It's Always Been There

MMXVIII

INTRODUCTION 4

RUSH HOUR 6

DEEP CUTS 22

WHAT A CHORE 48

ELLIE ROUSSEAU 68

DUKES CUPBOARD 76

THE YOUNG ONES 82

TORI WEST 116

NIGHT TUBE 122

MADAM X 134

STYLE FOR DAYS 144

BEN BROOME 162

CUT FROM THE SAME CLOTH 168

CONTRIBUTORS 192

ACKNOWLEDGEMENTS 194

INTRODUCTION

It’s Always Been There

The origins of Carhartt Work In Progress (WIP)

were on the tracks. In 1889, out of Detroit,

Michigan, Carhartt Inc. began making workwear

for the workmen of the pioneering American

railway. Out of this iconic brand evolved

Carhartt WIP streetwear a century later,

inspired by society’s subcultures and with an

ethos of collaboration. Today it is worn and

loved by some of our own creative pioneers.

It’s Always Been There is driven by the

personal affection that Carhartt WIP

inspires in the people that wear it. The

project offers a picture of youth culture

in the UK since the early nineties, when

Carhartt WIP arrived as an instant

classic, and acts as a group portrait of

the creatives and people who associate

themselves with the brand. People often

refer to the Carhartt WIP ‘family’ and, like

a family, the project has its own internal

conversations and tensions. It is born out

of collaboration, much like WIP itself.

Rush Hour was shot at peak time on the

Waterloo and City line of the London

Underground. The Tube is one of the main

connective channels through the city,

linking people and places. This dynamic

system allows for ideas to flourish and

is open to all, with styles in their

many variants, movements and types of

self-expression all rubbing up against

each other. Artist Benjy Nugent brought

his inimitable style to the final images.

In Deep Cuts we caught up with

Pabloescobarber of Cuts & Bruises barbershop

and DJ Oneman as they reminisced about

growing up in London and their creative

journeys. The two friends reflected on their

own youth and the youth of today amid

the buzz of the barbershop, with their

chat capturing the relationship between

music, fashion and personal style.

One of Carhartt WIP’s most iconic pieces

is its chore coat, versatile and endlessly

inspiring. To mark the 100-year anniversary

of the coat, we tasked young artists

with interpreting this classic design

however they wanted. The result is What

a Chore: Expressions Through Canvas.

The I’m a Work In Progress interviews explore

the processes and identities of artists

and young creatives who hold the Carhartt

WIP brand close. They are real life touch

points, capturing the fact that we all

start somewhere. These people demonstrate

the energy and vitality that come from

incorporating our environment and personal

landscapes in our creative endeavours.

When we put out a call on social media

inviting contributions from Carhartt WIP

fans we were inundated with responses

in the form of self-portraits of young

people wearing their favourite Carhartt WIP

garments, shot in their bedrooms. This space

is crucial: bedrooms are where outfits are

put together, and it’s where personal style

and identity develop in front of the mirror.

In The Young Ones, these shots are combined

with handwritten notes about people’s

associations with Carhartt WIP. In an

age of digital text, the handwriting is

a throwback: timeless and intimate.

For Night Tube, an antithesis to Rush

Hour, the focus is on the pieces the

models are wearing against the backdrop

of trains, free of commuters. With one

model dressed in vintage Carhartt WIP

and one wearing the SS18 collection, the

brand’s timelessness is unmistakable, like

the stylised, iconic design of the Tube.

Longevity is at the core of what Carhartt

WIP do. It is not uncommon for WIP jackets

to stay with people for a life time. Long

before today’s era of Instagram hype,

Carhartt WIP established itself as a staple

of UK streetwear. In Style for Days, the

tension between nostalgia and consistency

drives home the enduring quality of WIP.

As mentioned, Carhartt WIP devotees and

employees often evoke the idea of family

around the brand; something more than just a

style. For Cut from the Same Cloth, we shot

siblings together in their favourite WIP

outfits. It’s a simple metaphor: the clothes

made by the family, worn by the family.

It’s Always Been There is an appreciation

of the past, an embrace of the present and

a glimpse into the future of Carhartt WIP.

- Ryan O’Toole Collett, William Spooner

and Reuben Douglas

5 / INTRODUCTION: IT’S ALWAYS BEEN THERE

6/

22/

DEEP CUTS

WE CAUGHT UP WITH PABLOESCOBARBER

GIVING DJ ONEMAN A TRIM AT CUTS &

BRUISES BARBERSHOP IN STOKE NEWINGTON,

LONDON.

PABLOESCOBARBER HAS BEEN CUTTING HAIR

PROFESSIONALLY SINCE 2009. HAILING FROM

SOUTH EAST LONDON, HE HAS WORKED ALL

ACROSS THE CITY AS WELL AS IN IBIZA, AND

IS INFLUENCED BY ELECTRONIC MUSIC AND

GRAFFITI CULTURE.

SOUTH LONDON’S DJ ONEMAN BECAME PART

OF THE PIRATE RINSE FM FAMILY IN 2007.

SINCE THEN HE HAS TOURED GLOBALLY AND

RELEASED A COMPILATION WITH FABRIC LIVE,

ALWAYS SUPPORTING ARTISTS FROM THE

UK’S GARAGE, HOUSE, UK FUNKY, DUBSTEP

AND GRIME SCENES.

WHAT ARE YOUR MEMORIES FROM GROWING

UP OF BARBERSHOPS OR DJING?

PABLO My nan had a hairdresser’s in the

war and my granddad was a barber in the

navy. That’s sort of what inspired me to

take up the craft. My mum and dad used to

cut my hair as a kid, and then I started

going to Afro-Caribbean shops when I was

twelve or thirteen with all my friends

in South East London. We used to go to

Shapes 2 in Stockwell. I started cutting

hair around that time. Not properly, but

I’d shape all the boys’ hair in between.

Everyone used to use their pocket money

to buy weed so I’d cut everyone’s hair

using my family’s clippers. I was going

and getting my hair cut every week or

two so I was in the barbershop a lot.

Then my mum asked me what I actually

wanted to do. That was the first time

that I actually thought about it and I

decided I wanted to be a barber. My mum

was sick of me getting into trouble so

she paid for a course the next week in

the West End. I knuckled down and I’ve

been doing it for the last ten years.

ONEMAN My mum worked for London Records,

so if I had a sick day from school I’d

go and hang around in my mum’s office.

London Records was a bit more cutting

edge, it wasn’t like Sony or BMG – Goldie

released his album on London, and bands

like New Order, Joy Division. I was six or

seven when I first started going there.

I must have taken it all in as a kid.

When I was at school it was all about

pirate radio. No one was into bands

so no one played instruments. It was

all about what the older kids were

listening to, which was jungle. Then

our generation’s sound, which was garage

and eventually grime. I remember for

my fourteenth birthday I wanted a pair

of decks. That’s all I wanted. It was

because another mate of mine had them

and he’d kind of lost the passion for it

and started MCing instead of DJing. So I

kind of took that role in our friendship

group. I taught myself how to beat match

on terrible belt drive turntables. Belt

drives have a mind of their own, they’re

driven by a belt and haven’t got a motor

in it like Technics have. So learning

on belt drive and moving on to direct

drive was like learning again anyway.

I was fourteen when I first started. It

was always just a hobby. I was eighteen

when I got an office job. I never went

to uni or college. My mum was just like,

go and get a job. I think around four

years into having an office job I was

like, fuck this, I don’t want to do this.

I’d been buying records throughout my

time working at Warner Bros Records in

the post room, handing out post in the

morning. My boss used to run a jungle

rave with LTJ Bukem called Dope in

Leeds. He used to work in Eastern Bloc

Records in Manchester, so he was kind of

my tutor for four years of relearning.

There was a period of two or three years

where I’d stopped buying garage records

and started buying grime and dubstep.

The first three years of me playing out

in clubs I didn’t even have decks at home.

I was just buying records and going out

and playing them. Because I’d learnt it

all before at such a young age I could go

for three years without having turntables

and still be at the top of my game.

27 / DEEP CUTS

WHO ARE YOUR BIGGEST INFLUENCES?

PABLO I went and worked for a

guy named Jacob in a local South

London high street, doing ten pound

haircuts. I went there and realised

there’s more levels to this. He

taught me to shave, afro, and proper

fading. He was a big influence. There

are a few guys I look up to such

as MOKUM Barbers in Amsterdam,

Alan Beak from Manchester, but one

of my main influences stylewise

is Klipper Kem who I’m lucky

enough to work with now. We have

a strong team at Cuts & Bruises.

ONEMAN The biggest one for me is

DJ EZ because he didn’t go down one

route of UK underground music. He

went everywhere and found all the

little pockets. He’d have DJ Zinc,

breakbeat, garage tracks, Oxide

and Neutrino, garage crew tracks,

Sweet Female Attitude. It was all

mixed together but made sense.

Another DJ from around the same

time was Fonti from Heartless Crew.

The whole Crisp Biscuit thing he

used to do, which was basically

find a track with that BPM from

any genre, so a 130BPM RnB track

he’d mixed with a garage track.

No one had done that before and

that’s something I still do now.

PABLO That’s what I notice when I

watch you play. Even though I like

to listen to a lot of underground

music, when I watch Oneman play

it doesn’t matter if he’s playing

the baitest track out of the

charts. The ways he brings it in

is sick. It works, it gets the

crowd going off fully every time.

ONEMAN It’s all about taking the

risk though. I’m all about risks. I

hate playing it safe, it’s boring.

There’s no bollocks to it. One of

my favourite things when I’m DJing

is when everyone stops dancing. I

love it. Everyone’s like, what’s

going on? Half of them will be

like, fuck this, we’re off. Then the

other half is thinking, actually,

let’s wait and listen. I love that

confusion and having that position

of power when you’re controlling

a room full of people [Laughter].

