55pages issue 11

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#11

5 pages


Issue 11

55pages Creative Director Editor-in-Chief Christopher George chris@55factory.net Editor Sara Darling sara@55factory.net Contributing Editor Ross Pollard Fashion Editor Sara Darling Contributing Fashion Editor Savannah Barthorpe Editorial Assistant Roy Hilton Art Editors Christopher George Marcin Cybulski Contributing Beauty Editor Monika Swiatek Contributors Tom Bartlett Charlie Noble Julie Cooper Marlene Andersson Lisa Nicolaou Jan Mojto Designer Lyn Devenney Technical Consultant Demir Sayiner

Since our last issue, politics have become even more epic! The UK has voted out of the EU. But wait... A twist in the story has brought legal challenges, which have made Brexit more complicated than it already was. Our guessing is it will potentialy never really happen. The conspiracy theorists and critical thinkers amongst us consider if this is all a capitalist investment spin? America, well where do we start? Trump has made the White House. The Clintons self-proclaimed dynasty has finally crumbled, along with their arogance. It’s all pretty much a Hollywood soap opera, from a tired old script! 55 were never into the facade of TV melodrama, but this epic has been riveting, and the most worrying narrative may yet be to come….. However you class it, things are just not right on the other side of the pond. Maybe now with such a outright rejection of the political classes some positive change might occur? We very much doubt it. Black Lives Matter is also a huge topic, not only in America, but the racial tensions are spewing out globally. In this issue we’ve worked with the beautiful and talented Roy Brown for our cover feature and tried to make some sense of this terrible humanitarian crisis. We also have our usual cutting edge fashion that never follows the commercial rules. Along with interviews from the most controversial creatives and artists, debating our society, our climate and the ever evolving fate of our existence… We hope you find this issue an enlightening read. Team 55

Publishing Director Christopher George

Join us on social media instagram.com/55factory twitter.com/55factory facebook.com/55factory youtube.com/user/55tvc info@55factory.net www.55factory.net +44 (0) 7956 932 679 Cover - Roy Brown Photography - Christopher Sims Hat - Stephen Jones Leather Jacket - James Montgomery Jeans - LEVIS 501 Vest - HANDO Belt - Vivienne Westwood Necklace - ASSASSIN

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Article - Ross Pollard Illustration - Jan Mojto

SOCIAL DIVISION

Divisions is an issue, not just in this magazine but in society as a whole; So many of our problems come down to divisions, many explored on the following pages: Brexit, racism, disputed borders, all are based on a divide. We have become adept at removing the old three-tiered class system and replacing it with a much more divisive one. Are you rich or poor still matters, but within those spectrums and outside of them we are still dividing even more. What kind of immigrant are you, where did you come from, are you too old or young for us to care and leave you abandoned. Borders ripping people apart. Are you from the right or wrong side of the wall? Are you staring over at us with envy while we stare at you with contempt? Does the media consider you a national treasure, will they offer you plaudits or are you scum that will be dragged through its pages? We here at 55 Pages disagree with Theresa May, “If you believe you’re a citizen of the world, you’re a citizen of nowhere. You don’t understand what the very word ‘citizenship’ means.” We understand EXACTLY what it means, we are all each others brothers and sisters. Borders are just lines on a page and there is just one world, one people. It shouln’t be a nationality or income that defines us; So we reject her closeted notion of citizenship because we understand that all that equates to is privilege, division and spite.

