London Runway Issue 41

INTERVIEW WITH NOKNOK LONDON + JAMIE LENMAN + ORCHARDS + CAN'T SWIM . HOW TO SHOOT LFW

BACKSTAGE GFW . MISS TRANSBEAUTY . PURE LONDON . THE MODEL WORKSHOPS . HACKNEY FASHION WICK

ISSUE 41 27TH AUGUST 2019

THE SUMMER ISSUE

RRP £9.99

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Additional Assistance: Cara Balen Staff Photographers: Ian Clark and Fil Mazzarino Music Editor: Neil Dowd - musiceditor@londonrunway.co.uk Senior Writer: Marie Fourmeaux Staff Writers - Emmie Cosgrove, Tyffaine Akkouche, Ashutosh Kukreja Staff Illustrator - Joe Bailey Lead Graphic Designer: Alex Panek Staff Graphic Designers: Louise Monk, Lauren Rowley Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Sophya Gonzalez, Yulia Chichkanova, Kassandra Behrendt, Angela Clark, Sam Singh, Giang Brooke, Darcey Sergison, Monika Grzegorczyk, Julia Pyrciak, Katarzyna Kozlowska, Teresa Mochoka, Kamila Blaszkiewicz, Antonella Mingolla, Ivano Pugnussat, Antonio Putini, Tilly Jones, Judy Zhao, Lucia Celemin Diaz, Sidrah Sardar, Charlotte Brooks, Aiyesha Beattie Special thanks to the Dyelog PR team and Angel Nokonoko, Can't Swim, Jamie Lenman, Orchards, Ela Hidalgo, and Maxine Griffiths

Interested in working with us?

We currently have internships available in the following positions: Staff Writers Send your CV and covering letter to info@londonrunway.co.uk.

To submit photographic work or one-off written pieces, head to londonrunway.co.uk/submit

Š 2019, London Runway Ltd and contributors Printed by Micropress and distributed in-house by London Runway Ltd London distributors: The Model Workshops London at 40 Cumberland Road, N22 7SG All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.

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CONTENTS

63 VISUALS

93 WORDS

Face of London Runway 2019: The Winners!

4

Fashioned Vulgarity: Good and Bad Tastes in Fashion

22

Pure London

9

London Meets King Princess

34

The Girl King (Editorial)

25

Interviews: Jamie Lenman, Orchards, Can't Swim

40

The Model Workshops: "Through the Lens" Masterclass

37 How to Get Into London Fashion Week as a Photographer

56

GFW Backstage

46

Style (Conscious) Guide: Summer Beach

59

Why the Hollywood Femme Fatale 60 is a Danger to Feminism

Nibyland (Cover Editorial)

63

Student Entrepreneurs Founding a 72 Green Future

Dark Queen (Editorial)

75

Interview: Angel Nokonoko

83

Miss Transbeauty 2019

90

Your Style Horoscope

101

Golden Wedding (Editorial)

93

The Big Question

117

Pride

105

EDITOR'S LETTER British summer has hit us with full force, and it has truly been a force to be reckoned with. From record-breaking heatwaves to torrential downpours, we Londoners have endured it all this season. Fun fact: the temperatures recorded on the Tube regularly exceeded the legal temperatures for transporting livestock.

Now we’re in August, that in-between time when it starts to feel unbearable to wait for LFW. By the time we next release an issue, all of the excitement will have come and gone – which means we’ll have an issue packed to the brim with the latest trends and most exciting spectacles.

But before we get to that, here’s this: plenty of great content to tide you over during this hot summer month.

As always at this time of year, we’re covering Pure London with some of the latest trends you can expect from retailers and indie brands.

We’re talking about a wide variety of topics from King Princess and queer voices in music to the echelons of taste in fashion. We explore how women are made into villains on TV and in film, and also going out for festival season with our music writer Neil Dowd and his interviews with musicians who performed at 2000 Trees.

We have news from the Miss TransBeauty event, where I was a judge, and where a bevy of beautiful ladies showcased their creativity, passion, and glamorous styles to compete for the crown. Then there’s an interview with the designer

behind NokNok London, who has a lot of interesting things to say – so be sure not to skip that one.

We also have not one, not two – but FOUR gorgeous all-colour editorials for you to admire. If you’re a photographer or model, or aspire to be, remember that we’re taking submissions via Kavyar for all upcoming issues.

Find us at (unsurprisingly) kavyar.com/london-runway-magazine.

Right, I’d better get off and leave you to it – I’ve got a whole week of outfits to plan…

In the meantime, Enjoy -

RHIANNON D'AVERC

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LONDON RUNWAY

FACE OF LONDON RUNWAY 2019…

THE WINNERS!

We’ve finally drawn to a close with our Face of London Runway competition, after taking the votes on Facebook and combining them with our judging scores. The models were assessed across their ability on the runway, their potential as editorial models, and their general attitude.

Putting everything together wasn’t easy – we knew we had to pick just one winner from the male and female categories, and two runners up.

The models worked hard, from coming to our open casting call, to two rounds of social media votes, our finale photoshoot, and so on – so we had to pick very carefully, taking all of this into account. Sadly, we couldn’t have five winners in each category, or it would have been much easier for us!

The maths was very close when it came down to it – with points awarded in slots of 10, 20, and 30 for the top three for each category, there was just 10 points in it for several of the models.

And we even had a tie for two female runners-up, which resulted in a guest judge placing their vote for who would make the cut.

Now, we know what you’re here for, so no more beating around the bush.

Here’s the announcement you’ve been waiting for: the winners are below…

This is far from the last you will see of them – we’re committed to supporting these models throughout the rest of the year and beyond. We can’t give too much away right now, but prepare to see some exciting content coming your way soon!

The male and female winners of the Face of London Runway 2019 will receive: an editorial photoshoot with their face on the cover of London Runway; appearances in the magazine throughout 2019; the chance to walk in a runway show; and more special opportunities. Two male and female runners-up will receive our support to walk in a runway show.

FEMALE

MALE

WINNER:

WINNER:

SHELBY HOWARD

JOHNNY CHEUNG

Runners-Up: Leyre Gomez and Leianda Burke

Runners-Up: Soren Paillon and Jordan Walfall

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LONDON RUNWAY

FEMALE WINNER

SHELBY HOWARD

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LONDON RUNWAY

MALE WINNER

JOHNNY CHEUNG

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LONDON RUNWAY

FEMALE RUNNERS UP

LEYRE GOMEZ

LEIANDA BURKE

LONDON RUNWAY

MALE RUNNERS UP

JORDAN WALFALL

SOREN PAILLON

PURE LONDON

HIGHLIGHTS

Photography by Rhiannon D'Averc

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We stopped by Pure London as always to capture the main stage show as well as the more youth-orientated catwalk.

Prints are a clear and strong trend throughout the brands that showcased, with the use of layering or textures within the construction of the garments to add further interest.

The brands on show included: Rino&Pelle, Angeleye, Finny's Design, London Rag, Sonata, Petalstream, Christine Massarany Designs, Brise, Argentum Yacht Tuning, Luya Moda, Rocy, Interloop, Tailored by Taylor, 4 Funky Flavours, Seeberger, Dew Bees, Pour Moi, Fonem, Scarabaeus Sacer, Cotton Loops. Monarte, Bliss by Violeta, Oren Kash, Joyful, Yaaf London, Setre, Zell, Berze by DKN, Edgers, Delielis, Zamback, Two Point Two, Pranella, Lu.El, Fika, Big Metal London, Bulaggi, Don, Mayd in Chyna, Sofie Schnoor, Bl^nk, Thosamoda, Bright & Beautiful, Faybijoux, Famoso, Didriksons, Kapoeta

by Ambica, Sorry I'm Different, and Born International.

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LONDON RUNWAY

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LONDON RUNWAY

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LONDON RUNWAY

PURE LONDON

HIGHLIGHTS

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LONDON RUNWAY

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LONDON RUNWAY

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LONDON RUNWAY

PURE LONDON

HIGHLIGHTS

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LONDON RUNWAY

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LONDON RUNWAY

FASHIONED VULGARITY: GOOD AND BAD TASTES IN FASHION Bad taste is good! Follow Ashutosh Kukreja as he investigates the role of vulgarity versus class in fashion, while exploring the complexities of good and bad tastes in the industry.

The carefully created perfect/imperfect image of the world of fashion and art as we know it would not be quite the same if it wasn’t for the intricate balance between sophistication and vulgarity.

After all, what is fashion, but a dialogue between vulgarity and refined taste?

The dialogue being a dynamic one as well; ever changing in its definition of what good and bad taste is, after all. In other words, vulgarity is the essence that drives fashion into the future by defying boundaries and inspiring people to think – a characteristic that has been channeled and reflected by many artists. It’s crafted to be condemned and cherished; it’s created to be considered and comprehended. It’s the blemish on the pristine, porcelain skin that makes it human – and that’s what makes it beautiful.

Vulgarity is anything that’s out of the ordinary conventions of dressing for the era or the culture concerned; it is perhaps a notch ‘too sexy’, ‘too risqué’, ‘too flashy’, ‘too weird’, ‘too tacky’, ‘too loud’ or just too fucking much! And falling out of line with societal norms dictating the dress codes of its citizens earns it the label of ‘bad’ taste – and fashion revels in it. It flourishes in the scandal it's unacceptability causes, while it displays its audacity to overlook regulations. It revels in its so-called bad taste and the attention it receives from its shock factor on its basic premise that ‘bad’ taste is essentially good! Vulgarity creates an impact, makes a statement, raises brows and provokes discussion.

And as it does, it inspires aesthetics of extravagance, excessiveness, eccentricity, seduction, pastiche, kitsch and camp in fashion – contributing greatly to the flavor and artfulness of the industry.

In the context of the design industry, vulgarity could perhaps best be described as one side of fashion’s coin, the flip side of which represents sophisticated conformity. It’s the profane, non-compliant force, in conjunction with the sartorial accordance and social acceptance that accelerates fashion steadily through time – if it wasn’t for vulgarity, fashion would never progress.

