The Isabella Blow Award for Fashion Creator goes to Edward Enninful

Edward Enninful has been the name on the lips of fashion industry professionals since the early 80s. The Ghanaian-born stylist was unintentionally hauled into the fashion world when he was scouted on the train by Simon Foxton thus beginning his short but sweet modeling career, one he describes as his ‘baptism into fashion’ (And my God! are we grateful for this holy moment happening). This sparked his fascination for the industry and when Enninful was introduced to Terry and Tricia Jones of i-D magazine he began assisting on shoots while juggling his degree and modeling jobs.

Only a year later, at the tender age of 18, Enninful was appointed as the fashion director of i-D magazine, making him the youngest editor at a major international title. Inspired by London’s club scene in the 80s, Enninful’s work during this period captured the frenetic energy and creative zeitgeist of the time. As he grew both professionally and personally, his work became more mature, often infused with a provocative elegance and strong narrative.

The latter part especially of this quote from i-D Founders, Terry and Tricia Jones shows what has made him such a powerhouse: “When the wonderful Simon Foxton first introduced Edward into the i-D family, we had no idea that he would become one of the most outstanding stylists of his generation. He not only brought his own talent to the magazine, but started working with hundreds of other individual youngsters at the beginning of their careers. His fashion corner in the i-D office was always a mecca for ideas and supermodel diversity became one of his many contributions to the international fashion industry. We are thrilled and super proud that i-D’s youngest ever son has travelled so far in his career and feel very privileged to have known him as a teenager. Edward’s own individual talent, his absolute loyalty, his encouragement and promotion of other peoples’ careers, as well as his love and belief in diversity within the industry, is rare and quite unprecedented. We truly believe that Edward’s creative voice, experience and original inspiration fully justify this very prestigious award!”

In 1998 Enninful became Contributing Fashion Editor to Italian Vogue and in 2005, Contributing Fashion Editor for American Vogue.  In 2011 he took over the position of Fashion and Style Director of W Magazine, a position he currently holds.

Today, The British Fashion Council announced that Edward Enninful are to receive the Isabella Blow Award for Fashion Creator. Enninful will be honoured at this year’s ceremony for his monumental contribution to the global fashion industry.

Natalie Massenet MBE, Chairman of the British Fashion Council commented: “Edward’s creative energy and level of vision captures the mood of our times – his work is original, energetic, sincere and unforgettable. His creative journey may have started in London, but today his influence spans the entire globe intersecting the worlds of fashion, art and business.”

Along with his extensive editorial work, Enninful has shaped numerous advertising campaigns and catwalk shows in his distinctive way for the likes of Gucci, Lanvin and Celine. The list goes on and on. It is clear that Enninful is one of the most prolific British fashion stylists of our time. We take our hat off to him and can’t wait to see what he will surprise us with in the future.

Words by Rochelle Bambury

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Hotel Jules & Jim – the straight-friendly gay hotel in the Marais, a few streets north of the Centre Pompidou: you get modern art, fashion and plenty of cafés right on the doorstep. Named after Truffaut’s film about a tragic love triangle, I guess this is what happens if you take Jeanne Moreau out of the quotation. She was probably trouble anyway.

Natural materials, stylish design and sleek modernity are beautifully juxtaposed with history. This soothing boutique hotel is comprised of 23 rooms divided over series of small buildings, life centres round a charming paved courtyard with a planted wall, real outdoor fireplace and the bar in a converted silversmith’s workshop. Sounds quaint, true, but in that sophisticated French way of doing quaint – a quaint-luxe, if you like.

Right now the reception hall is host to a large Advent calendar made by paper artist Mathilde Nivet, who has also made her extraordinary pieces for Chanel, Vuitton, Hermes and Bulgari.

The Advent calendar is chock-full of gifts from the hotel’s brandpartners and friends, such as Kusmi Tea boxes, Moët & Chandon champagne, books from Taschen and similar killer presses. Mmm yes please!

Wouldn’t you like to have a chance to get one? Head to the bar every day from 6 – 11pm till the 25^th December. Even if you don’t win, Nivet’s sweetly nostalgic art will make you feel all gooey and Christmassy.

