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Creative DirectorEditor-in-Chief Christopher Georgechris@55factory.netEditorSara Darlingsara@55factory.netContributing EditorsJonathan BrightKarolina Kivimaki

Fashion EditorSara Darling

Contributing Fashion EditorJoseph Toronka

Art Editor Christopher George

Editorial Assistant Roy Hilton

Contributing Beauty EditorPhilipp Ueberfellner

ContributorsMarcin CybulskiMonika SwiatekCarlos Palma

Designer Lyn Devenney

Design AssistantKonstantinos ZoidisTechnical ConsultantDemir SayinerPublishing Director Christopher George

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Editor’s Letter

55pages Issue 10

Cover - Sadie ClaytonPhotography - Christopher Sims

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55pages hit a milestone.

Not setting out to produce a print magazine, it’s a surprise to us that we managed to do one issue, let alone getting to issue 10…

We extend huge thanks to all our collaborators over the past five years; it’s been a journey of discovery. Along the way, we at 55fac-tory have embraced what we believe is important when doing an independent publication. This is, for us, having an honest voice and collaborating with people who produce material that comments on the society we all live in. We hope we have succeeded.

Our cover star for this issue is Sadie Clayton, who is making serious waves in the world of fashion as well as the art scene with her sig-nature copper designs. We touch base with Ben Eine, who recently arrived back to London after three years living in the US. He had some stories to tell us. And we talk to Miles Aldridge, one of fash-ion’s most prolific photographers, whose work constantly asks the question: ‘Are we content with the world we live in?’

55pages is always asking questions or searching for answers. We find the best conversations come from those creatives living life on the peripheral borders of society.

Our main cultural article asks for some rhyme or reason from across the political pond in America, as US politics enters an uncertain time. It’s important to remember that we all inherited this earth. We are in a state of geopolitical confusion right now, but we are still one world and it’s so important to be engaged with political, social and environmental agendas that affect us all. Be interested, talk with people, and get involved.

As if all that wasn’t enough for one tiny magazine. We also have some fantastic fashion to inspire your wardrobe!

And finally, we wish to dedicate this issue of 55pages to the mem-ories of David Bowie and Prince, true artists that will continue to inspire people from every walk of life.

Enjoy the ride!

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Chris:Layout 1 10/05/2016 00:26 Page 1

S GN F THE TIMESArticle - Christopher George

What began with 1,000 people protesting about the corrupt nature of our government, escalated into a much bigger march seven days later, with reports suggesting up to 500,000 people peacefully demonstrating as the People’s Assembly across London.

This has been mirrored across Europe and the United States, to raise awareness of the elitist political and banking system, and what could be considered truly corrupt, corporately controlled societies we are rapidly descending towards.

What started as the march of a handful of impassioned individuals against globalisation turned into the descent of half a mil-lion people, all shouting in one voice. From the NHS to the education system, housing to disability benefits, society has been attacked from every angle. This will affect our civilisation as a whole. No one is safe! Privatisation of the rail network has ensured a costly and ineffective service, which every commuter struggles with on a daily basis. This is just a taster of what is to come under the changes planned by our now fractured, slithering government. Imagine the effects on our health service and education if these were privatised. It’s a pretty terrifying thought, isn’t it?

The People’s Assembly and its mass gathering said something unique. It spoke of what the elite have been dreading for cen-turies with their orchestrated divisions, or as they say ‘divide and conquer.’ For the first time in many years there was solidarity amongst everyone, with no division in age, sex, race or religion. It was everyone together, the People’s Assembly.

While the elite sit in their ivory towers thinking the world is great because it’s serving them, the penny seemed to drop with the masses. The gentry sat smug with their Dom Perignon believing we were just watching Jeremy Kyle, or gathering dust till the next season of X Factor begins and we hit oblivion for a few months, leaving ‘them’ to carry on fleecing us.

If you consider that the taxpayers’ money used to bail out the banks during the crisis could have supported the benefit bill for 150 years, it is a sobering realisation on how we have been disenfranchised and become mere slaves to the rich. At this point in history, it is time to react and unify with compassion.

We all know the system is wrong, but until now we believed it was right in being wrong, or we were just thinking out of turn. Some kind of joke we thought we should laugh at, but didn’t really get. Well, it was a joke on all of us, and we just found it is not funny.

There is now no point in just sitting back and watching it happen. Positive change has always been achieved through the resistance of people. No longer can you simply hide behind social media or online petitions. We have to be out there, visible en masse.

You don’t always do something to win or for status. You do some things because they are the right things to do. You do it because you care for the society and the people that live in it. It’s that simple, and it’s that important.

03www.thepeoplesassembly.org.ukwww.twitter.com/55factory

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Lux Activewear

www.sukishufu.com

MILES ALDRIDGE

Interview - Christopher George

While talking with Miles Aldridge for our interview, I get a strong sense an uneasy narrative could possibly unwrap. A kind of Hitchcock moment while we are sat in his sparse apartment that houses some religious artefacts and a few sinister puppets hanging on a wall. A tiny dog walks around the bare floorboards and a black cat sits – unapproachable – in the middle of the large and fairly empty front room.

I have entered the world of one of fashion most successful photographers.

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Internationally successful, Aldridge has been shooting high fashion and supermodels since the nineties, yet his apartment situated in an old Victorian building is more remnant of a person removed from the ex-travagances of the rich and famous. His abode seems more suitable for a great thinker uninterested in the veneer and falsities of the fashion industry.

With no airs or graces he makes me a cup of tea. We sit amongst his collection of books ranging from Crash by J G Ballard, Picasso’s Picassos, Fellini’s Book of Dreams, Diane Arbus’s biography by Patricia Bosworth, of which he is an avid fan, but I am here to find out more about his new book ‘Please Return Polaroid’ which is a retrospective of his career in polaroids.

