Daisy Walker and Lily More on setting a new fashion agenda

With ample experience in fashion, Lily More and Daisy Walker decided that it was time to address the issues around gender equality in the industry with their new initiative ‘Women in Fashion’.

The aim is to empower women through community, creating a strong network for women and men to learn from, inspire and create a stronger framework together. The time has never been so ripe for change and innovation, which makes Daisy and Lily’s desire to tell new stories and spark fresh conversation especially exciting.

Twin caught up with co-founder of Women in Fashion Daisy Walker to discuss issues around the male gaze, street casting and launching a dynamic new platform.

How did you two get to know each other, and what drove you to start ‘Women in Fashion’?

We met through a mutual friend when we were 19, far before either of us had any idea we’d end up in this industry.

Lily is a researcher for David Sims, and I am a photographer. Coming from very different sides of the industry we quickly found through conversations that we were already having that a lot of our experiences were similar, but that there were multi layered experiences that were specific to each part of the industry as well. We wanted to create a space that would allow these layers to be explored and shared with the aim of changing the negative aspects of an industry we love.

Yurie Nagashima, Untitled, 2001

What is the aim of the platform?

To provoke change through conversation and to make the industry accountable for it’s ways of working.

wWhat do you enjoy about street casting?

Street casting came out of necessity for me. I was looking at other fashion images and saw nothing of myself in them. These girls literally didn’t look like me or the people I knew. By using models from agencies I felt like I was contributing to a warped view on age, size and diversity that the whole industry was feeding into, which lead me instead to start street casting.

When you’re casting from agencies you’re casting a professional to turn up and act and behave a certain way. When casting someone you literally found on the street, or is a friend of a friend, there is no formal set up for how the day should go. There’s a level of closeness and trust you have to build very quickly with that person, and it’s that interaction, that honesty and that connection that I love.

Much like Women in Fashion, I’ve made lasting friendships through my casting and and it’s that drive for inclusivity and level of intimacy that drives me to continually cast outside of the agency system.

More than ever, with Instagram etc, image is central to how fashion is portrayed. How do you see photography shaping the conversation within the industry?

For me photography is a window into the concepts and ideas behind artists, and I think fashion photography is the only tangible and visible way that the industry can change perceptions and give a voice to niche experiences. It’s great to see that brands are reverting back somewhat to hiring photographers with a clear voice and message and the more those experiences are given a visual representation within the industry, the more space there is for that conversation to continue and evolve.

Do you think a women’s relationship with the camera has changed permanently now? How do you think men can navigate the stigma of the ‘male gaze’ while embracing a feminist narrative?

I don’t believe that anything is ever permanent, nor do I think we’ve necessarily reached any kind of goal in terms of the female gaze. The female experience is incredibly diverse, and ever evolving and the social landscape morphs, as well as our means of communication within it. What I do hope is that this wave of the female gaze continues to grow and move forward.

I think there’s huge scope for men to reappropriate the male gaze and offer new and fresh perspectives and continually strive to create work that is feminist. As fourth-wave feminism has opened up to the mainstream, perspectives are more readily available for feminist men to absorb and learn from. It’s the reason that Women in Fashion is not open to only women. We are open to all iterations of gender, specifically because we think that it is open conversation that allows better understanding, which leads to us all becoming better feminists and better allies.

A Girl Walks Home Alone At Night, 2014, Director Ana Lily Amirpour

Thinking more generally about the industry, what are the biggest challenges that you perceive for ensuring greater diversity in the industry? How can we overcome them?

Often i find that diversity is hindered by sales. Clients and magazines are certainly becoming more aware of the need for diverse casting but at times are wary because they often experience a drop in sales. It’s an extremely painful truth, but one that lies in a history of brainwashing women to believe that white, tall and thin is the definition of beauty. The only way to overcome that is to push to saturate the industry with images that prove that is not the case.

Years of oppression can not be overturned overnight, but it’s important to remember that the images we put out today are the ones the next generation will be growing up with. And if they can learn the importance and beauty in diversity now; then they’ll be the next generation to buy into it.

Who are the women you most admire and who inspire you in fashion, and in culture more generally?

I’m a huge admirer of Vivienne Westwood. She was my first ever client and set the tone for me, personally. She came from humble beginnings and fought her way to success in an industry very much owned by men at the time. The industry is still run by men, and she still endures. She is ever evolving, always looking forward and always focused on exploring the role of gender.