Hotel Jules & Jim
11 Rue des Gravilliers
75 003 Paris
+33 1 44 54 13 13
www.hoteljulesetjim.com

Words by Anna Bang

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Sarah Lucas, Eating a Banana, 1990, b and w photograph, 74.9 x 81 cm,copyright the artist, courtesy Sadie Coles HQ London

The British Council has commissioned artists to represent Britain at the Venice Biennale since 1938 and in 2015 Sarah Lucas will present a much-anticipated solo exhibition in the British Pavilion at the 56^th International Art Exhibition in Venice from 9 May to 22 November 2015.

Sarah Lucas, Florian, 2013, bronze, 135 x 495 x 250cm, edition of 3 + 1AP, Installation view, NOB + Gelatin, Secession, Vienna, 23 November 2013 – January 19, 2014, Copyright the artist, courtesy Sadie Coles HQ, London

It seems incredible to think that Lucas is now one of the grande dames of Britain’s contemporary artists. This erstwhile enfant terrible and original geezer bird delights in presenting guaranteed ‘disgusted of Tunbridge Wells’ crowd shockers, pieces such as her works made from the most basic everyday ‘readymade’ objects – kebabs, fried eggs, cigarettes, old tights, tabloid newspapers, toilets – you name it, Lucas will have made a sculpture from it.

Installation View, Sarah Lucas, SITUATION, Absolute Beach Man Rubble, Whitechapel Gallery, London, 2 October – 15 December 2013, copyright the artist, courtesy Sadie Coles HQ, London

She constantly manages to be daring, funny, occasionally gross but also profound. Lucas may be lewd but it is always done with humour and humanity. Her art continues to confront big themes such as (of course) sex, death and general bleakness.

Sarah Lucas, Life’s a Drag (Organs), 1998, two cars, cigarettes, each car 146 x 460 x 180 cm, Copyright the artist, courtesy Sadie Coles HQ, London

Lucas is no stranger to exhibitions, there have been many since that seminal Goldsmith’s group show, Freeze, in ’88. The British Council’s commission follows on from her major retrospective, SITUATION Absolute Beach Man Rubble at Whitechapel last year, and surveys of her work at Secession in Vienna (2013-14) and at Tramway in Glasgow (2014). The Venice Biennale is one more exciting platform to showcase her work to an international audience.

Installation View, Sarah Lucas, Bunny Gets Snookered, Sadie Coles HQ, London, 12 May – 20 June 1997, Copyright the artist, courtesy Sadie Coles HQ, London

Sarah Lucas’ British Council commission is at la Biennale di Venezia from 9 May until 22 November 2015.

SARAH LUCAS
British Pavilion, Giardini di Castello 30122
9 May to 22 November 2015
Vaporetto | Giardini
A catalogue will accompany the exhibition

Words by Anna Bang

Sarah Lucas, Nice Tits, 2011, concrete, wire mesh, tights, fluff, 208 x 160 x 60cm, copyright the artist, courtesy  Sadie Coles HQ, London

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Photographer / Director: Diana Gomez

Cinematographer / Editor: Xiao – Wei Lu

Model: Dioni Tabbers @ Models 1

Stylist: Harriet Gregory

Set Designer: Dalia Gellert

Design Team: Neil Collins & Adam Collins

Make up: Barrie Griffith using MAC Cosmetics

Hair: Ernesto Montenovo

Nails: Leanne Harris at Nails by Baptiste

Assistant: Oliver Rudkin

Location: Shoreditch Studios

Music: ‘Slepp Walkin’ by Tom Verlaine

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Pentax calendar, 1980 © Guy Bourdin

Guy Bourdin’s characteristic style is probably the most imitated in the past 50 years. It looks very contemporary, probably due to the many photographers who have felt ‘inspired’ by his work. Yet, compared to Newton, Avedon and Klein, as with so many pioneers, Bourdin never became a household name, despite his photography leaving a strong imprint on our visual culture. Inspired by Magritte, Balthus and Buñuel, his pictures were the epitome of what the surrealists called ‘convulsive beauty’. His work was characterized by a severe style of formalism and solitude, a recurrent trope.

Charles Jourdan, Spring 1976 © Guy Bourdin

Influential and enigmatic, Bourdin was the very antithesis to today’s relentless self-promotion. He turned down the offer of solo exhibitions and books and never gave interviews. Once his images had been published, the negatives would be dumped behind his front door in boxes and black bin liners. Such was his desire for privacy that he refused to have his photograph on the Vogue credit page.