With a style emerging from the grunge period back in the early nineties, a time when ideas of ending the aesthetics of glamour in fashion were the fashion. Of course with fashion the way it is, the next season glamour was back in! During this seasonal fashion lap, Aldridge had become a famous photographer with very few skills at the time, but a creative identity. New York loved him. He says: “I came from London and lived in a council flat, this seemed amongst the creative scene to go a long way. It implied I was genuine.” Having manoeuvred through a period of visual wealth and excess of fashion during the nineties, Aldridge has seen huge changes. This period was filled with incredibly talented fashion designers and photogra-phers. These creatives were not illustrating the times, but sending out feelings of them, whether anxious or joyful as social messages representing the times, and not just empty fashion for the commercial masses.

Like all great artists, the photographer is a vessel, one which is incredibly sensitised to their surround-ings, both mentally and culturally. Unfortunately, our times now reflect more of an extreme corporate and consumer landscape; we’ve seen the loss of some great visionaries due to the commercial and corporate landscape, which no longer requires a voice of angry young people reflecting the society we live in.

Pre-internet, the fashion industry had a stronger point of view especially with its editorial stories. Now this material has become so much more accessible to us, the less people crave it. As humans we become bored by easy accessibility.

Displaying an emotional detachment to his models, the characters become autobiographical in the way that they are questioning the world they are in. The women Aldridge creates have everything in their lives, but are desperately wondering what it is all for. This narrative is nothing Aldridge has created, but a sug-gested reality through his fashion work, which is a reflection on everyday society. We are not content with the world we are living in.

Aldridge has an intense interest in the broken character, the unhappiness and the darker destructive forc-es within the human psyche. He does not suffer from a sense of negativity to his career, but he does have a nervousness to life and the issues we all see unfolding in society, claiming “The job of the artist is not to simplify life into the commercial package. The whole idea of buying a handbag and then becoming happy is ridiculous. Clearly that does not work.”

Asked if he is a control freak on shoots, Aldridge comes straight back: “Yes, very much so! Having said that, I do listen to everyone. Early in my career someone said to me, ‘you listen to everyone, then you do exactly what you want.’ I can do that, but I have no ego about where the idea comes from. So if the idea is good I will use it, then take full credit!”

Aldridge’s new book ‘Please Return Polaroid’ is a visual recording of his career. “I feel that these images are almost not mine, yet they are familiar images to me. Along with the deterioration of the Polaroid and disposability of them, there is a different layer of intrigue and an alien nature to them. Rather than the per-fection of my editorial images, these images have a strange dreamscape to them, almost like something from a Lynch or Hitchcock film, where you do not quite recognise the people or the situation. There is a vagueness to them.”

10www.milesaldridge.comwww.instagram.com/55factory

His greatest success is being able to work on his own material, when so many photographers are unable to have this freedom. Working on his own terms is something Aldridge is very aware of. “I am not here to lift people’s spirits, so being truthful in my story is crucial to me. You then can only hope that other people like or relate to it. At least if you fail, you fail on your own terms.”

The role of the artist is not to help human kind, but to remind human kind about how the world is. By put-ting out images that are strange and troubling, he feels he is doing society a service.

“I am in the business of selling people happiness and the dream, yet you read the papers and it’s pretty much all disaster. So I think my messages are through fiction, but they are full of human truths. I personal-ly respond to art that’s reflecting how bleak the world is, not how good it is!”

With 55 always aiming to reflect reality, we are big Aldridge fans. Artists are better telling their own truthful story. Inevitably it becomes a reflection of the times they live in, which is the beauty and importance of art itself.

www.diliborio.it

Via Pietro Maroncelli, 14 - 20154 Milano

www.diliborio.it

Via Pietro Maroncelli, 14 - 20154 Milano

BEN EINE

Interview - Christopher GeorgeAs a 14-year-old TAG-spraying youth, Eine was opposing authori-ty and already had several arrests under his belt. Almost 30 years later and he has worked with the likes of Louis Vuitton, Virgin Atlantic and The Body Shop, as well as recently painting the front of the British Embassy in Abu Dhabi. He is now officially a flag waving representative of our society. Commissioned to advertise Britain’s coolness, Eine has come full circle.

His love of letters is what kick-started his career, widely known for transforming streets and shutters, with huge single letters, you might have heard about “Alphabet Street” aka Middlesex Street in London. However taking over the streets of London was not enough of a challenge for Eine, and he followed his nose to the USA. After falling in love with an American girl, getting married and having a child - he was living the ‘American Dream’. However, three years down the line when he attempted to get his green card, he received a letter from the United States Immigration services, stating his application had been denied and that he would have to leave the country immediately…It seems your misspent youth some times catches up with you. With several American exhibitions planned, as well as his young daughter that he had to leave behind in the ‘United States of I’m being booted out’. Eine hastily packed a suitcase on the Friday and was forcibly removed from the sunny state of California on the Monday. We would at this point like to congratulate Ben on getting the hell out of the States before it all implodes/ex-plodes, or both. However he was dreading his return to England, but as soon as he touched down in London he reminisces, “What the hell was I doing in California? London is so much more exciting and vibrant, and has such unique people”. He is now officially happy to be back here- we are very glad to report. “I lived in San Francisco which has this reputation for being an exciting, liberal and vibrant city, but its not. All the exciting creatives can’t afford to live there, and have had to move to Oakland. So San Francisco is now full of these really boring tech people, with insane amounts of money.” “After three years in San Francisco, I really didn’t make that many friends at all. The last six months I lived in Laguna Beach, which is between LA and San Diego. In those six months I saw one black person. I’m now in Peckham and was at the bank last week, where I was the only white person. I love the diversity of being in London, it truly is a melting pot.” Eine’s recent exhibition ‘RIOT RIOT RIOT’ at the Lights of Soho, hints there may be some political agenda in his new work, where he generally is not politically overt. “I like a good riot! A little uprising…” 55 – Ah, so you are being politically suggestive? BE- Well the kid’s going crazy puts things back into perspective. A little bit of anarchy and fuck the system is totally important. It’s not to say I’m going to go out and set things on fire, or go looting. But every 10 years it’s good to have a riot. 55 - So your top tips for a riot? BE - 1. Summer holidays 2. Really hot week 3. Miscarriage of justice! 55 - Globally we are in very turbulent times. What are your views on the state of America? BE - America does not view itself in the same way the rest of the world views America at all. We look at them and say, are they fucking mad? America doesn’t view its self like that. Americans are so insular; most of them don’t give a fuck what’s going on outside of their block, their city, or their state. Let alone what’s going on out-side their country. Unless you’re wearing a ‘dish dash’ (all in one prison outfit) with suicide bomber sprayed on the front of it, Americans are not interested at all…..The whole world was thinking Bush would never get in for a second time, then he did. They are a pretty crazy, ego-fuelled bunch of people.

