“God Save the Queen of Fashion: Vivienne Westwood”
Back in London after several years in Los Angeles, my dear friend, the late journalist Lester Middlehurst, could not wait to take me out on the London party scene. It was all a little overwhelming on our first outing — the launch of Naomi Campbell’s first album.
As we pushed through the excitable crowd onto the red carpet, Lester whispered, “You’re not actually invited. I only have one invite — we’ll just blag you in.” In true Lester style, blag me in he did, leaving my face as red as the carpet and my hands shaking. Blagging is not my forte, and I stood there clutching my glass of champagne, feeling far less confident than I looked.
It felt like I was the only person among the assembled celebrity guests I had never heard of.
My nerves were soon eased when a lovely woman with a soft Yorkshire accent asked, “How are you tonight? You look great.” It was none other than the wonderful and grounded Vivienne Westwood.
Unlike many of the politely named “meerkats” I encountered over the years — people constantly looking over your shoulder to see if someone more important had arrived — Vivienne was genuinely interested. When I told her I’d owned a pair of her bondage trousers at just seventeen, she laughed and listened. Several people tried to interrupt us, and she politely told them she was talking to me.
That first London social event is one I will never forget, thanks to Vivienne.
With her down-to-earth, no-nonsense charm, she didn’t just change fashion — she changed how we saw designers. Outrageous, camp, fun, and fearless, she was arguably the woman we all wished could be our friend.
In my teens, I once took my mum for a treat day out to King’s Road when I was sixteen. We sat opposite the famous shop Sex, run by Vivienne and Malcolm McLaren. My mum was not ready for the vibe. Spotting what she thought was a giant tampon in the window, she let out a small scream — and that was the end of our day out.
Whether telling Kate Moss that she’d fancy her if she were gay, challenging older generations with “We don’t accept your values,” promoting the Green Party, stripping for PETA, or mocking then–Prime Minister Margaret Thatcher on the cover of Tatler, Vivienne was never afraid to stand on the front line.
Her origins lay in slogan T-shirts. With Malcolm, she designed provocative clothing that led to prosecution under the 1959 Obscene Publications Act. They responded by rebranding the shop, and later opening Seditionaries. Around the same time, the Sex Pistols — managed by Malcolm — released God Save the Queen, a chart-topper banned by the BBC.
Punk was born, and Vivienne led it.
Long before “fifty shades” became fashionable, she brought taboo, fetish, and fantasy into mainstream culture. She inspired artists like Madonna and helped people express themselves boldly through clothing.
Despite her anti-establishment views, she became one of the world’s top designers. She won Fashion Designer of the Year in 1990 and 1991 from the British Fashion Council. She received an OBE from Queen Elizabeth II in 1992 and was made a Dame in 2006.
In 1992, she introduced wedding gowns into her collections. One of her designs famously appeared in Sex and the City, when Mr Big gifts Carrie her dress.
It shocked many when her death was announced in December 2022 — and that this ageless woman was 81. She passed away peacefully, surrounded by family, in Clapham, South London.
Many people enter this world hoping to leave their mark. The soft-spoken Yorkshire girl left her mark on everyone she met — and an indelible stamp on global fashion.
If you’re looking for art that truly stands out—something with edge, intellect and a distinct Italian flavour—then Italian-born artist Ernesto Romano is a name worth seeking out.
Romano lives and works in London, where his practice reaches far beyond the surface of the body and into its very core. Based at the remarkable FirePit Gallery, just moments from The O2, he creates work that is as visually seductive as it is intellectually provocative. This is the kind of art that stops people in their tracks—the portrait no one else has, and the talking point everyone wants.
At the heart of Romano’s work is an extraordinary and deeply personal source material: his own medical records. X-rays, MRIs and internal scans of his body are transformed into striking, often playful artworks that quietly ask some of life’s biggest questions. “I am progressively dissecting myself,” he says with a smile. By stripping the body of its external markers—fashion, status, wealth and adornment—Romano reveals a powerful truth: beneath it all, we are equal. Bones, organs and neural structures carry no hierarchy. Jewels mean nothing here.
And yet, paradoxically, jewels and decoration frequently appear in his work. Glitter, gold leaf and even diamond dust sit alongside stark medical imagery, creating a fascinating tension between what lies beneath the skin and the sparkle we use to present ourselves to the world. Bold colour is central to his practice, an influence he traces back to Pop Art, and for Romano, colour is inseparable from life itself. It is a celebration of being alive, of being human. You can easily imagine his work echoing the iconic glamour of Andy Warhol’s portraits of Marilyn, and being sought after by collectors and celebrities alike.
Research plays a vital role in his creative process. Romano spends countless hours studying historical anatomical drawings, medical imagery and scientific material. He is also deeply inspired by documentaries about the Universe. Reflecting on humanity’s origins and our place within something so vast can feel overwhelming, he admits, but it is precisely that sense of scale that fuels his creativity. Big questions, after all, lead to bold ideas.