www.fashionworked.com www.instagram.com/illustration_jan_mojto


AMERICA IS SICK

BUT CAN IT GET BETTER? Article: Christopher George Illustration - Jan Mojto


The ill-fated and highly criticised US campaign from Hillary Clinton had the whole planet watching via social media. My social feeds have generally been taken up by ‘critical thinking’ regarding Hillary and Bill’s ZOMBIE marriage, and 40 years of dodgy dealing, at the same time, dry humping corporations. Much more so than any Trump dogma that filtered through, which consisted of general racist banter and female groping, what a creep! Whether the stories of the Clintons are true or not, it doesn’t seem to matter now. They have been signed over to the history books, and will forever be tarred with scandal. However, imagine if you can be bothered, behind closed doors right now at the Clintons. Hillary shaking like a shitting dog and blaming even one else for her downfall. Well that would make for great reality TV! The new fun now is beginning with the blame game, and first in line is the mainstream media, for spewing out fluffy puns and tails of utopia from the Clinton camp. These ‘journalists’ force fed Hillary Clinton so hard upon us, and didn’t care about the consequences. They had no interest in her wrong doings, and didn’t take any of that into consideration. Journalism seems to have finally reached a point of non-existence. It’s now simply just a bunch of old boys and girls, private school favour exchanging. However, the real blame is being directed, and directed loudly towards the Democratic party its self, with Debbie Wasserman Schultz taking the lions chunk at this moment for helping to ‘game the system’ (rigging could be another expression). It is widely felt this is the main reason we now have Trump as President-elect. Wasserman Schultz knew she would get a position in the Clinton administration for gaming the show, so that’s just what she did in full view, regardless of the media coverage at the time. It will be interesting what position she now receives on the world stage, along with all the DNC (Democratic National Committee) employees, now Trump, who was the most unpopular candidate in US history, whipped Hillary Clinton to the floor. It was eight years ago that Hillary placed herself as the candidate for President, only to be widely rejected by the public for a little known, young and reasonably inexperienced Barrack Obama. The Clintons had this ludicrous idea of taking the Bush legacy- from father to son as President. Now the Clintons were looking to transfer the power from husband to wife. With a failed attempt nearly a decade earlier, they should have realised it was not what the public wanted… Ever! Nevertheless, in 2016, she was back. With the full backing of the DNC and Democratic Party, but not the public, which was soon obvious. Did this sway any decisions on her candidacy with the DNC? No, they were just, let’s not give anybody else a chance. Let’s game the system. Let’s confuse the people. Let’s ignore her vast list of problems and legal challenges in order to put up this person that the voters already rejected. It was ‘Her Time’ – and we came to be aware, from the narcissistic behaviour and entitlement Clinton felt along with her camp. So where does this leave us now? Donald Trump is President-elect of the USA. In my very personal opinion, neither of these two would have had my vote. But if I were to be highly critical, then a vote for Clinton would have been a vote for a political class on steroids. So comfortable in their own seats, with their own connections now feeling total supremacy, and probably able to do whatever they wanted, without fear of reprisals. They would have had all sides neatly tied up. Wall St, Banks, Corporations, Power Companies all working alongside each other and getting very cosy. That wouldn’t have been a government; it would have been a monopoly, with Hillary Clinton at the helm, wide-eyed and screeching with no hope of intervention. This would not have been progressive, and is a pretty scary thought. It was an extremely sick system that had become corrupted beyond repair. This by no means is allowing Trump the green light of acceptance. We have some worrying times ahead when he doesn’t seem to have that much of an idea, and was just as surprised as the rest of the world that he actually got the vote. Trump winning has made it clear that America has some serious problems. It is now very apparent the USA is a lot more racist, misogynistic, xenophobic than we actually believed. With the red states, where they think everyone is against them, and everyone is out to get them. America has shown its self to be a lot more backwards than we believed it to be. But not everyone who voted for Trump is a racist or a sexist pig. A lot of people voted for Trump because Hillary offered very little, except protecting corporate interests and courting celebrity validation to be frank. Trump however is the clean slate needed to start again. Unfortunately, in the meantime, he hasn’t got a Democrat controlled Congress to keep his loony ideas in check. On top of this, he seems to be assembling a motley crew for his cabinet that looks pretty daunting. In four year’s time, the Democratic Party will have been purged of the rot, as they have bugger all else to do. Or a new progressive movement will have to be ready to offer a real alternative for change. Until then, rest assured Hillary is no more, and Trump isn’t quite in, yet. And in America; anything can happen. www.55factory.net Sweet dreams. www.instagram.com/illustration_jan_mojto



Article - Charlie Noble Illustration - Marcin Filip Cybulski

BOWIE+PRINCE tHE LAST

zeitgeist In 1977, David Bowie was the world’s cardinal rock star. Having produced what was nearing a decade of hits, his skeletal frame, creaky voice with its South London accent and his androgynous carelessness had become synonymous with the brand of pop infused rock that he had helped to invent. It was a turning point for Bowie; his latest album Station to Station was met with mixed reviews and its confused tone was indicative of, what biographer David Buckley described as Bowie’s ‘state of psychic terror’, triggered by what was now a consuming cocaine addiction. As well as this, he had become embroiled in controversy, having given a rambling, drug addled interview in which he expressed sympathies for fascism and described Adolf Hitler as one of the ‘first rock stars’. (At a later date, Bowie would express his regrets for these statements and explained that, at the time, he was ‘totally crazed’, ‘living on mythology’.) It is not without irony then, that this series of events led him to West Berlin, where, still imprisoned by the zeitgeist of the Cold War, the city had little interest in him. In his own words, he could move around with ‘virtual anonymity. Berliners just didn’t care.’ It was here, where the elitist drugs of L.A. were unavailable to him (‘Thankfully, I didn’t have a feeling for smack’) and, flanked by the imposition of the Berlin wall, a new side to Bowie began to emerge and the Berlin Trilogy of albums was written. Low was his chrysalis- a dark, self reflective album, which voiced the struggles of addiction withdrawal. When he travelled to the studio, he would hop on his bicycle and cycle past the wall, he would eat in working men’s cafes, and he allowed himself to become part of the city itself. So, when he broke free of his drug habit, his next album Heroes, was written with some political burden. The eponymous track, a love story about an East Berliner and a West

Berliner who allow themselves hope, if ‘just for one day’, is a testament to the affect the city had on him. And, it was this song, that, almost 10 years later in 1987, he sang at a concert at a very much still existent Berlin Wall. The three-day concert (Bowie headlined the second day), staged in West Berlin, was visually blocked to the East Berliners by the wall. But no amount of bricks, mortar, barbed wire or heavily armed Soviet guards could keep the music from permeating through. East Berliners heaved towards the wall hear the music. ‘We knew that this was somehow being done for our benefit,’ Olof Pock, a fifteen-year-old East Berliner at the time, recalls, ‘The mood was one of enjoying forbidden fruit.’ Remembering it later, Bowie described the concert as ‘one of the most emotional performances I have ever done...When we did Heroes it really felt anthemic, like a prayer.’ And it seems he wasn’t alone in this thinking. German author, Daniel Johnson, described the ‘heroes’ who helped to bring down the wall from the East, ‘they had a David Bowie song on their lips,’ he said. Coincidentally, almost thirty years later, when the newspapers were awash with news of Bowie’s clandestine struggle with cancer, and subsequent death, filled with eulogies that smacked of the sex, drugs and sparkle he was so famous for, a simple tweet from the German government confirmed that concert’s pinnacle role in the end of the Cold WarGood-bye, David Bowie. You are now among #Heroes. Thank you for helping to bring down the #wall. #RIPDavidBowie. German Foreign Office January 11, 2016 The concert itself sparked 200 arrests. East Berliners pushing forward, simply to listen to the music of their favourite pop bands, like everyone else in the world was entitled to, were ‘beaten with billy clubs.’ As Tina Krone, who was there at the time recalls ‘They kept arresting people, dragging them along the surface of the street.’ Scenes of violence like this were familiar to East Berliners, but what had changed now was their


