found it massively more positive, especially in Lockdown as I found it very hard to find people who look like me in my local community. It’s hard but I have now found those circles online”. MEDIA STEREOTYPES “There’s definitely stereotypes and inequality issues whether people admit it or not. We are always seeing the very beautiful mixed race women in the media, but where do we see the really intelligent black women? There’s a time for change, let black women be just black women. Why do they have to be sexually appealing or attractive all the time? Why can’t black women just be respected for being really clever, strong or something, not just because a particular brands made them look that way?” 22 |

JOURNEY IN MEDIA “Without realising it, music was a massive coping mechanism. I’d put my headphones on and that was my form of escapism. I’m listening to music to understand myself, the way the world works, my own feelings, the feelings of others and to really connect with people I guess. The main pioneer of music for me is Lauryn Hill - specifically ‘The Miseducation of Lauryn Hill’. It’s great to have that reference point and understanding from music.” So, the starting point was music and then I was learning about a lot of things that are really important, to do with race and ethnicity and I thought I want to bring it to my community. How could I blend my inner discussions into something that was accessible and that’s how I arrived at radio. It did really give me my voice as a young black woman, because everywhere else I’ve been told to be quiet and that my voice didn’t matter. Radio has been a really positive space - it’s about saying what you want to say, having an opinion and having a voice. I built a new community - I looked at what wasn’t available (what I’d like to see but don’t have), and then created two shows that were definitely targeted towards black people and were centred around black music, black discussions and black culture.”


What’s your take on growing up as a woman of colour and what’s your relationship with social media like?

Photography: Amina Mwande

How has media helped you overcome stereotypes and embrace your authentic identity? How has representation played a part in your journey into the industry and has it helped you discover your identity? | 23


“ ... all I’d ever see was people who didn’t look like me.” 24 |


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Casting, Photography & Styling: Eden Fradley. Model Callum Hulme


FANTASY vs REALITY

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Photography & Styling: Scarlett Chapman. Models: Niamh Monaghan & Ella Smith


Forgotten Behaviour Make a den and be a child again... grab the sparkly and the bright and indulge in the warmth of your wardrobe. All dressed up with nowhere to go has never felt so fun and free - embrace your inner child and let your imagination run wild | 29


Social Bubbles

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Welcome to the Lockdown mad house Social bubbles formed in quarantine with family and friends.

Photography & Styling: Bradley Dreha. Models: Jackie Jake Jerrvvv & Jordanna Littlewood

Cultural Reset

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O CC U P Y

Photography & Styling: Nia Minnery

in search of humankind

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Casting, Photography & Styling Keagan Hyland. Model Pat Hamer, Ollie Sampson & Joe Leonard

COFFEE RUN [and routine]

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LIMINAL SPACE

FROM GENESIS TO EXODUS

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This year has been weird for everyone, but especially marginalised communities. People are naturally not made to be alone for so long, we need socialisation, conversation, and joy. Communities all over the world have had to change the way they worship and celebrate since gathering in large groups is prohibited. For the Jewish community this meant that the high holidays were spent alone when normally they’d be spent surrounded by friends and family. The synagogues have been closed for months, so how have we stayed connected to our culture, community, and beliefs when everything we usually do has been taken away from us? We spoke to members of the Jewish community all over the UK to discuss how their religious life has changed over Lockdown

Georgia’s experience of Lockdown has been one experienced by many people in this country; one of sadness and grief. She lost her Granddad last year, and so her grandmother Audrey had to move in with Georgia so she wasn’t alone. The house Audrey once called home is now frozen in time, from a moment when her husband was still here. Georgia and her mum have been slowly returning to the house to organise things that Audrey has collected years. Through doing this, they found a collection of Judaica; from Shalom ashtrays and Jewish books, to religious jewellery and copies of the Jewish telegraph. Audrey’s house has become a liminal space, but a liminal space with so much history to discover. Each item she has kept has meaning to her, religiously, personally, or sentimentally

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An essay by Georgia Taylor “My relationship with Judaism has mostly been positive. I felt more involved as a child than I do now. I went to King David from the age of 4-18, which is a Jewish school, but I’ve never been religious. I always say that I consider myself a Jewish atheist, because even though I’ve never practiced Judaism I still feel a connection to it. At school we’d dress up every Purim, we had a seder every Pesach, and they gave out amazing doughnuts on Hanukkah. So, I have great memories of celebrating the holidays with my friends. Unfortunately, we would often experience anti-Semitism from the school around the corner which has made me very protective of Judaism. It definitely feels like more of an identity than a religion for me. However, I do have some bitterness towards it as well. It’s a very patriarchal religion when you look at the orthodox values and traditions. My grandma’s dad disowned her when she married my granddad, who wasn’t Jewish. She never saw her dad after that, and he never met my mum before he died. That archaism is the part I’ll always resent.”

“My grandma was never religious, but I have some great memories of being in her house and seeing little Jewish trinkets dotted around. Me and my younger brother would go round for tea with her and my granddad quite a lot after school. Clearing out their house has been very emotional and nostalgic, especially since my granddad passed. And especially because he never threw anything away! My grandma let me keep the dressing table from the bedroom I used to sleep in as a kid. I would sit at it and imagine getting ready while I rooted through drawers full of buttons and scarves.” “It’s strange how the things I used to dislike about the house I kind of love now. The wooden panelling on the walls seemed so dated, and now it’s weird to think someone will rip them off and start over. They had hardly decorated since the 70s. So, in all my memories the house will forever look the same - it’s kind of a collection of memories frozen in time.”