At the core of his practice is an ongoing, almost forensic exploration of his own body. Each project focuses on a different internal element, analysed, reimagined and transformed. His most recent work centres on the brain: a three-dimensional print created from an MRI scan converted into a digital 3D file. Next, he hopes, will be the heart—both literally and conceptually.
Romano cites Damien Hirst as a key influence, particularly in terms of colour, though he is careful to stress that his admiration is selective. If he could own any artwork, Guido Reni’s Ecce Homo would be high on the list, while in the contemporary world he is drawn to the visceral, energetic paintings of Riccardo Cinalli, which he describes as full of carnality and pathos.
Originally trained as an architect, Romano brings a strong sense of proportion, balance and material awareness to his art. Architecture taught him the emotional power of simplicity, the relationship between order and chaos, and the importance of restraint. “Less is more,” he says, echoing Mies van der Rohe—a philosophy that underpins even his most glittering works.
Away from the studio, his passions are quieter but no less revealing. If he weren’t an artist, he would be a botanist. He grows flowers from seed and finds the process meditative—a gentle counterpoint to the intensity of his conceptual work. Electronic music provides the soundtrack to his studio hours, while Stephen Hawking’s The Universe in a Nutshellremains his favourite book, a fitting choice for an artist fascinated by existence, origin and meaning.
Looking ahead, Romano dreams of showing his work in unconventional settings. A techno club such as Berghain, housed in a former power station, feels like a natural fit—raw, industrial and immersive. He imagines his pieces on a monumental scale, backlit like giant lightboxes, vibrating with sound and energy. He has already made an international impact, having spent three months working in Shanghai, and his ambitions continue to expand globally.
Ask him where he sees himself in ten years and the answer is simple and quietly confident: at home, making exciting new work for another exhibition somewhere in the world, tea in hand, surrounded by plants. Always moving forward. Always creating.
It’s All Hanky Panky as the London Fetish Film Festival Returns
It is all hanky-panky as the London Fetish Film Festival returns for its seventh year, once again lifting the curtain on a world that many people are curious about, some quietly participate in, and others still regard as taboo. Fetish, after all, has always occupied that fascinating space between the private and the performative, the misunderstood and the mythologised.
Long before hashtags and streaming platforms, Madonna helped drag fetish culture into the mainstream. In the 1990s she didn’t just flirt with provocation; she weaponised it. Her song Hanky Panky cheekily suggested there was nothing quite like a good spanking, while her 1992 book Sex boldly invited readers to explore fantasies ranging from bondage and domination to submission and exhibitionism. What had once been whispered about behind closed doors was suddenly glossy, photographed, and unapologetically public. Madonna didn’t just shock — she reframed desire as something to be examined rather than hidden, daring readers to “make love in Paris” or “let her be your mistress”.
Then came Fifty Shades of Grey, which flew off bookshop shelves and dominated bestseller lists. Its story of a young woman entering a sexually dominant relationship with a billionaire reignited debates about power, consent, and feminism. Critics argued it set women’s liberation back decades, yet the reality was more nuanced. I couldn’t help noticing how many women were reading it openly — on trains, on planes, in cafés — suggesting that whatever the book’s flaws, it tapped into something real and widespread.
50 shades spanking .
It’s often said that one in three of us has a submissive side. But I’ve always wondered: if the dominant figure in Fifty Shades lived in a council flat rather than a penthouse, would the story have been as romanticised? Or would he have been slapped, arrested, or both? Wealth and aesthetics, it seems, can dramatically change how power dynamics are perceived.
Of course, fetish itself is nothing new. Evidence of flagellation, bondage, and erotic imagery can be traced back to cave drawings, ancient Egypt, and the Roman Empire, who were particularly enthusiastic when it came to indulgence. Some argue certain fetishes may stem from childhood trauma, but that’s a conversation for another article entirely.
Like many people coming of age in the 1990s, I wore the leather trousers and biker jacket, blissfully unaware that I was echoing a long-standing visual language of rebellion and desire well thats what I tell people . Clubs embraced biker and fetish aesthetics, encouraging people to explore what was often described as their “forbidden side”. London saw nights like Torture Garden spring up at venues such as the Hoist, while across the Atlantic the New York gay scene was already miles ahead. The Eagle, with its hyper-masculine leather culture in the 70s and 80s, set a template that still influences fetish spaces today.
I once thought of myself as very liberal and worldly — until Florida taught me otherwise. In a celebrity-frequented club with a strong fetish theme, people dressed as if they’d stepped straight out of Madonna’s Sex era or a George Michael video, playing with master-and-slave imagery. Much of it felt like cosplay: people loved the look but many would run a mile if a leather daddy’s belt actually landed near them. They admired the surface without really understanding the psychology beneath it.