While initially wanting to be a fine artist, Bourdin had to conclude his work wasn’t good enough and he reluctantly chose photography as a medium instead. He met Man-Ray and managed to become his protégé. In 1954, after several exhibitions in Paris galleries, Bourdin showed his portfolio to Edmonde Charles-Roux at Vogue. Although it lacked commercial work, Charles-Roux thought the quality of his photos ‘exceptional’ and he managed to get his very first shoot, a hat story. Bourdin chose to set this at the meat market, juxtaposing the elegantly dressed models with calves’ heads hanging from hooks, their eyes closed and tongues lolling as if in revulsion at the bourgeois ladies coolly posing below. Appropriately titled Chapeau-Choc (Hat Shocker) this story caused a mini-scandal and a flurry of cancelled magazine subscriptions yet was the beginning of a 30 year long relationship with Vogue. Bourdin always tried to disrupt any potentially lazy showcasing of clothing by injecting an element of the unsettling; thus an elaborate flower-covered hat would be shot on a model who had flies and bees swarming all over her neck. His voyeuristic set-ups seduced the viewer with their suggestions of illicit sex and violence. Francine Crescent, also at Vogue, was a ferocious supporter of Bourdin’s work. She introduced Bourdin to Roland Jourdan, ensuring financial stability and a platform for Bourdin to explore his art both within Vogue editorials and through the medium of advertising campaigns.

Charles Jourdan, Fall 1977 © Guy Bourdin

His working style was characterized by shoots involving elaborate, self-built sets which took days to construct. Usually he would only do one shot a day, according to Nicolle Meyer, a former model.

The legend goes that to be a true artist you have to suffer and/or make others suffer. Bourdin’s background wasn’t great and is clearly an important part of the picture. Abandoned by his mother, he was adopted by his father’s parents. The only time he met his birth mother, an immaculately groomed woman with red hair, was when she turned up at his adoptive parent’s restaurant, the Brasserie Bourdin, and handed him a present. His sole contact with her was being forced to speak to her on the phone, locked into the restaurant’s cramped phone booth. Many of his images feature beautifully made up redheads – a coincidence or a desire to make a mother substitution bend to his will? Joan Juliet Buck, ex-editor of French Vogue and a former collaborator who was in charge of making up models’ faces with Leichner stage paint, remembers gradually feeling uncomfortable about the doll-like appearance of the models. ‘They began to look dead to me’, she recalls. Something else that introduced a certain vibe on shoots was Bourdin’s blacked-out, black painted studio with only an outdoor toilet, which you had to access by walking on planks over a rat-filled yard. And rather than using the big names of the day, he chose models based on ‘would she’? Not would she sleep with him, rather would she be the kind of woman you could get to pose hanging upside down, pockets full of slowly melting ice. On one occasion his vision was two women with skin made of black pearls. Models were covered first in glue from head to toe, then encased in jewels. As their skin couldn’t breathe, both blacked out. When told the models would eventually die under those conditions, he smiled and replied ‘beautiful’. Insert creepy voice-over… According to legend, his voice was high-pitched, whiny, despite Bourdin being short and stocky. He once said that the purest pictures were of someone dying or unconscious. In a way there’s an honesty to Bourdin’s work, because it is all so obvious in his images, you don’t have to probe for a hidden subtext.

Charles Jourdan, Autumn 1970 © Guy Bourdin

At the age of 34 Bourdin married Solange Gèze. Six years later they had a son, Samuel, and subsequently became estranged.
In New York he became involved with Holly Warner, and a redheaded model named Eva Gschopf. Friends reported that the women who lived with him appeared trapped; unable to see people, never allowed access to a telephone. Maybe Bourdin wanted to make sure they could never leave him like his mother did.

Warner tried to kill herself by slashing her wrists, but survived and broke away from Bourdin. Gschopf died in a fall. Afterwards, Gschopf’s best friend Sybille Dallmer (also be a redhead) asked to meet Bourdin, and they became lovers. Shortly afterwards, Solange Gèze died – rumour had it was an overdose, some suggested it was a heart attack. This incident was supposedly used as inspiration for an image for the Charles Jourdan S/S75 campaign, that of a headless woman lying inert on a bed, a TV blaring at her side and a young boy silhouetted in the doorway. In 1981, the then 13-year-old Samuel came home to find Dallmer hanging from a rope in the stairway of their apartment.

The backstory makes us look at his work in a different way. Does the fact that he ‘merely’ acted out tableaux of his desires rather than kill women make it more justifiable? Do we, by liking these images, make the thought process behind them acceptable? Is it reasonable to jazz up commerce by exploiting a sophisticated staging of violence towards women? Was he trying to numb our sense of right and wrong by disguising malice as beautifully executed fashion imagery?