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55 - What’s your view on Europe at the moment? BE - Well, there is a lot that needs to be done. The borders need to be opened more for the refugees. London is full of refugees, which is how this city has become so great, and fundamentally these refugees need help. 55 - Is it important for you to be remembered as an artist in 500 years time? BE - I got into graffiti when I was 14 years old, running around like an egomaniac tagging anything and avoiding getting caught. I wanted to see my name everywhere. Yes, it is important for me to be remembered in 500 years time. However, I was talking to some of my street artist friends the other day. We were saying if any of us would be remembered in 500 years time? Ok, there is BANSKY, and maybe JR…Then we were saying name ten pop artists- and this was amongst a table of street artist who have been massively inspired by the pop art movement. Between the six of us, we could not name ten pop artists. In 500 years time its very unlikely many if any of us will be remembered. For an ego maniac that is a pretty depressing thought. 55 - What is success to you, and not just as an artist? BE - Well, living the life I do! Recently I spent ten days in Dubai painting. I will be all over Europe and I am sat here chatting with 55pages. I am constantly painting walls all over the world, this is what I love doing, and by some miracle I make enough money to live. This is my successful. I don’t own a house or a car, but I have some money in the bank. I have no visions of a 6-bedroom house in London Fields for me. What the fuck am I going to do with that. Rent it out on Air B & B and make a stack of money that I don’t know what to do with? And on that note he makes us consider our life’s ambitions too…. Eine’s most recent show at central London gallery, The Lights of Soho, reflects his early use of the neon font, his work with typog-raphy and words that dates back to his graffiti days. However they are all given a 21st makeover, and use neon to create 3D art pieces. Showing in his hometown of London, this exhibition promises to be an electrifying show.

https://www.instagram.com/einesigns/?hl=enwww.twitter.com/55factory

FAITHDARK Photography & Art Direction - Christopher Sims - www.christophersims.comFashion Editor- Joseph Toronka - www.josephtoronka.com

Hair and makeup- Carlos Palma - www.carlospalma.comModel- Fernanda Abbott @ Leni’s Models www.lenismodels.comPhoto Assistant- Roy HiltonPost Production- 55factoryStyling Assistants- Carolina Thelin & Purva Phulphagar

Jacket- Andrew Majtenyi Leg straps- Di LiborioShoes- Shoe Republic La Choker- Vintage Portobello Market

Neckpiece- Jane Bowler

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Jacket- Toga PullaDress- Lisa MareeFishnet body- Anne Summers Necklace- CuliettaBoots- JF London

Leather Cape- WTR Fringed top- Marc CainPalazzo trousers- Georgia HardingeNecklace- Freedom for Topshop

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Latex body- Kim WestSkirt- Apu Jan Shoulder holster- Una Burke Belt- Una Burke Rings- Vintage Portobello MarketShoes- Darmaki

Necklace- Maria PianaDress- Di Liborio

Gloves- Stylist’s own

SADIE CLAYTON

Interview - Sara DarlingPhotography - Christopher Sims

It was great to catch up with 55’s favourite Copper Girl Sadie Clayton, in between her hectic schedule of designing conceptual art, demonstrating her skills in front of an audience at the Alexander McQueen ‘Working Process’ exhibition, showing her collections at global fashion weeks, and popping to 55Factory HQ to have her photo taken as our cover girl.

Having only graduated from Kingston University in 2013, she launched her line in 2014, taking in-spiration from Thierry Mugler, Viktor & Rolf and the “amazing Anish Kapoor”. Her work has always been experimental, structural and a little OTT and it is her love of copper (rather than the overused silver, gold and brass of her contemporaries) that gives her a unique USP. “I started working with copper for my graduate collection, and still to this day I’m in love with copper! It’s one of my trademarks.” Moving swiftly in a direction very different from her class-mates who are designing for high street brands and freelancing, there are only a couple who have set up their own label, which is why Sadie’s rise is me-teoric.

Taking this adventurous outlook, Sadie has set the goalposts of what is high fashion. With gender fluidity and experimentation in fashion design be-coming more widespread, Sadie’s market merges contemporary with futuristic. Gaining momentum from her well-received graduate collection, which had stylists and fashion editors drooling over the armory inspired copper metal structures, she never saw herself as a commercial ready to wear design-er. “My graduate show was mostly different forms of wearable art – the pieces certainly weren’t meant to be worn with embellished jumpers for example! That’s what people loved and I gained press from and I have continued in that vein….”

From then on, Sadie has been the darling of the fashion circuit in a very unassuming way. She has had a presence at LFW, but keeps it aloof by show-ing off-schedule. Last season her presentation was in the stunning surroundings of Hotel Café Royal, and the season before at the Royal Academy of the Arts. She has also exhibited in Berlin, Gibraltar and Rome claiming “it’s amazing doing something out of London, it seems that more and more people are getting my vibe, and understand what I’m trying to do!” Although with names like Ellie Goulding wear-ing her copper bra on stage at Glastonbury, per-haps she is more notorious than she realises!

