Poet, co-founder of poetry night BoxedIn and host of Jawdance, Yomi Sode

Eclectic, competitive and radical, Slam Poetry is a fringe form of spoken word poetry and protest, blurring the lines between hip hop and the performance arts. It is an increasingly popular art form for those wishing to express political protest and radical emotion, due to its dramatic intensity in action as well as in language. It is also unique for its organic propensity to resist commercialisation and remain authentic on stage.

Poetry slams provide a platform for every kind of person to express their feelings on issues as far-reaching and globally significant as the refugee crisis, Black Lives Matter, identity politics and oppression of sexuality. As the world moves towards ever-increasing commerciality of art and self-expression – an example being the twisted use of feminism as a fashion statement – it seems that Slam Poets may be the only people with the ability to resist these falsehoods and cut straight through to the truth of our times.

Rhiannon Williams speaks to Yomi Sode, the talented Nigerian-born London-based poet, co-founder of landmark poetry night BoxedIn and host of Jawdance, on what makes Slam Poetry special.

LUX: Did you always want to be a poet?
Yomi Sode: No, poetry kind of crept in. I used to MC before, I used to DJ, I still have my vinyls – I am a proud collector of what I could class as ‘vintage grime’. I kind of ventured in all aspects and areas of music first.

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LUX: How did you discover Slam Poetry?
Yomi Sode: I first discovered Slam Poetry through a legend of a poet called Joelle Taylor. I saw this event that was happening, I think it was a SLAMbassadors event, and I thought this was cool to get involved in, and that’s how I met Joelle. I’m now faced with what is Slam poetry and I saw how these groups came up, how these individuals came up to do solos and it just blew my mind. But even after the event it wasn’t enough to pull me in to be interested in spoken word poetry. I loved it, but it wasn’t what I was used to with MC-ing, it was a very different form of expression.

But then I was in New York and I wanted to share some poems. The Nuyo [Nuyorican Poets’ Café] is a staple spot in terms of spoken word and the evening I got there I signed up but I didn’t realise it was a Slam – I accidentally signed up for my first Slam. Not only a Slam, but a Slam in America. And I actually got through to the final but the next stage of it was on the Friday and I wasn’t in New York for it!

LUX: How would you describe Slam Poetry to someone who hasn’t encountered it before?
Yomi Sode: It’s so difficult because Slam Poetry in different parts of the world is expressed in many different forms. So, should you look at the way the States take it on it has a very intense feeling to it; it’s very passionate, it’s driven with purpose. Folks don’t just go onto that stage and read a poem, they bare absolutely everything. It’s very personal, it can get very political, they take it very seriously there. In England what I’ve noticed is that it can be lighter, it can be a bit comedic, and of course there are many elements of seriousness, but the core of how it is in the states is very different.

You can make something very special out of 3 minutes’ worth of work and that’s an experience – as a a poet and an audience member – that you remember for a very long time.

Yomi Sode in performance

LUX: What’s the difference between a poetry Slam and a spoken word night?
Yomi Sode: I just came off the back of judging UniSlam in Leicester and there was this one piece that actually made me uncomfortable. And that’s what the power is of a Slam compared to your typical poetry night. At Jawdance for example, each person comes up to an open mic and you’ll see them again next month probably. With a poetry slam, even though the ethos isn’t about the winning and more about the experience, the process, you are still there to win and through that drive comes this energy. You get triple the amount of passion for the message coming through.

Read more Poetry Muse: The augmented poetry of Eran Hadas

LUX: You said you were judging UniSlam. What kinds of things are you looking for in these Slam poets’ performances?
Yomi Sode: It was very hard when I was judging. I was looking for any quirky lines, I was also marking up anything that sounded a bit cliché. One poet I remember went on there and he started with ‘my love’ and I was like oh god, because straightaway when you start with a line like that, I already know where you’re going.

LUX: What do you think is the unique appeal of a poetry that is performed and not just read? How does it feel to stand up on stage, vulnerable and utterly visible, sharing your art with an audience?
Yomi Sode: Performance is very important. To stand on stage and just read a poem and trust that you will feel what I’m feeling. I could have the most powerful poem on stage but if I read it in a monotone voice, it won’t sink into you as much as I want. Or I could absolutely read it in that monotone voice because that’s the kind of energy I want to give. You just need to know how your poem will present on stage.

LUX: Slam poetry is often both political and personal. What are some of the common themes that recur in the Slam Poetry scene?
Yomi Sode: What I find often in Poetry Slam is that the same themes will crop up along the lines of heartbreak, sexuality, rape, racial injustices, all those things there, are all packaged into a similar poem – but the way the poem approaches it is what is interesting to me. You have to believe in what you’re saying.

LUX: You’re involved in lots of poetry events going on in London – what do you think is the significance of nights like these for poets and poetry-lovers, as well as the community as a whole?
Yomi Sode: BoxedIn and Jawdance are not the only poetry nights that happen in London; there are a lot of mini poetry nights across London that people are not necessarily aware of. Those nights happen either weekly, monthly or bi-monthly or whatever it is, and they’re not in the limelight. I guess one of my aims with BoxedIn is that I’m going to encourage poets from these nights – other poets on the poetry scene – because my concern is that we’re always dipping in the same pool, picking out the same poets. And there are poets in and out of London doing some amazing things.

