Noctis XI by Noctis Magazine

www.noctismag.com Spring 2014

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ENTREPRENEURS

C O NTENTS FEATURES

MUSIC

page 18 - Anna Stephenson

page 174 - Dougie Poynter

page 30 - Hungry Like The Wolf

page 182 - FĂŠ

page 58 - Thomas Petherick

page 186 - Buster Bennett

page 68 - 5 irrevocable truths about dating in New York

page 198 - Michael Forrest page 206 - Parisa Louvel

page 82 - Anna Tea page 216 - FRAU DJs page 90 - Phoebe Kiely page 106 - Small Girls PR page 112 - non zero one page 122 - We Are Up page 130 - What's the story, Morning Glory? page 160 - Judy Wu page 286 - A Seamstress for The Queen

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PHOTOGRAPHY

THE NOCTIS MAGAZINE TEAM

page 8 - Chris Pupo

EDITOR-IN-CHIEF Leoni Blue; leoni@noctismag.com

page 10 - Lucia Sylvania page 74 - LiTTLE RAMONAS page 100 - The Wayward Rose

MUSIC EDITOR Erin Davies; erin@noctismag.com PICTURE EDITOR Jodie Shepherd; jodie@noctismag.com

page 138 - Single Malt page 150 - Dwellers page 166 - The Impression

FASHION EDITOR Sophie Monro-Pruett; sophie@noctismag.com CONTRIBUTING FASHION EDITOR Faye HĂŠran; faye@noctismag.com

page 224 - Daydream, Day Dreams page 234 - Behind the Aura page 242 - Lores of the Land

EDITORIAL ASSISTANT Sophie Burrows; sophieb@noctismag.com ARTS EDITOR Jennifer Geach; jennifer@noctismag.com

page 252 - All That is Left page 260 - Occupied page 268 - Like This, Forever

FASHION FEATURES EDITOR Hannah Oakley; hannah@noctismag.co.uk CREATIVE DIRECTOR Joel Jay Palmer; joeljayp@noctismag.co.uk

page 278 - Wherever I May Roam page 294 - Springtime of Life

SUBMISSIONS info@noctismag.com

ENTREPRENEURS

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ENTREPRENEURS

N OC TI S XI

C O NT R I B UTO RS PHOTOGRAPHERS

WRITERS

GROOMING TEAMS

Chris Pupo Gökay Çatak Anna Stephenson Saga Sig Pia Love Toribio Anna Tea Phoebe Kiely Tom Martin Alice Peperell Hype D Rob Rusling Leoni Blue James Callaghan Thomas Hensher Ben Paynter Matt Clark Phillip Suddick Sarah Fountain Katie Eleanor Vincent Binant Sarah Louise Johnson Gloria Marigo Izack Morales Jamie Jupp Ellie Smith Darren Black

Erin Davies Jodie Shepherd Eleanor Dunne Sophie Dean Sophie Burrows Chloe Monro-Pruett Alissa Voutova Monica Uszerowicz Kate Malczewski Keziah Brown Tom Blay Loo Loo Rose Hiba Mohamed Caitriona Anglim

Sybille De Beuckelaer Tashan Cian Louise Hall Roxanna Gillani Lesley Vye Francesca Bartha Sophie Anderson Lisa Farrell Dionne Lea Taylor Helen Asher Penny Antuar Nadine Johns-Alcock Ann-Marie Lawson Celine Martin Jonathan Geimon Sian Duke Rebekah Calo Kimberley-Anne Vowels Silvia Acquapendente Cathia Rivera Fernanda Pavon Aminah Drašković Erum Sheikh Rhea le Riche Ellie Tobin Kumiko Tsumagari Nuriye Sonmez Abigail Bamsey

ILLUSTRATORS Maudie Merchant Faye West Zoe Clements

STYLE MAKERS Elisabeth Claes Camila Saldarriaga Francesca Aimee Naaman Brown Beth Gowland Kiera Liberati Hannah Eichler Tamzen Holland Faye Héran Manon del Colle Kelvin Barron Frederica Rita Diana Amezquita Oakwood Co. Jaclyn Bethany

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MODELS

SPECIAL THANKS TO

Lynn Bosmans at Flag Models Bruxelles Olivia Gordon Vanessa Schefke Bianca and Declan John Geraghty at Nemesis Agency Jordan and Ana at Elite Model Management Joel and Junior at AMCK Models Jameela and Camille at Leni's Models Frankie at Industry Ben Worlock at Bookings Model Agency Jenna Dickson and Frank at Profile Model Management Merille Raagas Aimee at First Model Management Justine Roulliaux at City Paris Emilia Andersson at 2Morrow Models Milan Andrea Infante at Pose Models Shereen Alex at Charles Stuart International

Elisabeth Claes Anna Stephenson Portia Ferrari Thomas Petherick MIA LiTTLE RAMONAS Camila Saldarriaga Francesca Aimee Small Girls PR non zero one We Are Up Thomas Howard Kerry Saxon Nathan Walton Judy Wu Storm Model Management FĂŠ Buster Bennett Michael Forrest Parisa Louvel FRAU DJs ERA Management SMASHBOX Bumble&Bumble Alexander Picard MAC Pro Manisha Patel Naomi Oliver Nicholas Hayward Hotel Bourgogne et Montana Airport Vudu Nails

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Ilhuicamina Letargo Karina Hernandez Jo Barber Adama Jalloh Alexandra Davenport Fatima Monjas Frederica Watson Phyto Jurlique NARS Jennifer Chapman at CLD Communications Sarah-Jayne Read and Emma Scott at Premier Comms Ailish Kaleda at Elite Model Management Hannah Braid at Swell Publicity Tamla Kari Luke Newberry Laura Dale Kalim Patel aka Khushi Liza Owen Margaret Clunie Little Nikki Sam Sure Sophie Rose Harper Denai Moore Josh O'Conner

ENTREPRENEURS

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N O C TI S M AGAZI NE EN T R EPRE NE URS W ELC OM E

THE

S PR I N G

I SSUE

N OC TI S M AGA ZI NE The sun has started to peak through the clouds, and the clocks have just gone forward, so here in the world of Noctis that must mean one thing... A new issue for all of you to enjoy. Who would have thought a couple of years ago that we would make it past the big 10, with our 11th issue. With this issue, we are looking at the hard workers amongst us; the people who jump in at the deep end and start something new, this is our special on ENTREPRENEURS. Now, let's get down to business (no pun intended). We have some great features for you this issue with the likes of the great theatre company, non zero one, and New York based PR company, Small Girls PR. We also have the intriguing man behind London Sound Academy, Buster Bennett, talk to us about stories that you wouldn't believe. Amongst all of this, we have editorial work from around the world, including the likes of Miami, Mexico and London. Our music section doesn't leave you disappointed either; the bassiest one from McFly, Dougie Poynter, features as our cover star, our dear friend Parisa Louvel returns and the genius behind some of the apps that we can't get off of our phones, Michael Forrest talks in depth about some extra-ordinary ventures. As always, we hope you enjoy our 11th issue as much as we do, and all of the amazing features from our incredible contributors. Peace and Love from The Noctis Team x

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ENTREPRENEURS

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CHRIS PUPO

PHOTOGRAPHY BY CHRIS PUPO

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CHRIS PUPO

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Lynn wears garments by Elisabeth Claes from the "Lucia Sylvania" collection

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LUCIA SYLVANIA

PHOTOGRAPHER GÖKAY ÇATAK STYLIST ELISABETH CLAES MAKEUP ARTIST & HAIR STYLIST SYBILLE DE BEUCKELAER MODEL LYNN BOSMANS AT FLAG MODELS BRUXELLES DESIGNER ELISABETH CLAES

LUCIA SYLVANIA

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Lynn wears garments and shoes by Elisabeth Claes from the "Lucia Sylvania" collection

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Lynn wears garments by Elisabeth Claes from the "Lucia Sylvania" collection

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Lynn wears garments and shoes by Elisabeth Claes from the "Lucia Sylvania" collection

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ANNA STE

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EPHENSON WWW.ANNA-STEPHENSON.COM

PHOTOGRAPHY BY ANNA STEPHENSON MODEL IS OLIVIA GORDON INTERVIEW BY CHLOE MONRO-PRUETT WITH ACCOMPANYING WORDS BY JODIE SHEPHERD

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ANNA STEPHENSON

INSPIRED BY FEMINITY AND WOMEN, ANNA STEPHENSON HAS STRIVED TO DEVELOP TECHNIQUES TO PRODUCE COLLECTIONS THAT HAVE A SUBTLE FOCUS ON SURFACE DESIGN. EACH CREATION SEES A PHOTO-REALISTIC AESTHETIC THAT TRANSPIRES INTO A DEEPENED NARRATIVE, WHERE THE NEGATIVE SPACE EXPLORES THE VISUAL AND EMOTIONAL RICHNESS OF HAVING NOTHING. A SENSE OF CULTURAL ENRICHMENT IS PRESENT AND SEEPS INTO THE HEART OF EACH AND EVERY ANNA STEPHENSON DESIGN, ALL WHILST AN ENDURING BURDEN OF SPIRITUALITY PREVAILS. HOW WOULD YOU DESCRIBE YOUR LATEST COLLECTION? WHAT WERE THE SIGNIFICANT INFLUENCES YOU HAD? My new collection explores the frozen image using sculpture and photography to capture a moment in time and document it forever. Fashion is so fast-moving that we barely have a moment to stop, look and learn from the beautiful clothes that are being made. My process involved me draping huge cuts of fabric across my studio walls; I would pin, slash and pull the fabrics until I was happy with how they looked. Some would take 5 seconds to create and others, well others, I would dance around and be tormented by for hours. It was a very physical process. When I was happy with a drape I would photograph it and send it to the digital printers. By the time that the fabric was printed and back in my studio, the original drape no longer existed. The fabric merely became a reference of a time passed. It looked three dimensional, you wanted to touch each crease, press them out, but you couldn't. You came to realise that it was a single two dimensional piece of fabric, a perfectly ironed piece of silk born with a deeply entrenched history and heritage. YOUR GRADUATE COLLECTION FROM EDINBURGH WAS VERY COLOURFUL AND BASED UPON PATTERN, WHEREAS THIS COLLECTION IS VERY MINIMAL AND MONOCHROMATIC. HAS BEING IN NEW YORK INFLUENCED THE WAY YOU WORK? My studio in Edinburgh looked onto the Edinburgh Castle and my studio in New York looked onto Time Square. I was surrounded by very different things indeed! Of course, our surroundings are extremely important to our design processes and since living in New York I have grown and matured so much as a designer and as a person; but I think I can carry my passion everywhere I go. As long as I’m around other creative’s and have a large open space to work in I will be fine. My graduate collection made me realise I was in the field that I wanted to be in for the rest of my life. That experience will always have a special place in my heart.

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ANNA STEPHENSON

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ANNA STEPHENSON

HOW DO YOU FIND STUDYING IN AMERICA COMPARES TO THE UNITED KINGDOM? The great thing about the MFA Fashion Design and Society program at Parsons The New School for Design, was that the class was completely international. In a class of just 16 we had aspiring talent from Germany, Spain, New Zealand, Poland, Korea, China, Japan, America, Britain... all sorts! So it’s hard to define it as an American course, it was a community of different stories and cultures coming together. Having New York as our backdrop made it all the more exciting though. WHICH ARE YOUR FAVOURITE MATERIALS AND METHODS TO WORK WITH, HAVE THESE CHANGED SINCE WORKING IN NEW YORK AT ALL? I find it difficult to articulate my design process because my ideas are better expressed as dresses than paragraphs. That said, a theme throughout my work, and exemplified in my most recent collection, is enjoying the fabric. Large cuts of fabric have always been my first point of inspiration, huge drapes and dramatic wrapping that folds and reshapes itself in response to movement is a beautiful notion. Cotton linen is the first fabric we feel, held close to our mothers at birth, and, on our deathbeds, the last fabric that envelopes us. Curtains, for example, reveal and frame ideas, but also protect and close us off from the outside world, and it's those un-fashioned, square bits of fabric that are essential to making us who we are. These foundations have always been built within me. New York was just an exciting and wonderful place to explore those ideas. WHERE IS YOUR FAVOURITE PLACE IN NEW YORK? There is a beautiful café in Greenpoint, Brooklyn, called Milk and Roses. I live in Manhattan so when I need to escape the hustle 'n' bustle, I go there. It has a beautiful hidden garden where I can hide away. IF YOU COULD HAVE A FASHION COLLABORATION WITH SOMEONE, WHO IT BE, AND MOST IMPORTANTLY, WHY? Celine. You can see that she has really explored her fabrics and enjoyed the process. The clothes are sophisticated but also have a light-hearted humour. They have a soul. WHAT WOULD YOUR KEY PIECE FOR AW14 BE? I would say knit yourself a hat, it's fun.

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HUNGRY LIKE THE WOLF PHOTOGRAPHER Ellie Smith PHOTOGRAPHER'S ASSISTANTS Adama Jalloh and Alexandra Davenport STYLIST Jaclyn Bethany STYLIST'S ASSISTANTS Fatima Monjas and Frederica Watson MAKEUP ARTIST Rhea le Riche using NARS and Ellie Tobin using Jurlique HAIR STYLIST Kumiko Tsumagari and Nuriye Sonmez using Phyto WITH SPECIAL THANKS TO Jennifer Chapman at CLD Communications, Sarah-Jayne Read and Emma Scott at Premier Comms, Ailish Kaleda at Elite Model Management, and Hannah Braid at Swell Publicity

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Tamla wears TopShop dress and earrings

Tamla Kari

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Tamla Kari

is best known for her role as Lucy in The Inbetweeners Movie. She trained at

the Drama Centre London and has starred in various roles since graduating in 2011. She is currently playing Mabel in Peter Gill’s Versaille at the Dunbar and will return for the second series of BBC’s The Musketeers this year. HOW DID YOU GET INTO ACTING, WHERE DID IT ALL BEGIN? I danced, before I started drama. My mum was an actress for about 10 years so I grew up watching her on stage. I think that’s where it comes from. It wasn’t until about 16 or 17 I really started to think about it as a career. Originally I went for musical theatre courses because I wanted to keep up my dancing but then I realised musical theatre wasn’t my thing, I enjoyed it, but I realised going through this process that acting was really what I was passionate about. SO, HAVE YOU HUNG UP YOUR DANCING SHOES? I was never going to be a professional dancer because you really need to go to dance college when you are 16, the shelf life is so short and you know, I really wasn’t good enough – I love it and I miss it, I really do. WHAT HAS BEEN YOUR FAVOURITE ROLE TO DATE? I love playing the role in the play I’m in at the minute. My character Mabel, is a real challenge for me and it’s a transformation for me and I really relish that, relish being back in the theatre and that different kind of skill needed and that stamina. Of course playing Constance in the Muskeeters is also a transformation and a massive challenge for something and me very new. I love being able to be someone completely different. IS THERE ANY CHARACTER THAT YOU CAN REALLY RELATE TO IN THE ROLES THAT YOU'VE PLAYED? I definitely wouldn’t have put up with the crap that Lucy did in the Inbetweeners from Simon, I’m definitely not that much of a pushover. To be fair I wouldn’t be going out with Cookoo either! I feel like the part that I am doing at the minute is great because I completely feel for her. My fiancé has just come back from war and she wants something more than just being a housewife, she has seen a bigger world and she can be more independent. That is me, I am all about career and wanting more. I can relate to her in the sense that’s she wants more than the norm of that time. SO IT THERE SOMETHING REALLY SPECIAL ABOUT BEING BACK IN THEATRE? I was itching to get back into theatre. It had been two years since my last theatre job and it’s a

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completely different skill. My main basis area of training was in stage and in classical text and I kind of thought I had forgotten how to do it and I was so nervous auditioning for this part. I felt sick I hadn’t had nerves like that since auditioning for drama school but the main difference is the fact that you get a rehearsal period and you get to explore the text. TV and film can be so quick ‘’we’re going to shoot that now and off you go’’ and then it’s gone! In one way that’s good you don’t really dwell on it and have to repeat it over and over again, I’m mean that’s what’s amazing about doing stage every night you go out and do the same thing, its just trying to keep it fresh and its easier as you are playing a story from start to finish. HOW DO YOU WIND DOWN? Well the weekend for us is Sunday, I try to do as little as possible. I love watching films, baking, eating and been round a mates house or boyfriends house -just chilling out really. Going out for breakfast or dinner, I’m not a massive drinker or partier – I’m quiet boring. HAS ANYTHING REALLY EMBARRASSING EVER HAPPENED ON STAGE? Last week I tripped after doing a very serious read and walked off laughing. Oh and my stomach rumbles something awful and the audience are really close in the Dunbar. I had to sneeze the other night and I was trying so hard to hold it in and I mean the pain was excruciating I thought I was going to die. I keep bloody sneezing on stage. WHAT'S ON THE HORIZON FOR 2014? I’ve got Musketeers going to film straight from the play. Unfortunately I wasn’t able to do the second series of The Job Lot because I am doing the play or the second series of Cookoo because I’ve got Musketeers and that’s a real shame I am gutted about that but it’s one of those things. WORDS: CAITRIONA ANGLIM

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"Last week I tripped after doing a very serious read, and walked off laughing..."

