Team Credits:

Photography by Motohiko Hasui
Styling by Yosuke Shoji
Hair and makeup by Misato Awaji
Talent/ model: Ruka Ishikawa

Fashion Credits:

1,3 & 5) Denim Vest by Dior Homme by Hedi Slimane. Skirt by YUEQI QI. Sandals by Purpred.
2 & 8) Dress by PERMINUTE. Shoes by CAMPERLAB.
4 & 9) Dress by YUEQI QI. Spangle Dress by 1017 ALYX 9SM. Shoes by Purpred.
6) Vintage Nylon Jacket by NIKE. Dress, Skirt, and Pants by JICHOI®. Boots by YUEQI QI.
7) Top by NUMBER (N)INE by Takahiro Miyashita. Boots by CAMPER. Bracelet by LIMI Feu. Watch by G-SHOCK.

Team Credits:

Photography by Marie Dalmasso
Styling by Victorie Seveno
Make-up by Hind Sousan
Hair by Raynald Croix Bernard
Models Emeli Cestari, Tessa Dixson & Belle Vanderkley

Fashion Credits:

1) Top and bag by JOHANNA PARV
2) T-shirt by Meiloumi. Jeans by The Frankie Shop. Shoes by Nike. Sunglasses by Oakley
3) Shirt by Dries van Noten. Corset by KRIBA. Skirt vintage. Jeans by The Frankie Shop. Shoes vintage
4) Zip sweater by Sergio Tacchini. Leather corset and pants by Dromz. Shoes by Dries van Noten. Socks by Nike
5) Sweater by Maison J. Simone. Shorts by Transe Paris. Tights by FALKE
6) Dress by Dries van Noten
7) T-Shirt by Dickies. Corset by KRIBA
8) Hat by AXEL ARIGATO. Necklace by Acne Studios
9) Skirt by Maison J. Simone. Mesh Top by KLG. Jacket by Vivienne Westwood
10) Sweater by Maison J. Simone. Jacket by Vivienne Westwood

Team Credit:
Photography by DENNIS MEBROUKI
Styling by MI-RAN SUH
Hair & Makeup JOSEPHIN MARTENS at BIGOUDI
Model: NIKE at MODELWERK

Fashion credit:
1) Top Prada. Necklace Elisabetta Franchi. Earrings by Chloé.
2) Dress white Hervé Léger. Harness Vivienne Westwood. Earrings Isabel Marant.
3) Shirt MM6. Necklace Weekend Max Mara. Earrings Vivienne Westwood.
4) Blazer Zoe Karssen. Earring silver Paco Rabanne. Earcuff Swarovski.
5) Blazer Zoe Karssen. Bomberjacke Alpha Industries. Bra Off-White. Gloves Nike. Rings Versace. Earrings Rejina Pyo.
6) Body Calvin Klein. Jacket Hugo. Gloves Karl Lagerfeld. Earrings Oscar De La Renta. Necklace JW Anderson.

Beauty Credits:
1) Aveda Brilliant Humectant Pomade. Smashbox Pore Minimizing Primer. Armani Crema Nuda Foundation.
2) Armani Fluid Sheer Primer. Chanel Palette Essentielle . Urban Decay Brow Blade.
3) Loreal Tecni.art Wet Domination Shower Shine. Charlotte Tilbury Pretty Youth Glow Filter Seduce Blush. Pat McGrath Labs Skin Fetish Duo Highlighter.
4) Paul Mitchell Curls Twirl Around. Schwarzkopf Silhouette Hairspray. Nars Oural Brow Gel.
5) Loreal Wild Stylers Scruff Me. Osis Dust It Powder. IT Cosmetics Your Skin But Better CC Cream.
6) Redken Styling Volumen Thickening Lotion, Paul Mitchell Daily Boost Root Lift Spray. Embryolisse Lait Creme Concentre.
7) Yves Saint Laurent – Tatouage Couture Velvet Cream.

Realisation literally means the act of becoming fully aware of something as a fact. For Ella Eyre, the 26-year-old British pop sensation with a BRIT Award and a double platinum number-one single under her belt, who earlier this year returned with her new single, New Me, the greatest moments of realisation have always been when she is performing live. “There is nothing like hearing an audience singing your words back to you,” she says. “To witness and know you have inspired any form of emotion in other people with your music is the greatest reward.”