28 / DEEP CUTS

WHAT IS IT THAT YOU LOVE ABOUT WHAT YOU DO?

PABLO I love the fact I can be creative

in a social environment. All my

boys come and see me and I get

to listen to music all day.

Obviously I’ve got a boss, I work full

time, but I’m self-employed and can

do what I want. It’s a nice indoor

environment, I’m not lifting heavy

tiles like some of my pals. I operate

light machinery. It’s a nice place to

be, to build a rapport with people and

make friends with your clientele.

ONEMAN Same for me I think. It’s meeting

new people, getting to know people all

over the world, and sort of having it

paid for and then being paid on top. The

downsides to that are that you don’t get

to see all of the places. You might only

be there for twelve hours but you meet

some people that you’ll know for the rest

of your life. I’ve been to Australia back

and forth five times now on tours. It’s

the people you meet. That’s the thing I

enjoy the most, above the obvious feeling

you get when you drop a big tune.

PABLO All the people I’ve met in the

last few years just through cutting hair,

from people seeing a haircut on Instagram

or social media and thinking, that’s a

sick haircut, then coming down. You strike

up a friendship with those people from

all different walks of life and scenes.

It’s cool.

HOW DO YOU PUSH YOURSELF TO STAY FRESH?

PABLO I’m overly critical of my own work.

I always strive for better, so every day

I’m looking to give a better service and

a better haircut. With the guys I’ve got

around me it’s not hard. We all gas each

other up and everyone spurs each other on

so it’s easy in that respect.

ONEMAN I just make sure I keep on

the pulse with everything. You’ve got

to realise now that everything is so

accelerated and moves so quickly. You

can’t stick with your same guns. DJs used

to stick to their guns and it’d be fine. I

make sure I listen to at least three hours

of new music a day and I try to lock into

four or five new radio shows a week and

listen back to my old sets as well. That

really helps me.

I consider myself a bit of a perfectionist

when it comes to putting stuff out. I

won’t put something out if it’s got half a

second of a mistake. But yeah, I think at

the moment that’s what’s keeping me fresh

at the minute, just remembering where I

came from.

32 / DEEP CUTS

“IF I WANTED MY HAIR SUPER SHORT,

SKIN FADE, THREE ON TOP, I’D HAVE

TO TRAVEL HALFWAY ACROSS LONDON

AS A TWELVE-YEAR-OLD TO MAD

AREAS AND HAVE TO RUN TO THE

BARBERSHOP TO NOT GET ROBBED.”

PABLOESCOBARBER

HOW HAS THE INTERNET AFFECTED WHAT YOU DO?

ONEMAN It’s affected what I do massively.

I come from pirate radio in London

around the nineties and early 2000s when

everything was extremely localised. I’ve

got this one pirate radio recording from

Delight FM based in Battersea in South

London. It’s a live caller show, so the

whole point of the show is that people

can call up and do a shout out. You

wouldn’t even request a tune. You’d big

up your mates and be like, ‘Safe – see

you later!’ They’d ask, ‘Where you calling

from? How we sounding out there?’ ‘Crystal

bruv!’ ‘Nice one.’ This girl rings up and

they ask where she’s calling from. She

says, ‘London,’ and they all start laughing

in the studio. Pirate radio had a reach

of maybe seven miles. Everyone in the

studio is thinking obviously you’re from

London - we’re in London! [Laughter]

That wouldn’t happen now, but on the

other side of the coin I would never have

played in Australia or Japan if it was

still local and pirate. So, you’ve lost the

localisation of music or certain scenes

but you’ve gained a worldwide audience

for it.

PABLO Since the birth of Instagram,

where it’s such a visual platform for

my industry, it’s completely changed

for me. Now it’s kind of cool to be a

barber. So many kids are signing up and

going to London School of Barbering and

other places all around the world.

Before there would be four or five

evolving styles all the time. It would be

more consultation based, people would be

trying to describe to you how they’d want

to look. Whereas now kids are coming in

with pictures from America that have been

Photoshopped and you’ve got to replicate

that. But it’s good to push yourself.

Before, I’d be cutting old men’s hair for

four quid. Classic short back and sides,

tapered finish, blow dry and top. Now kids

are bringing in photos from other worldclass

barbers and expecting the same level

of quality. It keeps you on your toes

in that respect. When you’re consulting

with someone, they’re trying to give you

their image in their head. When someone

gives you a photograph you can break that

down yourself and think what you’ve got

to do technically to replicate that.

It’s mad how much interest there is in

barbering. People get thousands of video

views online for shaving and waxing. It’s

quite therapeutic to watch in a way. It’s

exploded. The whole barber life thing

as well has gone crazy. Ten years ago it

wasn’t that at all. It was very much local,

high street shops, a community feel. If

I wanted my hair super short, skin fade,

three on top, I’d have to travel halfway

across London as a twelve-year-old to mad

areas and have to run to the barbershop

to not get robbed [Laughter]. Just to get

a haircut and look a certain way

because my local barber couldn’t

do that. Everything’s much more

accessible and instant now.

37 / DEEP CUTS

WHAT’S CHANGED MOST SINCE YOU WERE

A TEENAGER?

PABLO I’m trying to work out what’s

worse, this new generation or our

generation. Or whether it was just

as bad then but I don’t see it as

much now, now that I’m older.

ONEMAN It was harder to get

what you wanted back then.

PABLO Now I look at these kids. They all

go to the gym, they’ve all got Gucci.

I’m thinking, when I was your age I

was smoking weed down the park in my

Nike tracksuit I’d had for four years

[Laughter]. Or an XXL Akademiks tracksuit

with bare hot rocks in it. Ticking three

Zs a week to buy a new pair of trainers.

Now they’re all decked out. It’s crazy.

ONEMAN I remember in 2002 going to

Soho for the first time as a teenager

to shops like Hideout and Bond. Bond

was on the corner of Carnaby Street

near Deal Real records. Bond was

stocking Supreme in 2001, 2002, and

no one really gave a shit about it.

I still go to record shops. The only one

I go to for new music is Sounds of the

Universe, the soul jazz shop. I love the

soul jazz compilations. I just got the

second Vogue compilation. Other than

that I’ll go to Tape Exchange in Notting

Hill and DnR records in Croydon which

is run by a guy called Dan and his mate.

They’ve been running this UK garage record

shop since ninety-eight or ninety-nine

I think. He’s still running it and it’s

all garage and I’m not joking when I say

he’s got around 50,000 records in that

shop, things you’ve never heard of. Other

DJ’s dubplates, he’s bought them. I’ve

spent a lot of time and money in there.

There was so much that came out. I don’t

think people realise how big the garage

scene was. Sometimes I look at some

of my white labels and they’ll have a

distribution company but it’ll be like,

GNZ distribution. I’ll try and look them

up and they don’t exist. No one was

distributing these records. They’d make

them, pressing them up, putting them in

the boot of their cars and driving round

all the record shops, sticking them in

there with a sticker on it with a mobile

number, usually, so if you wanted to book

them you’d ring them up. That’s how it was.

It was like wheeling and dealing. I never

realised until recently that a lot of the

records I was buying from A&D Sounds in

Mitcham produced Sovereign, Brasstooth,

El-B, Horsepower. All these producers are

from South London, all from the areas I’m

from. I never knew that then. Looking

back all these guys are from my area

and they must’ve just gone around to all

the record shops locally and put their

records in there. It’s fucking brilliant.

There’s so much garage out there. If I

play at a club or anywhere in the UK,

to be honest, and there’s eighteen- to

twenty-year-olds I see a lot of wavey

38 / DEEP CUTS

WHAT ARE YOUR FIRST MEMORIES OF

CARHARTT WIP?

garms. That’s what I would have

associated with saving up all of

your money, going to Selfridges once

every three months and buying one

pair of Moschino jeans or a shirt.

That was it. And you wore that for

a year, whereas now they’ve got

the full set, the Nike TNs. I don’t

understand how they’re doing it.

PABLO When I think back I was doing

all sorts to get the money to pay

for clothing. Kids now are buying

and selling clothes. It’s a whole

different game. Grime is also way

more socially acceptable and artists

are getting bigger bookings. Look at

Boy Better Know at for example,

selling out all sorts of venues like

the O2. It’s more mainstream, but if

you’ve always listened to it, it’s

always been there. It’s never changed.

ONEMAN What Skepta and BBK have

done in the UK scene has been done

all independently, without any major

label money. That’s unheard of. Drake

saying that he’s the first ever non-

UK BBK signing. Whether he is or not

doesn’t matter. The fact that he’s said

that to his thirty million followers

is impressive. I also think Jme is a

huge, integral part to the whole thing.

There’s something about that guy. He

knew what was happening ten years

ago and it’s so refreshing to see.

ONEMAN I had an Active jacket and I

left it in the back of my Fiat Punto and

someone bust the window and nicked it.

Someone just bust the window and nicked

my fucking Carhartt. I remember that, man.

I had a Nike windbreaker, navy blue with

a pink swoosh on it, and the

Carhartt Active jacket. They both

got taken out the back. Bastards.

PABLO Carhartt lasts well in the wash, so

with having to wash my clothes a lot from

getting covered in hair and working in

them daily it’s definitely my favourite

brand. It’s a practical thing. If I’m

spending money on clothes, nothing hurts

me more than when they go through the

wash a couple times and they’re fucked.

I like my stuff to look nice. If something

gets damaged I won’t even rock it. I’ve

bought expensive T-shirts in the past,

washed them two or three times and

couldn’t even wear them anymore. I’ve

never had a problem with Carhartt.

ONEMAN And it’s stylish as well.

It’s classic.

PABLO I can wear it to work, I can wear it

to a rave, to dinner with my girl. It’s

versatile in that respect. When I went to

America last year I was in all these shops

and I filled a suitcase with Carhartt. My

brothers were laughing at me. They were

like, you dress like an electrician.