Guy Bourdin: Image Maker at Somerset House is the UK’s largest ever exhibition of Bourdin’s work, featuring over 100 colour exhibition prints, as well as early and late works in B & W that challenge Bourdin’s reputation as a colour photographer. Unique Polaroid test shots, double page spread layouts, contact sheets and transparencies marked for composition all explore Bourdin’s craftsmanship and the processes involved in producing startling and provocative imagery in a pre-digital age. It also shows Bourdin as a pioneer of fashion film, displaying a range of Super-8 films he made at the same time as his on-location photo shoots.
Included are a selection of paintings, working drawings, sketches and notebooks.
Guy Bourdin: Image-Maker promises to be the most in-depth and insightful exhibition staged since his death in 1991 and is a must-see.

Curator’s Talk: Guy Bourdin
Thursday, 11 December 2014, 19.00-20.00
Screening Room £12.00 (£10.00 concessions)
Guy Bourdin remains one of the most distinguished figures in twentieth-century fashion photography. His bold sense of pictorial design and uncompromising approach to his subject matter have left a remarkable legacy. His body of work is examined in Guy Bourdin: Image Maker, the most extensive UK survey of his work to date. In this lecture, curator Alistair O’Neill will examine Bourdin’s influence, not only within commercial fashion, but in the wider field of photography beyond.

Guy Bourdin: Image Maker
27 November 2014 – 15 March 2015
Somerset House
Embankment Galleries,
South Wing

Words Anna Bang

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There really isn’t much that Quentin Jones can’t do. She has dashed her signature ink scribble on ad campaigns for the likes of Kenzo, Chanel and Louis Vuitton and recently got Miley Cyrus all tongue tied in her BDSM- lite themed animation. Her talents span across the disciplines of filmmaker, illustrator, animator and model and now the young artist is teaming up with innovative spacial designer Robert Storey for an exciting new collaborative exhibition at the Vinyl Factory.

While fashion imagery is typically sleek and glossy, Jones gives her work a lo-fi feel using stop-motion photography, roughly hewn collage gifs that are ripped apart as quickly as they appear, grungy illustrations and a monochromatic palette. Cats, eyes and lips are recurring motifs. It’s surreal, playful and a little bit naughty, and that subversive streak stems back to Jones’ childhood in London. And although Storey’s work may almost be the polar opposite aesthetic-wise to Jones’, everything comes together in an unholy union when combined.

This exhibition will be the first to feature the full range of Jones’ work and Robert Story will create a specific set space for each collection on her work. The separate areas will be connected through the use of light and positive and negative space within the walls creating a surreal and disorientating playground of five years of work.

With two of the freshest artists in the London scene at the moment, this is an exhibition you cannot miss.

The Fractured and the Feline: Quentin Jones with Robert Storey is presented by The Vinyl Factory from 19th November – 13th December. Keep an eye out for Jones’ sister, whose catering company Tart will be hosting a pop-up restaurant, but only on certain days.

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Gia Coppola

W Hotels are noted for their support of music, film, design and fashion. This time W New York has collaborated with cultural brand Liberatum to present a short film featuring creatives discussing their most transformative moments. As a nod to the life-changing instances that define us which can range from childhood, gender, city and location, career to parenting and beyond, the observations by these luminaries pay homage to music, film, design and fashion, pursuits that are loved by us all. The commission was inspired by W New York’s recent $2.2 million Living Room renovation, which is clearly a transformation of sorts. One that resulted in an important place for socializing and a meeting place for a variety of creative individuals.

JR

Transformation is thus a celebration of the transitional moments of an A+ list of talent, both dwellers and frequent visitors to NYC, including: Dita Von Teese, Liberty Ross, Lil Buck, JR, Dianna Agron, Andreja Pejic, Yves Béhar, Gia Coppola, Francisco Costa and more.

Dita Von Teese

The film contains comments from individuals in multidisciplinary fields, and although possibly at times very first-world concerns, the humanity overrides any skepticism. A lipstick might not be a weapon of discovery to you but it put Dita Von Teese on the map. The musings on motherhood by a beautiful model who is now an extremely rich, beautiful model with a serious art collection to boot is easily derided if you’re in a snarky mood but take a second to listen anyhow. You could discover something about them and about yourself. Careers and personal stories of transition come alive, giving a fascinating insight into what happens once you decide to take that leap. And how the initial leap can be just a very tiny step. Going to the library to do research sounds like an everyday event but it was the first milestone on the way for Andrej Pejic to become Andreja Pejic. Maybe it will inspire you to take transformative action? As Henry Ford famously said, ‘Whether you think you can or you think you can’t – you’re right’.

