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The first time FKA twigs (who at that point, was still just “twigs”) graced the cover of a magazine, she was a basically-unknown dancer with the word “love” written on her forehead in kiss curls. Little did we know, creative duo Matthew Stone and Wonderland’s Matthew Josephs had introduced the world to one of music’s most forward-thinking countercultural talents – an artistic force injecting the pop charts with energy, hope and true creativity. Her ascension from unknown to undefeated was a controlled, calculated one: it wasn’t by chance that twigs broke when she did, she’d planned it from the start.

For Wonderland’s 10th anniversary cover shoot, twigs (Tahliah Barnett) and Stone talk through the thens and nows: why ego can hold you back creatively, and how her newest work, EP “M3LL155X”, is “the most honest thing” she has ever made.

>>FWD to now

MATTHEW: I wanted to ask about how you move between the different things you do – music, videos, thinking about visuals – and whether or not you feel there’s a connective thread.

TWIGS: I think that a lot of my work is just based off feelings, so when I make a piece of music it tells me how I should feel, and then that feeling will create an image. I never really stray away from that image. If I make a piece of music, for example “Papi Pacify”, I always had this idea that it had to be hands down the throat. So it was always that movement, from when I first made the song. Even though the video might not be made for six months or a year, I can’t get that image out of my head.

M: So it’s about recognising an emotional state that you’ve already expressed, in a sense?

T: Yeah, exactly. I’m not an amazing singer and I’m not an amazing producer… I’m not an amazing dancer, but one thing I know is feelings.

M: All of those statements are ridiculous, because you’re amazing at all of those things.

T: Aww, that’s sweet. But the one thing I can say confidently is that I can portray a feeling. If I was feeling a certain way and you told me to express it, I feel like I’d be able to express it with my body, or express it with a shape, or express it with a sound, you know? That’s the language that I understand.

M: I think what I’m interested in, and maybe what I connect to, is just that process of translation. Where it can move from being a sound, into a movement…

T: Let’s say, for example, that if I was in a position where I was feeling sad because somebody wasn’t giving me what I needed emotionally, and there was a lot of stop-and-start within a relationship, to me I would make that stop-and-start with the drum or the synth stopping and starting… the jolting of it. The thing that I find exciting is that even two years on, it’s still so definite that it can be translated to another medium of express[ion]. I never feel like I lose sight of what I originally intended, and things that I have lost sight of just don’t make the record.

M: What do you think your process is for directing people? How much of it is pure personal vision and how much of it is working with people and how you interact with them?

T: If I pick somebody to do a certain thing it’s because that is their truth, you know? I don’t really ask people to do anything that I haven’t seen a glimpse of them do before. Even for example with Michele [Lamy, Rick Owens’ wife and creative collaborator, who appeared in the “M3LL155X” promo video] and “Figure 8” that’s her, you know? I didn’t tell her to do anything, that is just 100% her and yeah on the day you can say, “that looks great! Do that move again and do it bigger!” And that was the thing with the guy [in the “I’m Your Doll” video]. He was like the sweetest guy actually, like so sweet and very gentle and very polite and I’m getting him to have sex with a plastic doll! I just started screaming obscenities at him, the worst things, like things that you’ve seen in porn… then he started repeating those things and screaming them at the doll, and then it just really worked, like all the energy just went so dark in the room… I was just shouting at him and there wasn’t any music and the whole energy just got sucked down really low and it felt so dirty and grimy. That really comes through in the video, everyone says it’s so uncomfortable to watch. I think we’ve all watched something a bit dark and got a kick out of it. It’s in every single human being, that darkness. I didn’t bring out anything in him that isn’t in every human.

M: If you’re making imagery that is dark, how much responsibility do you feel to contextualise it?

T: I feel like my work is honest, so that can just depend on where I am in my life. I think that “M3LL155X” is the most honest thing I’ve ever made because it explains the most… “M3LL155X” was an actual period of my life. I felt low, but I felt really hopeful and that’s what it’s about.

M: Art, in a sense, is usually the triumph over suffering. You can’t make art while you are depressed. It is the thing that pulls you out of something.

T: And that’s exactly what it was. Even doing it healed me. Just making the music healed me and then completing it almost a year later – I feel so light now… It felt like you know when you’ve fallen out with someone that you really love and you’ve got to call them and make it better and you put it off.