greatest hits- 1999, which suggests that reaching the millennium could have been an impossibility and, in the meantime, we should seize the day and ‘party like it’s 1999’.

mood, ‘We were enraged,’ she said. And that rage then manifest itself in protests; some violent, others peaceful, all enraged. A week later, Reagan visited Berlin and famously called for it to be torn down. Two years later and it was gone. Though it is naïve to think that the wall’s dismantling wasn’t a long time event mired with historical complexity, it would also be naïve to say that art didn’t have its place in its destruction and that, those who remember the events, also remember the tenet of David Bowie’s Heroes, ‘we can be safer, just for one day.’ Perhaps it is for this reason then that Prince, as tribute after Bowie’s death, chose to play Heroes what would be his last live gig; Prince, who similarly recognised the close relationship between art and politics. In the same year as the Berlin concert, Prince released a song entitled ‘Sign O’ the Times’, which is overt in its message and reveals Prince’s expression of what it’s like to live in the ‘shadow of the bomb’- ‘When night falls and a bomb falls, will anyone see the dawn?’. And, more subtly, his preoccupation with the possibility of thermonuclear war led to one of his

More recently, Prince turned his attention to the Black Lives Matter movement. During his acceptance speech at the 2015 Grammy’s he asserted ‘Albums, like black lives and books, still matter,’ In this he implicitly suggests that common thinking has rendered them redundant; that albums, books and black lives were nothing more than a commercial commodity that are no longer viable products, and are therefore no longer relevant. Looking at the news today, it is hard not to see his point. At a time when world is seething with the American justice system’s seeming disregard for black lives, the movement would benefit greatly from a figurehead like Prince. So, why is it then when the news is just as troubling, the political climate just as disturbing, that when we think of political figureheads in art and music, we think of those of a previous generation? Bob Dylan, John Lennon, Bob Marley, David Bowie, Prince- all musicians who have had their say and have made their mark on the political landscape. Most of these musicians are now, unfortunately, dead, and can no longer lend their voice to these issues. So why haven’t we, as young creative people, taken up their mantle? Paloma Faith, one of the UK’s most successful musicians and businesswomen, expressed only half jokingly, in a recent interview for the Guardian that ‘perhaps it hurts album sales. I can vouch for that.’ Her honest answer is


the crux of the issue. The music industry, along with many other artistic industries, has suffered a crisis due to the availability of free music online. Web Based media describes a ‘Winner Takes All’ model of business, whereby the most popular artists on social media, tend to be the only artists that make any significant amount of money- there is little room for niche expression and subculture. Despite this, Paloma Faith, in the recent referendum’s wake asserts that we ‘have a lot of power’ and that ‘people need to act’. So, at a time when the UK is at the doorstep of what could be a resounding economic crisis, when our leaders have abandoned us after producing a ‘campaign of lies’ which led to a massively impactful decision for the country, when the USA allows its police officers to gun down unarmed black youths with little recompense, when it sits on the threshold of possibly voting in one of its most iniquitous presidential candidates, when hundreds of thousands of immigrants are living without homes, separated from their loved ones, because of a war funded by the Western governments who won’t take them in. Let’s ignore the risks and become the heroes our predecessors paved the way for us to be. Let us see their deaths not as a tragedy, but as a call to action and remember that, as creative people, we have the power to challenge the system, we can disarm governments and find sanctuary for those who are uprooted. We can tear down walls.