Andreja Pejic

Transformation and the New York City culture theme are of integral importance to W New York. Visitors to W New York can order a bespoke Transformation cocktail until the end of December.

Liberatum is a unique arts and culture organisation founded by Pablo Ganguli in 2001 that creates and produces some of the most spectacular multidisciplinary festivals, summits, content and fascinating cultural happenings in the world attended by Academy Award winners, Nobel Prize Winners, creative pioneers and cultural icons. Liberatum projects range from education to human rights, science to fashion, and literature to cinema.

Words by Anna Bang

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As a human you’re constantly having to make choices. Sometimes right and wrong is very easy, sometimes we’re led into believing we’ve made the right choice. And sometimes we know deep down it probably is a load of bull but we sort of want to believe it anyway because it suits us. ‘Origin Assured Fur‘ sounds so wholesome – a bit like ‘organic free-range chicken’, you imagine the fox or mink living a happy life running around with its friends in a Disney-style landscape till it one night expires in its sleep and the fur (which would go to waste anyway, let’s face it) is gently slid off its body to be turned into something exquisite you’ll treasure forever.

Wrong.

PETA has just released a new video montage, narrated by Paloma Faith, of footage taken from farms in the 29 countries that make up part of the fur industry’s grossly misleading ‘Origin Assured’ marketing scheme. The footage is horrific. And now, armed with this exposé, PETA is calling on Harvey Nichols – which recently abandoned its decade-long fur-free policy in order to start selling ‘Origin Assured’ fur – to rejoin virtually all other UK department stores, including competitors Selfridges, House of Fraser and Liberty, in banning fur.

The images below are sad and upsetting. These were the ‘nicest’ I could find. The point is no animal should live a life like this just so a hat can be trimmed with a silly pom-pom that doesn’t even keep you warm.

The ‘Origin Assured’ label was created by the International Fur Federation and other big players in the fur industry, including Saga Furs and Kopenhagen Fur following years of plummeting sales as a way of ‘green washing’ fur. Coming from Denmark, a country renowned for its democratic and liberal qualities, I’m particularly ashamed of the huge role Danish fur companies such as Saga Furs and Kopenhagen Fur play in keeping this revolting practice alive. Not just by greenwash flimflam like Origin Assured but also by the underhand practice of seducing emerging fashion designers with money in return for using fur in their collections. Usually when they’ve just graduated from college and desperate for any capital to kickstart their careers. While the label Origin Assured attempts to allay the public’s fears about the treatment of animals raised and killed for fur, sadly the reality is that nothing has changed. As in PETA’s film, the label would read more correctly if said ‘Cruelty Assured’. Cruelty free fur is no more possible than cancer free cigarettes. Watch the film if you can – I lasted 44 seconds in. For more information about ‘Origin Assured’ cruelty, visit PETAUK.org/originassured. If you want to do one good thing today, please join PETA in asking Harvey Nichols to reinstate its fur-free policy by clicking here.

As Faith says in the video, “All fur is the product of extreme cruelty and abuse of animals. That’s why I always choose faux fur. With so many extraordinary alternatives on the market, there’s just no excuse for tearing the fur off an animal’s back.”

Words by Anna Bang

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Heist Gallery is currently exhibiting The Road to Elysium, showcasing work by AES+F, Richard Mosse, Amanda Charchian, Laurent Badessi, Kim Keever, Aaron Hobson, Madame Peripetie, Liu Ren and Melvin Sokolsky.

The inspiration for this was taken from the ancient Roman poet Virgil’s The Aeneid, the epic story of identity and anxiety about having status as an independent nation.

Each of the works at Heist tells a story of a brave new world in a fantastical way, timeless images that doesn’t belong to any specific era, rather a daydream on paper.

Immerse yourself in the striking photography and installations to enter a dreamlike journey to a utopian world.

The Road to Elysium
Heist
43 Linden Gardens
London W2
Till 12 January 2014
info@heist-online.com
+44 (0) 20 7221 0963

Words by Anna Bang

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The London Illustration Fair is back again for its annual artist-led event which is one of our favourites of the year! Founded in 2013 by Alastair Eland and Sam Bennett, The London Illustration Fair seeks to create engaging and interactive events that promote illustration, graphic design and print, capturing the enjoyment and creativity of an industry flourishing with talent and passion.

