Ombre fox fur cropped jacket by MARC JACOBS, painted challis button down shirt by SHAUN SAMSON, pastel sunglasses by CHLOE.

“It’s just about people getting to know who I am as an artist, as a young woman working in the music industry,” offers 21-year-old Tinashe Kachingwe when I ask her about the themes on her new album, Aquarius. Like butter wouldn’t melt. But I’ve listened to her major label debut. It extols the virtues of everything from multiple orgasms to getting so high you start seeing things. And that’s the joy of Tinashe. She teams feathery lightness with hefty hints at the shadowy subtexts of a young female mind. The video for her ratchet club-smash single, “2 On”, opens with her posing for selfies and practising dance routines with her girls, and eventually descends into the dark corners of an “anything could happen” sweaty warehouse club.

Tinashe has been working in the industry for years — she starred opposite Tom Hanks in Polar Express and Charlie Sheen in Two and a Half Men. She spent a good chunk of her teenage years in bubblegum pop five-piece, The Stunners, dodging Beliebers as the slick-topped pop brat’s support act. But when the group disbanded, Tinashe took her earnings, built a home studio and holed up making self-released mixtapes. She’d done her time and learnt the ropes, now she was ready to carve her own space.

“I’m a perfectionist about everything,” she explains. “Every step of the way I’m micro-managing every decision.” And she’s not exaggerating: for her own releases she wrote and produced the tracks, directed the music videos and designed the cover art. The three mixtapes, In Case We Die, Reverie and Black Water, showcased a clear vision. They offered up a sound that doffed its baby pink baker to the likes of Aaliyah and Janet Jackson, while establishing the young artist as a key player in the alt-R&B scene. And they resulted in a recording contract with heavy-hitters RCA Records. It was Tinashe’s attention to detail that helped her to achieve a transition from bedroom-producer to major label debutante while holding on for dear life to the essence of her sound. Aquarius takes her independent learnings and applies them to a hefty budget and big team approach.

A perusal of the production credits on the LPis a clue as to where Tinashe’s mind was at when she made the record. She’s recruited the big guns — DJ Mustard was on beat duties for the requisite chart-topper and stage-setter, “2 On”; Stargate assists on the bubbling and club-ready “All Hands On Deck”; and Mike Will Made It announces his presence right from the off on “Thug Cry”. But elsewhere she gives a new breed of production mavericks room to make their mark. Dev Hynes blows the end of “Bet” wide open with a characteristically indulgent guitar solo. On “Indigo Child”, one of the ambitious interludes that pepper Aquarius, Evian Christ (Yeezy-discovery and Ellesmere Port lad-done-good) slashes through silky vocals with his steely sonic knife.

Ombre fox fur cropped jacket by MARC JACOBS, painted challis button down shirt by SHAUN SAMSON, white cotton boxers by SHAUN SAMSON, lavender silk and metal floral shoes by archive ALEXANDER MCQUEEN and pastel sunglasses by CHLOE.

Anomalies are Tinashe’s thing. The first single she bought was Britney’s “Hit Me Baby One More Time” and the first concert she went to was the Christina Aguilera Back to Basics tour. But when I ask about dream collaborations she reels off a leftfield wish list featuring SBTRKT, Little Dragon and Emily Haines. With her JaQuel Knight dance moves and exemplary weave she’s every bit the pop princess. But she knows her stuff, and that might be her secret weapon.

Plus, she has a master plan — and to make it happen she’s gonna need her girls. She may embrace her status as RnB auteur, but she’s also very aware that there’s no ‘I’ in ‘team’. “I hope to inspire young women to be involved in the creation of music,” she explains. “Because throughout the two years that I’ve been working on this album I haven’t seen any female producers or worked with any female engineers. It’s just an extremely male-dominated business and I think that’s unfortunate, and it doesn’t really make sense to me because we’re highly capable of doing all of those roles.”

Tinashe has all of the trappings of a role model in the making. I point out to her that a recent concert review likened her to a “Baby Beyoncé”. She is happy but remains completely unruffled by this daunting comparison. “I think that there’s no limit to my potential and that I can do as much as I want to do,”she breezes. We chat on the day that the Lorde-curated The Hunger Games soundtrack is announced. Lorde has explained in no uncertain terms that only her “true heroes” made the final cut. Tinashe sits on the tracklisting alongside the likes of Grace Jones, Q-Tip and The Chemical Brothers. And she sits there surprisingly comfortably.

