What is an Artist?
“ASPECT”
CHARLES JEFFREY LOVERBOY
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EDITORS LETTER: How do we define art ? And who defines it? It’s 2017, we are living in a social media age, and its becoming hard to distinguish popularity from talent. We are providing a place for individuals to show case their thoughts and ideas away from social media, to delve into the essence of what art is. Aspects debut issue introduces our Yearbook feature ‘Aspect class of 2017’ showcasing a group of twelve young artists. The class is a metaphor for a wider and open conversation and a space that has allowed for expression and freedom with less pretence. The year book represents a snapshot of the diversity of young people within an urban environment. The artists featured have come from different backgrounds and have taken different paths in the creative world. This has influenced how they approach their craft, resulting in an eclectic collection from where conversation is sparked and provides and intriguing narrative to the question ‘What is art?’
“ASPECT” is a London based magazine that aims to capture
the zeitgeist of a forever evolving time, inspiration is constantly drawn from day to day interactions with different types of people and environments. We translate these experiences to create the bases of our magazine.
Lemuel Unaji
Art by Emmanuel Unaji
Regardless of the individual definition, art is a reflection of current society. We are all influenced by our environment; our experiences, conversations, cultures and music whether intentionally or not. This issue highlights the diversity of influences that we may not even realise impact us. Shoots based on Japanese culture to Northern Soul help to visualise and conceptualise the places and time periods that we people take inspiration from today.
Contributors:
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Lemuel Unaji
Editor -in- Chief
Lucy Tulley
Creative Director
Shen Williams Fashion Director
Doris Mari Demetriadou Art Director
Alexander Denning
Emmanuel Unaji
Alice Burgin Journalist
Julia Dziadziak
Alexander Denning | Photographer || Emmanuel Unaji | Illustrator || Jess Young | Nam Seobin | Alex Howie | Melissa Sahinbay | Nike Fleming | Models || Josie Man | Del - Juan Brown | Hannah Prince | Alex Tamatt - Cook | Zuleha Oshodi | Stefanie Bradley | Travis Alabanza | Theresa Gross | Sarah Khiabani | Claude Gerber | Artists || Qianhan Liu | Designer ||
Photographer
aspectmagazine.com Follow us on Instagram: @aspectmag
PA R I S
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CONTENTS: 08 14
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Editors Letter
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TIP: This Isn’t Personal
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Double Click to Edit In a day and age where we are learning to appreciate our differences and embrace individuality, why do we restrict ourselves and fear rejection if we push boundaries?
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Class of 2017 A Class of 7 Students: Consisting a diverse cast of artists; showcasing impassioned work from various mediums.
Culture: Amy Winehouse: A Family Portrait An incredibly intimate exhibition curated by her brother and sister in law that can be recognised to members of the public as nothing but relatable and nostalgic.
Cover: Jess Young wears Qianhan Liu, with photography by Alexander Denning
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Grave of the Fireflies
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BLN SVGE
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Beauty: Hydra
All Souled Out
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Comic Strip: A Groovy Boothang By Lemuel Unaji
Printed and bound by Collins Bird & Withey, London Aspect Publications Ltd 6 Penrose Way, London SE10 0EW editors@aspectmagazine.com © 2017 “Aspect” Publications Ltd. All rights reserved. No part of this publication may be reproduced, stored in retrieval systems, or transmitted in any form or by any means electronic, mechanical, photocopied,recorded or otherwise, without the prior written permission of the copywrite owner. All releases are the responsibility of the contributor. “Aspect” is in no way responsible or liable for the accuracy of the information contained herein nor for any consequences arising from its interpretation. All of the above activities shall be subject to English Law.