Outside of the fashion world I am very inspired by Patti Smith and Arlene Grottfried. Their portrayal of relationships, in their own very distrinct ways, is lusty and ardent and far removed from the perfection often synonymous with that theme.

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What other female collectives do you admire, and who do you think is exciting in the industry?

Gal- Dem! We were interviewed alongside Liv recently and loved everything about her and what she’s doing!

In terms of individuals were excited about in the industry; Fern Bain Smith, Emma Hope Allwood, Sara McAlpine. These are all people who are working in the industry on their own terms and have a lust for questioning norms, for change and for promoting women. Really the greatest hope for a safer and more responsible industry is inclusivity and passion, and these girls are brimming over with it. They are all also Women in Fashion members!

Twin asked Women in Fashion to curate their favourite images as part of their Twin Instagram takeover. Check them out on our feed and below. 

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Ana Mendieta, Untitled (Silueta Series, Mexico), 1976

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Dana Lixenberg 2

Dayanita Singh 1

Deborah Willis. Hank Pending, 2008

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Martine Franck 2

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‘If I had my way with clothes I would be mostly naked’: Twin meets Weyes Blood

‘Y…O….L….O’ sings Natalie Mering in her wistful, luscious composition, ‘Generation Why’. The letters come so elliptically that you almost don’t piece the word together, especially as the sarcasm is delivered in angelic tones, packaged with fleeting guitars. Elsewhere on ‘Seven Words’ the same emotive voice offers a more morose, melancholic narrative. These two songs offer a survey of range of Natalie Mering’s (aka Weyes Blood) canon, and it’s no surprise that she’s considered to be one of America’s most exciting female artists. Whether she’s contributing to other records or delivering her own kind of ephemeral gospel, the music is rich, immersive and often sardonic  – the fact that she’s supporting Father John Misty on tour (and is regularly photographed by his wife, and Twin favourite Emma Tillman) seems a perfect fit.

Her third album, Front Row Seat To Earth is filled with West Coast meandering melodies which encompass personal stories and wider musings on the world. Sloppy listeners will find themselves caught off guard in the same way that attentive ones wait with anticipation to see where the lyrics will bend next. Either way, you’ll find yourself surprised and likely with a grin on your face. In the midst of touring, Twin caught up with the Californian singer to chat about the state of music, collaborating with Perfume Genius and the duality of performance.

In the last two years, there’s been a lot of talk about the rise of the 70’s singer-songwriter. Do you consider yourself to be part of this movement?

In some ways, but not entirely – I love music from all decades, all time periods. The 70’s thing is convenient because its definitely a convergence of a lot of different influences, it was a vibrant time that set the pace for the time we still live in now. I can associate with that aspect of it, but I don’t think of myself as 70s. 

What does a 70’s sound mean to you? What was magical about that era of recording?

Music started to expand into different micro genres, things were becoming less homogenised. That’s pretty magical. Also most people were recording to tape and collaborating with a lot of different, smart, creative people. Producers, players, arrangers. It was the hey day of money being thrown into interesting projects because mainstream music hadn’t been totally strangulated yet— big record labels were still taking risks and culturally we were discovering the future as we know it now.

How did you go about shaping the sound for your record? What specifically were you influenced by, and what were you listening to?

I was listening to a lot of Soft Machine and classical music — I wanted to make something epic but also personal… Chris Cohen had a really good ear for this concept, we used a very limited amount of microphones while recording and did a lot of things live to capture that feeling, make it all feel like it was recorded in the same sphere. I was also was listening to a lot of Weather Report which is a pretty strange non-sequitur – I have a tendency to listen to things that are very different from my own music while I’m creating.

There’s a strong visual element that runs through your cover and videos, do you think in ‘the digital age’ image has taken on a heightened significance for music?

Not necessarily — we’ve always been a civilisation driven by imagery. Things probably changed the most in the 80s when music videos become synonymous with artists – suddenly people had to look really good, seem young. I think now more than ever we’re less interested in innovative music, which makes the imagery seem more important. It’s like the music is an afterthought. Music has been congealed into a very specific “industry standard” that’s numbed peoples tastes a bit, made it a more narrow experience for the masses as a whole. 

