London Runway Issue 48: The Spring Issue

INTERVIEW: BENEDICT CORK . #METOO'S LEGACY . COVID-19 IMPACT . RUNWAY SHOW COSTS . FACE OF 2020

16ARLINGTON . HOUSE OF IKONS KIDS . DB BERDAN . DAVID KOMA . BORA AKSU . MARK FAST . BOSIDENG

ISSUE 48 27TH MARCH 2020

THE SPRING ISSUE

RRP £9.99

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographers: Ian Clark, Fil Mazzarino, Hassan Saif, Mrityunjoy 'MJ' Mitra Lead Graphic Designer: Alex Panek Staff Graphic Designers: Lauren Rowley, Karishma Alreja, Barbara Mascarenhas Staff Writer: Maria Henry, Cicilia Brognoli Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk / kavyar.com/london-runway-magazine Contributors: Lorenzo Mazzarino, Ben Springham, Eva Rzhevskaya, Tatiana Golodniak, Bohdan Repeka, Hania Komasinska, Yana Ershova, Maria Kinosian, Rita, Hanna Vata, Lucyna Geloch, Daniel Antropik, Kamila Vay, Julia Che, Arsova, Alexa Wu, Sofia Andriopolou, Katerina Petrova, Omi Chowdhury, Almila Ada, Sidrah Sardar, Olga Papaioannou, Virginia Stravakaki, Katerina Samofeeva, Varya Gerasimova, Elena Krasoritskaya, Emmie Cosgrove, Monika Grzegorcyzyk, Katarzyna Kowalska, Maja Olejarczyk, Julia Ziarnik, Aleksandra Werner, Teresa Mochoka, Adrianna Ostrowska, Juli Nazarova, Ksenia Kudasova, Olya Lipnitskaya, Ekaterina Osipenko, Brittany Merrick, Erik Lundstrom, Mindy Delmez, Waverleigh Graff, Alisia Silliman, Ashley Dawson, Sophie Cochevelou, Sandy Aziz, Lauren Marsh, Anthony Lycett Photography, Forbidden Panther, and Danielle Ferreira Special thanks to Ines Verniers, Chelsea Sinnott at Upstairs Music, and Benedict Cork

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

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

41

70

VISUALS

WORDS

Bora Aksu, Yuhan Wang, 4 16Arlington, David Koma, Mark Fast, Two Point Two x FAD, Y-Plus, Rohmir

Has the #MeToo Movement Made a Difference?

14

60 Minutes with Benedict Cork

60

Eva (Editorial)

17

The Face of London Runway 2020 80

House of iKons

26

How Much Does a Runway Show Cost?

91

New Faces

33 Quarantined in Quiet

100

Portfolio Piece

39 Your Style Horoscope

112

Creature From Julia Che (Cover Editorial)

41 Editorial Workshop: Changing Seasons

116

The Big Question

118

Buzz Talent, High Commission of 51 India, Kappe by Federica Bonifaci at LDC, Petar Petrov, Bosideng, DB Berdan Style (Conscious) Guide: Fresh & Light

69

Lost Kingdom (Editorial)

70

My Own Chanel (Editorial)

82

Visitor From Planet Bowie (Editorial)

87

House of iKons

94/ 104

s ' r o t i d E ter t e l Here we are in late March, and I’m writing to you in significantly altered circumstances than the ones we faced last month. It’s hard to believe it really has been only a month, and yet the whole world is changed.

At this moment, most of you are likely in self-isolation, whether imposed by the government or undertaken as a precaution for your own safety and those around you. It’s a situation that we never thought we would face. Even as the last issue went out, we were organising events and meetings, looking forward to a busy calendar through April and May. Most of those plans have now been cancelled, postponed, or changed, and this disruption can be seen in all spheres of life right now.

It’s easy to get bogged down in the negatives: the fear, the suspicion, the frustration. If you’re healthy, you’re probably wishing things could just go back to normal and we could all stop fussing about a glorified cold. But if you’re in the at-risk group – like myself, with an underlying illness that could make the consequences of infection more severe – then it’s a scary time.

There have been reports of less than neighbourly behaviour. Fights in supermarkets, daily essentials cleared out by hordes of panic shoppers, a dismissal of those who will die as ‘only’ the old and weak. But in these dark times, we’ve also seen reports of people coming together. Helping one another, spending time together on social media, sending gifts and care packages, offering support. If you can do one thing during this difficult period, make it a positive one. Reach out, get connected, and help raise the spirits of those around you.

We’ll be hosting and taking part in some virtual events and social hangouts over the next month, so make sure to follow us @londonrunwaymag to get involved.

If you’re bored and stuck at home with nothing to do, all of our digital back issues are available to read on Issuu – many of them free – with the links available on our website.

We also have our 2019 anthology, which came out just before all the madness really started – you can purchase it at londonrunway.co.uk/book.

with more than 350 images to browse, as well as an introduction featuring some behind-the-scenes-stories, and will keep you entertained for a while.

Everything else is starting to feel fairly insignificant in the face of what is happening around us, but we hope that you can find some comfort in the pages of this issue. Take some time to remove yourself from the chaos and drift away with our explorations of photo editing and the cost of runway shows, and our full-colour editorials. Really take a close look at our runway galleries – do some fantasy shopping of the pieces you would like to wear. Lose yourself for a while. The world will still be waiting when you come back.

From all at team London Runway, we sincerely wish you good health and safety, and that this disruption offers you opportunities to spend more time with loved ones and to count your blessings. For now, though: Enjoy -

It’s a great addition to your coffee table

RHIANNON D'AVERC

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BORA AKSU

Photography by Lorenzo Mazzarino

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YUHAN WANG Photography by Fil Mazzarino

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16 ARLINGTON Photography by Fil Mazzarino Illustrations by Ben Springham

DAVID KOMA Photography by Fil Mazzarino

LONDON RUNWAY

MARK FAST Photography by Fil Mzzarino

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TWO POINT TWO

X

FAD

Photography by Lorenzo Mazzarino

LONDON RUNWAY

Y PLUS

Photography by Fil Mazzarino

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ROHMIR Photography by Lorenzo Mazzarino

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HAS THE #METOO MOVEMENT MADE A DIFFERENCE? Maria Henry explores the origins, controversies and results of the #MeToo movement.

If you’re somebody who’s active on social media, it’s likely that you’ve heard about a movement called #MeToo. The MeToo movement was originally started by activist Tarana Burke to help raise awareness for sexual violence against women. Burke founded ‘JustBe Inc’ in 2006, an organisation which advocates for the ‘health, well-being and wholeness of young women of colour’.

In a world in which young women of colour often have their importance overshadowed or even actively resisted against, JustBe wants to encourage them to have self-belief and empower them to define themselves positively. This effectively gives them the building blocks they need to build a better life for themselves and to be strong against the prejudices that they may face.

Originally launched on Myspace, the MeToo campaign aimed to spread the message that ‘You’re heard, you’re understood’. It aimed to create a solidarity between women who had faced sexual violence, to show them how many people had been in the same position and had made it through to the other side of trauma, and to show those who were struggling that they could still lead a full life and find help and support.

HOW THE MOVEMENT GREW

HOW THE MOVEMENT CHANGED

Though the movement was started by Burke in 2006, it began to gain media attention in 2017. Actress Alyssa Milano posted a tweet that read ‘if you’ve been sexually harassed or assaulted write ‘Me Too’ to as a reply to this tweet’. As of March 2020, there are over 63,000 responses to Milano’s tweet and millions of tweets using the hashtag.

The solidarity and empathy between survivors was fitting for the original intentions of the movement. However, as more famous voices spoke out, the movement began to grow and change.Though it had begun primarily for marginalised voices, it grew to include all voices — even those of men who had also faced sexual harassment or assault. Though this seemed to be overwhelmingly positive, the celebrity attention did in some ways overshadow the original communities that the movement aimed to help. It could be argued that as the movement became more high profile, the work that Burke had started and worked tirelessly on to help women of colour was being buried by the much more widely publicised celebrities.

CONTROVERSY As the publicity surrounding #MeToo increased, so did the controversy.

Though rare, some people did put forward false accusations against men to gain more attention. These people became part of the very problem #MeToo stood against — individuals not realising the severity and lifelong effect that something like sexual assault has on people and making light of it in a ploy for attention. These actuations made people more sceptical about trusting the accuser and created a lot of negativity toward the movement, with people trying to twist the narrative and say women were only coming forward for the attention they would receive.

Though the percentage of false accusations was very low, it did highlight the importance of fact checking before any legal action could take place. As ‘cancel culture’ became more prevalent on social media such as Twitter, it became easy for people to immediately ‘cancel’ a celebrity who was accused of harassment/assault and effectively ruin their careers. Therefore, it highlighted the importance of being truthful in accusing and making sure you had a solid case to do so.

The issue of trauma for victims was also brought to light, as some argued that publishing details could create further negative effects for those dealing with it.

Having your trauma out on the internet allows people to comment on if they believe you or not, and this could be extremely damaging for those actively suffering. The pressure to come forward, in this way, could be viewed as damaging to those not ready to discuss what has happened to them. However, for others it could be the push they needed to finally say something and gain a form of closure. Like most things associated with a highly publicised movement, this could both benefit and harm people — dependant on their personal circumstance.