They thought it was proper funny

that it’s fashion in England. To them

it’s maintenance man clothes.

39 / DEEP CUTS

“I HAD AN ACTIVE

JACKET AND I LEFT IT IN THE

BACK OF MY FIAT PUNTO AND

SOMEONE BUST THE WINDOW

AND NICKED IT. SOMEONE JUST

BUST THE WINDOW AND NICKED

MY FUCKING CARHARTT!”

ONEMAN

46/

48/

WHAT A CHORE:

EXPRESSIONS THROUGH CANVAS

2017 MARKED THE 100-YEAR ANNIVERSARY OF CARHARTT

INC.’S MOST ICONIC GARMENT, THE CHORE COAT.

IN LIGHT OF THIS MILESTONE A NUMBER OF ARTISTS WERE

ASKED TO CREATE A PIECE OF WORK DIRECTLY INSPIRED BY THE

CHORE COAT. THE ARTISTS SPECIALISE IN DIFFERENT MEDIA

AND COME FROM A VARIETY OF BACKGROUNDS,FROM PHD

STUDENTS TO SELF-TAUGHT HOBBYISTS. AS WELL AS

SHOWCASING THEIR WORK, EACH ARTIST DISCUSSES THEIR

FINAL PIECES, THEIR PRACTICE AND THEIR BACKGROUND.

AMBA SAYAL-BENNETT

TITLE: SCULPTURE FOR A VIRTUAL ENVIRONMENT

MEDIA: VIRTUAL DRAWING

ARTIST STATEMENT

My interest in notation has led me to explore how

phenomenological experience can be reduced to basic terms of

line, colour and shape. Using the logic of this translation I

reverse this process, applying it to my own drawings to make

spatial constructions from them. I am interested in how these

translated elements change through transposition, and how

their change in medium and context affects how I work back into

them. Through this process I explore how translation is not a

neutral process but one that actively produces the drawn form

in new ways.

The animation and the virtual drawing that I have made for the

Carhartt WIP project both utilise a similar methodology. By

experimenting with the formal structure of the chore coat and

transposing it within 3D modelling program Google SketchUp,

I explored how the virtual medium could be used to produce new

iterations of the iconic design.

BACKGROUND

Amba Sayal-Bennett is an artist and researcher. She received

her BFA from Oxford University and her MFA from the Courtauld

Institute of Art. She is currently completing her PhD

at Goldsmiths.

WWW.AMBASB.COM

@AMBASAYALBENNETT

50 / WHAT A CHORE: EXPRESSIONS THROUGH CANVAS

ISOBEL MEHTA

TITLE: UNTITLED

MEDIA: DIGITAL DRAWING

ARTIST STATEMENT

My work is often a social commentary and almost always

incorporates narrative. I like to use drawing as a tool to

understand people’s stories. I write a lot in my sketchbook

before I draw up a plan. I then draw digitally using a Wacom

tablet and Photoshop. I guess I feel more freedom with this

because I can play around with colours and styles no end, and

can have an unlimited number of revisions before settling on a

final outcome. I don’t think I could achieve this specific kind

of flexibility on paper.

I live and work in London, and take visual inspiration from

places I’ve visited e.g. Tokyo and Florence. But mostly I like

to use drawing as a means to try and understand the world’s

histories and sciences and other complexities, for example the

Islamic Revolution in Iran, or the endangered rays being hunted

in Maryland.

This piece I’ve created is romantic and references old American

advertisements by stealing the secrets of the chore coat,

showing its upmost desirability. I was definitely inspired by

the book Patience by Daniel Clowes, I suppose for the setting

and also the slight eerie feeling I wanted to put across.

BACKGROUND

Since graduating from Brighton University with a BA in

illustration in 2016, Isobel has been published in the New York

Times and Time Out magazine, exhibited at the Museu del Disseny

de Barcelona and with Pan Macmillan, and has featured on sites

such as It’s Nice That and Platform Magazine. She has worked

with clients such as Nando’s and !K7. In her personal work she

is drawing an interactive comic and preparing to print a huge

batch of T-shirts.

WWW.ISOBELMEHTA.CO.UK

@BELMEHTA


HARSH NAMBIAR

TITLE: UNTITLED

MEDIA: EMULSION AND ACRYLIC ON CANVAS

ARTIST STATEMENT

The painting plays on the vintage advertising imagery used by

Carhartt in its early days as a manufacturer of workwear for

industry. The prevailing narrative from this time was one of

the power of industry as large-scale infrastructure projects

like the expansion of the railways reshaped the landscape

of the USA. These narratives portrayed the working man as

an archetypal hero of the age, and the imagery imbued these

figures with a sublime heroism and dignity. Using this classic

style as a starting point I introduced my own figurative

imagery and ideas to the mix. The narrative thus changes and

moves simultaneously into the realm of the contemporary and

that of the mythological. In a sense this reflects the way

Carhartt has evolved with the times. The result is shifting

from a narrative dominated by industrial revolution to one of

social and environmental revolution. The chore coat becomes a

uniform not of industry but of our contemporary struggles, and

a signifier of being on the front lines of progressive change.

BACKGROUND

Harsh Nambiar spent his early childhood in New Delhi before

relocating to London and later to New York. After studying

art history at Columbia University, he worked in the studio

of Anthony McCall. This time in the studio was an invaluable

education in the requirements of being a practicing contemporary

artist. Despite having no formal training as a painter Harsh

had quietly maintained his own studio practice throughout

this time. He was particularly influenced by young contemporary

painters in New York and considers the artist Nicole Wittenberg

to be an important mentor. On returning to India in 2014 Harsh

took up a residency at Swaraj Art Archive in New Delhi with the

intension of pursuing his own painting practice more seriously.

Harsh lives and works in New Delhi, where he has participated

in a number of exhibitions. He is currently working on his

first installation projects, to be exhibited in March of 2018.

WWW.HARSHNAMBIAR.COM

@HRNAMBIAR


LANA MCDONAGH

TITLE: WORK IN PROGRESS

MEDIA: ACRYLIC PAINT, COLLAGE, POSCA

ARTIST STATEMENT

I have no formal art training and I tend to paint in a very

slapdash manner - usually when I get an idea, it’s all very

spontaneous and urgent; I will literally dip my hand into a

pot of paint and throw a load of colours on the canvas. With

the shapes that are born out of those colours, I will start

to refine the idea I first had in mind. I generally start out

painting with my fingers, mainly with acrylics, and then I will

move on to brushes or Posca Pens for any detail I want to add.

I guess you would call my style naïve art. I’ve always been

drawn to outsider art and artists from the avant-garde CoBrA

movement. I like the childlike quality, the lack of pretence and

the interplay between the conscious and the unconscious.

In the piece I have done for the Carhartt WIP project, I looked

to incorporate not only the jackets but a bit of the history

surrounding the chore jacket and the people who would have

originally worn them - those that toiled; labourers, farmers

etc. It was fun to take my very abstract figures and place them

within the context of a brand.

BACKGROUND

Art runs in my family. My great-grandfather was an artist and so

is my mother. I grew up with it all around me but never formally

studied it. I am currently working on an exciting project with

some musicians which people will find out more about soon, as

well as an exhibition at the end of the year.

WWW.LANAMCDONAGH.COM

@LANA_MCDONAGH


NIK JONES

TITLE: UNTITLED (CARHARTT CHORE COAT) 4

MEDIA: ACRYLIC ON PAPER

ARTIST STATEMENT

Painting for me is much like baking a cake. Each time, I

start with the same list of ingredients. I try to challenge

those ingredients to test how far I can push and pull them,

how much or how little is required to compose the perfect

painting. Also of interest to me is how much information can

be reduced from the subject whilst still rendering something

which is distinctly recognisable. This concerns the subject

of semiotics and our reading of signs and symbols which relate

to the given objects, fields and shapes being depicted in my

paintings. I suppose I am really testing the capacity for the

human ability to find an emotional connection with the world

around them and question the notion of awareness and what it

means to be conscious. Much more deeply rooted in my work is the

materiality of paint itself and the way in which it has a unique

quality unlike all other material, which lends itself to the

depiction of human experience in a profoundly relatable sense.

With the Carhartt WIP project, I set about reducing the subject

to its bare, minimal form, to see how far I could push the iconic

piece of clothing before it became unrecognisable. What first

struck me about the chore coat was its simplicity, its ability

to remain recognisable and iconic, yet subtle and subdued.

BACKGROUND

Since graduating from Camberwell College of Arts Nikolas has

been involved in leading community arts space Platform1Gallery,

with his works being featured in group and solo exhibitions.

Nikolas is currently employed full time working in a

contemporary commercial art gallery and is producing his latest

series of paintings which will be unveiled to the public in 2018.

WWW.SAATCHIART.COM/NIKGLJONES

@NIKLYPIKLY


BENJY NUGENT

TITLE: UNTITLED

MEDIA: PAPER, PEN, PAINT, COLLAGE

ARTIST STATEMENT

A lot of my work is identity driven. I often take something,

pick apart its elements and try to see it for what it is at

a core level. I reconstruct, reinterpret and reimagine those

elements to create new and original narratives. I keep my work

varied, often using a mixture of hand drawn and digital and

multimedia work all together with the intent for the approach

to translate to different formats. I draw inspiration from

anywhere and everywhere, keeping a sketchbook, jotting ideas on

my phone, taking photos and videos to draw over and experiment

with. There is a lot to soak up in London. The melting pot of

sound, language, community, food, religion and diasporic culture

is hugely influential.

BACKGROUND

Since graduating from University of East Anglia with a BA in film

and American studies and touring the world, Benjy has moved back

to London to pursue multidisciplinary creative work. His personal

work includes illustration, prints, clothing and multimedia.