Tom Of Finland fantasy .
Over the years, many dominatrices have told me the same thing: a large number of their clients are men who hold immense power in everyday life — heads of companies, senior military figures, decision-makers used to absolute control. For an hour or two, giving that control away can be a profound relief. When discussed openly and practised safely, role-play can even strengthen relationships. Yet for a small section of society, this isn’t theatre at all — it’s identity.
One moment in particular floored me. A man at a club stared at me so intensely it became unsettling. My friend eventually asked him what he wanted. He vanished — or so we thought. Five minutes later, I felt something brush my ankles. Looking down, I discovered a man in a full black cat suit. My friend laughed and said, “It would happen to you.” I was told to at least stroke the poor thing. It was, quite literally, the last time I went for a pussy.
Just when you think you’ve seen it all.
Which brings me to cinema. While the Fifty Shades films were largely dismal, I was curious about what a gay equivalent might look like. After all, who didn’t fall for Alexander Skarsgård in True Blood? As a vampire who commanded worship and dismissal in equal measure, he embodied dominance with chilling ease.
The film Pillion, despite rave reviews, sadly fails on many levels to explain the dom-sub relationship. While I admire the decision to use real fetishists, it never quite lands emotionally. Ironically, it does highlight one truth often misunderstood: the submissive is frequently the one truly in control, setting boundaries and rules. Beyond that, the sex scenes are oddly cold, and I found myself more worried about the dogs tied up and left alone than anything else.
There is a brilliant dom-sub film waiting to be made. Pillion isn’t it — not an amazing love story, not a revelatory exploration — but watching Alexander Skarsgård is reason enough to give it a look. That, of course, is just my opinion. Many people are raving about it.
The film is screening as part of the London Fetish Film Festival, and I’d urge you not to take my word alone. Dive in, make up your own mind, and perhaps discover that fetish, like all good cinema, tells us as much about ourselves as it does about what’s happening on screen.
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LFFF: Shorts Session 1
Saturday 21st February
4pm
93.47min run time
Featuring 8 short films
Tickets £12
Join us for a dripping new curation of ‘Fun Fetish’ and 2024 LFFF award winning short films!
Indulgent Delights
8mins 11secsAn electrifying front row seat as burlesque performer Leila Delicious adorns her body with
glitter.
Lee in Leatherland
6mins
The speaker, a queer man searching for the hypermasculine fantasy figures drawn by Tom
of Finland, journeys from Helsinki to London in pursuit of desire made flesh. In Vauxhall’s
clubs and darkrooms, he encounters the sweaty, neon-lit world of gay nightlife – full of
longing, bravado, and disappointment.
Darwin Fantasia
10mins 56secs
Canela immerses herself in Darwin’s studies on the plant world, focusing particularly on The
Fertilisation of Orchids. As she explores the meticulous accounts of interactions between
plants and insects, she discovers something that goes beyond mere survival: a web of
curiosity, play, and pleasure that also seems to captivate the naturalist himself.
2024 Award Winners: Best Short + Best Screenplay
A Pacific Touch
37mins 43secs
This is a story about love. Isolation, and an unusual obsession. Alexei , a young man,
becomes consumed by his passion for his new wallpaper, slowly withdrawing from the world
outside. As he drifts deeper into his fixation, Texture Pasifique explores the limits of love and
obsession, revealing the complexities of intimacy with both people and objects.
Jacked Out
7mins 53secs
What is a virtual pet in an era of mass surveillance? Jack out of the Y2KAGE in this erotic
hauntology film probing the persistent feedback loops of future’s past in our present, forces
of technological dominance, and virtual pets unleashed!
2024 Award Winners: Best Animation
Klimax
2min 47secs
Klimax explores the topic of female masturbation in order to redefine the already negatively
connoted image of the female sex and thus strives to create new aesthetic associations of
femininity. Our main protagonist, Barbie, undergoes a process of transformation.
My Perfect Dolly
17mins
A pretty pink dollification scene with two non-binary plus size femmes, followed by a
conversation.
Lupae x Hardwerk4mins 37secs
LFFF: Shorts Session 2
Saturday 21st February
6:30pm
Full run time with interval 149.24mins
Featuring 20 short films
Tickets £15
Join us for a dripping new curation of Kink Art, Fetish Horror and 2024 LFFF award winning
short films!
The Nest
7mins
It’s the first night he’s bringing someone home. They must be quiet.
2024 Award Winners: Best Edit
What if I Told You to
4mins 21secs
Official music video
2024 Award Winners: Best Comedy
Squeegee
10mins 54secs
A high-powered businesswoman meets a high-rise window-washer for an erotic rendezvous
on opposite sides of her skyscraper window.
Fetish
21mins
Oddball Clark meets the girl of his dreams, but the relationship is threatened by his foot
fetish.