Another issue that is important to mention is the issue of the male reaction. It was reported that a lot of men in positions of power felt as though they couldn’t spend time alone with women in the workplace out of fear that something they may do could be misconstrued. In 2019 lean.Org conducted a survey and found that 60% of male managers said they would feel too nervous to spend one-on-one time mentoring or training a female employee out of fear of being accused of something.

Though these figures do seem shocking, a lot of women have critiqued them, asking what it is the managers would do that they would think would be misconstrued.

Surely, if they behaved in a professional manner, it wouldn’t be something they had to worry about.

Though these results are controversial in themselves, they highlight the male anxiety surrounding the movement. Burke spoke out against this telling the media that it ‘is not a witch hunt as people try to paint it’.

LONDON RUNWAY SUCCESSES There are numerous successes that have come out of the #MeToo movement. One of these is the banning of non-disclosure agreements in certain states — meaning that women will be able to talk about anything they may experience whilst working without losing their job or being sued for voicing their experiences.

Another is the ‘Time’s Up’ legal defence fund, which raised millions and helped numerous women to seek justice against their assaulters. It also led to more and more women coming forward and raised awareness of the severity of the issue, making people feel safer to speak out and also making others assess their behaviour more closely to be sure they are not being inappropriate. It initiated conversations about power, especially in the film and media industries.

It showed the people coming forward how there is power in numbers and also how power-dynamics in the workplace can lead people into feeling afraid to come forward.

Overall it initiated a lot of important conversation about the way people, and more specifically women, are treated within society — and the ways in which we can improve this.

Perhaps one of the most noted and publicised successes of the #MeToo movement has been the recent arrest of Harvey Weinstein. Though accusations against the Hollywood producer have been ongoing for years, in early 2020 he was finally sentenced to up to 25 years in prison for his sexual crimes against women, including a criminal sexual act in the first degree and third-degree rape.

to bring light to the horrible acts Weinstein committed, acts that should in many ways see him spend life in prison, he has not been trialled for all of these. In the light of this it is important to remember that privilege still plays a large part in the justice system, and as a wealthy, white man Weinstein is still able to buy his way out of justice. If we are to remember the original intentions of the movement, giving a voice to marginalised voices — it is clear that we must continue the fight against men like Weinstein. We deserve to be heard and nobody deserves to have their voice silenced.

All images via UnSplash However, though this is a positive, there are countless acts of assault that he will not be serving time for.

Though the MeToo movement helped

If you enjoyed this article you can read more by following @mariawriteshere on twitter.

A V E

Model and Makeup Artist: Eva Rzhevskaya Photographer: Tatiana Golodniak @insomniasm Eva wears: Shirt - TVOE; Trousers - Zara

Eva wears: Top - Reserved; Trousers, Accessories - all Zara

Eva wears: Top - Reserved; Trousers, Accessories - all Zara

Eva wears: Top - Reserved; Trousers, Accessories - all Zara

Eva wears: Top - Reserved; Accessories - all Zara

Eva wears: Top - Reserved; Trousers, Accessories - all Zara

Eva wears: Shirt - TVOE

Eva wears: Shirt - TVOE; Trousers - Zara

Eva wears: Shirt - TVOE; Underwear - Tezenis

LONDON RUNWAY

HOUSE of iKONS Photography by MJ Mitra

JOAN'S BRIDAL COUTURE

LONDON RUNWAY

HOUSE of iKONS Photography by MJ Mitra

JOANS BRIDAL COUTURE

LONDON RUNWAY

HOUSE of iKONS Photography by MJ Mitra

KHWANTA

LONDON RUNWAY

HOUSE of iKONS Photography by MJ Mitra

MD MOHAMMED

LONDON RUNWAY

HOUSE of iKONS Photography by MJ Mitra

MILNER MENS & LITTLE GENTS FASHION

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LONDON RUNWAY

HOUSE of iKONS Photography by MJ Mitra

SHACO

NEW FACE Name: Bohdan Repeka Age: 24 Location: Poznań, Poland Agency: GAGAMODELS

party trick is unexpected impersonating and creative set up for a party! I will surprise you with a lot of funny ideas!

How long have you been modelling for?

I've been modeling for 3 years now, I started when I went to university in Poznań.

What would surprise people to know about you?

People will be surprised by my art and rock music knowledge. I even tried to organise "History of rock" lessons at our university, still waiting for the decision!

Where are you from originally?

Originally I am from Minsk, capital of Belarus. It's a beautiful city with postSoviet architecture and people with open hearts and hope of delieverance.

Do you have an unusual talent or party trick?

I used to play basketball professionally for 12 years, even made it to The Youth National team. My

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What are your modelling ambitions?

The world is open to explore! I love new opportunities and new chances to act, to find another myself in me!

Model: Bohdan Repeka at GAGAMODELS @bohdanrepeka Photographer: Hania Komasińska @haniakomasinska

NEW FACE

CALL ME BY MY NAME

Name: Looch Age: 20 Location: Russia, Moscow Agency: Number MM

What would surprise people to know about you?

I look like Finn Wolfhard. Đ?nd... that's all

How long have you been modelling for?

Almost one year

What are your modelling ambitions?

Become part of the creative generation that drives the modeling industry!

Where are you from originally?

I was born in the Northern part of Russia.

Do you have an unusual talent or party trick?

The only thing that helps me on shoots is non-verbal dialogue with the photographer and the team, trying to become a single organism

All images via BBC

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Makeup Artist: Yana Ershova @yana_ershova9 Model: Rita @Kenya_lefortovv Photographer: Maria Kinosian @mariakinosian Wardrobe Credits: Sweater (grey) Zarina; Sweater (white) - Defacto; all others - vintage

NEW FACE Name: Lucyna Age: 17 Location: Cracow, Poland Agency: Themanagement

What would surprise people to know about you?

I've had a thin strand of gray hair since birth

How long have you been modelling for?

I've been a model for half a year

What are your modelling ambitions?

I want to travel as much as possible during my job

Where are you from originally?

From Poland.

Do you have an unusual talent or party trick?

I don't think so, but maybe in the future I will find something

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Wardrobe Stylist: Hanna Vata @hannavata.pl Model: Lucyna Cieloch at THE Management @c_l.u.s.i Photographer: Daniel Antropik @daniel.antropik Makeup Artist: Kamila Vay @mua.kma

SPACE AND OTHER ODDITIES WITH OMI CHOWDHURY

PORTFOLIO PIECE

Fashion Designers: Erik Garthus @erik_garthus_as; Anita Pasztor; Kolchagovbarva; Mariamah @Mariamah_desigo Makeup Artist: Arsova; Sofia Andriopoulou Models: Alexa Wu @xingying.wu; Katerina Petrova; Almila Ada Photographer: Omi Chowdhury @omisothercamera Hair Stylist: Olga Papaioannou Of The Parlour @theparlorhairproject Wardrobe Stylist: Virginia Stravrakaki

LONDON RUNWAY

Art is inherently personal yet it is also an expression of the collective, for the collective .

Keeping that in mind, when I am shooting fashion, I am trying to capture that brief equipoise where the levity of living meets the gravity of art. The spatial, the symmetry, the linear and non-linear nature of human movements complemented by cityscapes that interact with positive and negative space, is where I find the most joy in constructing a photographic narrative. If there is a singular thread to my work, it is that thread that connects that feeling of longing you feel about spaces you have been to and spaces you haven't.

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CREATURE FROM JULIA CHE Fashion Designer and Stylist - Julia Che @juliache.fashion

Julia Che is the first Russian designer who creates clothes, accessories, and art objects from garbage since 2013. The 21st age is a garbage age. Everything is garbage. A man must be friends with garbage, there is no other option. Garbage is beautiful, garbage is the perfect material for creativity. You don't have to burn garbage, you don't have to bury garbage, you don't have to make garbage out of garbage.