The three day event takes place in the East End’s Hoxton Arches and will showcase the work of 15 young, emerging illustrators selected by a judging panel made up of some of the UK’s leading figures in the illustration and graphic arts scene today. Polly Glass and Chris Harrison – Editor & Creative Director of the amazing Wrap Magazine and Lisa Hassell – Director of Inkygoodness are just a few of the people who have helped raise the roof this year.
 

 
Not only will these 15 chosen newcomers be exhibiting their work, but an impressive lineup of creative partners will be showing their goodies alongside them. Internationally acclaimed French illustrators Jean Jullien, the JSR agency and Bristol-based stationers Papersmiths will be there to wow our pants off, so the eye candy will be endless.

Over the three days there will be a bunch of goodness at your disposal. The London Illustration Fair print shop will feature the freshest work from affiliated artists Rob Lowe (aka Supermundane), Mr.Bingo, Louise Zergaeng Pomeroy as well as every other artists exhibiting so make sure you bring your pennies and add another print to the hip feature wall in your lounge room.
 

 
The live doodle gang Pen Pushers will also be bringing illustration to life with a human-sized, Christmas-themed installation. You can make your Christmas wish a reality and sit on Santa’s knee to have your ultimate Christmas gift drawn by an illustrator of your choice. And on top of all this there will be mouth-watering food stalls and a DJ to boogie to, what more could you want?
 

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The iconically hideous Christmas jumper has become a recurring feature during the festive season. These novelty and oh-so-tacky knitted garments used to be regarded as a fashion sin. If you were caught dead in the fugly cringe-worthy jumper outside the vicinity of your bedroom walls you’d be constantly looking over your shoulder waiting to be shot dead with the embarrassment gun. Telltale signs of the fashion no-no is a liberal use of red and green, a sprinkle of glitter, an oversized depiction of a snowman, reindeer or Christmas tree and perhaps a pom-pom, or if you are really taking it to the next level a few bells to let everyone hear how excited you are about Christmas. Surprisingly, it appears that the horrid garments are squeezing their way back into everyone’s wardrobe and it doesn’t look like they will be pissing off anytime soon. So how did this kitsch Christmas statement come back into fashion?

I have recently been trying to put my finger on where this whole ugly jumper thing started, and I feel like our main offenders were Bill Cosby and Chevy Chase in National Lampoon’s Christmas Vacation in the 80s, really wearing the item as a ‘fashion statement’ because everything in the 80s was over the top and ugly. Then the 90s came along and everybody got all grunge and/or minimal. But then, in the early 2000s, our darling Bridget Jones refreshed our minds of these hideous jumpers when she and Mr Darcy had that all too awkward moment over cubed cheese. Then it hit me. In 2003, at the tender age of 13, I remember buying (and yes, also wearing) a red matching teeshirt with my friend that read “Save Santa The Trip… Be Naughty”. What the hell was I thinking and why did my parents let me wear it? So I guess that’s when the whole Christmas irony thing began again right?

Each year from then on the number revived festive garments has slowly reappeared until ‘BOOM” the hipster was born. Hipsters are the most ironic creatures of all, so of course by 2008 all the ugliest christmas jumpers were dug up from the salvation army’s £1 basket and worn with pride across East London and the snowball effect (pun intended) began. Nowadays, every designer (good or bad) is producing some kind of festive garment and there has even been some chic ones on the runway this year, who would have ever thought it.

So let’s face it, the world have given in, and whether its a fashion faux pas or not, the Christmas sweater is here to stay. How about we just throw one on, keep warm and stop being in denial about the Christmas cheer they can bring to the festive season. Thus we have done you the honour of creating a small selection of the good, bad and the ugly for y’all to wear on Christmas day!

Because like the sweater says “You’re never too old for Christmas!”

Clockwise from top left: Ryan Lo £405, Kenzo £450, Beyond Retro £22, Beyond Retro £20

Words by Rochelle Bambury

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You might not recognise the name Norman Collins unless you really know your tattoos. However, if I say Sailor Jerry , most people will know who he was. Forget about wanna-be hipsters covering their weedy arms and sunken chests in old school tattoos, this man was the daddy of the old-school tattoo, someone who lived the life. Hard. As a teenager he hopped freight trains across the US, hand-poking tattoos all along the way. At 19, he joined the Navy and eventually settled in Hotel Street, the roughest neighbourhood of Honolulu, where he built his rep inking on thousands of soldiers and sailors. Many of Collins’ tattoo designs are stunningly beautiful. Some are bawdy and crudely executed. While others display the fatalistic bravado of men embarking on an adventure from which they probably won’t return. Sailor Jerry Spiced Rum was created to sustain his legacy. A man who lived life outside the lines.