www.charlienoblewrites.com www.weartstudio.co.uk


Article - Sara Darling

PREJAC


Pigeonholing Pejac as a street artist, does not do this internationally acclaimed visual virtuoso justice; However, he did make his name from his graffiti tag. The man behind the moniker, Silvestre Santiago now exhibits internationally, utilizing much more than a spray can. Creating thought-provoking statements using paint, pencils, acrylics and even sandpaper to spread his political musings, he works across all mediums to create opinions and discussion around the current social landscape. Competent at working in all mediums, he has developed a minimalist technique which is instantly recognizable, making his shows a hot ticket in the contemporary art world. Adapting to both small and large scale commissions, there is always a connection with the artwork and the natural surroundings. Using art as a way of drawing attention to social issues is not a new notion, but Prejac’s unique identity stems from the challenging authority and media viewpoints to cause controversial statements. His recent series of a Palestinian and Syrian refugee camp in Jordan, is a case in point. Having studied Fine Art, he became disillusioned with the elitist teaching, and being told what was right and wrong. This was the point he took to street art as a rebellion, and it was in Milan in 2000, that was the start of his celebrity status as a graffiti artist. Inspired, he decided to expand his style and use a range of different visual materials to share his social message. “’You do not have to be an artist or a child to have a different view of reality. This work is for those who are looking to let their imagination drift away with gravity. Or possibly more for all those who have forgotten to do so.” His work is littered with cultural declarations. Michelangelo, Delacroix, Monet and Hockney are referenced, as well as Shakespeare and Arthur Rimbaud. Prejac is equally happy re-making classic masterpieces, as he is minimizing his work to bare silhouettes which are equally powerful. With subtle twists on familiar images, he skillfully reinvents them into current, social and environmental comments, which are truthful, thought-provoking and explore the power of existence. Coupled with classical painting skills and a thirst for popular culture, these artworks are not just decorative, but are designed to provoke. As an educator, Prejac states “both melancholy and humour are the locomotives of my works. They create a poetic language whose essence doesn’t rely on simple beauty, but is more complex. People’s reactions spur me on. Adult life is pure inertia, which seems to be broken only by bad news or incentives, and if I can make people think, it all makes sense.” Tackling uncomfortable subjects to give a “message” seems to come naturally to the Prejac, but by incorporating recognizable everyday objects, he is able to manipulate them, to create his point. “The least interesting thing for me is the texture, colour, or wall size. What I care about is the urban context. I sometimes work with optical distortions or illusions, with the sole intention not only to play with the concept, but with the very perception of reality.” Not shy of being provocative or criticized, it is his aim to ignite opinions and stop the observer in his tracks. Often contemplative, his works are a reflection of 21st century society- whether this be a whimsical or powerful representation. With constant interpretation of everyday life, the topics of peace, freedom and politics will always be contemporary. An expert in ‘trompe l’oeil’ (eye trap), the images depict this definition perfectly. With the whole world as a canvas, there is magic which make you want to reach out to touch and be part of the art. Through his exhibitions and site works, you get immersed; The real almost seems surreal, and vice versa. Blurring the lines between iconic imagery and his imagination is a talent which you cannot afford to miss.

www.pejac.es www.diaryofafashiondarling.com


AGENT

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Article - Ross Pollard Illustration - Tom Bartlett

The Trouble With

Polarisation


the party stood for, after two progressively bigger election defeats. This also gave them a chance to move on from the Blair years.

Very little in life is one or the other, almost nothing is all of something and nothing of the other. However in the last year we have seen our country slide towards political polarisation. We have removed the nuance and the grey from our elected officials, those trying to replace them and the parties themselves. A quick look across the Atlantic shows how damaging that can be and the monsters it can unleash.

Instead the other three candidates decided to collectively target him and his supporters; They turned the debate into one which consequently divided the party. Jeremy Corbyn had done something very few leaders have ever achived. He won every section of the voting in a straight majority, and also energised many people who had been laconic towards the demographic process; He alos inspired voters alienated to return to involvement and engagement. In the months that followed both sides have made many mistakes and they became polarised, everyone has lost from that. There was no viable opposition while they have traded blows. The governing Tories have been able to command at will, and society has suffered. But also the Labour party has shown a deeper problem with polarisation. Owen Smith was painted as either the saviour or the betrayer and Jeremy Corbyn as the hero who can do no wrong, or some kind of hemp wearing terrorist. Both these men are far more complex and nuanced than that.

We had for a long time been dipping our toe into the pool of tribalisation and rejection, there were incidents of nasty politics where entire demographics have been lambasted and attacked, often for the actions of an individual or even nobody at all. However we are on the verge of reaching a point we can’t step back from, of accepting a climate where we can no longer find ourselves working on areas of mutual interest because we are only interested in rejecting the rest. David Cameron provides an example, yes I abhor 99% of what he did, but let us not forget that he, whatever his reasons or calculations were, pushed through the marriage equality legislation that transformed the lives of many against the will of the majority his party and with the support of most of the opposition. How many people had waited and waited to be able to get married, a progressive alliance delivered it. But perhaps the bigger example is the current mire the Parliamentary Labour Party is in. Jeremy Corbyn finds himself the centre of a storm made by both sides, each had a hand in it. Labour perceived getting Corbyn on the ballot was a chance to widen the debate about what

For instance seeing Jeremy Corbyn as entirely bad destroys his greatest achievement - one the party would do well to understand. He has engaged many, and won power, taking people from many backgrounds coming together. He does have mass appeal, but even some of those who reject him agree with his policies: Returning the NHS to true state running, renationalising the trains. Also the desire not to go to war without understanding its consequences. Policies that are at risk of being lost in the internal squabbling. On the other side, by turning him into some form of untouchable truth teller we risk allowing the negative parts to be swept under the carpet. For instance the issues raised about anti-Semitism. When Ruth Smeeth was abused, Shami Chakrabarti did call it out, but Jeremy Corbyn should have been more vocal. The two reasons he had that report commissioned in the first place. He is the leader of the party and the main political opposition, so he can’t just let someone else condemn something without actions. A majority of Labour MPs have acted badly and refused to even try to work with him, letting David Cameron off the hook as a consequence. But at the same time some of the leadership team were not good choices, Seamus Milne has repeatedly been part of a problem and not a