LUX: How would you describe the poetry circuits in large multicultural cities such as London? What needs changing, in your opinion?
Yomi Sode: It’s saturated in London. I feel like I’ve exhausted in London. And even then, there are still so many poets in London that we don’t know about. UniSlam is the national poetry event: there were folks from Glasgow, folks from Manchester, Leeds, Bristol, and I’m like this is what I’m talking about. It was just amazing to break out of London and find out what else is going on.

Read next: Geoffrey Kent on the rise of luxury adventure travel

LUX: How do you avoid creative burnout?
Yomi Sode: I allocate my time well. I say no to things often. I spend less time on social media now and I’m so used to coming off social media so regularly that I honestly have no reason to be on there anymore. I wanted to tackle the need to be on there every day – it was a pleasure to go offline for a while, then come back on to announce a new project. All that learning has been interesting for me – making space and time for my work.

LUX: These days there is a certain commercialism to creativity. In what ways would you say Slam poetry is able to resist commercialism, giving people who may not otherwise have a ‘true’ creative space a voice for self-empowerment?
Yomi Sode: Poets maintain a bridge between commerciality and their own individuality – whether we’re talking about Kate Tempest or Inua Ellams and his Barber Shop Chronicles which, last I checked was in Australia. It’s amazing stuff. A lot of my peers and the folks that I’ve grown up with on the scene are being used in adverts, and the purists, the poetry purists, see these adverts and go: that’s not poetry. And while it’s a massive clash of ideals, I can’t speak for another person’s choice. I can’t tell someone that they should be a purist when they might have a family to feed. People make their decisions for what they want to do. Poetry going commercial? It will happen. It’s up to the writer as to how they want to balance that. It’s their own journey going forwards.

Poet, musician and playwright Kate Tempest

LUX: Is there a poem that you feel you need to write, but have yet to?
Yomi Sode: There are poems that I’m waiting to write. I’m trying to eradicate the thoughts of writers’ block. I’m working towards a collection of poems.

LUX: What does poetry mean to you?
Yomi Sode: It’s an experience that’s life changing. Because you could be in the position where your life is in a certain way and that one person comes on stage and does something that speaks to how you’re feeling. That’s what poetry does, it gives that kind of permission to almost speak someone’s thoughts, and I think that that’s a beautiful thing.

William Eggleston, Memphis, 1965–68. The Metropolitan Museum of Art, New York. Promised Gift of Jade Lau. Courtesy David Zwirner, New York/London/Hong Kong

American photographer William Eggleston‘s work was originally met with disdain by some critics for its ordinariness, the mundane subject matter, the absence of conventional beauty, but what they failed to recognise – ironically, since recognition is arguably the driving force behind the artist’s work – is Eggleston’s sensitivity and skill at revealing the untold, the passed-by.

William Eggleston, En route to New Orleans, ca. 1971–74. The Metropolitan Museum of Art, New York. Promised Gift of Jade Lau. Courtesy David Zwirner, New York/London/Hong Kong.

A guy sitting on a bench eating a burger, a hand dipping a straw into a glass, the eerie glow of a strip light over a bed; his photographs are stories – caught right in the middle, like an overhead fragment of a sentence – they’re full of curiosity and emotion, vibrancy and light. These are images that belong to a particular moment and texture – and their beauty (because they really are beautiful) comes from their appreciation of the everyday.

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Most of the time, too much of the time, we walk, heads down, hands in our pockets not noticing the world that surrounds us, the fascinating peculiarities of the most commonplace objects, gestures, expressions. Eggleston magnifies the unnoticed and to look at his photographs is a reminder to appreciate the richness and diversity of our existence.

William Eggleston, Memphis, 1965. The Metropolitan Museum of Art, New York. Promised Gift of Jade Lau. Courtesy David Zwirner, New York/London/Hong Kong

The exhibition at The Met is comprised of the artist’s most notable portfolio, Los Alamos featuring photographs taken between 1965 and 1974, including Eggleston’s very first colour photograph of a young clerk pushing a train of shopping carts at a supermarket in Memphis, Tennessee (see above). It’s rare for every image at an exhibition to hold you, but these almost certainly will.

Millie Walton

‘William Eggleston: Los Alamos’, runs until 28 May 2018 at The Met, Fifth Avenue, New York

The captivating expanse of the Moroccan desert

In his latest column for LUX, Geoffrey Kent, founder of leading luxury travel company Abercrombie & Kent, discusses the growing interest in luxury adventure travel, recalling his own thirst for exploration and the importance of a personalised experience.

Geoffrey Kent on his motorcycle adventures

A rise in luxury adventure travel can be explained in many different ways – whether it be a desire to escape the norm, a wish to discover uncharted territories or a need to rediscover a sense of self. Whatever the reason, adventure means something different to everyone and there are some amazing opportunities out there to be experienced.