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Amy Winehouse : A Family Portrait
Any preconceived ideas of a member of the 27 club vanish, as you enter Amy Winehouse: A Family Portrait. An incredibly intimate exhibition curated by her brother and sister in law that can be recognised to members of the public as nothing but relatable and nostalgic. The exhibit of her life, held at the Jewish museum in the heart of Camden, is contained in a small room. Although her life was often under media scrutiny and was unable to be avoided, as published in intrusive detail across tabloids, you’ll find that merely anything has been written about the star’s traditional Jewish heritage. A family portrait provides an insight into her personal life and the real Amy. The infamous winged eye-liner and neglected beehive is spread across the wall as Winehouse is photographed for a cover of Rolling Stone magazine, but this is just the mask of the girl from North London we are lead to believe existed. Pushing aside our prejudged assumptions, we are able shown a Jewish cookbook, an old guitar, and a ‘chill out’ mixtape to include the likes of Louis Armstrong and Frank Sinatra. We are reminded that even worldwide phenomenon’s such as Amy, are just humans like the rest of us, too. Despite these poignant items being on display, it is evident that the recurring motif throughout is Amy’s application letter to the Sylvia Young Theatre School. “I just want people to hear my voice and forget their troubles for five minutes.” is amid the
various excerpts inscribed into the walls. Amy’s voice is not the only one that is heard, though; with a sea of notes left by friends, family and fans in tribute to her life. Greeted by a wall of cabernets, we are familiarized with an extremely petite dress worn by the singer at Glastonbury 2008, which was crafted by Luella; a designer whom was a personal favourite of Amy’s. A pair of Christian Louboutin’s accompany the little number, along with an array of personalized clothing sent to her by numerous labels wanting to cash in on her fame. Adjacent to these items are black and white photographs of her grandmother Cynthia, who was clad in thick lipstick and Minnie mouse platforms. It is easy to notice the influence behind the nostalgic style that Amy showcased to the world. A wall mural created by the illustrious street artist, Pegasus, encourages us to not only visit A Family Portrait, but to appreciate the NW1 location through an art trail. This invitation to a small adventure gives the opportunity to truly walk in the singer’s shoes by visiting 9 artworks dedicated to her. After all, she is seeping through the cracks in the pavements and the exposed brick of Camden. The light hearted exhibit exuding warmth and happiness, leaves us feeling far from distraught. We are reminded that, although the life of Winehouse was cut short, her time with us must be celebrated.
Written by Lucy Tulley
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TIP: THIS ISN’T PERSONAL The editorial for TIP was actually shot in our studio. We liked that the surroundings were familiar and authentic, and wanted to create an industrial feel; from the steel chairs to the background - which we kept really simple, using block colour and shape. The model that we used is one of my close friends, but also a fellow artist; again, it made the shoot original and real. Me and my team are all really interested in industrial design, so for the colour scheme we decided to use RGB red, black, white and grey. We wanted to ensure that everything was very simple but still clear and bold so that it held strong visual identity. We covered the entire floor space in silver reflective tape, which links back to the mannequins that we use. It’s the brands aesthetic. The garments for the collection follow a female narrative. I’d say that I was inspired to create them after a bad break up that I had, so I guess that’s when I began to generate my ideas. It really helped me to completely immerse myself in my work as it kept me busy and let me express my thoughts. Again, we kept it simple in terms of the style of print. Our favourable method was screen printing, which we used for the t-shirts and sweaters. We used layered flock print to create our final outcomes. In total there were five garments within the collection, to include a forties style jacket and a skateboard. The other pieces were inspired by line work, as we wanted there to be an obvious contrast. I’m currently working on a third collection, which I want to expand in size. Ideally I’d like to design two jackets this time. We’re curating an exhibition at our university, Ravensbourne, which is in London. It will be entirely based around art, clothing, sound and set design. It’s a large student project consisting of a team of 10 people. I think it’s a great opportunity start networking and to create opportunities, and hopefully it will inspire other students, too. I believe that anything is possible if you are willing to work hard!
Interview of Alex Tamatt - Cook by Lemuel Unaji Written by Alice Burgin and Lucy Tulley
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Rooftop Film Club has truly perfected the art of outdoor cinema and to end this phenomenal summer, the club is hosting an exclusive evening; four movies, back to back, in one thrilling afternoon. Soak up the glorious London sunshine (while you can) with breathtaking views across the city. To finish off the sky high September screenings, Rooftop Film club invites you to come watch the all-time movies ‘Kids’, ‘The Lost Boys’, ‘The Man who Fell to Earth’ and lastly ‘The Warriors’ at the top floor of the Queen of Hoxton on September 16.
We look forward to seeing you on the rooftop, mark the date!
Love, Peace and Great Film!
Model Alex Howie Photography by Doris Mari Demetriadou Styling by Shen Williams
Above Alex wearing MARSAYIAH and not following certain trends by challenging the way we wear our clothes.
showcasing our style to the world. ‘Double click to edit’ identifies the stigma around being alternative
social media accounts in existence that are entirely devoted to #OOTD, we should take advantage of
do we restrict ourselves and fear rejection if we push boundaries? Why conform to a uniform? With
In a day and age where we are learning to appreciate our differences and embrace individuality, why
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Alex wears Saint Laurent sunglasses, Tommy Hilfiger jumper and a No Art Today tote bag by River Renjie Wang.