Coming from a little village in West Yorkshire, might not be the rock n roll background that her collec-tions suggest; But it seems Sadie has always been inventive, erring away from the typical small town, High Street identity norm, she began shopping in charity shops aged fourteen, determined not to look as boring as everyone else. Customising clothes and layering jewellery may not have been a right of passage in Mirfield, but it was enough of a realisa-tion for Sadie to apply to the Batley School of Art (where Christopher Bailey went) to study fashion, and confirm she was on the right life path.

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This led her to make the big move to the capital; she always felt that London would offer opportunities, which she has grabbed by the horns. Inspired by designers such as Gareth Pugh, who she managed to intern with when she first arrived, might seem like a dream come true. But hard work and determina-tion are the key factors. “I wouldn’t have worked with Mark Lebon, Andrew Logan or United Nude to name a few if I hadn’t moved. Although I am beginning to realise my market isn’t London, and more people ‘get me’ outside of London so I guess time will tell where I end up!”Although one corporation that “gets” Sadie is global watch brand Nixon, who asked her to collaborate on a range for SS16. Assuring me it didn’t interfere with her artistic integrity, she lapped up the opportunity, “I customised the watches so of course I had certain limits but I’d love to have free rein on a watch from scratch. The ones I produced with Nixon were still copper and black and beautiful; Of course they’re commercial products but they’re still artistic in a way with the copper oxidised face!”

With her art work complementing her fashion de-signs, it is case of the chicken and the egg, as one is a natural progression of the other, but Sadie is equally passionate about showcasing her art which features the show pieces for the human form. They consist of metal sculptures, 3D vinyl cages, copper metal bodice and bustles. With the most recent, gaining a Swarovski sponsorship “it was a Swarovs-ki 3D two-piece which went down a treat - all 10kgs of it!” This was exhibited in Rome in January at Alta Roma, Artisanal Intelligence ‘Body for the Dress’, which “was the most amazing experience” that she would do again in a heart beat “people understood me and got my vibe there!”

Gaining inspiration from everywhere, Sadie’s enthu-siasm is a breath of fresh air in the sour world of fashion. Maybe it’s her self confessed spiritual jour-ney, taking time out to appreciate her own “head-space and the sense of time.” It’s a pleasure to know someone with such energy. Not taking anything for granted and learning from “society when it all boils down to it- the way people behave and mindfulness” is something we could all learn from.

I can’t wait to see what’s next for Sadie, she was uncharacteristically bashful about her up and com-ing project! But if you are anywhere near Miami in December, I would highly recommend visiting her work at Art Basel.

With sights set on global domination, a collaboration with furniture designer Ron Arad, and the ultimate cherry on the cake “meeting Grace Jones and giv-ing her a little bit of coppery goodness!” I think this “Art Groupie” will be on the scene for a long while yet.

www.sadieclayton.co.ukwww.diaryofafashiondarling.comwww.christophersims.com

Photo - KI Price

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The Meekinherited the earth Mr Trump.

Article - Jonathan BrightIllustration - Marcin Cybulski

We want it back

I’m cautiously hopeful for the US presidential elections. For a while I’ve near feared hell on earth, but the hand of God has turned the tides. Or he’s giving them a good stir, at least.

I’ve boomeranged on this article so many times now. As you might imagine, charting the rise and then the slight fall and then the rise again of one Donald J Trump is somewhat of a rollercoaster.

To paraphrase the kitten-haired clementine, it’s hard to figure out what the hell is going on over there as he flits from inciting one hate-prone section of middle America after another, all the while managing to marginalise everyone from Muslims to Mexicans to women to fellow Republicans to, I don’t know, misshapen fruit. But I think that’s all going to come to a halt now.

As I write Trump has just stormed the New York primary and looks set to take the Republican nomination. I’ll assume he has. Yet recently his true colours are showing. And with the pres-sure off to bully and belittle at the primaries, he’ll now have to get down to brass tacks. I think the inherent good in people will see Trump for who he really is: not presidential.

First, a message to voters

If you’re a Trump supporter reading this pre-election, then for the sake of your soul, please see what’s become of some of you. The way you treat your fellow human beings at his cam-paign rallies – you are the hateful you claim to hate you. Pot and kettle are not getting along.

I hate to point fingers; this is an undeniably fraught time, but Jesus Christ, can’t you play nice? Spitting on a protester who disagrees with your views on immigration isn’t exactly endearing you to the rest of the world. You know that moment of utter trepidation you all get every time Sarah Palin opens her mouth to support you? That couple of seconds where you suddenly think ‘oh shit, this is probably going to do us more damage than good’? Same principle.

What’s amazing is some of you hate almost indiscriminately, which is quite a feat of irony. You hate like no one’s watching. But we can all see you. We’re right here and have eyes. You, on the other hand, have the power not to damn the rest of us to hell.

We all inherited this

I should say here that I do not have a faith, save for an unabating (if sometimes ill-founded) faith in humanity. But there’s a phrase in the Bible that I’ve come to warm to of late: “The meek shall inherit the earth.”

That one and “Love thy neighbour”, but that should just be obvious.

We are in a time of ‘millennial’ values; a time of sharing economies; a time when a day job that offers the chance to make an impact and save the world is more important than its pay packet; we have good-guy-Obama in the hot seat, who started his tenure by changing the world’s relationship with the US and still tries reparations today with Cuba; this is a time when people seek to connect and share creatively; in a time when people can get married whatever their sexuality; when transgender people are celebrated on magazine covers; when people like Sheldon from the Big Bang Theory and Professor Brian Cox represent both career and love goals. The meek inherited the earth.

We’d said goodbye to alpha-males, Watergate, Gordon Gekkos, Cold War posturing and general societal decline towards a Blade Runner-esque dystopia. The meek embraced a new age. Then came Trump to rip the meek a new one and turn our clocks back to a biblical era. To divide is once again to conquer, it seems.