My early years in Kenya were spent exploring the Aberdares barefoot, much to my mother’s chagrin. When I was 16, I rode a Daimler Puch 250cc motorcycle from Nairobi to Cape Town and I joined the British Army in 1959 (only after I’d climbed Kilimanjaro, of course). My desire for adventure has always been the driving force in my life.

During my solo bike ride from Nairobi to Cape Town, I stayed in a five-star hotel for the first time. I then realised that any adventure is made more palatable if by night, fresh sheets, a spring mattress, security and luxury are offered.

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In recent years, more and more travel companies have taken this idea on board and their offerings will inspire anyone who looks for both luxury and adventure in their travels. There has been a sea change in what luxury adventure means. It is becoming a far more personal and involved decision. But how can we make this more different, exclusive and unique?

I recently took a group of adventurous clients into the heart of the Arctic Circle to experience the mesmerising phenomenon of the Aurora Borealis. From a wilderness lodge, each night we watched the skies for the Northern Lights. By day, we met local Sami nomads with their reindeer herds and their mystical Shamans.

A wild reindeer grazing in Norway

For those looking to experience a complete unknown in lesser-visited places, I recommend a trip to the Indian state of Nagaland on the Myanmar border. Here, eagle-hunters and Mongol herders will introduce you to their traditional way of life, creating an understanding of their culture and customs which goes beyond any text-book description.

Read more by Geoffrey Kent: The hottest luxury travel destinations for 2018

Although it is clear that adventure travel is not reliant on adrenalin anymore, for some people adding these elements in can create a whole new level of experience. Taking control of your own desert 4×4, having received expert guidance from a former logistics officer of the Paris-Dakar Rally, could reveal Morocco to you from a completely different perspective.

All options for luxury adventure travel are open to us now. We have the expertise and knowledge to build amazing adventures in exactly the way people want to live them. A backpack and a map may promise adventure for a student but for a time-poor customer, combining the unknown or the unexpected with knowledge and seamless logistics makes the experience accessible.

One of the world’s most mesmerising natural phenomena: The Northern Lights

Adventure travel is a step into the unknown. Add luxury and you are making it a transformative experience with personalised service. But it is also so much more – experiences you never dreamed of, sights you never expected to see, like the beauty of a silent sunrise in Iceland or the inexplicable phenomenon of the Northern Lights.

Life is richer and deeper with these experiences. Holidays should always enrich our lives – however we personally choose to make that happen.

Hussein Chalayan is fashion’s avant-garde experimentalist and supreme craftsman

Hussein Chalayan is high fashion’s savant and one of the most influential designers of the past two decades. He speaks to LUX about originality, art, and how celebrities are cheapening the industry

LUX: You have been involved in the world of fine art for a long time, with museum shows and the like. How connected are the worlds of art and fashion?
Hussein Chalayan: I don’t actually necessarily think that the art and the fashion world are that connected for a lot of people. In my work they were always connected, because of the nature of the ideas. But in the wider world, I feel like there are a lot of art collectors who love fashion. And then there are a lot of art publications in which fashion companies advertise, so I think it’s an economic co-dependency. But I do think that they are two separate disciplines. In my case and a few others they can merge, but often I feel that artists and designers do think differently.

LUX: In what way?
Hussein Chalayan: Fashion is a much more industrial process. The fashion world is much more about producing as much as possible, unless you do couture. I think the mindset is a bit different as well, but the biggest difference is that the kind of discourse you hear in the art world, for me, does not really exist in as serious a way as in the fashion world. There is discourse in the fashion world but it’s not as structured as the architectural world, the design world, or the art world. There are academics in fashion that really know their business. But unfortunately it’s not taken as seriously as the other disciplines, but it deserves to be.

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LUX: When you started in the fashion world, it was much less mainstream – there were no celebrities and bloggers sitting in the front rows, for example. Has the fashion world changed for better or worse?
Hussein Chalayan: I think both. The arrival of the digital era, in my view, is the biggest change. Because when we were first starting, I was in the same generation as Alexander McQueen, we were shooting at the same time in London and there was no such thing as digital media. And when digital media came, it meant we were not pigeonholed as avant-garde designers, or whatever, so easily. Because, before then, editors would be able to categorise you and use images to present you in the way they wanted. And what would then happen is that, because they would do that to attract people to their publication, all your other things that you spent hours on, like your beautiful tailoring, wouldn’t necessarily be included because you were really in the hands of the editor. Whereas now, in the digital media, everyone can see everything you do. So, that’s democratised things in a good way. On the other hand, of course, it means that the high street can copy you before you’re able to even produce your own collection, which is actually a problem. This has happened to every designer, you’re just seen as an ingredient. It cheapens what designers do. I guess the anticipation has been wiped out because of the digital era, which I think is a pity.

LUX: You’re now in London after 16 years in Paris.
Hussein Chalayan: Yes. In the past, people would skip London and go straight to Milan, and that was why we went to Paris. But now London has quite a few important houses. Yes, more people go to Paris and Milan and New York, but still, London is better than it was. And it’s just less hassle, because I don’t have to take the whole team to Paris.