Photographer - Katerina Samofeeva @samofeeva.art Model - Varya Gerasimova @varya_gerasimova Makeup and Hair - Elena Krasovitskaya @lenakrasovitskaya

Varya wears: Glasses (old glasses, furniture of old jewelry); Necklace (plastic decorative stones for interior decoration, textile furniture); remains unused fabric; background - All Julia Che

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Varya wears: Glasses (old glasses, furniture of old jewelry); Necklace (plastic decorative stones for interior decoration, textile furniture); remains unused fabric; background - All Julia Che

Varya wears: Headgear and sweatshirt (tape from audio tape); Glasses (old glasses, fittings, thread); Gloves (old gloves, sequins); Skirt (residues of old fabric); Headgear Alien (dummy head, old cap, decor of glasses and buttons); background - All Julia Che

Varya wears: Mask (children's plasticine, plastic); Dress (scraps of old fabric); Glove (construction glove, DVD-disc); Background All Julia Che

Varya wears: Helmet (shells from a dump); Collar (aluminium cans, shoe mat); Necklace in the mouth (set of old decorations) - All Julia Che; Dress (cut of old fabric)- Aksinia Veter @aksinia_veter

Varya wears: Helmet (shells from a dump); Collar (aluminium cans, shoe mat); Necklace in the mouth (set of old decorations) - All Julia Che; Dress (cut of old fabric)- Aksinia Veter @aksinia_veter

Varya wears: Headgear (dining utensils decorated with furniture); Glasses (old glasses decorated with old decorations); furniture and old decorations; Sleeve (boa and old beads); Background - All Julia Che

Varya wears: Headgear (dining utensils decorated with furniture); Glasses (old glasses decorated with old decorations); furniture and old decorations; Sleeve (boa and old beads); Background - All Julia Che

Varya wears: Headgear (plastic bottles, aluminium cans, plastic bottle covers, remains of building materials); Swimsuit (remains of old cloth, handles from old bag); Bracelets (old children's toys); Footwear (remains of building materials, insulation for walls); Background - All Julia Che

Varya wears: Headgear (plastic bottles, aluminium cans, plastic bottle covers, remains of building materials); Swimsuit (remains of old cloth, handles from old bag); Bracelets (old children's toys); Footwear (remains of building materials, insulation for walls); Background - All Julia Che

BUZZ TALENT

Photography by Fil Mazzarino

Designers: Olli Hull Larissa Reit XO Maurice Whittingham Kimmiu

LONDON RUNWAY

HIGH COMMISSION OF INDIA

INIFD PAGE 53

Photography by Fil Mazzarino

KAPPE BY FEDERICA BONIFACI AT LDC Photography by Emmie Cosgrove

PETAR PETROV

LONDON RUNWAY

Photography by Fil Mazzarino

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BOSIDENG

LONDON RUNWAY

Photography by Fil Mazzarino

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LONDON RUNWAY

DB BERDAN Photography by Fil Mazzarino

60 MINUTES WITH BENEDICT CORK Rhiannon D’Averc sat down with singer-songwriter Benedict Cork to get his thoughts on the current state of the music industry, mental health, and the background behind his soulful lyrics.

Benedict On… Getting Started in the Music Industry I started to play piano when I was eight years old, and I got my first job when I was fifteen, in the restaurant next to my school. I went in there on a Friday night and said “Can I play?” and just started there. I started playing anywhere that would have me for the next few years.

… On Social Media There’s so many pros and so many cons. I think it’s amazing now that I can write a song tomorrow, put a little video up in the evening, and it goes immediately to all the people that might enjoy it. You can have immediate feedback after shows, and most of the time on social media, especially if it’s the people that follow your music, it’s positive stuff. But sometimes there will be some negative stuff, which is actually quite constructive.

People can come to a show and be like, “The sound was awful, why would you play there?” and it’s quite useful sometimes. I just try and balance it out and have boundaries with it, because it can be so useful, and so positive as well.

… On Favourite Artists

It changes every day. At the minute I’m really into female voices, so I have a few albums that I’ll put on in the morning just when I’m making breakfast and stuff. Kacey Musgraves, Jessie Ware, Lianne La Havas, Emily King, Maggie Rogers. But then I also love pop music, I love loads of Scandi pop – Tove Lo, Astrid S, people like that.

I love classic songwriters as well, people like Elton John, Carole King, Joni Mitchell.

… On Growing Up Arty I’m from a family of four kids and we were all arty. My brother was into film, my sister’s a singer, my other brother was playing three different instruments… we weren’t sporty! I loved painting and illustrating. I still do, I just haven’t got time to do it. I think if I hated music, or fell out of love with it, I think I’d want to move to Italy to paint flowers or paint portraits or something like that.

LONDON RUNWAY

… On Doing Covers I think it can be dangerous… sometimes, people do a cover and it blows up, and you get known for that cover.

But I also love taking songs that are maybe traditionally seen as a big pop smash where people don’t really listen to the lyrics, or a song that I grew up listening to and then heard twenty years later and I hadn’t realised the poignancy of the lyrics. So, if I feel like covering something, I just do it. I don’t think I’d do a series of loads of them, because then you can get typecast as a covers artist.

… On Covers of His Songs

… On Phones at Gigs It’s such a balance, because – for instance, last night I was supposed to go and watch Lianne La Havas, and I love her, she’s one of my favourite artists. I couldn’t go in the end because I had this gig come up. My sister was there, and I said “Please enjoy it, but can you just take a couple of videos for me, because I really want to feel like I was there?”. In my cab home from the gig I was just watching a few videos and it honestly felt like I was there, because technology is so good now that the sound’s amazing, the picture’s amazing.

So it’s the same for me when I’m playing. I’m thinking, obviously you want to have that connection with someone’s eyes, so when people film the entire show I guess that’s their choice.

Sometimes that can be really useful because someone can go and watch that on YouTube and feel like they were there. Someone that doesn’t live in this country, in Serbia or something, they can go and watch that concert. But there is a balance, because I remember doing a show last year and I asked people to put their phone lights up, and that was really lovely, but then people actually just started filming the room!

I’d love it! Unfortunately, it doesn’t happen all the time because there’s loads of messy chords in my songs.

Sometimes I get messages from people asking to send the chord sheets through or the sheet music, because they want to cover it, and then they say “Oh, this is really complicated, I don’t know how to do it!” But when people do it, it’s really lovely, because that’s how I started. When I was playing the piano bars, I’d be playing four hours of covers of other peoples’ music. That’s how I learnt how songs were structured and written. So, when someone else does it to one of my songs, it’s a massive compliment.

… On the Song-Writing Process Recently, I’ve really liked being messy! I used to live in Stockholm for a little bit, and making pop music there is really… I don’t want to say like a factory, because they have a heart to it, but they’re very efficient. They can put out two songs in a day, and sometimes I like spending two or three days on a song, really perfecting the words.

The EP that came out last year was very clean. Recently, I’ve really enjoyed leaving loads of messy stuff on. The other day, I was writing with my friend Hannah Yadi, she’s a really talented songwriter and we were just throwing on loads of messy backing vocals, just singing in the room. When I listened back to it the next day I was like, “This sounds great because we’re having fun, and that’s what people want to hear”. Recently I’ve been starting an idea and sometimes leaving that original vocal, or leaving the original messy piano, or maybe I made a mistake or my voice has a bit of crackle in it or something, and rather than trying to perfect it I’ll leave it in. It feels a bit more real, I think.

LONDON RUNWAY

… On the First Song He Wrote

… On Writing From Real Life I find it really hard to write not from real life. I’ve done a bit of writing for other people, which I’ve really enjoyed, but obviously that is from their real life. I find when I try and make up a story or something it just doesn’t feel very genuine. I love coming into the studio with a concept or something that’s happened recently, or even a story that I’ve heard that makes me relate to something in my own life. It’s quite nice to know where you’re heading – wherever the music goes, this is the story.

When it’s about other people, I want to be really careful about honouring what’s actually happened, whether it’s a past relationship or something that’s happened with a friend. Actually, even if it’s myself, I don’t think I’d want to put something out that’s not representative of how I feel about the situation.

Sometimes a lyric will come, especially if you’re cowriting with people – which I love doing – they’ll say, “this line sounds really great”, but I’m like, “yeah, but it didn’t happen”. If I have to sing the song for the next ten years, or my family hear it and it’s about one of them, or a past relationship or something, I find it really hard to lie and twist the truth.

There’s definitely a battle there, because sometimes a line will look great – the rhyme’s great, it sounds wicked – but I just don’t want to offend that person!

That’s not fair.

This was really dramatic! Basically, my friend didn’t invite me to a party – it was as stupid as that. I think I was 14, 15. I wrote a poem first: it was called ‘The Girl With the Coldest Eyes’. I wrote the poem and then a few months later I did a gig in my local pub, and it was my first ever public gig, and I did all covers. There was a little review in our local newspaper that said “It’s a shame Ben doesn’t sing his own songs”, and I took it so to heart! Then I found this little poem and I put it to music, and it was so dramatic. I think the chorus was like “I’ll hunt you down, you’re the girl with the coldest eyes”! I told one friend who it was about, and it somehow got back to her! She’d be there at my shows like “It’s about me!” She could tell obviously that moment had passed and I wasn’t angry anymore, but I think from that I’ve learned that’s why you shouldn’t lie.

Although, sometimes people piss me off and I’m like, “I will write a song about you!”

… On Playing the Chanel Joan Elkayam Runway That was such a fun experience because I hadn’t done a live runway show like that before. What was scary, and also fun, was that she asked me to play and said “These are the songs I’d love you to sing, in whatever order, but this is the setlist”. And then just because those days are mad, we didn’t have a chance to properly run through the whole show. We got to the sixth song and there were still all of these models walking out in these beautiful clothes, and I was like, “I haven’t been asked to sing anything else!”. Some musicians would just be like, “Right, I’ve done my gig, I’m leaving”, but I thought, I can’t leave her in the lurch like this. So, I just started playing random songs that came into my head. I think one of them was Beyonce, Crazy in Love, and then the next one was Rihanna, Diamonds… I just kept on churning them out because I was like, well, it hasn’t ended yet!

In the end it was actually really fun because I just went with the flow of it, someone would come out in a beautiful gown or a long flowing dress and I’d play a slower song. Or if someone came out in a cool diamond outfit I’d go for something a bit punchier. It was scary and fun at the same time.