solution for example. The infighting has emboldened Theresa May to move again to dismiss the Human Rights Act, something the Tory Party have tried to do since their 2005 manifesto. The train story itself again highlights a wider version of polarisation, and the missing of a bigger point. Whether there were seats or not and all the furore that surrounded the timescale and events that took place, many of the arguments in the press and on social media failed to notice a huge thing. When Corbyn said “Is it fair that I should upgrade my ticket whilst others who might not be able to afford such a luxury should have to sit on the floor? It’s their money I would be spending after all.” But here is the thing, it isn’t. This wasn’t constituency or parliamentary business so he wouldn’t be able to claim it on publicly funded expenses at all. Also First Class tickets can only be purchased under that scheme if they are cheaper than standard fares. Did he knowing full well that his journey to Newcastle to appear at a Labour election event feel he could make an outlandishly incorrect claim? However the claim he made was barely mentioned and a real issue was largely ignored for point scoring. This tit for tat fighting comes at a heavy cost, to circle back to the US election, that is a vision of where this leads. Recent conversations with friends have all been the same, eligible voters fall in to two camps: the myopic loyalists of Trump or Clinton who accept every word as truth from their leader and every word a lie from their teams opponent, or those looking for fact who feel genuinely ill-informed as evidence based policy and scrutiny was ditched long ago. In the end it comes down to understanding that our leaders are not perfect, and rarely are they 100% evil (no matter how hard they make it to see them otherwise at times). We have to understand that our politics should be informed by progressive thoughts, you can’t have my support on that issue, but I will work with you on this issue. I’ve been voting since 1998 and I can tell you that my experience is often not voting for who is best, but who is the least awful. The way we move forward is by working out how we can do that together, and when we disagree, how we can do it without knocking lumps out of each other. I’d even extend that to saying if the right has a good idea lets support it, we’ll still have plenty of bad ones to oppose. www.fashionworked.com www.facebook.com/bartlettartist

The alternative is over on Fox News, America struggles to pass any legislation that isn’t mired in partisan sentiment, their two chambers kicking laws backwards and forwards while outside a nation awaits much needed reforms. The left needs is to recognise, it is hundreds of visions of tents, and that those tents can’t be troops either side of a 15th century battlefield, but they should be mixed and spread like a music festival, I might not want to go to see Adele on the main stage but we can get together for Dolly Parton tomorrow if you like. See you down the front comrade.


www.cimone.co.uk


Article - Christopher George

David Brognon + Stephanie Rollin Making extended video projects; they are as far away from Jeff Koons as imaginable. In film format, they are also harder to digest - unlike a picture you would hang on a wall as decorative art. Working in mixed media and conceptual art, David Brognon and Stephanie Rollin are commenting on a world of conflict; Where territories in the land can be found mapped out as if scars and lacerations on human flesh. Video works ‘The Agreement’ and ‘Cosmographia’ (Goree Island). Brognon and Rollin have excavated the reality in unbalanced military actions and man’s brutal incarceration of fellow human. The Agreement, a piece filmed at a football field in Jerusalem, where the goals are not face to face as one would normally imagine. The central point of the pitch is on the axis of one goal. The balance of the game is not respected, showing the irony of Israel’s position against Palestine, where the question of territories and habitation are unbalanced. This video shows the youths counting distance with their feet, a negotiation to find a central point between the two goals allowing them to then make a new, more equal game. “Remaining neutral can be part of the challenge, but it is not our position to take sides. Asking poetically political questions is what we are conscious of doing. It is always difficult when you start to plan a project and you have external questions in a very sensitive environment about what you are working on, and what is the outcome of the work. So it is important to do a project on your own, with your own names, and not the name of the museum or institution. Otherwise you can receive outside aggravation from people presuming you will create an item that’s negative or critical of them”. Having the ability to project their work from a neutral position leaves a void where you can then be distant as the viewer. www.brognon-rollin.com www.55factory.net


Referencing another work ‘Sabra Subbar’, which is the word for cactus in Israel and Palestine, and also a shared symbol of both countries. In this film, the thorns are taken out of one cactus as a performance by the artists and placed back into another cactus. This split screen film draws on the repetitive battle between both sides of the conflict. The geological mapping of the Palestinian land, by the cactus that originally formed the fences and borders between villages never dies. When the Israelis destroyed these villages, they didn’t realise the cactus would grow back after many years, preserving a record on the land of the previous borders. In a culture becoming so restrictive and contradictory, it has become difficult to make sense of the oppression and the reasons behind rules imposed on the region. David Brognon and Stephanie Rollin are merely observing and reflecting what is documented in the land by repressive and religious dictatorships. On asking how it is working together; “It’s a living dream!! We know each other very well and want to do the best work we can. That’s the aim, not a question about more of Stephanie’s or David’s work, we don’t care about that. We want to focus on what will stay after our deaths. The universality and quality of the art works is what is important.” With David coming from graffiti background and Stephanie from an academic one, this allows them to think from their own culture. Arriving at the same junction in their art from different paths proves to be a complementary union. Both artists share the rule that they have to be sure about the work they are producing. If one is not sure, that work will stop and be changed. The fundamental basic message and the importance in Brognon and Rollin’s works is the social undercurrent. When tracing ‘Goree Island’ ‘House of Slaves’ or ‘Cosmographia’, it wasn’t simply mapping any island; it was tracing a prison island. An Island where slaves were held before being transported to the Americas. With the overflow of art from artist with no substance, it is clear the important message is in their work. The protocol of social engagement is evident. Creating a debate, conversation, anger, questions and knowledge in the art industry, which has become so vacuous in its content. “The label ‘An Artist’ can be very empty. We want to talk about art and open a debate. We do our works for a reason that’s not to be flattered. These videos aren’t entertainment; they are correct and true. In our works we are talking about negotiations that have been going on between Israel and Palestine for years! Someone once had the criticism that the video was too long at 10 minutes. How ironic is that.”