@BENJY_NUG


MINNA WILLIAMS

TITLE: CAMO CITY

MEDIA: INK ON PAPER

ARTIST STATEMENT

My work focuses on both urban and domestic environments, with my

main interest being the people who live in them. I draw by hand,

on paper, using different ink-based materials to create bold marks.

I usually draw straight on paper with ink and pen without planning

or early drafts, as I think it creates more interesting results.

Sometimes I work in monotone and other times I experiment with

vibrant colours. I’m influenced by where I live and study in London,

by brutalist architecture, portraiture and pattern and these

elements frequently appear in my work. I’m very interested in

every small detail I can find in a subject, from the patterns on

tube seats to the patterns on plants and rocks. I am also careful

not to ignore the incidentals in a subject as every setting

has interesting things lurking in the background adding to the

personality of the person I may be drawing.

For this piece, I have chosen to set my character wearing the

Carhartt chore coat in an urban jungle, with surreal plants and

modernist and brutalist architecture. This is inspired by London;

its versatility and its hidden depths, from Kew Gardens-inspired

flowers to its surrealist skyline. This drawing encompasses many

of my favourite things to draw. My use of pattern links the coat

with the panther’s distinctive patterning reflecting the coat’s

properties of durability and style. The media I used to create

this piece were fine liner, Indian ink and felt marker pen on

watercolour paper.

BACKGROUND

I am currently in my first year studying a BA in illustration and

animation at Kingston University having obtained a foundation

diploma in art and design, also from Kingston, in 2015.

I was recently commissioned by fashion archive 18.01 London to

create a London-inspired bag design for their clients. The bag

featured my pen drawing of a tube carriage, from an unusual,

winding perspective. In 2014, I was a finalist in the London

School’s student art competition UpStart while studying for my

art A-levels. My piece of work was exhibited at a London gallery

and then sold with half the proceeds going to charity. I am

now continuing my studies in Kingston and hope to develop my

illustration practice further.

@MINNAWILLIAMS


KELLY ANNA

TITLE: UNTITLED

MEDIA: DIGITAL DRAWING

ARTIST STATEMENT

My piece reflects how I feel when I wear the chore jacket. I feel

a sense of empowerment by not wearing something that’s been

modified to make it more ‘ladylike’. I have always worn menswear

just out of the respect for it. WIP womenswear makes me feel like

a woman again without being put in this ‘tomboy’ box. Who the

fuck is this tomboy anyway?

This for me is alluring and oddly seductive.

BACKGROUND

Kelly Anna’s work is about challenging the game of inspiration

and empowerment by creating bold, energetic artworks with a

pinch of humour and wit. Her past as a dancer and gymnast

hugely influences her work and plays a big part in understanding

movement and energy. The use of Cubism also plays a big role in

the work. Kelly’s father is a cubist painter and a figurative

artist himself, so has always been a huge influence.

WWW.KELLYANNALONDON.COM

@KELLYANNALONDON


ROLLVNDO

TITLE: DEUXSOULCENTS

MEDIA: MIXED MEDIA

ARTIST STATEMENT

I aim to celebrate the chore coat’s impact by eliminating all

other colour to bring through its iconic silhouette with layout

and harsh art-working.

BACKGROUND

Julia Fraile-Rollvndo is ROLLVNDO. Born in 1991, Brittany,

France, ROLLVNDO is a mixed media artist living and practising

in London. Taking inspiration from popular and contemporary

culture, ROLLVNDO’s work evokes a sense of lyricism and raw

beauty. By ripping images and mixed media from magazines, books

and other found objects, ROLLVNDO explores the poetry and

process of creating a new object from something pre-existing.

Escaping from reality, both the artist and the viewer find

themselves projected into ROLLVNDO’s works.

My background in fashion design and visual arts combined with

time spent in various cities and countries has slowly influenced

and pushed how I combine various techniques and styles to

tell a story. Collaborations such as this, and previously with

Dreamland Syndicate, don’t just inspire but help to develop and

push this forward.

Currently I am in early talks for a few exhibitions in

London and France whilst always keeping an eye out for new

collaborators.

WWW.ROLLVNDO.COM

@ROLLVNDO


68/

ELLIE ROUSSEAU

ELLIE ROUSSEAU IS A YOUNG DESIGNER AND ROYAL

COLLEGE OF ART GRADUATE WHOSE WORK WITH

DENIM AND KNITWEAR HAS GAINED INDUSTRY

ATTENTION, WORKING RECENTLY WITH LIAM

HODGES AND ALCH. WE SPOKE TO HER ABOUT

FEMALE DESIGNERS WITHIN MENSWEAR, LIFE AFTER

GRADUATING AND DRAWING INSPIRATION FROM

OUTSIDE OF LONDON.

WHAT ARE THE MAIN INFLUENCES

IN YOUR FASHION PRACTICE?

Visual identities have been a constant

influence and I’ve read a lot of Ted

Polhemus’ writings on style coding and

subcultural identities. I have always

liked the idea of dressing a persona and

how specific aesthetics and codes reflect

a lifestyle and community. This encouraged

my interests in designing to express

particular fashion and social contexts.

WHAT IS IT LIKE WORKING AS A

WOMAN IN MENSWEAR?

I found myself gravitating towards

menswear very early on. The lifestyle

aspects that inspire me revolve around

the masculine attitudes seen within

underground music, graffiti, sports, ‘gang’

communities. I’d say the levels of male

versus female designers are equalling out

in menswear and I see it that I design how

I would want a guy to dress, yet I wouldn’t

say it’s from a feminine perspective.

YOU’RE A RECENT GRADUATE. HOW HAS

THE TRANSITION BEEN FOR YOU?

After I left the RCA I started worked

at Supreme in the office for a season

whilst also consulting for Liam on the

knitwear for AW18. For SS19 I’m working

at both Liam’s studio and the ALCH studio

across design and production. It’s nice

to be back in a studio environment and

being hands on with the process again.

WHAT ARE THE PHILOSOPHIES AND THOUGHT

PROCESSES BEHIND YOUR WORK?

Youth culture and visual identities

always direct my research. I’ve previously

explored the casuals, punks, Bronx hip

hop, yet only in my final year at the RCA

did I reflect inwards to subcultures and

youth references that are on a personal

level and influential to my aesthetic.

Anarchy, political reflection and societal

analysis also impact my projects as I

see fashion as a way to communicate

and express my take on society.

ORIGINALLY FROM MANCHESTER BUT CURRENTLY

LIVING IN LONDON, HOW DO YOU DRAW INSPIRATION

FROM YOUR NORTHERN CONNECTION?

Northern youth culture – the nightlife,

social circles, locations, social trends

etc – definitely plays a key part in

underlining my research and aesthetic.

The collection I designed whilst studying

at the RCA derived from a series of

photographs I took within a few years

when I was growing up in Manchester and

discovering nights such as Hit & Run,

then hanging out in the after-hours with

friends. Nostalgic connotations influenced

the aesthetic, graphics and silhouette

whilst reflecting an escapist frame of mind.

71 / ELLIE ROUSSEAU

WHAT ARE YOUR PERSONAL FEELINGS

TOWARDS THIS INDUSTRY?

I get to meet and work with so many

inspiring people, and not just in

fashion. The creative industries of art,

music and design allow individuals to

express their mind and push boundaries

of how others view the world.

HOW DO YOU MAKE CONNECTIONS TO PUSH

THINGS FORWARD IN TERMS OF EXPOSURE, SUCH

AS YOUR CLOTHES BEING FEATURED IN THE

VIDEO FOR MUSIC ARTIST COSMO PYKE?

Through social media – developing

connections with stylists, models,

producers, artists. My pieces have

been received well by creatives and

artists working within similar contexts.

Collaborating and finding collectives

of people in the same ‘tribe’ is a

great way to help each other to grow

an identity within the industry.

WE’VE SEEN THE RISE OF STREETWEAR WITHIN HIGH

FASHION OVER THE LAST FEW YEARS. WHAT ARE YOUR

PREDICTIONS FOR THE FUTURE OF THE INDUSTRY?

Branding seems to be the breakdown of

identity through buying into a specific

brand philosophy and capitalising their

label into your own personal aesthetic.

We have moved on from solely reflecting

one genre of music or one group of

friends into a more fluid state. I think

due to global access via the internet and

social media this trend will continue

with identity being described by specific

brands and fashion houses rather than

specific garment style coding.

DURING YOUR FINAL-YEAR RESEARCH YOU WORKED

WITH DENIM AND TOOK INSPIRATION FROM A

PAIR OF 25-YEAR-OLD CARHARTT WIP OVERALLS.

WHY DID YOU CHOOSE CARHARTT WIP?

I see Carhartt as a brand that has

its own identity within the field of

youth culture and it holds many iconic

designs. I wanted to carry through

traditional denim features such as

utility pockets and construction

techniques, so analysing pieces such

as the 25-year anniversary overalls

aids with understanding the heritage of

construction and function. Mohsin Sajid

was a great influence when showing his

denim archive which initiated genuine

reference points and laundering techniques

which I implicated in response to my

research. Mohsin created a connection

with Kaihara Denim in Japan who sponsored

my collection by providing incredible

selvedge denim in weights, 13.75oz up

to 23.25oz, which I patched together

and eroded to create my own fabrics.

WHAT ITEM OF CLOTHING COULDN’T

YOU LIVE WITHOUT?

An old battered bomber jacket that

I found. And a load of gold hoops.

WHAT ARE YOUR FIRST MEMORIES OF CARHARTT WIP?

It’s got to be the events and social

circles gravitating around the

Manchester store.