In the album the emotional nuances are very powerful – do you have to access and inhabit the original emotions that you had when writing the songs when you’re performing them, or can you do it with a certain level of detachment?

I’ve learned to replace it with other emotions if I don’t want to conjure the old ghosts – I try to avoid detachment in an apathetic sense, but sometimes I do let go and stop thinking and just feel whats happening. That’s like detachment in the zen sense.

Your fashion sense is impeccable. Do you see your style as part of the Weyes Blood persona, or is it an expression as Natalie?

It’s a part of Weyes Blood— if I, as in Natalie, had my way with clothes I would be mostly naked or wearing huge swaths of fabric. I do like a good suit, its like a huge swath of monochrome fabric but organized a bit more. If it fits super well you can climb a mountain in a suit, live in a suit. Classic hobo.

And thinking more broadly about that potential duality – why did you want to work under a different name when putting out your own music?

I wanted it to be a different world. I’m not that much of a realist with my art – there’s a lot of fantasy and imagination involved, occupying an archetypal space, my lyrics are the most Natalie Mering thing about it all and I think that stands out just enough. It’s still not too late to release under my own name someday, but I’d rather just make films or do stand up comedy under my name. Those are more Natalie Mering things.

You have worked and toured with Perfume Genus. Tell us more what that collaboration means to you?

Mike is an incredible soul —  he carries very powerful and moving musical ideas that I feel a kindred spirit with. Singing with him is always an elating experience. I think we have the same knack for a certain kind of musical drama and vulnerability. He’s definitely been an inspiration to me.

Generally you’ve worked with a lot of exciting artists, who would you like to work with in the future?

I’d love to work with somebody who’s very different from me, see what that’s like. I’m first and foremost a really big fan of music, so there’s lots of people I can imagine working with. It’d be fun to dip into a top 40’s world or make a Nashville country record. Sky’s the limit.

What are your plans for the rest of the year, and what are you looking forward to?

I’m going to be touring with Father John Misty in the states, UK and Europe this fall – right now I’m writing my next record and cultivating a new sphere to take back into the studio with me for the next one. I am most looking forward to getting back in the studio and recording!

Meet East London’s Muslim Model Ready to Shake Up the Industry

‘I ain’t no Kendall Jenner but I’m a black muslim girl from east london that’s about to finesse the modelling industry’ wrote Shahira Yusuf on Twitter back in November. Born in Somalia and hailing from East London, the 20 year old’s statement has since been retweeted almost 60,000 times, making her entrance into the fashion world one of the most hyped this year.

It’s no secret that fashion has historically failed on diversity, but with Edward Enninful at the helm of British Vogue, 2018 might be the year in which the seismic shifts that need to happen finally do. Entering the industry at this febrile time, Shahira’s energy and passion for ensuring proper representation is an exciting harbinger for what’s to come.

We caught up with Shahira to talk about diversity, role models and breaking into the London fashion scene.

Culture Trip: How did you get into modelling, and what did you find interesting about it? 

Shahira Yusuf: I was scouted at 17 but initially I didn’t consider modelling. At 20 I finally built up the courage to try it out, and decided to visit Storm. For someone who hadn’t initially had an interest in fashion, what attracted me to fashion was the amazing opportunities. I’m glad I have the opportunity to do something that allows me to represent not only myself, but to represent diversity. 

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Shahira Yusuf | © molliedendle

CT: Your tweet went viral – what do you perceive to be the main challenges facing the industry in terms of diversity and inclusivity?

SY: Prior to being a model, I assumed the industry wasn’t at all inclusive. However now having some experience, I feel that the modelling industry tries, I honestly do. Do I feel that the industry could try even harder for a shot at equal representation? Yes, I do. I’d like to see the industry look exactly like if I were to walk down the streets of London in terms of ethnic diversity. I no longer feel like there should be a need to address diversity, in this day and age. The world is made up of over a hundred nations, we come from all walks of life. Diversity in the fashion and modelling industry should not be an option, it should be necessary. If the industry’s aim is to flourish, inclusiveness should be the basis. 

For instance, I don’t feel it’s right for designers and/or companies to hire a majority of non-Muslim women to model modest Islamic clothing. There are many Muslim women willing to represent themselves. Find them. Or when West African or East Asian clothing is being modelled, you have to consider the roots of the cultural clothing/items and use models from that particular country/region. That’s not to say people from other ethnicities cannot wear the clothing, but if I’m watching a runway and that’s been inspired by a particular culture, I expect to see models from that culture dominating the runway, representing their roots to the fullest extent.