Never the president

Incidentally, Trump’s former top strategist Stephanie Cegielski very recently penned a damn-ing open letter to her ex-boss’s voters, pleading for them to reconsider their position. Know what she said? That Trump was a ‘protest’ candidate. She claimed she was, like other Trump voters, tired of the rhetoric of Washington and liked the idea of a guy who wasn’t in the cor-porations’ pockets. It was supposed to send a message and his whole team never expected him to poll more than 12%. He was meant as a little dig. Little did they know what they’d unearthed.

She writes: “Trump never intended to be the candidate. But his pride is too out of control to stop him now... He doesn’t want the White House. He just wants to be able to say that he could have run the White House... The hard truth is: Trump only cares about Trump.”

Angry men

Trump jumped on easy ways to mobilise an angry white working to middle class, who are mainly men (much like Farage over here in our general election). I mean, he’s clearly not mobilising the youth en masse when his own kids can’t be bothered to register to vote.

Anyway, a November 2015 survey by Esquire and NBC of 3,257 US adults suggested that white American people were most likely to not be happy with their lot and were more likely than black people to feel angry twice a day. Measures for equality for minority groups that are levied across the political system are, it is perceived, having a negative effect on the middle white privilege, and they needed someone to say some-thing for them. Anything.

But they’re missing the point. If they’re not happy with their lot, then they need to be offered opportunity. Opportunity doesn’t happen from closing yourself off from the world. Opportunity has to be something fun-damental; it has to be created.

Take immigration, for example. Open immigration is perceived by some of the angry white class as bringing in an influx of drugs and job-stealers from Mexico. This of course dismisses the point that an open immigra-tion policy – controlled in the proper and decent way – doesn’t just breed happy harmoniousness with your fellow man, it attracts highly intelligent, aspirational workers to your shores. Risk takers. Ground breakers. You know what made America great? Aspiration – the American dream. Building walls and refusing entire cultures from coming in doesn’t just shit on your own doorstep, it goes against deeply held core values.

Where we all would rather sit down together and talk through our issues on the global chaise longue, Trump prefers to shoot the therapist. But all is not lost; the meek with all their neighbour loving prowess do not just persevere, they shoot back.

Turning tides

Things are unravelling, slowly, and I pray it continues as Trump – no longer the bully, now the presidential candidate – faces the challenge of being credible. And, God forbid, meek.

Interestingly even a chunk of the angry middle took a whole lot of issue when The Donald finally over-stepped the mark, crazy as that sounds. His [quickly-retracted] statements that, were abortion to become illegal, women should be punished for having the procedure, it’s thought almost certainly caused him to lose big in the critical Wisconsin primary.

Add to that, Trump’s campaign manager Corey Lewandowski was arrested for assaulting a journalist at a rally. The charges have since been dropped but the media damage was done.

A recent poll by ABC News and the Washington Post suggests Trump is seen unfavourably by a whopping two thirds of Americans. He’s the least popular presidential candidate since KKK leader David Duke in 1992, whose endorsement Trump also inexplicably failed to disavow in February.

And a recent survey of 20,000 adults in the G20 shows that the only country that prefers Trump over Hillary Clinton for the hot seat is Russia. Go figure.

The Chinese finance minister Lou Jiwei has said to the Wall Street Journal that he does not think Trump will be good for China-US trade, despite it being a hallmark of The Donald’s tactics.

Even Twitter, Trump’s long serving if perhaps unwilling ally, deleted some of his tweets. Granted that was on copyright grounds but I’m sure Twitter bosses were champing at the bit to oblige.

That I’ve gone back and forth on this article so many times to me is a stark reflection that he has no policy – no plan – just one headline-grabbing abhorrence after the next. He’s not a president, America, and was never meant to be. He works for himself, not you, and his awful rhetoric already stretches far beyond the perceived anger of middle America. He will not “kick ISIS’s ass” as the ever-eloquent Sarah Palin puts it; he will fuel a hellfire.

www.twitter.com/brightywritingwww.weartstudio.co.uk

I don’t have a say in your future, America, but you have a say in mine. The meek inherited the earth that I love, and while I don’t pretend to know what is ‘right’ here, I know what is wrong. Giving absolute power to someone that seeks to divide, belittle, isolate and deeply offend for his own selfish gains is catastrophic on a biblical scale.

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CASINO LUXEMBOURG

Article - Christopher George

The Casino Luxembourgs 20th anniversary offered a dramatic installation titled GYPSUM. Produced from the materials of its previous existence. This grand opening was always going to leave the public bewildered and asking; is that art?

Spanish artist Lara Almarcegui was commissioned to realize this installation, as her works are site-specific, and fully understand the dynamics of a chosen location. In particular, her projects function as guides to neglected or overlooked sites. Casino Luxembourg with its wealth of history, was originally a grand casino built in the mid 19th century. During the 20th century it became a predominantly neglected building. Then in 1995, due to the lack of exhibition space in Luxembourg for the ‘Cultural Exposition’, the space was transformed for one year into a Centre for Cultural Arts. The most efficient way to provide the much- needed space for the exhibition was to place square boxes within the casino, for use as individual hanging rooms. This system then remained for the next 20 years, allowing the casino to become the Museum of Contemporary Art in Luxembourg. In 2015, the whole building had major re-development under the guidance of Kevin Muhlen, the Casino Luxembourg’s Artistic Director and curator of the opening show. It was Muhlen’s vision to bring structure and the internal proportions back to an original state, yet retaining the history and tradition. The passage of time, features in the gallery as a permanent record of its past. From the paint on the walls dating from the 1930s, to the restaurant and its grand plaster works, uncovered and stripped back to their former glory of the 1850s.