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Kacper - Grey Jacket BAARTMANS & SIEGEL - Trousers CSB - Necklaces PYRRHA - Shoes ALL STAR


Jack - Red Trousers and Jacket TOKYO JAMES - Necklaces PYRRHA Black Leather Shoes KURT GEIGER


Taka - Cardigan Ann Demeulemeester - T-shirt and tanktop is S’exprimer - Jeans LONDON DENIM


BOYS Jack - D1 Models Kacper - First Models Milos - First Models Taka - AMCK Models Michael - First Models Connor - AMCK Models Stylist Assistant Miriam Rossi

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Post Production 55factory


Article: Christopher George

ARTROOMS

Ronan Walsh


The art and gallery industry can be extremely closed to emerging artists, especially if they are not based in a major city, or typically don’t have strong connections. Even then, trying to present their work can be a frustrating, stressful and expensive creative journey.

The trend for art fairs has proven to be very popular for buyers, artists, galleries or just art lovers on a day trip. But with the average starting price from around £2,000 per artist, for a weekend slot at an art fair- with this price rising to well above £10,000 for the larger fairs, it’s no surprise the real winners in this market are the art fairs themselves. When we were approached by ARTROOMS to partner up with them, it didn’t take much consideration to confirm our collaborative spirit for the unique concept, that doesn’t charge artists for the space to display their work. For the third year, ARTROOMS has returned to London with an unbelievable offer of free space to independent artists from around the world. This is the only event to show support in this way to artists, and has now attracted a huge amount of attention and submissions. The ARTROOMS committee have spent the summer selecting seventy artists which they feel represent contemporary art in all its mediums. In partnership with Melia White House Hotel in Regents Park, London, the location is the prime stomping ground for the serious art buyer and galleries to visit. Each artist has the opportunity to take a hotel room and transform it into their own gallery space for a period of three days. All the works are available to buy direct from the artist at this time, along with galleries having the capacity to hunt out unsigned talents to represent. ARTROOMS founder Cristina Cellini Antonini comments “We invite all the galleries based in London and those present during the London Art Fair Week to come and scout for artists. The fair can be a great place for independent artist to begin understanding and be nurtured for the industry. Galleries play a crucial role in the art industry, and our aim is to provide a space where relationships can begin between artists and galleries as well as buyers.” Those selected for the 2017 ARTROOMS will also be featured on the ARTROOMS and ArtFinder websites. This offers a huge amount of representation and support on a global level, where often your works, name and website can get obscured. ARTROOMS runs from the 20th to the 23rd January 2017 The Melia White House, Albany St, Regents Park, London NW1 3UP

www.art-rooms.org www.55factory.net

Victor Sonna


Article: Ross Pollard Photography: Christopher Sims

roy brown

WOULD YOU SHOOT THIS MAN?


The good old days…. says a voice on the radio. It’s Trump, America’s new leader talking about US values, but what does that mean? As a black man whose work has led him to perform, model and entertain across the globe, Roy Brown is all too aware of the situations stacked against minority groups. Having been in the fashion and creative arts as a wild icon for over 25 years, Roy is an independent free thinker who has seen the rise and fall of inclusivity and acceptance of those minority groups- not just in the arts but in wider society. Considering the 1950’s and 1960’s, an era of fear and segregation; Are these the “good old days” that Trump, Farage or Marine Le Penn preach about, whilst claiming to be modernisers? Waves of intolerance and exclusion are sweeping across the western world. Trump is a manifestation in the US, but we are also seeing it here in Europe. There are those that pinpoint the rise in hate to the referendum, it’s certainly played a part; You can’t deny a 41% rise in hate crimes since the vote. But the ugly nature of our European societies was already surfacing. The 28 nations of Parliament are increasingly home to Far-Right anti-immigration, integration adverse groups, including French officials; In fact in 2015, Marine Le Pen and her deeply racist Front National took 27.7% of votes in regional elections, more than 1 in 4 French voters chose an extremist party. We see it particularly in the ever growing Islama-

phobia culture. As the most aggressively pursued of European intolerances, it is directed at people in the street, via debates about wearing religious clothing, objections to new mosques and around prejudice masked as accusations of inherent criminality. The Far Right has come in from the cold using immigration and religion to open a door. Geert Wilders and Norbert Hofer kindle very realistic hopes of seizing power in Holland and Austria, the Northern League of Italy, Golden Dawn of Greece, AFK of Germany and The Swedish Democrats all have increasing electoral bases being used to threaten the diverse beauty of Europe. The attitude towards refugees here in the UK has embraced isolationist policy, along with the outright vilification of people fleeing war and death. Perhaps with no more distasteful example than the children left abandoned in Calais, despite The Dubs Amendment being passed month’s prior, which should bring them to the safety of the UK. Our rejection of the EU was based on many factors but, we can’t deny for many it was outright hostility towards anyone deemed “foreign”, we haven’t even allowed right of remain to be agreed quickly for EU Nationals already living and working here, in our nation. But nowhere has this visceral hatred manifested itself more aggressively than in the United States and, the hostility projected at all non-white sections of society; Where the election has brought us deep sexism, a wall to keep Mexicans out, a policy that people will be banned from entering based on their religion. And worst of all the heart breaking constant of black people being gunned down regardless of the situation. We have seen the pattern continuing, demonstrated in the shooting of Charles Kinsey in Florida during 2016. A clear cut demonstration of shoot first policy, where a care worker was with a young autistic patient in the street, and was planted on the ground, as the police believed that his young charge had a gun in his hands. Kinsey was shot at three times and left for twenty minutes before any calls were made. “It almost feels like it’s lawless, I don’t understand why it’s become so out of control” says Roy when I ask him about the situation in the US. With such an international career which has encompassed modelling gigs in Vogue HOMME international, GQ, I-D, Vogue UK, Daze & Confused, POP magazine, and that most American of titles Sports Illustrated. Born in Birmingham, a city that has known race issues in it’s own history, it is also a birth place of the society we aspire to be. Famed for music- it