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“Those who are worn out and crushed by this mourning, let your hearts consider this: This is the path that has existed from the time of creation and will exist forever. Many have drunk from it and many will yet drink. As was the first meal, so shall be the last. May the master of comfort comfort you. Blessed are those who comfort the mourners.” - Jewish Blessing of the Mourners

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Epitaph By Merrit Malloy When I die Give what’s left of me away To children And old me that wait to die. And if you need to cry, Cry for your brother Walking the street beside you. And when you need me, Put your arms Around anyone And give them What you need to give to me. I want to leave you something, Something better Than words Or sounds. Look for me In the people I’ve known Or loved, And if you cannot give me away, At least let me live on in your eyes And not your mind. You can love me most By letting Hands touch hands, By letting bodies touch bodies, And by letting go Of children That need to be free. Love doesn’t die, People do. So, when all that’s left of me Is love.

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Photography & Styling: Thalia Traynor. Model: Georgia Taylor


we are all golden Image making: Lydia Hardman

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Image making: Grace Woodhead & Lydia Hardman


LOST in NATURE Lost in nature. A story which celebrates the flip side of Lockdown, one we can all relate to and the reason we’re probably all still sane after the year we’ve had. ‘The daily walk’ was a chance for us to free ourselves from isolation and the four walls we longed to escape all day, every day. It allowed us to feel free again and connect with nature and the outdoors - a world we didn’t really appreciate until now.

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RUNNING

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WILD


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ESCAPE 60 |


The long hours spent indoors, the continuous time spent with family (or without), the endless zoom calls, the pressure to be productive, the strain on our relationships, pending unemployment or furlough, all become the daily stresses living during the pandemic. But, that one hour of exercise outdoors everyday was the light at the end of the tunnel. Becoming lost in nature was a coping mechanism. It was a way for us all to free our minds and bodies from the constant ‘de ja vu’ feeling.

As the weather got warmer in April, we all started to break out of our bubbles and begin to explore the outdoors and the local areas where we lived. This was something many of us hadn’t done before and the appreciation for the small things became much greater. The chance to get outside in the fresh air was a blessing and it gave us that sense of freedom again, freeing us physically from our bedrooms and benefited our mental health. Lost in nature will be part of out new normal

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Casting, Photography & Styling: Grace Woodhead. Models: Olivia Treweeke


HAMILTON SQUARE The COVID-19 pandemic brought with it a lot of uncertainty. According to Behind The Chair, over 4,500 UK hairdressers lost their jobs and over 5000 salons will never open again. With all social and cultural events being paused and cancelled, our friends in the hair/beauty industry have taken a huge hit.

Photography & Styling: Brooklyn Neal

This time has led to a shift in consumer purchasing behaviour across the sector. The demand for the British beauty industry dropped by 30% as we slowly returned to normal. However, one thing that will never change will be shared creativity that the hair and beauty industry creates. We hope for resilience and a rebirth of the sector

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Casting, Photography & Styling: Rachel Atkinson. Model: Elle Donegan

B yo ha w fa se fe fe cl bi w th to su th E th


Being able to speak through the clothe ou wear without physically speaking an aving that own sense of individuality what truly inspired me to step into th ashion industry. What inspires me eeing other people in my designs, th eeling is indescribable. Having someon eel confident, beautiful, empowered lothes that you have designed is m iggest inspiration and motivator. I hop we never go back to stereotypes with he fashion industry. May we continu o raise the bar and recognise diversit ustainability and community and mak he fashion industry a less divided plac Everyone should be able to expres hemselves freely - that’s the true beaut | 67


REMINISCE: THE LAST TIME WE WERE TOGETHER

FRIENDS COMPANIONS MATES CONFIDANTE PLAYMATES BEZZIES 68 |


Image making: Grace Pickard

BROTHERS SISTERS SOUL MATES CLASS MATES SIDEKICKS

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a

f

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p

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l

a

c

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Photography: Megan Edwards


SEARCHING FOR Solace In the wake of loss, we embarked on a journey to peace, navigating the emotional difficulty of the past year through the solitude of the natural landscape.

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Casting, Photography & Styling: Diva Harkness. Models: Emma Harkness


Nobody

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to sit with

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Photography : Dan Nicholas

The current COVID-19 pandemic has undeniably changed life as we know it. For many people as the lack of real life face-to-face interaction and social activity became obsolete, ‘Lockdown loneliness’ was declared a reality. The Guardian estimated that 7.7 million people in the United Kingdom live alone, and the Office of National Statistics reported that 5.0% of the

total population or 2.6 million adults reported that they felt lonely ‘often’ or ‘always’ between 3rd April and 3rd May 2020. Even though loneliness has a different meaning to every one of us, these numbers are about the same proportion as pre-Lockdown. Only time will tell us how this has made an impact in our society and how our country is actually doing

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Image making: Grace Woodhead & Lydia Hardman


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A SIGN of the TIMES 10:14 11:12 11:29 12:04 12:38

Being in and out of constant Lockdown makes time feel as though it is non existent, with days and months rolling into one. The lack of daily structure we no longer have due to national Lockdown has confused our concept of time, daily routine, sleeping patterns, eating habits and household chores. Time simply doesn’t exist. Some would say it’s...

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Casting, Photography & Styling: Erin Watters. Models: Mary Winrow


11:29 CONFUSED BY NOT KNOWING WHAT DAY, MONTH OR TIME IT IS.

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THE

little things The pandemic allowed us to open up and appreciate the little, more precious things of life. The little things which were not always considered as something special. Why are we so blind to these things and so quick to complain? All too often we seem to forget that these smaller things in life make such a big difference. The Sunday soundtrack playing your favourite song, eating breakfast in the morning sunlight, the

Casting, Photography & Styling: Maggie Manning. Model: Erin Watters

chance rainbow or the furry bundle of

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joy that sits at your feet. The smaller things in-front of you the whole time, are the things that helped life become even more precious and enjoyable.


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Image making: Lizzie Leese.


k D

e R

y E Desire,

b A hope,

o M

excitement

,

a E

r R

d S

passion.