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Luke Newberry

wowed critics and audiences in the hit BBC

3 supernatural drama, IN THE FLESH. The series follows the story of teenager ‘Kieren Walker’ who after his death was reintegrated into his local community and family and the consequences of his return. IN THE FLESH premier’s its second season this May, firmly establishing Luke Newberry as one to watch. TELL US A LITTLE ABOUT YOURSELF AND WHAT YOU'VE DONE SO FAR? I grew up in Devon. I moved to London two years ago and my first lead was In The Flesh, a BBC drama and we just finished shooting the second series. HOW DID YOU FEEL WHEN YOU FIRST LANDED THE ROLE IN "IN THE FLESH"? I didn’t know if I had a chance of getting it at all, so it was a massive shock and a thrill. WHAT DID YOU DO BEFORE THAT? I was in Lightfields, a series for ITV, and I did a film before that, Quartet. I had done some stuff as a child before I went to drama school, so I sort of had an understanding of the industry. But this is my first big part and it’s a really complex and challenging role. CAN YOU TELL US ANYTHING ABOUT THE SECOND SERIES? We are back into the world of Roarton and its nine months later and there are new characters that come along. Kieren starts to want to break out of the village, he has had enough and wants to go to Paris, to become an artist and start again. And it’s all about how Kieren deals with further demons. WHERE DO YOU SEE YOURSELF IN THE FUTURE? Hopefully still acting, and I’d love to live in Paris one day. I’d sip wine in cafes all day. I’d also really love to travel with work and there is fantastic stuff happening on television, scripts are better than ever. WORDS: HIBA MOHAMED

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Luke wears Topman blazer; model's own shirt

Luke Newberry

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Laura wears House of Holland top

Laura Dale

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Laura Dale

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is a recent graduate from the Bristol Old Vic School, the stunning Laura

took no time booking her first role, on the hugely popular BBC Series 'Sherlock,' the upcoming actress is a fresh face to look out for. TELL US A LITTLE BIT ABOUT YOURSELF AND WHAT YOU DO. I am an actress and I used to be a model, still kind of am a little bit. I went to Bristol theatre school and I graduated last July. Since then I have been auditioning loads and loads, I had a very small part in Sherlock and next month I am going to be in a play with Alan Ayckbourn. HOW DID YOU GET INTO ACTING? I picked drama for one of my GCSE options and realized I loved it and decided to go drama school. WHAT WAS IT LIKE PLAYING A DRUG DEALER IN SHERLOCK? My character was actually, hilariously called the beautiful woman. It was my first ever thing that I had ever done so I was absolutely terrified, but everyone was absolutely lovely and I really had fun. IF YOU WEREN'T ACTING, WHAT WOULD YOU BE DOING? I’d probably be a model unfortunately or fortunately. Depending on how you look at it. I have my own food blog and I actually really want to open my own healthy food café. WHO IN THE INDUSTRY DO YOU ADMIRE? I really love Gemma Arterton, I think she is amazing, and I followed her in 6th form because she went to Rada, straight from school like I went to Bristol straight from school. Plus she has done amazing films. WHERE DO YOU SEE YOURSELF HEADING IN THE NEAR FUTURE? Most of my auditions have been for TV and Film and I love that. I’d love to be in period drama or next month, Woman In Mind. I am playing a character called Lucy who is in someone’s fantasy WORDS: HIBA MOHAMED

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be a bond girl. Equally theatre is what I am trained in, it’s what I know, I am doing this theatre thing

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Kalim Patel

is an up and coming, indie-pop singer songwriter, known as Khushi; he has been

featured alongside Jake Bugg, Coastal Cities and The Feeling for Burberry’s acclaimed acoustic project, and has supported Laura Mvula, Dan Croll and Milo Greene. His latest EP release Phantoms sets him apart as one artist to keep an eye out for. WHERE DOES THE NAME KHUSHI COME FROM? It is my childhood name, everyone that knew me before the age of 12 called me Khushi. AS THIS IS THE ENTREPRENEUR ISSUE, AND DEALING WITH REJECTION PLAYS A MAJOR ROLE IN FUTURE SUCCESS, HOW HAVE YOU DEALT WITH IT IN THE PAST? Just get drunk it hurts less that way… So far things have been going well, there are moments where you have to rely on your self-belief but also question yourself. It’s a balance of maintaining a sense of realistic self-belief but also considering maybe you why got rejected in the first place. HOW DID YOU COME TO BE MANAGED BY JAMEELA JAMIL? I’ve known Jameela since I was 18; she was a friend of a friend and we just became friends. She used to manage a band I played in when I was really young, and one day she called me up and was like "what are you doing with music?" I had just been recording stuff but I was hiding it away in my bedroom. Jameela heard my songs and she was like we need to put this stuff out there. TELL US ABOUT THE DEBUT EP, "PHANTOM"? We recorded it with Charlie Andrew who produced the Alt-J album and a guy called Peter Lyons who helped me on all three tracks and he also did the remix on Phantoms, it was a great fun recording experience. I think it is stepping stone in the right direction from the first single Magpie and I just want to continue that progression to the album. WHAT IS YOUR WRITING PROCESS LIKE? Chaotic. Occasionally joyous and fun, it’s the main thing I live for. I guess it starts quite fragmented, recording little fragments or writing a little lyric and then piecing it all together. Sometimes it's easy and it all pops out. WORDS: HIBA MOHAMED

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Kalim Patel aka Khushi

Khushi wears Christopher Shannon top

"Just get drunk, it hurts less that way"

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Liza wears TopShop jumper and earrings; model's own skirt

Liza Owen

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Liza Owen

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is a half-Cambodian, half-British singer and she ticks all the boxes of an up and

coming pop star. Her family settled in the UK after her mother fled the Khmer Regime in the 1970’s. Highly influenced by her Cambodian roots the former Dolly Rocker has only ever dreamed of making music. Her voice is powerful, deep and rich and her style is fresh. The 21-year-old’s first single, ‘Young Guns’ will be released in the UK in the coming months. Expect high energy, 80’s drums mixed with soul vocals, soaring harmonies and Khmer chants. A one-to-watch this year. WHEN DID YOU START SINGING? Since I can remember, it’s always what I’ve done. I can remember screaming out my bedroom window and getting in trouble with the neighbours. I always knew it was what I wanted to do from about the age of thirteen WHEN DID YOU START TAKING IT SERIOUSLY AND THINK, THIS COULD BE A CAREER? I really started taking it seriously when I was 17. I moved to London when I was 18 and that’s when I really threw myself into it and started to get the hang of how it all works, and how much you have to graft and grind. You don’t really understand when you are younger how hard you have to work to make things happen. HAS THERE BEEN SOMEBODY BEHIND YOU, ENCOURAGING YOU TO CHASE YOUR DREAM? My mum is a super super strong lady, she’s from Cambodia but she left Cambodia during the war, so she kind of went from having everything to having nothing. She really had to work hard as a single parent and so she was like, you have to make this happen for yourself. I guess when I was younger I wasn’t fully focused but she would keep me on track and that’s really rubbed off on me WHERE DO THE WORDS COME FROM? WHAT ARE YOU INSPIRED BY? The process is so strange, and people always ask this but it’s different every time. I get inspired by everything, I might be listening to someone else’s song and they’ll say one word in the verse and that one word can inspire an entire other concept, but you feed off the music as well so I might be in a session emotional person so if something is happening in my life it will come across in my music.

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and a producer starts making a beat or I play something on the keys and you build off that vibe. I’m an

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HOW HAS DOLLY ROCKERS FED INTO WHO YOU ARE NOW, AS A SOLO ARTIST? I don’t regret any of that happening at all, it was amazing and a massive part of where I am today. Like I said I moved to London when I was 18 and I was like ‘I’m going to be a pop star’ but I had no idea what the hell I was doing so I put a video up of me singing on YouTube and it got a bunch of hits. Then the girls were looking for a new member and they found me and we got together, and about two months into me joining the band we met this producer and signed with him; we then met our manager and it all started growing from there. It was amazing. One of our videos got like 14million hits and that’s when it started to build and build. I think in the end we just decided it wasn’t what everyone wanted anymore. But we are still friends and still help each other out. DID IT GIVE YOU A REALISITIC INSIGHT INTO THE MUSIC WORLD? A lot of the producers I am working with now are contacts I made from being in the band and I think being in a band is a great place to make mistakes, and kind of realised how much you have to graft for yourself and how important it is to know who you are... which I didn’t before (I probably thought I did) but I didn’t really know what kind of artist I was. When I left I was like I know what I want to do now, I know what music I love and I want to write. WHAT'S "YOUNG GUNS" ABOUT? Young Guns is really high energy and fun, I wrote that song because I just had a break up with some idiot and I really thought I was in love with him. Then I realised I actually think I am in love with every guy, so it was about when you're young and you just get so into in, and you just live with your heart on your sleeve... you shoot too fast, and every time you think it’s love. WHAT MUSIC INSPIRES YOU? Vocally I love old soul, coming from my mom I used to listen to Nina Simone, Al Green and lots of R’N'B, and that’s the natural tone I have in my voice. Musically I listen to The Weekend, MIA and some Gwen Stefani (No Doubt)

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I was working as a stylist and running a fashion blog before, which I love doing and I love fashion. I’m going to start another blog but just based around more of what I am doing in fashion and music – I like to keep the fans updated. At the moment my life is just studio and that’s it. ARE THERE ANY MUSIC ARTIST'S WHOSE FASHION YOU LOVE AND ADORE? I think someone like Rihanna who is well respected musically and her style is amazing - I love her fashion. For me, I am obsessed with prints and anything a little bit ethnic, but I keep it rocky and edgy because I’m not a girly girl. I like my trainers and flats, and big bomber jackets, that sort of thing. I’m building an image, in a music video you hear the song but you see the fashion and it's expressing the same story, so I think if you can be seen as a fashion icon one day, it’s a huge compliment. WHAT ARE YOU EXCITED ABOUT FOR 2014? Getting my music out there and just building the buzz and the hype. I’m excited to see what people think and their reactions. WORDS: CAITRIONA ANGLIM

"... you just live with your heart on your sleeve... you shoot too fast, and every time you think it's love".

WHAT ELSE DO YOU DO?

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Margaret wears House of Holland dress

Margaret Clunie

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Margaret Clunie

Noctis

is a graduate of the Oxford School of Drama; she is an actress

and model and her first role was playing Ian Mckellen’s daughter onstage at the Chichester Festival Theatre. This beautiful actress has since appeared in hit British comedies, ‘PhoneShop’ and ‘Pramface’ and starred in short film ‘No f******g around in room 427’, which won the New York Short Film Showcase, Connections 2013. TELL US A LITTLE ABOUT YOURSELF, WHAT DO YOU DO? I am an actress and a model and I went to the Oxford School of drama after I went to university and did English. I have been doing acting and modeling side by side. WHAT HAVE YOU DONE RECENTLY? The end of last year I was in TV show called "Young Doctors Notebook"with Daniel Radcliffe and Jon Hamm. Then I went to South Africa and filmed Sophia, Grace and Rosie’s Royal Adventure. I played a princess who gets a makeover and it was really sweet. That’s in post-production now, it’s coming out in May. I was just in a Robbie Boyd music video and have just finished a short film, called Intervention too DO YOU PREFER THEATRE OR FILM? I mainly did theatre, in drama school. The first couple of jobs I did were in theatre but I don’t think I am experienced enough to be able say which I prefer andI haven’t had any bad experiences with any of them yet to like one or the other. WHAT'S NEXT FOR MARGARET CLUNIE? I am doing a lot of auditions at the moment and hoping to hear from some of those. Also lots of post-production stuff is in the works which is exciting and a couple of modeling jobs coming up. WORDS: HIBA MOHAMED HUNGRY LIKE THE WOLF

Noctis

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HUNGRY LIKE THE WOLF

Little Nikki

is a feisty Pop-R&B rising star signed to Sony Music. Since releasing

her stunning debut track 'Intro Intro', Nikki has been hotly tipped across the board as ‘One To Watch’ for 2014. She’s worked with DJ Fresh, and toured with Rita Ora and Rizzlekicks. Nikki is the face of Boohoo.com’s TV campaign, featuring in the first ever-shoppable music video. HOW DID YOU FIND YOU FEET WITHIN THE MUSIC INDUSTRY AT SUCH A YOUNG AGE? I think because I was so young when I started, and I had been at theatre school and dancing my whole life, I didn’t realize how big, the thing, I was doing was. I just grew into it and went with it. WHO HAVE YOU TOURED WITH? Justin Bieber, Pixie Lott, The Wanted and I did a show with Rita Ora, WHAT WAS JUSTIN BIEBER LIKE? I saw him topless. Bieber is really funny; he kept pranking everyone and running around. It was cool to see someone so young and so successful, have fun. Being busy in the studio all the time, I feel like I may have missed out on a lot, growing up, but at the same time, other people can’t do what I do. HOW ABOUT RITA ORA? She was eating Nando’s when I first met her. And if I am eating, I don’t really like to be disturbed so I wasn’t sure if I should come over but she said, no come in and say hi. Then we were at a festival a couple of months later and she was like, hey Nikki, have a good show. So I consider us as friends now. WHO ARE YOUR MUSICAL INFLUENCES? Mariah Carey, Whitney Houston, and Michael Jackson are basically all the people that everyone is influenced by. Right now I am really going back to loving Cassie. Ryan Leslie has been awesome recently too. WORDS: HIBA MOHAMED

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Little Nikki wears Paul and Joe Sister top and skirt

Little Nikki

Noctis

Sam Sure

Sam wears Nicole Farhi jacket and blouse

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Sam Sure

Noctis

is a London-based wordsmith, songwriter, vocalist

and model. A man of many talents his trademark heartfelt, honest lyrics have gained him backing from Black Butter records, with a release dropping later in the year. Also to a feature on TCTS’ forthcoming single, ‘Doubted’ which is due for release on Chase and Status’ label, MTA Records. TELL ME ABOUT YOUR ROUTE INTO MUSIC, WHEN DID IT ALL BEGIN? I did a record when I was a lot younger (7 or 8 years ago), I was rapping and fully into hip hop and I just wanted to be a rapper. I was working with Giacamo and we basically made a rap record. As I got older, my tastes changed and I became influenced by singers, so I changed the style I was working in. The rest is still a story in the making. WHAT INSPIRES YOU, WHERE DO THE WORDS COME FROM? I feel like it comes from a desire to say the most expansive thing I can say in the fewest words. I am definitely inspired by life in general - I do a lot, my days are very active I’m always out and looking for inspiration and I find it quiet easy. I’m pretty tormented I guess. WHAT ARE YOU WORKING ON RIGHT NOW? I’m still writing my album, but I am constantly adapting the album... I kind of have a body of work that I am working on. I write everyday and I always write anyway, but I am pretty intensely writing everyday and working with lots of different producers. The label I am working with are predominantly a producer led label so I have a wealth of producers to choose from. I spend my days bopping around London going to different studios, working with different people and writing. I have a cool community of people and artists that I work with, and we are all in it together, all on the grind trying to make something amazing so trying to HUNGRY LIKE THE WOLF

help each other out really!

Noctis

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HUNGRY LIKE THE WOLF

"...I'm not in regret, more like I'd do it to see what would have happened if I had done things differently..."

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Noctis

WHAT WAS THE HIGHLIGHT OF LAST YEAR FOR YOU? I think, musically my highlights were playing KOKO as that’s a pretty big venue and it was an amazing time; there was quite a buzz going around so there was a lot of energy. I also did some work for Burberry, I DJ’ed for them in Singapore which was pretty cool. I've come from a background where that’s something I never thought I would get to do! It was amazing, you have a bed on a plane you know, there’s a whole other bit of the plane that we are not supposed to see! YOUR STYLE, MUSICALLY, IS IMPORTANT OF COURSE, BUT WHAT KIND OF ROLE DOES FASHION PLAY FOR YOU? I mean, I guess like any young person that lives in London and is involved in any kind of pop or creative culture, fashion is a big part of it and I love fashion. I love getting dressed up. I have a ridiculous amount of clothes and I can’t throw anything away (because I’m a hoarder) so I have clothes from when I used to dress like Two Pac or whatever! So it’s massively important to me. I’m really into it. WHAT'S YOUR FAVOURITE SONG OF ALL TIME? Wow! It changes from moment to moment because different songs take me to different places but there’s a song called Mongo Bongo and I love it. I mean there are hip-hop records that will never die for me, like Memory Lane by Nas WHAT DO YOU LOVE MOST ABOUT LONDON? I guess I like the fact that it’s a real metropolis and a cosmopolitan city. I love the fact that you can still go and see something you’ve never seen before and find a little bit of it you’ve never ever discovered. Despite that, people are a bit grumpy though but there’s still community, pockets of it – you just have to find it! IF YOU COULD HAVE ANY SUPERPOWER FOR A DAY, WHAT WOULD IT BE? The power to control time - because time dictates everything. I would slow things down so I could get all the things I wanted to get done in a day, and I would speed certain things up so I didn’t have to deal with them... and maybe rewind some things so I didn’t make some of the choices I have made. differently. WORDS: CAITRIONA ANGLIM

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I mean I’m not in regret, more like I’d do it to see what would of happened if I had done things

Noctis

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Sophie wears Peter Jensen dress

Sophie Rose Harper

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Sophie Rose Harper

Noctis

fronts the captivating, The Night VI; they are an

Anglo-French band signed to legendary Parlophone Records. The Night VI performed ‘Skyline’ in the Burberry Spark Sunglasses Campaign and is the first band to perform on the balcony at Somerset House LFW 2013. HOW DID YOU COME TOGETHER AS A BAND WITH THE OTHERS IN "THE NIGHT VI"? Three of us were at school at the Lycée a French school in South Ken. The other band members we actually saw playing live around London and we just nicked them from their bands. WHAT HAS BEEN A BREATHROUGH MOMENT SO FAR? Our breakthrough moment came when we supported Bruce Springsteen at Hyde Park. DO YOU HAVE A LOYAL FAN BASE? We have a few, mainly in London but it’s starting to stretch, we are flying to Switzerland and Paris this summer, so we are getting there. HOW DOES SOCIAL MEDIA AND THE INTERNET PLAY WITH SELF-PROMOTION AND PRE-MANAGEMENT DAYS? It’s so important, and we are still trying to do it more. We have always believed it’s all about the music and eventually the music will come through, but Social media is key we are in that age now, that there is no other way. WHAT IS ON YOUR PLAYLIST? Wild Beasts. I am obsessed with their new song, "wanderlust". London Grammar too, they are friends of ours and we love their music.

WORDS: HIBA MOHAMED HUNGRY LIKE THE WOLF

Noctis

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Denai Moore

Denai wears To Be Adored top; Laura Lee necklace; model's own hat and jeans

HUNGRY LIKE THE WOLF

"... it was sort of an escape for me ..."