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When walking through the building and up to the main gallery space, you get a strong vibrancy of the mid century’s turmoil during the Second World War. In fact, Hitler during his rampage throughout Europe was in this very building. Now displayed on the first floor of the building, is 20 tons of crushed and powdered plaster from the pre-vious internal structure of the gallery. Although this may not be too challenging or ground breaking for the avid art enthusiast, for the Luxembourg general public it can be quite difficult thinking conceptually about a heap of plaster, what it means and what it represents. Since 2009 the gallery has taken the direction of presenting exhibitions that are more of a challenge for the public- by giving the feeling of emptiness, although emptiness is just a facade.

www.casino-luxembourg.luwww.visitluxembourg.com/enwww.twitter.com/55factory

GYPSUM23-03-2016 - 04-06-2016

Casino Luxembourg 41, rue Notre-Dame, L-2240 Luxembourg

SADInterview - Sara Darling

A self-taught artist, he is the epitome of a 21st century man. Nevermind feminism, Stephen’s work is very much from a modern day, male perspective- saying that it does not exclude women. Like other great-un-trained artists including Rousseau, Van Gough, Turner, Lowry and Frida Kahlo, the art world remains not-en-tirely-comfortable with talented amateurs, but it is these artists who are some of the world’s most memorable.

Masculine with a hint of sensitivity, Stephen’s vast body of work is poignant, with themes addressing issues associated with the angry artist – race, class, violence and disassociated males; Being a six foot four An-glo-Caribbean, might be a minority in the art world, but Stephen embraces his uniqueness and shares his exploration of life’s everyday experiences in an immensely personal way.

Stephen’s art is not a new invention, taking inspiration from abandoned objects, logos, packaging and con-sumerism, have all be done before, But the difference is his unconventional observation of the everyday. Finding a way to make a personal statement, his mostly monochromatic compositions are a documented commentary on what he has seen and heard as a black male in East London. With his father living in Ameri-ca, he visited often, and there is no doubt hanging around Keith Haring’s Pop Shop, was a great insight into Manhattan’s popular culture at the time, and this influenced his own lifestyle store ‘F-ART’ which he founded with Richard Boxall, in London’s Brick Lane during the noughties.

Simply appreciating art, is proof that you don’t need to be classically trained to make a statement; Art his-tory references are abundant throughout all of Stephen’s works. A fan of cubism, collecting antiques, and a knack for caricature, make his work as varied as it is entertaining and educational, “My influences are Bauhaus, graphic design, 1940s illustration for the line work – especially David Lowe as much as Joan Miró. Plus Dubuffet for the texture, and Picasso for the diversity.”

Confessing his work is like a diary of his life, he states “My influences are varied and are found in the aban-doned, the ephemeral, and the strange: objects, toys, packaging design, and black memorabilia I collect.” However he is also keen to state that he possesses the art of “knowing when to stop..”

Stratford based, his studio is a mélange of excesses. Psychologically diverse, there are antique toys rub-bing shoulders with Romanian farm implements. Inspired and inspiring, it is clear to see where the journey begins. Having grown up in the area, as a black kid with piebaldism that gave him blonde hair and freckles, he learned his stripes in surviving on the football terraces, claiming it is the working class ethic which was great for his development, “You boxed, you went to football. There were no cameras… it wasn’t more dan-gerous, but it was raw. The West End was a different place. It was more seedy, more interesting if you were curious. And I was a very curious person.”

Perhaps it was this curiosity and boredom that led him to turn to art. Describing himself as “a frustrated pugilist” you can often find a favourable boxer character, called ‘Gypsy Tom’ featuring in his art. “Tom rep-resents the gypsies, the boys from football, and the Irish travelers I met back in the day..”

Using his art as a political narrative, Stephen has no intention of lying down and playing victim. Talking about the ‘British ethnic minority experience’ he states “There are things that don’t happen because of race, but it’s usually because you’re not articulate, or you haven’t got the person on the right side... It’s a class issue I’m presented with as much as an issue of race.”

“I paint. I draw. I collect things and I work with people. I was born and raised in the Far East of London”, says Stephen Anthony Davids on his Facebook page. So it must be true.

www.stephenanthonydavids.comwww.diaryofafashiondarling.com

Personal, and a commentary on popular culture, you can be guaranteed to take something away from a Stephen Anthony Davids work. Whether it’s knowledge, power, memories or something to dwell on in your own existence, he claims “I want to educate the uneducated… there are elements of anger there....but you know for sure you will be getting a Tyson punch message.” And I can’t help but agree.

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ROTTERDAMA modern utopia

Article - Christopher George

Blurring the lines between art and reality. Rotterdam makes other European cities seem out of synch with modern living.

The idea of a utopian civilisation was idealised during the post war years- designed by young architects and town planners. Yet by the late 70s and 80s, society under this structure was falling apart concrete slab by concrete slab. Rotterdam on the other hand, due to an absolute necessity to plough forward, has invented the most ideal, mod-ern utopian city in Europe, or as damn close to how idealism comes anyhow!

One of the key successes of Rotterdam as a city is how it engages with cultural issues, contemporary arts and its inhabitants. When you travel around the city (which is extremely easy on foot, bicycle or public transport), you are constantly confronted with structural objects of art. It almost seems that Rotterdam is littered with them, so much that the lines between art and reality become obscured.

Much of Rotterdam’s architecture emerging from the schools of Brutalism (that is loved and hated in equal measure elsewhere). The buildings have not been condemned for demolition like many places in the rest of Europe; Rotterdam has embraced this peri-od of architectural design and social progression, by entwining it with the contemporary arts and the new emerging architectural designs as the city grows big-ger, bolder and more confident about its future.

For example, the Luchtsingel in Rotterdam is much more than just a big, yellow, wooden pedestrian bridge: it connects the north of Rotterdam to the city center and brings new life to a forgotten part of the city. Tram wires overhead and the towering buildings are all a canvas. A bench in the shopping centre is a structure of contemporary furniture. Then you walk round a corner to be onfronted by a huge sculpture of a Santa Claus balancing a monstrous butt plug in one hand, as an unaffected mother chats to her children directly below it.