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Vulgarity is excessive in its ambition and authentic in its approach, as it emanates an inspired aura and reeks of raw, unprocessed, uncensored creativity. In a broader perspective of the term, it represents a sense of unapologetic and fearless freedom. It provides a departure from the binding social conformities into a world where rules and limits don’t really exist. And in many ways, vulgarity is the basic human instinct – accessing and channeling the unfiltered and unrefined thoughts and ideas entrenched in our subconscious – free from the pretension and snobbery of the social civilizations that we are brought up in and taught to treasure socially acceptable sophistication and class exclusively.

LONDON RUNWAY

Vulgarity is authentic and yet at the same time it’s fantastical, daring to delve into our deepest fantasies, pointing to a version of ourselves we unabashedly aspire to be; a version of our actualized selves in our fantasies. In simpler words, vulgarity is the reality to our fantasy.

Vulgarity is the flag-bearer of evolution in the industry, and it is what instigates change in fashion over time. Vulgarity drives this dynamic industry into the future by constantly challenging prevailing dressing norms and even the notions of the socially dictated ‘good’ and ‘bad’ tastes, and perhaps even changing them (what makes an item good enough to be called tasteful vis-àvis something that’s proclaimed tasteless?).

An interesting example can be taken from one of the scenes of the classic American romcom Pretty Woman (1990), directed by Garry Marshall, when Vivian, the protagonist of the movie, who plays a prostitute at Hollywood Boulevard, goes shopping and is refused service at a boutique

because of her attire that’s shown to be glaringly inappropriate and, if I may, vulgar for the time. However, I doubt whether Vivian’s outfit of a cropped white vest top and blue mini, paired with thigh high boots and a red jacket tied around the waist, would turn any heads now on a regular day in Los Angeles. So what was considered totally socially unacceptable about 30 years ago is now regular enough to the point where it’s regarded as one of the simplistic outfits on a hot day in L.A..

And that only brings to light the fact that these rules for good and bad taste are far from set in stone.

However, as fickle as they may be, the rules for what’s good and what’s bad in the world of fashion aren’t laid down by a single entity, rather it’s a number of factors that determine the mood of the industry. The depiction of the product, the image of the brand, the image of the designer and means of advertisement are just some of the elements that provide context to support the assessment of the product as vulgar or chic, but many factors exist on the other end of the spectrum as well. Time period, culture, target consumer (the age and sex demographic, the mood of the current consumer, etcetera), the oh-so powerful modern day fashion figures (think

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celebrity endorsements, bloggers, influencers and Instagram models), the products pushed forth in social media campaigns, and magazine editorials are just some of the determining factors in what’s classified as good taste, and what’s labeled bad’ – going on to show the sheer subjectivity of the notion of tastefulness, thanks to the volatile factors upon which it’s based.

But if there’s one thing that remains constant despite the unpredictable factors vulgarity rests on, it is the permanence of the non-conforming, vulgar ‘bad’ fashion that changes, but never goes away. Moreover, this illustrates that vulgarity isn’t a mere concept pertinent to the creatives in the art and design industries, but it’s a concept that also affects the lives and perceptions of the consumers of these industries as well – the society – especially with all the negative connotations attached to the term.

To describe something as ‘vulgar’, in the general sense of speaking, is interpreted in an inherently negative light; as something to be looked down upon or something that’s often frowned upon, rather than appreciated for its uniqueness and rarity. Unfortunately, the word ‘vulgarity’ carries with it the social stigma of artless ugliness and a

LONDON RUNWAY

lack of substance – however, more often than not the word is perhaps the best definition of art, even more so in the contemporary context. Given that the purpose of art is to question, challenge and reconsider values, ethics, rules, norms, and traditions, there’s probably nothing more dutiful to the discipline of art than vulgarity, constantly defining and redefining societal archetypes and sparking debate and discussion that brings change. And that is something that makes this concept even more relevant in society today.

Interpreting the ethos of vulgarity in modern society, it finds itself comfortably at home, considering this is the age of empowerment and an era to question, reassess, challenge and reinterpret mainstream notions. It is the generation of individuals who celebrate their individuality and freedom, and they reserve the right to determine their values, ethics and morals for themselves, without having to fall in line with age-old conventions or stick to dusty rule books. It is an age that celebrates differences, instead of condemning them, and embraces new ideas and notions with open arms.

Through the very notion of the ‘vulgar’, vulgarity uncovers and lays bare the key issues of sexism and elitism in society. For instance, the women who are labeled vulgar for wearing revealing outfits and slut-shamed are intensely objectified because of their outfits; or a trend previously deemed vulgar adopted by persons of fame or fortune that suddenly loses the negative connotations attached to it. And in doing so, it triggers the much needed conversation and debate to promote awareness, consciousness and sensitivity to issues of the like.

Quant dropped the mini skirt in the mid-1960s, it sent Londoners into a maddening frenzy. Coinciding with the invention of the birth control pill, the mini-skirt wasn’t just a fashionable garment, but a symbol of sexual liberation for women and a celebration of their femininity. It was called obscene, it was called vulgar, and every other name in the book as the rapidly catching-on trend irreverently defied social sartorial codes with a hemline floating mere inches from the hips.

From the whorish shade to the colour of the perfect lady, the red lipstick evolved, and from strippers’ footwear to a fancySunday-brunch-kinda shoe, platform heels changed. And so what’s vulgar today may be the epitome of class

Even through its work, vulgarity has made countless contributions to society as well as the industry, whether it was to be an emblem of a socio-political movement, or simply as an advocate for more creative freedom to designers and artists to explore and depict their craft, in a more accepting, appreciative and understanding environment. A famous example here is that of esteemed British designer Mary Quant’s iconic miniskirt in the 60s. Although it would barely get a second look in today’s date, when

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tomorrow, while what’s elegant today may have been the peak of profanity in the past. As with other things, vulgarity is one that’s ever evolving, ever changing and ever transforming. It would perhaps be an impossible task to pose a permanent example of the socalled bad taste against the good.

However, it is this very impermanence, unpredictability and whimsicality that make this phenomenon called fashion so utterly beautiful. Obscenity is beautiful.

Profanity is beautiful. Vulgarity is beautiful.

You can read more of Ashutosh’s work in the coming issues of London Runway.

THE GIRL KING Makeup Artist: Sophya Gonzalez @sophygonmua Assistant: Yulia Chichkanova @chicy_photography Wardrobe Stylist/Accessory Designer: Kassandra Behrendt @pagoniofficial Model: Angela Clark @angelaclark.theone Creative Director/Photographer: Sam Singh @foto.vogue Hair Stylist: Giang Brooke @hairbygiang

Angela wears: Dress - FIORENZA; Jewelry - Pagoni; Heels - Saint Laurent

Angela wears: Dress - FIORENZA; Jewelry - Pagoni;Â Heels - Gucci

Angela wears: Dress - FIORENZA; Jewelry - Pagoni;Â Heels - Saint Laurent

Angela wears: Dress - FIORENZA; Jewelry - Pagoni;Â Heels - Saint Laurent

Angela wears: Dress - FIORENZA; Jewelry - Pagoni;Â Heels - Gucci

Angela wears: Dress - FIORENZA; Jewelry - Pagoni;Â Heels - Gucci

Angela wears: Dress - Nardia Panettiere; Jewelry - Pagoni; Heels - PRADA

Angela wears: Dress - Outfit - Nardia Panettiere; Jewelry - Pagoni; Heels - Gianvito Rossi

Angela wears: Dress - Outfit - Nardia Panettiere; Jewelry - Pagoni; Heels - Gianvito Rossi

LONDON RUNWAY

LONDON MEETS KING PRINCESS King Princess Live © Emmie Cosgrove

In this article Emmie Cosgrove discusses how King Princess gives queer people a voice in pop music and reviews her latest London gig.

Mikaela Strauss, better known by her stage name King Princess, has performed in London just once before, and it is no surprise that her second gig sold out in only a few hours. Outside the O2 Kentish Town Forum, groups of people sporting glittery makeup and pride flags wait in line. Some fans have been queuing for hours and once the rainbow-coloured crowd are finally let into the venue, the level of excitement grows even stronger.

Before King Princess’s set starts, the Australian musician Mallrat hypes up the crowd with her electronic beats and zany lyrics. The crowd jump and clap along to Mallrat’s set, before she announces that she has come to her last song and King Princess will be on shortly.

After Mallrat leave the stage the audience wait in anticipation. The lights begin to go down and cheers and screams ring throughout the venue. The crowd go wild as King Princess’s

band walk onto stage. The noise and applause grow even louder as King Princess herself struts out, microphone i hand, ready to give the audience a show.

She opens the gig with her latest single ‘Cheap Queen’, the audience singing every line along with her.

For her second number, King Princess walks over to the side of the stage and grabs her guitar off its stand. She starts to play one of her earlier songs, ‘Upper West Side’. Her smoky vocals and the guitar’s mellow riffs flood the room.

Announcing that she is currently working on a new album, King Princess performs a few unreleased songs for the audience. Her set list features a good mixture of new, old and upcoming songs and the audience are in constant awe. It is impossible not to be fixated on King Princess and the way she owns every inch of the stage.

For the eighth song she jokes with the audience, asking them if they want “that big pussy song” and one of her most well-known and notably queer songs, ‘Pussy is God’, starts playing. As the gig comes to an end, King Princess rounds up the show with two of her biggest

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songs: ‘1950’ and ‘Talia’. The energy in the room escalates. The crowd are jumping; people are climbing onto each other’s shoulders and bras are being flung everywhere.

As well as sharing the stage with some newly acquired lingerie, King Princess makes sure that her band members share the limelight alongside her. The guitarist and bassist run to the front of the stage whilst King Princess dances next to her drummer and then the keyboardist/backing vocalist.

Her last song comes to an end. King Princess and her band walk off the stage, waving at the audience. However, the crowd start chanting. They demand one more song. The band, followed by King Princess, skip back onto stage ready to give the audience what they want. For her encore King Princess performs one of her unreleased songs called ‘Ohio’. She and her band the walk off stage for the last time, thanking the audience for being there, and the venue lights turn back on.

Many of her songs are queer anthems with lyrics discussing queer heartbreak and LGBGT+ issues. You can tell from

LONDON RUNWAY the atmosphere in the room that the emotions of her songs and music have hit everyone.