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Denai Moore

Noctis

is a singer/songwriter with a blend of soulful alternative and folk sounds,

which are capable of making grown men cry. She is a rising star that has already caught the attention of Tom Odell and Ben Drew (AKA Plan B). WHEN DID YOU DISCOVER YOUR LOVE FOR MUSIC? I think when I was younger, my dad played a lot of music and had a lot of musical instruments. When he wasn’t around I would sneakily play his piano or his keyboard at home. It was just something that I really enjoyed. I think with the pressures of school and growing up, I always used to bunk off and go to a music room or whatever; it was sort of an escape for me. WHAT WOULD YOU SAY INFLUENCES YOUR MUSIC? Well lyrically, I would say just kind of the friendships and relationships I have with other people and I think as a songwriter everything affects you and I just write about what affects me. I mean, lyrics can come from anywhere... I can be on a train or something and I have a phone that has so many notes – maybe just a line or even just a word. WHEN YOU WERE GROWING UP, WHO WOULD YOU LISTEN TO? It’s a mixture of different things! I think everyone has that embarrassing first music love when they were younger. For me it was the Spice Girls, but as I grew up I learnt more things and discovered music through the Internet; that's how I came to love Lauren Hill and Bon Iver. I mean up until a certain age I only listened to what my dad had on his computer, which was more old school music like Stevie Wonder and Prince, and he had a lot of Radiohead albums too. I’m a massive Radiohead fan. YOU HAVE A JAMAICAN HERITAGE AND CULTURE; WHAT DOES THAT BRING TO YOUR SOUND, DOES IT HAVE ANY INFLUENCE? It doesn’t really have that much of an influence on my music. I moved here when I was really young but my dad played a lot of Jamaican music, and music that came out from there, like Bob Marley... I still listen to a lot of that music but it doesn’t really influence me in the sense that that's where I want to take my sound. HUNGRY LIKE THE WOLF

WORDS: CAITRIONA ANGLIM

Noctis

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HUNGRY LIKE THE WOLF

Josh O'Connor

is a British actor who graduated from Bristol Old Vic Theatre

School in 2011 and has worked on films such as Hide & Seek, Magnificent Eleven and the upcoming untitled Lance Armstrong film. He has also starred in television roles such as Law and Order, London Irish and Dr. Who. Originally from Cheltenham, England he has already notched up some excellent TV, movie and stage performances in both comic and dramatic parts. HOW DID YOU GET INTO ACTING? I didn’t practically get on very well in school, it sounds like such a cliché but you go into drama lessons in school, which is like a doss subject and as soon as I was told you could be paid to mess around, it was a no brainer for me! SO YOU DIDN'T ALWAYS WANT TO ACT? I wanted to be a runner originally, which obviously isn’t happening. So it was that for a long time and then I dabbled in the idea of doing art, fine art. But when I was 16 I realised I can make a career out of acting, so I did. HOW HAS THE LAST YEAR BEEN FOR YOU? The beginning of last year I did a BBC drama about the First World War, a beautiful story that we did that in Belfast. It gave me so much confidence as it was a great part and I went on to do this film called Posh - all these young hoppy lads and I think that, that was my big break (if I can say that) and from then on I did three films and now I’m on Versailles at the Don mar. HAVE YOU HAD ANY FUNNY MOMENTS ON STAGE? Loads! I eat so much cake in the first act I look around and everyone is laughing on stage at the fact that I am getting fat, like it’s causing a nightmare. I am so sick at the end of each night WORDS: CAITRIONA ANGLIM

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Josh O'Connor

Josh wears Topman blazer, blouse and belt; Nicole Farhi pants

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TH PET

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OMAS THERICK WWW.THOMASPETHERICK.COM

Noctis

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THOMAS PETHERICK

THOMAS PETHERICK IS A SET DESIGNER AND PROP MAKER WHO STUMBLED UPON THE CRAFT WHILST AT UNIVERSITY. HE SPEAKS OF ALWAYS ENJOYING THE ART OF MAKING THINGS, BUT AS A CHILD WAS OBSESSED WITH TAKING THINGS APART. WHAT DREW YOU TO THE FASHION SIDE OF SET DESIGN, RATHER THAN THEATRE? I was introduced to set design through fashion, so theatre design never even crossed my mind. I think they are two very different things. Set design within fashion is more creative. DO YOU ALWAYS IMAGINE HOW THINGS ARE GOING TO WORK OUT FROM THE BEGINNING, OR DO THEY BECOME WHAT THEY ARE THROUGH THE PROCESS? They usually develop during the making process; when I propose an idea it can be completely different when it is finally delivered. I always need time to process and build upon on idea. DO YOU HAVE A FAVOURITE PROJECT THAT YOU HAVE WORKED ON TO DATE? I really enjoyed working on Bobby Abley's space ship for Fashion East; these kind of projects don't come around very often. Making big interactive sets and props is always fun. DID YOU HAVE A PARTICULAR CONCEPT IN MIND WHEN YOU WERE WORKING WITH MIA? DO YOU PREFER WORKING WITH ARTISTS OR MODELS? Mia was great; I wanted it to be fun, colourful and a bit surreal. I find models are better to work with because you get to spend more time with them and there are less egos involved. HOW DID YOU START YOUR CAREER WITHIN SET DESIGN; WHAT LED YOU DOWN THIS PATH? I kinda stumbled into set design. I remember being at uni and someone told me they were doing a set design course, I thought "Oh God, I can't think of anything more boring!". When I finished studying at Goldsmiths, I started making props and hats; the natural progression from that was set design. I've always been creative and communicate my thoughts through visuals. Being dyslexic, language has always been a difficult way for me to get my thoughts across. AND THE MOMENT YOU'RE MOST PROUD OF? It has to be getting my own [amazing] studio for sure! I love it!

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PORTRAIT PHOTOGRAPHED BY SAGA SIG

Noctis

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MIA PHOTOGRAPHED BY SAGA SIG

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THOMAS PETHERICK

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Noctis

DO YOU FEEL LIKE YOU HAVE ENOUGH CREATIVE FREEDOM; OR DO YOU OFTEN FEEL YOUR EXPRESSIONS NEED TO BE MOULDED IN A CERTAIN WAY TO APPEAL TO PEOPLE? I feel as a set designer you can be quite constrained by the photographers or creative directors that you work with; it's about finding the right people who get you, and most importantly get what you are trying to achieve creatively. IS SET DESIGN A TOOL THAT ISN'T USED ENOUGH IN FASHION? IF IN SOME WAY IT IS PERHAPS UNDERSTATED, HOW WOULD YOU LIKE TO PUSH THIS CREATIVE FIELD FURTHER? Well, set design is a relatively new field in fashion, so it's understandable if it is slightly underrated; but there are so many young, talented, hard-working set designers that I think will change that. TELL US MORE ABOUT YOUR "DISCIPLINE" PROJECT; DO YOU NEED TO BE FAMILIAR WITH GRAPHIC DESIGN TO BE ABLE TO ACHIEVE THE EFFECTS YOU WOULD LIKE TO HAVE AS AN END RESULT? "Discipline" is a project that proves that the simplest ideas are always the most effective. We shot a mirror cut-out in the shape of melting liquid and reflected products into it. Everything was shot in camera so there were no magic tricks. I'm honestly not sure if graphic design played a part in the process, but I did study it for three years so perhaps subconcisously it did. AS A CITY AND PLACE TO RESIDE, WHAT IS YOUR FAVOURITE THING ABOUT LONDON? The opportunities that it gives to young creatives! When you start out working on projects you might find yourself doing a lot for free, but at least you are working on something. You wouldn't get those opportunites in Paris or New York. IF YOU COULD WORK WITH ANYONE, WHO WOULD IT BE AND WHY? I would love to work with John Waters and create incredibly beautiful sets for one of his films. THOMAS PETHERICK

WORDS: ALISSA VOUTOVA

Noctis

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5 IRREVOCABLE TRUTHS ABOUT DATING IN NEW YORK

5 IRREVOCABLE TRUTHS ABOUT

DATING IN NEW YORK WORDS BY SOPHIE DEAN • ILLUSTRATIONS BY MAUDIE MERCHANT

I'VE NEVER DATED. THIS IS FIRSTLY BECAUSE I'M BRITISH, AND UNTIL THE RECENT INVENTION OF TINDER, BRITISH PEOPLE DIDN'T "DATE"; BUT RATHER ACCIDENTALLY FOUND THEMSELVES IN BED WITH OTHER PEOPLE AND EITHER CARRIED ON DOING IT, OR DIDN'T. SECONDLY, FOR THE LAST FEW YEARS I'VE BEEN RATHER FRIGID (MUCH MORE THAN THE AMOUNT OF TIMES I MASTURBATE WOULD HAVE YOU BELIEVE). BUT BITCHES, I'M IN NEW YORK, THE BIRTHPLACE OF DATING, AND EVERYONE KNOWS IT'S MUCH EASIER TO FUCK A BUNCH OF STRANGERS WHEN YOU'RE IN ANOTHER COUNTRY. THIS IS WHAT I'VE LEARNT SO FAR. # 1 - YOU WILL GET ASKED OUT EVERYWHERE. EVEN THE SUBWAY.

You know those scenes in films where two people meet on the subway, or in Starbucks, or in the park, and they strike up a conversation that is both irritatingly self-conscious and inexplicably charming that ends in them exchanging numbers? This happens ALL. THE. TIME. Amazing right? But you know what doesn't happen? The actual date. Sure you'll text back and forth for an afternoon, make a casual arrangement to have drinks "somewhere in the village" next week, "maybe Thursday?" but by the time Thursday comes around you've struck up twenty conversations with other people, both on Tinder, and in "real life", have four surprise deadlines to meet, gotten horrendously drunk at some dive bar in alphabet city where you ended up going home with some guy called Ken, and are generally feeling like the best thing for you to do is to just go sleep. Not that he texts you about it anyway, cause he's been through exactly the same thing. Ce la vie. # 2 - EVERYONE IS ON SOME KIND OF DATING APP

There is no shame about internet dating here.

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5 IRREVOCABLE TRUTHS ABOUT DATING IN NEW YORK

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5 IRREVOCABLE TRUTHS ABOUT DATING IN NEW YORK

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5 IRREVOCABLE TRUTHS ABOUT DATING IN NEW YORK

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5 IRREVOCABLE TRUTHS ABOUT DATING IN NEW YORK

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Noctis

In fact, you're more likely to actually date the person if you've seen a list o their "favourite things" in a two paragraph online bio, than if you've met them in real life. People are so busy here (not me, I'm on vay-cay, buth other people) that the only way to solidly "meet people" is on a Monday night in the ten minute window between the arrival of your seamless delivery and the latest episode of Dexter when you scroll through Tinder like "no", "no", "no", "yes", "no", "no", "no", "yes - wait, I meant no!" Generally speaking OK CUPID is for romantics, and Tinder is for the sluts, but either way no one is getting laid as much as they would like. # 3 - IF YOU FUCK THEM ON THE FIRST DATE, THEY THINK YOU'RE A HOE

This "myth" is not actually a myth, but a stone cold fact. I know right? So weird. Like, why cut off a healthy supply of sex just because it happened sooner than when your mama told you it was "right"? But seriously, if you give it up on the first date they will never hear from them again; so what though? This is really only a big deal if you're the kind of person who cares about getting "called" and being "taken out", and "treated right", and look, I don't wanna be treated wrong but if a guy is dorky enough to be listening to his mother about when a sensible time to fuck is, I do not want him to call me. So everyone's happy. # 4 - YOU WON'T GET DINNER UNTIL THE THIRD DATE

# 5 - IF ONE DATE GOES BADLY, THERE IS ANOTHER ONE JUST AROUND THE CORNER

London is a wilderness of dating, so if something goes wrong you can be forgiven for thinking that you won't get another chance for six months... and you probably won't. Not here though. Tinder has made people even more disposable than they already were, so with 180 "matches" at your fingertips, who cares if you turn up to a late-night date so drunk that if you were to take a sip of that $18 glass of wine he just bought you, you'll be sick down yourself, so when he goes to the loo you get straight back up and walk out? Don't worry about it. Go to bed, sleep it off and then get back on Tinder; or just go to the park, or the subway, or the bookstore, or a bar. They will come to you, like dog's do when you're on your period, and if you get sick of them? Fuck 'em.

5 IRREVOCABLE TRUTHS ABOUT DATING IN NEW YORK

Because everyone dates here, ALL THE TIME, guys (and gals) can't be taking out the big guns on every occasion, so you won't get dinner until at least the third date. This was a majorly shitty discovery for me as I can clearly remember telling people before I came that if I played my cards right, I could "get dinner bought for me three nights a week". Ha, what an arrogant misguided fool I was. No, you won't get bought a meal unless you've put up with their company on at least two occasions prior and possibly let their hand slide up your skirt in the taxi. The third date is also when you're "allowed" to fuck them without assuming you have an STD, so make sure the effort fits the reward.

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LITTLE RAMONAS

LiTTLE RAMONAS

celebrate the moments in your life

PHOTOGRAPHER PIA LOVE TORIBIO STYLIST AND CREATIVE DIRECTOR CAMILA SALDARRIAGA MODEL VANESSA SCHEFKE WORDS MONICA USZEROWICZ

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Vanessa wears vintage boots and jean jacket by LiTTLE RAMONAS; TopShop shirt

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Vanessa wears vintage boots and jean jacket by LiTTLE RAMONAS; TopShop shirt

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Miami isn't all tanned skin, bejeweled shoes, gratuitously naked mannequins and hatha yoga on South Beach. It's also not the Portland exported and faux-grit street murals in Wynood either. It has weirder nooks and crannies; the kind of random moments that make you remember why its other name is "The Magic City". You don't have to search for or read about the strange serendipitous nature of Miami; you walk down the street and let it unfold. That's what we did with Vanessa, a German model and an artist herself. We explored the parts of the city where the spaces feel open and the light hits best, and let Miami happen to us as naturally as it already would have. Collectively we wandered over the course of a December afternoon and captured the magic in 35mm.

LITTLE RAMONAS

Noctis

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Vanessa wears American Apparel shirt; vintage shorts and boots by LiTTLE RAMONAS

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Vanessa wears Cheap Monday jeans; TopShop shirt

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LITTLE RAMONAS

Vanessa wears Express vintage jacket; vintage boots by LiTTLE RAMONAS; Weekday shirt; American Apparel jeans

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Vanessa wears vintage jacket by Express

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ANNA TEA

ANNA TEA WWW.ANNA-TEA.COM

Capturing elegant black and white portraits, to striking murals of colour, Anna Tea is an exceptional talent, with a distinct eye for beauty. Until the age of fourteen, before any real passion for photography, Anna Tea began drawing clothes whilst claiming no skill within the craft; Since then she has been studying in Poland with a scholarship in Hungary. She says, "I actively travel around, but Ukraine is my native country.

This is where I started to take photographs, and I always like to come back from to take more." Despite living elsewhere, all of Anna Tea's illustrious projects are created in her native land. Ukraine is an inspiring place, but life there is unstable and difficult, "you have to move all of

the time if you want to archive anything", says Anna. With rich cultural heritage, Anna Tea is given the backdrop to a series of endless possibilities. As an artist, her work is based upon the love of experiments and extreme situations; she finds her inspiration in the banal tendencies of the world that surrounds her, in doing so she focuses all of her time and energy in preserving the ornate beauty of an otherwise bleak cosmos.

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ANNA TEA

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The girls Anna Tea photographs are generally her close friends, she says, "they understand

my feelings and ideas, so the connection between the models and myself plays an important role". Through this, the work is given personality. It's allowed to breathe a sense of life into the heart of the viewer, and with this a burst of conceptuality is set in stone, both now and forever. Colour helps to emphasise the ideas put forward too, it works as a form of expression to create a mood, an atmosphere. So where does Anna Tea find her inspiration? Well, "inspiration is kind of an invisible thing,

but it depends. Somestimes it just comes from nowhere, sometimes when I am going to be or writing a simple message", says Anna humbly. We have found that this predominant spark lies within the musings of psychology, music and the arts. Before embarking on a new project, Anna Tea must first be inspired by one of these aforementioned musings. "I cannot say that I live like a free artist", though she remains active and organised; and besides photography, she keeps herself busy with travel and sports, but often allows time to paint and self-critique. A beautiful gift. What are your thoughts on the current photographic industry, we asked, since it's often questionable whether it is going anywhere. The reply came with a hushing tone, "I don't like

when photography looks like technical work, without imagination and creativeness. The second thing is that I do not expect so much nudity around, it does not impress now, it becomes the norm and uninteresting". Terry Richardson take note. With a natural, raw approach to the artistic portrayal of her subjects, Anna Tea does what she can, with no qualms about forcing anything upon her audience. Photography is a way to show her opinion and thoughts, and society should accept that. Anna Tea, a creative soul with a beautiful mind, shares a lasting thought with us,

"The work should say, STOP. LOOK. REMEMBER" WORDS: JODIE SHEPHERD

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ANNA TEA

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WWW.PHOEBEDIARY.TUMBLR.COM

PHOEBE KIELY

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MESMERISED BY A HAUNTING ALLURE, PHOEBE KIELY OFFERS AN UNCHALLENGED EYE TO SEEK BEAUTY IN THE MUNDANE. SHE FOCUSES ACUTELY ON THINGS THAT OUR EYE MIGHT NOT NORMALLY DEEM TO BE ARTISTIC. A STRIKING PALETTE OF SUBTLE GREYS PAVES THE WAY FOR A MYSTERIOUS JOURNEY; A JOURNEY OF SELF-EXPRESSION AND FREEDOM. WALKING INTO A NEW CITY IS ENOUGH TO SPARK INSPIRATION WITHIN PHOEBE KIELY'S HEART, AND PEOPLE HAVE ALWAYS BEEN AN INTEREST TO THIS REMARKABLE TALENT, SHE SAYS "I ALWAYS FEEL THE NEED TO CAPTURE NEW FACES IN MY LIFE." HOW WOULD YOU DESCRIBE LIFE AS A YOUNG PHOTOGRAPHER? DO YOU FEEL YOUR CREATIVITY IS ALLOWED TO SHINE? Life as a young photographer is interesting. There is no easy way to describe it, everything is heightened in relation to how you see the world. I don't believe my creativity is allowed to shine in the confines of university, but outside university, the internet and the ability to network with so many different people in the art world really makes it very easy to get your work out there. HAS PHOTOGRAPHY ALWAYS BEEN YOUR PASSION? Yes, always. Well, since about the age of thirteen. THOUGH YOU WORK WITH PHOTOGRAPHY, YOUR WORK OFTEN FEELS VERY CINEMATIC. IS THIS IMPORTANT TO YOU? Film has been a major influence on my work, film and artists is where I find most of my inspiration. Not long ago I saw my work as a diary of sorts, but I really don't believe that anymore. I am selective with what I photograph, it really is a construction of my world; my reality. CREATIVELY SPEAKING, WOULD YOU SAY YOUR WORK IS VERY CONCEPTUAL? I believe the work was conceptual before I realised it was. I am not just making these images because they are aesthetically pleasing.