On this page Alex wears MARSAYIAH felt sweater and his own necklace. On the right Alex is wearing a MOOD LAB bag and Louis Potato Earrings.
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ASPECT / 34 Alex is wearing a pinstripe blazer from Raf Simons, white cotton shirt from Etro and metal round-frame glasses from Mykita.
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Alex is wearing a pinstripe blazer from Raf Simons, white cotton shirt from Etro and metal round-frame glasses from Mykita.
Nike is wearing Harvery Faircloth straight leg corduroy trousers on the right, the top is Nike’s own.
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ALL SOULED OUT Model Nike Fleming Photographer Alexander Denning
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Nike wears Bonnie Young head to toe.
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On this page Nike is wearing a DKNY ribbed-knit sweater and Sonia Rykiel wool trousers.
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On the left Nike is wearing a diaphanous silk blouse and canvas shorts, by Bonnie Young. the pumps are from Fabrizio Viti. Nike is wearing Harvery Faircloth straight leg corduroy trousers on the right, the top is Nike’s own.
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On the left, Nike wears Saint Laurent sunglasses and Revolve jumpsuit. And on this page, denim Levis jeans and a vintage cropped vest.
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Nike is wearing Sonia Rykiel trousers and Equipment stripped cotton shirt, the belt and bracelet is a vintage find.
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Painter: Del - Juan Brown
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Interview by Lemuel Unaji Written by Alice Burgin and Lucy Tulley “An Exploration of Expression”
I: What would you say your first memory of doing something creative was? DB: “I was always creative when growing up. I began painting and drawing around the age of four or five. I love to sculpt, too. I suppose over the years my creativity has continued to expand.” I: When did you begin to realise that you were a creative person? DB: “I just remember showing my artwork to family members. It motivated me; they gave me the confidence and determination to pursue my passion.” I: Where would you say your inspiration comes from? DB: “Ultimately, my main source of inspiration is my dad. He was in my life when I was growing up. I was constantly surrounded by his work - he was a graphic designer, and got commissioned to create artworks. That’s definitely where my artistic background stems from”. I: Where did the whole metamorphosis theme originate from? DB: “I’ve always been really interested in the transition between two animals. The process is simply fascinating. I suppose I relate that to my personal story of immigration and combine the two as a starting point for my own work. I love the whole concept of growing and changing.” I: What would you say affected you the most when you moved countries? That’s a big change. DB: “I’d say that it had a negative effect on me as a person, actually. Not so much now, but at the time I felt that I had lost my identity. I had to try and make sense of the change in my surroundings. All of a sudden I was put in a new country and an entirely different environment. Looking back, it was such a confusing part of my life. I wasn’t really sure who I was.” I: What themes do you explore within your work? DB: “I never really stick to a theme. I’m constantly looking into different topics, as I think this gives me a greater understanding of the world around me. It depends on how I’m feeling at that time. I believe in whatever feels natural to me.” I: When you moved, you must have come across many types of people? Did that have an impact on you? DB: “Yeah definitely. When I first moved to the UK, I found that people were much more forward thinking and business minded. The whole dynamic was completely different to what I was used to.” I: Where do you see yourself in the future? DB: “I see myself being within the design field; either working for a company, or being self-employed. Ideally, I would like to start my own a fashion label. I think that going out on your
own enables you to express your true self, and showcase your work on an entirely different level. I want to maintain my background in art.” I: Is there anyone that you look towards for inspiration? DB: “I can’t say that I ever really look for inspiration from other people; I mainly take it from my own personal experiences. I am influenced by various methods that are used within ‘art’ though, because I enjoy exploring different mediums. However, in terms of my ideas, I’d say that they are very personal. I like the idea of my work being organic, from what I have learnt as a person, rather than following a certain artist and copying their style.” I: Where did you grow up? What was it like being raised in multiple countries? DB: “I lived in Zimbabwe until I was 7 years old, then I moved to South Africa for a year. After that, I came to the UK. I felt like the environment I grew up in was very laid back, it was incredibly unproductive. The change in my education was definitely the most significant, because I was so used to teachers being on strike. So when I came to school in the UK it was such a noticeable difference. I was actually being educated for once! This made me realise that I wanted more for myself. I owe it to my mum, as she is the reason why we had the opportunity to move countries. I just want to make her proud”. I: What are the most recent things have you been working on? DB: “At the moment I have mainly been channelling all my energy into my final project ‘metamorphosis’. I have also been working on my website for upcoming new ventures; I’ve recently produced some paintings and t-shirts. I enjoy telling stories and creating concepts throughout my work, because doing that completely brings it to life and makes it real. For instance, when you look at a campaign, there is always a story behind it and a character that is used to visually depict the story”. I: Where do you see yourself in the next 5 years? DB: “I’d like to be working as a designer. I hope that I will do some internships over the upcoming years and establish some connections, so that when I graduate I will be offered a job. I learnt so much from experiences in previous internships – you really get a feel for the industry and how it is constructed. As well as this, I’d probably like to do something else on the side, too. I enjoy being busy.” I: What would you say the positive results are of being at university? DB:“I see further education as a positive thing. It keeps me focused and provides me with structure and stability. I definitely made the right decision to study a foundation course, as it has allowed me to figure out what I want to specialise in.”