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LONDON RUNWAY

… On Playing Future Fashion Events

… On Making an Impact [My favourite song to perform] changes. For a good six months it was Therapy, just because it was so personal and it was really lovely saying a little bit before each time I performed it. And then people coming up afterwards and saying “Oh my god, I’ve just started CBT”, or “My sister’s going into therapy and I really want to send her this song”, so that was really rewarding. I enjoyed playing it live even though it’s a sad song.

I’d love to. I love fashion and I love playing around with it, so it’s really cool that you can be really theatrical with it and get away with it, whereas sometimes if I rocked out on stage in something crazy, people would be like “You’re a bit full of yourself. You’re not Elton John!”.

But then I did a little support tour at the end of the last year and would get the audience singing other songs which are a bit more sing-a-long-y. That was a proper moment, because when there’s like 2,000 people singing your song back at you, even though they don’t know it but you’ve taught them a little bit of the chorus, it just feels really good. Maybe Mama Said or Funny How Things Change.

… On His Style as a Musician Definitely comfort. I need freedom of movement. If I’m playing loads of piano stuff, or even if I’m not playing, I like to express myself. I don’t want to be really restricted.

I love big prints. My studio wear is always really comfortable and when I do a show I always want to feel like I’ve made an effort. I’ve put myself together. You know when you’ve had a shit day and you just put a nice outfit on and you feel powerful?

I love vintage clothes, I love finding little bits. If I go to a show and I see someone wearing something I’ve got in my closet, it doesn’t feel as special as that one-off thing you found in the back of Rocket. I’ll just go in and find stuff – I’ve been wearing a lot of old ladies cardigans, and people are like “Wow, did you get that from Topman?” [laughs].

… On Distractions at Live Shows I think it’s the training from playing in little restaurants when I was a kid. I’ve literally been playing and they’ve been bringing out these giant trays of food, or someone’s arguing – I had one where a couple basically broke up right next to the piano. I feel like you just kind of carry on. There’s no other way. It’s a bit like live TV, when something goes wrong, you can’t just freeze up and say nothing!

It’s easier to lose yourself in it when you’ve sung it so many times, I can just get into the emotion and I’m not thinking about where to put my fingers on which keys or so on.

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LONDON RUNWAY

… On His Musical Direction It changes day by day! Recently I’ve been doing a more stripped-back EP, we’re mastering it this week. It’s another live EP, Piano Tapes Volume II. What’s really nice is that while I’m putting that out and releasing that and playing that live, I want to make the opposite again and scratch that itch.

Especially over the winter I think I like just playing the piano and writing these songs and being really intimate, and when I’m in the summer sometimes it’s nice to play something that’s got a bit more energy to it and a vibe to it.

… On Coming Releases The EP is basically done. We’re doing the final vocals and it’s being mixed and mastered, and then I’m really excited to get this one out. This is the first time I’ve finished a record before putting it out, completely. In the past I’ve made it as we go along, which has been really fun, but equally stressful. Whereas with this one, I made it over the winter with my friend Paul Stanborough, who’s an amazing producer. We just spent two months laying these tracks down, putting loads of layers on it, and being really creative without a timeline. Piano Tapes Volume Two is pretty much done and the first track is going to come out in April.

Then we’re going to do a little residency in London, which I’m really excited about. I did one last year, at Fiction Studios, which was really fun and really intimate.

It only fit 45-50 people, and we did five shows with each song that came out.

I wanted to grow on that, so we’re doing a new residency at St James’s in Islington, which is a beautiful church with a grand piano, just a really lovely vibe.

April, May, June, we’re doing that. And then I’m going to do my first headline tour in June! I’m going to go to some places where I’ve never played a headline show before.

We’re firming up the dates but I think I’m going to go to Amsterdam, Berlin, maybe somewhere in Scandinavia as well.

It was one of my things for this year, I would really love to do a headline tour even if it’s just five or six cities. I feel really bad – because I love London, I’ve always been a Londoner – but I feel bad for people that are like “well, I live in Munich and I can’t get to London to see you live”, so at least this might be somewhere closer.

… On Collaboration Wishlists A lot of them are songwriters, actually. There’s loads.

Because I love co-writing, I love being challenged by different people, especially people that have come from a different world. There’s a Norwegian songwriter called Ina Wroldson, who’s also started releasing her own music, which is amazing. She’s written some of the biggest pop songs in the UK, like Rockabye for Clean Bandit and stuff like that. She’s also written some really beautiful solo material that she’s released that’s really personal and more singersongwritery.

But then I’d also love to sing with Alicia Keys and Jamie Cullum, the piano greats that I love. Elton John, Maggie Newman, people like that.

LONDON RUNWAY

… On Staying Grounded

… On Getting Feedback

If you’d asked me that four or five years ago when I first moved to London, I’d have said, “I want to be playing Wembley stadium!”. Anything less than that would feel like a failure. But actually, recently I rewatched the Amy documentary, and the Lady Gaga one, and it really made me think about the levels that some musicians can get to that really hinders their life in a way. As much as I love those artists and I’m sure they’ve lived a life that they’re proud of, there’s a certain amount of personal life that you don’t get. It must be a challenge when you meet new people and it’s like, do you see me for who I am or for being Lady Gaga, or Amy Winehouse, or Adele?

To actually go and write a positive thing about something, whether it’s just on a photo on Instagram or a video on YouTube, or an Amazon review, that’s still five, ten minutes of your time, which is a big deal for some people. Some people are just so busy, and we’re all quite selfish as well, so if someone takes the time to come to a show or write a review or say something nice, or sometimes I’ll get these messages from kids who say “I never realised I was meant to break up with my partner and this song made me feel like that” or something, the fact that you go to that much effort to say that is a big deal.

Recently, I’ve been looking at people I love like Lianne Le Havas, Jessie Ware, Maggie Rogers, and I’m thinking, you have these beautiful, cool careers where you can release music that is personal and beautiful, and yet it also feels like you can go down to Tesco and buy a pint of milk, and live your life.

So, my goals recently have changed. I want to play shows to people who really like my music, and I’d love to play venues that I’ve always loved going to, like the Shepherd’s Bush Empire and Union Chapel. I just want to get to a stage where I can just enjoy it, rather than be chasing something always.

… On Whether Albums are Still Relevant Potentially not. But I love projects. There’s some artists who really thrive on singles, on putting a song out and then riding with it for three months and then putting another one out, and they’re all massive bangers. I love that as well, and I love their music. But I think some of my favourite artists that I really love going to watch live and really diving into their world are people that really make a statement with an album.

There’s not many that I’ll really listen to in full, like the whole 45-50 minutes. But when I do find those albums, I’ll rinse them so much. For instance, Kacey Musgraves, when that album Golden Hour came out I was sleeping on it. Someone recommended it to me and since then I think I’ve played it once a day without fail. When I wake up, I’m like “Alexa, play Golden Hour” and it will just go on in the background. I know every single lyric and I can just dip in and out, but it’s proper beautiful music.

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LONDON RUNWAY

… On Releasing New Music

… On International Fans The support tour I did last year was all across the Netherlands, and that was amazing because I’ve never played there before. Suddenly, I gained this beautiful group of people that are really receptive to singersongwriters, and they’re really supportive. I haven’t put any songs out since I did that tour in October/ November, so there wasn’t anything new for them to latch on to, and they’ve stuck really loyal for the last five months while I’ve been making this record and hiding away a little bit. So, I’m really excited to go back there and meet them all again, and play there.

Piano Tapes Volume One, the first song came out in June two years ago. That I was shit-scared for, because there was such a build-up to it. I’d been writing, writing, writing for so long. I’d played singer nights, and singersongwriter circles, and all that kind of stuff for years, but that was more for the experience.

So, I really wanted to put out some songs that I was really proud of. I remember staying up until midnight for each of those five songs, each time so nervous – for no reason! Because there’s nothing you can do, the song’s there, it’s finished, you can’t touch it, the artwork’s done, you’ve announced it’s coming out, so all you can do is sit there and wait.

The other day I saw a message on Instagram from someone that said: “I live in Tokyo, and we’re having your song Easy at our wedding at our first dance”. That’s really cool. Those kinds of things, you wouldn’t hear about as easily, or they wouldn’t get out as far as that, five, ten years ago. Now you can put a song up and five minutes later someone in Australia can hear it, which is awesome.

Whereas now, I really enjoy it. We did a song a month for six months last year, which then became a little EP, and each time was like a party. I’d just be there in my living room. My housemate had gone to bed, so I’d be sitting there with my laptop, replying to people and maybe doing a little livestream, and it becomes a little party.

Although, it’s weird now that you put out a song and you spend the next two hours on social media, whereas five years ago you probably just had glass of wine to celebrate. But that’s also what’s really beautiful about it.

You can put it out and someone in Rome can say “I’m listening right now, and I love it, here’s what I love about it,” and you’re like, “Thank you so much, what do you think of the lyrics?”. It’s a really cool experience.

… On Releasing an Album

I’ve never done an album. I’d love to, but I feel like that’s a big project, and that would take me a year or so. I’d want to be at a point where I’d really solidified what I want to say with it. A lot of my favourite artists might disappear for three years and then come back with this incredible statement, and it’s because they’ve taken the time to really think about it. I don’t necessarily want to disappear for a long period because I just love playing shows and putting out music, but I don’t want to rush putting an album together just for the sake of it. You can only ever have one debut album, so I want it to be a really true representation of me and what I’ve been through and the things I think about.