72 / ELLIE ROUSSEAU

76/

DUKES CUPBOARD

DUKES CUPBOARD IS A VINTAGE SPORTSWEAR STORE

LOCATED IN THE HEART OF LONDON’S SOHO. FOUNDED BY

MILO AND NED IT BEGAN LIFE AS A STALL ON THE ICONIC

BERWICK STREET MARKET. WITH THE RESALE SCENE OF

VINTAGE CLOTHING HOTTER THAN EVER, WE SAT DOWN

WITH MILO AND SANDEEP TO CHAT ABOUT RARE ITEMS,

BRAND LONGEVITY AND THE RESELLING GAME.

WHAT ARE YOUR EARLIEST MEMORIES OF GOING TO MARKETS?

SANDEEP My earliest memory of going to

markets is about fifteen or so years ago,

just knocking about in Portobello. There

were places to go and paint legal graffiti

where everyone would congregate. So I went

down and ended up walking through the

market. Back then, there were a lot more

stores around the market: record stores,

decent clothes shops and trainer shops.

It was like one big culture shock as a kid

seeing all that. Seeing all that vintage

stuff, not knowing what it was or what

it meant but knowing that it represented

something, especially always being into hip

hop, garage and grime growing up. I was

never able to afford it, so it was always

window shopping with me thinking, ‘I wanna

get that, and I wanna get that’. As I got

older, and had a bit more money behind me,

it was nice to get those bits.

this stuff all day every day. My girl was

watching Game of Thrones last night, and

I’m sat there on eBay just scrolling for

an hour while she is doing that. So, I

definitely think certain people are more

in tune with buying than others. You get

it wrong sometimes as well, so you never

know. Sometimes I will pick something up

that I think is sick and maybe Ned thinks

is sick, but our customers won’t like it.

Or sometimes I will buy something I am not

sure about and get a thousand likes and

twenty people want to buy it. It can be a

risk I guess.

MILO My dad used to take me to Portobello

Market when I was a kid, around the age of

11. He used to drag me to antiques markets

too. There’s one at Kempton Park racetrack

on Tuesday mornings. I used to go there

with him and a few others. I remember

being dragged down, early mornings.

DO YOU REMEMBER YOUR FIRST VINTAGE PIECE?

MILO I don’t actually. You know what, I

went to uni in Brighton and that’s when

I first started. I was collecting Polo

before that, but I started collecting or

thrifting, as they say in America, when

I was in Brighton. I started to hunt in

Dirty Harry’s for old Champion sweaters and

stuff, but I was buying Polo on eBay before

that, when I was about fifteen or sixteen.

WHAT IS THE TRICK TO SPOTTING ITEMS?

MILO It’s just practice I think. I’ve been

doing it for years. You know what might

sell, what might not sell. It’s my job

to see that stuff, and I am looking at

WHAT IS THE OLDEST AND RAREST ITEM YOU OWN?

SANDEEP I used to have so many nice old

Polo bits from ’92 and ’93 but I had to get

rid of a lot of that stuff a little while

ago when I needed the dough! [Laughter] I

collect trainers quite heavy, so probably a

couple of pairs of my kicks. I’m trying to

think. A couple of pairs of OG Air Max 98s.

The bubbles have all gone but I still can’t

let them go. A couple of OG Air Max 95s.

Footwear is what resonates for me.

MILO I collect a lot of Stone Island. I’ve

78 / DUKES CUPBOARD

got some T-shirts that are from the early

eighties, and I’ve got a 1990 Ice Camo

jacket, which is a rare piece of Stoney. I’ve

got a rare lifesaver jacket as well. Some of

it I found out buying, some of it I bought

online. I do know a lot of collectors though.

WHAT WAS YOUR FIRST ENCOUNTER WITH CARHARTT WIP AND

THE CULTURE AROUND IT?

MILO I used to go to the Carhartt shop on

Neal Street in Covent Garden when I was a

kid. My old man used to wear Carhartt and

Biggie, Wu-Tang, always rocking Carhartt.

The pieces that stood out for me were the

workwear vests and the beanie hats. The

simple branding stood out. While a lot

of other brands like Polo were going mad

about graphics, Carhartt just kept it real

with good fitting, durable pieces with a

little patch on them. That was enough. You

could see a piece of Carhartt coming a

mile off, from the cut and how it dropped,

and that has obviously evolved through

Work In Progress. During my first visit to

New York, I went to a workwear shop called

Dave’s and couldn’t believe how cheap the

Carhartt was. I was picking up hats for six

or seven pounds and ended up buying loads

of colours and a few vests. Then there was

the film La Haine, which for me is deeply

rooted in hip hop culture. It’s an iconic

film. Seeing them rocking Carhartt opened

my eyes a bit. So, yeah, that film and

nineties hip hop really opened my eyes to

Carhartt.

WHY DO YOU THINK WE’RE SEEING THIS HYPE CULTURE AROUND

STREETWEAR NOW?

SANDEEP People want what other people wear,

and if people can’t access that, then it

becomes more desirable. There is always

going to be someone who will pay more for

something, and that will push the price up.

I used to steal his jackets sometimes.

I loved Carhartt jeans. I used to skate

when I was a teenager. That’s when I

first started wearing it, at around the

age of twelve or thirteen. It’s like the

backbone. All these other hype brands are

built around a pair of jeans, which is

cool. Carhartt is cool because, like Ralph

Lauren, you can have kids wearing it, and

grandparents wearing it. It’s not specific

to a certain age bracket.

SANDEEP For me, it was seeing people like

MILO People care about how much stuff

costs. They always want to know, is this

rare? That’s a question I’m always asked in

the shop. Sometimes they don’t care about

the brand, they just want to have a rare

one-off piece. For me personally, if you

want to have a one-off piece, it should be

something that you love. It doesn’t matter

what other people are wearing or what

other people are into. It’s each to their

own. It’s like people who throw around the

term ‘grail’. For me, a grail is not what

everyone else wants, it’s what you want

personally. Most of my grail pieces people

haven’t even heard of.

79 / DUKES CUPBOARD

HOW HAS THE INTERNET CHANGED THINGS FOR THE VINTAGE MARKET?

SANDEEP I think the internet has kind of fucked

it up a bit because now everyone thinks they know

best. People think they can send a legit check on an

item to see if it’s authentic, often to people who

potentially don’t really know what they are looking

at, and then buyers are going to go on that basis. I

think that has had a negative effect, you know? Also,

the internet has pushed prices through the roof.

You get computer whizz kids with their bots buying

everything up. It all pushes the price up. It really

is a case of supply and demand.

MILO Maybe in the sense of how people used to link

up and go out shopping. I used to link up with my

boys on a Saturday and we would go check out Stoney

and Hideout, and that art of going shopping is

dying. People just click things and buy them now.

So, in the traditional sense, I guess that’s not

happening as much anymore. It was quite cool when I

was young. I got a bit of cash off my old man, and

I’d go link with my pals, we’d go skating, go and

buy some shit. So yeah, in a way it has affected it.

HOW HAVE YOU CARVED OUT A CORNER IN RETAIL, ESPECIALLY GIVEN THE

COMPETITION FROM THE INTERNET?

MILO It’s nice to meet someone and have a chat with

them, shake their hand, look at the garment. It’s

a bit more personal, and I think no matter how much

stuff is available to buy online, especially with

vintage, you never quite know the fit of a piece or

its condition. It’s reassuring to meet someone and

talk about the garment and try it on. I think people

like that. When you see someone buy something they

really love, it’s a satisfying feeling.

SANDEEP I think with Dukes it was really grass roots

up. Milo was trading on Berwick Street by himself,

Ned was trading at Portobello. I used to knock about

buying bits and selling them. It was all about

meeting people. What’s great about Dukes is having

that physical space on Berwick Street market slap

bang in the centre of town. It’s somewhere that

people pass through.

People notice the pieces. We’re building up a core

customer base of people across the board, from hype

beast kids to people collecting old sportswear to

people collecting old Italian designer stuff like

Stone Island and I think that’s

been a big part of standing out

from this internet generation,

because a lot of these people

buying and selling vintage only

have online stores, or just

Instagram. It’s like, yeah we

have an online store and we

80 / DUKES CUPBOARD

OVER THE YEARS CARHARTT WIP HAS COLLABORATED WITH BIG BRANDS

SUCH AS BAPE, STUSSY, PATTA, A.P.C AND OTHERS. WHAT BRAND WOULD

YOU LIKE TO SEE CARHARTT WIP COLLABORATE WITH NEXT?

SANDEEP I know that Carhartt X Bape pieces are

really sought after. They hold their value because

they have that Carhartt workwear influence but with

the Bape print. It blew everyone’s minds. I’d like

to see Carhartt collaborate more with Londonbased

brands, like Done. I know they’ve just done

a collaborative T-shirt with my mate who co-runs a

night and record label called Cotch International.

They have a night at Rye Wax in Peckham called

Cotch and they’ve just had their second birthday,

with Daniel OG and Suspect, which was a success. I

think that’s a really strong look, a nice T-shirt

with a good graphic on a classic Carhartt base tee.

MILO Personally I like – really like – the Carhartt

X Patta. I thought that stuff was really nice.

I got a pair of those trousers and I think the

Carhartt X Stussy is quite cool. They both fit

well together in my eyes. But I love all the old

original Carhartt workwear stuff as well. A few

years ago I was travelling, I was on a ranch in LA,

this old woman was wearing this old Carhartt jacket

and it looked amazing. It was a whole different way

of wearing the brand. The way they look at it is so

different to the way we look at it. We should do a

Dukes Cupboard Carhartt.

CARHARTT WIP IS KNOWN FOR ITS LONGEVITY. WHAT NEW BRANDS DO YOU

THINK PEOPLE MIGHT FIND IN THE SHOP IN TWENTY YEARS’ TIME?

MILO There’s a brand called Done London, based in

South London. I really like what they’re doing.

It’s high quality stuff. They’re also creating

their own iconic graphics that represent London.

have an Instagram, but you also

need a physical base for people

to come and have a chat. With

vintage you need to try this

stuff on because you can get a

size that is XL and fits like

a small and you can get a small

that fits like an XL.