PHOEBE KIELY

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PHOEBE KIELY

DO YOU ENJOY WORKING WITH PHOTOGRAPHY AND ART AS A FORM OF EXPRESSION? Yes, of course. If I didn't I wouldn't be doing it now. It is a necessary part of my life. I was never able to communicate what I needed to in any other way than through photography. IS THERE ANY PARTICULAR PROCESS YOU EMBARK UPON BEFORE STARTING A NEW PROJECT? No, I generally act on impulse really. That and gut feeling. WHAT ARE YOUR THOUGHTS ON THE INDUSTRY TODAY? DO YOU FEEL IT'S GOING ANYWHERE, AND AS A WAY OF COMMUNICATION, WHERE DO YOU FEEL YOUR WORK SITS IN SOCIETY AS A WHOLE? Of course, it's definitely moving forward. So in that sense it is certainly going somewhere; constantly changing and evolving. I don't really think my work sits in society as such though, it shows broken fragments of my life, and mine alone. It focuses on the things I see and what I do, the people that I meet. YOUR WORK FEELS VERY NATURAL AND RAW IN APPROACH, WHAT'S THE ONE THING YOU HOPE TO PORTRAY IN YOUR WORK? Life and emotion. WORDS: JODIE SHEPHERD

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THE WAYWARD ROSE

PHOTOGRAPHER TOM MARTIN STYLIST & ART DIRECTOR FRANCESCA AIMEE MODEL BIANCA AT NEMESIS AGENCY

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Bianca wears Ryan's vintage vest and Shell Suit bottoms; Mad Elizabeth boots

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THE WAYWARD ROSE

Bianca wears Mad Elizabeth jumper and boots; Ryan's vintage shorts

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SMALL GIRLS, BIG BUSINESS

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Small Girls PR was born at 2am in the morning, when Mallory Blair received an email from, her now business partner, Bianca Caampued.

"It said she wanted to start a PR company. I was out partying and I emailed back saying 'I'm down. Small girls, big business'. That was it". Previously, Bianca was doing in-house PR at Cure Thrift Shop. "Her approach was reaching customers and the store's audience through social media," says Mallory. "This was before companies were making it part of their marketing campaigns. She grew their Tumblr following from 15 to 15,000." Mallory, on the other hand had no experience in the sector: "I'd never even so much as interned in PR before starting the agency." she says. "I worked on the branding and strategy side - the more analytical pieces that are taken into consideration when executing campaigns." Now, the girls spend their time working with everybody from the Dutch embassy to brands like Google and Pinkberry; bringing their own personal touch to media relations, events, and social media. According to the girls it's their personalities, they say, is what makes them stand out in the crowded New York PR scene. "There are a ton of PR firms who work in the same industries, and some who may offer the same services, but what makes us unique is us as individuals. The emails we write are always individually sent with personal notes rather than issuing a blind release, for example." Their advice for anyone who wants to follow in their footsteps and get into PR? "Go out and meet people! Relationships are key for yourself, and between brands and their customers." There is no typical day at Small Girls PR, which is part of why they love the gig they're lucky enough to have been brandished with, it isn't just about the ideas and execution, it's the excitement and personal connections. When asked about the difficulty balancing a personal life with a career, Bianca replied, "We recently worked with the MAKERS Conference, and the overlying theme from some of America's most talented women was that there is no work/life balance. We 100% agree. It's about making

WORDS: ELEANOR DUNNE

SMALL GIRLS, BIG BUSINESS

decisions and prioritizing what's important in your life."

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"Donâ&#x20AC;&#x2122;t be afraid of failure. Take risks and explore opportunities."

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GROUND CONTROL, 2014 (PHOTO BY NON ZERO ONE)

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LIFE IS A GAME OF CHANCE AND CHOICE NON ZERO ONE ARE A GROUP OF SIX ARTISTS WHO EXPLORE IDEAS OF AUDIENCE RESPONSIBILITY AND INVESTIGATE THE ROLE OF PERFORMER AND TECHNOLOGIES IN LIVE PERFORMANCE. THEY CAME TOGETHER WITH A SHARED INTEREST IN THEATRE; AN INTEREST THAT HAD PREVIOUSLY CHALLENGED THEIR NOTIONS OF IMMERSIVE PERFORMANCE AND CREATIVE USES OF TECHNOLOGY. AS A COLLECTIVE, THEY STRIVE TO CREATE WORK THAT REACHES OUT TO THEIR UNIQUE PERSONALITIES ON AN INDIVIDUAL AND PERSONAL LEVEL. YOU FORMED "NON ZERO ONE" AS UNDERGRADUATES AT ROYAL HOLLOWAY IN 2009; WHAT INSPIRED YOU TO COME TOGETHER? Alex: ‘The six of us had worked together on several different modules on the drama degree at Royal Holloway and we were also friends outside of that. We had the opportunity in our final year to work together on a performance project, where the aim of the module was to form a company, give ourselves a name, a mission statement and make any piece of theatre that we wanted. HOW HAS YOUR PROCESS DEVELOPED IN THE FIVE YEARS THAT NON ZERO ONE HAS BEEN PRODUCING WORK? Iván: With each show we make, we develop a clearer understanding of our relationship with audiences and throughout the past five years we've pushed ourselves to find new ways of creating theatre that excites both us and those taking part in our work. Having said that, we still sit in rooms for hours on end, surrounded by cups of tea and biscuits, talking everything over for far too long. HOW WOULD YOU DESCRIBE THE THEATRE YOU CREATE? John: Good question! We’ve been doing a lot of work on this recently, as it’s really important for us to be able to communicate ourselves to a range of different audiences and potential partners. At the moment, this is what we’ve got: “non zero one make interactive experiences. Each work is a conversation between the participant and the experience. The work is provocative, it asks questions rather than telling a story or providing answers, offering those taking part the space to think and the challenge to go further and be surprised at what they might find. WHAT ROLE DOES TECHNOLOGY PLAY IN YOUR WORK? Cat: Our work is all about communicating with audiences, and in order to do this we often use different forms of technology to keep things interesting. Typically we've used everyday technologies within our shows - such as headphones and MP3 players, Skype, video and live streaming. Recently we've become more ambitious in embedding the technology, for one of our shows headphones were hidden in water polo hats that the audience wore, and we used live mixing to talk to all of the audience or particular individuals at different times. One moment the narrator might be talking to everyone, and sometimes just to you.

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WOULD LIKE TO MEET, 2010 (PHOTO BY NON ZERO ONE)

NON ZERO ONE

THEY VOTE WITH THEIR FEET, 2009 (PHOTO BY GAVIN MACKENZIE)

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YOU TEACH DEVISING COURSES IN THE DRAMA DEPARTMENT AS PART OF YOUR RESIDENCY AT ROYAL HOLLOWAY; HOW HAS TEACHING AFFECTED YOUR APPROACH TO CREATING YOUR OWN WORK? John: It has been a new challenge to articulate our thoughts about what we do and why we’re doing it, rather than just powering on with it. Teaching has meant we’ve really had to consider the context our work fits within, and the theory to which it relates. It’s helped us talk about our own thoughts and aims much more clearly. It has been fantastic because of the energy you get from the students, and also really reassuring when you can relate to them, you’re sat there thinking, “Oh, so it’s not just me then…coming up with original, provocative ideas really is pretty difficult…” When they really nail it and you see that they have totally understood something that you’ve been trying to get across, it also gives you more confidence that you know what you’re talking about, which carries forward into the making process. WHAT IS THE BIGGEST CHALLENGE OF OPERATING ALL ASPECTS OF A THEATRE COMPANY? Fran: For non zero one at the moment, the biggest challenge is time and money. There are six of us, and so creating a model where all of us can work for the company is tough. We are challenged by all having to have other jobs and making work in our spare time. This makes performing the work, or taking a piece on tour tricky as we have to do this during our holidays. The conundrum of how we make a workable business model continues… IN SOME OF YOUR PIECES, YOU COLLABORATE WITH OTHER ARTISTS SUCH AS ELINOR COOK, ROBERT LOGAN AND JAMES BULLEY. WHAT DRAWS YOU TO THESE ARTISTS? Fran: We’ve been really fortunate to be introduced to some incredible artists and always enjoy working collaboratively on projects. We met Robert whilst at university, and John met James whilst working on a project when he was at Blast Theory. We were introduced to Elinor Cook via Josie Rourke when she was at the Bush Theatre, she thought her style of writing specific detailed moments would work well when exploring spaces. We are drawn to people whose work is exciting and who welcome a challenge. WHY DO YOU FEEL COLLABORATION IS IMPORTANT? John: Collaboration has allowed us to work with people who are just incredible at what they do; everyone we’ve worked with are doing exciting things in their respective fields and have taught us a lot. They are inspirational to us. They’re specialists in what they do, and by having them in the team, the whole effort becomes a lot stronger. YOUR PERFORMANCES OFTEN EXPLORE IDEAS OF AUDIENCE PARTICIPATION AND RESPONSIBILITY. HOW DO YOU THINK THEATRE CAN CREATE SOCIAL CHANGE? Cat: All art can be a catalyst for social change; specifically the way that we try to communicate and inspire people is by making our audiences active and (to a limited extent) autonomous in the experience. Instead of watching someone else tell you about a part of life we try to allow people to experience that feeling for themselves. It's done in a way that's never judgmental or embarrassing, and the idea is that then people are given the time to think about questions personally and intimately for themselves. What's your relationship to commitment? How do you like to make choices? What are you like in a team of people? non zero one like to ask these questions and give people the space to work them out on their own terms. NON ZERO ONE

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THE TIME OUT, 2011 (PHOTO BY NON ZERO ONE)

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IN 2010, YOU PRESENTED "HOLD HANDS/LOCK HORNS", DESIGNED FOR ONE AUDIENCE MEMBER AND ONE ACTOR. HOW WAS THIS EXPERIENCE DIFFERENT FROM WORKING WITH LARGER GROUPS OF AUDIENCE MEMBERS? Alex: It can be a lot more personal, especially as in the interview (about a series of choices they make in the performance) we could go into as much detail as they would like; often people would really open up and we’d hear some really interesting things! With larger groups of audience members, the amount of time in a performance for personal contribution is invariably reduced due to the logistics and time needed for this. HOW DOES YOUR APPROACH AND PROCESS CHANGE WHEN WORKING WITH CHILDREN, AS OPPOSED TO OLDER AUDIENCES? John: A lot of our work for adults asks people to do some serious thinking and reflection; it can be quite demanding in that respect. We know that our younger audiences are also really intelligent and discerning, but we also know that we have to work a little harder for their attention. When we made LIFE for the Science Museum, it was clear that the 8-12 year olds had a very good awareness of the scientific content already, but our main goal was to ask them to relate it back to their lives – why does an eight year old care about rising CO2 emissions in Inner London? What is the route in which they can make a personal connection? WHAT HAS BEEN YOUR FAVOURITE PERFORMANCE PIECE TO DATE, AND WHY? Iván: We've had some ridiculous highlights over the past five years: performing on the roof of the National Theatre, setting up a locker room in a leaking tent at Latitude Festival, and being the last company to create work in the old Bush theatre, to name but a few. And although I think our work has developed a great deal from when we started, our very first show - which ran at the Barbican in 2009 - will hold a dear place in my heart. Specifically, the time we saw our audience decide to all have a drink together upon finishing the show. Two hours later, they were still there. HOW HAS LIVING AND WORKING IN LONDON AFFECTED YOUR IDEAS AND PERFORMANCES? Fran: non zero one creates work that places the participant at the heart of the work, it’s all about the individual in the piece at that specific moment in time; whether it be about how they explore the space, or how they form relationships with the other people around them. I wouldn’t say we were overly affected by where we make our work because it’s more about how the place affects the people taking part – for example during the Olympics in 2012 we made a piece on the roof of the National Theatre, and the spirit and atmosphere at that time definitely affected the audience around the table. WHAT IS THE MAIN GOAL OF NON ZERO ONE FOR THE FUTURE? John: We want to grow in a few ways, and to keep doing things that scare us. We would love to make work for audiences who have never heard of us, and who might otherwise think that interactive work or even just theatre altogether isn’t for them. As well as making theatrical experiences, we want to diversify the kinds of places we make work too because what we do is about interaction, conversation and spending a bit of time being thoughtful about the world; there’s no reason why that has to be confined to a theatre space. We want to keep trying new ideas and new ways to get people to talk to each other too. We want to find new questions to ask people and new ways to ask them. We have no idea what those are right now, but there is a desire to just keep pushing in new directions.’ NON ZERO ONE

WORDS: KATE MALCZEWSKI

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WE ARE UP

WE ARE

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"WE ARE UP" ARE A LONDON BASED PRODUCTION COMPANY, WHO PRODUCE SOME OF THE MOST ICONIC PHOTOGRAPHIC SHOOTS WORLDWIDE. A DIRECT CONNECTION TO PHOTOGRAPHERS, STYLING TEAMS, ART DIRECTORS AND FILM CREWS, ENSURES THAT "WE ARE UP" TAKE YOU FROM A BRAND CONCEPT, THROUGH TO AN ULTIMATE FINAL PRODUCT, THAT IN A WORD IS PERFECT. WITH AN OFFERING OF THE FRESHEST INDUSTRY TALENT, AND DECADES OF EXPERIENCE IN THE FIELD, "WE ARE UP" REMAIN POSITIVE AND SAVE YOU, THE CREATIVE, THE HASSLE OF HAVING TO ENSURE EVERYTHING RUNS SMOOTHLY FROM BEGINNING TO END. NOCTIS SPOKE TO THOMAS HOWARD, THE CREATIVE MIND BEHIND THE ESTABLISHMENT, ABOUT WHERE IT ALL BEGAN, THE INSPIRATION AN SOME OF THE MOST INTERESTING JOBS THAT HAVE BEEN SECURED. SO TELL US ABOUT "WE ARE UP", WHAT THE IDEA BEHIND IT? We are a London-based photographic production company producing editorial and commercial photo shoots. We work with photographers, creative directors and brands to help them realise their ideas. It is our role to help from concept, all the way through to completion. We take the stress out of organising the photoshoot so the client can focus on what is most important, the incredible pictures. WHERE DID IT ALL BEGIN? It began with a degree in commercial photography from Bornemouth, and a few interships which opened my eyes to other areas of the industry. I decided that if I wasn't going to be the guy taking the pictures, I would want to be the one organising the rest of the shoot. Then from a crumbling flat in Hackney, I started my own company, taking on freelance jobs and building up relationships with photographers and magazines. Everything else soon followed. WHAT WAS THE INSPIRATION BEHIND THE NAME, "WE ARE UP"? When I was at University my nickname was Upstairs (ingeniously because I lived upstairs) and it has stuck ever since. When I started working as a producer, my company was called Upstairs Production, and now that I am expanding it's developed into "We Are Up". It's all about being a step above the rest, and a step infront of the competition. Offering a great service to our customers, and putting them and what is best for the shoot first. We are not there to glory hog or take credit, if the shoot is a success, no one should really have to know what went on behind the scenes.

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YOU'VE HAD CLIENTS SUCH AS AMERICAN VOGUE AND ADIDAS, WHAT IS IT LIKE WORKING FOR HIGHEND CLIENTS? It's always a great challenge and opportunity to work for brands which you admire. It was certainly daunting being asked to work for American Vogue, but once I had got over the Vogue bit, it was just another day at work. When you are on location and working with models or actresses, you don't have much time to let the nerves creep in. WHAT HAS BEEN YOUR MOST INTERESTING JOB TO DATE? It is always interesting working with big models and celebrities. However my most interesting shoot was for the American Magazine, Kinfolk; we were briefed to bring together eight grey haired women from all different backgrounds and celebrate not only their beautiful grey hair, but their style, difference and characters. It was an amazing shoot because there were only two professional models and the rest of the ladies gave up their Saturdays and sat around chatting and getting to know eachother. It was really more of a collection of highly successful women meeting and sharing their experiences, and talking about their lives and their jobs more than a photoshoot. It was a great day with a brilliant atmosphere and I think that is why the photographs look so brilliant. IN YOUR OPINION, WHAT DO YOU THINK IS THE BEST PRODUCTION TO HAVE COME FROM "WE ARE UP"? The Inventory shoot that we did with Rory Payne has been, I think, our best production work to date. It was a great shoot on location around the Isle of Sheppy, we shot all day until the sun came down and produced some really intense and beautiful shots. It is something I am very proud of. iS THERE A SET PROCESS YOU GO THROUGH, FROM INITIAL CONCEPT TO THE FINISHED PRODUCT? We tend to start by talking with the client to find out exactly what their concept and idea is. We then use that information to draw up a budget and source any locations, models and props needed so we can go back to them with a very well planned and thorough breakdown of all the costs involved. Then from there, we work to make sure that everything from the location, whether it be a studio in London or a field in Kent to the catering, transport and schedule is organised. Then we round up the troops and get on with it! IN TERMS OF A TEAM, WHO DO YOU EMPLOY TO GET THE JOB DONE? We work with a wide variety of photographers, photo assistants, makeup, styling and catering teams. The most important thing for "We Are Up" is to make sure that we get the right people on the right jobs. It is essential for every shoot to have a group of talented individuals who will work well as a team to make sure that the shoot goes without a hitch. We believe in working with a small but really close team of people we trust and can rely on. WHAT'S THE HARDEST PART OF YOUR JOB? Trying to not look stressed. (My hair has already made a bid for freedom) AND FINALLY, WHAT DOES THE FUTURE HOLD FOR "WE ARE UP"? We have some really exciting shoots in the pipeline and ones that are about to come out, so the future looks bight. We are always open to new challenges and with this Industry you never know what is round the corner. THE ONLY WAY IS UP! WORDS: SOPHIE BURROWS PHOTOGRAPHS: COURTESY OF THOMAS HOWARD

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WHAT'S THE STORY, MORNING GLORY?

what's the story, morning glory? PHOTOGRAPHER ALICE PEPERELL • WORDS KEZIAH BROWN

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IT SEEMS ODD THAT WE CONFINE OUR FAVOURITE THINGS TO CERTAIN HOURS OF THE DAY. CLUBBING POST 10PM, AND BACON SANDWICHES PRE 11AM; WHY NOT HAVE A HIT OF WHAT YOU WANT, WHEN YOU NEED IT THE MOST? MANY YEARS AGO BEFORE METALLIC GYM BALLS, VIBRATION PLATES AND YOGALATIES, US HUMANS USED TO GET OUR EXCERCISE FIX FROM DANCING, AND THE MORNING GLORY TEAM HAVE NOW BROUGHT BACK THE ULTIMATE ENERGISER. FLIPPING THE DAY ON ITS HEAD, MORNING GLORY'S WEEKLY IMPROVISED DANCE CLASSES ALLOW YOU TO DANCE CARELESSLY INTO YOUR WORKING DAY. WHERE DID THE IDEA FOR THE CLASS COME FROM? The concept for Morning Glory came from the desire to find a more sustainable and conscious way of socialising. Our mission is to bring conscious clubbing and conscious socialising to the world stage. We are turning clubbing on it’s head and in doing so, we are bridging the gab between conventional raving and holistic and healthy living. WHAT DID YOU DO BEFORE MORNING GLORY? I am an event producer. Prior to Morning Glory London, I produced a boat party called Pirate Radio which was dubbed London’s Best Party by The Metro. I also worked as a freelance event producer doing private bespoke parties, fashions and festivals. MUSIC IS THE KEY FOR DANCING, WHO'S ON THE DECKS? Our DJ’s change regularly to keep our ravers on their toes. Some of our DJ’s have included Rob da Bank, Annie-O, The Mystery Jets, Mojo Filter, DJ Chuckles, Liz Cirelli and Loose Cannons. THIS KIND OF CLASS MUST NEED A SPECIAL SELECTION OF INSTRUCTORS; WHERE DO YOU FIND THEM? Morning Glory "Rave Your Way Into The Day" is an immersive morning dance experience, not a class! While we produce the event, we leave it up to our wonderful ravers to create their own unique experience. Our troupe of dancers warm up the stage while our guests bend and stretch their way out of their sleeply state but before long, there’s no telling who’s a first timer or who is part of the crew.