However, what I really like at the moment is putting songs out and seeing how people react to them, and potentially thinking “That song, if I still really resonate with it, could go on an album in a few years’ time, if we produce it a different way like an album version”. Maybe curating, in a way, my own little art gallery-type album of songs from the last 4, 5 years. No solid plans yet!

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LONDON RUNWAY

… On Playing Live

… On Speaking Up

I get really nervous, then after the first song, I’m like, whatever happens now, everyone’s here to have a good time. Or to have a good cry, or to be emotional or whatever, but everyone has chosen to spend an evening with me, and that’s amazing. It takes a lot for me to give up my time for something, so the fact that they’ve done that for me is such a gift that I just want to really appreciate that and honour it and have a really lovely experience. Even saying things between songs, it will never be the same. Someone might heckle you, or you might meet someone afterwards that has this incredible life experience… I think that’s why musicians live off that high, because there’s nothing really like it.

I used to hear people talk about mental health a lot. I didn’t really understand it very well. I’d heard buzzwords floating round and read a few bits, but I went to a boys’ school and we never had any mention of mental health. I didn’t go to university, and I never worked in an office with an HR department with someone saying you need take a mental health day – and I think we’ve only been saying these things for the past few years. But then when I had a little blip, I realised that I’d been anxious for a while, and I had a bad few months.

I realised how important it was to share, not just for yourself but for other people. I didn’t share. I was going through it and I just thought, I can do this, I’ve got through everything else in my life and I’ll just power on through, and then actually went to go speak to someone by recommendation. It changed my life, it was incredible. The things he taught me, I use every single day. So then I thought, why do I want to keep this to myself? That’s really selfish. Some people have never even heard of therapy, or think it’s some American concept that rich people send their kids off to therapy or something, and it’s not. It’s the most beautiful experience and I think that everyone should do it, to just go talk about the things that have happened to you, things you’re feeling uneasy about, with someone who doesn’t know these characters and can look at it from a really objective standpoint. It’s incredible.

So then when I wrote the song Therapy, I didn’t know if it was going to come out, it was super personal. I remember playing it at a show and crying halfway through, and I never cry during a show! I was like, okay I don’t know if I can do this. I played it for a few people, and they said, “Do you know what? This is too important. You should start talking about it”, and I’m so glad I did. Now, it’s not like I’ve come out the other side, I still have these moments just like everyone does, but I’d love to do something with that. Especially with social media, and especially with the music industry, because it’s such a weird, pressurised, up and down sort of space.

I’d love that to be something that I can really help and fight for.

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LONDON RUNWAY … On Advice for Aspiring Musicians What I’ve really loved over the last couple of years is just not being too precious about stuff. I used to be very much like, I’ve written a song but I’m keeping it to myself. Maybe I’d send it to my manager or something, but not share it.

These days, with social media, it’s so lovely to be able to write a song and do a little clip of it, or livestream it that evening, and just see what people say. Sometimes it will not land and people will be like “that was shit!”, but sometimes it’s this amazing experience where you get an immediate reaction. So, just making a song, working it out, putting it out a month later – I feel like it’s how music is really going now, and it’s really refreshing. Just collaborating with people. I love that personally, some people don’t, but I love meeting new people and hearing their ideas. Playing shows and saying yes to – well, not everything, but putting yourself out there.

… On the Legacy of Musicians I think it’s the songs. For instance, we mentioned Amy Winehouse – so many people are still discovering her now, and that’s incredible. Wouldn’t it be so sad if someone that amazing – or, you know, Janis Joplin, or somebody who died really young – if in the moment they die, they’re forgotten about? Or like Eva Cassidy, who people only discovered after her death. Or people like novelists, painters, people who were penniless and struggling artists until the day they died, then suddenly people discover it and realise how beautiful it is. So, I hope the songs stand the test of time. And I’d like to think that that’s also my gift to the world. I feel really weird if I haven’t written a song for a few days or weeks. I feel like I haven’t got a purpose. Not that I’m someone who’s like “Oh, I must give the world my art because everyone needs it” – it’s more like if I haven’t created something for the world, I feel really sad. I haven’t played a show for two months – the one I did last night was a private thing – I haven’t played something people can come to for a couple of months, and I miss it so much. The same with music, if I died tomorrow, hopefully even if it’s only my family/friends, people just have those songs and remember me by what I said in those songs.

… On Handling Criticism I’m sure I’m like everyone else, you remember the one negative thing. Other times I’m like, eh, whatever, I don’t believe it. I just try and take a break or get a sense of reality. This was actually a really good piece of advice someone gave me: ride the highs, but also ride the lows. You have to have the highs with the lows. When you have a high, appreciate it – it might be like playing a show, and the next day, if it’s gone well, I’ll often just feel really good and maybe have some nice messages about it, really riding that. But also if there is a low, and if it’s something that’s truthful that might have happened, you just have to kind of appreciate it and take it in, and go, why is this person acting like that? It might be something that I’ve done, it might be something in their life. Just take a note of it. But not taking it too seriously. It’s not heart surgery. No one’s dying.

Stay up to date with Benedict at @benedictcork on Instagram.

All images via Upstairs Music Note: Benedict's headline tour and EP release sessions have been postponed due to the COVID-19 pandemic. Check back on social media for updates and announcements when they are rescheduled.

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STYLE (CONSCIOUS) GUIDE

Sophie Cochevelou Third golden eye with gold dolls hands earrings £28.00

ethical and sustainable style guide selected by Rhiannon D'Averc

Asos Design Fisherman beanie in bright yellow £5.00

Monc London Kallio Spectacles £175.00 Sarah And Sorrentino Spotlight Parrot small scarf £65.00

Asos Design Silver statement spike earring £12.00 Asos Design Oversized Hoodie in Light Pink £20.00 Blonde Gone Rogue Sustainable long blazer in beige £168.00

Mud Jeans Regular Dunn Cotton Jeans £109.00

KellyLove Faded light dress in nude £280.00

Hill and Friends Happy Medium Chain £495.00

Matt amd Nat Gavin Vegan Sneakers £95.00

Matt and Nat BOON block heel boots in nude £110.00

LIGHT AND FRESH PAGE 69

LOST KINGDOM Wardrobe Stylist: Monika Grzegorczyk @m.grzegorczyk_fashionstylist Hair Stylist: Katarzyna Kozłowska @kozlowska.hair_makeup Models: Maja Olejarczyk, Julia Ziarnik, Aleksandra Werner @aleksandraa_werner Makeup Artist: Teresa Mochocka @tmochocka_makeup Photographer: Kamila Błaszkiewicz @kamilablaszkiewicz_photo Fashion Designer, wardrobe throughout: Adrianna Ostrowska

LONDON RUNWAY

THE FACE OF LONDON RUNWAY 2020

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LONDON RUNWAY

If you’ve been following us for a while, you’ll know that last year, we ran our first Face of London Runway competition. Following an open casting day, a tester photoshoot session, and then a public vote for our top ten selections, we crowned our inaugural Face of winners for the menswear and womenswear categories.

This year, we’re back to find our next faces for the twelve months ahead. The winners get to enjoy a photoshoot with their face on the cover of the magazine, help with walking in runway shows, and the chance to be put forward to agencies for consideration. Not only that, but we feature all of our runners-up in the pages of the magazine throughout the year and beyond!

If you think that you’ve got what it takes, then make sure you stay informed.

You can sign up to our newsletter on our website, where you’ll get updates about all of our open opportunities.

You can also follow us on Instagram, Twitter, and Facebook – we’re @londonrunwaymag on all of them.

Today, we hoped that we’d be able to announce an open casting date for the first round of selections. As things stand, we’re not able to do so just yet – with everyone on lockdown, particularly in London, it’s not easy to get a casting together. In order to get around this, we’ve thought up a brand new format for this year only, in which the first round will be a virtual call for entries.

We are throwing the doors wide open this time around, so absolutely anyone can enter – no matter your age (so long as you are over 18), height, weight, skin colour, religious background, nationality, disability, gender

identity – you get the picture!

We will have two categories open for entry: menswear and womenswear.

You can enter whichever category feels right to you, or even enter both if you wish.

After making our first round of selections, we’ll go ahead with an inperson session to whittle it down to just ten of you as normal. As it stands, we aren’t sure when that will be, but we’ll be going ahead as soon as is possible to make sure we can crown our winners without too much of a wait.

If you want to get stuck in, you can find the entry forms and all of the information that you need to know on our website. Head to LondonRunway.co.uk and click on the front-page header directing you to the Face of 2020 Call For Entries.

We can’t wait to see what you’ve got to show us!

We’ll be asking you to submit the following: A headshot and full-body shot. If you don’t have these, get someone to take them for you on their phone – or stand in front of a mirror and do a selfie. No makeup, plain hair, and wear simple, tight-fitting clothing (we will make an exception for those who wish to model modest fashion due to their religious beliefs) A short video in which you say the following: “Hi, London Runway. My name is ______ and I’m going to be the new Face of London Runway 2020!” (again, filming it on just a phone is fine!)