King Princess’ career took off in February 2018 with her debut single ‘1950’, which she wrote as a tribute to the LGBT author Patricia Highsmith’s book, The Price of Salt. In her video with Verified for their Official Lyrics and Meaning Series, King Princess breaks down the meaning of every single line.

The opening line is a hint towards her own sexuality and how she ‘hates it when dudes try to chase’ her. As the song goes on she explains that the lyrics are about having an unrequited love for someone who appears cold because being openly queer, especially in the past, meant that queer people had to hide their love from one another. The themes of unrequited love and having to hide that love are prominent in ‘1950’’s lyrics. The pre-chorus has a focus on loving someone so much that you idolise them, and questioning whether it is wrong to view someone of the same sex as a God. She then, in the chorus, says that she will wait for this person and their love.

This may mean waiting for this person to embrace their sexuality so they don’t feel the need to hide their love. It may also mean waiting for the time queer people are fully accepted so they don’t feel the need to hide their love, because it is safe for them to express their love towards one another.

Having such strong meaning in her first debut single, King Princess quickly became one of pop music’s queer icons.

Despite the ‘1950’ video already having many views on YouTube, Harry Styles (another queer icon) tweeted some of the lyrics, which made the video gain even more popularity.

Shortly after it took off, King Princess released her second single ‘Talia’, which talks about heartbreak from a queer perspective. The video shows King Princess holding a mannequin in a bedroom, trying to get over someone she once loved but still pining for that person and feeling as if this person was still there next to her. Through her music and videos that give listeners and viewers an insight into the mind of a young queer artist, King Princess has helped give today’s pop music a fresh queer voice.

© Vince Aung Growing up, King Princess was exposed to the world of music from a very young age. Her dad worked as a sound engineer for a record label and King Princess would spend a lot of time at his studio, where she taught herself how to play a variety of instruments.

Musically, during her younger years she was greatly influenced by Led Zeppelin, T.Rex and Jack White.

At the age of only 11 she was offered a record deal but turned it down as she wanted to have a clearer mindset about her own sound before signing to a label.

She moved from New York to Los Angeles to study music and attended the UCS Thornton School of Music, but following the success of her debut single she dropped out in order to pursue a full-time career in music.

With her distinctive sound King Princess has taken the world by storm.

She won the Break Out Artist of the Year Honors from Vivid Seats and performed at some of the largest festivals such as Coachella and Glastonbury. King Princess, still only 20 years old, and with six song releases in 2018, is one of the youngest musicians to have a career take off this fast.

After her Glastonbury performance, and having recently collaborated with well-known pop musician Mark Ronson on his song ‘Pieces of Us’,

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King Princess’s music career looks like it will continue to thrive. As she announced in her gig, we can expect a lot more music from King Princess, including occasionally a new song or two on Spotify before her official album release.

Despite her increasing fame, King Princess has always remained true to herself and uses her fame to give queer people a voice. She has done so by talking about queer issues and the problems people in the LGBT+ community face in today’s political climate. Though being open about her

LONDON RUNWAY

sexuality could have caused career backlash, King Princess has always been unapologetic about her queerness.

Many interviewers who talk to her ask her to talk about her sexuality and what being queer means to her and every time she is open, honest and unafraid to discuss her queerness and how she knew she was gay from a very young age. She was even featured in British Vogue alongside other queer artists such as Years and Years and Olly Alexandra, discussing their views on gender identity and politics.

It is highly important and inspiring for many young queer people to have musicians that they can identify with. Older members of the LGBT+ community didn’t always have queer celebrities or artists they could look up to and relate to, and by having people like King Princess, who is popular for both her talents and refusal to be silent about being queer, the new queer generation have the sort of role models that previous generations of LGBT+ people never had before. As her fame continues to grow more people can hear her message, which is important in the current political climate we live in.

Having a warm and soulful voice that is usually accompanied by atmospheric synth beats and a heavy bass sound, King Princess is one to watch. Her latest song ‘Prophet’ is out now along with the music video that accompanies it.

You can read more of Emmie’s work over at twitter.com/StylesEmmie Illustrations by Joe Bailey

© Vince Aung

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LONDON RUNWAY

THE MODEL WORKSHOPS: "THROUGH THE LENS" MASTERCLASS We recently popped into the headquarters of The Model Workshops to check out what Maxine Griffiths was getting up to, and happened to interrupt one of her masterclasses designed to get models ready for work in the industry.

The following shots were taken with very little warning or time for preparation, forcing the models to use everything they had heard during the class and put it to the immediate test.

There were nerves and plenty of awkward moments, but each one came into their own over the course of just a few minutes of posing to start really selling the shot.

This 'Through the Lens' masterclass is all about being able to turn it on in front of the camera, so of course we had to put the girls through their paces to see what they had learned.

Photography by Rhiannon D'Averc

X

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LONDON RUNWAY

INTERVIEWS// JAMIE LENMAN Neil Dowd speaks to a trio of musical acts this week - enjoy interviews with each of them, from the 2000 Trees music festival.

So, we’re here at 2000 Trees Festival where you have brought ‘Lenmania 2’ to The Axiom Stage, how are you feeling about it?

I feel really good, yeah. I mean I only got about three acts in and then I had to come here to talk to you lovely people.

But you know, I enjoy talking about myself, almost as much as I enjoy watching bands [laughs].

Am I correct in thinking that, much like the ‘Road To Lenmania’ shows you played last week, you had full freedom over the line-up of that stage for today?

Yes, I did. Well, I usually pick the acts that come on tour. I’m at the point where I kind of get a veto on that, which is great! But Lenmania is a much bigger deal, it’s seven or eight bands and I get to pick them all. It’s a great joy for me, because some of them I will not have

heard of before going into the process.

It’s really a joy and effort between me and my management. They say ‘How about these bands’ and I say ‘How about these bands’, in the end I get final say.

But there’s a lot of bands playing, even today, that I hadn’t heard of that were suggested by various parties. So it’s very exciting for me.

I was at the O2 Academy Islington show on Sunday and I noticed that there was a broad mix of acts in terms of genre.

Do you think there’s a specific thing that grabs your attention and makes you think “I want to tour with them”?

I think they’ve just gotta have something. Like, I didn’t specifically pick those three bands because they would represent a variety, but they do anyways. So maybe there’s something subconscious. So not consciously, no.

But who wants to listen to the same band five times at a gig? I think really think the other three bands, myself included, are sort of fuzzy and heavy, whereas Orchards have this nice, light feel about them. I think it was really great to have them on just before me. It broke the show up.

Exactly, it felt like all of the bands brought their own thing to the table.

Like Frauds’ set had a very strong comedic element to it.

Yeah, they’re very weird. Very funny.

So, the ‘Road To Lenmania’ shows were in support of the release of your latest album, ‘Shuffle’, that came out last Friday. Can you tell us a bit about the album?

Sure. Well, it’s a covers album. Which, if you say it these days, people look at you and it gets a bit of a sceptical reaction.

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Which I find very sad because the cover album is an established tradition in music. It makes sense for musicians to celebrate the work of those that inspired them. It’s like, why not? And the covers album used to be less frowned upon. I think in the world of pop, it’s much easier to bring out a covers record but somehow in rock, it’s become a bit of a dirty word. So I wanted to, not only make my own, because I love all of the music so much. But I was also hoping to rehabilitate the genre of cover album in general. My fondest dream would be that this has maybe opened the door a bit to hear other records like this.

Because my favourite bands, Black Peaks or even Biffy. Everyone knows Biffy do great covers. I would love to hear a Biffy covers record, like can you imagine? Or my good friend Frank Turner, he would kill a covers record. I would love to hear that. So I wanna hear these records from my favourite bands.

In fact, one of the artists I cover on my record, Annie Lennox, she did a covers record. It’s called Medusa and it’s one of my favourite albums. So I’ve covered artists who have themselves done cover records. Cyndi Lauper also, it really is a rite of passage that I’m happy to be a part of.

You’re right though, there definitely is this whole stigma surrounding the cover album.

Definitely, it’s sort of seen as a little bit of a joke, or it’s ironic. I don’t really believe in the concept of irony. Either you like something, or you don’t. The BBC have this whole like slightly ironic “come in and do a funny cover”. I love the BBC and I always do a cover when I’m there. But because I love it, there’s no irony. I don’t think I’m capable of irony. That’s one of the reasons why I used to love going to the BBC to do

LONDON RUNWAY sessions because it’s a little bit of an opened door. It’s sort of expected to pull out a cover. And then I thought “why not have this feeling every day?”. So I did it.

Obviously, it’s still fairly fresh and new, but do you have a favourite track from the album to play live yet?

I really like Killer because it’s very slow and it takes its time and it builds up. I really relish having the time to take a lot of care in what I’m playing and singing.

I mean really, I wish I was just the singer. I play the guitar because I have to. With Killer I get a bit of space to let the song breathe and I like the way it builds; so at the moment, I’m really enjoying that.

If I remember correctly, you mentioned that you had been filming a music video during your set at the O2 Academy Islington on Sunday, can you share any more information on that with us?

Well, making a music video used to be something you did once per campaign, maybe twice; certainly at the independent level. You would have money for an album and one music video, and it was a big deal. Whereas now, the entire currency is music videos. With YouTube, you can make a music video for everything you do. I’d love to make an album where I did a music video for every song. The last record I made, I think we made eight promo clips. It’s always been one of my favourite parts of it. So these days, wherever I go, if I’m shooting a live performance or anything, I’ve usually got someone with a camera handy and if we can grab five or ten minutes in a soundcheck or whatever to shoot some live footage that could possibly be incorporated into a music video for Youtube, because the outlet is so voraciously consumed these days; then I welcome the opportunity to. I edit the videos myself these days. I have those skills. So if I’ve just got tonnes of footage, I can reach in and grab and if I have a spare week, [chuckles] which is rare, or a spare afternoon I chop something together to keep people engaged.