Tinashe thinks big. Whatever she wants, she wants a lot of it and she wants it now. “2 On”,she explains, is “basically being turned up. Bringing a little bit too much of whatever — too excited, too drunk, too hype.” But don’t be fooled, this is not just her mantra for the club. It’s there the next day when she awakes with her eyes firmly on the prize. Her path seems to be set to stadium stardom and for Tinashe it’s less a matter of “if” than of “when”. “I look forward to the future and seeing how it all pans out. Because that’s the one thing that I know I can’t control — when everything is going to happen”.

Words: Clare Considine.

Fashion: Shaun Samson.

Photography: Ryan Young.

The post Profile: Tinashe appeared first on Wonderland.

White denim bridal dress, white cotton vest with gold embroidery, white silk boxers and white satin bandana worn around thigh and gold crucifix all by ED MARLER.

Black silk floral dress by Vivienne Westwood, gold crucifix by ED MARLER and light pink feather coat by JENNY PACKHAM.

White cotton dress with silver embellishments by SAINY LAURENT by HEDI SLIMANE.

Black cotton dress with silver embellishments and sheer chiffon sleeves by PRADA, white feather coat by DKNY and gold crucifix by ED MARLER.

Black cotton dress with frilled sleeve by ERDEM and gold crucifix by ED MARLER.

Black cotton pleated dress by MEADHAM KIRCHHOFF, black fishnet socks by ED MARLER, black leather ankle boots by CHRISTIAN LOUBOUTIN and gold crucifix by ED MARLER.

Gold and black patterned dress and black wool heels by MEADHAM KIRCHHOFF, black fishnet socks by ED MARLER, white cotton shearling jacket in hand by TOM FORD.

Black silk dress by MEADHAM KIRCHHOFF, black wool cape coat with white fur collar by FENDI and gold crucifix by ED MARLER.

Navy blue cotton blouse by MIU MIU.

Jacquard frill jacket and jacquard skirt, fishnet socks and gold crucifix all by ED MARLER.

Fashion: Matthew Josephs

Photography: Stefan Khoo

Hair: Roxanne Attard using Bumble & Bumble

Make up: Daniel Salstrom using M.A.C

Nails: Ami Streets at LMC Worldwide using Chanel Christmas 2014 and Body Excellence Handcream

Model: Mona Matsuoka at IMG

Retouching: Kasia Kret and Studio Invisible

Photographers assistants: Andrew Goss & Richard Birch

Fashion assistants: Toni-Blaze Ibekwe & Jordan Duddy

Hair assistants: Jordan Leigh.

Special thanks to Provision Studios.

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HER LOVE OF CATS

We love cats, but Taylor Swift loves cats. Armed with her cat-stickered phone cover, they have become part of her psyche. Her own two cats, Meredith (named after Meredith Grey from medical drama Grey’s Anatomy) and Olivia Benson (named after, well, Olivia Benson from Law & Order: Special Victims Unit), are not only the main stars on Tay-Tay’s Instagram, but they’ve also scooped up their own cult following (Meredith has her ‘own’ twitter feed that has over 11,000 followers). Taylor even likes to take her cats out-and-about in New York when running errands. Having recently sworn off men after her treatment by the press, we can only assume TayTay has turned to kittens for unconditional love.

HER DANCING

She might not be J.Lo on the D-floor and, in fact she can be a bit of an awkward mover (cue: awkwardtaylorswiftdancing.tumblr.com) but there’s something endearing about Taylor’s complete lack of self-consciousness. In fact, speaking on a chat show, Taylor explained that her ‘award show’ dancing is almost anti-establishment. Rather than sitting down all poise and stoicism at awards shows, Tay had this to say about it: “This is, like, all these incredible acts playing their biggest songs and I get to be front row and I’m going to dance during this because I feel like it, not because it looks cool because it doesn’t.” Her moves in the video for ‘Shake It Off’ are testament to this. If you need us, we’ll be finger tutting with Tay-Tay.

THE OUTFITS

Over the past few years, and certainly after moving to New York, Taylor Swift has never looked bad. In fact, we don’t think we’ve ever seen the singer look bad…ever. She has a keen eye, keeping her day-to-day outfits refined with a preppy edge. Likewise at red-carpet events, Taylor keeps things understated and classic. But it’s one particular outfit that has us enthralled with Tay-Tay’s style, and that’s her dress in the ‘Safe and Sound’ video. Wearing a vintage 1920’s chiffon and silk dress, Taylor looks both effortlessly beautiful and completely vulnerable, her trademark blonde hair curled with her signature bangs. The look has an ethereal quality as she marches barefoot through the woods.

