Under the Influence Magazine

Under The Influence is an independently published, art fashion magazine bringing together collected works from established and emerging photographers, stylists, artists and writers to create a visually beautiful, distinct publication. It is a creative challenge, an exchange of ideas surrounding one theme.

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Holly Rose Emery in our beauty series for the ART ISSUE by the super talent Donna Trope, with makeup by our beauty director Georgina Graham. Styling by Masha Orlov and hair by Romina Manenti.

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#HollyRoseEmery #DonnaTrope #GeorginaGraham #Beauty #UnderTheInfluenceMagazine

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Under the Influence issue 14 - THE ART ISSUE - out now. 

COVER: Luca Gadjus photographed by Arnaud Lajeunie 

PROFILES: Controversial artist Dinos Chapman photographed by world renowned portrait photographer Nadav Kander, rising new talent Shonagh Marshall curator of fashion at Somerset house, artist and president of the Royal Academy of Arts Christopher Le Brun and artist and model Phoebe Collings-James.

FEATURES: Fondation Cartier curators Grazia Quaroni and Helene Kelmachter in conversation, German jewellery house Hemmerle, art director and photographer Éric Nehr, his students at CEPV and fashion house Yohji Yamamoto, artist Omer Fast and an exclusive series of work created by pioneer of Italian post-modern design and co-founder of the Memphis Group Nathalie Du Pasquier. 

INTERVIEWS AND PORTFOLIOS: Artist Yinka Shonibare OBE, photorealist painter John Kacere, artist and musician Jeremy Shaw, photographer Bill Henson and a curated conversation between The Photographers’ Gallery director Brett Rogers OBE and groundbreaking artist and fashion photographer Viviane Sassen.

FASHION BY: Arnaud Lajeunie, Janneke Van Der Hagen, Donna Trope, Greta Ilieva, Chadwick Tyler, Sarah Piantadosi, David Hughes, Benoît Béthume, Vanessa Coyle, Jack Borkett, Masha Orlov and more…

MUSIC:  Gazelle Twin, Josephine Foster and exclusive music mix by Grumbling Fur.  

ESSAYS AND FICTIONS: Performance piece by artist Laure Prouvost, art critic Ossian Ward on decoding modern art and Whitechapel Gallery curator Emily Butler on Translation and more…

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In our current issue, Susan Connie Marsh speaks to artist and photographer Will McBride about his life and work. Accompanied by a portfolio of the artist.

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ON SET: We are Six with Eric Nehr, June Nakamoto, Karin Westerlund, Bruno Silvani, Eleonora Baumann, Eva Downey, Paulina Heiler, Liah Cecchellero, Mae Lapres and Julia Shvets.

Photography by Xavier Encinas.

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Brooke Shields

Olivia Jasmine Singer speaks to actress Brooke Shields on coming of age at Studio 54, her controversial role in Louis Malle’s Pretty Baby and how growing up in the spotlight has affected her life.

Photography by Michael Avedon.

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Tristan Hoare speaks to Bella Freud about growing up as her father’s model, her childhood and developing a clothing line outside of the rigorous confines of commercial convention. Photography by Susan Connie Marsh

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Julia Peirone Eleanor Lindsay-Fynn discusses Julia Peirone’s photography of teenagers, accompanied by a photographic portfolio.

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In this new issue, film director Rebecca Thomas chats with Rory Culkin about their experience working together on Electrick Children. 

Photography by Jody Rogac.

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THE MIRROR STAGE – Photography by Benjamin Bouchet. Styling by Julie Nivert.

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BOYZ II MEN – Callum Ball, Jack Taffel, Laurie Howarth, Tarunjit Nijjer, Tom Gaskin, Axl Cavell, James Hoar, Joe Brotherton, JJ, Euan Swanborough and Jamie Wates photographed by Laurence Ellis. Styling by Harry Lambert.

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BREAKFAST CLUB – Mica Argañaraz, Pau Bertolini, Hanna Verhees, Josué Comoe, Luca Fixy, Tamy Glauser, Jamily Meurer photographed by Misha Taylor. Styling by Georgia Pendelbury.