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WHAT'S THE STORY, MORNING GLORY?

WHAT ARE THE BENEFITS OF COMING TO A MORNING GLORY EXPERIENCE, RATHER THAN A GYM SESSION? So many people force themselves to endure gym sessions, regimented exercise regimes and classes that they don’t actually enjoy. Morning Glory "Rave Your Way Into The Day" provides people with an exciting opportunity to cut loose, release some built-up energy and fill up on endorphins by moving and shaking however they want. There are no steps or rules to follow so people can go as hard or as soft as they like Morning Glory "Rave Your Way Into The Day" also takes a more holistic approach, benefiting the body, mind and spirit. Our guests leave our raves and go on to be more productive and inspired, having started their day on a positive note. By the end of their time at Morning Glory "Rave Your Way Into The Day" our guests have danced, stretched, socialised, exercised, challenged their daily rhythm, challenged societal norms, filled up on endorphins, had a massage and maybe a superfood smoothie… all before midday! AS WELL AS THE MAIN EVENT, MORNING GLORY OFFER REFRESHMENTS, INCLUDING COFFEE, SUPERFOOD SMOOTHIES AND WAKE-UP MASSAGES. WHAT'S THE BEST COMBINATION TO KEEP YOUR MOVES IN CHECK? That’s up to our guests. Some like to indulge in yoga and a massage, while others hit the dance-floor hard with a double espresso. Every wake-up practice is welcome. iT'S NOT WHERE YOU DANCE, IT'S WHO YOU'RE DANCING NEXT TO. WHAT KIND OF PEOPLE DO YOU SEE AT ONE OF YOUR EXPERIENCES? Who doesn’t come to one of our experiences? Everyone from working professionals to in-utero dancers attend Morning Glory. We have full time toddlers, students, doctors, executives, artists, and everyone in between attend Morning Glory "Rave Your Way Into The Day". There is a real sense of community at our raves. DO THE SAME FACES COME BACK EACH WEEK? Definitely. We have created a wonderful and ever growing community of repeat offenders. CAN YOU ROLL OUT OF BED IN YOUR PAJAMAS, OR IS IT MORE OF A LEGGINGS AND CROP-TOP AFFAIR? Morning Glory is whatever you want it to be. Sweatbands, slippers and business shirts are all welcome on the dancfloor. HOW WOULD YOU DESCRIBE THE POST MORNING GLORY FEELING? Inspired, energised, and naturally high. Post rave, one is packed with endorphins and flying on cloud nine. WHAT'S THE FUTURE FOR MORNING GLORY? Morning Glory "Rave Your Way Into The Day" is not slowing down, that’s for sure! Cockicorn (that’s our part rooster and part unicorn mascot) and his team of devoted ravers are going to be injecting fun into our city workers for a long time coming. "RAVE YOUR WAY IN THE DAY" HAPPENS EVERY WEDNESDAY FROM 6:30 - 10:30AM (YOU CAN DROP IN AND OUT AS AND WHEN YOU PLEASE, BUT IT'S RECOMMENDED YOU STAY FOR AN HOUR). PRICES ARE £12.50 ADVANCE AND £15 ON THE DOOR, YOU CAN FIND MORNING GLORY OFFICIAL ONLINE HERE.

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SINGLE MALT

STRAIGHT NO ICE

PHOTOGRAPHER HYPE D STYLIST NAAMAN BROWN MUA TASHAN CIAN AND LOUISE HALL MODELS JORDAN AT ELITE MODEL MANAGEMENT, JOEL AND JUNIOR AT AMCK MODELS, JAMEELA AND CAMILLE AT LENI'S MODELS

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Joel (left) wears Sunspell t-shirt; Louis Vuitton tracksuit; Won Hundred shoes Jordan (centre) wears Icon chain; Topman shirt; custom trousers and kilt; Timberland shoes Junior (right) wears Icon chains; Ben Sherman roll neck; Louis Vuitton trousers; Oliver Sweeney shoes

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Jordan wears John Smedley long sleeved polo; Other UK baseball shirt; H&M trousers; Won Hundred shoes; Icon necklaces

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Jameela wears American Apparel hat and jumper; River Island trousers; KG shoes; TopShop coat

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Jameela (left) wears Monki bralet and trousers; KG shoes; TopShop necklace Camille (right) wears And Other Stories earrings; American Apparel corset top; Monki trousers; TopShop heels

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Camille wears TopShop necklace and heels; Urban Outfitters corset; American Apparel skirt

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Junior wears Locl and Co hat; Won Hundred jacket; Ben Sherman roll neck; H&M trousers; Caterpillar boots

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FROM THE LEFT Junior wears Locl and Co hat; Won Hundred jacket; Ben Sherman roll neck; H&M trousers; Caterpillar boots Camille wears TopShop necklace and heels; Urban Outfitters corset; American Apparel skirt Jordan wears John Smedley long sleeved polo; Other UK baseball shirt; H&M trousers; Won Hundred shoes; Icon necklaces Jameela wears American Apparel hat and jumper; River Island trousers; KG shoes; TopShop coat Joel wears American Apparel hat; Topman roll neck and trousers; Sandro varsity; Timberland boots

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DWELLERS

DWELLERS photographer rob rusling stylist beth gowland stylists assistant kerry saxon makeup artist roxanna gillani videographer nathan walton models declan john geraghty at nemesis and frankie at industry

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Declan wears American Apparel denim jacket; www.wearecow.com sweatshirt; Just Junkies jeans Frankie wears TopShop cardigan and earrings; American Apparel jeans; Dr Marten's shoes

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Declan wears H&M polo neck jumper; Comme Des Garรงons at www.hervia.com jacket

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Declan wears www.wearecow.com leather jacket; Vintage Farrah shirt; Just Junkies jeans; www.skullmasons.com jewellery Frankie wears Comme Des Garรงons at www.hervia.com jacket; Glamerous dress; TopShop socks; Dr Marten's shoes

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Declan wears American Apparel denim jacket; www.wearecow.com sweatshirt; Just Junkies jeans Frankie wears TopShop cardigan and earrings; American Apparel jeans

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Declan wears H&M polo neck jumper; Comme Des Garรงons at www.hervia.com jacket Frankie wears Pippa Lynn at Urban Outfitters shirt; H&M leather skirt and tights; Dr Marten's shoes; Zara hat

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JUDY WU

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PHOTOGRAPHER LEONI BLUE • DESIGNER JUDY WU • MAKEUP ARTIST & HAIR STYLIST LESLEY VYE

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Based in London, Judy Wu was raised in Shanghai; having previously worked as a pattern cutter at House of Holland and Jasmine De Milo, Judy Wu's eponymous label was launched with an AW13 collection, entitled "A Crack in Time". With structural pattern cutting, she uses reflections of her inner-self, capturing fragments of emotions and elegantly fusing Eastern energy with Western design tradition. Judy Wu now has us planning our Spring wardrobes with an illustrious collection of vibrancy. A refreshing nude palette boasts flashes of red and blue, with a geometrical print undertone. The collection is particularly exempt from the familiar Spring florals and sugar coated shades. We are instead lavished with sctructural pattern cutting of the finest fabrics. The aesthetic is "decidedly non-conformist" and the dresses are elegant; the prints remain playful and the tailoring is beauteous. A complemented mix of femininity and androgyny. Judy Wu's garments are a wonderful juxtaposition of "intricacy and insouciance". HOW WAS LIFE GROWING UP IN THE RICHLY CULTURED, SHANGHAI; DID YOU FEEL RESTRICTED IN ANY WAY? I love Shanghai, and contrary to what people think, Shanghai is actually very free-spirited both international and cosmopolitan. That has shaped who I am. WHAT WERE YOUR REASONS FOR CHOOSING TO MOVE TO LONDON AND STUDY DESIGN AT CENTRAL SAINT MARTINS? I have always admired London style, especially iconic British designers like Alexander McQueen. I set myself very high standards and I think Central Saint Martins is one of the top schools for fashion in the world; it was indefinitely my number one choice. DO YOU FEEL THAT CHIC ELEGANCE, TEAMED WITH A SENSE OF PLAYFULNESS EPITOMISES YOUR LABEL? Yes, the exciting prints and surface textiles (including beading and contemporary embroidery) give my pieces a playful oomph! But they are always elegant, wearable and never over the top. I've always wanted to find the right balance between creativity and wearability and I think my latest collection does just that. HOW DID YOU DEFINE, AND EFFECTIVELY REFINE, YOUR CRAFT? I define my design through clean silhouettes and a feminine aesthetic. As for how I refine it it's all about JUDY WU

being really precise with my pattern cutting, attention to detail and always making sure the fit is flawless.

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IS FASHION DESIGN SOMETHING YOU HAVE ALWAYS BEEN KEEN TO PURSUE? IS THIS INTEREST, AND YOUR LIFESTYLE CHOICES, SOMETHING THAT REFLECTS THAT OF YOUR FAMILY? Yes, I couldn't imagine doing anything else; and no not at all because I've always been a bit of a rebel, but my family respect my independent spirit, which is a great spirit! WOULD YOU CONSIDER YOURSELF TO BE AN ENTREPRENEUR? Yes! I've always wanted to start my own label and create something. Entrepreneurship requires a different skill set than solely being a designers, and I enjoy developing that side of myself. NOCTIS RECENTLY WORE JUDY WU DESIGNS TO LONDON FASHION WEEK, HOW DO YOU FEEL YOUR LATEST COLLECTION HAS BEEN RECEIVED? The positive feedback, and the amount of it, has been amazing. My showroom at the Savoy Hotel went down really well, and of course I'm really grateful for the support from the girls at Noctis! YOU NOTE THAT YOU AIM TO FORM "A SYNTHESIS OF MODERN EASTERN ENERGY WITH CUTTING-EDGE WESTERN DESIGN TRADITIONS", WHERE DO YOU FIND YOUR INSPIRATION? I find Western modernism inspires much of my design, but I also draw inspiration from Traditional Chinese art and romantic tales. CREATIVELY SPEAKING, HOW DID YOU SET ABOUT CREATING YOUR OWN LABEL, WHAT WAS THE PROCESS LIKE? When I started the brand, I thought about who the Judy Wu woman is; she's an independent, cosmopolitan, sophisticated woman. A woman who appreciates art and has a rock 'n' roll spirit. So when I design a collection, that's my muse and inspiration. Once I had my brand identity, it was about turning it into an aspirational brand with its own culture, and that process is in essence, the challenge of creating a successful brand. DO YOU HAVE ANY IMMEDIATE PLANS FOR THIS YEAR? WHAT CAN WE EXPECT TO SEE FROM JUDY WU IN THE NEAR FUTURE? We plan to team up with some really great avant-garde designers and launch in China; I've also just returned from the Rio Carnival so for our Spring/Summer 2015 collection you can expect to see wonderful prints, with vibrant colours and unique textures. WORDS: JODIE SHEPHERD

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THE IMPRESSION

The Impression The distinctive beauty of colour PHOTOGRAPHER James Callaghan STYLIST Kiera Liberati MAKEUP ARTIST Francesca Bartha HAIR STYLIST Sophie Anderson ARTWORK Zoe Clements MODELS Ben Worlock at Bookings Model Agency and Jenna Dickson at Profile Model Management

Ben wears Nadi Studio shorts; Nadi London top; Only Child London chains; Nike at JD Sports trainers Kelly wears vintage Beyond Retro skirt; Nympha London skirt; Frech Connection shoes

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Kelly wears H&M bodysuit

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Ben wears Beau Homme shirt; Only Child London chain

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Ben wears Topman hoodie

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Kelly wears Rosie Beard jenas; Just Cavalli cropped bra; vintage Beyond Retro jacket

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Ben wears Starter hat and jumper; Beau Homme shirt; Only Child London chain

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Kelly wears ZDDZ Body; French Connection shoes; Finchittida Finch necklace; Charlotte Valkaniers cuff; American Apparel leather hat Ben wears Topman Shirt; Antony Morato shorts; Nike at JD Sports Trainers

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DOUGIE POYNTER

DOUGIE POYNTER PHOTOGRAPHER DARREN BLACK MAKEUP ARTIST ABIGAIL BAMSEY USING MAC WORDS JODIE SHEPHERD WITH THANKS TO STORM MODEL MANAGEMENT

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It's hard to believe that ten years ago, "5 Colours in Her Hair" was released. Yes we know, we can't believe it either; ten years ago we began lusting over the "bassiest one from Mcfly" and wondering what colours we should adopt in hope of catching his eye. We have yet to succeed. But, with a plethora of guitar-pop singles, Dinosaur stories for children and a clothing line entrusted with the name Saint Kidd, Dougie Poynter is one step away from establishing himself on top of the world. Though, he was crowned King of the Jungle, so perhaps he's already there? And, in case you've somehow missed it, Dougie Poynter is back working on melodic harmonies for the McBusted venture; that's if he can pull himself away soft porn, otherwise known as Games of Thrones. This is all whilst maintaining a helping hand towards embodying the spirit of a 301 year old man, who became the unlikely man figure head for his Dougie Poynter's brand, Saint Kidd.

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The ragtag nature and adventures of William Kidd, a wayward pirate seeking a lucrative prize, spark a daring notion, and his willingness to take risks provided the inlfux of inspiration for a journey into unknown entrepreneurship. Established in London, in 2011, Saint Kidd is the brainchild of a wandering soul with a unique vision. Keen to create a label which is a platform for emerging British Design talent, Saint Kidd, like Dougie Poynter, channels the creativity of likeminded artists. Artists interested in making a difference to the world we live in. Saint Kidd is born from a desire to keep the fundamentals strong, and the edges raw. "Behaving not as a company, but as an encompassing artistic collective". Dougie Poynter is no stranger to attention, but we've found he'd sooner be turning his attention to looking after the planet we call home, and ensuring that mankind treasures what we have, not seek to destroy it. In the meantime, we'll waiting patiently for his call.

@dougiemcfly â&#x20AC;˘ www.saintkidd.com DOUGIE POYNTER

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Fé

It has been a heady few months for the boys from

with Bad Life, everything has been ace, the time has

Fé. Not that long ago, you could have heard the duo

flown. If the next six months are as good as the last,

busking on public transport around London, but since

we'll be laughing.'

signing to Bad Life six months ago, Fé, also known as Ben Moorhouse and Leo Duncan, have been pushing

What is next for Fé? More gigs, and gigs outside of

out their brand of dreamy folk riffs and beautiful beats

London. An album to follow on from their double A

to an ever growing body of fans; there is a notion of

side that will be recorded in Andalucia, Spain. Fé's

groove and a strong lyrical presence, alongside signs

music can currently be heard on platforms such as

of intent and an accomplished sound.

Soundcloud, but how is such technology and ease of accessibility having an impact on a recently signed

The pair explain how it all started on the tracks. "We

act? We live in an age where listening habits are

have been busking on trains for a few years together,

evolving, we are becoming promiscuous with the

playing acoustic guitars and singing in harmony".

music we use and listen to. We sometimes make

It all sounds like a romantic, idealist vision of how

bold, brash and uneducated opinions on artists after

a performing duo should find their breakthrough,

hearing a short thirty second clip.

but it was more an exercise in reading the types of diverse segments of society that can only be found on

Our memories of the music fade as instantly as we

London public transport. "People generally go from

discover a new act. But we also have a great wealth

confused, to intrigued, to positive," the pair continue.

and database of music at our fingertips that we can

"If we don't time it right - if we hang around for too

dig in to whenever we feel like it.

long - they go to indifferent. But that's the skill of

'Yes it is a double-edged sword,' agree Ben and Leo.

busking - knowing how much to give."

'Without a doubt, being able to get your music out on a medium that is free for anyone in the world to

The duo continued to busk to make ends meet. 'It

listen to is amazing. But at the same time, purely

was never a hobby, because we did and always do

because there is so much music being thrown about

need the money,' they elaborate. 'But it is definitely

out there, the listener has to make a quick judgement

fun and intense.' In the grand scheme of the timeline

on it. That is the nature of the beast. It is not ideal

of these two performers, the music that can be heard

because it encourages people to make music that is

today was constructed relatively recently as Ben and

easier to digest, to simplify or stereotype it in order

Leo explain 'it wasn't until about eighteen months

ago that we started to write the songs that became Fe

titillate the listener in those thirty seconds. But that

songs, using electronic instruments and recording all

is just the way it is.'

the parts ourselves. Head onto Soundcloud now but do not make a snap Since then, the duo have signed to Bad Life and

judgement. Give Fé the time they deserve. Listen

things have escalated as more people have been able

to the their hauntingly atmospheric sounds, the

to hear their sounds. A double-A side release 50/50 /

catchy riffs and the brilliant beats. 'We play together

Turn Your Light On has been released. 'The plan has

a lot and when you do that a chemistry develops,'

always been to get as many people to hear our music

inform Ben and Leo. 'Things just appear. We have

as possible,' admit Ben and Leo. 'Since we signed

both been in bands before and the one thing we

"One thing we wanted to do in Fé was cherish simplicity. Keep the melodies strong and simple."