SWIFTIES

Taylor’s fans call themselves ‘Swifties’, and they’re actually a lovely bunch of people. While other fan groups bicker, Swities are most likely to be found baking quinoa muffins or making kitten-themed mood boards. They are a sweet gang. However, while some popstars purport to have a good and close relationship with their fans, Taylor takes it one step further. For the release of her new album 1989, she deiced that, rather than playing the record for a bunch of journos first, she would instead invite dedicated fans to her own houses and play it for them, later starting her own tumblr to quite literally mock herself, picking up on fan’s memes. The Pop Princess has also been known to surprise fans at weddings and shows – her love us genuine – she is equal-parts your best friend and aspirational popstar. It’s no wonder she reigns supreme.

HER LYRICS

Taylor differentiates herself from her peers with her knack at writing a stellar pop lyric. Even before her break-up with country music, Taylor’s ability to weave stories, emotions and hidden codes through her lyrics was quite something. The rich tapestry she manages to paint, whether it’s the desperation in ‘Back To December’ (“I’m so glad you made time to see me. How’s life, tell me, how’s your family?”) or the humorous recounting of unrequited love in ‘You Belong With Me’ (“If you could see that I’m the one who understands you. Been here all along so, why can’t you see— you belong with me, you belong with me?”), Taylor manages to make her lyrics personal yet accessible. There is a level of sophistication exhibited in Taylor’s lyrics, her mixture of narratives and metaphors (“You, with your words like knives And swords and weapons that you use against me”) tell stories in ways that other popstars just don’t.

HER MUSIC (duh)

Tay-Tay is unique. Rather than muscling her way into pop’s machine early, she spent years cultivating her craft in Nashville. This sparing, committed and talented community help develop young stars, and Taylor’s move from country-folk songs to pop has been a progressive and inevitable one. Her album Red managed to bridge the gap between Max Martin produced bangers and emotional ballads. However, one thing remains consistent; whether it be banjo or basslines, Taylor is dedicated to catchy toplines and even catchier choruses. In this way she is as conservative as they come when it comes to her songwriting. But with every other artist always pushing out proverbial boats, sometimes what the world needs is someone to bring it all back to basics. Sonically, yes, it might be simple but structurally Taylor takes cues from popular radio and classic songwriting of yore. Everything has a hook, and her commitment to choruses, double choruses, pre-choruses and post-choruses is to be admired. Also, they’re just bloody great songs.

1989

Taylor’s latest wonder is her latest album 1989. Joining both her expert lyrics and songwriting expertise, 1989 is pretty much a near-perfect pop album. As many reviews have pointed out, Taylor hasn’t followed any current pop-trends. Quite simply, the album doesn’t really sound like anything else ‘out there’ at the moment. That’s not to say that, musically, this is an experimental record. In fact, far from it – 1989 is as classic as they come. Joining forces with pop’s behemoths Max Martin, Shellback, Ryan Tedder and Greg Kurstin, Taylor manages to import their skills while maintain what makes her ‘Taylor Swift’. Slightly mismatched phrasing, a narrative drive and Taylor’s perchance for metaphors sit nicely amongst the splatters of synths, drum machines and glossy production. Fun.’s Jack Antoff also provides Taylor with her most left-field songs yet, like the simultaneously hopeful yet despairing ‘Out Of The Woods’. In a year where big-budget pop has been seriously lacking, 1989 has come to replenish our needs. Big choruses and even bigger hooks appear one after another, and the album’s stadium sized songs are just calling out to be performed live – preferably in stadiums, tbh. Really, 1989 is one of the most accomplished, polished and expertly crafted pop albums in recent memory. It’s a wonder unto itself.

Words: Alim Kheraj.

The post 7 reasons we love Taylor Swift appeared first on Wonderland.

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Taylor wears Boss.

I don’t know about you, but Taylor Swift is feeling 24. If Tay at 22 was, as her slumber party anthem goes, “happy, free, confused and lonely at the same time”, this year she’s clearer of mind: strong, sceptical, indie and willingly off the market. “RIP me!” she yawped recently to Graham Norton, and she wasn’t kidding. 1989, her fifth album released in late October, demands that you forget all you know about the Pennsylvanian. Early signs that she was out of love and liking it popped up on her Instagram feed six months ago. “There are far better things ahead than any we have left behind,” goes the CS Lewis quote she blogged. Then, in an interview with The Guardian in August, the country-pop crossover came clean. “[Having a relationship] isn’t really possible right now. It just doesn’t seem like a possibility in the near future. It doesn’t ever work.”