I miss the search for a new holiday. The fashion, the packing, the planning even the 5am flight. Being up in the clouds I

can

with

out

picture

destination it

now.

in

The

sight. waves

crashing at my feet. Making memories. My favourite people. Soaking up the sun

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a

d p

o

c

e

n

d e s i r e

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h

o

p

a

r

a

l

s

p

e x c i t e m e n t

e


e n o l

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S t

P

R i

I

N d

G e

Being in a National Lockdown, has made many feel deflated, isolated, and anxious. Everyone is cooped up indoors with a lack of social structure and sunlight. This has led to many health problems such as an increase in our stress levels, sleepless nights, less exercise, and skin breakouts. As a consequence many of us have turned to mindfulness Apps or techniques to cope with these struggles in the hope to gain a positive and healthy mindset. Practising mindfulness allowed us to concentrate on ourselves... .

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[ in ]

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[ out ]

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Immersing yourself in nature has been shown

to

produce

positive

effects

on our mood. By being in a natural environment, we can boost our emotions and energise the mind, body, and soul

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Photography : Paige Torrington.


Casting, Photography & Styling: Brooklyn Neal. Model: McKenzie Neal

wasted

Dreaming of a touch or a hug from someone makes you question when will be the next time. Did we take this all for granted? Did we waste our time?

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23.03.20

time 24.03.20 25.03.20 26.03.20 27.03.20 | 103


Reflec-

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tion Last year the world was put on complete stand still. Flights where stopped, borders were shut and people where confined to their homes. As we slowly try to recover and get life back to normal many people are reflecting on what life once was. The little things we took for granted like seeing family and going shopping have been off limits. Normal life is no longer allowed. Clubbing, festivals and holidays are just dreams. .

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Normal

Reflecting on the past, when we were free, we had taken for granted. Those times we look back at, we can only imagine. Now, never would we think something as small as meeting a friend for coffee would become something so precious and valuable. Maybe times like these are a lesson to be learnt, to not take anything for granted and to appreciate the little things in life

Casting, Photography & Styling: Mia Addison. Model: Ella Harris

the new new norma


al

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LOADING...

23.03.20 22.03.20 26.03.20 27.03.20 30.03.20 03.04.20 05.04.20 15.04.20 16.04.20 17.04.20 21.04.20 23.04.20 30.04.20 05.05.20 10.05.20

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The past year has forced us to adapt to a new way of life. Slowly being programmed into a new pattern of behaviour. With every new set of restrictions that has been set it has felt as if we have been robotic-ally programmed into this new way of life


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Casting, Photography & Styling: Georgia Lischke. Model: Josh Wild


LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // LOADING // | 111


BODACIOUS TIME 112 |


Styling & Self-Portrait: Poppy Hunt

15.04.20

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Hope

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“We will get through it in the end but it might take time” - Captain Tom Moore

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The circular nature of time, is a strange but natural thing. ‘What goes around comes around’ is a common phase which reinforces the idea of cause and effect. The vulnerability of time can be defined by the faith and hope. Events signify a sense of circularity. The fading of time is joined by a sense of

Photography: Lucy Ward

faithful remembrance, resolution and spirit

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PRINT IS DEAD instagram

UN_FOLD.mag

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UN_FOLD archive

The printed magazine as we know it has changed. Magazines have become brands, much bigger than their traditional paper origins. Content is now consumed through many forms, from online to the experiential. And even though we are living in a digital age, the permanence of print remains true, and arguably even more important than ever. Back in January, we dipped back into the UN_FOLD archive for some inspiration - the ideal place to kick start our imagination. Restricted by the rules of Lockdown, we decided it was about time we digitalised our printed form. So, later this year, we will be launching UN_FOLD.mag as a celebration of the past, present and future work. It will be a space where we can share stuff from behind the scenes, work-inprogress and just some of the things we really like, including the things that just never made the cut for print, but are still pretty outstanding

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re-work

Volume 01 Print is dead, long live print.

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Volume 02 The sensory issue.


UN_FOLD archive

Volume 03

re-play,

Girls by Girls.

instagram

UN_FOLD.mag

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instagram

UN_FOLD.mag

Volume 04 Sex. Politics. Art. Money.

Volume 05 Conform / Rebel.

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BUILDING A BETTER FUTURE

A RESPONSE FROM GEN-Z

re-imagine

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Forced to adjust to a new reality, the magazine in the digital age has had to become more. The traditional studio which had always been our communal social space and a driver to our creative practice came under threat. But we found new and other ways to make work.


Our Culture of Quarantine issue ends with the UN_edited chapter, bringing together a collection of conversations, meetings and questions with our friends from industry. In this series we’ve been talking to Art Directors, Designers, Photographers and Illustrators - dipping into their inner workings and secret life of studio culture during Lockdown

UN_edited

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In conversation with Jermaine Francis by Lydia George. Jermaine Francis is a London based Photographer. Jermaine’s practice is immersed in Documentary and Portraiture, in the format of personally driven photographic projects and editorials that explore issues that arise from the interaction in everyday environments. His work can be found in publications such as I-D, Beauty Papers, 10 Magazine, More or Less Magazine, as well as for brands Gucci and Stella McCartney.

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Post Pandemic Utopian World Self Utopia is, by nature, full of contradictions. Whether or not you see it for its positive potential or its dangerous ideology, one thing is for certain, utopia appears to be finding a place within the fashion industry as it grapples with the impact of the pandemic. But why the sudden resurgence of utopia’s relevance in the fashion world? Despite the fact that fashion has long been ignored as a relevant utopian pursuit, fashion and utopia are inextricably linked. With their flexibility, cultural significance, and transformative powers, both fashion and utopia are perfectly suited for responding to the crisis of the COVID pandemic.