In order to stay creative in her everyday life, five years since the release of her critically acclaimed debut album Feline, which took her around the world on a mission to find herself both as a solo artist and as a person, she has now found a routine: she enjoys waking up early and being physically active in the mornings. “Exercise is a really effective way for me to channel any pressure or frustration and leave with a sense of accomplishment,” she continues. “So I have learnt over the years that the more time I give to myself before anything or anyone else, the more present and engaged I am with what I need to do. If I leave the house in a fluster about something I have not resolved, I will often carry that feeling with me all day.”

In terms of inspiration, she believes that most of her writing deals with significant moments in her life. She points out that she thinks the music tends to have a mood directly linked to what she was feeling at the time. For instance, her first album was written during and after quite a bitter break up. “I think you can tell how much younger and angrier I was back then,” she says. “As a fan and a listener myself, I look for music that comes from a personal place, so it is important for me to do the same as an artist.”

However, as a child she never thought being an artist was possible. She did not know anyone in, or anything about the music industry. It was not until she was 16 and studying musical theatre that she came to the realisation, for the first time, that she did not want to be on stage as a character, performing songs she could not relate to. “I wanted to be myself, write my own stories and perform them in my own style. I think it is normal for anyone to have doubts and insecurities about the longevity of their career but I know I could not or would not do anything else.”

In the wake of her father’s sudden passing in 2017, she experimented with sounds in the US, found healing and limitless inspiration in her father’s homeland, Jamaica, and returned to London full of confidence and a hard drive bursting with hits. “So many!” she bursts out when asked if there have been any specifically memorable moments of realisation in terms of song ideas that she could feel was actually taking shape. “But one of my favourites was a song I wrote in Jamaica, called ‘Rain in Heaven’. I was hosting a writing camp out there and we kept referring to where we were as heaven and on one of the days it rained constantly. I posted a video on my Instagram saying ‘It even rains in heaven’ and from that came the song. It is about thinking you were in the perfect relationship and realising that even something so perfect can go so wrong. It’s not released yet but it’s quite possibly my favourite song I have ever written.”

She elaborates that the specific moments of realisation in terms of her songwriting tend to be different for every song. “Sometimes you have a good feeling from the start, and that level of confidence allows the song to write itself. Or when you are laying down the vocals and you start to hear it coming together properly. Sometimes the moment of realisation is not until weeks later when you listen again with fresh ears. Sometimes I have a tendency to self-sabotage the creative process, so often I have not realised the potential of a song until I have taken myself away from it.”

One of the greatest lessons she has learnt as a songwriter is that her mindset can be the maker or breaker of her own ideas. “Songwriting can be like therapy and I know I use it all the time to release tension,” she reflects. “But sometimes I would put too much pressure on myself to squeeze creativity out of what I was feeling which just encouraged more frustration. So now I just write things down whenever they come to me, with no structure or rhythm and come back to them when I have a clearer, more open mind.”

The only thing that has occupied Ella’s mind recently is the coronavirus. “Social media in isolation is a whole new level of intense and with Covid-19 globally confining us within the walls of our own homes, it is so hard to think of anything else when there is very little to distract us from it,” she says. “I have very quickly learnt to avoid it for most of the day because I want to be productive, but it is extremely hard to enforce that, being locked away in the most comfortable space I know.”

As Ella has grown and matured as an artist, so too have her ambitions. Hits are great but she is now more interested in a long, stable career than she is about hitting the number one spot. Already an industry veteran and a much-loved star, her future in the pop pantheon seems secure. So is there finally anything creative left that she still wants to realise? The answer is yes. She says there will always be more to creatively realise and she thinks that is a good thing. Otherwise she would have no idea what her next album will be about!