Glasses - DITA Necklace - BUTLER AND WILSON


brought forth Ska and it’s multicultural sounds with bands such as UB40, The Specials and the iconic Two Tone Records label. In the evolving society of an increasingly struggling British manufacturing heartland, mixed with the heritage of the West Indies were many of the workforce came from people including Roy’s Jamaican parents, the young Roy was exposed to many different cultural and creative influences. The international aspect of Roy’s career has taken him all over the world. He started his career at a time when black men were rarely seen in the media, even less on the catwalk, and he has been part of the vanguard of change. Embraced for his looks and flexibility on the dance floor by renowned dance-choreographer Les Child in the early 90’s. He got snapped up as a dancer for the legendary troupe House of Child. Spending multiple seasons performing with the industry’s hottest stars in London and New York, which in turn got him scouted as a model. Roy has appeared in many campaign shoots for major names including Michiko Koshino, Ray Ban & Missoni, as well as walking for Paul Smith, Pam Hogg, John Richmond and Thierry Mugler. When I ask him about the change in the fashion and arts industries, he tells me “there has been progress. When I started there were hardly any black models, black men were almost always only in ‘black’ magazines like Jet.” But there is also an anger at the way the pendulum is swinging backwards towards those outdated attitudes, and their growing prevalence

amongst police forces and the immediate use of deadly force by officers across America. “It’s got to be something in their heads that they’ve been fed, shoot first ask questions later.” It’s worth noting that studies show between 10 and 20% of police officers have come from the military, the D.O.J. via its C.O.P.S. program actively recruiting veterans for police forces. Though questions remain regarding suitability and screening, when so many veterans suffer from PTSD and are not getting the support and help they need; The Veterans Association says that up to 20% of former soldiers will suffer from the disorder and not always immediately. This is something Roy picked up on. “These law officers, male and female, a lot of them come straight out of the army so they don’t initially have any psychological treatment after coming out of that situation.” With unemployment for former servicemen and women running high, it’s no wonder these jobs are attractive. While the horrors of the US may seem a distant thing, violence is already here with us; Disabled refugee, Bijan Ebrahimi was punched and kicked to death outside his Bristol home and his body set on fire by neighbour Lee James, who wrongly suspected he was a paedophile. James and two police officers were sentenced to prison.


Roy puts it very succinctly when he questions why Police Officers are paid to protect the public. “Why has it broken down so much, they think they can do what they like?” It seems that is very true not just of the police but of wider society. We can no longer pretend deaths like those of Stephen Lawrence and Anthony Walker are isolated incidents. More evidence is found in the list of candidates for the election in Batley and Spen, while the true political parties have refused to stand candidates in the election to replace Jo Cox, the politician brutally slain by an extremist. The Far Right parties are standing at least four separate candidates. While Tracy Brabin will be returned with a huge majority, it is telling that fascists including the BNP & National Front feel no shame in grandstanding and trying to use the situation to spread hate. However, there is something in Roy’s words that rings true. He has grown up through a period that started so bleakly, and experienced progress. He has friends who have undergone some of the most pivotal moments in the breakdown of relations, notably in LA during the Rodney King riots, yet he sees ways forward. Perhaps it’s his experiences and his ability to view things with perspective that now inform the way he writes lyrics and produces his music, “I write in three narratives, it’s never mono. I don’t have just one view of where it’s coming from, it’s always coming from a three-way experience, and the experience is usually from the other person or from myself as an observer; These are the contours and colour palettes of how I write”. Roy being naturally creative always looks to the future, but he is diplomatic about what lessons can be learned from these dark times. It comes down to changing attitudes- there should be a collective responsibility as a positive force which challenges these views when they surface “Be an educator, educate that person, they will pass it on, everyone should be an educator.” Aptly, this song sums up the conundrum of the generation – don’t take anything for granted, as promises are made to broken.

www.royinc.co.uk www.fashionworked.com www.christophersims.com

Does it almost feel like nothing changed at all? And if you close your eyes, Does it almost feel like you’ve been here before? How am I gonna be an optimist about this? And that really is the question, how am I gonna be an optimist about this because it certainly feels like we’ve been here before.


Article: Sara Darling

Having a knack for spotting skilled individuals, who don’t fit into the commercial façade of London Fashion Week. Lee and his team nurture these creatives in all aspects of business.