Utopia is a problematic topic and open to varied perspectives. To understand how one such perspective is being expressed in the fashion industry, we interviewed photographer Jermaine about his work in the ‘Utopia in Dystopia’ issue of i-D Magazine early this year. We discuss the contradictions between Jermaine’s and our concepts of utopia. Together, our views represent the oppositional nature of utopia and show the two extremes – reality vs fantasy – so we invite you to find your place along the spectrum and discover what utopia means to you and to fashion. JF “I don’t believe in utopias...you cannot have a perfect ideological position...it can’t exist, because it always fails and it leads to problems.” Jermaine’s beliefs represent the anti-utopian strain within the field of Utopianism. At the foundation of such views is an unwavering acceptance of the traditional definition of ‘utopia’ – an imagined perfect society. The key aspect of this definition which problematises utopia is ‘perfection’ – ever desired, ethereal and, ultimately, impossible. Jermaine’s more realistic approach to utopia has its roots in historical examples of utopia-gone-wrong. In our interview, Jermaine referenced failed, and dangerous utopias, such as the Third Reich. That the concept of utopia has the potential to inspire such terrible results should not be ignored or forgotten. And, perhaps it is wise to

remain realistic when it comes to utopia, even after the devastation of the COVID pandemic, so that we can remain vigilant against dangerous utopian visions in our society today. But, utopia has not always resulted in dangerous political movements; without utopia we would not have Feminism, for example, or any other movement that calls for equality. So, we are proposing a way to move beyond utopia’s dark history. The definition of utopia limits it to a promise of impossible perfection, and is always doomed to fail. So, why not move beyond the rigidity of this definition? Why not embrace the sense of dreaming inherent to utopia? By removing the notion of intention from utopia, it is not destroyed, instead it is liberated – utopia becomes unbridled imagination, which can be a powerful tool. During a time of crisis, when the future is uncertain, intentional utopias seem destined to fail. After this long spell in the dystopia of a pandemic, utopia’s hopefulness (without the burden of intention), combined with the transformative power of fashion, could be needed to help us emerge into the post-pandemic world. JF “utopias put things in a very neat box...utopia can’t be messy.”

Jermaine’s photographic style is documentary in nature. His work published in February’s issue of i-D magazine featured portraits of Londoners during Lockdown. This was a shoot for a fashion magazine, but one with a focus on people and identity during quarantine, with no aim of selling clothes. Jermaine’s photographs show the ‘problematics of utopia’, highlighting the utopianism within English nationalism. He wanted to show ‘what is being diluted’ and ‘what is being destroyed’ by the utopian ideals attached to symbols that uphold the construct of the UK as a ‘great nation’. So, he ‘juxtaposes [the] symbolism’ of the Union Jack, St George’s flag, and monuments to Queen Victoria against his portraits and street scenes, showing a diverse range of people who are excluded from the ‘neat box’ of English nationalism’s utopian vision.

Whilst Jermaine’s work comments on the application of utopia on a societal scale, we can suggest that we need to adjust our utopian thinking towards the individual. Doing so would allow us to move away from the one-size-fits-all approach of past utopian schemes. Fashion acts as the sartorial embodiment of identity, and so could be the key to creating a utopian self. However, our identities have been difficult to connect with during the pandemic, particularly in terms of fashion. Social restrictions have forced an emphasis on ‘loungewear’ and ‘sportswear’ because of the activities we are limited to; which, in turn, will have limited the possibility of self expression through fashion. One way in which we can reconnect with our fashion identities is by channelling the fantastical nature of utopia (as opposed to the realistic). The circus, as just one example, is a fantastical theme used throughout fashion history, such as: Elsa Schiaparelli’s Circus Collection 1938, Alexander McQueen Autumn/Winter 2001, and Dior Spring Haute Couture 2019. Embracing such fantastical themes allow identities to be experimented with and transformed into characters – in this way, utopia can be messy. JF “it’s not about [whether] fantasy or reality is better because that’s not true, it’s about story telling, it’s about how well that story is told... it’s whatever strategy works best for that person.”

Jermaine’s raw, social documentation for the ‘Utopia in Dystopia’ issue shows the undeniable reality of utopia’s problematic past (and present). And with the onset of the pandemic, an urgent shift in focus is required, from societal to personal, from collective to individual, both in terms of utopia and fashion. That being said, at the end of the day there is no right or wrong approach to utopia through the lens of fashion. The beauty of both fashion and utopia is their flexibility

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In conversation with Paul (Copyright) Davis by Katie Taylor. Paul Davis is an artist and illustrator based in South London, UK.

Last month, we had the pleasure to sit down, chat and share a virtual coffee with the celebrated artist and illustrator Paul Davis. We started by asking how he would describe his art style: “Still working on it. So far, it’s been sketchy, painty, scratchy, pretentious, very occasionally profound, frustrating, joyous, small, big, all of it. I always think it’ll all come together around the next corner. Drawing the way I do is, I guess, the most honest way I work. And drawing with an idea (essential!) is the best foundation to work and to build upon. There’s always more to experiment with which can lead to confusion. Humour is important to me as is human behaviour.”

Known for his humour and journalist commentary he has lots of wisdom to share with the world, and having worked with the likes of Dazed & Confused, Creative Review, Time Out, Marc Jacobs and Agnes B we were interested to learn what the new normal is for Paul and how he managed his time during the pandemic. Paul explained that he was affected both positively and negatively during Lockdown. It encouraged him to get involved in the Artist Support Pledge, a network of established and 128 |

emerging artists pledging to support one another by buying each other’s work through Instagram. The Artist Support Pledge actively promotes the idea that when an artist earns £1000 from selling, they are then encouraged to spend up to £200 on another artist’s work. We are all aware that the creative industries have suffered during these times, exhibitions and sales have been closed, teaching and technical support has become more difficult to access, so in a bid to help artists carry on as normal, just as the rest of the world closed down, the Artist Support Pledge and online community was born. This positively encouraged Paul and others to keep making new work. He went on to say how interesting it was to see artists becoming more thoughtful with the art and what they wanted to say to the world right now. Unfortunately, one of his shows due to open at Jealous Gallery was coincidently the same night Lockdown began. Spending so much time and money arranging an exhibition for it to cancelled is devastating for anybody, but Paul said he found some comfort in knowing that everybody was in the same boat. As ever, no topic is off limits when speaking to Paul. The art of observation,