So we weren’t shooting anything in specific. I just thought whilst we were there in the soundcheck we could get some shots. I had Scott with me who did all of the press and videos that you’ve seen already. We’ve got some stuff in

the can. Unfortunately, it was sort of at the expense of Orchards’ soundcheck, which I really hated to do. It ran over a little bit. I don’t think it affected them. I think they managed to get a full soundcheck. When the big bands take the piss out of the little acts, it’s not always possible for the little bands to get a soundcheck and to be honest, a lot is riding on the main band. But whenever I can, I try to make sure the other acts get a soundcheck and I was very sad to cut into theirs. But it was only by like five minutes and they still sounded great.

One thing I’ve noticed with your shows is that you’ll play an acoustic set to open the night, with the setlist being completely picked out by the audience.

What inspired that idea?

That was an idea that my management had. They said, “Why don’t you get people to pick parts of the electric set?” and I thought that’s quite dangerous, as the electric set has to be quite finely tuned and put together. I’m playing three parts at any one time, and my drummer is playing two or three parts at any one time. So to put someone else in charge of that, they might pick songs that aren’t quite so conducive to that live arena. Whereas with an acoustic set, it’s just me and a guitar and I can largely do anything that people throw at me. So I said, “let’s take that idea and maybe they can pick all of the acoustic set, which is much more flexible”. Just as a way to get people involved!

Do you ever get songs that you’re not expecting to?

I was very surprised by the picks. They mostly picked songs from the band (Reuben), which is fine. Those songs mean a lot to people. I mean, I was surprised they picked anything from my solo records at all. I was very flattered to find that out.

Both cities picked Fizzy Blood, I think they were expecting me to go full metal on the acoustic guitar [laughs]. I faked them out with a jazz version. Cities On Fire was an odd song that I really didn’t expect to play, which was nice to hear. I mean I’m always flattered that people want to hear

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me play anything.

What kind of things do you find yourself doing in your down time to look after yourself on such a high intensity touring schedule?

I just clamp shut. I don’t take to anyone in between. Everyone thinks “ah he’s just in a bad mood”. But I’m just trying to save my voice.

Finally, what is one piece of advice you would give to a band who are just starting out in the music industry?

Don’t wait. If you’re holding out for some big record deal, don’t. What you have now, it is vital and important. Just get it down and get it out there. Connect as instantly as you can and if you have to do your growing up in public, that’s even more valuable. People will grow up with you. And if your first EP is scrappy and short, that’s great. And if your next album is a two-hour-long prog-opera, excellent. It’s all valid. Just don’t wait.

"IF YOU'RE HOLDING OUT FOR SOME BIG RECORD DEAL, DON'T"

LONDON RUNWAY

INTERVIEWS// ORCHARDS Neil Dowd met up with the Brightonbased four-piece, following their set at this year’s 2000 Trees Festival, to discuss their inception, the influences that inspire their genre-wielding, altpop sound, and their plans for the future.

So, you guys played The Axiom stage earlier today. How are you feeling about the set?

Lucy (Vocals): Amazing, yeah!

Sam (Guitar): So good!

Dan (Bass/BVs): I’d say it’s definitely the best festival set we’ve ever played, it was nuts!

That moment before the last song when the stage manager was trying to kick you off, but the audience cheered to keep you on was like something from a movie!

Dan: Yeah, the stage manager wasn’t too happy, but I’m so glad he let us play our last song.

Sam: It kind of made us look better, because everyone just started kicking off and cheering.

Dan: It was so dramatic, but you know, it was all staged [laughs].

Will (Drums): He’s on our payroll!

Is this your first time playing 2000

Trees?

Lucy: No, so we played Trees two years ago, but we did The Forest Stage. So we just did an acoustic set.

Sam: First proper time.

Lucy: Well yeah, first time doing a proper, full-band performance How are you finding it in comparison to other festivals you’ve played?

Lucy: Well, we did Arctangent. I think out of all the festivals I’ve ever been to, Trees is one of my favourites. It just feels like a little family.

Dan: Yeah definitely, it’s kind of like that small festival with a big festival feel.

Lucy: Do you remember the last time we were here and there was that guy with the cat on his shoulders? He had a cat on a lead and it was just on his shoulders.

[Everyone laughs] Will: Another thing with these festivals is that we know so many of the people involved with them now, it’s like a proper ‘mates-fest’.

I also caught your set at the O2 Academy Islington on Sunday, it must have been a great feeling to know you had been handpicked by Jamie Lenman himself for both of these dates?

Dan: Handsome Jamie himself over there [points to Jamie].

Lucy: Look at that three piece suit!

[Chuckles] Dan: Yeah, personally I’ve been a massive Reuben fan and when he started releasing his own stuff, I was a huge fan. So when he asked us to play, I was just made up, and I know the rest of us were.

Will: We were hardcore fans of his and we had no idea he was a fan of us!

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LONDON RUNWAY Dan: When he did ask us to play, I thought it was because we were on the same label. But then he told us that he didn’t even know we were on the same label. So he picked us, then our label boss messaged him like ‘thanks for picking Orchards’ [laughs]. It’s just nice to know he actually liked us.

Musically you guys are like nothing I’ve ever heard. Your sound kind of brings together elements of alt-pop and math rock, especially with the guitar work.

Would you say that you all draw from the same influences or do you each bring something different to the table?

Sam: It’s totally random.

Lucy: Yeah, I think it’s because we all draw from different influences, that’s why it sounds like it does.

What would you each individually say your main influences were?

Will: I don’t know, I listen to a lot of hardcore and electronic music, hip-hop and just anything rhythmical.

Sam: It’s good for the drummer to like the rhythmical stuff! I’d say my main thing is like 2000’s indie, so bands like Bloc Party, The Maccabees, Bombay Bicycle Club, that kind of stuff. Then obviously bands like Foals and everything else.

Lucy: I was like a classic rock person.

Sam: And musical theatre.

Lucy: Oh, and musical theatre! So, I didn’t really know a lot of pop music growing up, I just listened to my dad's record collection. But yeah, music theatre is where my allegiances lie. But obviously now it’s expanded to a lot more than that.

Dan: For me, I think I just listen to anything. But at the moment, it’s more old rock stuff, like Queens of The Stone Age and Biffy Clyro.

Oh nice. Is there anyone you guys are looking forward to seeing today?

Will: Conjurer. I really love Conjurer.

Dan: I think I can hear Yonaka playing right now, so I’m gonna try and run after this to see them [laughs].

Will: But yeah, with the whole styles thing. I think when we first got together our meeting place was math-rock.

Because there was such a thriving scene in Brighton, we were all really into it.

Dan: We definitely started off trying to make our way into the math-rock scene.

Sam: It’s a kind of long story how we

ended up playing together; me and Will.

But it was totally through like mathrock.

Will: Yeah, through a shared love of Mars Volta.

With you all being influenced by such different styles of music, how does it all come together when you’re writing music?

Sam: We all write. That’s the thing.

Lucy: It’s like a stewing pot. This sounds so stupid but you like throw everything in and smush it all together, that’s usually what happens Sam: That’s why it can take a while though. Because we’re all songwriters, we’ve all got our own opinions on everything.

Dan: We’re a slow, slow song-writing band [chuckles] Lucy: It’s because we’re perfectionists.

Sam: I hate that phrase, but it’s so true.

Because everyone knows what they want and has a vision for a track.

Dan: When we all agree on something, it comes out like what you’ve seen.

It’s interesting to hear that because from listening to your set, it’s all very musically cohesive.

Dan: Well, we’ve all known each other for quite a while now. Like, we do spend a lot of time together.

How did you all meet?

Sam: I’m gonna tell this dead quick.

Well, me and Dan have known each other since we were three.

Then we started uni, started a band, and me and Will got put in a band together, totally randomly by our uni. We were in a rehearsal and he just started playing a Mars Volta drum beat and I was like ‘I need a drummer for a band’. Dan was a guitar player, but he can rock a bass. Then

we had an old vocalist. She left. Lucy joined, she was our old photographer.

Orchards!

Earlier in the year, you released the tracks Young and Mature Me. Can we be expecting these tracks to be part of a bigger EP, maybe a new album?

Dan: We actually don’t have an album out. We do get this a lot though. We released a 5-track EP, which is our first release with BSM. Our idea was that the three singles that we had before we signed with BSM were just going to be thrown along with the 5 track EP. So it’s like a long EP. Sam: I guess it can easily be mistaken as an album. But technically it’s an EP. It’s not our debut album.

Lucy: We might be busy for a long time in August. That’s that!

Before I let you guys go, have you got any more shows coming up any time soon?

Lucy: We’ve got YNOT festival, and we’ve got a festival in Switzerland. And a couple of other inner city shows in October. But that seems to be it for the time being.

Dan: Yeah, we’re keeping the Summer busy for festivals. Then August we’re gonna be locked away somewhere.

LONDON RUNWAY

INTERVIEWS// CAN’T SWIM Neil Dowd sat down with the frontman of emo-pop punkers Can’t Swim to discuss tour anecdotes, Chris’ emotionally vulnerable lyrical content, and what’s coming next for the band.

You guys will be playing The Cave Stage later on today, how are you guys feeling about it?

I’m feeling excited. I have not yet seen the stage because I’ve been talking to you guys. But I’ve heard it’s a lovely stage and 5.30pm sounds like a nice time to play. Yeah, it’s exciting!

Yeah, people will be recovering from their hangovers and making their way out to see some bands!

Yeah, it is pretty insane to think that some of the people that are here have been for the past three days and I’ve been here for three hours and I’m already tired.

Is this your first time playing 2000 Trees Festival?

Yes, it is. We have played some other English festivals. We’ve done Slam Dunk and stuff, but this is new. It’s exciting.

From your initial impressions, how would you say that this festival compares to the other festivals you’ve played?

It’s way more in the middle of nowhere than other places [laughs]. But we were talking earlier and it seems nice to have an eclectic group of human beings.

You’ve got the older crowd. You’ve got the young kids, rocking. You've got mosh pitters and sixty-year-olds.

You’ve got a little bit of everything.

You released your second album, ‘This Too Won’t Pass’, late last year. Could we talk a little about the lyrical themes going on throughout the album?