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wanted to do with Fé was to cherish simplicity. Keep the melodies strong and simple, the grooves lean, allow space in the songs which gives the atmosphere.' Despite the band being at an early stage, the sound is rounded and mature. 'It is all part of the chemistry,' confirm the guys. 'We are constantly playing, singing, talking about how we want to take the sound forward. So it is all the sum of the years we have been playing together.' Fé can be experienced live too. 'We love playing these songs to people, it is important as a release physically and emotionally.' Ben and Leo look ahead to the future, 'we have got our biggest show at Hoxton Bar and Kitchen on May 15th. We are getting some friends to play with us on stage to really deepen the songs. We are so very excited for that. We are beefing up the operation with some soulful backing singers and a wild wizard playing a modular synthesiser that he has invented himself.' The chaps also anticipate plans for a light show, 'Jose Garcia Huidobro who does our artwork, is designing lights that respond to our movements on stage. We expect to witness greatness!' Tunes have already been the subject of remixes in particular a remix of Time by Tythe. 'We did not hear it until it was finished and we thought it was beautiful the moment we heard it,' claim Ben and Leo. 'We would love him to do more remixes.' It has been a swift journey for the pair. From busking on trains to being the subject of remixes, an album and a visual treat of a live show in the near future. Sure we could all make an instant judgement on Soundcloud, but let us be together in watching their shows, listening to their album in its entirety and remember what it is like to discover a new act of 'relentless bliss' straight off the tracks. WORDS: TOM BLAY

Fé

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BUSTER BENNET

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BUSTER BENNETT HAS GONE FROM RUNNING SOME OF LONDON’S TOP AND WEIRDEST CLUB NIGHT’S, TO RUNNING A SUCCESSFUL ACADEMY WHERE STUDENT’S CAN LEARN EVERYTHING THEY WOULD WANT TO KNOW ABOUT DJING AND PRODUCTION. IT MAY SEEM A LONG WAY FROM HIS TIME AS A PROMOTER RUNNING PARTIES IN RAILWAY ARCHES, WITH BOUNCY CASTLES AND STRICT DOOR POLICES THAT SAID “IF YOU'RE NOT DRESSED LIKE A CLOWN, YOU'RE NOT COMING IN!” (THIS REALLY DID HAPPEN!), BUT WITH THIS BEING OUR ENTREPRENEUR ISSUE, BUSTER WAS PRETTY HIGH UP ON OUR LIST TO FEATURE.

FOR OUR READERS THAT DON'T KNOW

make it (lol.) In between k-holes, acid trips

WHO YOU ARE, CAN YOU INTRODUCE

and a random reality TV documentary I

YOURSELF TO US AND WHAT YOU DO?

somehow managed to run another too-coolfor-art-school club night called Nuke Them

How much time have you got exactly? Well,

All with Fonteyn. Nuke Them All was de-

I'm a recovering new-rave-gen club promoter.

fucking-praved... I cannot even begin to tell

[Laughs] I'm still very much addicted. It all

you what anarchy went on there.

started for me when I moved to London and

Now readers .... you must realize... while

flaked on going to art uni. I struggled for a

all that sounds like fun (it was) it was also

while trying to suppress my rebellious nature

incredibly

and tried to fit in with the norms, it didn't

club nights for fashion kids and artsy types

work.

equals zilch on the door! I needed a plan B,

I took on various part time jobs which

something to pay the rent but allow me to be

typically always ended with me walking out

creative at the same time.

financially

unstable!

Running

half way through the first day. After hitting my head against that brick wall for a while,

WHAT INSPIRED YOU TO START LONDON

I gave up and dived nose-deep into the

SOUND ACADEMY?

early naughties nightlife. I found an equally I was teaching some friends how to DJ at

started running a random lesbian night called

home and one of them suggested that I try

Club Cynthia. We were called YR MUM YA

and put an advert online and actually do it as

DAD and we took a fancy for walking around

a sort of part time job. I thought I would give

Soho naked, dressed only in laundry bags.

it a bash, after all I had absolutely nothing

We made quite a name for ourselves on the

to do during the daylight time! I popped an

scene! Me and Scottee eventually 'divorced'

advert online and gained a few clients but it's

and the whole new rave phenomenon began

not really a good idea to do that sort of thing

tumbling like a house of cards. I now had a

at home, you know with strangers coming

position as music editor at the oracle of cool

to your yard and stepping over after-party

SUPERSUPER Magazine and began ranting

fallout on the way to the decks!

away telling people Lady Gaga would never

I asked a friend if I could use their spare room

BUSTER BENNETT

demented partner in crime, Scottee, and we

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BUSTER BENNETT

in their club to teach and worked out a cheap deal.

SOME SERIOUS STUDENTS HAVE PASSED

Working in a space like that really allowed me to

THROUGH THE DOORS OF LSA, INCLUDING

start to grow the business, after a while I stepped

SKIN

it up and gear and found a bigger studio in Kings

DO PEOPLE GET IN TOUCH WITH YOU,

Cross above The Egg. That was an awesome space,

ESPECIALLY PEOPLE LIKE THIS?

FROM

SKUNK

ANANSIE.

HOW

just a shame about the rent and business rates (Ps. Fuck You Islington Council.) It was too expensive

Most of our bigger clients like Skin just came to us

to run so in the end I opted for a more streamlined

through word of mouth, I think Jodie Harsh actually

medium sized venue in Camden which has been

put us in touch. We know a lot of people in the

LSA's home ever since.

industry from working in it ourselves and because what we do is so good the word spreads. Recently

YOU

HAVE

QUITE

HISTORY

THE

we've started taking bookings two months in

LONDON SCENE. WHAT WOULD YOU SAY

advance and we've had to turn a lot of people

THE HIGHLIGHTS OF YOUR CAREER, SO FAR,

away.

HAVE BEEN? WHAT WOULD YOU SAY THE HIGHLIGHT OF I feel really honored to have run a string of successful

TEACHING AT LSA HAS BEEN?

nights, Antisocial, Nuke Them All, Shabba Dabba Da and tons of little parties in-between. I really do

Seeing your students hit the decks and seeing

think that those nights spear-headed the super-

how much of a life-changing experience it is for

heated creativity that London saw from 2001-2008.

them, especially the younger ones. It's emotional

Club nights really can change a whole cities vibe.

and I have to admit I've actually shed a few tears

I am also honored to be a part of other nights like

along the way! Having some of our students play

NagNagNag, The Cock and Kashpoint, I even

at Ministry of Sound recently was epic.

worked the bar at the first ever Horse Meat Disco. They were the nights that inspired me to be a club

IN A WORLD WHERE DJ'S ARE BEING CALLED

promoter.

"THE NEW ROCK STARS", WHAT DO YOU THINK THE HOPE FOR PEOPLE LEARNING

YOU ARE POSSIBLY THE ONLY ONE TO ONE

THE CRAFT IS?

DJ TUTORING SERVICES AROUND; WHAT INSPIRED YOU TO HEAD IN THIS DIRECTION?

I think that the DJ's job is expanding into lots of other areas, it's branching off all over the place.

To be honest I have always believed that learning

Becoming a DJ is just the first step, most of our

anything in a group is a waste of time, because if

students realize now that you need to DJ and

you really want to aim for the top you need one-to-

produce, so we normally teach them in that order.

one guidance. It's also just a lot more fun to teach

Turntablism and Controllerism is allowing DJ's to

this way; you really get to know your students and

stand out from the crowd and become performers

making that connection is essential in order to find

in their own right. A DJ nowadays is really a one-

the best way to teach them.

man band.

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BUSTER BENNETT

WHAT WOULD BE YOUR BEST ADVICE TO

and I even ran my own fanzine called Kill Pop, so

SOMEONE WHO WANTED TO BE A DJ OR

I've always been interested in music journalism

PRODUCER?

and how music is portrayed in the media. SUPERSUPER was amazing, I am gutted it is not

Bite the bullet!

around anymore. It was a truly independent

Get professional tuition as soon as you can, learn

publication and the only one with the balls to

the theory and practice to gain confidence. You

actually cover and promote real artists who

need to believe in yourself and aim to be the best

were pushing things forward. When I teach I

DJ you can be technically.

reference my experience working at magazines

Don't try and cut corners, it only ends up

like SUPERSUPER and also my experience with

undermining your confidence.

writing press releases for nights and organising press stunts. I can teach my students how to get

BEING INFLUENCED BY FASHION, IT IS

exposure and lift their profile while avoiding the

IMPORTANT FOR US TO ASK YOU, WITH

most lame cliches.

YOUR GREAT FASHION SENSE, WHAT YOUR FAVOURITE BRANDS OF THE MOMENT ARE.

YOU MUST HAVE A LOT OF MUSIC COME THROUGH YOUR DOORS EVERY DAY AT

Ha that made me laugh.

LONDON SOUND ACADEMY, BUT AT THE

Erm, I used to dress like a total freak, one night me

MOMENT, WHO ARE YOUR FAVOURITE ACTS?

and Scottee fashioned an outfit out of a smashed up TV, venetian blind, a sleeping bag and an

Me myself and I.

arrangement of cardboard boxes. I remember

I think the first rule of being a creative is to believe

getting thrown out of Sketch and then G.A.Y after

in what you are doing and try not to worry to much

causing a mosh-pit in that outfit (thanks to Jim

about other peoples style. If you think about other

Warboy for egging us on.) So I can't claim to really

artists too much you'll just end up subconsciously

be a fashion icon, more of a fashion car crash, I often

copying them.

left the house looking like a clown had thrown up

If I had to choose though... I would say I am really

on me. Nowadays I do keep it a little more minimal

into the sounds of Min Chua-Lee who is one of my

but I do tell myself I am going to fashion-relapse in

students, we make music together but she has a

my 40's back to my naughties self.

creative approach totally different to anyone else I have worked with and I really love that, we come up

WE ALSO KNOW THAT YOU USED TO WORK

with the weirdest most wonderful music together.

FOR SUPER SUPER MAGAZINE A WHILE AGO. HOW HAS WHAT YOU DO TRANSLATED FROM

YOU

HAVE

CREATED

THE MAGAZINE WORLD TO TEACHING?

COLLABORATIONS

WITH

SOME

GREAT

SOME

GREAT

NIGHTS FOR YOUR STUDENTS, INCLUDING Well prior to working at SUPERSUPER I had some

SHOWS AT MINISTRY OF SOUND, AND YOU

some work for other magazine on a freelance basis

HAVE ONE AT PACHA COMING UP. HOW DID

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We try and find gigs for our students once they have passed the course. It gives them a great chance to play on the decks in front of an audience and build their experience. Ministry and Pacha know how highly our students are trained so they are more than happy to have them rock the dance-floor! YOU ARE ALSO JUST STARTING A LABEL CALLED LONDON HERTZ. WHAT IS THE PLAN BEHIND THIS? I has aways been one of my dreams to run my own underground label, something to really stick two fingers up to the formulaic norms of the music industry! I can not wait to turn a few heads with this! DO YOU HAVE ANY OTHER NEW PROJECTS ON THE GO? I've always got some whacky idea on the go... I'm thinking about getting back into fashion by running a street-wear brand with some friends.... it's still a secret so I won't say anymore just yet. WHAT'S NEXT FOR YOU AND LONDON SOUND ACADEMY? I really want to take London Sound Academy to the next level, we are the high-end of exclusive DJ and Music Production training and I want to offer more and more areas of tuition in 2014. We have more tutors joining our ranks and more and more students hitting the big time!

PHOTOGRAPHS: THOMAS HENSHER AND BEN PAYNTER

BUSTER BENNETT

WORDS: ERIN DAVIES

"DON'T TRY AND CUT CORNERS, IT ONLY ENDS UP UNDERMINING YOUR CONFIDENCE"

ALL THIS COME ABOUT AND WHY?

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MCHAEL FORREST

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MCHAEL FORREST

MICHAEL FORREST IS A MULTI-TALENTED MAN; FROM RUNNING HIS OWN CLUB, A LABEL AND CREATING MUSIC, TO MAKING APPS THAT COULD LITERALLY CHANGE THE WAY YOU LIVE YOUR LIFE. BUT IT ISN'T JUST ONE OF THESE THINGS WHICH MAKES HIM SPECIAL, IT'S A COMBINATION. ESPECIALLY WHEN YOU LOOK AT HIS NEW PROJECT. THE INFINITE MUSIC MACHINE. WHAT COULD POSSIBLY BE DESCRIBED AS HIS NEW ALBUM, IS ACTUALLY AN APP IN WHICH SONGS NEVER SOUND THE SAME. IT MAY SEEM A BIT COMPLEX SO WE WILL GIVE THE MAN HIMSELF THE FLOOR, TO LET YOU KNOW MORE.

HI MICHAEL, I THINK THE BEST WAY TO OPEN THIS IS TO LET YOU DESCRIBE WHAT YOU DO FOR OUR READERS. I make music. I record myself playing lots of different musical instruments and then make it sound like I can play them better than I really did by using the computer. I try to make music with popular appeal but since I tend to love complicated things it usually comes across as ‘experimental’ sounding to most people. I work hard finding ways to bring the experience of playing in a band to the stage as a solo artist - when I play my electronic music live I never use backing tracks or prearranged sequences - I play it live. I am very technically-minded so I spend time writing apps and other types of software. Some of this software is musical, some of it is designed to help me take control of life, to be productive and shake myself free of my history as a moody fucker. HOW DID YOU START MAKING MUSIC? Both my grandfathers played the piano and got me started as a child. My father brought a continuous succession of computers into the house so I was tinkering there from a very young age too. I remember when I first saw a sampling keyboard as a 7 year old - it was the most fantastic thing I’d ever seen and I had to have one. I’ve always been fascinated in how things work so at school I elected to learn the trumpet as it was not clear to me how you’d get so many different notes out of something with only three valves. I played in the school orchestra (graduating to

jazz improvisation groups a decade or so later). As soon as I was old enough to have a job I started saving up for my first computer. I used to record crazy rave tracks on my Amiga, sampling my baby sister and selling tapes at school. When I was sixteen I joined a band as a keyboard player (we used to play Doors covers and the indie hits of the day) - I’d be playing and producing music with bands and making my own dance music with samples and sequencers the rest of the time. When Cubase arrived I was able to start taking what I’d been doing on my own and combine it with studio recordings of my bands’ live instruments and vocals and finally my two worlds collided. I was merging dance music tropes - filtering, sampling, scratching - with rock guitars, vocals and live drums. I always loved breakbeats and wobbly basslines but I wanted the joy of really playing to an audience, not crouching behind a laptop, hitting the space bar and waiting. I had classical training in the piano and trumpet, a little education in sound engineering, but mostly I’ve taught myself - I play the drums, guitar, cello (kinda), woodwind instruments (kinda) and I have some skill as a scratch DJ (although I haven’t had access to decks for a few years now). I’ve been using Ableton since 2002 and making sure I learn how to use each new type of software or hardware thing as it comes out. WHAT IS INFLUENCING PRODUCING?

YOU

WHEN

YOU

ARE

My tastes developed back in the nineties - Beck, The Prodigy, Tricky, PJ Harvey. I probably listened to a bit too much computer game music at that time too. I used to listen to a lot

STORY

BEHIND

"INFINITE

MUSIC

MCHAEL FORREST

The Infinite Music Machine evolved from an idea I had when I saw I Am Legion in The Village Underground late last year before their set the DJ played a barrage of Grime tracks - a rapid-fire sequence of different beats / loops - a minute or two and then a change, no real structure, just constantly evolving energetic cool ‘bits’. I’d just finished recording some stuff with really carefully defined structures and this felt like the antidote Initially I thought I’d just record a load of loops and then bang through them in a live set but then it occurred to me I could make an app that did this. I’d spent a few months previously working on a couple of different music apps that worked by layering loops so I knew I could put something together fairly easily. The app is not dissimilar in concept to a ‘dubstep machine’ idea I was kicking around ("Here is something I started a couple of years ago when dubstep still seemed quite cool.") only instead of being designed as a ‘toy’, I designed it as something you just listen to. I recorded all my loops with a musical constraint that was easy to communicate - “140bpm and just the black notes”. This constraint was influenced by a couple of things Andi Toma and Jan Werner of Mouse On Mars said to me last year when I had the good fortune to spend a weekend with them in their studio - Andi said he generally sticks to the black notes, Jan said 140 was one of his favourite tempos. The idea was that I would eventually be able to get other

"AS ALWAYS, I'M FIGHTING MY OWN DRIVE TO COMPLEXITY"

of hip hop - Company Flow / El P, Quasimoto / Lootpack,The Beastie Boys, DJ Shadow. Subsequently I started getting into bands like Stereolab, Pavement, Tortoise, and then more and more into more ‘challenging’ artists and pioneers like Captain Beefheart, Raymond Scott and Steve Reich.Miles Davis and Herbie Hancock are significant. Dance music-wise I’ve always preferred the heavier stuff - breakbeat, drum & bass, etc… I loved what Skint Records did, heavy stuff like Hardknox and Lo-Fidelity Allstars. Then there’s stuff like Amon Tobin and Cinematic Orchestra rich textures, moody, sample-based music. I’m trying to achieve the tones they created without sampling other people’s music. Then there’s that world of complicated scatterbeat electronica - Rephlex Records - I liked Bogdan Raczynski and Max Tundra, but soon I discovered that Mouse On Mars were doing it all - musicality combined with moody gentle tones and hectic complexity - Mouse On Mars would have to be my biggest influence these days. I would cite Jeffrey Lewis, Belle & Sebastian, Mark E Smith and Lou Reed if I’m thinking about vocals and songwriting. I’m driven by technical challenges too, so sometimes my production is influenced by trying to learn how to use a new tool or create a certain sound I heard in a dream, or to see how quickly I can work or how much music I can wring out of a small set of sounds. I’m always trying to improve my production values and achieve more with fewer sounds, but as always, I’m fighting my own drive to complexity. WHAT IS THE MACHINE"?