Design from the Chalayan A/W collection 1998

LUX: What broad themes are inspiring you at the moment?
Hussein Chalayan: I would say that broadly I’m interested in anthropology, I’m interested in behaviour, in how different cultures perceive things. What creative people do is that they explore or propose new ways of looking at something. That’s also therapeutic, because you, the artist or the creative, are trying to solve issues or at least address issues.

LUX: What is the most interesting thing you are doing right now?
Hussein Chalayan: The most exciting thing right now for me is probably our shop, because it’s our first. We’ve had it for almost two years, and it’s opened up a whole new horizon of possibilities, because the shop is a response mechanism as well as a hub where we hold events. It’s where we get to know our clients in a bit more detail, a bit more depth.

LUX: Is this bringing people to your world who you wouldn’t naturally come across?
Hussein Chalayan: I would come across some of them, but I could never have imagined the level at which we’re now engaged with them.

LUX: Who is a typical person who wears Chalayan?
Hussein Chalayan: A lot of people from the art world. And a lot of people from the architecture world, as well. But all walks of life, really.

LUX: Is there a balance that you have to hold between creativity and saleability?
Hussein Chalayan: Definitely. I’ve learned a lot more in the past ten years about that, tried to work very closely with our sales team, whoever we’re working with at the time, and merchandising.

Design from Chalayan’s A/W collection 2017

LUX: Wearable tech is something that you’ve been involved with for a long time. Is it the future, or is it overplayed?
Hussein Chalayan: I have a slight problem with the whole issue. I have tried to use it more poetically. And the minute that it becomes like something where it measures your heartbeat, or it does just one thing only, I find it gets banal. There’s a lot of gimmickry around it as well, and I’m just not convinced by it.

LUX: Do you ever wish you’d been more commercial?
Hussein Chalayan: The thing is, I don’t really know what commercial means anymore. I mean, if you can wear something, it’s commercial. But I think that 95 per cent of everything we did was always wearable from the beginning but because people saw your experimental work, they perceived you as doing only that, but actually, I wasn’t. And I think that this applies to a lot of designers, that you can make show pieces that are the pinnacle of your idea for that season, but 99 per cent of what you did was actually the clothes one can really wear. But then, newspapers only photograph those show pieces, season after another, and you are then projected as this avant-garde designer that doesn’t do anything else. As I mentioned, in the pre-digital era, it was completely like that. And then in the post-digital era, it’s almost like we had to restart, because people were finally seeing that we can make clothes that you can really wear. So I’d say that a big part of our collection is commercial, but I don’t like that word; I’d say it is wearable more than commercial. I think the word ‘commercial’ cheapens it.

Read more: 6 questions with Italian womenswear designer Alessandra Rich

LUX: Are there too many designers and labels around these days?
Hussein Chalayan: I think there are, but I also think it’s arrogant for another designer to say that. But it’s true. There are too many designers, and there’s too much product. I think that you could have a (design) house but you could decide to base it on a category, you can decide that you’re good at knitwear, or you’re good at prints, and that’s your house. There are too many designers that are doing everything. If you were to become a designer now, I would strongly advise you to be a specialist in some area.

LUX: Is London important to you?
Hussein Chalayan: We’re lucky living in a place like London because I feel like it’s really a state, I call it the state of London. It’s not really a city, it’s a country. People in London are a lot more accepting of foreigners. If you go outside London, it’s white, meaning culturally white, it’s, you know… Brexit.

Design from Chalayan’s A/W collection 2017

LUX: What is your view on the fashion industry in general, right now?
Hussein Chalayan: The biggest issue we have is that fashion has just got so nepotistic and is so much about the big conglomerates. It’s becoming a sort of bullshit industry really, in that it’s no longer about the creativity… it’s almost about who you are associated with, if you belong to a particular group, or if you are a pop star. It’s awful that our industry has allowed this to happen. It’s allowed this to happen because they’re living with too much anxiety. It’s killing independent designers and actually killing creativity, as well. So, I feel like we’re in quite a terrible state really, right now, and every single fashion person you speak to would agree with this, more or less. But then, collectively, they don’t do anything about it. So, I find it peculiar.

LUX: What do you think of celebrities who launch their own collections?
Hussein Chalayan: There’s room for celebrity fashion, but I would like it to be seen as a separate category and I don’t think that should be mixed up with the years of work that we’ve been doing and then put in the same space. Department stores put you next to a rapper’s collection, and I just think it’s too bizarre. That ‘anything goes’ mentality in fashion cheapens our industry. A celebrity could have impeccable taste, and they could be really good curators, and they can employ really good designers and could really get something going with the energy and attitude that is associated with them. But I just think that that’s a new feel, that’s another category. Such labels with massive Instagram followings actually haven’t got anything to do with design, it’s more to do with the personality of the person designing it.

LUX: Who do you admire most among designers?
Hussein Chalayan: I think that, and I’m not saying this necessarily because of the design content, but I love the way that Azzedine Alaïa has pursued his career, because his work is not really about the flavour of the month, it’s very specific. I admire designers who do their own thing in their own way

chalayan.com

Alessandra Rich ready-to-wear SS18 collection

Alessandra Rich

Alessandra Rich is the quintessential contemporary designer. Born in Italy, based in London and Milan, and showing in Paris, her designs bring joy and flair to womenswear. She is also noted for the meticulousness of her sourcing and her construction quality. LUX Editor-at-Large Gauhar Kapparova speaks to the designer.