For any fledgling designer, getting accepted to show at the On|Off platform during London Fashion Week, is a fashion credential worth boasting about. Lee Lapthorne’s baby, which is actually now a teenager (having started out in 2003) is a culmination of many years’ experience as a curator, consultant, mentor, textiles artist and show producer. Still committed to spinning plates, Lee’s incredibly varied career is anchored in On|Off which is internationally recognised for showcasing the best of both emerging and established fashion talents. With a passion for promoting the innovative and avant-garde, Lee has been instrumental in launching the careers of well–respected designers, Gareth Pugh, Louise Gray, Peter Pilotto and JW Anderson; Along with hair maestro Charlie Le Mindu, who broke boundaries with his hairart crossover, where he memorably paraded his models down the catwalk in hot pink highheeled boots, bags, wigs and little else! Known for fostering creativity, getting a slot at On|Off is the jump start that dedicated young designers need to get noticed by the international fashion world.

“It’s about doing research and thinking strategically. Some of these designers are building collections of 30 outfits. Instead of doing 30 looks, why don’t you do 15 that are so exquisite and beautiful, and have a stronger offering? I think the press are more interested in that.” With a mission to promote a coherent, edited collection across the fields of fashion design and millinery, the results are showcased in runway shows, presentations, installations and exhibitions. Lee is also keen to work with future talents in photography, film-making and illustration. “The British Fashion Council have done a great job in producing LFW, and making sure the established designers have profitable collections that they are able to produce and sell. But it is only the cream of the crop that gets support. When I started working at fashion week - there were a lot more vibrant, conceptual talents experimenting with design, and they were recognised as important then too. I actively look for designers who express themselves. We are very much in a time of economic difficulties, and fashion has become predictable, safe and too commercially orientated. The London fashion scene has lost its way and it doesn’t seem

Stefan Kartchev

LEE LAPTHORNE


“We are geared towards style press and stylists who are the cutting edge of fashion; Also opinion formers and those who are interested in collaborations that can work commercially. We are not there to compete with the main stage, so we can be as experimental as we like.” Social media is the future of fashion, but nothing can replace catwalk shows. Lee embraces influencers but deplores talentless Z list celebrities, who he feels just go to the shows to get papped and know nothing about fashion.

Robert Wun

A touchy subject, but one that any fashion industry wannabe should be aware of. Working in fashion is not about being glamorous. Aspiring designers, stylists, photographers, in fact anybody who wants to get into the fashion business needs to be prepared for long days and a hard slog. If they want to move up the ladder in this industry. it can be a really brutal and non-forgiving place to exist in. Which Lee confirms “The romantic notion that fashion is glamorous is just not real. It’s only two percent high-profile glitz, and the rest is really hard work.” to have the same energy or freedom as it used to. I think it would benefit from taking risks, and designers who want to express themselves, getting more backing.”

I can second that!

Name checking the most extraordinary shows in the late 90s and early 00’s- Issey Miyake, John Paul Gaultier, Rei Kawakubo, Hussein Chalayan, Alexander McQueen and Vivienne Westwood, to name a few, is what Lee claims is true creativity and showmanship. These designers had no boundaries and they were not constrained by commerciality. It follows that this philosophy is what On|Off stands for, as it is not focused on the traditional buyers and sales market. On|Off’s mission is about creating a buzz and new energy about the London fashion scene, and in that respect is heavily reliant on new technology and partnerships. With an array of presentations alongside shows, his mentees get lots of exposure on social media. With moving image being the most relevant medium, Lee is also keen to promote this and its global, instant reach. Choosing, this season to work with young film maker Haris Nukem, who captured raw, intimate footage of the collections, which showcases them in a new light. Having already used 360-degree photo imagery of the catwalk through live streaming, it is clear that the digital world is something that Lee is passionate about.

www.diaryofafashiondarling.com www.leelapthorne.com


Article: Sara Darling

PETER LINDBURGH


Fashion photographers come in all shapes and sizes, and Peter Lindbergh- a rosy cheeked gent, in his eighth decade, still wearing a baseball cap is testament to this. Known for cinematic images, he shoots mostly in black and white, which he claims is nearer to art than reality; Although this could be seen a contradiction to his ethos of going back to basics, and stripping his models of excessive make up, styling and reproduction, yet he still manages to produce some of the most referenced fashion images to date.


It is through Lindbergh’s unique approach to photography, that his models visibly relax on shoots. He re-enforces his own mantra of a shoot being a fantasy, but a fantasy where he has cast the right models, and lets their identity shine bright, without constraints. This results in classic, timeless portraits which will always be relevant and ground breaking. This is the ethos which has made him the Darling of the fashion world. Working with, and some say making, the ‘supermodels’ in the nineties; He shot the women as humans with imperfections - which was a stark contrast to the commercial fashion shoots of the time. “There should be a responsibility for photographers today to free women, and finally everyone, from the terror of youth and perfection.” Steering away from the sexualised images of his contemporaries, including Helmut Newton and Juergen Teller, Lindbergh has always strived to show a respect for women. Clearly inspired by independence, his works see a move away from the formal fashion shoots of the eighties and nineties. Lindbergh is the new era. See some of Lindbergh’s most iconic images until February 2017 at Peter Lindbergh: A Different Vision on Fashion Photography in the Kunsthal Rotterdam The accompanying book is published by Taschen and is widely available.

www.diaryofafashiondarling.com www.peterlindbergh.com


SukiShufu continues to pioneer the avant-garde with the introduction of technical velvet, a comfortable, breathable, stretch lycra fabric with a luxuriously soft handle.

Photography - Christopher Sims. Styling - Sara Darling. Model - Manuella @D1 Models. Makeup - Moinka Swiatek

www.sukishufu.com



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