I think the whole concept was that a lot of people tell you that time heals everything. You know, things that you were bummed about in your early life, will mean nothing to you later in life like “this too shall pass”. A lot of things in my life don’t seem to go that way. I think in a lot of people's lives it doesn’t go down that way. It’s just a lot of songs about things that have happened to me in my past and how I deal with them now, as an adult.

Do you find delving into such personal subject matter in your lyrics to be a cathartic experience?

Yeah, I’ve had that advice given to me in life. I believe it can be a double-edged sword though. On the one hand, yeah you make it into something nice and brings me to you, it brings me to England to play all of these shows. But it’s also not the nicest thing to relive the saddest nights of your life every night [chuckles]. But it’s been nothing but positive in my experience.

Yeah, I agree. I guess as long as you don’t find yourself dwelling on those

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LONDON RUNWAY

things. I can imagine that’s quite a dark mind-space to be in.

Sure, but with a bunch of kids in a room singing along, it kind of makes the bad things way better.

So you guys have got a fair few festivals line-up, I believe Riot Fest is one of them?

Yeah, we’re doing Riot Fest, which is in September. Then we do a tour that kind of routes us to California which is Self Help Fest, the festival put on by the guys in A Day To Remember. We actually just played with A Day To Remember at Warped Tour, which was like a week ago in New Jersey.

Well to be honest, all of our stories are fairly PG. I usually find myself in the hotel room by 11pm. Earlier, about twenty minutes ago, we won a Fireball contest and now our guitar player has drank way too much. So that should be really fun in the next two hours. I think Fireball is what most college kids drink.

I’m not much of a drinker. But he took one sip and looked as if he was gonna throw up, so that’s funny [laughs].

Just as long as he’s okay for your set!

Maybe, but maybe it’d be better if he wasn’t. It’d be more of a show! [laughs]

Interesting thing with A Day To Remember, they recently did a song with the DJ, Marshmello. It’s really cool that bands are being able to explore and collaborate more freely nowadays.

Oh yeah, I saw that. That’s awesome. I never knew anything about Marshmello, but I do love his little marshmallow hat!

Have you had much time to think about album number three yet?

Yeah, we are actually recording it currently. We’re actually in the mixing stages. I do believe it’ll be an EP, so it’ll be a little shorter. But hopefully it’ll be done by the time we get back to the States. I don’t know when it’ll be released. But I’m hoping October/ November time.

Would you say musically it takes the same avenues as your prior releases?

You could say that, or you could say the complete opposite. I’m not sure. It’s pretty different in my opinion, but to somebody else, it could be the same thing as we’ve always done. But I had a lot of fun making it with the guys. It came together rather quickly and organically. It was probably the most fun we’ve had recording and I think that came out in the song-writing.

To end the interview on a light note, what would you say is your funniest tour story?

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BACKSTAGE

GRADUATE FASHION WEEK

LONDON RUNWAY

Photography by Fil Mazzarino

Images by Fil Mazzarino

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HOW TO GET INTO LONDON FASHION WEEK AS A PHOTOGRAPHER Rhiannon D’Averc explains how to get those elusive passes when you’re just starting out. With illustrations by Joe Bailey

If you dream of being a runway photographer, you can’t get much better than London Fashion Week. As one of the main fashion capitals, it’s a place to see and be seen, with big designers coming from overseas to show their work.

However, this does mean that it can be a daunting process to get into fashion shows. You have to jump through flaming hoops to fill out applications, get the necessary experience, and even pay for your passes.

So what do you do when you don’t have any experience yet, and you’re not being sponsored by a magazine?

We’ve got some tips…

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LONDON RUNWAY

Go Off-Schedule

Fake it

Find a publication

The on-schedule shows organised at the British Fashion Council showspace are only one facet of the LFW fun. There’s also off-schedule shows, which are usually arranged by individual designers or group showcases.

Most shows make it difficult to enter if you don’t have a pass. They will have a list of names, a scanner to check your ticket, and hefty door staff. But if you’re gutsy enough to try it, then there’s a way to sneak in.

The big names and those up-andcomers with a lot of buzz will be on schedule, and they usually take place in just one venue. This is currently 180 Strand, though it was previously Somerset House and may well change again in the future. Some designers might choose to showcase elsewhere despite being on-schedule, but staying at the BFC showspace guarantees a full day. Getting the right pass means you hardly have to move.

But off-schedule shows can be more enticing to first-timers. They can be very diverse: from tiny shows held in a small, cramped room to flashmobs marching down the street, or to whole hotels taken over for an extravaganza.

It’s harder to get to them because they are scattered around, and it can be tough to figure out which will be the most rewarding – especially if you aren’t experienced in the fashion world.

Look confident and as if you know what you’re doing. Go in close behind another attendee, and preferably towards the end of a presentation running time or as the last people are entering for a catwalk show.

Accreditation can also be achieved from a magazine or publication willing to endorse you for a pass. Telling brands that you have a place to send your images after their show makes them more likely to accept you. It’s not a good idea to pretend – they might check, and you could end up burning bridges if you don’t get the shots published – but getting accreditation is usually quite easy.

Events like Fashion Scout may appear to be off-schedule, but they are actually very highly-regarded and the passes can be just as difficult to get. You can then go to the opposite end of the scale with some of the collective shows, which are organised according to whoever can pay the fees rather than whoever has the most talent. These can be somewhat lacking in quality, so there’s a real range of hierarchy across the off-schedule events.

Search online to find as many offschedule shows as you can and start requesting tickets. Eventbrite, job boards looking for press photographers, announcements, social media, and other event listing services are good places to start your search. If you email absolutely everybody, you’ve got a good chance of getting at least one pass.

And if you don’t? Well…

Catwalks and presentations are different: with a presentation, the models usually stand around to show off the clothes. Every now and then one of them will head backstage and pop back out with a new outfit on. This means you can turn up at any time during a presentation – but for a show, you want to be there for the start time.

Be prepared to wait, however, as the fashion world is notoriously tardy!

If you’re not as confident, make friends with someone who does have a ticket, perhaps in the queue. Organisers will often allow in a plus one with each pass, so you might be able to sneak in with them. It’s a risk, but if you really badly want to get in, this is something you can at least try.

You might not get into the photography pit at a catwalk if you don’t have a pass.

But you can try to get the best shots possible from a position with the rest of the crowd – even if you have to lean up against a pillar or wall to get a good angle.

Just get the editor’s email address, and ask – the worst they can say is no. Tell them which show or shows you want to cover, and include your portfolio if you have one. Then you can start including the magazine name in your applications, which should help a lot.

LONDON RUNWAY

Email Everyone (and We Mean Everyone) Now, you probably think your chances of getting into the BFC showspace are slim – and they are, if you want one of the media passes which allows you into the pit. On the other hand, attending as a guest is a lot easier.Head to the official LFW website and grab the names of each press contact from the schedule, and email them requesting a pass.

Explain if you are attached to a publication, or tell them where you will use the images (if you have a big social media following, this might help).Email every single one of them. This will take a long time, but it’s worth it when those passes start rolling in.Be aware that you might not even hear anything until the day before the show, so don’t make any plans if it seems like nothing has been accepted. They might wait until the last minute just in case someone big wants to come in, then hand out those leftover passes to small fry (which is you).

Get an Official Pass

Go Backstage

Of course, if you do have a publication on your side as well as prior experience, you can always pay for an official pass (or get someone else to fund it for you).

You can do this through the LFW website as well, but you need to know that you will still have to get there as early as possible and fight for your position in the busy pit. Tape on the floor means the position has been claimed!

These days it’s hard to get backstage at on-schedule shows without a BFC pass, but off-schedule, backstage might be another option. Permission from an individual designer can get you the chance to see behind the scenes, capture the process of hair and makeup, and even see the looks before they go out on the runway.This is a great way to avoid the clamour and elbowing of the pit, too. These are all methods that I tried at least once myself before London Runway was around, when I was a baby photographer with nothing but a Nikon D80 and a dream. I got one pass by begging for it, agreed to work unpaid for another, and snuck next door past the bouncers without being noticed for my first three shows. And look at me now, Ma – I’m the Chief Editor of a real-life fashion magazine! Everyone has to start somewhere, so take the initiative to make your start happen.

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STYLE (CONSCIOUS) GUIDE ethical and sustainable style guide selected by Rhiannon D'Averc

H&M Conscious Platform Sandles £19.99

Riley Studio's cap in Midnight £25.00

PALA Eyewear ASHA Recycled Black £75.00

H&M Conscious shaping swimsuit £24.99

Introvert - Rah Embroidered Cape Tunic £35.00

SUMMER BEACH PAGE 59

LONDON RUNWAY

WHY THE HOLLYWOOD FEMME FATALE

IS A DANGER TO FEMINISM PAGE 60

LONDON RUNWAY

Focusing on Forgetting Sarah Marshall, Tyffaine Akkouche explores the female roles present in Hollywood film culture and the way women are villainised, portrayed in a damaging way to society and the progress of feminism.

Female villains are either portrayed as two things: A man eater, or a man destroyer. More often than not, they fall into both categories. According to Hollywood writers, all girls ever think of is men, and for the she-villain in every film, these thoughts are only accompanied by cruel ploys to destroy these completely innocent, defenceless guys. Or in some cases, steal them away for their own vampiric, soul-sucking needs.

Now, it’s understandable that stock figures are created in film, but at what point do these two-dimensional characters start being damaging to the way we view women in real life? At what point does lack of originality start to create a monstrous female in which our judgement of her starts to bleed into our actual opinion of women?

I could write a book on every category of female villains portrayed in films, but one which I think really encapsulates the relationship is the 2008 romantic comedy ‘Forgetting Sarah Marshall’.

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It’s a film I grew up watching, never seeing the problematic aspects. I ‘aww’d’ when the main guy was dumped, booed when his ex showed up with a new guy in the Hawaii resort (where the majority of the film takes place), and hissed when it was revealed she was cheating on him. The main villain, Sarah Marshall (played by Kristen Bell), never seemed to have any redemptive traits in my view - she was the ultimate man destroyer, reducing Peter the Protagonist to uncontrollable meltdowns and driving him into the arms of woman after woman after… you guessed it - woman. Because, of course, it’s not his fault he has to sleep with as many women as possible. He has to find the mojo his ex stole from him, and he’s barely even enjoying it! Please, sense my eye roll here.