1. Describe us the woman you design for. Who is the Alessandra Rich woman?

She is an independent woman, self-confident, clever and ironic. She loves to have fun with fashion and to be the woman that everyone looks at.

2. What are the challenges of a small independent fashion designer today?

My challenge is to be contemporary, I avoid being nostalgic or too “classic”, I want my brand to be unexpected. It’s difficult to compete against what everybody thinks fashion is, the size of the brand doesn’t matter.

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3. Has the increased desire for ready-to-wear collections changed your designs?

All my collections are ready-to-wear, I want women to have fun wearing my pieces, during the day and at night.

Alessandra Rich ready-to-wear SS18 collection

4. Your designs are chic, clever and quirky. How do you give it that timeless elegance?

My design comes from a personal research and from my interest in the contemporary. I consider fashion a language, so I just put together the right words.

Read more like this: 6 questions with LA’s hottest accessory designer Tyler Ellis

5. Do you design through your emotions or follow a formula?

It’s a mixture of emotions and rules, because every idea has to fit into a shape. It’s why in my last collection you can find formal jackets worn with hot pants or floral pleated dresses and sheer laces. It’s always a matter of balance.

6. What’s ahead for your brand? Do you have plans or are you living in the moment?

I have a vision that my business will grow, with a larger team and a larger view. I’m interested in creating a kind of factory, a place to be.

alessandrarich.com

The remote alpine village of Andermatt, Switzerland. Image by Laureen Missaire

Deep within the Swiss Alps, tucked between Zermatt and St. Moritz, lies what is perhaps the most ambitious little town in Switzerland: Andermatt. With just 1,200 residents and limited access during the depths of winter, Andermatt appears to be at a disadvantage up against flashier ski resorts and yet, it’s home to one of the world’s most alluring alpine hotels, The Chedi Andermatt. Nathalie Breitschwerdt ventures into the valley to discover Andermatt’s hidden luxury.

We travel to Andermatt by train. The tracks run alongside Lake Lucerne, winding up through the stunning Alpine foothills, bringing us down into the fairytale like village of snowy Andermatt and almost straight to the door of The Chedi.

Visioned by the ‘starchitect’ Jean-Michel Gathy, The Chedi sits in the heart of the village at the base of the Gemsstock mountain. Although it stands tall with 123 spacious rooms and suites, the hotel’s dark-wooden facade blends in harmoniously with Andermatt’s traditional chalets, balancing grandeur with a cosy kind of warmth that’s especially inviting after a day on the slopes.

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The Chedi Andermatt, designed by Jean-Michel Gathy

Throughout the winter season, the hotel offers a private Ski Butler service to assist guests with mapping the best routes. We select a route of hidden trails, trying to cover as much as possible of the Andermatt-Gemsstock-Nätschen ski area (approximately 120km), and for much of the day, we’re skiing on deserted slopes, which makes a welcome change to the stilted swerving that the more crowded resorts like Verbier and St. Moritz require.

Read next: 6 questions with LA’s hottest accessory designer Tyler Ellis 

We arrive back at the hotel with flushed faces to be handed cups of creamy hot chocolate, before making our way to the spa. Spread over two floors, the spa is a sensual, fragrant space with two large swimming pools (one that sits in the snow outside and is – thankfully – heated) surrounded by plush loungers. Waiters circulate, at intervals, with complimentary smoothies, candied fruits, and flavoured waters. There’s a hydrotherapy section too, designed to resemble a kind of Asian temple, with various heated baths, steam rooms and saunas.

The indoor pool is encased in glass with views of the snowy courtyard

Everything about the hotel from the lobby to the restaurants to the rooms is spacious and indulgent, blending Swiss Alpine chic with Asian Zen. Our room is romantic, sumptuous and warm with dark woods, brown leather, furs, soft lighting and artfully placed Acqua Di Parma candles – and of course, there’s the view: startling white snow covered mountains that seem to have been rendered to postcard perfection.

The height of luxury: the Furka Suite features three bedrooms and it’s own private spa

That night, we dine in the main restaurant on the ground floor that features four open plan kitchens, where you can watch the expert chefs prepare Swiss, European and Asian delights, and a striking five-metre high cheese cellar at the room’s centre, stocked with Switzerland’s finest. It’s a vibrant, interactive dining experience with all the frills and flourishes you’d expect, whilst still paying attention to the quality and taste (the melt-in-the-mouth dumplings were our highlight). For a slightly more casual affair, there’s also a little Swiss chalet set-up in the courtyard of the Chedi during the ski season, which re-creates the authentic alpine restaurant atmosphere complete with red and white checkered curtains and hearts carved into the wooden shutters. Inside, it’s compact, seating only five small groups and the speciality is cheese fondue, which comes a variety of ways – we choose a heady mix of champagne and truffle.