M: How do you move on from having finished a project?

T: For me, the way that I work, reminds me of Candy Crush. You have to have all the blocks at the bottom and then that block will disappear and smash down and something else will sit at the top…I work usually three projects ahead, more than that and I start to feel a bit nutty.

M: I watched a Ballroom TB YouTube show and there was Dashaun [Wesley] and a lot of people in the vogue scene and they were talking about their experiences working with you. He was talking about the fact that you’d asked him to chop you first and he saw a lot of significance in that and respect in that. I love that story, because it’s such an inversion of the way people have interacted with and appropriate ballroom culture historically.

T: Basically the truth of the matter is I love voguing, I’m learning. Every two to three months I get a little bit better at it, but I’ve only been doing it for two years and these guys have been doing it for 10 years plus. If I was to go up and dance against them, I’d get chopped and that’s the truth of the matter. But if I’m going to bring them on stage in a place where voguing was created, in their home, why would I act like I wouldn’t get chopped?

M: Can you explain what chopping means?

T: Chopping means that you aren’t good enough, like if you go up and dance because you want to compete in the battle, and you don’t get your tens then you get chopped. I feel that that’s what I would get if I competed in my section… I would get chopped, so I just thought that that’s real. I’m very honest in what I make and that’s the reality. And I’m not scared of that because someone can chop me on stage… I don’t feel like it hurts my ego in any way, because the next day I’m lucky enough to be able to be backstage with someone teaching me how to not get the chop.

M: I wonder whether or not your sensitivity to that comes from knowing what it’s like being the backing dancer [Barnett danced in Kylie and Jessie J videos].

T: Yeah, of course. Being told not to give as much energy because the female singer can’t give as much energy as you, I just think that’s rubbish. I want everyone on stage to be incredible, people are going to be better than me and that’s the truth and maybe it’s down to me to keep up with them… that’s what’s really fun for me. I said this to someone the other day, it’s not for the money, it’s not for the fame, it’s not for the record sales, it’s not for anything else other than the fact that I really want to get better. That’s why I am here doing this, it’s because I want to learn and I want to get better. I can do that through working with exciting people… I can do that by knowing Denzel [Daniels, fellow dancer] can perform my solo better than me and be able to stand behind the camera and watch him, because that’s how you learn. It’s through watching and being able to stay humble. The ego is a very interesting thing. When I first started and I didn’t have much to show for myself, my ego was much bigger. Now, when I am managing to do things and I feel happy with the things I’m creating and getting opportunities, I feel like it’s shrinking, and that’s actually allowing me to learn so much, become more humble and more open. That’s the most exciting thing to me about being given the opportunity to make “M3LL155X”, or even just work with you on the shoot that we did.

M: I see that. Do you feel like there are moments where the ego is useful to your creative process?

T: Not for me, no. I don’t think so.

Photography: Matthew Stone

Fashion: Matthew Josephs

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Grace and Favour

Everything fluttered by this season at Etro with a graceful softness: boho prints with a romantic energy were cut into pleats and ruffles for a feminine, folkish charm. There were long dresses aplenty with tied waists and necklines which bloomed into soft ruffles around the necklines – it was all unabashedly ornate and delicate.

Queen of Print

Etro, like their fellow Milan-showing cousins Missoni, have always been known for their lushly patterned fabrics. So, it should come as no surprise that this collection was replete with miniature florals and intricately detailed textile designs that perfectly complimented the flouncy skirting, tiered sleeves and generously fabricated pieces that flowed down to the ankle in a shimmering cascade. The usually militarily-influenced bomber jacket was softened up with the Etro treatment and was presented in the same fabrics as the dresses: a lovely take on what is, by this point, a sure fire staple.

Suggestively Buttoned-Up

The gypsy-Victoriana theme carried on by way of knee-high ankle boots with laced fronts going all the way to the top that were somewhere between old-school prim and sexed-up-equestrian. This tension – though tension is perhaps a misnomer given the grace of this collection – between proper 19^th Century lady and saucy bohemian was key throughout, with sheer-bra-less-ness and open, raucous-ale-house necklines being played against loose-fits and long hems: petal-soft but never, ever, boring.