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artists to contribute sounds to the app -- I’ve already got some cool people recording loops for the next version. Douglas Hofstadter’s book Gödel, Escher, Bach: An Eternal Golden Braid was another influence behind the app Hofstadter talks about the difficulties of achieving true machine intelligence and the fundamental differences between human minds and machines and the shortcomings of any mathematical understanding of music. I was well aware of the risks of trying to make software that would ‘compose’ music and felt I’d found a way to achieve this without the music feeling overly repetitive or fatiguing to the ears. Something I should make clear is that I dislike interactive art. I feel that as soon as you make an art piece interactive then you turn it into a gimmicky toy. I hid the interactive parts of the Infinite Music Machine behind a ‘panel’ in an attempt to minimise people’s temptation to fiddle with it. The clockworkstyle inner workings are intended for use by remixers and people who want to create their own music based on my loops. I wanted the Infinite Music Machine to encourage creativity, hence the inclusion of Audiobus support, which lets you record between iOS apps in real time with high fidelity. WHY DID YOU DECIDE TO BREAK THE FORMAT AND DECIDE TO RELEASE AS AN APP. ARE YOU GOING TO RELEASE IN A TRADITIONAL FORMAT AS WELL AT ANY POINT? This concept could only really be achieved in app form - it’s the nature of the beast. I have recorded some of ‘mixes’ from the app so that people can hear what it sounds like. I’d be more likely to release more tracks like Infinite London / Super Singular where I’ve used sounds loops that are in the app to make more clearly structured pieces of music. It’s a sort of funnel effect - the more control I have the more fine tuning I’ll want to do, but then it moves things away from the experience of listening within the app where you never really know what will happen and but the structure is very loose. AS AN APP DEVELOPER AS WELL, IS THERE ANYTHING ELSE IN THE PIPELINE THAT OUR READERS SHOULD BE AWARE OF? My next project is version 1.1 of the Infinite Music Machine that will add loops by other artists. My other Good To Hear apps - Happiness and Good Habits - have been a bit neglected this past year. This is because I decided I needed to put all that time into music. I still tinker with those apps in my spare time but new versions are a way off for now. Ironically it was by using my Happiness app that I realised I needed to spend more time on music and less time developing my Happiness app… It did its job! Both apps remain indispensable to my daily life so they won’t be forgotten anytime soon.

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WITH THIS ISSUE BEING ABOUT ENTREPRENEURS, YOU HAVE ALSO STARTED YOUR OWN LABEL. WHAT INSPIRED YOU TO DO THAT? Haha, well, I don’t know how successful my ‘label’ has been so far - my ‘papercraft releases’ were a bit difficult to explain, although I think Chik Budo and Dolly Dollycore sold a few. My flurry of activity over the last year or so all stems from meeting Mouse On Mars in Berlin last January - I wanted to bring what they’re doing out there to London - make people aware that there is a lot of potentially popular music that they might not even realise exists. Also, in the course of working on and using my other apps, I realised true happiness really only comes from helping other people. I wanted to shift my focus from competitively pushing my own music, or trying to find people who could help me, to becoming the person who helps out other people as a priority wherever possible. I learned a lot while pushing apps that is applicable to the music scene so I’ve really just continued from where I left off with Good To Hear as an app shop but with a new focus. I really want Good To Hear Studios to become a physical space at some point - a collaborative, creative environment, nurturing hard-working artists and inventors. YOU ALSO RUN YOUR OWN LIVE ELECTRONICA NIGHT, "SQUARES". WHAT HAS BEEN THE HIGHLIGHT OF THAT FOR YOU? Hiroe Takei’s set was probably one of my favourite moments she played a few loops from her laptop and talked about her life, describing the gig as her ‘rehabilitation’. YOU HAVE HAD SOME REALLY BIG RESPONSE FOR THIS. HOW DOES THAT FEEL? I have always been a validation junky but that’s not a great way to live - if you take praise too seriously then you have to take criticism just as seriously, and criticism always dominates. The best thing that has come out of all this is tangential - new friendships and a generally improved satisfaction with my existence. It can be a bit hit and miss though - I wish that the amount of time and / or money I put into these things was always proportional to the response! YOUR PRESS RELEASE COMPARES YOU TO THE LIKES OF CLARK AND BATTLES. DO YOU FEEL THESE REFERENCES, OR ANY REFERENCES, BE APT IN LIVE ELECTRONICA? Is live electronica a distinct category - a law unto itself? I don’t think it should be. It’s all just music. Electronic musicians have the challenge of deciding where to draw the line in deciding how much to automate. You can automate everything and then stand mutely

behind your laptop (or worse, patronise your audience by gesticulating behind your laptop to give the impression that you are controlling something that you could not possibly be controlling), or you can find ways to bring the technology under real time control. The way I look at it is that I can either program a machine to rigidly reproduce something, or I can program myself (brain and muscle memory) to reproduce something expressively and organically. I choose the latter method, attempting to bring the same type of musiciansmanship employed by traditional bands to my collection of electronic gadgets instead of to drums and guitars. Since I’m training muscle memory there needs to be a certain level of stability to the interfaces - you couldn’t become a virtuoso guitarist if the fretboard kept reorganising itself any more than you can develop skills with a digital instrument if you keep upgrading and reorganising the display. Getting rid of the laptop is the best way to avoid this temptation - I prefer an the inflexible interface of a single purpose iPad app to the endless mutability of Reaktor. There is a huge difference between playing solo and playing in a band. As a solo act you’re responsible for the entire sound. You can limit your sonic presence by playing a guitar or a piano or you can find ways to innovate and lean on machines. Some bands play really precise sets where every note is rehearsed, but I prefer playing in bands where there’s more scope for improvisation, and my approach to live electronics reflects this. Tortoise and Miles Davis are probably closer influences for me than the no-mistakes-precision of Battles in this respect. WE WERE LUCKY ENOUGH TO SEE YOU LIVE AND IT WAS QUITE A SHOW. HOW DO YOU STRUCTURE YOUR SHOW, IS THERE ANY PLANNING BEHIND WHAT YOU ARE GOING TO DO? My live show is heavily improvised but of course a lot of practice and preparation goes into it. I have a couple of dozen loop sets on one iPad which form the basis of each ‘track’ and I usually decide on a rough set list an hour or so before playing. I have my gear set up permanently at home and play through a few tracks most nights - practicing the changes, keyboard parts and songs, so I know the elements I’ll be using throughout my set but I don’t necessarily decide on the order of anything, or know how long I’ll draw any particular part out, until I’m onstage. I like being able to wing it and leave scope for friends to get involved in my set too. A lot of what I do when I’m at home or in front of an audience is a one-off - unrepeatable - I have faith in myself that I’ll come up with decent stuff on the spot - it’s a dangerous, probably overly hubristic way of working, but it generally seems to go okay!

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TALKING OF YOUR SHOW. WHAT IS YOUR CURRENT SETUP AND HOW DOES IT DIFFER FROM YOUR STUDIO? My live setup is designed around portability as much as anything else. I use two iPads - one running Loopy (connected to a Faderfox LX2 to toggle loops), the other running the Animoog, Samplr, Rockmate or Bebot, a Korg Electribe MX 1 and a Teenage Engineering OP-1. I have two Korg Kaoss Pad Quads - one for vocals and the other after the Electribe / Loopy for my fills and drops. Oh, and my Infinite Music Machine on an iPhone. With a mixer, that’s about as much as I can carry on my own! Sometimes I’ll bring a stage piano or my Moog guitar but usually I can’t so it’s important that I use vocals to bring in those organic textures, deeper meanings and subtlety that I can’t really achieve with digital gadgets alone. My studio is where I record all the raw material and do the real production - I have my hybrid electronic / acoustic drum kit - V-Drums with a real snare drum and cymbals, my cello, keyboards, guitars, trumpet, clarinet, harmonium and shelves full of percussion and noise-making objects. I don’t have a big synth collection though - they take up a lot of space for something you can approximate with software (I do miss my Moog Prodigy though!) I have a day a week at Berry Street Studio which is well-established with a big custom Oram desk, plenty of high end microphones, a big live room and a vocal booth, so I don’t have to deal with the acoustic constraints of bedroom recording. YOU HAVE A LOT OF MUSIC OUT THERE AT THE MOMENT FOR OUR READERSHIP, WHAT IS THE ONE THING YOU WOULD SUGGEST THEM TO LISTEN TO? Such a hard question… Maybe the live version of Anyone But You on YouTube? Just because it has a bit of singing on it where the Bandcamp version doesn’t. Or if you have an iPhone get MF Tuesdays. Or if you don’t mind going back a bit check Majectical Electical on Spotify / iTunes. WHAT'S NEXT FOR MICHAEL FORREST? After I’ve done the next version of the app then I have a church-based project in the pipeline. Squares will of course continue - probably every two months now (rather than every two weeks as it started out). I really need to figure out how to go on tour. I’ve been playing different things to more-orless the same group of people for the last year and I think I’d prefer to play the same thing to lots of different people for a change. WORDS: ERIN DAVIES

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"IS LIVE ELECTRONICA A LAW UNTO ITSELF? IT SHOULDN'T BE. IT'S ALL JUST MUSIC"

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PA R I S A LOUVEL APPLYING YEARNFUL MELODIES, DAYDREAM VOCALS AND HEART-RATTLING BASS; PARISA LOUVEL IS SLOWLY CARVING HER WAY TO SUCCESS AMONGST THE SEA OF PRE-FABRICATED ARTISTS

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PARISA, YOUR MUSIC HAS BEEN DESCRIBED AS VERY D.I.Y; DOES THIS MEAN YOU WERE VERY HANDS ON WITH ALL ASPECTS OF PRODUCING THE EP? I would say that I'm very hands on with every single part of the process. There are some things that I can't do because I haven't learnt how to yet, but the more time I spend with producers, the more I am learning. I'm starting a course in how to use Logic Pro X and Final Cut Pro, so I can be as self sufficient as my capability can take me; I don't believe in having anyone do anything for me. SO, DID YOU ORIGINALLY GET INTO SONG WRITING? I'd always written stories and poetry from a very young ago, so it was a pretty natual progression into writing lyrics; When I was 15 I started putting my lyrics to melodies, and I would just record it all on a tape through a karaoke machine. They never turned into songs, simply ideas. I started writing sessions with a family friend, his style was more Folk-Pop, but he taught me to appreciate the importance of simplicity when it came to using lyrics and melodies. I didn't get into song-writing on my own till I wrote my first EP "Monochrome". So really, I've only been doing this whole thing as a singer/songwriter for a year (at a stretch)! WAS THERE A CERTAIN MOMENT IN TIME WHERE IT ALL FELL INTO PLACE?

wallowing and I thought I should take advantage of this experience and put it into writing. So I sat at my laptop, and just recorded all these raw, vocal melody demos. I made whatever instrument sound I wanted in each part vocally, it sounded a bit funny but at the time it's all I could use. I then sat down with a friend of mine to listen through them, they ended up producing the tracks with me, and that's where "Monochrome" came from. I'd never done anything like that before, and it was truly my first step as a song-writer; when I was ready, everything else came in to play. I wrote out the ideas for the music videos, and created moodboards for photoshoots, in hindsight there isn't anything involved in "Monochrome" that hasn't come from me, so it's been a huge learning curve. I believe everything happens for a reason; if I hadn't of had such a shit year, I may have never focused on writing, and I may never have put together this first EP. WHAT INSPIRES YOU LYRICALLY? Experiences, poetry, art and people. I read a lot, and I'm a good listener. I think taking in your surroundings is important because you can be inspired by anything. You've just got to reflect on both the lightness and darkness in everything. DO YOU HAVE ANY SONGWRITING RITUALS, OR RULES THAT YOU FOLLOW? I'm completely disorganised and unorthodox when it comes to writing. There is nothing pretty or precise in how I write, especially as I don't read music or play an instrument fluently. It's not part of my personality to apply rules to any part of my life. I just go with it.

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Well, the ball started rolling in 2012, which was an unstable and emotional year for me. I'd never experienced heart-break like I was going through then, before. That unavoidable suffering spurred me on, and I got fed up of

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"IN LUST WE TRUST" TELLS A STORY OF LUST, OBVIOUSLY, AND DEVOTION. ARE ALL OF YOUR LYRICS BASED UPON YOUR OWN PERSONAL EXPERIENCES? So far, everything has come from my own experiences. It's cliche but I do find it very therapeutic. Anything I emote is then unquestionably genuine. WHEN YOU'RE NOT SINGING YOUR OWN MUSIC, WHOSE DO YOU CHOOSE TO SING? I've been singing along to a lot of my mums Motown compilation albums recently. I've also been listening to anything involving Paul Weller, though I'm not sure what influenced that, it's almost creepy; but generally I've been listening to a lot of instrumental soundtracks, with Danny Elfman and Yann Tiersen thrown in to the mix too. BACK TO "MONOCHROME", YOUR SOUND IS ANYTHING BUT GREY, SO WHY DID YOU CHOOSE TO CALL THE EP THIS? Thank you [laughs]. There's a number of reasons to be honest. I see this EP as being the basic foundations for me as an artist, I didn't know anything about how to write a song, so it's a very simple piece of work to me in that sense. The new songs I'm writing already show a mass improvement from my writing for the EP, and now I'm actually comfortable enough to express myself vocally, so I am showing my skills on a multitude of levels. "Monochrome" is the charcoal outline on a white piece of paper, the more I develop as an artist, the more colour I can add to my canvas. It also reflects what I was going through when

I was writing the EP, everything had lost its colour, and I was back to basics; I was living in monochrome. WE'VE SEEN YOU'VE HAD A SUCCESSFUL MODELLING CAREER, AND ARE NOW SIGNED WITH SELECT. DOES BEING A MODEL HELP YOU AS A PERFORMER? I keep getting that about being a successful model, but I wouldn't say that's true in the slightest. I know models, and I'm not doing what they are doing yet, Select on the other hand is true; I am with their specials and I'm surrounded by a great team. Modeling has helped me to become more self aware and I'm learning what works for me when it comes to angles and stances, these are things I didn't even consider before. YOU WORKED WITH ALEXA CHUNG ON A "MAJE" CAMPAIGN, HOW WAS IT TO WORK WITH HER? This was a competition to be the British face of the French label, MAJE. It was mental to get the call saying I'd won against thousands of other British girls that had applied! Before I knew it I would be flying out to New York for the shoot. I entered the competition on a whim and hadn't thought about it till I got the call; Alexa Chung is genuinely lovely, we had so much fun. I can see why girls idolise her, she gets to wear some insane clothes too. WOULD YOU EVER TRY YOUR HAND AT PRESENTING LIKE ALEXA CHUNG? Yeah, why not? I'd be trouble though, depending on who you'd put me in a room with.

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YOU SEEM TO HAVE QUITE A STYLISED 60'S ALLURE; WOULD YOU EVER LIKE TO PUT YOUR NAME TO A FASHION BRAND? I've loved the 60's and 70's since I can remember; I think it stemmed from seeing my dads old polaroids during those eras. I am obsessed with Edie Sedgwick too, and I think that's evident in my Warhol inspired imagery. I'd love to put my name to a brand! I've always thought about designing clothes... mainly because I get frustrated in shops that I can't find my dream outfit. I love Kooples, MAJE and ZARA; it I designed for anyone though it would be between H&M and TopShop, as they're always on the pulse and are affordable. It would be a lot of leopard print, leather and patterned trouser suits. There are not enough suits for women available out there!. TALKING OF STYLE ICONS, WE'VE NOTICED SOME STRONG FLEETWOOD MAC AND STEVIE NICKS INFLUENCES BEING PLAYED UPON. WHO ELSE DO YOU ADMIRE MUSICALLY?

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There are so many! The Beatles, Led Zeppelin, Nick Drake, The Who, Nick Cave, Nancy Sinatra, Jeff Buckley, The Stone Roses, Neil Young, The Rolling Stones.... I could go on forever. I think it's good to admire a lot of musicians for different qualities, I don't think it's a healthy mindset to just worship one band or artist, especially when there's to much out there to appreciate. FINALLY, SOME ALBUMS COME TO LIFE IN YOUR CAR, WHILST OTHERS SUIT A SUNDAY EVENING IN THE TUB. CAN YOU TELL US WHAT THE IDEAL ENVIRONMENT IS FOR LISTENING TO YOUR EP? I think "Monochrome" is best to move your body around to; Get a little fucked, close your eyes and prance about... Then have a little cry over your ex. YOU CAN LISTEN TO PARISA’S EP HERE: WWW.SOUNDCLOUD.COM/ OFFICIALPARISA WORDS: KEZIAH BROWN

PARTNERING THE FACE WITH THE VOICE, AS BOTH A SINGER/SONGWRITER AND PART-TIME MODEL, THE RECIPE FOR SUCCESS THAT PARISA BOASTS SEEMS UNBEATABLE. SHE HASN'T TOURED, AND SHE HASN'T GOT ANY MAJOR LABEL BACKING, BUT THIS DOESN'T SEEM TO BE A PROBLEM FOR PARISA LOUVEL. PARISA LOUVEL

PHOTOGRAPHER LEONI BLUE • STYLIST PARISA LOUVEL • MAKEUP ARTIST DIONNE LEA TAYLOR

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FRAU DJS WWW.FACEBOOK.COM/FRAUDJS

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FRAU ARE HITTING THE MUSIC SCENE WITH EXCITEMENT AND DRAWING ATTENTION FROM PARTY-GOERS ACROSS THE COUNTRY, PROVING THAT GIRLS REALLY DO DO IT BETTER. FRAU ARE ALL ABOUT SUPPORTING OTHER WOMEN AND ARE QUICKLY SPREADING THEIR GIRL POWER VIBES, INSPIRING YOUNG GIRLS TO PICK UP A PAIR OF HEADPHONES AND SPIN THAT RECORD, OR TO SIMPLY LET ALL INHIBITIONS GO AND GET DOWN WITH THE MUSIC. NOCTIS CAUGHT UP WITH FRAU AND SPEAK EXCLUSIVELY ABOUT WILD NIGHTS OUT, MUSICAL RISKS AND SEXIST COMMENTS.