Portraying this guy as a senseless victim is just one of many mistakes this movie makes - but blaming his sluttiness on his ex is really just base-level pathetic.

Break-ups can make you do crazy things, granted, but holding yourself accountable is an important strength that Peter the Protagonist simply does not have. Rather than giving their characters more complexity and maturity, they simply blame it on the women for the spiralling of a seemingly good man.

LONDON RUNWAY

However, there is a particular speech in the latter part of the film which for a moment might redeem Sarah Marshall’s character; justifying her somewhat cruel behaviour. She holds off on any plausible explanation for the majority of the film, either blaming it on finding someone else or simply drifting apart from each other. This intensifies her villainous status as there lacks any emotional element to this character she simply goes around looking like a beach blonde goddess, her career thriving almost as much as her rigorous sex life. Even without her cheating on her ex, we already hate her just because we aren’t her.

But as she sits down with Peter, with a picturesque view of Hawaii in the background, the viewers get a glimpse into the turbulent relationship that appeared to be perfect only through Peter’s rose-coloured glasses. “Fine, cutting the bullshit. It got really hard to keep taking care of you when you stopped taking care of yourself,” she says. She goes on to talk about the ‘island’ he loved so much - the couch.

How he wore sweatpants for a whole week, never leaving the house. It seemed like he had given up on himself and the relationship far before she did, he just didn’t realise it.

She was villainised for acting out, cheating and dumping him, but sometimes doing absolutely nothing for your relationship is just as wrong.

Women are often deemed the bad guy when they leave first, but every action has a series of events behind it, and it is too damaging to put it down to dissatisfaction - which is a far more complicated emotion than Hollywood movies depict and holds a lot more reasoning behind that.

Peter the Protagonist goes on and dares to say: “I think if maybe you had tried harder”. This is a tragic attempt to divert blame and the viewer does understand how pathetic he is being and for a brief moment Sarah’s character is justified sometimes good people do bad things, and that’s okay. However, her moment of redemption is quickly eclipsed by the typical evil stock character possessing her once more. The viewer even enjoys seeing her downfall as she is dumped by the dashing and perfectly on-theme problematic new boyfriend played by Russel Brand. This justification scene was as useful as Hamlet’s countless suicide speeches - in the end it does not amount to anything.

Mila Kunis, who plays the angelic hotel receptionist, saving Peter from wallowing in his despair as she sweeps him away to hiking adventures and exciting bar brawls, is automatically liked by the viewer. She supports his dreams and hates his ex - she’s the perfect, more down-to-earth replacement. But we cannot let this competitive aspect carry on threading its way throughout every half-assed

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plot. Both women are brilliant without the requirement of pleasing a man in order to validate their worth, and creating this angel versus devil imagery suggests we need to fit within a certain mould in order to fulfil our purpose as women.

Sarah Marshall is a strong, brave, resilient, and caring woman who made a mistake. However, the writers seemed to mark that down as unimportant as soon as she hurt their precious male lead. We are not the sum of our actions against or towards men, and Hollywood is telling us we are only as good as the way we make them feel. Sarah Marshall has a bad reputation, she’s selfish and self-absorbed.

Well, I urge you to please be a Sarah Marshall - get yourself out of that toxic, dead-end relationship. Work on yourself and focus on your career. I promise it won’t make you a villain.

You can read more of Tyffaine’s work at her Instagram: @tiff.akkouche Images via Forgetting Sarah Marshall

Julia wears: Blouse and Pants - Zara; Shoes - Stradivarius

Nibyland

Wardrobe Stylist: Monika Grzegorczyk @m.grzegorczyk_fashionstylist Model: Julia Pyrciak Hair Stylist: Katarzyna Kozłowska @kozlowska.hair_makeup Makeup Artist: Teresa Mochocka @tmochocka_makeup Photographer: Kamila Błaszkiewicz @kamilablaszkiewicz_photo

Julia wears: Blouse - Bershka; Skirt - Mohito; Sandals - Stradivarius

Julia wears: Blouse and Pants - Zara; Shoes - Stradivarius

Julia wears: Dress - Zara; Trousers - vintage pants; Sandals - Stradivarius

Julia wears: Dress - Zara; Trousers - vintage pants; Sandals - Stradivarius

Julia wears: Body - Bershka; Skirt - Zara; Sandals - Stradivarius

Julia wears: Hat - Reserved; Body - Pull & Bear

Julia wears: Body - Bershka; Skirt - Zara; Sandals - Stradivarius

LONDON RUNWAY

STUDENT ENTREPRENEURS FOUNDING A GREEN FUTURE This week Darcey Sergison looks at the increase in student-run companies at universities around the country and explores why their sustainability has sparked their popularity amongst other young people.

Today’s students are defining their futures and ours. They are not just gaining degrees from prestigious institutions, but they are also proving they can multi-task with running demanding brands. This is changing the widely held perception that they are the ‘snowflake’ generation. Instead they are being heralded for their entrepreneurship.

This has come from the increase in student run businesses popping up on platforms such as Depop. However, not only do these student companies inspire others like myself to become more productive, but the ethos of these brands define our future in their desire for sustainability. These start-up businesses have begun where many brands wish to be, in that they value ethical and sustainable products and shipping.

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These businesses include profitable companies that pride themselves in upcycling. Whether it be jewellery or vintage jeans, this trend has hit many universities around the UK. I am sure that many students, like myself, have noticed the increase of student-run businesses at events, proving the popularity on campus for new exciting products.

However, it must be noted that not only do these companies show that entrepreneurship has no age restriction, but also that the core ethos of these brands is their passion for being sustainable. For many this stretches from not just the product itself but also the packaging and postage process.

Sustainability seems to be on the lips of most fashionable brands currently with a push for environmentally friendly practices within the world of fashion.

The fair and ethical trading of fashion has become so popular now that many shop for the purpose of ensuring the environment is not damaged in the process, such as avoiding the use of fast fashion companies.

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So, with trends from the 1990s, such as flared jeans and scrunchies, making a popular return, rather than buying these popular items brand new, why not look for a vintage original from that period?

It is the perfect timing for upcycling brands to appear on platforms loved by people looking for unique pieces. Depop has proven that second-hand clothing is no longer dreaded hand-me-downs from older siblings, but instead has been branded as vintage by our generation.

With 80% of its users being under 25 years old, this proves the need for innovative upcycling of old clothes into new pieces worthy of the runway.

Depop, in similar style to Instagram, has understood the importance of young people and their influence. These entrepreneurs have harnessed the power of their social media skills for business promotion, showing how each person can create their own brand.

Therefore, these self-made young people have understood the importance of sustainability to others and incorporated that into part of their company ethics.fore she did, he just didn’t realise it.

Increasingly the environment is moving up on individual’s agendas, whether this be joining Extinction Rebellion or choosing to go vegan to reduce carbon dioxide emissions. However, companies such as Demoo have proven the importance of the environment to them.

As three Durham University students, they have set up an upcycling company for headbands and jeans. Now

with over 3,800 followers on their Instagram, this shows the popularity of sustainable fashion at this university as well as others.

Another brand produced by Durham University students is Rhimani, which hand crafts African accessories. The student-run company pride themselves on the ethical use of materials, and each month they support a different charity helping African animals.

Newcastle University also boasts new student companies. Belle Bands is a local business which makes custom made headbands. This company shows the popularity of the 2019 headband craze.

It started with super brands, such as Prada and Dior, incorporating headbands into their summer uniform,

and now this trend has become part of everyday fashion. Belle Bands wearers include the likes of Amelia Windsor, showing the popularity of the brand both in Newcastle and outside of the campus. These student-run businesses prove that, with thousands of followers and clients, fashion can create brands that not only produce beautiful, unique and colourful pieces, but also help others and the environment.

With companies such as Rhimani’s sales raising hundreds of pounds for charity, this shows the importance of independent companies. Not only avoiding the waste of fast fashion, but in turn making sustainable fashion a viable trend for future generations. Thanks to platforms, such as Depop, younger generations have been able to have their space in what is already a crowded room of competing fashion brands.

However, due to acute social media skills gained from years of personal use, the more innovative of them have turned these into profitable and sustainable skills. Not only promoting their own business, but also helping the environment through upcycling and ethical fashion choices. These shopping habits could create a more sustainable environmentfor the future.

Images via Darcey Sergison

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Stylist/Creative Director: Antonella Mingolla @punkypunkina Assistant: Ivano Pagnussat @ivanopag Photographer: Antonio Putini @antonio_putini Makeup Artist: Tilly Jones @tilsjmua Model: Judy Zhao Wardrobe Stylist/Assistant: Lucia Celemin Diaz

Dark Queen "Antonio Putini (photographer), Antonella Mingolla (stylist) and Hector Maclean (designer) created together The Hackney Fashion Wick, a festival and platform where fashion creatives all from Hackney Wick and Fish Island areas are involved. We had our first showroom and runway last winter and following its success, we created this editorial choosing only clothes and accessories with dark inspirations.

All designers and staff members are local except for the Jeffrey Campbell boots brand."

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Judy wears: Top - Hector Maclean London; Vest - The Savage by Sarah Regensburger; Skirt -Vytoldasmiliuauskas; Crown - Violeta Emaparador

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Judy wears: Dress - Vytoldasmiliuauskas; Crown - Violeta Emaparador

Judy wears: Top - Violeta Emaparador; Trousers - The Savage by Sarah Regensburger; Boots - Jeffrey Campbell

Judy wears: Jumpsuit - The Savage by Sarah Regensburger

Judy wears: Dress - Vytoldasmiliuauskas; Bra - Violeta Emparador; Boots - Jeffrey Campbell

Judy wears: Top: Violeta Emaparador; Trousers : The Savage by Sarah Regensburger

Judy wears: Full dress: The Savage by Sarah Regensburger; Belt: The Savage by Sarah Regensburger; Boots: Jeffrey Campbell

INTERVIEW: ANGEL NOKONOKO Words and images: Rhiannon D'Averc I meet Angel in his studio – the home of NokNok London, in Whitechapel. From the denim-covered cushions and seats on the sofa and armchair to the racks of jackets, it is immediately clear that this is the domain of a man who knows his denim.