everyday life and people are always on the agenda. But the global pandemic did reveal that he had started asking even more questions “thinking about things like God or lack thereof, war, meditation and the sheer amount of people deciding that making sour bread dough would be the best way to cope with this new-found confinement”. Like many people, he took the time in Lockdown to reflect on past work and learn from it. He spoke how pieces that he once loved no longer make him feel the same way… One of his newest series was on volcanoes. We asked him if there was any particular reason for this because it seemed out of context to the current happenings of the world. He explained excitedly that it was because volcanoes created and shaped the world over millions of years, the steam from volcanoes ended up making the oceans and everything that came out of the volcanoes made the layers of the earth. On Saturday the 22nd of May 2021 Paul was finally able to have his show at Jealous Gallery with his ‘BOOM!’ exhibition showcasing his volcano inspired art pieces. While many people found it impossible to get back into work, Paul found

himself very lucky to be able to get into the studio early on to continue working. He completed a series on cars and people still driving/walking around during the height of the pandemic when everybody really should have been at home where possible. He also explained his grievances towards joggers as they would be running around the city heavy breathing on everything and everyone while not wearing a mask. At the same time, Paul got involved with cooking for the homeless “you find your generosity in times like this.” It surprised him how many people didn’t have a lot to eat which opened his eyes to the UK’s hunger crisis. “With not many people out and about and almost nobody carrying cash, it must have been extremely difficult to be homeless during the pandemic - the majority of homeless people rely on spare change and the kindness of strangers for their next meal”.

We went on to discuss what some of his contemporaries had been doing during the crisis, and he told us that he had seen a lot of people using government and politics as inspiration. “Satire monetized the Lockdown for artists.”

Meaning a lot of artists used their art to discuss their true feelings about how the UK government responded. He also discussed how some artists such as Jeremy Deller used profits from their sales to donate to charities. Paul jokingly said that he kept his profit for rent. Our last question for Paul was “Where did the ‘Copyright’ come from in your name?” “In 1998 (I think), some friends at a design company got some lovely German interns to make my first website and as there were so many people with my name, they had to think of something, so I had nothing really to do with it. I accepted their idea for the website name and email addresses thereafter. I just ran with it and that was that.”

Paul was a pleasure to talk to, he spoke freely, honestly and passionately about life, and life in Lockdown, divulging ‘It’s no different from my normal’. To see more of his observations about people and the real-world visit his Instagram page @paulcopyrightdavis

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Talking tech, 3D art and digital illustration In conversation with Safwaan Motara by Shannon Evans Safwaan is a Motion Designer and Digital Artist based in London, working with brands such as Kenzo and Alexander Wang.

We are currently living through unprecedented times, Coronavirus has created unfamiliar alterations to the way we live our lives day-to-day, and globally we crave togetherness, stability and communication. Connecting solely online over the past year has left us all thinking what’s next? Especially in terms of creativity, employability and prospects within the fashion industry. Digital Fashion, communication, virtual reality presentations, collections rendered solely through 3D design software, and interactive and immersive online sales is starting to revolutionise and breathe a new life into the industry. We wanted to talk to Safwaan Motara, as someone who really is fully immersed in digital fashion world right now to find out more.

SE: Hi Saf, can you tell UN_FOLD a bit about yourself and your role in the creative industries.

SM: I’m a freelance motion designer and digital artist, creating 3D visuals, simulations and illustrations for fashions brands such as Kenzo. I particularly enjoy the 3D nature of my work when creating digital video. SE: As a Motion Designer and Digital Artist do you work a lot online already, and how do you feel the global pandemic has effected your working processes?

SM: Obviously coronavirus is a terrible thing to have happened, having to isolate means missing out on communicating not just within a studio space at work but socially as well. I think it’s been wonderful however that I’ve been able to connect with others digitally throughout this time and our online connections have become stronger because of it. SE: Do you find inspiration in the digital world?

SM: I find a lot of my inspiration for my work within photography, film, real life, just socialising, and observation. I watch the way people move and react in real life, it informs my process. I find architecture inspiring in terms of design too, especially within 3D and coming up with concepts. SE: What do you love about your work? SM:

I love that I’m essentially left to create my own vision for the projects I’ve worked on, being able to create some amazing illustrations and video makes my work a lot of fun and rewarding… but that’s always with the caveat of the project brief - I always need to execute the brands vision, values and aesthetic.

SE: As a digital designer you must spend a lot of your time online, and over the past year with the pandemic there hasn’t been much in real life (IRL) interaction, 130 |

do you believe that our online persona’s are what really present us?

SE: For me, I don’t make my online presence personal. I use social media as a platform for my work, because my social life is personal I don’t need to share that online, I feel it can be damaging when you’re putting your life online. It’s a good way to set yourself up as a brand but can be destructive to just alter and show your whole life online, it’s not really you. SE: Do you believe there should be a balance then between your online self and your IRL? SM: Definitely, my online life is not my real life, its something I use to share work and make work connections.

SE: Did your creative process change over the last year within the pandemic?

SM: For sure, I normally get a lot of inspiration from social interaction and just being around others outside. But as a digital artist I have been able to work and be creative more intensely through experimenting digitally with new media. SE: Do you think the future of the fashion industry will be heavily influenced by Digital environments such as AI and Virtual Reality?

SM: Yeah, there are more graphic designers, 3D artists now getting into fashion, and the industry (this last year) has limited a lot of designers and brands, therefore I see it as an opportunity to bring a newness to the industry. Check out Safwaan’s work his Instagram page@safwaanm


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Just off Rose Lane In conversation with Joshua Marriott and David Vassou. By Annabel Spencer. Joshua and David are both fashion designers based in Liverpool. They work with brands such as Bellfield, Very, 11 degrees, Matalan, Molby and Missguided.

Recently we had the pleasure of interviewing two of our very own, the talented fashion designers Joshua Marriott and David Vassou. Having both studied BA Fashion Design at Liverpool John Moores University and graduating back in 2015, their final undergraduate collections featured in the debut issue of UN_FOLD magazine, and since then their creative flair has continued to flourish.