Swift – whose lovably goofy Colgate grin and Appalachian drawl make her the tween dream to take home to your parents – isn’t exactly intimidating, but she’s tougher in person than you’d expect. There’s an emotional grit to her new songs that may surprise the legions of fans who scream and cry along to “We Are Never Ever Getting Back Together” on Vlogs and dissect Tay’s lyrics for relationship advice. The message in lead single “Shake It Off” is pretty clear: stop being a dick on Twitter. “Heartbreakers gonna break, break, break, break, break. And the fakers gonna fake, fake, fake, fake, fake. Baby, I’m just gonna shake it off,” chants Swift, pleading for the demise of social media trolls and take-down tormentors.

Gliding towards me with a puppet-like weightlessness, the singer balances a latte on the flat of her hand. “Twitter’s dark underbelly is that it gives people a veil of anonymity: they can have a terrible day at work, and feel awful about themselves, and then come home and get drunk and call someone ugly on Instagram,” she laments. “If people don’t have anyone to talk to about [their problems], they go online and just say wicked, gross, cruel, mean-spirited things about people. I wrote ‘Shake It Off’ for my own situation, but also for the situation that everyone finds themselves in now. It’s not a celebrity issue, it’s a people issue.”

Elsewhere, the album’s closer “Clean”, co-written by Imogen Heap, is a true-blue confessional about the lingering hurt of a shattered relationship. Swift tells me its parting shot, “Ten months sober, I won’t give in, now that I’m clean, I’m never going to risk it” is her top lyric on the record. It’s a tantalising analogy about heartache and the single life. Compare it to her favourite moment from Red —– “You call me up again just to break me like a promise” sung on the Jake Gyllenhaal break-up anthem, “All Too Well” — and it’s clear Swift is feeling decisive.

Taylor wears Marc Jacobs.

“I’ve been with myself for so long now, I like it,” admits the singer, who’s also been linked with John Mayer, Taylor Lautner and Joe Jonas in the past. “I’m not willing to give up that independence for anyone. Basically, there’s the tiniest, tiniest, tiniest chance you might find someone you can have a real and long-lasting relationship with. In my teenage years, I was enamoured by the idea of romance because I thought it was going to be this ‘happily ever after’ situation. Wait!” she says, as if to skewer our tense start, “is that my damned hat my publicist is wearing? She looks great in it!”

If a little emotionally damaged, sonically 1989 is anything but difficult. In fact, Swift has discussed her fear of the “tricky” fifth album. In her eyes, many artists reach a stage in their career where textures and otherworldliness replace focused melodies and heartfelt messages. “Samples and beat-dropping and pointless collaborations…, there are a lot of different ways that you can get distracted from the fact that people just want to listen to a good song,” she says. Don’t expect any build and drop action — modern pop’s dire signature move. Instead, 1989 references the whip-crack productions of 80s maestros Phil Collins, Giorgio Moroder and The Human League, rather than towing the line.

Co-producer Jack Antonoff’s skittering beatwork for “Out of The Woods” — a paean to broken kinship that many have said nods to her fling with Harry Styles — is a million miles from any of RedOne’s or Stargate’s tired, floor-ready recitals. For millennials who spent their uni days stealing snogs at 80s nights, the bold, massive, marching drum-led tune will ring loud. Then there’s brilliant opener “Welcome To New York”, where droning “Electric Dreams”-esque synths meet calls to “dance to a new soundtrack…”, to “dance to this beat forevermore.”

But Pro-Tools pop hasn’t always done it for Swift, whose self-titled 2006 debut, and follow-up Fearless, introduced Gen Y to her spur rattlin’, straw gnawin’ tunethems. Sweet as cherry pie, those early albums evoked a romanticised, provincial America, where neighbourhood crushes and chords stood in for STDs and speeding cars. Rounding up hordes of accolades — including a Grammy for Album of the Year, Fearless remains the most awarded album in country music history, and added to the singer’s towering 200+ trophy count.