A filled-out form listing your name, physical measurements, contact details, and other information that we’ll need in order to consider you

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Previous page: Face of London Runway 2019 winners and runners up Photography by Rhiannon D'Averc Makeup by Sidrah Sardar

MY OWN CHANEL Photographer: Juli Nazarova @julinazarova_photo Illustrator: Ksenia Kudasova @ksenia.koo Model: Olya Lipnitskaya @olya_lipnitskaya Makeup Artist/Hair Stylist: Ekaterina Osipenko @katrish_k

LONDON RUNWAY

VISITOR FROM PLANET BOWIE Makeup Artist: Brittany Merrick @off.beat.designs Hair Stylist: Erik Lindstrom @eriklindstromhair Wardrobe Stylist/Creative Director/Photographer/Retoucher: Mindy Delmez @monamimindy Model: Waverleigh Graff @_viksen_ Body Painter/Accessory Designer: Alisia Silliman @alisiasillimanbodypainter Wardrobe throughout: Dress - Amanda Uprichard (NYC); Collar - Alisia Silliman; Heels - ALDO

HOW MUCH DOES A RUNWAY SHOW COST? This month, Cicilia Brognoli looks into the cost of runway shows.

Nowadays, fashion shows are easily accessible to anyone. In a few clicks, you can find yourself catapulted into a completely different reality, an almost extra-terrestrial atmosphere dominated by a dazzling setting.

Many people share the desire to take part in one of the most fascinating fashion shows - and everyone can become part of that apparently inaccessible world simply by holding their smartphone in the palm of their hand. At first glance, clothes are the focus of the fashion show, but they are often so captivating because they are presented in a specially created context.

The first fashion shows, dating back to the beginning of the 18th century, were held on the street, a place of vital importance where designers identified new trends while preserving the upper middle class and nobility. Charles Worth decided to start showing his fashion collections to a circle of a select few in the fashion shows that were held in his Parisian atelier. At that time, the use of living models to display clothes was a new and brilliant invention and a few dozen chairs were enough to offer the selected audience the opportunity to take part in a truly exclusive event.

The concept of exclusivity in fashion has strongly evolved, and fashion shows aim at presenting the new collection mirroring both the designer’s ideas and the brand

vision. This happens in an artificial environment, very often, far from the minimalistic set of 19th-century Parisian ateliers.

Today, anyone can virtually take part in the most beautiful and exclusive shows, but a very small selected audience can be physically present in these lavish events.

Although the circle of guests is well restricted, the cost for setting up a show is often a six-digit number.

Depending on the brand's economic possibilities and the artistic, marketing, and communication choices made, a US-based show can cost, on average, between $10,000 and $300,000. Many of these figures could make your head spin, but there is no limit to creativity. Every inch of the chosen venue must be in line with the collection ready to tread the catwalk, and therefore make the designer's artistic vision tangible and captivating from every point of view.

The budget dedicated to the fashion show is divided depending on the artistic vision and desires of the designer. The venue hire, and especially the set design, can increase the cost of the fashion show. Indeed, according to the designer’s venue choice, customisation costs can skyrocket.

First and foremost, the designer has to choose the location. This step can look easy , but spotting the perfect location is fundamental to delivering the perfect experience.

Many cool venues in the “big four”

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LONDON RUNWAY fashion capitals (Milan, New York, London, and Paris) have high hiring fees. For example, in New York, hiring a small space won’t cost less than £15,000, and choosing a bigger place can cost anything between $50,000 to $100,000. This generally includes complementary setup and use of sound and lighting equipment.

A nice location without a great setting is not enough to stand out in Fashion Week, a jungle of creativity

and glitz aimed at capturing the attention of thousands of people.

The designer Christian Siriano stated that each of his shows cost between $125,000 and $312,000, and he demonstrated that the largest portion of the budget is generally dedicated to set design.

This is the element that gives the fashion show a personal note and can be so majestic as to put the competition aside.

For example, Chanel independently produces the setting of its shows, and it’s one of the leading brands in set design creativity. Indeed, for every fashion show the brand transports its guests into a surreal reality where the human eye remains in ecstasy, admiring the detailed setting. Thus they make the Grand Palais, the brand's favourite venue, a new world perfectly mirroring the collection’s mood. For its Chanel cruise 2018/2019, Karl Lagerfeld commissioned a 148-meter long boat called La Pausa, using the name of Coco Chanel’s villa on the French Rivera.

This full-sized boat took a whole month of work to be installed inside the Grand Palais, which was then renewed by the will of this Parisian brand after a donation of £40 million. On another occasion, the German-born designer gave vent to his imagination by setting up a sort of egg-box structure, costing $1.7 million, on a man-made island in Dubai, which Chanel used as catwalk for its pearl-themed collection in 2015.

What happens to the costs if you choose a ready-made location but with great charm?

In this case Fendi stands out in the list of brands that have managed to win a breath-taking location for their fashion show, always managed by the eclectic German designer. Fendi set up its S/S 2008 fashion show along the Great Wall of China, ensuring the title of the longest runway in the world. Despite the minimal setting, compared to the artistic extravagances loved by Lagerfeld, on that occasion the Italian brand spent $10 million well to have the show hosted in that unique location.

VIA WIKIMEDIA COMMONS

On the other side, not every designer wants a spectacle and the trend of an immersive experience with a spectacular production is not for everyone, so many other elements can contribute to the making of the right atmosphere of the show.

Etienne Russo, head of the production company Villa Eugénie, affirmed that “Spectacle is not for everybody. It’s all about doing the right thing, finding a balance and properly doing things”.

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VIA FLICKER Indeed, the creative concept can take life also in the form of other elements such as make-up and hair, the choice of models, invitations, and lightning.

A considerable part of the budget drained for the fashion show is often dedicated to the cast of models. What would a spectacular set design be without someone to animate it? The models not only allow the public to observe the outfits already on a moving body, but they are very often those who make the MIV (Media Impact Value) generated by the show increase. This is why casting directors, like Piergiorgio del Moro, carefully choose the line-up of models that will populate the catwalk.

Not all brands focus on the setting by spending thousands of dollars. In fact, brands like Versace focus heavily on casting for their shows.

They feature various top models that significantly increase the overall cost of the show. Back in the 80’s, the well-known Italian brand created the supermodel craze, as Gianni Versace introduced and made famous beautiful and eccentric girls with a dazzling personality. We are talking about world-wide famous women like Naomi Campbell, Helena Christensen, and Cindy Crawford, that earn up to $100,000 per show, obviously when they work for large fashion houses or when they are asked to show exclusively for one brand.

For example, the Versace Spring 2018 catwalk was studded by fashion legends of different age groups, and del Moro’s decision to fill the show with multiple generations of beautiful, powerful women was a

great breath of fresh air – not to mention iconic.

In addition to the creative management agency responsible for the cast, if any, the most famous brands often choose to rely on make-up and hair experts, who are real luminaries in the sector. That’s why these professionals can charge up to $40,000 per show when working in the big European fashion weeks. Make-up artists who charge very high figures are not always chosen, in fact many brands opt for sponsored beauty products to avoid burdening the budget with costs that can be eluded - as in the case of Christian Siriano, who always chooses to have sponsored cosmetics.

Have you ever wondered how the outfits of the show are put together? A figure that very often is never revealed to the public is that of the stylist. This person combines the clothes in the most appropriate way, creating a link between the concept of the designer and the communication strategies of the brand to catch the attention of the media and consequently of the consumers. A sought-after and now established stylist can earn about $4,000 a day, and he starts working with the designer some the day before the show, to better identify the aesthetic standards of the collection and transmit them through the outfits.

What happens in the case of young emerging designers? How can they bear all these

VIA PEXELS

costs? In general, a designer takes at least two seasons before being known, which is why many designers at the beginning of their careers set up a fashion show with a tight budget and free their imagination to create an event that is persuasive and coherent with the collection, always keeping an eye on expenses.

Is there a way to make the creation of the show less massive? Yes, in fact sponsorships can help these young talents providing funds or materials.

The two main types of sponsorship are money or sponsorship in kind. The first type pays for one or more elements of the show, or the entire event, while the second type concerns goods or services such as make-up and hair or refreshments. Once the designers gain the trust of a couple of companies, the preparation of their fashion show will be less expensive as they can take advantage of the companies’ involvement to generate future commitment.

Many emerging designers and renowned brands aspire to show their collections worn by models that personify the concept of the collection, twirling harmoniously on a catwalk immersed in a setting that barely makes you perceive its artificiality. Lights, sounds, clothes, colours and materials merge, creating a unique aesthetic that aims to collect thousands of likes on social media or put a smile of approval on the faces of those who watch the show.

You can read more of Cicilia’s work on ciciliabrognoli.weebly.com

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QUARANTINED Ashley Dawson takes a glimpse into the lives of London’s artists during the time of COVID-19.

coping with this astronomical and upending change?

It’s no secret that the global tragedy that is the COVID-19 pandemic has caused mass devastation and loss of life across many countries to date. From the moment the news broke in late December to today, three short months later, the world has been on the edge of their seats scanning their TV, computer, and phone screens for any updates on the virus and its trajectory.

