Triumph Lingerie

Illustration by Echo Morgan.
Hair and Make Up by Juliana Sergot.
Shot at Trackside Studios, London.

Mary Katrantzou SS13

Bjork at Bestival

Bestival 2012

Tythe ‘Let The Dance End’ (Sunday Best Recordings)

Condé Nast (US) for Samsung.

Be inside of the Vase


With silent strength a tiny naked figure walks out of the darkness and through the small crowd. She is painted white with shards of blue. Blurring in the dim light, she circles, quiet envelopes the at once enchanted room.

For a moment I too fall under her spell.

Reflex lifts my camera and now behind the protection of its elements my composure returns.

I am knowingly part of this plot and as the story unfolds I play my part. I am boyfriend and helpless protector, I am a co-conspirator tasked with documenting as the magic unfold.

I have seen so many people crying during Echo’s performances. She visits painful places of her past, from her childhood and China floods out. Her stories are hard and sometimes brutal, their truth always draws you in.

The performance, ‘Be the Inside of the Vase’ was divided into two parts and addressed the sexually political and starkly contrasting statements made by her parents.

“Women should be like vase, smooth, decorative and empty inside! ”

“Don’t be a vase, pretty but empty inside, be the inside, be the quality!”

I have heard this song before but never like this. Echo’s voice quivers and shakes as another balloon explodes in her face, a direct hit.  Unease floods from the neon pools.

With tears running down their faces two friends console each other at Echo’s pain, her sadness and misfortune.

I feel aside from this, we have a strategy.  This is a performance where the pain is honest and true but it’s home is elsewhere.  ­­

Camille O’Sullivan


Performance and story telling are two subjects that really excite me. Camille O’Sullivan does both these in a much more direct and uncompromising way than most.

Yesterday I went to the Turbine Hall at the Tate Modern to see Tino Sehgal’s ‘Constructed Situation’. I discovered it is beautifully illusive and, ingeniously, quite unique for each individual that views it.

I will not spoil the experience but during part of the performance people flow around you with what seem like well rehearsed but random set of movements based on a predetermined set of criteria: follow, mirror, evade, confront, hide, chase, flee, attract, repel.  I spent ages trying to work it out.

The performers are exaggeratedly alive with a great individual energy but also appear inextricably linked to each other giving the feeling of one single body.

It is very beautiful, engaging and thought provoking, three essential ingredients to performance which I believe Camille O’Sullivan also commands and which I always strive to achieve in my own work.

It’s always one of my main goals with each portrait commission, trying to understand a little about what makes each individual tick and with Camille I feel it is which she proclaims on the cover of her new album, a ‘Changeling’.

On the photo shoot throughout the day she performs the roles we have planed and discussed but it’s not until nearly at the end, when we are on the stage, that she really comes alive.

During a moment of downtime I steel a shot, she is childish and vulnerable and I feel for the first time I understand her just a little more.

Rome Vespa

Paul Merton

little red flower