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Shahira Yusuf | © Ronan McKenzie / Storm

CT: Who were your role models in fashion growing up?  

SY: My role models were successful beauties like Iman, Tyra Banks and Naomi Campbell.

Iman is certainly someone I can relate to, being from the same ethnic background. In terms of her branching out and dominating the fashion and beauty scene and building her legacy, I definitely was drawn to her. As for Tyra, I grew up watching many seasons of ANTM and also her talk show. I’d probably say there was no-one I was more engaged with in the fashion scene more than Tyra. I certainly loved Tyra growing up, she’s the whole package. Naomi, well honestly there’s no need for me to even explain this one.

All three models are incredible women that are worth looking to in terms of success in the fashion industry. They paved the way for diversity and if it wasn’t for them it’s highly likely that I wouldn’t be modelling today.  

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 Shahira Yusaf | © molliedendle

 

CT: What were your frustrations with the industry before going into it, and how do you want to participate in shaping it going forward? 

SY: My main frustration was the lack of diversity, and I’ve realised there’s more of an effort in inclusiveness being made by smaller companies in comparison to established, household names. This is quite disappointing. Most well known designers and companies love to express how they’re inspired by different cultures, yet if you watch a runway of most of the well established names, you’ll only find a couple or at most 3–5 ethnic models. 

To me, that’s unfair. If you really believe in diversity, prove it. You cannot simply say that you’re inspired by different cultures yet turn around and rarely choose people of different cultures to represent you. It’s contradictory and although it’s continuously addressed, there’s not been a huge effort to make a direct change. 

It really isn’t even about me, I just feel that there’s so much beauty around the world for the industry to be painted over by one coloured brush. We don’t all appear the same, so why create that false idealism? There’s no such thing as universal beauty standards, the world realises this, and it’s time the fashion industry stopped enforcing something that’s deemed as unrealistic. 

A lot of times, the modelling industry is stereotypically viewed as superficial for these reasons. There’s so much more to modelling than what meets the eye, complete inclusiveness will prove modelling is not only ‘skin deep’. 

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Shahira Yusuf | © Ronan McKenzie / Storm

CT: Do you think there is space for fashion to be a medium for activism and actual change? 

SY: I do believe the fashion industry holds the potential to make a huge shift in society and for the better. In fact, I think it’s underestimated how impactful the industry really is. Many designers, companies and models have the ability to use their platform to make a change – and I mean a real change. It’s so easy to distance yourself from what’s going on in the world, but once you do, you’re losing sight of the bigger picture. 

I think people should start by firstly acknowledging their surroundings as you cannot be out of touch with reality. Then set out ideas of what you’d like to see in the world in terms of improvements and how you could contribute to making that happen. I always say, no matter how big or small your platform is, use it for the better. It makes everything more worthwhile. Ultimately, it’s the intention that matters. 

CT: What have been the most powerful images you’ve seen in fashion recently?

SY: Probably Adwoa Aboah as the cover star for Edward Enninful’s first edition of British Vogue. Extremely captivating. I loved the cover, and everything about it screams excellence. Rihanna’s Fenty cosmetic campaign was also powerful. It was the key defining beauty campaign of the year, I personally feel. An amazing representation of diversity. 

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Shahira Yusuf | © Ronan McKenzie / Storm

CT: You recently signed to Storm. How have you found the London fashion scene?  

SY: the best word I could use to describe it is, evolving. I feel like the fashion scene is always evolving, nevertheless I’m very much enjoying myself and in the little time that I’ve been modelling, I’ve had some cool experiences! 

CT: What’s in store for 2018?

SY: I’m looking forward to doing more photoshoots, I’m also hoping to do some runway shows. I’m extremely ambitious and see myself only ever improving. As someone who loves experiencing new places and going on adventures, I’d also love to do some traveling.

A version of this article was originally published on Culture Trip. 

Why everybody loves I Love Dick by Chris Kraus

I Love Dick by Chris Kraus chronicles the obsessive relationship between Chris Kraus and college professor Dick. In a text that expertly mixes fiction, memoir and theory, readers are given a window into the nature of infatuation and the distinct hierarchies that define male and female relationships.