Team Credits:
Words by Jonatan Södergren
Photography by Nick Thompson
Styling by Fernando Torres
Production by Alexandra Georgette Oley
Makeup by Kristina Theodoris using Trish McEvoy
Hair by Alisha Dobson
Talent: Ella Eyre
Hair Assistant: Poppy Hughes
Stylist Assistants: Lena Mistry & Ondrea Walker

Fashion Credits:
1# Earrings Stylist’s own, Blazer and Shirt by Acne Studios
2# Dress by Edit, Sunglasses by J.Lindeberg, Earrings and Necklace by Rouleau London
3# Top by Ida Klamborn, Suit and Gloves by Mulberry, Shoes by Nike and Earrings by Topshop
4# Set by Rouleau London, Gloves by Humana Sweden and Earrings Stylist’s own
5# Top and Trousers by Stine Goya, Denim Bra and Waist Belt by Weekday, Sneakers by Nike and Earrings Stylist’s Own
6# Dress by Acne Studios, Maxi Dress and Boots by I Love Seasons and Earrings Stylist’s Own

Ella Eyre: @ellaeyre, ellaeyre.com, Spotify

Team Credits:
Photography by Helen Eriksson
Styling by Jermaine Deley
Make Up by Misuzu Miyake using M.A.C cosmetics @ Art Department
Hair by Yasu Nakamura
Model: Vaughan Ollier @ APM models

Fashion Credits:
#1&9 Dress by Nanushka
#2 Sweater by Sandro, Earring model’s own
#3&8 Jacket by Theory, Skirt by Dsquared2
#4,5&7 Dress by Dsquared2, Shoes by Nike
#6&10 Tank by Zimmerli, Denim by Alexander Wang

Fashion is in a state of flux. It is experiencing change, or initializing, in a way that is both exciting and innovative, thanks to creatives and artists who are re-interpreting the meaning of fashion with new and modern technology. One of those artists is image and filmmaker Jon Emmony, who approaches his work through a contemporary lens and as a result is moving away from the more traditional approach of representing fashion and clothing.
Emmony is a digital artist and art director who is known for his impressive, some say mind- blowing, surrealist, 3D-scanned compositions. Based in London, he creates installations, fashion films, editorials, music videos and graphics. He has worked with The 1975, Nike, Dazed and, most recently, Selfridges on the store’s swimwear campaign for summer 2019 entitled The New Order. The campaign was a collaboration with photographer Chris Sutton, and consists of a completely digital approach in which each image is reimagined. Emmony designed a colourful animated Greek swimming pool, where the models exist in a beautiful physical space, inviting the viewer to swim in an ocean of data.

“The New Order campaign saw various digital artists reimagine what fashion communication and campaign imagery can be, and I was lucky enough to be approached by [Selfridges],” he tells me as he describes his experience working with one of the leading department stores in the UK. “Fashion is a fascinating field to work in, not only because of the fast pace and constant change that drives it, but because there are infinite references, ideas and viewpoints embedded within each piece of clothing. It is liberating for me to work with fashion as there are already ideas linked to the garments that can be extended into imagery. And there are no physical constraints; surfaces can be made from any material and can be lit in any way. There is no such thing as gravity and I can create imagery with a virtual camera… It’s a framework that allows infinite exploration and development, much like fashion itself.”

Emmony graduated with a degree in photography and went on to intern at SHOWstudio, the award-winning fashion website, before joining the team in 2011 as digital art director, a post he held until 2016. In recent years he has worked on a range of projects with various brands and artists, experimenting with different technological methods and image-making. “It pushes me to new places that I could never anticipate,” he says. “The way that technology sees the world fascinates me; sometimes it’s funny and outrageous, but it’s always inspiring. I taught myself how to create 3D imagery from watching YouTube videos and reading forums so I appreciate the DIY attitude that surrounds this kind of new image-making. I am also currently experimenting with artificial intelligence, which pushes things even further, opening up a real dialogue with the machine that interprets imagery and presents new visions back to you. I embrace mistakes and the unknown.”

But he insists that although he is working with new innovative technology, he wants to make sure that the work has “soul or thought behind it,” as he puts it. “It’s a fine line you need to be aware of, and so removing myself from my work to some degree allows a dialogue to be opened in terms of software algorithms that have no premeditated intention regarding the outcome. Otherwise things can quickly feel like a trick or a glitch. It’s an exciting collaboration.” The digitalisation of various fields such as fashion is becoming more and more apparent and celebrated. I ask him if, at this rate, will the digital take over the physical in art and fashion. “I would hope not… there is definitely space for both,” he says. “I feel that in a time where so much of our lives are experienced digitally, physical objects and experiences are becoming more valued and embraced. For example, I recently worked with [jewellery designer] Silvia Weidenbach, who fuses centuries-old jewellery-making techniques with 3D-printed elements. It’s an interesting hybrid approach, and craftsmanship, both in the real and digital world, will always be celebrated. One can complement the other.”