“Hello UN_FOLD! The fashion publication of dreams!”, David gave us a warm welcome straight away. We asked them both what they have learnt from the industry so far and what else they have experienced since graduating. Joshua explained to us how he started his journey in highend fashion, taking an internship with Peter Pilotto ‘before graduating’ in 2014 and worked ‘70+hours per week for free!’ During the internship Joshua realised that he was interested in more commercial fashion, but, he looks back at the internship with positivity as he learnt a lot from the experience which confirmed his decision to work in the fast-fashion industry. This is pretty similar to David’s early experience. David had a ‘taste of high-end design’ during [his] studies, and whilst it was creative, [he] quickly learnt that “the end consumer in this marketplace was fairly small”. For David, his “biggest feeling of fulfilment was knowing [his] clothes are being worn by many”. From this, he

knew he wanted to pursue a career as a designer for high street brands.

Since their original collections were published in UN_FOLD, other publications took interest in them and also asked to shoot their garments. We asked both designers about their experience of working with us on that debut issue, and Joshua quickly added that ‘[he] loved being a part of this’ that it gave him “real exposure into the creative industries”. The shoot images “look really striking in contrast to the rest of my work”, and that these images are still in his fashion portfolio, adding he was “so thankful” that his collection made the cut for UN_FOLD. David echoed this. He labelled his experience being a part of the first GFW award-winning issue as “sensational!” Publications such as Pause, Disorder, 69 Mag and The Skinny all contacted him to request some of the looks from the shoot to feature in their editorials. As well as Joshua, he states that his collaborative project within UN_FOLD are “the only images [he] kept in [his] portfolio, and they secured [his] first job offers… and the biggest thing I’ve learnt in the industry is that collaborative work is key to any success”. As the COVID-19 pandemic hit, some creatives lost confidence and the motivation to keep on creating. This was something that Joshua picked up on during the interview. Joshua mentioned that even though the Lockdown throughout 2020 and 2021 has caused

a lot of suffering to large retail stores and similar business, “Some creatives have thrived… so many independent start-ups have flourished during the pandemic. It’s nice to see people explore their creative flare. I think creatives have definitely benefited from the gift of time that the pandemic has given to us all. I think it has also helped spread a message of optimism seeing all new talent emerging.” Similarly, David expressed that “there is no better time to be looking for design work than right now”. As fashion businesses change and adapt to the new way of life, post-pandemic, he believes that “this year in particularly will be a great year of employment for fashion graduates… and now is the time to learn a new skill, explore a new passion, work on you, and turn this unusual time into a positive”. We wanted to know how this duo managed to stay creative over this last year. Joshua said that he used the mass of free time to “learn new creative skills, explore new interests”, build his professional profile and use the pandemic as an opportunity to work on himself, on his own terms. He wasn’t afraid to admit that he had his downdays when he did not feel as productive, “but you have to look at the small stuff you do in life that you might not acknowledge [which contribute] to the bigger picture”.

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Since graduating he and David have bought their own house. They explained to us, like many, they used their ‘extra time’ to renovate and decorate their new home, deciding to document their interior design journey on social media under the name @justoffroselane on Instagram. David describes this as “absolutely [their] equivalent of a Lockdown baby”. By documenting their renovation journey, Joshua believes that it has been “quite a good tool to use for reflection and progression”, and David admits that it is something that has really kept them going in Lockdown. “Working on something like your home that is completely for your own benefit and happiness feels so selfishly amazing!” David describes. Being creative for your work life is great, however, allowing time to be creative for yourself really does bring you happiness!

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As the interview came to an end, we asked if either of the pair had any last words of wisdom for younger creatives. Joshua made an important point on the fact that there is no timescale for gaining employment after graduating from your creative studies, these things take time, and you should not ‘beat yourself up’ if you don’t get into the industry straight away. “Keep working on yourself and don’t give up”. David on the other hand reeled off some words of wisdom. “I want all fashion graduates to know: - You are the new fresh talent and the future of fashion. - Go into your first role with confidence. - If you have suggestions speak up. - Nothing at all is ever a silly question. - Everybody wings it (sometimes). - Don’t undersell yourself. - Designers - try and be nice to your buyers. Buyers - not everything needs to be grey marl.”


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Model Behaviour In conversation with Josue Dimbele By Shauna McKeown Photography Viktorija Grigorjevaite

S: Can you introduce yourself, tell us about yourself and your modelling profession?

S: So for you to join the program, fashion or an interest in it is something that always been with you?

J: I’m Josue Dimbele, I’m 22 and I’ve been modelling for just over five years now. Right now I’m signed to multiple agencies in the UK and internationally. Yeah that’s it really, travelling working with different clients all over the world.

J: Yeah, it’s something I’ve always loved.

S: So you grew up in Liverpool, how do you think that shaped you? J: Growing up in Liverpool is kinda funny, cos like I always tried to dress different from everyone else. I noticed growing up that everyone just dressed the same, I always tried to stand out and even as a kid I was always into clothing and fashion. That’s how I ended up at the John Moores Summer Fashion Program. S: Ahhh ok so it that how everything came about, I’ve been told is you were spotted in the sewing room at the Art School, which confuses me… why were you in the sewing room? J: Basically I was in Sixth Form at the time and some guest speakers from John Moores came and gave a presentation about a six week fashion program they were running that Summer. I was doing that for about four weeks when Paul came in seen me and asked me if I was interested in shooting, that’s literally how the first interaction happened, if I hadn’t of been there that day we’d probably never have met. S: Ok this makes more sense, I thought maybe one of you’re friends was one the fashion course or modelling a graduates collection? J: Actually I was with a few of my mates, I’d convinced some of them to join the program aswell.