I wanted to take an afternoon to ask a few prominent London artists a set of questions concerning COVID-19 and their businesses – to really spread the word about what they’re suffering through in silence.

That’s in plain view – that is known; but what about the unknown ramifications of a worldwide social shutdown?

Economies and industries all over the world are taking a hit as nature takes her course and human beings are forced to “social distance” and quarantine themselves against this novel illness.

The bright, colorful store fronts that used to brighten London streets have turned grey, and the sound of friends chattering and footsteps on the pavement have gone quiet. What has this done to London’s active role in the fashion industry? How are small designers, photographers, and artists

According to one prominent London fashion photographer, Lauren Marsh, it has caused massive cancellations not only for her, but for all of her peers. I sat down with her to get a glimpse into how the outbreak has disrupted photography in the fashion industry: How has the COVID-19 outbreak affected your business?

Shoots have been mostly cancelled for me and for everyone in the industry.

How do you think people view the fashion industry during times of crisis like these?

I think it goes to the back of their minds, as health is a lot more important now than anything else. I do believe people will start to get bored, though, and crave fashion and art more if they’re stuck at home.

What is your long-term plan if this outbreak and forced isolation is longlived?

I’m hoping that the government will begin to back freelancers more, and that rent can be put on hold, otherwise I will start burning through my hard-earned savings. I was contemplating doing online courses for people who are bored and have time to learn right now – I just need to know what people are interested in learning!

It seems that many photographers like Lauren are turning to online courses and e-commerce to help make ends meet, and I’ve seen a multitude of artists begin to offer online tutorials and educational classes for lower costs.

Indeed, this is the dire situation that most artists around the city are describing at the moment. From designers to photographers, and from

IN QUIET Images this page: Lauren Marsh @laurenmarshphotography

LONDON RUNWAY writers and editors, freelancers in London’s fashion epicenter are worried about their bills and ability to provide for themselves in such an emergency.

One such designer just outside Yorkshire, Danielle Ferreira, paints a picture of scarce resources and increasing doubt: How has the COVID-19 outbreak affected your business?

Sourcing fabrics is harder. Given the current climate finding fabrics from within the UK is my safest option. But I'm now worried about courier services and how they may change in the coming weeks.

How do you think people view the fashion industry during times of crisis like these?

I think we are viewed as a non-essential trade, which in all honesty is the truth.

This doesn't mean that I will stop designing and creating, though - to me it's so much more than just an industry.

What could every citizen do to help small businesses in the fashion industry right now?

The same as before: support local, small businesses as we are the people who will most feel the effects of the fall-out from this situation.

What does your day-to-day work at home look like right now? Or is it at home?

I often work from home as I have a little one to care for, too. Access to my studio has now been put into question but I, like everyone else, am observing the social isolation so that was to be expected.

How has this sudden global change affected your first few months of business?

It has affected me taking on new clients for the next few months. I'm a strong believer that everything happens for a reason, though, so if I have to wait a little longer to really launch into my business I'm happy to. You know the old cliché, “everything good is worth waiting for.”

We all have a lot of time inside on our hands right now – how has this extra time affected your designs and has it allowed you more time to get creative?

Absolutely! I'm taking the time to really think over designs and revisit designs that I want to alter. An artist is never completely satisfied with their work so this opportunity gives me the time to add to/rethink designs.

I can hear it in her voice and in that last line: hope. Despite the tragedy and hardship unfolding around them, these artists are resilient. Sure enough, the common denominator in every creative I interviewed was that of strength in the face of the unknown; nothing will and can ever stop them from creating art, no matter the circumstances. In some cases artists described not being able to create seeming like “death itself.”

Images this page: Forbidden Panther

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One such artist, a sort of local London legend, took this stance, maintaining that the art of fashion is what keeps her going every day. Sophie Cochevelou has become known in the London fashion industry for her over the top, grandiose use of colour and children’s toys in her designs, so it doesn’t surprise me that she’s not letting anything stop her from continuing to make art.

Tell us a bit about your business – what makes you unique in the world of London fashion and art?

I am an independent fashion, costume, and accessories designer based in east London. I make unique pieces using upcycled material, discarded toys, and a lot of colours. I never make something twice.

What inspired you to start your creative business and what drives you every day to keep it going?

I studied costume design at Central Saint Martins and never managed to get a proper job, so I felt I would just create my own business. I just like to make stuff and that keeps me going. If I don’t create I feel I am going to die (no I am not dramatic).

How has the COVID-19 outbreak affected your business?

The sales on my online shop dramatically dropped as I do bespoke

LONDON RUNWAY pieces for events that have cancelled and people don’t have the necessity to dress up if they stay at home. My commissions for costumes for gigs or music videos have also been postponed.

Furthermore, as I don’t make a full living from my creative practice, I work on the side as an extra for film and TV and all shoots have stopped for now.

What about this outbreak is different than any other catastrophe that impacted your ability to run your business?

The difference is the uncertainty of the situation, that we have no idea how long it is going to last. Every day comes with more measures and restrictions so we have to constantly readjust and reassess our way of working.

How do you think people view the fashion industry during times of crisis like these?

Obviously we are not key workers so we are not seen as essential, but I think through social media we can brighten up people’s confinement through our creativity.

What is your long-term plan if this outbreak and forced isolation is long-lived?

I am planning to keep producing work and make stock, hoping for a recovery of the economy. I am worried that I will run out of supplies, but as I am a hoarder I accumulate material for years that is coming in handy. The difficulty is to project your business after the crisis and keep producing while the money is not coming in, while hoping the government will take some economic measures for self-employed.

What does your workday at home look like right now?

I am extremely lucky as I have a fully equipped studio at home (what people have often viewed as a sign of unsuccessfulness is now revealing itself as a strength). I am blessed as I have been working from home for nearly eight years, so I know how to discipline myself and keep a routine. I force myself to wake up early, eat at regular time, and dress up even if I not leaving the house. Like most creatives, I also don’t mind being alone and enjoy my own company, so isolation is not a massive change in my daily life.

We all have a lot of time inside on our hands right now– how has this extra time affected your designs and has it allowed you more time to get creative?

Yes, I feel I have more time to make really elaborate and time-consuming pieces, like hand stitching thousands of sequins on a dress. But sometimes this amount of time is staggering, see as I

Images this page: Anthony Lycett Photography

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normally have too many ideas and not enough time to make them happen.

Just looking over Sophie’s Instagram feed is like cracking open the mind of a genius and getting a glimpse of the beautifully absurd – it’s a given that she’ll be creating wonderful new masterpieces at home in her newfound downtime.

My last interview subject, however, was a tad bit different from the first three.

A London lawyer by day and budding writer by night, Sandy Aziz has a respect for the art of law and of the written word that has captivated the attention of London’s finest. She spends her days in court and her nights attending fashion events in the city, and has developed a reputation as a staple in London’s fashion scene. I wanted to pick her brain about how this pandemic has affected the social scene in the fashion world.

LONDON RUNWAY What does your day-to-day work look like right now?

Because I am a freelance writer, a lot of my day-to-day hasn’t changed in terms of where I am writing. However, in order to feel inspired and to draw upon that inspiration as well as cover the fashion trends of present past and future – events help. Since everything is locked down people, including me, have to get creative about finding inspiration in their own spaces.

You’re a writer. How has the quarantine affected what kind of stories you’re telling and how you’re telling them?

As a writer, it is no secret that when I put words to paper and release it into the world, that is my release – my freedom. I think now more than ever I am feeling like I have the time to sit and tell different stories that I don’t know if I normally would have been able to tell. I am actively trying to insert silver linings in every story and every post because there is not enough positivity out there right now.

We all have a lot of time inside on our hands right now– how has this extra time affected your work and has it allowed you more time to get creative?

I have always valued being part of and creating a creative conversation and community and I think this time has increased my fascination in pursuing this more than ever. I started a mini-series called “Amid COVID-19” which is a multi-part series showing creatives creating amid the pandemic… and this can mean whatever they think it means during this strange time. This mini-series may not have been possible with my busy day-to-day, so this time has really allowed me to pursue passion projects.

For fun, and as a sort of interview wrap-up, I asked my subjects to describe their art in three words: LAUREN: Fun, bright, and colorful.

major hub in the fashion world for centuries, and with the community’s support its voices and culture will continue to prevail through these unprecedented times.

DANIELLE: Organic, modern, and inspired by emotion.

SOPHIE: Colourful, theatrical, performative SANDY: Curious, international, and adventurous.

There are so many incredible voices that go unheard in times of crisis and global panic – these are only a few of them. Notable artists, photographers, designers, and painters are closing their doors and struggling to get by during rare emergencies like these where the worldwide economy takes a hit. It is our job as human beings to listen to them, to tell their stories, and to support them. London has been a

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Follow Ashley Dawson on Instagram @Lapin_Studios.

Find the contributors on their accounts, too: Sophie Cochevelou @sophiecochevelou; Sandy Aziz @thesandakin; Lauren Marsh @laurenmarshphotography; Danielle Ferreira @hauseofo.

Images this page: Left - Sandy Aziz; Above - Anthony Lycett Photography

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YOUR STYLE HOROSCOPE Candice brings you spring flowers that encapsulate the personalities and aesthetics of the signs.