 

Chris Kraus | ©Semiotext(e) / Wikimedia Commons

Born in New York, Kraus spent her formative years in New Zealand, studying at the University of Wellington. Her first novel, I Love Dick, was written in 1997, published by Semiotext(e). Recently re-issued, the work enjoys the status of a ‘cult-classic,’ with a cover that has been Instagrammed as many, if not more, times than it has been opened and read.

I Love Dick is centered around an evening that Chris Kraus spends with a roguish college professor named Dick and her then-husband, Sylvère Lotengere. That evening, Kraus experiences an intense emotional reaction to Dick, describing her encounter with the professor as a ‘conceptual fuck’ to her husband when they leave Dick’s house the next day. Sylvère and Chris have been married for 10 years and their relationship has ceased to be sexual. Intrigued by the emotion and passion that this encounter ignites in his wife, Sylvère joins Kraus in writing letters to Dick, a mode that quickly moves from authentic to a performance piece.

The nature of  Chris Kraus’s obsession with Dick transforms her, at first, into the ultimate anti-hero. She is vulnerable and obtuse, desperate and driven. Whilst the urgent tone of her initially unsent letters to the professor makes the reader cringe, by the end of the first section(‘Scenes from Marriage’), the daring and unconventional method of declaring her love to a man she barely knows – in tandem with her husband, no less – starts to inspire a certain respect.

The second section – ‘Every Letter is a Love Letter’ – sees Kraus leave Sylvère, while her obsession continues. This culminates in Kraus spending the night at Dick’s house again, this time alone. Over an evening, Dick simultaneously permits Kraus’s conduct and remains passive to it, rendering her powerless at the very moment that she seems to have reached the end of her quest.

Do you want to have sex or don’t you?
You [Dick] said: “I’m not uncomfortable with that idea.”

***

And yet, for all that, her deliberate and unwavering commitment to exploring the situation that she has instigated transforms to become a powerful two fingers up to the male-dominated arena of romantic love.

That the literary canon has long been monopolized by men is nothing new, but Kraus explores it within a new context. How many writers are revered for their impassioned, longing notes dedicated to women they have never met or  barely know? Think of Donne’s wry verse, Shakespeare’s oft-quoted sonnets, or indeed Hopkins’ desperate cry to a God he cannot reach in ‘I Wake and Feel the Fell of Dark, not Day’:

And my lament 
Is cries countless, cries like dead letters sent 
To dearest him that lives alas! away.

Kraus subverts the form – “But all I want right now, if nothing else, is for you to read this, so you’ll know at least some of what you’ve done for me” – and in doing so becomes an object of ridicule for the men who otherwise exult the nexus of literary lust.

Indeed if readers have an initial, almost visceral reaction of repugnance to Kraus’s text, that seems to be exactly the point. To be female and to create from a personal basis is to be hysterical, gauche and uncouth. Kraus rightly confronts the reader with this reality. Her agile prose weaves in theory and analysis that spans R.B Kitaj exhibitions, Flaubert’s Emma Bovary, the work of Hannah Wilke and schizophrenia. The disparate strands work to reflect Kraus’s insightful mind, her forceful probing and her contemplation of the world as it stands.

Throughout it all, Kraus is funny. She is self aware and sharp, eloquent and elegiac – a book you pick up but won’t put down until you’ve finished and then won’t stop thinking about it when its down. In her examination of infatuation she has created an object that inspires the same obsession in others, and that is why everybody loves I Love Dick. 


I LOVE DICK
by Chris Kraus
Serpent’s Tail Books, 261pp., £7.99, May 2016

 

First published on The Culture Trip, 3 August 2016

INTERVIEW WITH MAYAN TOLEDANO

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20.06.2016 | TWIN

Mayan Toledano is a photographer and co-founder of Me and You, an online platform that celebrates friendship, feminism and girlhood, run with her BFF Julia Baylis. As a photographer she creates images that are playful and poignant. They invite viewers to enter into private spaces with her subjects – bedrooms, bathrooms – not as voyeurs but as allies. Toledano  is part of a new generation of female photographers that have transformed notions of the gaze, and it is not surprise that she often works with kindred sprit Petra Collins. Throughout Toledano’s portfolio we see that her images reflect truths about the female body, investigating what is essential in women without fetishising the flesh.