This crossover between the conceptual and real world is precisely the kind of thing that Emmony explores. He explains that, “although I work with modern technology, many of my references come from art and fashion history. I think it is important to balance the new with a respect for the past. In a way, anything digital is part of our real world as we spend so much time consumed by different devices that act as portals to this ‘new world’. For me, there isn’t much of difference anymore [between the real and conceptual world]. The line is blurred.”
As well as being visually stimulating, Emmony’s work also tackles pressing issues, such as climate change. His work with The 1975 on their single ‘People’ is a perfect example. He collaborated with the band to create a music video that aims to investigate surveillance culture, environmental collapse and contemporary nihilism present on social media. Designed across several digital platforms, the video features glitchy graphics and neural networks based on algorithms modelled on the structure of the part of the human brain designed to recognise patterns. Disturbing images of destroyed landscapes, deforestation and garbage heaps intertwine with serene stock footage, highlighting the negative impact of the human impact upon the environment.

“Everything I work on has a function,” he explains. “Whether it’s to show a garment so it can be sold, or helping musicians to visualise the messages they are trying to communicate. As a visual communicator, it is important that people feel something from my work and leave with a clear concept of the message that is being delivered. I think now more than ever it is important to be active and engaged in important issues, whoever you are and whatever you do.” One cannot help but think of sixteen-year-old activist Greta Thunberg, who also happens to feature on one of The 1975’s tracks, for which she recites a letter about climate change over a background of ambient music. Emmony created live visuals for this track, with art director and creative consultant Ben Ditto.

It seems like a digital new wave is well under way, with artists, designers and musicians using modern technology as a way to experiment, explore and modernise different artistic industries, such as the fashion industry. Emmony has managed to do exactly that, by working on projects for which he experiments with different technological methods of image-making. He has helped define a new era in art and fashion that is well underway and cannot be ignored.

Credits:
Words by Roxanne Nielsen
Jon Emmony

Art Credits:
Jon emmony’s projects include working with iris van herpen, dazed and kate moss, selfridges and the victoria and albert museum with Sylvia Weidenbach.
Images courtesy jon emmony

The world is shrinking as digitalisation spreads. This is having an impact on all aspects of of life and work. This includes fashion, in which focus is partly being moved from the traditional fashion capitals, such as Paris, Milan, London and New York, to where the talent is, both in terms of design and street style. The Forumist went to Mexico to explore the local fashion scene, and met with two young, up-and-coming designers who tell us more about fashion and digitalisation in their home country.
The Mexican fashion scene of today is growing, and in general there is support and creative openings available for emerging talents. This is according to
Liz Campos, a sustainability-focussed designer who graduated from Centro in Mexico City in 2018, and was selected as a finalist for the International Fashion Award during Graduate Fashion Week in London last June.
In fact, Mexico today is full of innovative and experimental new designers just like Liz who want to share their interpretation of Mexican fashion with the world, and who are now increasingly recognised by international players such as magazines and the global fashion weeks. The garments are often colourful and joyful, with a lot of expression.

A new aspect of culture
“I think that we have talent in Mexico, but we still need to keep working and also trust in the talent we have”, says Gabriela González. She also recently graduated from Centro and describes herself as a person who loves to create and to share her vision of life and love – the latter, which she claims to be the most important ingredient of her work – with the world.
While fashion may not yet have the same importance as other, more traditional aspects of Mexican culture, such as music, film or fine arts, it is developing step by step, in a society where people love to express themselves through their own individual look. Even though fast fashion is still present, during the weekends you can also visit regional markets and bazaars, and those are often crowded with fashionistas, looking for unique items.