To honour the essence of Sailor Jerry, the filmmakers grabbed their bikes and rode out to the desert to the Salton Sea, climbed fences, built fires, stayed up all night and shot everything with vintage lenses from the 1960’s. Then they combined it with footage that epitomises American rebellion and counterculture, footage that goes right back to the 1940’s. Look out for the genuine skaters, bikers, musicians and classic car enthusiasts as well as original footage of the inspiration behind the brand, Norman ‘Sailor Jerry’ Collins in the montage of new and archival footage.

The music is ‘TV Eye’ by The Stooges, the band that started punk in the first place. This classic track was recorded live in the studio, May 1970 and this is the first time it’s been used like this. The man standing on the crowd at the end is Iggy Pop himself. How cool is that! As Iggy put it, “The whole thing is stone Stooges!”

The result is an homage to all things real and rebellious, an ode to people who march to the beat of a different drum, all washed down with long swigs of bold, smooth Sailor Jerry spiced rum. Be a passionate visionary, live life outside the lines, just like the man himself.

Words by Anna Bang

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A lot of us probably have that dream scenario of coolly lounging on a vintage black leather Le Corbusier chaise longue wearing headphones in order to really listen to sounds like the stone music lover that you are. However, the reality is much more likely to be you on (equally vintage, but not in a good way) public transport, using music to endure the sardine-can aspect of going from A to B during the rush hour and also as a sort of screen to shut out the sheer humanity surrounding you while doing this. So you need a serious pair of headphones that can do all of those things, are easy to fold and store,  durable and which also look good too should the Le Corbusier scenario happen. Also you don’t want to be that guy with the leaky headphones that are treating the carriage to a particularly unwelcome, tinny-sounding version of J-Lo and Iggy’s Booty. Believe me, no-one wants to hear that on a blue Monday AM commute.

Enter the AKG. Not only more than 67 years of Grammy-recognised achievement but also the respect of musicians everywhere. A lightweight, comfortable fit. Rich sound. And of course, they look the part. Their latest addition to their headphones collection is the AKG-Y series.

The AKG Y50 epitomises the new Y-Series, taking on AKG’s rich heritage in sound quality with a brand new design in teal, yellow, black or red. It’s quite loud and jazzy looking, perfect if you like a bit of attention while you revel in the rich sound from the 40mm drivers. The headphones also come with a detachable, 1.2m cable with remote and mic for hands-free accessibility, so you can take a call without missing a beat. And they’ve recently won the What Hi-Fi Product of the Year Award!

The AKG Y40 continues the striking theme of the Y-Series, with blue, yellow and black accents on the band, while the mini-sized cups feature AKG detailing on-ear. The Y40 is particularly great for using on the move. The 3D-axis fold-flat mechanism and soft carry case allow for easy storage and safe transport, while the conveniently located 3-button remote/mic allows for easy access to your music or calls.

The AKG Y45 BT bluetooth enabled headphones are my personal favourites – they just look so great! The Y45BT White is beautiful; I love the simplistic, clean design. A truly timeless, classic look. Enjoy proper wireless performance with a rechargeable power source that lasts up to 8 hours, or plug-in for external power and recharging. The Y45 BT also feature NFC technology for easy connectivity to your music. Furthermore, the Y45 BT have ear-cup mounted volume/remote/mic controls too so your music device can stay firmly in your bag or pocket.

The AKG Y-series retail at between £79.99 – £109.99

For more information or to purchase go to AKG

Words by Anna Bang

The post AKG Headphones | Y-Series appeared first on Volt Café | by Volt Magazine.

Photographer: Corrine Noel

Stylist: Kristofj von Strass

Hair: Shouichi Nakamichi

Grooming: Josie Chan

Models: Nick @ Milk & Simon K @ Established

Assistants: Julia Falkner & Megan Doyle

Design: Rebecca Hawkes

Thanks to BLEACH London

The post Lightheaded appeared first on Volt Café | by Volt Magazine.