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ONE GIRL IS WORTH MORE USE THAN 20 BOYS – Kirsi Pyrhonen photographed by Ben Toms. Styling by Celestine Cooney.

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SMELLS LIKE TEEN SPIRIT – Elena Bartels photographed by Emma Tempest. Styling by Pandora Lennard. 

Coming of Age issue, Out Now!

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WE ARE SIX – Eleonora Baumann, Eva Downey, Paulina Heiler, Liah Cecchellero, Mae Lapres and Julia Shvets photographed by Eric Nehr. Styling by June Nakamoto.

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HOME ALONE – Alexa Yudina photographed by Greta Ilieva. Styling by Jack Borkett.

Under the Influence #12, The Coming of Age issue, out now!

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Introducing our 12th edition...  The Coming of Age issue with our cover star Brooke Shields photographed by Michael Avedon. Featuring: Brooke Shields, Rory Culkin, Bella Freud, Will McBride, Jock Sturges, Bettina Rheims, Tom Wood, Quentin Blake, Thurston Moore... Fashion stories by Greta Ilieva, Emma Tempest, Ben Toms, Misha Taylor, Eric Nehr, Benjamin Bouchet and Laurence Ellis. Available May 15th.

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In light of today's news that Margaret Thatcher passed away, social media and news outlets have been spun into a frenzy of commentary, oscillating between comparisons between contemporary Conservative austerity measures and Thatcherite milk-snatching, outrage at the idea of a state funeral, all the way to utter despair and mourning of one of the United Kingdom's most infamous Prime Ministers. We are republishing some of our favourite archive pieces from our Thatcher's Children issue in 2010 for those of you without a copy in hand…

  Photography & words by Martin Shakeshaft

The 1984/85 Miners’ Strike started when the Conservative government, led by Margaret Thatcher, announced the closure of Cortonwood Colliery in Yorkshire. This was to be the first of 20 pit closures with the loss of 20,000 jobs. The National Union of Mineworkers (NUM) responded by calling for a national strike.

The strike became one of the longest and bitterest industrial disputes in British history.

- 165,000 workers were involved - 11,312 people were arrested  - 5,653 on trial - 200 people in prison - 960 sacked - the dispute lasted a year

After 51 weeks on strike, a special delegate conference of the NUM voted by 98 to 91 votes to return to work. At the beginning of the dispute there were 170 deep working mines in the United Kingdom, there are now four.

After strikes in 1974 were seen to be responsible for the defeat of the previous Conservative administration, many accused Margaret Thatcher of engineering a battle to settle old scores. With the vanguard of the trade union movement, the NUM out of the way, she would then be free to introduce sweeping changes in employment legislation.

As a young photojournalist I concentrated on covering the effects of the dispute in South Wales. Initially most publications were looking for picket line images, but as the months went by I realised that it was important to portray the wider picture, looking at the effect that the dispute was having on community and family life. In many of the South Wales communities the whole economic prosperity of the area revolved around the pits. There were hardly any other industries in the area, so in the words of an often seen placard of the time ‘if you close a pit you close a community’.

Stepping aside from the rights and wrongs of the issue, even if you agreed with the premise, that there had to be big changes in the mining industry, the real issue was how these changes would be implemented and the prosperity and wellbeing of the communities protected. The reality was that pits were closed and communities left to fend, largely for themselves. A report by the Governments Coalfield Task Force in 1998 reported: …we have been left in no doubt about the scale of deprivation and decline. But what makes the coalfields special is the context in which this decline has taken place. They have a unique combination of concentrated joblessness, physical isolation, poor infrastructure and severe health problems.

Twenty-five years later we are still paying for the consequences of the government’s actions. After pit closures some of the miners never worked again and have been dependant on benefits ever since. Ironically in a world where energy reserves are becoming more and more valuable and scarce, years of coal reserves were left underground.

As an after note to the tale, one of the South Wales collieries, Tower was bought back by the miners after it was closed as being ‘uneconomic’. In the first year of operation they made four million pounds profit, before tax.

Originally published in Under the Influence #7, The Thatcher's Children issue (Spring/Summer 2010).