Getting closer to sustainability
Sustainability is high on the global fashion agenda, and Mexico is no exception. “Fashion has a long way to becoming sustainable,” Liz, “but we are getting closer every day, with new biodegradable fabrics, recycled threads and new solutions to countering climate change. In the future, sustainable design will be the only option.” Gabriela shares her view: “I love to think that the fashion industry will become more ecological and respectful of the planet. We are all aware of climate change and overpopulation. Therefore, in a future not too far from here, we have to be more conscious of the things we make and how we make them”. Besides sustainability, digitalisation is another main aspect of fashion today and in the future. Social networks like YouTube, Instagram and Pinterest give access to live catwalks, behind-the-scenes features and styling tips, but also enable us to browse and buy garments from around the world.
“To me, digitalisation and the internet are the most wonderful things that could happen to the fashion industry,” Gabriela continues. “With the right approach, anyone can position their brand and be known to the world, which I find amazing. It leads to new opportunities for growth and recognition. As for me, I love to share the things I love, and the internet is a great tool for doing so. Mexican society is already extensively digitalised and is still developing. It helps Mexican fashion to become more interesting to other countries.”

Opportunities and risks of digitalisation
On the flip side of the coin though, digitalisation also comes with a new kind of isolation, where we risk spending more time in the digital landscape than with our loved ones. “We have to be careful,” says Liz. “If we let social media control us, the content that we ingest on a daily basis could get to form our decisions eventually, which is not a good idea. We have to be present in the now and discover this beautiful planet that we call home.”
But she has also seen proof of the positive powers of digitalisation. “My beloved aunt has made arts and crafts all her life. We got her into uploading tutorials on YouTube and boom, now she has over 6,000 views. Digitalisation has indeed changed the way we are living, and it is a good thing for Mexico”.

Gabriela Gonzáles
Tell me about yourself and your work as a designer.
I could describe myself as a person who loves to create, to find beauty in the ordinary and who is always looking for a way to share my vision of life and love with the world. Love is the most important ingredient I have in my work as a designer and as a person. Everything I do, I always do with heart and soul, and I am always looking for ways to make my highest passions in life materialise through my design.
What is your inspiration when you design, and why?
My primary inspiration is the cosmos. I love the stars and I am always looking for a way to make my pieces to show the inspiration I get from something as big and beautiful as the universe. The second thing is textile exploration. I love manipulating fabrics and making new textures out of them, which I then find a way to combine.
What are your dreams and plans for the future?
Right now, I would like to explore costume design for film and TV, which is something I’d like to do, as well as having my own fashion brand.
@gabriela.gonmx

Liz Campos
Tell me about yourself and your work as a designer.
I was born in Coatzacoalcos, Veracruz 25 years ago. From a young age, I knew I would be a fashion designer and eventually I enrolled for a BFA in Fashion and Textile Design at Centro in Mexico City. I graduated with honours as an outstanding student in December 2018. My thesis collection is titled Eudaimonia, which means health, prosperity and happiness. It was shown during Graduate Fashion Week in London last June, where I was selected as a finalist for the International Fashion Award. Through sustainable design, my brand reacts to existing social and ecological issues. The textile industry is the second most polluting in the world. I believe that through more sustainable fashion, we can create a healthier and happier planet.
What is your inspiration when you design, and why?
The Eudaimonia collection is inspired by biomimicry to create interesting silhouettes and innovative textiles. Inspiration in nature results in a collection that includes recycled fashion, eco textiles and modular design. It all starts with me being captivated by a species of plant or animal, because of its texture, colours, silhouette or structure. The official term is called biomimetics and literally means the imitation of elements of nature to solve human problems.
What are your dreams and plans for the future?
I am blessed to say that the brand has been very well received by the fashion industry, both nationally and internationally. We are currently working on several projects, all around the world. For instance, the Eudaimonia collection was shown during Doncaster Fashion Week in the UK and we also have plans for returning to London Fashion Week next February, to join a pop-up store. On top of that, I was recently invited to Design Week Mexico with Centro, where my garments that feature innovative eco-textiles will be exhibited at the Tamayo Museum in Mexico City.
@lizcamposmx

Team Credits:
Words by Johanna Bergström
Photography by Alexander Nuemann
Styling by Ricardo Arenas
Model: Akon Changkou at NEW ICON

Fashion Credits:
#1&7 DRESS by GABRIELA GONZALEZ X CENTRO, BOOTS by Ant
#2 Top NIKE, EARRINGS GUSTAVO HELGUERA
#3 TOP by EL BORDE, PANTS by MARIA PONCE
#4TOP by Scent, SHIRT by GABRIELA GONZALEZ X CENTRO, PANTS by LIZ CAMPOS x CENTRO
#5 DRESS by MARIA PONCE
#6 TOP by GABRIELA GONZALEZ X CENTRO