The urban landscape has allowed itself to become a canvas for arts to emerge within it and on it, with a sense of humour! Buildings with empty walls have been endorsed with murals. This is not uncommon in many grey towns, but the relationship with the art and the soul of these other cities often seems at odds with each other, making the art seem uncomfortable. Not in Rotterdam, where you often question if the building was prepared as a canvas for the actual art work, how ever large or small. You begin to walk the city and question every merging line that passes by your eyes and question; is this art or is it a utility? Believe me, It’s pretty exciting to think on these levels!

This may seem insignificant: Does public art really matter in a city? Well as Rotterdam has proved, it matters a huge amount. It has created a diverse city with an open mind. A thriving youth with an intellectual spirit. This is missing in so many of the satellite cities of post-war Europe, or the major new cities that have sprung up over the past 25 years, where much of the community feel has been alienated and physically pushed out.

It is not all about the modernity of glass and steel structures, or the wealth and bravado of a city, which makes it metropolitan. It is much more about the general ability of how a city works. From a travel, public art, entertainment, point of view, and the accessibility to these facilities for the local people to feel part of the environment and culture.

Europe is generally considered a continent of the classics and the ‘typical’ classic city. All this is vital for our growth as humans with a direct link to our history. But many of these cities are museums in their own right, and we are in vital need of modern areas capable of providing housing, good transport, facilities and communities for a modern world. We have an ever-expanding population who are not able to fit into the traditional cities, so new structures and areas need to be formed. These emerging areas should work with our community socially and also creatively to provide space where we can begin, as Rotterdam has proven a modern utopia.

Accommodation check out the Mainport Hotel, fantastic service with great spa and bar!

Entertainment, visit BIRD for great food, bar and music. Lively and popular meeting spot with a dance and music venue attached.

www.mainporthotel.comwww.bird-rotterdam.nlwww.rotterdam.infowww.holland.comwww.twitter.com/55factorywww.instagram.com/55factory

Grooming- Monika Swiatek using Kryolan and Toni & Guy

www.monikaswiatekmakeup.com

Models- Nicholas & Sholto @ NAMED Models

www.namedmodels.com

Photo Assistant- Roy Hilton

Photography - Christopher Sims

www.christophersims.com

Fashion Editor - Sara Darling

www.saradarling.com

CULTURECOUPS D’ÉTAT

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LISBONcity of history quirk AND innovation

The capital of Portugal is full of colours and flavours and guaranteed sunny weather just two and a half hour’s flight from London. This ‘little big city’ feels like an excursion off the beaten track. Bursting at the seams with history and culture, with quirky boutique hotels to stay in and delicious food to feast on - perfect for a city break.

Photo - Heiko Meyer

Article - Karolina Kivimaki

WHAT TO SEE

The great thing about Lisbon is that you can explore by foot; the higher you climb, the better the view. Start from Rio Tejo up through the back alleys of Bairro Alto Miradouro de Santa Catarina, where you’ll have a breath-taking panoramic view of the Ponte 25 de Abril Bridge, Lisbon’s version of San Fran’s Golden Gate Bridge, and Christo Rei statue, a smaller version of the Rio de Janeiro’s Christ statue. Neo-gothic Elevador de Santa Justa is also a must, taking you up to Largo do Carmo square, with stunning views from 45 meters high. You can also jump on the tram to soak up the city. A popular route number 28 passes through the old parts of the city in Bairro Alto.

You can’t escape tiles; they are everywhere in Lisbon - inside restaurants and shops, even whole buildings covered in them. The old town Chiado area has the most beautiful blue geometric tiled buildings. The Tile Museum (Rua Madre de Deus, 4, museudoazulejo.pt) is located in a 16th century convent filled with pretty Moorish geometric tiles and more modern creations. For a bit of design, art and fashion, head to Mude Design and Fashion Museum (Rua Augusta 24, mude.pt) with eight floors of local and international artists and designers including Le Corbusier and Francisco Cape-lo, as well as collections of Pierre Balmain and Vivienne Westwood. Berardo Museum (Praça do Império, museuberardo.com), the Tate Modern of Lisbon, features art by Picasso and Warhol as well as local artists Paula Rego and Vieira da Silva.

WHERE TO SHOP

Fashion stakes are high in Lisbon. ModaLisboa Fashion Week (modalisboa.pt) takes place in March and October. Emerging designers like David Catalan – winner of Fashionclash Award - Carolina Machado, Inês Duvale, Patrick de Pádua and Rúben Damásio showcased impressive AW16 collections as part of ‘Sangue Novo’ platform in March. There were beautiful leather pieces (Portuguese leather is world-famous), tailoring and outerwear.

Lisboan fashion sells for a fraction of the price of other European ready-to-wear designers, so definitely worth a shopping trip. Established ModaLisboa designers Felipe Faisca (Calçada do Combro 99, www.filipefaisca.com), Alexandra Moura (Rua Dom Pedro, 77, www.alexandramoura.com) and Nuno Gama (Rua do Secolo, 171, Principe Real, tel: +315 213 479 068) have their own boutiques on the main shopping streets. And then there are the cool concept stores. Slou (Rua Nova da Trindade 22E, sloulisbon.com) stocks French brands APC and Comme des Garçons and local La Paz brand and menswear store Espaço B (Rua Dom Pedro 120, espaco-b.com) is by local designer José Luis Barbosa. For guys tailoring, check out Ayres Gonçalo (Rua Rodrigues Sampaio 19-4˚B, www.ayresbespoketailor.com), who also has a work-shop on Savile Row.

If you love a rummage, head to Baixa area. A Outra Face da Lua (Rua da Assunao, www.aoutrafacedalua.com) is a real gem for vintage designers as well as vintage wallpaper (they have a massive 2,000 roll se-lection).There are historical shop interiors to admire too. Sapataria do Carmo (Largo do Carmo, 26, www.sapatar-iadocarmo.com) was opened in 1904 and still keeps the shoes in beautiful old boxes stacked on the wall.Ourivesaria Aliança, dating back to 1909, recently re-opened as Tous flagship (Rua Garrett, 50, www.tous.com/pt) with elaborate Louis XV style décor. Conserveira de Lisboa (Rua dos Bacalhoeiros, 34, conservei-radelisboa.pt), in its original 1930s glory, sells tuna and sardines in a cool vintage style packaging.