WORDS: Benji Walters

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Riveria Tripping

In comparison to previous seasons, where Missoni’s riot of pattern has been combined with dramatic shapes (such as the breezy flamboyance of SS15), this season was more tempered in its approach to cutting. The stalwarts of the knit world were all accounted for: Talented Mr Ripley polo shirts (and many pieces with, at the very least, polo shirt collars), unstructured jackets that blurred the cardigan/jacket divide, semi-sheer cover ups and knitted dresses – often sleeveless – came thick and fast.

Printed Swimmers

It wouldn’t be Missoni without print. That’s no understatement. So worry not, their characteristic zig-zags were thrown together with plenty of LSD-nautica in the form of brightly coloured horizontals, not to mention the African inflected prints that were cut into swimsuit style pieces which left lots of skin on show: appropriate for such a warm-weather collection.

Stripes on Stripes on Stripes…

It’s probably safe to say that only Paul Smith matches Angela Missoni in the love-of-stipes stakes (and even he withdrew his trademark multi-stripe a few years back). Yep, stripes were the main takeaway from this season. They came on almost every garment that was shown, including sandals, Converse, and dresses that had a ribboned effect – in which sheer alternated with solid for a billowy sea-side vibe. In other words, it wasn’t a revolution for Missoni. But with this much loudly-patterned history behind them, why should it be?

WORDS: Benji Walters

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Yellow and white collar knit top by TORY BURCH

Multicoloured knit top by MISSONI and denim jeans by GUCCI

Orange denim jacket by MARYAM NASSIR ZADEH, black and white stripe bikini top by TORY BURCH, cream twill cuffed trousers by MARY PING and brown leather sandals by ANDREW MARC

Orange jacket and mustard yellow cotton top both by TRADEMARK

Green tie bandeau top by ELECTRIC FEATHERS and green suede trousers by CHANEL

White and blue silk floral shirt by DIANE VON FURSTENBURG and blue and white bandeau swimsuit by LISA MARIE FERNANDEZ

Photographer: Ben Rayner

Fashion Editor: Dianna Lunt

Make Up: Erin Green at Art Dept

Hair: Tamaz Tuzes at L’atelier NYC

Photographers Assistant: Adam Levett

Casting: Bella Robinson at Star & Co

Model: Charlotte Lindvig at Ford

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Shirt and skirt by LOUIS VUITTON, Hat from a vintage selection at ROKIT

Dress and necklace by SAINT LAURENT BY HEDI SLIMANE, Boots by LOUIS VUITTON, Hat from a vintage selection at ROKIT

Top and trousers by RIVER ISLAND, Hat from a vintage selection at ROKIT, Necklace by SAINT LAURENT BY HEDI SLIMANE

Coat, top and skirt by MIU MIU, Boots by LOUIS VUITTON

Coat by COACH, Bra by LA PERLA, Hat from a vintage selection at ROKIT, Necklace by SAINT LAURENT BY HEDI SLIMANE

Top and bra by ASHLEY WILLIAMS, skirt by BELSTAFF, Hat from a vintage selection at ROKIT, Necklace by SAINT LAURENT BY HEDI SLIMANE

Bra, trousers and top by LOUIS VUITTON, Hat from a vintage selection at ROKIT, Necklace by SAINT LAURENT BY HEDI SLIMANE

Bikini top by MISSONI, Skirt by MIU MIU, Necklace by SAINT LAURENT BY HEDI SLIMANE

Top by RIVER ISLAND, Trousers by CHANEL, Boots by MASION MARTIN MARGIELA, Hat from a vintage selection at ROKIT, Necklace by SAINT LAURENT BY HEDI SLIMANE

Photographer: Ash Kingston

Fashion Editor: Danielle Emerson

Make Up Artist: Nami at The Book Agency using BUMBLE AND BUMBLE

Fashion Assistants: Issey Brunner and Jo Harris

Casting: Nic Burns at Star & Co

Model: Moya at Supa Model Management

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Clean, minimalist, simply palleted – when did our wardrobes start to resemble Karlie Kloss’s nutritional plan? Things have been awfully serious in fashion recently, with designers serving up collection after collection of sartorial austerity. Change is well overdue and, thank goodness, the message has been heard. Perhaps it’s that 70s gesture we’ve been flirting with, but come september you can expect to have your style outlook revolutionised. AW15’s girl comes in many forms, but one thing’s for sure: she’s let her hair down. Embrace your inner party girl and blag yourself front row to the seven wonder trends of AW15.