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S: So, you graced the cover of UN_ FOLD first addition, that’s awesome. Tell us about how that happened? J: It was kind of crazy, I’d honestly never thought of modelling before. I’d never been approached and when I thought of fashion it was always design or production or something like that, not modelling. S: I feel like with such a strong look how had you not been approached? J: (laughing) Yeah, at that time I had like a moustache and a goatee, like I don’t know what I was doing there. S: Yeah you were much younger, when I first saw the shots I was like it’s definitely Josh but you’ve matured in your look. J: When I look back at the pictures I do think what the f*** was I doing (laughing) S: We all think that when we look back. You’ve definitely matured and progressed into your look, some of my favourite images ever are from that last shoot we did. The one of you eating the peach, you were so uncomfortable and we were all laughing but did it and the shots were just so amazing. J’adore (Josh’s UK Mother agency) liked them for sure, I saw. J: Yeah it’s like my whole portfolio (laughs) S: So you were approached, you got the gig. Paul has mentioned that he had some convincing with to do with your Dad, is that right? J: Funny story! During that time I was in sh*t with my Dad for doing something

I shouldn’t have. Even going out at the time was a like, a no. When Paul approached me, I really wanted to do it, it was something I’d never thought of but it seemed exciting. But it took some convincing of my Dad to let me pursue the offer. S: Were your Father’s reservations because it was modelling? J: No, I was purely because literally that week I was in really bad trouble with him and he didn’t want me to go. Modelling wasn’t an issue at all, just I was in sh*t with him. S: And how are your parents now your career has gone heavily down the modelling route, are they supportive? J: Oh my Mum loves it! She sends my pictures back to all her friends in Africa. Her cover on WhatsApp is one of my modelling pictures (laughing) S: That is the cutest! J: Every month she’ll ask me to send her some pictures and she’ll send them out to all her friends and family. S: Awww she’s reppin’ you, she’s like your Momager! Have you done any work in Africa? J: I haven’t been to Africa since I was 10 years old, but I’m planning to go really soon. What’s funny is when I was a kid I wore glasses, had a skin head and big ears and all her friends still have that image of me. Mum’s like sending these pictures like, look at my Son he’s all grown up! S: That really is the cutest! So, UN_FOLD was your first step into the modelling industry. How has the rest of your journey played out, when we’re you first signed?


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J: Just after I finished shooting for UN_ FOLD, Vik and Paul were both telling me to pursue modelling, they were like you just need to go for it. Even though I’d done that shoot with them signing for an agency still didn’t really occur to me. So afterwards I did some research online… then J’adore (Josh’s current agency) got in contact via social media. I went into their offices, met Keisha who was a Junior Booker at the time, she signed me at the first interview. She’s literally been with me throughout my whole time with the agency. That same week I did a test shoot in Warrington, I felt more comfortable having shot with the UN_FOLD. I was using direction I’d been given from Paul and Vik, my experience with them really helped me at the time. After the test shoot, I worked on my portfolio and started working with JD (Sports). After that I was signed in London with Established Models.

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S: So with everything that’s happened in the last 12 months do you work more up north or still in London? J: This last year, for obvious reasons practically all my work has been with J’adore. But the year before whilst I was in London. I was shooting Jack Wills every week. But with the pandemic work started to die down and it’s been a while since I’ve had a job down there. S: Is your agency are cool with you working on personal projects? J: Yeah, test shooting is fine with them. J’adore are super flexible which is why I like working with them. S: Well things have changed haven’t they, newer agencies I suppose have to apply a more hybrid approach than traditional agencies allowing for how content production has evolved.

J: Yeah definitely! S: So, you mentioned you are signed internationally? J: Yeah, so after Established I was signed with an agency in Milan, through them I got to experience at Milan Fashion Week which was absolutely amazing! S: So do you enjoy doing catwalk, or do you prefer e-commerce or campaign shoots? J: Catwalk, well for me is one of the best things about this job I think. S: What is it for you about modelling, do you love what you do? J: I love the fact I can travel to a different country that I don’t know anyone, to work and live there. I can go to Milan, my agency sorts out an apartment and I can just live there


for a bit. I love that freedom, where I can always go somewhere and make a living. Modelling is everywhere, there’s always the opportunity to earn, I love that. The fact that I get to meet so many people, from all around the world. I’ve got friends all around the world and I love that. We still have contact with each other, like yesterday I was talking with a Korean model friend who I lived with in Milan, about the meals we would cook together and the time we spent living together. There are not many other careers where you get that experience that.

S: How have you found modelling work during in the pandemic? How did Lockdown affect the industry? J: Well Lockdown basically ruined my whole year, during the time before the pandemic I’d gotten signed to an agency in South Africa. I’d sorted Visa, booked flights and months accommodation, everything was ready and then we went into Lockdown 4 days before my flight. So that’s how I started the pandemic which was quite hard, I’d spent a lot of money on the trip, I had castings arranged and clients interested in

is something we all haven’t been able to do for a while. During the pandemic a lot of clients have been sticking with the models they’ve worked with before, no one was booking outside of that. Now I’m back full time I want to get myself back down there in front of the clients. S: And what about international travel? J: I really want to try to do Fashion Week again, if that goes ahead. I’ve missed the last three seasons so I really want to do that again. I’ve got a new agent in Milan so it’s good timing.

S: Do you have a favourite project / shoot you’re most proud of and why? J: My favourite project was my first time doing fashion week, backstage I was nervous but excited. On the screen you can see everyone walking as it was my turn approaching and I first stepped out there was so much light, I was nervous as f*ck! But all those nerves went, and it was blank, I couldn’t hear anything or see anything but I just knew where to go. I can’t explain the experience and that for me was a real moment. I wanted to do it again, that’s why I went back the next season. If we’re talking about proudest jobs though, I’ll say jack Wills store front campaign. That was something I’d always wanted since I started modelling, I’d see a model mate be on a massive billboard and be like that’s what I want. S: What store front was it? J: It was Manchester Arndale. But people were sending me photos from all over the UK, it was amazing. Even friends from Malaysia were sending me images. That was something since I started modelling that I’d wanted to see my picture on a billboard. S: How far into your career was that? J: It was three years ago, I’d been modelling for a bit and had been wanting a campaign like that for a while. After Jack Will’s I shot a Foot Asylum store campaign and some smaller stuff for SIZE. It changes, you get work with one client for a while, then it switches to another, then back again. The Hut Group has been my man clients since the pandemic begun, they’ve been booking me weekly for ecomm across all their brands.