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Designer: Zuleha Oshodi
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Interview by Lemuel Unaji written by Alice Burgin and Lucy Tulley photography taken from Zuleha’s Lookbook
I: What made you get into Fashion Design? ZO: “My mum’s always been really interested in fashion, but not in a way that’s like ‘oh she does fashion’, she’s just such a fashionable person. You can tell by looking at her; always buying clothes and putting different outfits together, she uses so many amazing colour combinations. Her love for clothes has inspired me to be part of the fashion world. She’s definitely my idol in terms of style”. I: What kind of style does your mum have? ZO: It’s just her; the way she uses bright colours. My mum has a big afro and she wears bright orange lipstick. She’s always had the same style, it’s her look. Years down the line and people still recognise her, so I guess that’s just rubbed off on me. I want to have that; a signature look, so that people see me in the future and still know that it’s me. I like drawing, and I like clothes, so I guess the two together create a good combination. Ever since I can remember I’ve always produced little illustrations. I even did sewing club when I was younger, too. It’s almost like a drug in a way. You start from visualising something, with just a pen and paper creating rough illustrations. Then you finally develop it into a final garment. It’s honestly something else, seeing that transition from paper to real life - that feeling when you finally see the end result on the model, coming down a catwalk. I’ve been designing since I started secondary school and it’s honestly so stressful, but when it all comes together it’s such a magical experience.” I: What do you start with when you begin the design process? ZO: “For me, it’s like telling a story. I thoroughly enjoy story telling. I do this by including small hidden messages, such as elements of the historical influences behind the collection. For example, I did for a competition for Burberry, and based it on the 1960’s migration of Jamaican people coming to England and how they basically saved the NHS. To gain inspiration, I watch various different documentaries and look at photos from exhibitions. I find the whole process is so interesting, to create meatier concepts behind the collection and make all these characters, so it has something behind it. Its deeper than just clothes. For my final project I was inspired by the female figure, s of the black panthers. Obviously everyone knows who they are, and the models are iconic, but its more masculine based. You automatically think of the guys but the women had an equally as strong part to play. I think the reason I started coming up with this concept for my FMP was Beyoncé’s formation. I saw the video and I was like that looks amazing; that sense of unity, the way they all looked like a part of a massive girl gang.” I: What is your main source of inspiration? ZO: “I’d say people. I get inspiration through experiences. I can look at individuals and what they portray and could probably make a concept entirely based around them; It can be anyone ranging from a celebrity to an average everyday human being.
One example is Solange Knowles - not even just because of her new album, but I’ve just been following what she’s been doing for a long time, and some of her music took her 6 years to make. That whole struggle of how she finally made it from being Beyoncé’s little sister to finding her own voice. Basing my work on such strong characters is a fundamental part of my whole design process, really.”