Open fires in the hotel lobby, where guests can curl up in an armchair in the evenings to listen to live piano music

Historically, Andermatt’s residents have always had to face the challenge of survival with its harsh winters and steep valleys. However, it continues to blossom despite the elements, maintaining a unique kind of other-worldly charm and the allure of remote escape. Make plans to go sooner rather than later – it won’t be long before the rest of the luxury world catches on.

thechediandermatt.com, myswitzerland.com 

A prominent member of the charitable Pearly Kings and Queens Society, Doreen Golding as featured in ‘Voices East London’ by Maryam Eisler

Maryam Eisler is a busy woman; co-chair of the Tate’s MENAAC Acquisitions Committee,  member of the Tate International Council, trustee of the Whitechapel Gallery and Advisory Council member of Photo London are to name just a few of her roles in the art world, but first and foremost, she is an artist. Digital Editor Millie Walton speaks with Maryam Eisler about her most recent project Voices East London, the power of art versus politics and the democracy of social media.

Maryam Eisler

LUX: You’ve worked in the art world for a long time in various guises and interacted with lots of artists – when did you start taking your own photos?
Maryam Eisler: I’ve actually been taking photographs seriously for about 20 years now; I did courses and all sorts of photographic ventures, but I never dared to go out publicly. Two years ago, I had just completed a residency in Santa Fe, New Mexico where I explored the arid landscape and the female form, inspired by nature and by the personality of Georgia O’Keefe, in particular- her life and her oeuvre; a friend saw the photographs I’d taken there and she asked me which artist they were by, to which I answered ‘It’s not an artist, it’s me!’ She collects photography herself from the 50s and the 60s and was drawn to the black and white, the classical style – in any case, she asked me to email her a few of them and the rest is history! A few days later, I received a call from the gallerist Tristan Hoare who wanted to meet with me. She had shown him the work without telling me! And that is how this adventure began. Since then, I’ve had a solo show in London, ‘Searching for Eve in the American West’, and more exposure at the Dallas Art Fair and at Unseen in Amsterdam.

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LUX: Sounds very busy – how did you find the time to make your most recent book, Voices East London?
Maryam Eisler: Well whilst all of this was going on, I was playing with the idea of producing a book of my own because I had contributed editorially in the past to several publications to do with artists, studios and creativity (most recently London Burning: Portraits from a Creative City) but I had never done a project where I was in charge of both photography and editorial. My previous projects had pulled me towards the East End on numerous occasions, and everyone I had met there, I felt, was slightly off the wall in terms of imagination, innovation and creativity; so, I embarked on a 22 month journey to the East! What was interesting to me from a photography point of view was that it took me into a kind of parallel world; with my fine art photography, I like to immerse myself in nature, such as the American West or Provence, where I loose myself in thought and in time; but a book project, is a very different cup of tea. This particular book has on offer 80 different creative personalities, many of whom are very well known in their respective fields, the kings and queens of the East End culturally speaking, so we are talking egos, time constraints, fast pace – it’s more of a documentary style approach to photography, and yet in the back of my mind, I always have this aesthetic angle and it’s obviously very important for me to convey my perspective and stay true to my style; it has been fascinating to engage with both types of photographic approaches, at the same time.

Artist and fashion designer, Philip Colbert, as featured in ‘Voices East London’ by Maryam Eisler

The photographs are in colour too, which is different for me since I usually shoot in black and white, but the idea was to convey the vivacity and unique colours of that part of London. I live in the west end which tends to be much more sanitised and commercial, and going to the East End every week was like going on holiday! I’d get to meet these wonderful, energetic people, and encounter new minds in the arts, music, fashion. As you know, the East End today is also the hub of technology so it was super important to show the new face of the area. The project was an exploration into the past, delving into layers of history and culture, but also trying to think about what the area has become today and what it stands for, not to mention the challenges that it is faced with in its future.

LUX: Why did you choose to make the book now, given the political climate, and the changes that will come with Brexit?
Maryam Eisler: I’m always concerned about the future of creativity and the role which London plays in this arena – what incredible role it has played in the past, but also and most importantly what global role it will play in the future, if any. That’s the big question mark. I think one of the great successes of the East End, has been its historic ability to empower creative output, and this has much to do with a friction, in my opinion, between glitz and grits, as well as with the cultural layering and diversity of the area, from the French Huguenots to the Irish silk weavers, as well as the Jewish communities and today, a predominantly, Muslim Bangladeshi community. Spending time with Gilbert & George, I once asked them whether they ever go away on holiday and they said, ‘Maryam my dear, why on earth would we go anywhere? We have the world at our doorstep.’ I think that’s a very unique attribute of the East End.

Read next: René Magritte’s photographs and home videos on display in Hong Kong

There’s a sense today, despite gentrification (I hate that word), the cultural cleansing and the commercialisation of the area, that you still have an essence of the past. Whether it’s London or New York, there’s the classic example of artists moving into areas making it all happening and kind of edgy and cool, and then the developers move in, building high risers, destroying artistic communities, with the locals not being able to afford the price of rent, so they get pushed out; but there’s also this industrious spirit in the East End of London, this skill that its inhabitants possess for being chameleons and adapting to and adopting new situations and environments, and although some have definitely been priced out, others do manage to find ways to reinvent themselves. The people there also have an amazing ability of making something out of nothing, in a very artisanal kind of way; it’s a kind of craftsmanship of their own lives, and the sense of community and support there is still very strong.