Having recently released a striking series which focusses on Israeli soldiers during their military service, we caught up with her to discuss process, pink and the power of underwear.

Can you talk a little about how you got started as a photographer?
I got my first camera in high school, it was a terrible digital camera with an adjustable screen like the first “selfie” camera and I remember being obsessed with it. I started documenting everything around me, not in a very artful way but it was when I realised how important it is to record. I grew up dancing and was surrounded with all this beauty, resilience and passion that inspired me to create photos in a similar way- part of the reason why my work is female centric.  A couple years after I got a real film camera from my uncle, he found it at a flea market and thought I’d be into it.

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What are you looking for when taking a picture?
Emotions. I’m strongly followed by my subjects, it’s usually a certain mood or feeling that I get from them and I’m there to create the most relaxed atmosphere for it to just happen. I try not to direct much and focus on getting to know the people I shoot. It can be very conversational and casual on set, the more time you spend with someone the better it gets and that’s why I like working with muses that repeat in my photos over and over again. Same for locations, less obvious photos are taken in places I’m more familiar with.

Who / what are your influences? 
Film, I think it’s the highest form of art. I really like coming of age stories because of the awkwardness of being misunderstood. My mom is a main force in my life that always inspires me and so are my friends and collaborators. The internet too ❤ (:

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What is it about colour, and particularly about the candy – palette you work with, that you are drawn to? Is colour vital to your photographs?
Photos can be treated like paintings, especially with film because it’s a physical format. adding colour through light or objects is just one way to play with it. Pink was always my favourite colour, i just see it everywhere almost in a magnetic way. I’m a very spacey person and i get distracted easily, objects that are in that soft colour  palette are the first thing I notice in a new space and I find it comforting.

Do you prefer working with natural light and in a spontaneous way, or are your photographs carefully crafted? 
Mostly spontaneous and in daylight, I have some light tricks that are probably not professional at all but work for me. I do love set design so that is something that is always planned and considered.

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You own and subvert the idea of the gaze, why is it important to photograph women in this way?
The female body is either capitalised for looking a certain way or shamed for not looking that certain way. Female intimacy has a lot more to tell and when I take photos I try to look at the body for what it does, not mediated by the male perspective but with full awareness of this gaze and its history. It is more interesting to see women feeling comfortable and celebrated in all shapes and sizes, still without being fetishised.

I found your series of photographs on Israeli soldiers particularly striking and powerful. How did this project come about?
Growing up in Israel it was very normal to see soldiers everywhere: in the mall, in restaurants, on public transportation. I served for two years between the ages of 18-20, that’s when it’s mandatory for girls. Looking back I mostly remember the frustration and my personal refusal to adapt during that time. I barely took any photos during my service and I regret it, I felt so uncomfortable in the uniforms that I couldn’t imagine it as a subject at all. After moving to NYC and having enough time away from my personal experience in the army I realised it is  worth revisiting and documenting. Because in my case I felt completely unseen, having to put aside my political views and goals I wanted to find a way to voice other stories beyond the visual conformity of the uniforms. It was refreshing to find alluring singularity with each of the girls I shot. Photographing female soldiers wasn’t about taking sides or supporting the army in any way. I think the reality of teenagers going into mandatory service, regardless to their views and opinions, is worth documenting considering the extreme political context.

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You and Julia Baylis have made an exciting impact with Me and You. How important is collaboration to your work?
Collaboration is so significant to what we do because female friendship and support is where it all started, it is a beautiful exchange that we have with our friends, followers and collaborators. Julia is my best friend and an amazing artist on her own, growing together is a powerful thing that I’m so grateful for. Me and You came together as a reflection of our friendship and grew into a community of like minded girls who inspire us to keep going. It is our baby project and our home.

What is it about underwear that’s so alluring? 
It’s intimate and personal, the first thing we put on the last thing to take off. It is something we wear for ourselves so it has to be a fun choice.

What are you working on at the moment, and what’s in store for the rest of 2016? 
I’m going to continue the Girl Soldiers project, hopefully into a book! Next up is a music video for my friends at ‘Garden City Movement’ which I’m really excited about, can’t say much but we are going to focus on gender fluidity because it’s a beautiful thing. I’m always working on Me and You with Julia to keep  expanding our message and other creative collaboration projects as well.

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Mayantoledano.com