March is already upon us with blooming flowers and awakening animals. If you’re in full spring cleaning mode like some of us, think of adding some of these florals into your new wardrobe collection to liven things up!

Aries March 21 - April 20

Dynamic and unique, honeysuckles are the birth flowers of this fiery sign and rightfully so! Free People’s Valeria Duster in the Honeysuckle print is the perfect airy garment to wear for the warming embrace of spring.

Taurus April 21 - May 21

Poppies and Tauruses share similar qualities of being resolute and strong.

Hope and Ivy’s Open Back Midi Dress with Ruffle Hem is a good addition to help the sign further exude their natural beauty and positivity.

Gemini May 22- June 21

These Lavender Teardrop Earrings by Pelindaba Lavender encapsulates the passionate and calm natures of a Gemini, and the teardrop design adds an element of playful elegance.

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Cancer June 22- July 22

Tuning into their sensitivity and romanticism, delphiniums and Cancer signs go hand in hand. This hand painted Delphinium and Cornflower silk chiffon scarf by Silk Intuition on Etsy is a classy way to incorporate these florals for Springtime.

Leo July 23- August 21

Pura Vida’s Sunflower Choker is a subtle way to incorporate this lively flower, but the addition will make the bright, confident Leo glow even more!

Virgo August 22- September 23

Wise and modest, daisies perfectly represent Virgos. Although it’s not quite swimwear weather yet, this Madewell Second Wave Classic Bikini set in Daisy Daydream will be an essential warm weather addition to their wardrobes.

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Libra September 24- October 23 These Washed Black Rose Jeans by Reformation will be a staple in any playful Libra’s wardrobe. Adored by the masses, Libra’s innate passion for justice pairs harmoniously with these florals symbolic of peace and love.

Scorpio October 24- November 22 Geraniums are sultry and deep red, which make them the perfect flowers for Scorpios. Introduce these intense florals into your life in the form of a lipstick, like this Geranium coloured Rose Balm Lipstick by Estée Lauder.

Sagittarius November 23- December 22

A good reflection of the sign’s fiery, adventure hungry nature, Carnations are known for being long-lasting and tenacious. Stranded Treasures’s Carnation Anklet/Bracelet is a subtle way of incorporating this floral gem.

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Capricorn December 23- January 20

Similar to a pansy blooming, this hardworking and ambitious sign loves sharing their achievements.

KerrysWorksofArt’s, on Etsy, Small Pansy Pin in yellow and purple can be used to spruce up any springtime ensemble by just popping it onto a collar or breast pocket.

Aquarius January 21 - February 19 BB Dakota’s Orchid Stroll Floral Romper is a great way to incorporate these elegant florals for the coming Spring time. The grace of the flower compliments the sign’s inherent desire for love and beauty.

Pisces February 20 - March 20

Water lilies are the best representations of this floaty water sign. Incorporate it into your wardrobe by throwing on something like this Waterlily Headpiece

by Lace & Liberty.

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

All images via respective retailers and Pixabay All Illustrations via Lauren Rowley

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LONDON RUNWAY

EDITORIAL WORKSHOP: CHANGING SEASONS Chief Editor Rhiannon D’Averc shares some behind the scenes tips on how she edits location editorial photoshoots – including the cover editorial shot for Issue 28.

will be. I get the majority of my colourising filters from Summerana, a company that creates actions, presets, brushes, and overlays for Photoshop and Lightroom.

Organising location photoshoots can be tough. With changeable weather conditions, and the unpredictability of what might happen on the day, there’s a lot to take care of.

They have two collections which I’ll be focusing on the most during this article: ColorFall and WinterizeMe. I’ve been using both of these for a few years now and they really stand the test of time, becoming useful over and over again.

This is all the more true when shooting ahead of schedule – for example, shooting an autumnal issue in the summer, or a winter wonderland theme in September.

When there’s no other way to get it done, you have to find tricks to get around the problems of scheduling and still make the concept work.

The colourising actions included in these collections create the feel of different times of year. Let’s take this image from the Issue 28 editorial, featuring Olivia Jameson wearing Suyeon Choi, Mango, and bershka.

Her makeup was done by Sidrah Sardar.

Today I’m sharing one of the tools I have in my arsenal: the use of actions and brushes to change a photoshoot’s time of year, making it look like it was shot at a totally different time.

In the second instance, the image is colder, giving the impression of a frosty atmosphere. This was done using the WinterizeMe Winter Blues action, which adds blue tones and puts us into more of a wintery feel.

Let’s start with the easiest way to change the mood of a shoot, no matter where it took place.

CHANGING COLOUR TONES This is a super simple way to create mood and atmosphere, and many photographers aren’t using it correctly. Many don’t realise it can be done, and those that do can often overdo it. I was definitely guilty of that when I first discovered how colour toning can make an image feel really different.

Colourising an image in Photoshop is just like using a filter on Instagram.

You can do it manually, but I find it’s always easier to have a pre-set action which you can use time and time again, knowing what the results

See the difference? Now look below for another take on the image.

The original is above. Now, in the first edit, the image appears warm and glowing – I’ve used the Frolic action from the Colorfall Collection.

This creates a feeling of the last sunshine of the year, hazy days, harvest and warmth.

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LONDON RUNWAY EDITING FOLIAGE This is a pretty tricky area: even if you change the colour tones, and make the image feel a little more frosty, you’d have to lay it on pretty thick to make summer foliage look like a different time of year. The good news is, the same collections have some brush-on actions which can create an interesting effect.

That’s why it was super important to work on the edits so we could hide the fact that everything still looked so lush – and you can see the difference now when we use the brush-on September Equinox action to make it work.

It’s amazing to see the results. Using just a few quick clicks, an image can transform from early Autumn with lush green leaves, to a strong Autumn feel with orange and red foliage, through to a fully winter feel even including snow.

OTHER EDITS

The idea of brushing on an action is to target a really specific area of the image. In this case, we just want to brush on the action over the leaves of the trees in the background, to cool them down and make them look more autumnal.

The images were, of course, not published without other edits. I also made the following changes before adding the Summerana actions:

Here’s an image that we used in the editorial itself, as it was shown. On this image, I had already used the WinterizeMe collection to tone down the leaves and make it look cooler.

Now here’s that same image again, using this time the Winterize My Grass action from the WinterizeMe collection. I’ve even taken it a bit further by applying the WinterizeMe Snow Applicator and brush from the same set, which applies a snowy effect – and which is also controlled by the brush for a more precise result.

In this next image, however, the leaves still appear lush and green in the background. We shot at a really changeable time of year, when orange leaves had already fallen but green leaves remained on the trees.

This is one of my favourite sets to play around with, and in particular the portrait used in the first exercise here is one that I like to re-edit from time to time. I’ve shared several different versions on Instagram (@pcistudio) – for example, with more intensive skin edits that remove the marks under the eyes, with more glowing or warm colour toning, and so on.

There’s a lot of room to play when you have presets and actions which are easy to use. It’s possible to change a whole image with a few clicks, then change it back again, since all you need to do is delete the layer that the action created and everything is back to how it was.

Actions are also super easy to install in Photoshop – you just click the menu button for the actions panel, and import or load a new action from your downloaded files. It then takes a matter of a split second to be loaded in, and you can use it straight from the actions panel without having to redownload it in the future.

With such ease of use and such immediate, intense results, it’s clear why I love using actions and brushes like these to get the job done!

Original editorial images appeared in Issue 28 of London Runway, available to view at issue.com/londonrunway.

Summerana collections are all available from Summerana.com.

View more of Rhiannon’s work at twitter.com/rhiannondaverc

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Q A THE BIG QUESTION We asked, you answered

YOU CAN ONLY LISTEN TO ONE ALBUM FOR THE REST OF YOUR LIFE. WHAT IS IT?

&

“With no doubt: "The Joshua Tree" - U2!”

– Lorena Lareo, fashion stylist

"Taylor Swift Lover because I'm basic"

- Lapin Studios, actress/model/writer/comedian

"Mania by Fall Out Boy. It's my second favourite

“TODRICK HOUSE PARTY P.II” –Rafael Pautasso, fashion designer

album of all time, but I would choose this rather than #1 because there are so many uplifting lyrics about staying strong and surviving. Which you might need, on a desert island!"

- Rhiannon D'Averc, Chief Editor

“Motown Classics. It was one I listened to when I was doing my GCSE revision and it kept me going. It was all the best Motown songs” - Benedict Cork, singer-songwriter

“I cannot choose between The Queen is Dead from The Smiths or the soundtrack of French movie Amelie Poulain by Yann Tiersen” –Anne Marie & Patrizio

“The Köln Concert by Keith Jarret” - Claudia della Frattina, milliner

“Definitely Maybe, Oasis” - Lauren Rowley, graphic designer

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

NEXT: THE FLORAL ISSUE THE SPRING ISSUE FIND LONDON RUNWAY: LONDONRUNWAY.CO.UK @LONDONRUNWAYMAG INFO@LONDONRUNWAY.CO.UK

BACK COVER: BACKSTAGE AT PAUL COSTELLOE BY FIL MAZZARINO