Stylist Jude Nwimo as featured in ‘Voices East London’ by Maryam Eisler

LUX: Do you think that art has a social responsibility, as opposed to art for art’s sake?
Maryam Eisler: I really believe in the soft power of art. In the crazy world that we live in, that is becoming even crazier by the day, politically speaking and otherwise, I think more and more that artistic platforms are the last remaining bastions where critical thinking and exchange can take place in an open manner. Beyond their work, artists have also become the philosophers of today, the thinkers; they are the voices through whom we are enabled to think about the world we live in, and if a work of art makes you think, if it impacts you emotionally and intellectually, then it’s done its job, good or bad. Art has the power to move individuals, to make them think but also and most importantly to make them rethink and reevaluate the issues at hand.

LUX: How do you think social media and digital technologies have impacted on the art world?
Maryam Eisler: What’s incredible about social media in my opinion, is that it has broken, the classic system of accessing and understanding art, offering a direct dialogue between artist and viewer. And that is very powerful. Artists have become their own marketers. And why not! Often what the artists say and think of their work may differ drastically from the thoughts of curators, so removing old communication barrier systems and layers has given space for a new form of engagement. Social media offers a more democratic approach to the issue at hand, with increased possibility and connectivity.

Fashion Designer and owner of the VFD club, Lyall Hakaraia as featured in ‘Voices East London’ by Maryam Eisler

LUX: In the past art collecting has certainly been regarded as quite elitist…
Maryam Eisler: Yes, I hate the word collector actually. I am an art lover, not a collector. I like to engage with the producer of an artwork; I like to have conversations with them, to get to know their inspirations and passions, which is exactly what I would offer to the people who are interested in my own photography. I enjoy the dialogue and exchange and for me, that’s an important part of the process. Social media opens that possibility for conversation and dialogue more than ever before.

Read next: Walking in the footsteps of fashion royalty at The May Fair Hotel

LUX: Much of your work is centred around the female form – how do you see yourself engaging with feminist discourses?
Maryam Eisler: The crux of my work revolves around the Divine Feminine, in which I celebrate the feminine identity, form, beauty and intellect. I’m interested in the contrast of form and geometry vs context; I am also interested to explore where and how ‘Woman’ with a capital W fits into the world and nature in particular, hence and indirectly a questioning of my own self-identity, I suppose.

As to the current feminist discourses that are going on, I believe in equilibrium and measured approaches, and I’m afraid that I do not agree with what is going on, as I believe that we have entered a zone of revolutionary extremism and zero tolerance which gives no room to ‘ innocence until proven guilty’ ; that is always a dangerous place to be, and this can only lead to more of the same and without doubt to a backlash of greater proportion. Men and women should live in mindful, conscious harmony. Each side should celebrate the other, with respect and dialogue. Anyone can be accused, these days (on either side of the gender spectrum), but it does not mean that they are guilty, until proven so, legally and with proper evidence!

Drag artist, Jonny Woo as featured in ‘Voices East London’ by Maryam Eisler

LUX: What’s next for you?
Maryam Eisler: I have my first solo US exhibition coming up in May 2018 at Harpers Books in East Hampton, Long Island. Needless to say that I am very excited about this opportunity. The title of the exhibition is in fact “The Sublime Feminine”, consisting of a cross section of my work shot in New Mexico and in Provence, but it will also include new work shot in the Catskills last summer on beautiful Holz farm which belongs to the acclaimed photographer, George Holz.

I have always been obsessed with the work of Edward Weston, and I had the wonderful opportunity of shooting at his original home on Wildcat Hill in Carmel California last May, in the company of his grandson Kim and wife Gina as well as his great grandson Zach, all of whom follow in the footsteps of the man himself – all are fantastic photographers. I myself was inspired by time, space, place and history. Edward is still very present there. His darkroom is intact. His handwritten chemical recipes are stuck to the walls, and his desk and even the lamp which features in some of his photographs are all there …not to mention artefacts he returned from his trip to Mexico following his then love, acclaimed artist and revolutionary, Tina Modotti. It was like spending time in a living museum. And I think the work I produced there has more of a conceptual nature, honing in on the body and shapes. It’s to do with shadow and light, lines and forms. I will be showing these works at Tristan Hoare in January 2019 London, and given that I was inspired by photographic history and past, the wonderful US-based Martin Axon (who was the printer to Robert Mapplethorpe among other greats) will be printing this particular series in Platinum on special hand woven, hand torn Arches paper….so, I am very excited by these upcoming projects!

maryameisler.com

Tyler Ellis SS18 Collection

Tyler Ellis

Tyler Ellis, daughter of American fashion designer Perry Ellis, is one of LA’s hottest accessory designers right now. Her clutches and handbags are frequently photographed on the arms of Hollywood’s leading ladies, favoured for their simple, functional design and luxurious range of fabrics. Digital Editor Millie Walton puts the designer in the hot seat, for our new 6 questions slot.