I’m… I was going to say I love to party but I don’t do it as much anymore, I’m focused on working. But I did used to do it, and I do it whenever I can.”

The designer originates from Ibiza, and when we sit down to chat, he has only just flown back – having celebrated his birthday on the island. I ask him what it was like to grow up on a notorious party island.

Growing up in Ibiza was an experience that gave him front-row seats to something a lot of people aspired to, a lifestyle that was about being free. “I think I like it because I experienced it when it was still a little bit more real, less about the money and the VIPs. It was more about the music, no matter who you were or what you wore, you could still have a good time as long as you wanted to have a good time.”

“Amazing,” he says. “Obviously, you touch a lot of nightlife whether you want it or not. It’s just part of the whole system of the island. I grew up with that type of lifestyle. That’s why I’m kind of excessive and eccentric and fun. And

Of course, we all get a certain picture in our heads when we think of Ibiza. One that has been reinforced by reality TV and scandalous reports: half-naked Brits drunk and lairy on stages, foulmouthed, performing sexual acts

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in public, getting into trouble.

Something that Angel also recognises.

“From my experience growing up, English people, some people that go to Ibiza, they change into something that I’m not sure whether they’re themselves. Because I’ve never seen it here, but when they go to Ibiza, trust me – they do things that I don’t know if they do it here! As soon as they get into the plane, the switch is different.

Depending on the area that you go, you can see more bad examples of English misbehaviours!” Angel laughs. “But I think that’s young people who are going for the first time. But then you have another side of people that go every summer, so they know where they’re going and they know what to do.

“But the kind of conception of a hedonistic place… it’s true. It’s changed a

LONDON RUNWAY bit over the years, but still there is that.

Then you have the other side of, you know, drugs, sex, and dance. That’s still there. Because at the end of the day if you go to Ibiza for a week or two weeks, you’re not going to go to the beach every day. At some point you’re going to go out, because you want to dance and because there’s really good DJs and performers that come to play. It would be a shame not to actually experience the nightlife.”

It’s changed over the years, though – as Angel laments. “A lot of the people who used to run things, they don’t run it anymore. They kind of gave up, and there’s come in a new generation of people who just want to make money.

Some of the places are just about money. If you have money, you can go to the VIP. The VIPs, they became bigger in every club, because they want to make more and more money. Also you have more competition, because there’s other clubs – but also they compete with other islands. You have Croatia, Greece, Mikonos, where they offer a similar thing for a lot less money. It’s gone a little bit down in that way, but you’ve still got people. It’s not like before. For example, in August that was the peak month, so everything would be fully booked, no space. Nowadays you still have spaces, you have hotels reducing prices.

“I want to bring a bunch of press people – not even to party, just to see the island, just to understand. To kind of show them the side which is not the lifestyle side, the sightseeing side, to see the spirit and the vibe which is Ibiza. It has changed a lot, especially lately. It’s becoming a bit of a Saint Tropez. Still, you have some places that are still kept as they used to be.”

Angel’s denim jackets have a vibe that obviously fits very well with the feeling of Ibiza – the customised, rock-yethippy style. Each one is also emblazoned with a message on the inside: ‘Always Dream’.

“It’s the phrase that I used since I was a kid,” Angel explains. “If I wouldn’t dream, I wouldn’t be here. Also it’s a positive message, that comes from being from a super-small island and coming here and, in a way, doing my dream.

Doing what I like. It’s interesting, because a lot of people seem to connect with that phrase. A lot of people are in similar situations, they know what it

means, you know? When you have something in your mind and your heart that you really want, that is your dream.

The first thing is you have to dream it, and then it will come. The universe puts things in your way that helps you get to that dream.”

The brand has a clear style – the kind of look that becomes instantly recognisable, because it’s consistent and concise. “There’s two or three influences,” Angel tells us. “One is Ibiza, of course the excessive nightlife. Before you could party from Friday until Sunday, you had clubs that would open Friday night and then close Sunday night. That’s the excess. But at the same time, you have the hippy, the freedom side, the more easy-going side of the island. When I say the hippy side, I mean in the sense of being free, being open to anything, but at the same time don’t harm anyone else around you.

Because everyone is based on peace and love and connection. I don’t know you, but if I’m having a good time with you, I don’t have a problem.

“But also I’m basing my work a lot on London stuff, subcultures like rock, punk, urban hip-hop, R&B, all these types of things. I base myself a lot in music, the aesthetics of music.”

"THE FIRST THING IS YOU HAVE TO DREAM IT, AND THEN IT WILL COME" Ah, the music. We can’t get far in any kind of piece on NokNok London before going into the music. It’s so clearly a part of Angel’s life and aesthetic; even looking down at his arms, tattoos spell out the names or recreate the faces of his favourite artists. Of which, clearly, there are many.

“Jimi Hendrix is my number one – obviously, I think you can tell! I think he was amazing. Not only as a musician, because he was an innovator. I think he would have been perfect for Ibiza because he had that dreamy and open mind, he was so forward. But at the same time he came from nothing. He had this kind of super-exciting mind but at the same time he had his demons.

What I learnt from him is the guitars but also the colours and the way he used to dress, all that stuff.

“Then another one that influences me a lot, because I mix fashion and art, is

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Jean-Michel Basquiat. He’s another one of my very big inspirations in terms of his energy and what he did and how he was. Then Jim Morrison as well I really like, very much. The power of the music that he had, it was quite hypnotising.

“Then I have Janis Joplin as well. But I think those ones really remind me of the flower power revival and the hippy side. And then from the 90s I was quite into Kurt Cobain, Nirvana, Smashing Pumpkins, and things like that. But then for example, hip-hop, at the start I was quite into Tupac and Notorious B.I.G. Because of the messaging, I think, and what they went through to be where they were, and where they came from. Also they were dreamers, in a different world, dreaming of a more fair world.”

Is there anyone around today who can even compare, I ask? “Not Boris Johnson,” Angel laughs before continuing. “Nowadays, there’s a guy that I really like and I think he has a good message – Michael Kiwanuka. He does soul, a bit rocky, blues. He has a really real and raw message, plus he’s super talented.”

The conversation turns to London, and the fact that Angel chose to base NokNok London here. Having studied in Majorca, he then came to Central St Martins to continue his

fashion studies – and the way he tells it, it was love at first sight. “I felt I could be myself here,” he says. “I was born in Spain, but my dad was African and my mum is Portuguese – they came to Ibiza in the 80s. My dad used to work in the club, actually. I remember seeing pictures – you know, the big afro and the legwarmers! But, for me, I feel like in Ibiza there’s certain things that you cannot do, and one of those is fashion. You cannot really begin a career in fashion in Ibiza. I think you can do three or four things: music, DJ, hotel management, and that type of thing. The island is just based on that. I also felt a little bit limited in Spain, because I feel sometimes that the Spanish mind is a little bit limited. When I came here the first time, I remember I was 18, and I just saw myself here. Here, I felt like I could express myself.”

He goes on to tell me about the designers that inspired him from the beginning, and how his aesthetic developed. “When I was studying, my favourites were Galliano and McQueen. I managed to study with Galliano for a little bit, so I experienced that. That was amazing. I like them because, again, to be an artist you have to be express what’s linked with you, especially when you begin. For

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them, it was so personal, it was about passion and being against the rules and trying to create something new, and being edgy.”

And now?

“Nowadays, fashion has changed a lot.

Everything is faster. I’ve learned a lot from Roksanda. Everything is from here,” he says, mimicking typing furiously on a phone screen. “But still, I think you have to try and mean

LONDON RUNWAY something. It has to be something when people see it they’re like, fuck. It kind of kicks you back and you feel something.

The piece has to have something exciting. That’s why for jackets, I can’t do a plain denim jacket – there’s trillions of denim jackets, but how do I do something a little different, a bit more exciting? Something people will remember? So it’s just playing around with the external and internal details, to give something in the product.

“There’s new brands that I’m into, like Off-White. Fear of God, that’s quite cool.

Nowadays I’m into quite a lot of – not underground, but established brands that no one really knows. I think they’re a bit more in touch with the street, with urban culture. The Gucci, Yves Saint Laurent – I’m quite into Yves Saint Laurent just because of the boots. Since Slimane left, a little bit has changed, because he’s taken that to Celine. It’s still a little bit there. I was quite into his aesthetic. Although he uses very skinny guys – too skinny.

“I kind of want to have that aesthetic, but I want to mix it with a bit more of an urban touch. I will have a bit more variety in terms of genders of model, of colours. I have this hashtag, I call it #blackrockers, because rock and roll people don’t have to be only white. I think a lot of hip-hop people, they’re rockers in their own way. It’s kind of crossed over a little bit. They became the rock stars. Sometimes a little tacky, because they have too much champagne and girls! But they changed their baggy jeans for skinny jeans. They’re more into dressing nowadays than before. I think for a lot of these high-end brands, like Dior and so on, they are all looking to these guys because they have such a big network and they impact a lot of kids.”

We talk about the fashion industry and how it works these days. Angel finds the concept of seasons “boring” – wishing it was easier to break out of the mould and do things spontaneously. But above all, he’s concerned that there needs to be more sustainability. This ties in to that hippy culture he grew up with, the idea of not harming the world around you.

“Especially in denim, there’s a lot of pollution because we use a lot of water, chemicals for bleaching the denim, and so on and so on. The plan is to, step-bystep, introduce more sustainable touches,” he says. “For example, our denim is organic. Then we’re going to

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introduce a [sustainable] laundry in Italy. A lot of companies as well are improving on sustainable ideas, like zips, buttons – so we’re also going to introduce that. Trying to work with companies that don’t use chemicals to bleach the fabric, no chlorines. They’re bringing in new technologies that can replace those kind of techniques. But it has to be slowly, slowly – of course, it would be great to do 100% at once, but it’s so difficult because the cost will go so high.”

And here’s a point that comes up so often when talking about sustainability: the price point, and the fact that unsustainable fast fashion is still winning the war for consumers. “I think as a designer, brands should teach the consumer,” Angel says. “They have to make the consumer conscious about this. At the end of the day, the second biggest polluter is the fashion industry.