Love In

Of all the 70s tribes in this season’s repertoire, the folk groupie is by far our favourite. All fringing, feathers and suede, these hipster girls move to the rhythm of their clothes – but don’t take them for breezy things. At Burberry, prints were psychedelic but tailoring was sharp. DSquared’s ikat prints were embroidered onto robust fabrics and teamed with armours of jewellery. Bulkier shapes came from Isabel Marant, where models sported oversized bomber jackets in wild prints and hemlines that screamed of attitude, whilst sex appeal at Chloe commanded a following all it’s own. Clever.

Garden Party

If you’ve bought into the spring penchant for florals this year, then well done you – the trend looks set to carry us well into fall as designers played favourites with the print for AW15. Don’t expect any old pansies though. Dolce & Gabbana favoured the rose, with a collection dotted with solitary embroidery, bold sequin work and jungle-esque prints. Blossoms verged on paisley and were patchworked onto Mary Katrantzou’s collection, accented by fiercely juxtaposing studded pockets. If you favour a resolute head-to-toe approach, Adam Lippe’s flared floral suit is just the ticket, whereas the minimalist should race to wrap themselves in Celine’s fur trimmed coat. In fact, everyone should.

80s Redux

Do the 80s make you squirm? Prepare for an attitude adjustment. Designers called upon the era to create a multitude of party girl looks – all shiny fabrics and shoulder pads. Heaven. Missoni did it best, elevating the house’s signature prints to new heights with clashing, metallics and oversized blazers teamed with glitter tights. Saint Laurent proposed an 80s bad girl, all skin baring leather and ripped stockings – glam and vamp in equal measure. Monique Lhuillier was our uptown girl, in silky, shoulder padded evening wear, but if the idea of either gives you heart palpitations, head straight to Topshop Unique, where it was all very above board: wearable pieces for the rosy-cheeked young lady, perfect for afternoon tea at The Ritz.

Material Girls

Things were feeling rather sensual on the fall catwalks, with impulse accents of fur, shearling, leather and feather popping up everywhere. At Marni, sleek looks were given where-the-wild-things-are sleeves and python belts added an indigenous edge. While at Jitrois, they presented the epitome of Material Girls this AW15 with fur and leather galore in their 70s inspired looks.  Luxe quilting held court at Chanel, in feminine floral applique and bejewelled collars, whilst Fendi’s pinocchio-esque leather vests and skirts cast a hard line next to models’ furry boot-shod toes. Luxe fur pockets sashayed down the catwalk at Rochas, alongside asymmetric beading and feathered underskirts that complimented the collection’s lark print quite nicely.

Banish Navy

If you invest in any colour next season, make it blue. It was accented everywhere in collections, in a prism of shades to suit every wardrobe – except, navy. At DKNY, lapis lazuli tones were woven into preppy v-neck sweaters and gorgeous oversized coats, making easy work of incorporating the trend. At Armani, baby shades were worn head-to-toe in relaxed tailoring and matching accessories, whilst at Hugo Boss, the indigo mohair vest is set to become our most coveted autumn look. Pastel tones were worked to great effect at Altuzarra too, and were complemented with generous caramel fur collars – divine.

Uptown Funk

There was a definite strength of character throughout the fall collections, but we enjoyed it most in street-wise versions. At Moschino, Jeremy Scott paired bright luxe puffa’s with graffiti and pimped looney tunes, as well as fresh plays on denim for a blatant but playful reference to street culture. Ashish was on the same page, with models in nothing but thigh-high patent red boots, slips and bulky overcoats, as well as a very 90s use of tartan. Urban warriors navigated the catwalk at Alexander Wang, in bulky silhouettes and armoured eveningwear. Finally, prints and khaki colours spoke of an urban jungle at 3.1 Phillip Lim, whilst tartan again gave a tribal punk edge to Marc by Marc Jacobs that we think is going to be big news – you heard it here first.