1. You grew up around some of the biggest names in the fashion industry, Marc Jacobs and Michael Kors to name but two. Did this inspire you to become a designer?

My mother chose to raise me in LA away from my father’s world to try and give me a private and more normal childhood, so I was not raised in the fashion scene. I remember the first time I went to a Marc Jacobs fashion show, I was around 13 years old and it was at a tented, candle lit pier in NYC, very reminiscent of a romantic night in Italy. That was the first moment that I knew the designer gene was in my blood. The energy in the room was electric – a feeling I will never forget and something that I knew I wanted to be a part of!

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I returned home to LA and for a period of time left my dreams of becoming a designer in NYC. I ended up going to college in Boston and graduating with a Communications degree. It wasn’t until I moved to NYC and started working with the designer Michael Kors that my dream to design reemerged.

Working for Michael and his team was amazing. It was like one big family with people encouraging and inspiring one another to push themselves to do their very best. After this incredible experience I decided to take the leap and start my own line. It was the scariest, but at the same time, most rewarding thing I have ever done and I am very thankful that these impactful experiences pushed me to follow my dream!

2. Your designs have attracted an impressive celebrity following, how influential do you think celebrity endorsement is for contemporary luxury brands?

It has been an unbelievable honour having such strong, incredible and powerful women like Oprah Winfrey, Meryl Streep, Viola Davis, Salma Hayek and Reese Witherspoon choosing to carry my bags, when they have the world at their fingertips.

Celebrities have literally “made” unknown clothing brands by wearing their creations to major events, giving emerging designers a worldwide platform which most young brands cannot achieve on their own. Exposure is key!

Actor Salma Hayek (left) pictured at the Golden Globes holding the Lily Clutch by Tyler Ellis

The accessory world is a bit more difficult because when a celebrity walks the red carpet, the outfit is always the main focus, jewellery and shoes may or may not get mentioned, and the bag sometimes might not even be carried.

Personally, capturing images of celebrities carrying my bags has been a huge asset to my brand not only because it drives sales, but also because it creates brand legitimisation. In order for most people to purchase an item, especially a luxury piece, they must believe in or have trust in the brand. As I mentioned earlier, celebrities have access to anything they want, and when they choose to carry my bags it sends a message to the world.

3. What makes the perfect bag?

The perfect mix between functionality and luxury. There are many beautiful bags in the world, but what defines the good from the great are the intricate details.
All of my bags are hand crafted in Florence, by a father/son owned factory. I customise my hardware, purchase alligator, python and lizard from Hermès Cuirs Precieux (HCP), an Hermès owned tannery, and source all of my leathers from France and Italy.

To me, what make my bags even more unique are the beautiful details that create functionality. Every Tyler Ellis clutch comes with a hidden, detachable, lightweight chain, holds the largest iPhone, fits comfortably in the hand and most also have discrete exterior pockets and internal dividers for the essentials.

Tyler Ellis SS18 Collection

Day bags come with phone chargers, extra-long key-fobs, credit card slots, iPad/computer compartments, hidden exterior pockets and zippered internal pockets. Gold plated pinecone feet are offered to help protect the hides and all of the bags are all lined with my signature “Thayer Blue” lining making it easy to see your belongings inside.

My bags are representations of me and my lifestyle, and I strive to make them as best as I possibly can.

Read next: Photographer Maryam Eisler on East London and the power of art

4. What are some of the challenges that face small independent luxury brands today?

Getting the right people in front of the product! People are so busy these days and given the speed and power of social media and the internet there is so much noise out there it’s very difficult to get enough attention from the fashion world to make a difference for an emerging brand. Larger brands have larger budgets, which leads to greater mainstream exposure. As an independent niche brand, I have changed my approach on running my business, relying less on the traditional fashion world and focusing more on intimate events with prominent women in key cities around the world. These women have access to anything and everything and when they choose to purchase and carry Tyler Ellis it’s an incredible validation for my brand and me.

Gigi Hadid pictured with the Ava Box. Photo by James Devaney/GC Images

5. Do you have a favourite material to work with and why?

I always enjoy working with unexpected exotics…skins like ostrich leg, jungle fowl, fish and toad are not commonly used but look and feel super luxe and keep people guessing. Creating these unique pieces excites me because there is so much of the same out there and it’s always refreshing to find something different and individual. The most rewarding feedback I have received from clients is that when they carry their Tyler Ellis bags, people constantly stop them and inquire about the bags, which makes them feel great and excited to be carrying something special and coveted.

6. What’s next for your brand?

I am currently working on a bag collaboration with a very talented Hollywood stylist. It’s a sporty day bag, which differs from my more classic signature style, but I’m very proud of it and super excited for the launch. I will also be continuing an ongoing collaboration with the fashion label Noon by Noor for their Fall Winter collection which will be presented over New York Fashion Week– stay tuned!

I’ve also started to delve into the bridal world. I’m at the age where many of my friends are getting engaged and I’ve been getting requests to design bespoke bags for brides and their bridal parties. I have a quick turn around and can custom most colours and materials. Another added bonus is the interior of my bags are blue, so you are also checking off something new and blue!

tylerellis.com