But no one really thinks that, because they want to be fabulous and looking great. But after the oil industry, fashion is the second – and denim is one of the biggest, because we use so much water to wash a garment. It would be quite nice if they would know that. I think in the high street, they are trying to introduce that, but I think for them it might be a bigger challenge, because of the price points they have. I think as long as they can teach the customer and make them understand what they’re buying, and why they’re paying what they’re paying, then that will help everyone.”

Finding suppliers who provide sustainable options has been getting easier over the last few years, and Angel has seen concrete changes taking places – machines being replaced to use less water, new techniques, and things that he hopes are not reversable. “I hope it’s not a trend,” he says.

And how about Extinction Rebellion threatening to shut down London Fashion Week? This triggers a wave of discussion in the room, as we consider the fact that the Showrooms are going to be sustainable this year and that the high street may be where the real problem lies. But Angel is all for a bit of rebellion. “They should do it. Go for it!” he says. “People should voice their opinions. I think it’s great. They do it all the time in France, they should do it more here. People need to start thinking about it, you know? They should go to the British Fashion Council offices and sit outside. They could give grants to

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brands that are trying to be more sustainable.”

another denim label for the sake of it.

And what is Angel’s dream for NokNok London now?

“Be good and enjoy fashion, but also enjoy life. Party until the end.

Partying is not only the concept of going out and getting drunk, but also, life is a party. You have to enjoy your life, whatever you do.

As long as you’re true to yourself – that’s the whole thing about ‘always dream’, because regardless of what you, if you’re doing what you dream, you’ll be happy.

“Now, my dream is to grow the brand. I have short dreams and long-term dreams. Long-term dreams are to grow the product ranges. I’ve done denim for a long time and I think it’s a very versatile and exciting product. But then I want to move into different things, we’re starting to do boots, shoes. In the shoes as well I want to do a whole sustainable element using vegetable leathers. Synthetic leathers that are not that harmful for the environment.

There’s things in position that you can do.

“But one of my dreams at the moment is I want to be in a few good stores and from there, expand the line and grow the brand gradually, have a good team. I think it’s very difficult to spot good people. To find a few good people that believe in the company and in me.”

Roxanne Chen, who works with NokNok London at Dyelog PR, tells me that their history goes back years – in fact, he was one of her first clients.

Now they’re back working together again, and she’s excited by the prospect of a real denim expert creating this new brand – not just someone starting up

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And check NokNok London!” Angel tells us, his parting words as our interview comes to a close.

You can find the brand at noknoklondon.co.uk or at @noknoklondon on Instagram. If you’re reading this in print, be sure to head to londonrunway.co.uk and find the online issue to watch a campaign video (worth it for the cool vibes and soundtrack alone).

Video and images on following pages via Dyelog PR.

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MISS TRANSBEAUTY 2019 Just as our last issue was being released, our Chief Editor headed down to the Miss TransBeauty pageant – where she was asked to be one of the judges. Here’s her account of the event, produced by StarVision in association with London Organic.

It was a night of glamour and riotous fun, as the supporters of each of the contestants loudly clamoured behind us each time their favourite came on stage.

It was already heating up to be both an exciting night and a difficult one as the contestants came out in workwear – only to slip behind a towel and emerge in matching red swimsuits. How could we possibly decide who was the worthy winner?

Thankfully, we judges had an in-depth rating system to follow, ranking each contestant on a number of factors such as their elegance, ability to please the crowd, and originality in each round.

When we came to the crowning, winners quickly began to emerge, with several of the entrants receiving multiple sashes for the individual rounds. The final winner was perhaps inevitable: Akiko Obillo had so many sashes she looked as though she might need an extra seat on the way home.

Her supporters, carrying light-up letters spelling out her name, were ecstatic.

The second runner-up was Cassandra Concepcion, whose fantasy look you can see highlighted in our images here.

It was certainly the most stunning look of the night, but not quite enough to push her score up for that crown. Still, she won several rounds and was definitely popular with the crowd.

Paw Badok Lagria Cadalzo was the third runner-up. She wowed the crowd with stunning evening wear, and her talent round involved finger-painting an image of Jesus in blue paint from scratch. She also answered my judging question: “What fashion advice would

you give to other trans women?” Her answer: that to show everything is not always necessary. Modesty can be flattering!

My fellow judges were two pageant queens – Miss Africa GB, Leila Samati, and Miss Paragon International, Emma Jay Baker. Alongside them was Dele Onabowu, the organiser behind Miss Africa GB. We also shared our panel with Glaiza de Castro, an actress who was mobbed by fans at every opportunity, and model/actor Steven St Catherine.

The show was hosted by Alexandra Marie Diaz, and we also enjoyed a number of performances from singers and dancers to entertain us between rounds.

Images provided by Bonnie Salvador.

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Golden

weddi ng

Makeup Artist: Sidrah Sardar Models: Charlotte Brooks and Aiyesha Beattie Photographer: Rhiannon D'Averc All Wardrobe: Sirdrah's own

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YOUR STYLE HOROSCOPE Candice brings you ethical, sustainable jewellery that will take you back to those summer days on the beach or ski days in the snow. With summer sadly coming to an end for most, here are some summer accessories to take you back to those care-free months. Your little odes to paradise will add some summer fun to any outfit!

Aries March 21 - April 20 These red hot Ruby Single Drop Earrings by Melissa Joy Manning bring a little heat and colour to any outfit.

Available in both gold and silver, wear them for a good night out or dress them up for a company function.

Taurus April 21 - May 21

This silver Birdsong pendant is simple enough to not ensue a dress code violation but still eye-catching and stunning. For the practical Taurus, it’s perfect!.

Gemini May 22- June 21

Fun-loving Gemini will be seen wearing these loud, statement tassel earrings by Smoke and Ash. With the bright turquoise and blue, they’ll be hard to miss.

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Cancer June 22- July 22

Turquoise Mountain’s Jordan Eye Studs will be stunning on the classy Cancer.

With its modern and simple design, these versatile studs are complementary to any outfit.

Leo July 23- August 21

These aren’t the usual, bright Leo accessories, but the statement Sculpted Torus Dangle Earrings by Aran Galligan and Aide Memoire Jewelry will definitely still garner attention to the outgoing signs. It’s also gold, a power colour of the Leos!

Virgo August 22- September 23

Emma Aitchison’s Splash ring in silver, inspired by crashing waves, will inspire the artistic Virgos for any endeavour they start on for the coming months! Let the ideas flow and spew out.

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Libra September 24- October 23 WALDxEDITED Here comes the Sun brings the necessary colours to any extroverted Libra’s wardrobe. The multi-coloured shell design will sail them back to seaside paradise.

Scorpio October 24- November 22 Four Ones’ Tortoise Talisman on Pam Pam London speaks to both sides of this supposedly rough-edged sign. The silver weathered look of the pendant will add that edge, but the cute tortoise design hints at the loving, kind nature of these misunderstood signs.

Sagittarius November 23- December 22

Always up for unconventionality, these multi-coloured diamond, emerald, ruby, and sapphire crawler earrings by Lark and Berry adds adventure to a Sagittarius outfit. With the plethora of gorgeous travel photos to feature in, these earrings will be a shining addition.

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Capricorn December 23- January 20

Elegant and sophisticated, this Lucky Leaf Drop Pendant by Catherine Zoraida upscales any professional Capricorn’s look. Be it for a promotion or a family dinner party, they’ll be fashion ready.

Aquarius January 21 - February 19 The fashion-loving Aquarius will fully embrace these Chevron Summer Beaded Leather Cuffs by Swahili Coast.

With a ton of style and colour options, these indecisive signs will have options!.

Pisces February 20 - March 20

Nature-loving and eccentric Pisces will never want to take these Beatrice Hoops

by GungHo and Chalk Designs off! The bee and lavender design, on the recycled silver, brings attention to the dire bee extinction situation.

You can see more of Candice's work on Instagram by following @Candice_x9.

All images via respective retailers

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PRIDE Flashback to Pride, when the city came alive with colour and music. The Pride parade in London meandered through the streets, sometimes at a walking pace and sometimes with a dance, a scrum, or a display of martial arts. Enjoy the view from the crowd!

Photography by Rhiannon D'Averc

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Q A THE BIG QUESTION We asked, you answered

What's one thing you would love to learn, but never have?

“I'd love to be able to speak another language!”

&

– Lauren Rowley, graphic designer

“Play the guitar”

"The piano. I have really good piano fingers, my friend’s mum told me the other day! I wanted to be a pianist, but my mum didn’t buy a piano"

- Ian Clark, Photographer

“I'D LOVE TO BECOME A CLOTHIER AND GET PEOPLE TO APPRECIATE WHERE THEIR CLOTHS AND THEIR QUALITY COMES FROM" - TAZ, FASHION DESIGN STUDENT

– Angel Nokonoko, designer at NokNok London

“HOW TO SAVE MONEY” - Louise Monk, Graphic Designer

"I'd love to learn how to ballroom or salsa dance!"

- Candice Wu, Editorial Assistant

“I would love to make my own clothes, even just simple items of clothing where I can choose the fabrics!! Would be in my element to be able to do that” - Souz and Co, nail technician

“I would love to be a shoe maker and create shoes I can never wear (high heels)” - L's Boudoir, Makeup artist/skincare specialist

“PLAY SAXOPHONE” - Alex Panek, Graphic Designer

“To play any kind of musical instrument, or sing. I can't do anything musical!”

- Rhiannon D'Averc, Chief Editor

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

LONDON RUNWAY

A MISSING PERSON’S CASE… … A MURDER INVESTIGATION? Enter the minds of troubled yet brilliant detectives as they take on a mysterious killer, out of their depth in an unfamiliar place Book 2 of the Serial Investigations series

Available on Amazon in eBook and paperback now!

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NEXT: THE AUTUMN ISSUE THE SUMMER ISSUE FIND LONDON RUNWAY: LONDONRUNWAY.CO.UK @LONDONRUNWAYMAG INFO@LONDONRUNWAY.CO.UK

BACK COVER: BACKSTAGE AT GFW BY FIL MAZZARINO