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IS THERE A SIGNIFICANT IMPORTANCE TO FRAU BEING SOLELY FEMALE? HOW DID YOU DECIDE THIS WAS THE RIGHT CHOICE FOR YOU? We had all DJ'ed before as soloists, but thought it would be fun to unite together and form a group, putting on night events just for female DJs, thus FRAU was born. We have a great time and really encourage each other, the DJ world is dominated by males, so we wanted to create something different and allow only females into our collective, perhaps FRAU shows that the music industry is finally becoming equal. BEING ALL FEMALE, DO YOU FEEL THE PRESSURE FROM SOCIETY AND THE MUSIC INDUSTRY TO LOOK AND ACT A CERTAIN WAY? HOW DO YOU REACT AND COPE WITH SUCH PRESSURES? We really embrace our individuality and are confident in ourselves, and in one and other. We just want to be expressive and feel comfortable and confident. Each of us have a very unique style, which we feel bounces off each other and complement the collective perfectly. We do often get the odd ridiculous comment from people who just can't believe that girls are capable of DJing, but I think that just drives us to show them what FRAU is capable of. WHAT IS THE GENERAL REACTION FROM PEOPLE WHEN THEY SEE ALL FEMALE DJS UP IN THE BOOTH FOR THEIR NIGHT OUT?

wouldn't want that on a night out? I think we are almost idolised for being female and we certainly embrace that! We've found that if we have a male standing with us in the booth, we tend to get ignored. People will repeatedly ask the male for song requests despite his explanations of not being the DJ. But on the other hand, FRAU do get really positive reactions and we all have our own style, so our sets are quite eclectic, which audiences can relate to and seem to enjoy. Socially, people seem to not be so surprised as they used to be, in that sense we must be doing something right! HOW DID FRAU FORM? WHAT MADE YOU DECIDE TO TURN DJING INTO SOMETHING MORE THAN A HOBBY? DJing was always more than just a hobby before we even started FRAU. It just made sense to do it together and support each other. Once we started to play together, we became close friends. We have a lot of new recruits and it's awesome to see all of the new talent that FRAU has gained; We feel so blessed to be part of it. It's a great feeling to watch it grow and it's an honour to get paid for something which we adore doing. HOW DO YOU KEEP YOUR SOUND FRESH, AND YOUR SETS NEW AND EXCITING FOR THE CROWD? FRAU works. People get it. As the music straddles so many genres, that in itself is unique. We each have our favoured genre, so when you put these preferences together, the music can change in an instant,

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and covers such a wide variety of songs in one short set that it's hard not to enjoy it. That keeps us fresh. It also means that we can play all sorts of events and we really get to know our audiences; it makes us versatile and we are always learning from each other, which is very important. FRAU aim to keep people happy, entertained and dancing all night long.

WHAT CAN WE EXPECT TO SEE FROM A NIGHT OUT WITH FRAU? You know when you're getting ready to out with your friends, and you're itching to get out and let loose? We want to provide that feeling. The anticipation of a brilliant night. Music, friends and dancing. FRAU is all about energy. We all have a great time DJing and dancing behind the decks, which perhaps gives the more self conscious girls the encouragement to dance too. We are not afraid and are always the first ones on the dance floor supporting the sets of everyone else. DO YOU FEEL A SENSE OF EMPOWERMENT FROM BEING IN THE DJ BOOTH LOOKING DOWN AT ALL OF THOSE PEOPLE? TELL US WHAT IT'S LIKE. In all honesty, it can be quite terrifying. When we play at the Hoxton Square Bar and Kitchen, the booth is high on a stage, so people look up at you and dance on the stage next to you. But once they are indulged in what's going on and loving the music you're playing, the feeling is amazing. You feel proud that you have made a huge room filled with people dance and have

a great time. It is empowering when everyone is going wild, especially when you take a massive risk, musically. Being responsible for people having such a good time is an indescribable feeling. CAN YOU DESCRIBE THE FEELING WHEN EVERYONE IS DANCING TO THE SOUNDS YOU HAVE JUST MIXED? Pure adrenaline fuelled ecstasy. FRAU made this happen and it means we are doing our job well, especially when we get positive comments after the sets. People always want an encore which is very encouraging! YOU MUST SEE IT ALL FROM THE DJ BOOTH. TELL US ABOUT THAT. It's great looking at someone's face of sheer joy when you play a song they just requested. At a busy student night we played Nirvana and it just kicked off! People were running up the walls, stage diving and crowd surfing. I was blown away. It's always great to see friendly faces too, and when then legend that is Alan-DancingMisanthrope turns up, it makes us feel pretty darn special. A good bump and grind on the dance floor tells us we're doing the right thing too. WHAT HAPPENS IF YOU MAKE A MISTAKE? As we know, mistakes happen! Generally people just want the music back on as quickly as possible so that they can dance though. Once I just took out the CD that was playing - that was bad! People booed, so I played up to it and booed and swore back, clapping myself whilst

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quickly slamming play on something, anything just to get people dancing again! This was swiftly followed with "Hang the DJ" by The Smiths, and I stood on the speaker, arms out with my head held high, completely admitting my mistakes and throwing myself to the lions. The crowd loved it! WHAT ARE THE HOPES, DREAMS AND PLANS FOR THE FUTURE OF FRAU? More festivals! Also, world domination. We are constantly trying out new things, and trying to better ourselves. It would be a dream to quit the day job and travel with FRAU to make the world dance and spread those FRAU GIRL vibes. WORDS: LOO LOO ROSE PHOTOGRAPHS: MATT CLARK

"IT WOULD BE A DREAM TO SPREAD THOSE FRAU GIRL VIBES"

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DAYDREAM, DAY DREAMS PHOTOGRAPHER PHILLIP SUDDICK STYLIST HANNAH EICHLER MAKEUP ARTIST & HAIR STYLIST HELEN ASHER MODEL ANA AT ELITE LONDON WITH SPECIAL THANKS TO ERA MANAGEMENT

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Ana wears Marc Cain mint sheepskin gilet; stylist's own pink bra; Miss Selfridge white leather zip skirt

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Ana wears Marc Cain yellow woven coat and blue/taupe woven clutch; Dorothy Perkins white shirt; New Look grey heels

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Ana wears River Island blue short sleeve blouse and pink coral pleat skirt; Carlo Pazolini yellow cross body bag; Dune nude courts; stylist's own socks

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Ana wears Marc Cain mint/pink silk shirt; Lacambra yellow tassel bag; Oasis boucle skirt; Dune silver flats; Dorothy Perkins pink cardigan

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Ana wears Miss Selfridge blue short sleeve knit; ASOS white heels; NW3 by Hobbs grey silk shorts; River Island pink biker jacket

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Ana wears Miss Selfridge grey spot top; ASOS pink waterfall dress; New Look grey heels

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Ana wears Gap lilac shirt, lilac bomber jacket and mint jeans; New Look grey heels

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Behind the Aura PHOTOGRAPHER Sarah Fountain STYLIST Tamzen Holland MAKEUP ARTIST Penny Antuar HAIR STYLIST Nadine Johns-Alcock MODEL Merille Raagas

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Merille wears MXM Couture gold sequin gown; YSL studded hoop earrings

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Merille wears archive Balenciaga veil worn as a scarf; MXM Couture Fringed cocktail dress

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Merille wears MXM Couture black lace gown

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Merille wears MXM Couture sequined with sheer overlay dress; Betts shoes

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Merille wears MXM Couture Fringed cocktail dress; Leila Koster Millenary glass bead head piece

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Merille wears archive MXM Couture textured event dress; Ewan Gardams Under Tulle

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PHOTOGRAPHER Katie Eleanor STYLIST & CREATIVE DIRECTOR Faye Héran MAKEUP ARTIST & HAIR STYLIST Ann-Marie Lawson using SMASHBOX and Bumble&Bumble ASSISTANTS Alexander Picard, Manisha Patel, Naomi Oliver and Nicholas Hayward ILLUSTRATOR Faye West MODEL Aimee at First Model Management

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Aimee wears Ashley Isham top; John Rocha skirt; Persy ring

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Aimee wears Ashley Isham top; John Rocha skirt; Persy ring

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Aimee wears John Rocha dress; Persy skirt; Clea Broad Headpiece

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Aimee wears Clea Broad headpiece; Natasha Zinko dress; John Rocha skirt; Mawi bracelet

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Aimee wears Jayne Pierson top; Ashley Isham skirt; Mawi earrings and ring

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Aimee wears Clea Broad collar; Gemporia rings styled in models hair

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Aimee wears Hermione De Paula shorts

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Aimee wears Clea Broad headpiece; Natasha Zinko dress; John Rocha skirt; Mawi bracelet

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Aimee wears John Rocha dress; Persy skirt; Clea Broad Headpiece

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ALL THAT IS LEFT

ALL THAT IS LEFT Let's skip town together PHOTOGRAPHER Vincent Binant STYLIST Manon del Colle MAKEUP ARTIST Celine Martin HAIR STYLIST Jonathan Geimon at Airport, using Bumble and Bumble MODEL Justine Roulliaux at City Paris WITH SPECIAL THANKS TO Hotel Bourgogne et Montana

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THE MARCHESA LUISA CASATI

Justine wears Killiwatch beige mink coat; Zara black silk jumpsuit; Zana Bayne brown leather corset belt

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Justine wears Zara cotton jacket and linen shirt; Issey Miyake red satin twill trousers; H&M golden metal earring; Vintage golden metal necklace

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Justine wears Kriss Soonik at Mise en Cage fishnet bra; Zana Bayne transparent plexiglas and metal harness

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Justine wears H&M black polyamide bra; Bordelle at Mise en Cage web suspenders; Issey Miyake red pleats trousers

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GRIEFY AND ALEXANDER

Justine wears H&M black tulle and cotton bra; Chromat at Mise en Cage cage waspie; Kriss Soonik at Mise en Cage culotte fishnet

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Justine wears Killiwatch beige mink coat; Zara black silk jumpsuit; Zana Bayne brown leather corset belt

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OCCUPIED

Occupied just keep looking PHOTOGRAPHER SARAH LOUISE JOHNSON STYLIST KELVIN BARRON MAKEUP ARTIST SIAN DUKE USING MAC PRO HAIR STYLIST REBEKAH CALO USING BUMBLE & BUMBLE NAIL TECHNICIAN KIMBERLEY-ANNE VOWELS FOR VUDU NAILS USING MAC MODEL FRANK @ PROFILE MODEL MANAGEMENT

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Frank wears Ashtiani at Wolf & Badger jumper; Amanda Wakeley skirt; Jolita Jewellery necklace

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Frank wears Narciss dress; Jolita Jewellery necklace

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Frank wears Draw in Light at Wolf & Badger dress; Dorraj High Tops; Eshvi Bracelet and earrings

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Frank wears Francesca Marotta gown; Eshvi Cuffs and ring

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LIKE THIS, FOREVER

Like This, Forever PHOTOGRAPHER Gloria Marigo STYLIST Federica Rita MAKEUP ARTIST & HAIR STYLIST Silvia Acquapendente MODEL Emilia Andersson at 2Morrow Models Milan

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Emilia wears Missoni dress; American Apparel socks; Prada shoes

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Emilia wears Oh My Love London shirt; TopShop skirt

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Emilia wears Oh My Love London shirt; TopShop skirt; American Apparel socks; Prada shoes

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Emilia wears vintage faux fur jacket; American Apparel socks; Prada shoes

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Emilia wears vintage faux fur jacket

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Emilia wears vintage dress

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WHEREVER I

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MAY ROAM PHOTOGRAPHER Izack Morales • ASSISTANT Ilhuicamina Letargo STYLIST Diana Amezquita • PRODUCTION Karina Hernandez MAKEUP ARTIST Cathia Rivera • HAIR STYLIST Fernanda Pavon MODEL Andrea Infante at Pose Models

Andrea wears Con B de Vintage dress and ring; Vizzio vest; Swarovski necklace

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Andrea wears Con B de Vintage dress and ring; Vizzio vest; Swarovski necklace

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WHEREVER I MAY ROAM

Andrea wears Vizzio coat; Free People dress; Con B de vintage rings; Daniel Espinoza necklace

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WHEREVER I MAY ROAM

Andrea Andreawears wearsCon ConBBde deVintage vintagedress dressand andring; ring;Vizzio Vizziovest; vest;Swarovski Swarovskinecklace necklace

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Andrea wears Vizzio vest; Mackech necklace; Con B de vintage skirt and rings

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Andrea wears Vizzio coat; L'Agent by Agent Provocateur bra; Calvin Klein trousers; Ralph Lauren necklace; Con B de Vintage rings

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A SEAMSTRESS FOR THE QUEEN

A SEAMSTRESS FOR

The Queen AN INTERVIEW WITH JO BARBER WORDS AND PHOTOGRAPHS BY LOO LOO ROSE

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A SEAMSTRESS FOR THE QUEEN

Everything is a beautiful shade of warming yellow. I find myself sat upon a homely sofa, lavished with cushions and crochet blankets in a plethora of colour, whilst Jo's soothing voice tells countless stories of days that have since passed. I can hear the steady metronomic tick of the huge alpha Grandfather clock that lives behind me, taking pure status in the room. It ticks along, steadily and faithfully, as if it were a part of her. It really was a romantic sound.

"Quality is in everything if you can see it. My home is like a museum of things, always good quality! I never buy rubbish. I've dealt with fabrics all my life; my mother had the good sense to put me into 'Norman Hartnell' where the fabrics I was touching were the best in the world!", Jo said so passionately, "They came in to be made up for selective clients. They had walking mannequins show off the garments, and the clients would sit in the horseshoe fashion on fabulous armchairs, carefully deciding which garments they wanted. And oh did they want the in the best possible fabric! Of course! There's something to be said about something being beautifully made by someone, and being made with love. When I was fourteen, my mother took me to Bruton Street, London, where 'Norman Hartnell' was based. He had the Royal warrant as dressmaker to the Queen. Oh I'm so in love with London! I was working there within a week! I was in absolute awe of all the beautiful fabrics that had been sent, because Hartnell indulged in fashion and drawings for what he wanted, fabric was a big concern! He had a ferier, two, perhaps three tailors, four work rooms, everything. It was heaven, but at the time I was an apprentice for Anne Olivant before I became an assistant, I then took up my own work and had four assistants working with me; who'd have thought?!" After all of these years, Jo is still friends with Anne Olivant, though she's well into her nineties now. She was a lovely looking girl, remembers Jo.

"She put me on the right road to using my hands, and I will never forget her, and mademoiselle, I learnt so much from her. She would never use the patterns given to her, she would insist on cutting the fabrics freely, even if it did give everyone such a fright! When you're working, you're given a design, and you have to build this pattern up out of calico fabric so the pattern can be used to make a fresh garment." As the time passes fluidly, Jo reminisces over a Royal encounter; a creation of sheer delight and intricate colouring.

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"I made a dress for the Queen, well, back then she was a princess. It was almost Taffeta, pure silk. I was asked to take this beautiful garment, a corded china blue, long dress with beaded scallops embellishing the front. It was on one of my first weeks working, and I've still got the scar here on my finger, from which I cut when I was machining something earlier on that day. Anyway, I was asked to take the dress down to the packing room as it was to be sent to the palace; so I made my way down there, put the sheet covering over it, but just by my luck I caught my finger on the hook. It bled right into the beaded scallops. She was Princess Elizabeth! And I just thought 'how on earth could this have happened?', I started to cry. What they made me do is chew yards of cotton (in those days they had the big reels of white cotton) so that my saliva would rub and remove all of the staining. Fortunately, two doors down, there was a cleaner that Hartnell used religiously, when the garment came back you wouldn't have known anything had happened and it went straight to the palace. Needless to say they didn't ask me to run those errands again. I can't tell you how upset I was, I thought they would fire me and I knew what my mother would say! Jo Barber is a lady of many extraordinary talents, she has since taught in three leading art and fashion colleges, with the prestigious St. Martin's School of Art being the latest. Jo remarks at how "damn good" the students are, eager to learn, and fuelled by passion. She doesn't find teaching difficult at all.

"It all started when I was supposed to see this lady for an interview, she said.... 'I know about you, come in'. I was thrilled, she must have heard about my career with Norman Hartnell. She asked if I would become part of the college, and I started work the following week. 'Gosh, I've arrived' I thought to myself. I remember sitting in the staff room at the end of my first week with everyone, and I said,

There was a deadly hush in the room whilst everyone burrowed themselves into their teacups, but she saw to it that things changed....."

A SEAMSTRESS FOR THE QUEEN

'Mary, why are the machinists making up the garments instead of the students? 'Well, this is what they're there for!' came the reply. 'How on earth is a student supposed to learn if they're having the work done for them? They've got to learn for themselves!'

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"...IT'S TRUE WHAT A WOMAN'S JOB IS

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THEY SAY, S NEVER DONE"

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SPRINGTIME OF LIFE

SPRINGTIyouthful ME OFexuberance LIFE PHOTOGRAPHER Jamie Jupp STYLIST Oakwood Co. MAKEUP ARTIST Aminah Drašković HAIR STYLIST Erum Sheikh MODEL Shereen Alex at Charles Stuart International

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Shereen wears Isaac Mizrahi dress; CHANEL Temporary Skin Art

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Shereen wears Isaac Mizrahi dress; CHANEL Temporary Skin Art

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Shereen wears Leone top; CHANEL Temporary Skin Art

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Shereen wears Emanuel Ungaro Paris jacket; CHANEL Temporary Skin Art

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Shereen wears Leone top; CHANEL Temporary Skin Art

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ENTREPRENEURS

A N OTE F ROM T H E E D ITO R As always we hope that you have enjoyed reading the 11th issue of Noctis. We would like to take this moment to say thank you to all of our readers and contributors for making this a very special issue. Now as some of you may know, we recently undertook a Kickstarter campaign to get Noctis into print; and although there were some minor complications along the way, we are back on track again and have funding for putting Noctis into print. As you can imagine this is something very special for us and we couldn't do it without the continued support from all of you, so watch this space! Our next theme for the Summer issue is: "ROAD TRIPS & ADVENTURES" Over the coming months, we would like to see the boldest and brightest ideas from all of you; we want you to bring us something special. A little present if you will, for the summer ahead. Stay in touch @noctismag PEACE x

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