Team credits:

Photography by Melanie Elbaz
Styling by Elise Accart
Hair & Make up by Delphine Goichon (Backstage Entry)
Model: Angela Radovanovic (Silent Paris)

Fashion credits: 

#1 Tee by Acne, Necklace and rings by Aymer Amale, Necklace with razorblade: Stylist’s own 
#2 Raincoat by The North Face, Sport bra by Levi’s, Shorts by Jour/né, Sunglasses by Asos, Necklace and rings by Aymer Amale, Socks by Exposed Paris, Shoes by Nike 
#3 Raincoat by Boohoo, Dress by Stand, Knapsack by Adidas, Cuff by Marc Deloche, Shoes by Uggs 
#4 Raincoat by The North Face, Sport bra by Levi’s, Shorts by Journ/né, Sunglasses by Asos, Necklace and rings by Aymer Amale, Socks by Exposed Paris, Shoes by Nike 
#5 Raincoat by Primark, Overall by Repetto, Bum bag by Toasties, Earring and rings by Marc Deloche, Shoes by Ash
#6 Visor by Helly Hansen, Raincoat by Sinéquanone, Earrings by Balaboosté, Cuff by Marc Deloche, Shoes by Uggs   
#7 Raincoat by Napapijri, Pants by Journ/né, Rings by Aymer Amale, Socks by Soeur, Shoes by Nike 
#8 Raincoat by The North Face, Sport bra by Levi’s, Shorts by Journ/né, Sunglasses by Asos, Necklace and rings by Aymer Amale, Socks by Exposed Paris, Shoes by Nike 
#9 Tee by Acne, Necklace and rings by Aymer Amale, Necklace with razorblade: Stylist’s own 

Credits

Photography by Alex Huanfa Cheng
Styling by Yaya Moo
Make up by Yoyo
Hair by Yui Hirohata
Photographer assistant: Zhang Bei
Model: Angela @Silent Paris

Fashion credits
#1/4/7 White top by Nike, Cut out shirt by Peien,  Leggings by Y-3, shoes by Nike
#2/12 Coat by Peien, boots by Pierre Hardy
#3/10 Sweater by Ivy Park, coat and skirt by Peien, leggings by Domyos Decathlon
#5 Shirt by Veronique Leroy, gilet by Peien, trousers by BACK, boots by Pierre Hardy
#6/8/9 Bomber jacket by Lutz Huelle, skirt by Peien, shoes by Nike
#11 Top by Christian Wijnants, jacket by Peien

Credits:

Photography by Estelle Rancurel

Styling by Delphine Brossard

Make-Up: Celine Exbrayat at Call My Agent

Models: Kiki and Mila at Supreme, Ollie at Metropolitan and Winslow at 16Men

Stylist´s assistant: Elise Accart

Make-Up Assistant: Florence Benaddi

Retouching: Sophiek

Fashion credits:

1: Top by Maison Standards. Coat (round waist) by Julien David. Shorts by Sacai. Trousers by Wat Pants. Trainers by Vans

2: Ollie wears Coat by Le Mont ST Michel. Coat by Julien David. Top by Wait. Necklace by Regina Dabdab; Kiki wears Kimono by Dunasteia. Dress by Kenta Matsushige

3: Coat, Jacket and Trousers by Lacoste. Necklace by Regina Dabdab

4: Mila wears jumper by Moomin. Poloneck by Tsumori Chisato.

5: Ollie wears jacket by Hed Mayner. Top and Shorts by Bernhard Willhelm. Trainers by Nike; Mila wears Dress by 69. Jumper by Féte Impériale. Trousers by Tsumori Chisato. Boots by Guibert Paris

6: Dress by Kenta Matsushige. Kimono by Christian Wijnants. Dress by Victoria/Tomas

7: Jacket by Andrea Crews. Jumper by Golden Goose Deluxe Brand

8: Ollie wears jacket by Hed Mayner. Top and Shorts by Bernhard Willhelm. Trainers by Nike; Mila wears Dress by 69. Jumper by Féte Impériale. Trousers by Tsumori Chisato. Boots by Guibert Paris