SANDEEP I’ve got a lot of love for what them lot

are doing, their whole guerrilla marketing thing,

slapping up their stickers everywhere, getting

graffiti artists like Neas doing dubs for them.

It’s literally like grass roots stuff. Also, I like

what the Lurkers are doing. They’re another Londonbased

duo, elements of photography, graffiti.

They also have a clothing brand. They link up with

other people in the scene and have a lot of good

graphics with meaning behind it, not just knocking

out anything. There is a bit of substance to it which

is good.

81 / DUKES CUPBOARD

82/

WHAT DO

YOU THINK

OF

WHEN YOU THINK

ABOUT...

116/

TORI WEST

LONDON-BASED TORI WEST IS

AN EDITOR AND PUBLISHER FOR

SEVERAL INDEPENDENT ONLINE

AND PHYSICAL PUBLICATIONS,

INCLUDING BRICKS AND DISASTER.

HERE TORI DISCUSSES THE ART OF

PRINTED PUBLICATIONS, FEMINISM

AND THE POWER OF SOCIAL MEDIA.

WHY DO YOU THINK IT IS STILL IMPORTANT TO

PRODUCE PHYSICAL MAGAZINES IN TODAY’S DIGITAL

WORLD?

I don’t think all printed

publications are essential but I

think independent ones are, mainly

because the majority of physical

commercial titles and newsprints

still brainwash the general public

politically and continue to see

women as selling tools rather than

celebrating their achievements.

Currently, emerging publishers are

dominating the media industry, and

it’s so refreshing to see. Magazines

like gal-dem, Riposte and my own

publication BRICKS aren’t worrying

about print advertisers; our output

isn’t manipulated by anyone so we

can create more honest, open spaces

for people to discuss their own

experiences. Also, independent print

titles are necessary due to online

censorship. Of course, the world will

always prohibit anything they deem

politically or socially unacceptable,

but I still think the internet

gets it wrong, especially with its

guidelines on publishing images of

women. When you self-publish, you’re

fully in control of your output.

WHAT ARE THE ORIGINS OF BRICKS MAGAZINE AND

DISASTER?

BRICKS initially started as a

university project in my final year

as I had to produce a publication.

While graduating, I was apprehensive

of not being able to collaborate

with emerging creatives once I’d

left; meeting people with different

ideas was one of my favourite things

about studying. I really didn’t

want to leave that behind so I

carried on the publication. At the

time I was living in Bristol and I

wanted to stay because I loved the

city so much, but there were no

opportunities for fashion publishing

and hardly any support for young

talent. I firmly believe if you

live in an area where you think

there aren’t any opportunities in

your field, you should make them

yourself. I also believe that if

you’re frustrated with something,

you should get off your ass and

do something positive to try and

counteract it. Today, it’s a platform

for anyone marginalised. A place

for women to share their voice and

experiences, a free alternative

education tool and space for

emerging talent to showcase their

work. All of the publications I

produce are born from something I

was angry about and want to improve.

The idea of Disaster zine stemmed

from when I was so frustrated with

people mistreating each other in

relationships. I felt like I had to

mock it. At the time, it was the

only thing that made me feel better.

DID YOU ALWAYS WANT TO WRITE AND PUBLISH?

Writing isn’t always something I

wanted to do because I was so bad at

it. My first language is Welsh and

I was predicted an E grade for my

English GCSEs.

But I hate being bad at stuff, so I

threw myself into the deep end by

creating BRICKS. I just had to learn

to adapt to it. If someone told me

I’d one day be an editor and write

for magazines, I’d never have

believed it. But it just goes to

show that if you practice and

work hard, you can literally

achieve anything you want to.

119 / TORI WEST

WHICH PIECE OF CONTENT BEST SUMS UP WHAT

BRICKS IS ALL ABOUT?

BRICKS’ fourth print was the

Manifesto Issue. By this point

I had somehow managed to build

this platform from absolutely

nothing but wasn’t quite sure what

the point of it was. I wrote an

article with the help of my print

contributors, outlining our beliefs

and ethos as a publication titled

Our 10 Commandments. We listed

everything that was important to

us morally, from education to equal

rights. I still follow it today and

it’s the first thing I send to new

contributors.

FEMINISM IS CENTRAL TO WHAT BRICKS IS ALL

ABOUT. HOW DOES THE INTERNET ALLOW YOU TO

CONNECT WITH OTHERS TO DRIVE CHANGE?

Intersectional feminism is something

I’m really passionate about, and

quite frankly, I don’t believe

BRICKS would be what it is today if

I didn’t feel compelled to change

things socially using the internet

as my communication tool. To me,

BRICKS isn’t a business. It’s an

accessible outlet for me and other

women who feel like they aren’t

being listened to. We live in a

very politically divided world and

sometimes it’s difficult for young

people to see all the good within

it. BRICKS is a celebration of the

people that create work to challenge

those negatives in the hope that it

not only inspires them but motivates

them to work towards a society

that’s more understanding of other

people’s experiences.

BRICKS BEGAN IN PRINT BUT NOW WE’RE SEEING

MORE INTERVIEWS, VIDEOS AND PODCASTS ONLINE.

WHAT CAN WE EXPECT FROM BRICKS IN THE

FUTURE?

I want to focus more on IRL spaces

rather than URL. Online is such

a powerful way to discover ideas

as it’s obviously free to access,

but I’m anxious that we’re so

dependent on the internet that we’ll

eventually lose the experiences that

face-to-face interactions bring.

I’m currently working on publishing

events that give London-based creatives

and industry experts an opportunity

to leave the capital and meet young

people from different areas. I

recently brought editors from Vogue,

Dazed and Refinery29 to my hometown

of Cardiff to host workshops and

talks with young people there.

Alternative education methods are

so accessible in London that we take

it for granted, but it bothers me

that no one thinks of other cities

that have creative universities.

Like, why isn’t anyone offering the

same opportunities for students in

Sheffield or Falmouth? By offering

the option of editors at large

titles to network with new creatives

outside their inner circle, I’m

hoping it will make the industry

more inclusive and within reach to

those who don’t have the privilege of

living in a capital city.

120 / TORI WEST

122/

134/

MADAM X

DJ MADAM X HAS BEEN

STEADILY MAKING HER

IMPRINT ON THE UK MUSIC

SCENE WITH HER BASS-HEAVY

MIX OF GARAGE, GRIME AND

TECHNO. SHE’S BUILT UP AN

IMPRESSIVE REPUTATION WITH

PERFORMANCES ON NTS, RADIO

1 AND BOILER ROOM AND IS

A REGULAR AT CLUB NIGHTS

AND FESTIVALS WORLDWIDE,

INCLUDING MANCHESTER’S

WHP, FABRIC LIVE, OUTLOOK

FESTIVAL AND GLASTONBURY.

SHE TELLS US ABOUT HER

BEGINNINGS IN MANCHESTER,

HER LABEL KAIZEN, AND

STAYING DOWN TO EARTH IN A

WORLD OF HYPE.

WHY ARE WE SEEING MORE FEMALE DJS AROUND TODAY?

Female DJs have always existed but

I think, especially in recent times,

there’s been more campaigns to promote

and raise awareness that we are here.

The myth that DJing is a predominantly

male dominated scene is diminishing.

By normalising and supporting women in

music, you can inspire and encourage

the younger generation to get involved.

Before, it might’ve seemed like an

intimidating, male dominated space but

I could name you a ton of credible and

successful females who run the scenes

they’re in. There’s still work to be

done in terms of equalising lineups,

but I can’t support festivals and events

that book women to satisfy a target.

I would never want to get booked on

something solely on the basis of me

being a woman. Book me for my skills

and the fact that I’ll shell it down.

HOW ABOUT BEHIND THE SCENES?

I mean, I know a lot of women who put

on parties and run events, but I’ve

definitely seen an uprising of all-female

collectives, which is really cool to see.

HOW HAS IT CHANGED SINCE YOU STARTED OUT?

When I started there wasn’t that many

of us around, but I think that’s partly

got to do with the kind of music I

play. There’s an abundance of

female techno, house and disco

DJs but I play, like, super dark,

percussive, weighty bass music.

Around about 2009, when I was playing

dubstep, grime etc, the scenes were

already really niche and heavily

infiltrated with bros, so being a woman

playing that kind of music was even more

niche. Saying that though, there are

loads of women behind the scenes who

run some of your best loved labels. It’s

not necessarily always about the DJs.

WAS IT DIFFICULT FOR YOU TO GET STARTED?

I think everyone finds it hard. Putting

yourself out there, hustling for gigs,

telling people to listen to your mixes,

it’s a bit mental. I was always confident

in my skills, but the self-promotional

aspect of being a DJ took some getting

used to. But I was pretty resilient and

the Manchester music scene was really

welcoming. Within my second semester

at uni I’d become a resident at Murkage

and through my second year started

building BPM, a club night I ran with

three others, which was a catalyst for

a lot of things that came thereafter.

DO YOU HAVE ANY CRAZY RIDER REQUESTS, AND

DO YOU GET GIVEN PRESENTS BY FANS?

On my rider? It’s really boring,

standard, like vodka, apple juice, tea,

Pokemon cards. I’ve never really had

anything too strange. Someone made me

some jewellery once which was really

nice, I liked that, that was really

cute, but nothing too outrageous. I

don’t think you get to that level of

outrageous until you’re a big room,

household name. I don’t know, you don’t

really have sycophants like that in the

bass music scene. The ravers are too

busy raving to treat you like a pop star.

Don’t get me wrong though, I love gifts.

136 / MADAM X

IS THERE A GIG OR PLACE THAT YOU’VE

PLAYED THAT STANDS OUT IN YOUR MIND?