That’s the change I see and that’s the change I love. booking so I knew I had work when I got there. I was investing into myself by doing that and the pandemic stopped all that. Visa and accommodation I never received the money back.

S: Yeah it’ll interesting to see how the brands adapt moving forward, whether we’ll go back to Fashion Week how it used to be or more digital focus in the future.

S: That’s difficult

J: Yeah it will be interesting.

J: Yeah at the start it was hard, I had one home shoot for Zavvi at The Hut Group. It was surreal doing a shoot from home as well. We were just sent the clothes, no equipment, Chloe was just using her phone taking pictures which were used on their social media. It was weird like, that’s how it was. Have you seen the facetime shoots, where the photographer is behind the camera taking picture of the model on location, directing them like normal and that? It’s weird. I’m kind of happy I wasn’t booked to do one, I’d have said no I think.

S: How different is attending a casting now?

S: What are you looking forward to now the country is starting to open back up? J: I’m looking forward to getting back to London. It’s been a while now since I’ve worked there. The week after next, I’ve a week of castings planned which

J: I haven’t attended a casting for almost two years now. All the jobs I’ve got come from past bookings. You can’t enter set with a negative test beforehand and some clients’ temperature check too. S: Ahhh yes, the new normal. Have you witnessed change in the industry since you started out? What are the biggest issues facing the modelling industry at the moment? J: I’ve noticed that there’s more diversity in the industry, I’m seeing more people of colour and different races and even size as well. When I first started, plus size and curve models wasn’t really a thing. Seeing the progression is really cool, seeing more normal people looking good in these clothes and I love seeing | 139


that. Just seeing more people that look like me as well, in the industry, it’s amazing.

J: I loved that campaign you showed me for New Balance, with the older models with shopping bags, so cool.

S: At the beginning of your career did you feel you feel people of colour were under-represented, was that ever a deterrent from working in fashion?

S: Ahhh yeah the Aimé Leon Dore collab, the Runners Aren’t Normal campaign is one of my favourites ever! So you want to model for a while longer, and you mentioned Art Direction before?

J: For me it was never an issue for me to get booked, it was more just not seeing many people that looked like me. I realised when I went to my London agency for the first time and there was a wall of all the models and I could only see two black models, in over 100 faces. It just made me think, you know, it could be a bit more? If you walk into any agency now it’s different, you see much more diversity. That’s the change I see and that’s the change I love. It’s been amazing being part of the change and experiencing the industry in the last five years as it’s happened. S: Best piece of modelling advice you’ve ever been given or heard? J: I’ve never really been given advice, but I can give advice if that’s alright, maybe? One thing I always say to people who are starting out and when ask me about modelling, I always say for every ten No’s, there’s always that one Yes. And that one yes is what you should strive for. My first time I went to London I got rejected so many times but when I got that one yes that’s what got me in. That’s what you should always strive for, that one yes. That’s all’s I can say on that. S: That’s awesome! Is modelling your end goal? J: I don’t think it’s my end goal, but I’d like to model for another couple of years until my looks deteriorate (laughs). S: Those looks aren’t fading babe, trust me (laughing). J: Well, my dad is like 60 and he’s got only a few wrinkles so I do look at him and think maybe there’s another decade or two in modelling for me. S: Well, we discussed change in the industry. I see a lot of change towards age also, editorial features with more mature models, brand campaigns featuring people over 35… which isn’t actually old by the way (laughing). 140 |

J: Yeah art direction, fashion shows or maybe even art direction in theatre. I’ve recently bought some land in Congo too so setting something up there, it’s an investment, I’m building my own house there so see how that’s goes for the future too. My family are setting up there, so I’m not too sure where I’ll end up in the future, but there’s options. S: So it’s fair to say modelling has given you a platform to earn an income to give you better options for your future. J: Yeah, it’s given me flexibility, where I can go through different routes. After graduation I can still model and support myself whilst I think about where I want to go next. That’s why I like modelling, it’s flexible. S: What do you want from 2021? J: Get new clients, meet new people. I really want to try something new or something I’ve not down for a while. S: Quick fire round?? Describe yourself in three words. J: Creative, caring and entrepreneurial. S: Dream brand / creative team that you would like to work with? J: I cast for Gucci in Milan and I got to go to the Gucci mansion and everything was amazing. I got there they gave me an ID card and it was Gucci, the furniture was Gucci, the carpet was Gucci, I was walking round like, wow. I really wanted it and didn’t get it. It was the final stages and since then I’ve been wanting to walk for Gucci. That’s my goal. S: When international travel opens up fully, where you headed first? J: Obviously Milan as I’ve said and I still very much want to try to go to South Africa again. I built up a lot of excitement for that trip, I was really ready for it and I’d loved to try and do it still.

S: What is the last image you took on your phone? J: It’s a tag, I was working in The Hut Group last week and there was a jacket I was wearing that looked amazing so I decided to take a picture of the tag so when it comes on sale I can buy. It’s Ralph Lauren, so yeah I took a picture of the tag. That’s how I do my shopping. S: Words to live by? J: Ermmmmm, let me think about this. Ok, just do you. That’s what I always say. S: That’s lovely Josh. J: There’s no point in trying to impress people or be something you’re not. Just do you, be who you are that’s all I can say. If people don’t agree with you, there’s nothing you can do. When I first started modelling not everyone agreed, some people said it was a mistake, it’s not going anywhere, I just though fuck it I’ll still do it. And then months later the same people asking me to help get them signed with my agency. If you’ve got an aim or something you want to do, you shouldn’t let people put you off, there’s nothing else to say just do what you want to do. S: Just do you, it’s so important. Really good advice, thanks Josh


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Cover photo: Brittany Harrison.


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