WHERE TO EAT

Head to Pharmacia (Rua Marechal Saldanha, 1, tel: +351 213 462 146) for lunch or an aperitif on the sunny front yard. Bastardo (tel +351 213 240 993, www.restaurantebastardo.com) in Internacional Design Hotel has artfully disproportionate interior and an innovative menu. Bread comes in multi-coloured Lego box and they serve the yummiest butternut squash risotto with goji berries, truffle oil and Azores cheese. Chef Kiko’s latest Cevicheria (Rua Dom Pedro 129, www.chefkiko.com) is Peruvian cuisine with a Portu-guese twist. Try melt-in-the-mouth Pure Ceviche with white fish and tiger’s milk (doesn’t contain any dairy nor striped animals) and Codfish Causa. Wash it down with excellent local white wine from Douro region, Raul Riba D’Ave Sílica for €15 a bottle.

Belem cake shop

DINO ALVES RICHARDO ANDREZ: LAB SANGUE NOVO

Photos - Maxime Lenik

Caiscais beach

Casa de Pasto (Rua de S. Paulo 20, casadepasto.com), apparently Mick Jagger’s favourite, is a clever mix of tradition and quirky Lisbon innovation. What seems like an entrance to an apartment, leads into a converted dining room. Meat lovers will chef Diogo Noronha’s rustic milk-fed lamb and Maronesa veal rib. Definitely a hidden gem off the beaten track. For a true Lisbon tradition, try out local cuisine with a melancholic Fado music at Sr Fado de Alfama (Rua Dos Remédios 176, sr-fado.com). Do not leave Lisbon without tasting the mouth-watering pasteis da nata, traditional egg tart pastry. Pop in to Pasteis de Belém (Rua de Belém 84-92, pasteisdebelem.pt) for an authentic one, or a few.

WHERE TO STAY

You have a choice of ultra-modern as well as traditional, old-worldly hotels. Next to the Praça do Rossio square, is colourfully decorated Internacional Design hotel (www.idesignhotel.com). If you’re into grand old-world charm, you’ll appreciate Pestana Palace hotel and National Monument (www.pestana.com) set in 19th century palace.

You might want to stay one or two nights in town and then head to Cascais coast for the rest of your stay half an hour drive away. The Oitavos resort (www.theoitavos.com) nestled in the middle of the dunes is a perfect antidote to tourist masses to enjoy the nature and a bit of pampering in their spa. Time stays still while lazing by the seawater infinity pool overlooking the golf course and the sea. Caiscais beach line goes on for kilometres and the waves are famously popular amongst the surfer community.

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Lisbon City Hall

www.karolinakivimaki.comwww.golisbon.com

Blacks Club 67 Dean Street. London. W1D 4QHwww.blacksclub.com

Designer Knitwear

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When you’re in the mood for a cultural city break, Japan might not be on your immediate hot list unless you are a mega Hello Kitty fan. However if you look beyond the pink and fluffy, it is the perfect place for fashion, food, electronics and amazing architecture. It’s also the place to go for a free hug, but more of that later!

For the foodies, you won’t be spoilt for sushi, and the tallest freestanding tower in the world, The Tokyo Sky Tree restaurant is unforgettable. With five star cuisine, you are literally dining in the stars, and will probably rub shoulders with some local celebs too; at 345m high, you have a long way to work up an appetite in the lift, so go hungry! Or you’re not a fan of heights or don’t have a jumbo budget, watching bikini-clad women battle it out with steel clunkers at Robot Restaurant, might be more your bag.For a themed café with the true Japanese insanity, the Kawaii Monster Café, designed by fashion legend Sebastian Masuda really should be on your must do list. Centrally located in the heart of Harajuku, it more about the atmosphere than the food, and the vibe is loud and hectic. The waitresses wear baby, dolly, can-dy, nasty or crazy uniforms- memorably nothing like the Spice Girls! And the menu contains dishes such as colourful ‘poisin parfait’ and ‘rainbow pasta’, so you will definitely have lots to instagram.

Some activities are more “touristy” than others, but you will definitely find some locals at the 8bit Café. Hous-ing original 80s video games, and toys you can get stuck in to Super Nintendo, Pacman or Donkey Kong whilst supping beer or spirits with the locals. Proving to be a playground for grown ups, it’s a late night den so you might be tempted to stay up past your bedtime! .

You can’t even consider going to Japan without hitting the shops. Famed for quirky, unusual and downright outrageous designs, some of the classic and sophisticated brands have stores in the shopping district too. Just follow the waft of lithe cool kids who congregate around Ginza’s Dover Street Market. Like the concept store in London, it is a multi-brand department store teeming with one-off collaboration

After all this excitement, you might have thought you had experienced the real Tokyo. You probably won’t have noticed the lack of human contact, due to the mass of bright lights, traffic jams and neon signs, which make Japan a fast moving. 24-7 business zone.

However, in my humble opinion, I don’t think you can afford to miss something free that costs zero yen in this super pricey city. Head to the central Square near the Harajuka subway station, sidestep the long haired weirdos rebelling against Japanese society to anyone who will listen, but stop to admire the flamboyant candy floss haired Harajuka Girls, then keep going until you find a select few kind folk yielding hand drawn signs offering Free Hugs.

Wanting nothing in return, just to make you feel good, this animated bunch of youngsters flock to Tokyo to share the love in the middle of the madness of this bizarre city. How can you refuse the offer of a harmless Japanese hug? Just remember your camera!

www.restaurant.tokyo-skytree.jp/english/www.kawaiimonster.jpwww.8bitcafe.net

TOKYOArticle - Sara Darling

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