Black Score has collaborated with PETA on a great range of t-shirts and sweats featuring (in their own words) “some pretty pissed off little dudes who are through being fucked with”. A percentage of each sale goes to PETA to support their work. Also by wearing the clothes you are spreading the anti-fur message loud and clear – so much easier than projecting your most disapproving bitch face at some fur-wearing muppet. Of which there sadly still are a few.

Simeon Farrar – the designer behind Black Score, a label of clever, funny and stylish slogan t-shirts – was eager to team up with PETA UK for a limited-edition collection of ‘Black Score for PETA’ animal rights-themed t-shirts and jumpers.

The designs, which are drawn by hand, take on every subject from fur to wool to the meat industry. It’s all in support of PETA’s motto: “Animals are not ours to eat, wear, experiment on, use for entertainment, or abuse in any other way.”

“I’m really excited to be collaborating with PETA” says Farrar. “They are so passionate and proactive in the crusade against animal cruelty. Black Score is often raising the middle finger for the animal kingdom so to do it in support of a charity like PETA is a true honour”.

Simeon Farrar is a London based designer who trained in Fine Art. In February 2004 he launched his label of men’s and women’s ready-to-wear. He has won the New Generation Award at London Fashion Week three times and is stocked worldwide. Black Score is his latest project.

Prices start at £30 and you can buy online now. Black Score is also stocked at Selfridges and ASOS.

Words by Anna Bang

The post Black Score ♥ PETA appeared first on Volt Café | by Volt Magazine.

Photography: Jesper Lindström
Hair/Make up: Anastasia Hess
Model: Emilie F @ Scoop
Design: Rebecca Hawkes

The post Gilded Pink appeared first on Volt Café | by Volt Magazine.

It’s that time of year again. That time of year when you realise you haven’t bought any Christmas presents for anyone apart from yourself. You’re stressed and frazzled from a hard long year and the thought of pushing and shoving your way up and down Oxford Street in the freezing cold to buy gifts almost feels life threatening. And although Christmas is really supposed to be about love, joy and appreciating what we have, let’s face it, everybody still wants to wake up with at least one gift under the tree.

That’s why, on these 12 days leading up to the big day, we have curated a nice little gift guide (links included), where you can buy things for you loved ones from the comfort of your onsie, while in bed and not have to wade through clouds of frankincense and myrrh smelling fragrances and a crowd of overly excited tourists.

So thank us !

The post THE TWELVE DAYS OF CHRISTMAS PRESENTS appeared first on Volt Café | by Volt Magazine.

I feel like it’s a well known fact that men and brown spirits go hand in hand. And when the brown spirit is rum and it was made by the daddy of all bad-asses Norman ‘Sailor Jerry’ Collins, of course they are going to love it. Sailor Jerry’s rum embodies that rebel-esk, tatted up lifestyle and not only is it cool, and  branded by a signature Collin’s tattoo, it tastes great too. Blended with spices like vanilla and lime the spirit it strong but goes down smooth. A perfect gift, when all you know is that your mate loves to drink!

Available from all your local booze stores for a cheeky €18.

The post DAY 1: SAILOR JERRYS RUM appeared first on Volt Café | by Volt Magazine.

Okay, okay, so we know Christmas carols, or any kind of Christmas music gets annoying after a while, but we had to throw in a novelty festive album to get you all in the spirit. This Beach Boys Christmas album is perfect for you vinyl collector, Beach Boys lover or general music fan. With classics like “Frosty The Snowman” and “White Christmas” sung in their iconic barber shop boy style, your lucky gift receiver will be jumping about for Xmas in no time.

Get your hands on it from the “number one seller of vinyl” Urban Outfitters…

The post DAY 2: BEACH BOYS CHRISTMAS ALBUM appeared first on Volt Café | by Volt Magazine.

Red lips, pink lips, purple lips, nude lips, NARS is just always bringing it with outstanding lip colour and quality. The majority of the girls I know would jump at the chance of adding another shade to their collection. This season, NARS has created a new lipstick formula made exclusively for the NARS x Guy Bourdin Holiday Collection and my god, is it lovely. We guess that’s just what happens when you combine an iconic fashion photographer with a leading cosmetics brand. A perfect stocking filler for any lovely lady.

Available at the gallery store at Somerset House, meaning you have an excuse to get some culture in before Christmas, or if you’re feeling lazy, hit up the NARS website!

The post Day 3: NARS x Guy Bourdin Lipstick appeared first on Volt Café | by Volt Magazine.