“Art is like a language because it communicates a lot more than any language we speak on this earth. You can understand a person so much through a film or a collection or even just a canvas painting. People look at art from a variety of angles” I: What does art mean to you? ZO: “You know, that’s genuinely such a difficult question! For me, art is like a language because it communicates a lot more than any language we speak on this earth. You can understand a person so much through a film or a collection or even just a canvas painting. People look at art from a variety of angles. You’re able to take so much from a piece because it conveys multiple messages. I love that art enables self-expression, whether you agree with the meaning behind something or not, you can get so much from it. It’s insane. I feel like films and music videos are my favourite form of art, actually. When you watch a piece of videography, you become so immersed in it. I went to see the infinite mix exhibition and when I say I was entranced; I mean it completely blow me away. The fact that you can be teleported into a whole new world and then come back to reality is crazy. It’s almost hypnotic. I just wish that they curated more exhibitions like that, especially in London. There are so many film makers that don’t get the exposure or recognition that they deserve.” I: What do you think challenges you as an artist? ZO: “I think you have to try and constantly reinvent yourself as an artist. You always have to find something relevant to say, innovative even. For creative people in general, as soon as you’re unable to generate with new ideas, that’s when you know your creativity has died. Whatever you did last year shouldn’t be the same as what you’re doing this year; It should always just be changing, evolving and moving forward.” I: Do you feel like you’re evolving? ZO: “Yeah a hundred and ten percent. What you may think Is your aesthetic always changes - which is good because you need it to change. Obviously there’s stuff that you need to stay true to, because that is what makes you original. Personally, one thing that I wouldn’t alter about the way I work is my
I
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heavy use of bright colours. I could never be a designer that only uses the colour black, it would feel so wrong: I’d just want to add a pop of something to my collection, you know. For example, I did menswear when I first started out. My style was very androgynous, in fact everything was oversized, whereas now my designs are more tailored and have noticeable shape hence why my collections are now predominantly based upon the feminine silhouette. I think perhaps later in my career I will go back to designing clothes for men, as it’s something that I never fully developed my skills in.” I: What do you see yourself doing after you graduate? ZO: “I’m going to be searching for jobs. I want to work for someone before I go out as an independent designer. I’d like to think that I will have my own brand eventually, because I just like doing my own thing. I’d rather be my own boss. Before I do that I want to be sensible and learn the basics, though. I don’t want to jump into something that I might fail at. I want to start making money as well; I’m so bored of being broke! I don’t think that I can stand working in retail any longer.!” I: I saw you in a magazine recently, I didn’t realise that you were interested in skating? ZO: “Yeah I do! I originally started around the same time that I first began studying at university, but I’d say I properly got into it last Christmas. I like active things. It’s always been something I’ve always wanted to do. I just didn’t have the coordination at first. I learnt the basics on my friend’s penny board, and then when I began working at house of vans I was surrounded by people who were skating all the time, so I guess that’s what furthered my interest.” I: Would you say that it inspires your creativity? ZO: “It’s so nice to be around different crowds of people. Skate culture is something that attracts many types, from grown men (although they are basically children trapped in the body of an adult) to those that are a similar age to myself, who are from various backgrounds; from music and art to fashion. You go to the skate park and everyone is just there, chilling like one big family. I love the vibe; I think it’s sick. I just wish I got into it sooner.” I: Do you collaborate with other people? ZO: “I’m yet to collaborate with anyone, but I would really love to, especially with someone from the film industry. For my dissertation I created a mini film, actually. I have a friend who is producing a video for his final major project, which is he pitching to hunger magazine and he’s using my work, so hopefully he’ll get it (because that will mean PR for me!). I feel like Ravensbourne is such a great place for collaboration: so many people are wanting to join forces and be creative together.”
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Performance Artist: Travis Alabanza
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Interview by Shen Williams Written by Alice Burgin and Lucy Tulley
Left: Stories of a Queer Brown Muddy Kid Next page: Putting Words in your Mouth
I: What is art to you? TA: “Art is a really board term which is used to define things. Art can be expressed in various different ways, but for me personally it is through performance and theatre. I use that as a way to create social change.” I: How did you get started in the creative world? TA: “I attended a youth theatre when I was younger and performed as much as I could. I’ve always enjoyed drama. I found art inaccessible in a way, because it requires money and professional training, none of which I had. I started out in the most available form of performing which is open mic, then began working in places where you don’t have to pay to perform, and I suppose that Is how I got to where I am now.” I: What is your purpose for your work? TA: “My main goal when I create work is to make it about me as much as I possibly can and keep it authentic. I’d say that being creative enables me to heal. It gives me a way of processing my personal experiences and what is happening in the world around me, a way of expressing my feelings. There are a large amount of people within the art world that aren’t represented or given exposure in the media, such as black, queer, working class and non-binary. These are just a minority, so I feel that I produce my work with that in mind; it’s very much about creating awareness and visibility. I feel almost as if each time I’m performing or making, that I’m also creating a new language for people to relate to.” I: Would you set a target for yourself? TA: “I think it’s difficult to set a target, because a lot of this was unintentional; I never really expected for any of this to happen. In all honesty, I didn’t think I could be a full time artist. A lot of the time when I’m performing at the Tate, the Roundhouse or the V&A they will only allow people like myself to perform once a week. I want black gay people to be owning spaces, not just performing in them. My ultimate goal is for others in the LGBTQ community to be the people creating events and being in control. In twenty years I no longer want to be performing for venues; I want to own them. If you look at performance art right now, although there is diversity, it is still predominantly white people running the cultural sector. I want this to change and for there to be equality.” “I think that sometimes certain people are considered to be to be part of trend, so for example right now, I am one. How do we work past that? I want real, solid change. For instance, I am performing at the Tate next week. The entire line up consists of black people, however this is still considered to be out of the ordinary. The Tate will benefit from this whole idea of black people being different, and It shouldn’t be like that.”