The moment Swift introduced 1989 as her “very first documented, official pop album” and swapped crocodile shoes for a snapback in the video for “Shake It Off”, all heck broke loose. “And sorry Country Music Hall of Fame,” ranted SavingCountryMusic.com, “but your education wing is forever named after a pop star who has officially featured twerking asses in one of her videos.” In a Rolling Stone piece, Scott Borchetta, CEO at record label Big Machine, predicted country radio stations won’t “keep playing a pop song simply because it’s her [anymore]” And the reality? The song wedged a solid entry in Billboard’s Country Airplay charts on its August release. “This was sort of the final phase of the sonic evolution I feel I’ve been on for the last couple of years,” she explains. “I’ve been experimenting with pop sensibilities and then on my last record [2012’s Red], I got attached to it. That’s the wonderful thing about trying as many different ways of writing music as possible; discoveries.”

Taylor wears Marc Jacobs.

On a recent Reddit thread about “Shake It Off”, one fan theorised that Swift releases singles merely to draw people in, and that the album’s nectar — the sweet, honest and deliciously composed lullabies she’s known for — is found within. She agrees, and isn’t surprised by the depth of analysis. Notoriously, Swiftian Fundamentalists spend hours unpicking Tay’s liner notes for hidden messages and themes. Scan through Red’s title track and recurring letters “S.A.G” are a nod, fans claim, to Sagittarius, Gyllenhaal’s star sign. 1989, Swift says, is just as cryptic. “I think people want art to have layers,” she says. “I think that they want to know that there’s a meaning and a story and a cast of characters behind a song. I think they want a visual reference, they want to know that there are secrets that they have the option of figuring out.” Thank The Dixie Chicks, one of the singer’s childhood crushes, for this. Their 1999 album Fly is packed with imagery, codes and motifs. “In the artwork, they were dressed up like flies,” she remembers. “In another, the band were on rockets. I just thought it was cool that they had a visual theme, and things like that inspired me to make sure that each album has its own specific look and vibe.”

The album’s deluxe version comes with original voice memos, revealing a slightly croaky-voiced Swift recording ideas in the middle of the night. You can hear a bare bones version of ballad “I Know Places”, later sent to collaborator Ryan Tedder of One Republic. “You can hear me talking to him on it,” chuckles Swift. “’Hey Ryan, if you don’t like it that’s totally fine, I’ll just send you something else. But I want to write a song about us against the world — everybody’s trying to figure us out and we have to keep it secret.’”

There were early signs that 1989 was Swift’s most anticipated record to date, and that the songstress only had to sneeze and she had a hit on her hands. On October 21, Universal launched a new song titled “Track 3”, but the file was corrupted. The release came out as eight seconds of white noise, but it rocketed to the top of the Canadian iTunes Charts anyway. Was this Swift’s radical, abortive new direction? Was she the next Merzbow? Fans, it seems, will stand by her through anything. In a year where no artist has sold over a million records, Billboard anticipated 1989 would shift 800,000 in its first week.

Of course, martyrdom has its pitfalls. In May 2013, a man was arrested after clambering out of the Atlantic ocean claiming he had swum two miles to get to Swift’s home in Watch Hill, Rhode Island. Then, back in February, a follower tore onstage during a show at London’s O2 arena to pass his queen seraph a note. A fan-shot video of the incident is terrifying to watch, but close-up snaps show a calm and smiling star accept the gesture. “Oh, I’ve got a whole file full of creepy guy stories,” she laughs. “I think the thing that scares me a little is that they honestly don’t know that they’re acting out of line. They don’t understand that kidnapping me would be inappropriate and something I might not enjoy. It’s not like they think, ‘If I’m locked out of the gate outside her house, it means I’m not invited.’ It’s more like, ‘I need to climb over the shrubbery.’”

Taylor wears blue long sleeve collared jacket and light blue embroidered cotton shirt by Prada.

In dealing with awkward confrontations, Swift is the pop world’s doyenne. Since teenhood, she’s surfed board meetings with middle aged label heads and been doted upon by pruned country music patrons. Growing up on a Christmas tree farm in The Cumru Township in Pennsylvania, as a pre-teen she penned a song for a Maybelline project and travelled to Nashville to hand out demos around the famous Music Row, an area home to swarms of record companies. A year down the line, the Swift family upped and moved to rural Tennessee to explore their daughter’s growing potential. A publishing deal with Sony came shortly after.