Siren Call

Sex appeal: designers were all over it at the shows. But isn’t it so much more intriguing when a little inconspicuous? As much as anything else, there was a soft sophistication to the fall collections, with an undercut of pure seduction. At MaxMara, caramel, duck-egg and cream blanket coats were wrapped generously around 50s inspired beauties. Teamed with neat gingham pencil skirts,  a nod to Marilyn circa 1962 was clear. Hemlines were equally long at Emilia Wickstead, who’s pastel boucle designs were ideal for the uptown girl within, whilst for Lemaire, the shawl took centre stage, alongside duffel-coats-come-poncho’s and flowing skirts. Should you shy away from neutrals, look no further than Miu Miu, who presented a collection of bright gingham and clashing prints across neat pleated skirts and elegant overcoats.

Words: Hannah Rogers.

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Top SELF PORTRAIT, Trousers ARIES

Where were you scouted?

It’s actually quite embarrassing… I was at boarding school, and each summer there’s a big tennis competition between the different boarding school students in Hunstanton. At the end of the week, there’s a huge, really cheesy and quite awkward foam party that everyone goes to… there was a scout at the entrance who approached me and asked me if I fancied being a model. I was 15 at the time.

You’re horse-riding in your Instagram picture, would you say you’re a country girl or a city girl?

I was brought up in Leicestershire, among the trees and fields and learnt to ride at a young age. I spent my childhood running about outside with my sister. Nowadays I’m much more of a city girl: I love the hustle and bustle of the city, and I adore always being busy. There’s something to see, something to do, somewhere to go at all times – you don’t get that in the countryside.

Lots of pretty pink cocktails photos too, if you were going to take us out for a drink, where would we go?

My favourite place is Raymond Blanc’s brasserie in Covent Garden. I discovered it on a school Drama trip with my best friends 2 years ago, and now whenever we’re all in London together, we go there for drinks. Their food is also amazing!! I also love the Kensington Roof Gardens; I had a shoot there once and have been back a couple of times since!

You’ve been on holiday to Greece this year, where’s your idea of paradise?

Lounging on the beach getting a tan, with an exciting book, good company and many swims in the sea. My book-reading isn’t necessarily very intellectual (I had enough of that at school!): I’ve just finished reading all the Bridget Jones books and have read every Dan Brown book during my various holidays.

You’ve just finished school, did you always want to be a model or are you planning on doing anything else?

I love modelling to bits, and I’m also quite academic. I’m lucky to have received a scholarship to Leeds University next year to study International Business, which I’m really looking forward to. I want to go into the business side of fashion later on in life so that I can carry on using the amazing opportunities and experiences that I’ve been given through modelling!

What’s been your favourite shoot or show to work on so far?

I’ve been extraordinarily lucky to have worked with some big names in fashion. That said, I think the most fun I’ve ever had on a shoot was when I was shooting lingerie in Hampstead Heath. I spent the day running around practically naked, with an amazing team who were stood on watch in case someone creepy-looking came along… we’d then hear our secret word shouted across the heath. Unfortunately, our word turned out to be ‘sausages’, which isn’t the best thing to be shouted out in Hampstead Heath if it lives up to its reputation!!!

Sweatshirt ASHISH, Shorts M MISSONI

Photography: Danny Baldwin

Hair: Danny Defreitas

Make-up Artist: Violet Zeng, using MAC

Stylist: Dasha Kova.

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White cotton shirt and black cotton collarless blazer by COS, gold chain with hieroglyphic pendant by SHAMBALLA JEWELS and Tonneau Crystal watch by POCKET £165.00.

One lucky Wonderland reader has landed herself a modelling contract thanks to Pocket, the watch brand riffing off the concept of pocket art. After whittling down an abundance of entries, we introduce Siana Hemmings – the fresh new face of Pocket. The line is a mash-up of ostentatious-but-wearable design, complex craft and exterior beauty. Work it, girlfriend.

Green print cotton dress by ACNE, red cotton jacket by M MISSONI and Rond Crystal watch by POCKET £165.00.

Black cotton dress with blue embroidering by DIANE VON FURSTENBERG, black leather vest by KARL LAGERFELD, gold chain with hieroglyphic pendant by LOLA ROSE £70.00 and Rond Chrono watch by POCKET £185.00.

Photographer: Alex Bramall.

Fashion Editor: Nicco Torelli.

Hari: Stphen Beaver.

Photo Assistance: Gareth Horton.

Fashion Assistant: Nadine Gough.

Model: Siana.

Special thanks to The Russian Club.

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