“Trends come and go, but I believe it’s what you do with that exposure that can make a long term impact and difference. One example of this is every October, when it is black history month, I am always so incredibly busy because all of a sudden everyone wants to book a black person. I’ve been doing that for a few years now. This year, people have started requesting to book me already. I’ve created a list of other performance artists like myself, from the UK, and have responded to bookings by saying that I will only agree to perform if they also book someone else from that list. That is my way of making a statement and pushing social change.”
“I’m personally more interested in breaking down the barriers that surround the stereotypical ideal of an artist. I honestly think people are afraid to call themselves an artist, as it almost puts them in category, as if they feel that they need to be able to create art with a purpose or meaning” “I went to Brighton yesterday and there was a poster that was promoting a festival that had my face on it, which was a strange feeling! But yet again, I knew that it wasn’t because they particularly wanted me to be the face of their festival. I think it’s because my face will sell an image that people will buy into. Another example of this was when the Royal Vauxhall Tavern booked me (one of the oldest gay venues in the UK, which is also predominantly white.) I hosted there for a whole month and gradually it turned out that the room was 70% black people. What I’m saying is that I know they are booking me because they want to encourage new audiences and types of people.” I: What makes an artist? TA: “An ‘artist’ can be anyone from a writer to a theatre performer. Obviously there are also more traditional ways of working, such as fine art and photography. I’m personally more interested in breaking down the barriers that surround the stereotypical ideal of an artist. I honestly think people are afraid to call themselves an artist, as it almost puts them in category, as if they feel that they need to be able to create art with a purpose or meaning. A good artist is someone who is actively looking at what is going on around them and making their work relevant and current. You’ve got to be constantly evolving.”
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Grave of the Fireflies Jess Young and Nam Seobin wearing Qianhan Liu Photographer Alexander Denning
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BLN
SVGE
11 Artists 1 Vision
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Claude Gerber
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Interview with the Curator of BRN SVGE:
Sarah Khiabani Interview by Lemuel Unaji Written by Alice Burgin and Lucy Tulley
I: What was your thought process when putting the exhibition together? SK: “I work in fashion for big clients and I find there are so many creative people who can’t express themselves. I want to give them an opportunity to work free without it being so commercialised. I also want the opportunity to collaborate with other creatives as I think it will make me more open minded, too.” I: How did you decide which artists to pick for the exhibition? SK: “It’s more likely that something will catch my attention if it’s not stereotypically ‘beautiful’; it makes my eye stop for a second to really analyse and digest it. I’m mainly doing the exhibition so that I can meet people. I want to see how others work and discuss their sources of inspiration with them.” I: What have you got coming up? SK: “The next exhibition is called “soft” and it’s about love.”
Emmanuel Unaji
I: What was your first creative memory? SK: “I used to draw when I got angry. I find that being creative enables me to cope with stuff I have going on emotionally. It’s almost as if there is something inside of me that tells me to do it. I feel 100% myself when I’m being creative.”
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Sarah Khiabani
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Hydra Melissa Hinbay
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Urban decay Eyeshadow in the shade of Vice and Full Spectrum Eyeshadow Palette for the eyes, Cream Vice Lipstick in the shade Anarchy for the cheeks, Mega Matte Vice Lipstick in the shade Savage for the lips.
By
Lemuel
Unaji