These days, between hanging with full time ride-or-dies Lorde, Ed Sheeran and Lena Dunham (who DMd her on Twitter to ask, “Can we be friends?”), she’s trying her hand at acting. 2009’s debut screen stint was as troubled-teen-turned-murder-victim Hayley Jones in CSI, and her part as Elaine in last year’s Fox series New Girl saw Swift hook up with Satya Bhabha’s character on his wedding day. This year she stars, albeit briefly, in The Giver alongside Meryl Streep and Jeff Bridges. “The producers approached me about the role backstage after a show,” she explains. “They’d watched my performance of ‘All Too Well’ at the Grammys, and said that it was the exact emotion they were looking for. Openness and vulnerability, I guess.”

Rumours of between-takes jam sessions with her co-stars started circulating in August. Picture it: you can almost smell the rum from Streep’s glass as she croons through “Freebird” to Swift’s dulcet Wurlitzer. In the corner, Bridges and cohorts Brenton Thwaites, Cameron Monaghan and Alexander Skarsgård swill their tumblers on barber shop quartet-duty. How raucous did it get? “Wouldn’t you like to know?” Swift jabs playfully, rocking a poker face so unbroken you can hear the bubbles fizz in her mug. “You’re so nosy over there. You know what the headline would be if I were to admit to that…. Wouldn’t that be a good quote?” Just when I thought I might actually be getting a bollocking, Tay runs for her phone to show me a picture of her cat. “Look,” she yelps. “It’s so long!”

I like the feel of this dogged, righteous new Taylor Swift. On 1989, all the clues are there. It’s the story of a girl who grew up, who finally found herself, who forgot all she knew and made something of it. The record’s nostalgia-flavoured fables of self-reliance, regrettable memories, and nights in the ditch looking up at the stars aren’t songs of sadness, they’re building blocks. “I could build a castle out of the bricks they threw at me,” read a scribbled note on Instragram on October 26. “@Taylorswift. Born in 1989.”

The post Taylor Swift appeared first on Wonderland.

Last issue we brought you the meanest of the Mean Girls and this time it’s the most heavenly of heroins. We thought long and hard about who reigns Queen in the land of pop purity. The question remained, who better than one-time Wonderland cover girl Taylor Swift? (Cue X-Factor voice over) The 7-time Grammy winner, multi-platinum selling, global superstar, with over 75 million downloads worldwide and the only female artist in history to have 3 consecutive number 1 albums. The answer: Noone. We caught up with a little more mature, more open and more LOLz Taylor about her love life, or lack thereof, the hidden messages she embeds into her lyrics and her desire to make a really unpretentious yet nonconforming pop album. We go behind the scenes with TayTay in a film by Sharna Osborne.

Film: Sharna Osborne

Fashion Editor: Danielle Emerson

Hair: Karin Bigler

Makeup: Maxine Leonard

Manicurist: Ami Streets

Photographer: Thomas Whiteside

Song: Pipalotti Rist

The post Video: Taylor Swift for Wonderland appeared first on Wonderland.

Shake it off with the Princess of Pop

TAYLOR SWIFT

The teen dream WILLOW SMITH

Head over heels with HEDI SLIMANE

A double fantasy PERFUME GENIUS X PORTISHEAD

In la la land with TINASHE

Last issue we brought you the meanest of the Mean Girls and this time it’s the most heavenly of heroins. We thought long and hard about who reigns Queen in the land of pop purity. The question remained, who better than one-time Wonderland cover girl Taylor Swift? (Cue X-Factor voice over) The 7-time Grammy winner, multi-platinum selling, global superstar, with over 75 million downloads worldwide and the only female artist in history to have 3 consecutive number 1 albums. The answer: Noone. We caught up with a little more mature, more open and more LOLz Taylor about her love life, or lack thereof, the hidden messages she embeds into her lyrics and her desire to make a really unpretentious yet nonconforming pop album.

Elsewhere in the issue you’ll find 13 year-old Roc-Nation signee Willow Smith whipping her hair back and forth, Mona Matsuoka with crazy braids, Devon Windsor equipped with pristine Farrah Fawcett ‘do courtesy of Wonderland’s Fashion Director Matthew Josephs and hair-goddess Roxy Attard and Perfume Genius shot in LA by Hedi Slimane –  get your hands on all 322 pages this Thursday.

ON SALE IN SHOPS THIS THURSDAY, PRE-ORDER AT MAGAZINECAFE.CO.UK.

FASHION EDITOR: Danielle Emerson

PHOTOGRAPHER: Thomas Whiteside

Taylor wears BOSS.

The post WONDERLAND NOV/DEC ISSUE – OUT THURSDAY! appeared first on Wonderland.