Probably every time I play in

Manchester, because that’s my home

turf where I nurtured my sound and

craft. Living up North influenced

my music taste massively. I play

a lot of Manchester music as well,

and there’s nothing like playing

to a crowd who know your tunes.

HOW DO YOU STAY UP TO DATE?

SoundCloud was my go-to for years.

YouTube is super useful as well,

especially the channels that

go through radio shows, taking

clips of new music and premieres

and stuff. But usually, I know

the labels I like, and I make a

conscious effort to keep up to

date with the releases. It’s part

of my responsibility as a DJ.

It’s not just about turning up

to a club and playing records,

there’s so much more that goes

into it behind the scenes. A

portion of that is dedicated

to looking for new music. A lot

of my mates are DJs as well,

and we constantly geek out

over stuff and share tunes.

WHEN DID YOU KNOW THAT YOU WANTED TO BE

A DJ?

I was always into music at school.

I played instruments, sang, was

in bands and stuff, but I guess

it wasn’t really till I started

taking music technology lessons,

getting to grips with Ableton

that I got super into the techy

side of music. I was raving from

early as well. One of the first

things I went to was a Shy FX gig

and that kind of just solidified

my obsession with dance music

and club culture. My school had

really wicked resources and I

used to hang out at the music

school all the time, and I think

it just clicked at one point

that I wanted to learn how to

DJ and I just went from there.

WHAT WAS YOUR FIRST PAIR OF DECKS?

My 1210s. I worked three jobs to

get them but I found them on

eBay, bought them and

haven’t looked back.

WHAT IS YOUR FIRST MEMORY OF CARHARTT WIP

AND HOW DO YOU FEEL ABOUT THE BRAND?

Probably Manchester. I never

stepped foot in the store until I

went up North and saw Poppy and

Lei Mai in there and was like,

you alright? I’m a tomboy and I’ve

always liked dressing in men’s

clothes but I find it difficult with

my curves. The stuff in Carhartt

works well with unisex and I’ve

always appreciated them for that.

I don’t even really see Carhartt

as a brand, it’s more like a

lifestyle. All the staff in Manny

are super sound. I can’t tell you

how many times I used to pop over

there after a yoga session in town

for a coffee and a catch up, and

you just feel super comfortable

in there.

139 / MADAM X

YOU’RE FROM MILTON KEYNES AND LIVED IN

MANCHESTER BEFORE MOVING TO LONDON. WHERE

HAS BEEN MOST IMPORTANT TO YOU MUSICALLY?

Manchester. But when I was in Milton Keynes,

I was going to Fabric on the weekend.

Everything counts, really. Everything’s

a learning experience. When I went

to Manchester everything changed. The

amount of talent in that city is insane

and it was a massive inspiration to be

around. I was going to all the local club

nights like Hoya:Hoya, Swing Ting, Hit &

Run etc, and although they were boasting

some of these ridiculously good lineups,

the thing that always stood out was how

great the residents and local MCs were.

It’s partly why those club nights have

such long lifespans. Hit & Run’s home

to people like Chimpo, Chunky, Strategy

etc, Hoya:Hoya’s got Jonny Dub, Jon

K, Illumsphere – the list is endless.

Living in Manchester for so long, you

start to understand how influential and

significant the city’s history has been

on the music scene. With the Factory

Records and Hacienda legacy, there’s

so many different styles and influences

coming from all corners. I used to think

it was all about London but when I went

to Manchester and saw how the locals

perform and how the ravers get down,

it was like this burst of electricity.

No one cares about looking stupid on

the dance floor, it’s not about getting

your phones out and documenting how

great a time you’re having. Raving is

raw, remorseless and unrepentant.

It’s a different ballgame in London. It’s

more of a rat race. People need to make

money fast, rent prices are extortionate

and there’s less freedom to create

because of the constant pressure you

have to pay bills, so the time spent on

nurturing your sound gets cut short. In

places like Bristol or Manchester, where

it’s cheaper to live, the scenes are

smaller and people are more likely to

know each other, they’re freer to create

and you can really tell by the quality

of music that comes out of these cities.

I’m not saying London’s rubbish. I’m

just saying there’s a freer energy

that’s hard to replicate coming out

of Manchester. It belongs to the city

and it’s part of the lifestyle.

DO YOU THINK THAT LONDON HAS A STALE SOUND?

Some of the greatest music has come out

of London. Take dubstep from Croydon

or grime from Bow. London’s an amazing

place, but art usually comes from the

impoverished areas.

With the London thing there’s just so

much on your doorstep. There’s some great

stuff coming out of here but there’s

some really questionable music as well.

We’re in a weird situation at the minute

where I don’t feel like enough people are

really listening to the music. They’re

celebrating really mediocre stuff because

the artists look cool, or they’ve been

co-signed by a big shot American, or

because it’s a parody act. It’s so dead.

It’s like this voyeuristic Instagram

culture is making us all listen with our

eyes instead of our ears.

It’s not even about quality of music

anymore. People just want to go

viral, sacrificing their credibility

in the process.

140 / MADAM X

FOR YOU, IS IT MORE ABOUT THE VENUE THAN

WHAT IS ACTUALLY BEING PLAYED?

Nah, venue has got nothing to do with it.

It’s about making noise. The hype machine

tells people what’s cool. You’ve got

your social media influencers and sparkly

publications telling you what’s what, and

people get sucked in. A co-sign from

Drake, or a viral video off Vice, or your

song’s playing in Kylie Jenner’s snapchat,

it’s all these pretty obvious, standard

steps to success to be honest with you.

Every now and again a true artist will

push through and disturb the formula,

and that’s when you notice the industry

really starts to shit themselves. Look

at IAMDDB, everything about that girl’s

uprise has been organic, genuine and

intimidating. She’s about to usurp a

lot of thrones and people are genuinely

scared. I can see it. It’s like, either

we go head to head and compete with this,

or we try and join forces, but she’s not

going to join forces with anyone because

she’s on her own warpath to greatness.

I just don’t think people think as

independently as they should when it

comes to music. People think, that’s

cool, because someone’s dressed in the

waviest of garms, and they see that this

person’s turned up to this party, which

makes that thing credible. I don’t know,

it’s just really forced and toxic. There’s

a really toxic relationship between

music, fashion and press in London.

You just don’t have that in Manchester,

partly because all the big press

organisations exist in London. If someone

from the press comes up North, all the

artists question their motives before

they get involved. They’re protective

about how their art gets communicated

and portrayed. Always question if

they’ll get more out of it than you will.

Recognise your value. It’s important.

SO IT’S LIKE A GENUINE SUB-CULTURE

THAT TRIES TO PROTECT ITSELF?

Yeah, yeah, but in London it’s different

because you need to make that money.

So if a brand comes up to you and they

want to offer you 50k to be part of

something that doesn’t actually make

sense to your culture and what you stand

for, you might actually do it. But in the

long run, that’s not going to help your

scene or your teammates progress. You’re

miscommunicating and abetting the problem.

With Instagram now there is almost too

much crossover so everyone collaborates

with everyone. Like, ‘we are cool in

our own little niche thing, you are

cool in your niche thing, why don’t we

do something together and it will be

supercool.’

People will nod along even if the track

or project is dog shit. I’ve got high

standards when it comes to music. Strategy,

Skittles, Chunky, DRS etc are of, like, the

highest calibre when it comes to MCing,

rapping, lyricism. So when you hear a

younger coming in and getting gassed by

yes men telling him he’s going to be the

next best thing when all he’s spitting

about is like cars, money, women etc, I

just can’t back it.

A lot of the problem is these yes men,

industry gas merchants who give these

young artists a false sense of security.

They’re inflating their egos, which makes

141 / MADAM X

them think they’ve already made it when

really, what they want to be doing is

going back to the drawing board, writing

more bars, more lyrics, and nurturing

their craft. Figuring out how to better

themselves. A lot of people will probably

disagree with the things I’m saying, but

that’s how I see it.

WHO ARE YOUR BIGGEST INFLUENCES AND INSPIRATIONS,

MUSICALLY AND PERSONALLY?

My mates, family, the company I keep.

Level headed people. People who don’t gas

me up. My mates take the piss out of me

constantly, and I kind of rate it. It’s

so amazing to be doing what I love and

travelling the world with it, but if I

ever came back with an inflated ego my

mates wouldn’t feel any type of way about

sending me right back down to earth.

Musically, the Manchester lot - Chunky,

Johnny Dub, Chimpo, Levelz, the Swing Ting

guys, Biome, Walton etc. All the old school

dubstep pioneers: Mala, Coki, Artwork,

Loefah. Loe’s been one of my biggest

mentors and influences in this, he’s

literally like my older brother. I still

find it surreal that we went to Peru and

did a B2B set for Boiler Room together. If

you went back in time, and told 18-yearold

me that...Can you imagine how mad

that is for someone who’s grown up, like,

addicted to this stuff?

YOUR LABEL KAIZEN HAS HAD FOUR RELEASES, WITH TRACKS

FROM SILAS & SNARE, BIOME AND WALTON. HOW DID THOSE

SIGNINGS HAPPEN?

With the KAIZEN thing it’s a bit different.

I created KAIZEN because I wanted to

release music from those three artists

and that’s how it was born. I knew what

I wanted to release before the first

release, so I basically called all of

those three up on the same day and I was

like, right, I want to release music and

make a label and I want you to be part

of it, and they all said yes and that

was that. I’m focusing on developing the

family dynamic, and those three as artists,

and it is literally just me running

the label so no plans for expansion,

and signing on new artists just isn’t

realistically going to happen yet.

It takes so long to get a vinyl release

out, so I can’t manage any more than

three people. I like our little team at

the minute. I like that we’ve created

something quite special and we’ve got a

really loyal following which is all I set

out to achieve, to be honest with you. The

records sell, the parties are great, and

I want to allow the artists to grow and

establish themselves before I bring on

new projects.

WHAT IS YOUR PLAN FOR THE NEXT YEAR?

Keep the releases coming, keep going

with the club nights. It’s with the club

nights that I get to experiment and put

on artists that are affiliated with the

sound of the label even if they don’t

release on the label. Back in December I

had Paleman and Hodge. Anyone who listens

to the KAIZEN radio shows will know that

their songs are on constant rotation.

It’s not like it’s an exclusive network that

no one is allowed to be part of. We’re just

selective with who we book and collaborate

with. Collaborating with Swamp81 makes

total sense – they’re our extended family

and we have the best times together.

That’s why it’s so important to do vinyl

releases because it means a lot more

to people that follow the label. To buy

something and invest in it for a little bit

more money but having something physical and

having it in your house forever is so much

more precious and valuable. It’s timeless.

It’s more valuable than having a disposable

MP3 copy that you just listen to for a week

on your laptop and then forget about.

142 / MADAM X

144/

162/

BEN BROOME

BEN BROOME, CURATOR AND DIRECTOR

OF DRAWING A BLANK, AN EXHIBITION

SERIES THAT SHOWCASES THE WORK OF

YOUNG ARTISTS, TALKS ABOUT GETTING

STARTED IN THE ART WORLD AND

SUPPORTING UP-AND-COMING CREATIVES.

WHY WERE YOU DRAWN TO CURATING?

I enjoy doing it. I enjoy working

with the artists. I think they

enjoy exhibiting otherwise they

wouldn’t do it. I guess it’s

important in the grand scheme of

things because London continues

to be one of the leading arts

cultures in the world. But,

really, I do it for my friends.

DO YOU HAVE A THEME FOR YOUR SHOWS?

No, not a theme. I like to keep

it open ended. I like an artist

to react to an exhibition space

and the other artists exhibiting,

rather than a very specific brief

which might mean they produce work

they’re not comfortable with. I

much prefer that they do something

they’re happy with, maybe realising

a personal project that has been

on their mind for a little while.

A lot of the artists exhibiting

are fresh out of uni, or have full

time jobs or work commercially

in film or photography. That sort

of thing. They’re all creative

minds, but don’t always have the

opportunities to realise those

personal projects because it’s

difficult to delegate the effort.

So, I like to help provide a

platform for that sort of thing.

WHAT ARE YOUR INFLUENCES?

My friends are my biggest influences.

Being in London you see interesting

things and you want to be part of

that. You want to do something

interesting. We’re all slogging

away trying to get a career for

ourselves and be respected.

WHAT SUGGESTIONS DO YOU HAVE FOR

PEOPLE STARTING TO PUT ON SHOWS?

Find a space. There are lots of

them, you’ve just got to look

hard and ask the right people.

HAVE YOU FOUND IT DIFFICULT?

No, not at all. I find it stressful,

and it is hard work, but everything

is available to achieve these things.

It’s not impossible. I guess the

difficult thing is that they’re not

free, and it’s hard to do anything

for free. The only thing I have

found difficult is the financial

constraint; you don’t want to do

something that will lose money.

HOW DO YOU FEEL ABOUT THE FUTURE OF ART IN

THE UK GIVEN THE CURRENT POLITICAL CLIMATE?

I think art will always prevail.

The best art is made in times

of hardship. The future is

bright whatever happens.

165 / BEN BROOME

HOW DO YOU FEEL ABOUT SOCIAL MEDIA, PERSONALLY

AND IN THE ART WORLD?

I wish I was less addicted to social

media and the internet. It starts

when I find myself scrolling through

Instagram far more than I should.

Instagram is an amazing platform

for someone who is interested

in art because it is a visual

platform and you can keep tabs on

all your favourite artists. It is

actually changing the game. People

are buying art off of Instagram

and using Instagram as a place

to exhibit art which seems a bit

bizarre. But the way social media

paints this picture of everyone’s

lives is really, really damaging.

WHAT WAS YOUR RELATIONSHIP WITH ART AS A

TEENAGER?

I didn’t have a relationship with

art, or fashion. I had the worst

fashion sense out of anyone I knew.

I got into graffiti, and through

that began to expand my horizons

and gain a wider appreciation of

art. I did art GCSE and sucked

at it. I guess my relationship

with art was a bit different.

WHAT BROUGHT YOU TO LONDON?

A job. I worked for a commercial

gallery in central London for

three and a half years. It was a

good platform from which to do

my own thing and it taught me a

lot, but at the same time it was

a little soul destroying. Money

was a big part of it. I became

less and less enthused with the

art and quit to do more of this.

WHAT DO YOU THINK OF WHEN YOU THINK ABOUT

CARHARTT WIP?

Durability. I’ve worn Carhartt for

years. I’m wearing the first bit of

Carhartt I ever owned right now. I

bought it when I was fifteen after

I saw La Haine for the first time.

I tracked it down on eBay and wore

it religiously for years. It still

makes an appearance every winter. It’s

looking good, it’s faded nicely. I

think that what’s interesting about

Carhartt is that it’s workwear but

it’s cool, even though it’s designed

for functionality over aesthetic.

It’s great, it lasts. It looks good

as well.

166 / BEN BROOME

168/

CUT FROM THE SAME CLOTH

CONTRIBUTORS

6 / RUSH HOUR

MO ALI

@MOSIZLAKK258

BENJY NUGENT

@BENJY_NUG

22 / DEEP CUTS

CUTS AND BRUISES

BARBERSHOP

@CUTSANDBRUISESBARBERSHOP

PABLOESCOBARBER

@PABLOESCOBARBER

ONEMAN

@DJONEMAN

46 /

JOHANNA VALLMARK

@JOHANNAHVALLMARK

48 / WHAT A CHORE

AMBA SAYAL-BENNETT

@AMBASAYALBENNETT

ISOBEL MEHTA

@BELMEHTA

HARSH NAMBIAR

@HRNAMBIAR

LANA MCDONAGH

@LANA_MCDONAGH

NIKOLAS JONES

@NIKOLAS_JONES_PAINTING

MINNA WILLIAMS

@MINNAWILLIAMS

KELLY ANNA

@KELLYANNALONDON

JULIA FRAILE

@ROLLVNDO

68 / ELLIE ROUSSEAU

ELLIE ROUSSEAU

@ELLIEROUSSEAU

74 /

MATHEW CONNER

@MATHEWCONNER

68 /DUKES CUPBAORD

DUKES CUPBOARD

@DUKESCUPBOARD

MILO HARLEY

@DUKE_MILO

192 / CONTRIBUTORS

NED MEMBERY

@NED_3000

SANDEEP SAMRA

@DEEPS_2018

82 / THE YOUNG ONES

ANNA MATHILDA WEST

@ANNAMATHILDAWEST

ANTONIE RAPIN

@SEAPUNCH

CHARLOTTE HAUGHIAN

@CHARLOTTE_HAUGHIAN

COOPER SPENCE

@COOPERSPENCE

ERIN ROSAIE THOMAS

@ERINROSAIETHOMAS

FAWAZ OJOBOWALE

@FAWIZUM

JAMIE MILLER

@CAMJAM298

JEFFRY OPOKU

@JEFFREYOPOKU

JOE PACE

@_JOEPACE_

LUCY RANKIN

@YUNG_LUCE

PIERES CLARK

@THEPIERESCLARK

ROBIN KEUR

@R.OBINK

RYAN JONES

@RYAN_JONES17

TIMONE WASILWA

@TWASILWA

TOM AUSTIN

@IHATETOMAUSTIN

WILLIS GUMBRELL

@WILLISXGUMBRELL

116 / TORI WEST

TORI WEST

@TORIWEST

122 / NIGHT TUBE

KIAH BIBBY

@LADYMISSKIAH

INDIA MORGAN

@INDIA_M

JADE MORE

@RIFEANDSTRIDE (STYLING)

SHAYNA LEWIS FENTON

@SHAYNA_LF (MUA)

134 / MADAM X

MADAM X

@DJMADAMX

82 / THE YOUNG ONES

SEB WEAL

@IM5EB

UNCLE SHAUN

162 / BEN BROOME

DRAWING A BLANK

@DRABL

BEN BROOME

@DRAWINGABEN

168 / CUT FROM THE SAME CLOTH

DLYAN LEADLY-WATKINS

@DYLAN_LW

ROSIE LEADLY-WATKINS

@ROUGESPHOTOS

AKUA AFARI

@GRAPHICSANDME

ABENA AFARI

@A_S_AFARI

REBECCA CRAWLEY

@PEBSSS

CAROLINE CRAWLEY

@CAROLINE_CRAWLEY

JOSEPH O’TOOLE

@JOSEPH.OTOOLE

CALUM O’TOOLE

@CALUM.OTOOLE

FLORENCE NICHOLLS

@FLORENCE.NICHOLLS

JESSE NICHOLLS

@JESSEDNICHOLLS

/ IT’S ALWAYS BEEN THERE BY

REUBEN DOUGLAS

@REUBEN_DOUGLAS

RYAN O’TOOLE COLLETT

@RYANOTOOLECOLLETT

WILLIAM SPOONER

@WILL.SPOON

CARHARTT WIP

@CARHARTTWIP

ACKNOWLEDGEMENTS

Thank you to Fabio Arciero,

Marvin Javier and the whole

WIP UK team.

We are grateful to Mike

Collett, to Brian, Cris,

Rabia, Kerfi and Katrina at

Artful Dodgers and the Rose

Bakery at Dover Street Market

London. Thanks to Francesca

Moutafis for the text layout,

to Joe Gardener and Isabella

Davey for help and advice

with the written content, and

to Sonya Carassik Ratty for

text editing.

It’s Always Been There was

conceived, styled, directed,

shot and designed by Ryan

O’Toole Collett, William

Spooner and Reuben Douglas.

194 / ACKNOWLEDGEMENTS

It's Always Been There

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