2024 Award Winners: Best Production Design
The Debutante
14mins 35secs
When a young woman agrees to satisfy a peculiar request in exchange for a luxurious pair of
shoes, what begins as a simple act of submission soon spirals out of, and then into, control –
reshaping her identity and his shoe collection.
Guro
7minsIn the harsh Arctic landscape of Longyearbyen, Guro meets a mysterious client for a
straightforward transaction. However, as they travel together along the isolated, icy roads,
the client makes an unusual request that tests Guro in unexpected ways.
Virgin X – Billionaires
2mins 18secs
Official music video
20 MINS INTERVAL
Operotica: Stabat Mater
4mins 22secs
A music video for Operotica’s re-orchestration of the first movement of Pergolesi’s Stabat
Mater, featuring Operotica as latex-clad nuns, rigged together with shibari by Dominatrix
Veronica Viper. The awkwardness of their positioning reflects the close suspensions in the
music
Virgin X – Splinters
3mins 25secs
Official music video
Bath Bomb
9mins 55secs
A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but
after an accusation of infidelity, things take a deeply disturbing turn.
2024 Award Winners: Best Sound Design
Mutations of Desire
5mins 27secs
A queer tribute to the Cronenberg film, Deadringers. Sade and Odette create a disorienting
world of latex, strange medical instruments, and hallucination.
Woman ASMR
4mins 25secs
A woman and her microphone provide an erotic autonomous sensory meridian response.
Virgin X – Shame
3mins 48secs
Official music video
2024 Award Winners: Yes it’s F*cking Political
Dori Dori
3mins 39secs
In a world that tries to suppress who you are, Sara ATH shows
us that the soul can’t be caged and takes a stand against the shame and silencing of her
fellow queers. Rapping in Arabic, it’s her turn on the mic to sing out loud who she is and howproud she is – a rebellious act that may bar her from ever returning to her home country.
Symbolising the internal battles of accepting your sexuality and grappling with self-identity,
the music video explores the liberation and eventual acceptance of queer existence and how
‘orgasmic’ this enlightenment feels.
Vanessa
5mins
Making love to an inanimate body; the mannequin Vanessa.
2024 Award Winners: Best Costume + Best Music Video
Virgin X – Fuck Myself
3mins 23secs
Official music video
Hyperion
1min 44secs
Hyperion is a high order penitentiary complex. Walls rewrite identity, silence reshapes desire,
and every exit demands transformation. No one leaves Hyperion, at least not without
fundamentally changing themselves.
Blood – Humanification
1min
An intriguing creature seems to have fallen from the sky, confused and unmoored. It will
witness how its passage through Earth shapes its body and its identity, and how, slowly, we
all end in the same cage when we betray ourselves. Even the most rare and bizarre can be
shaped to humanity. No one escapes.
2024 Award Winners: Best Kink Moment (Human Chopping Board)
Thing
10mins 50secs
The everyday life of a mistress and her furniture slave. When he suddenly disappears, they
find themselves in an identity crisis.
Moan
8mins 38secs
Framed against a blood red haze of stark crimson backdrops, the conclusive short film
MOAN presents a visually penetrating feast. The ultimate climactic crescendo sees
unsuspecting strangers thrust into the throws of breath-slick tension, curdling curiosity
ultimately ending in a hypnotic descent of all-consuming indulgent, auditory stimulation.
Throbbing suspense, washed out groans and the illicit breathy moans staining the lips of
those who dare pick up the phone. The voice, wet, sticky and intoxicatingly close.LFFF: Documentaries
Sunday 22nd February
2:30pm
83.33mins runtime
Tickets £10
Sex in Colour: Kinky and Loving It
48mins 33secs
KINKY AND LOVING IT is an empowering documentary highlighting the transformative
potential of reclamation. Celebrating how Black folks reclaim agency over their desires,
bodies, and identities, KINKY AND LOVING IT is a liberating journey into the transformative
power of radical acceptance, reclamation, and love within Black kink.
Mr. Bound & Gagged
35mins
“Bob Wingate and Lee Clauss, former publishers of the legendary Bound & Gagged
magazine, open the archive and the floodgates in this richly layered excavation of queer
kink, media history, and erotic resistance. Set against the backdrop of the Leather Archives
& Museum in Chicago, this candid portrait splices salacious nostalgia with radical politics,
tracing decades of defiant desire, artistic transgression, and unapologetic love. A necessary
tribute to two aging icons of the underground.
” (CUFF32)
LFFF: Inside Fetish
Sunday 22nd February
4:30pm
92.43mins runtime
Tickets £12
On The Erotics Of Stuffing Large Objects Into Small Spaces
15mins
Aexperimental film about the submissive desire for restrictive bondage. The subject – a single figure
locked in a dog crate, hooded and caged – shares his internal monologue: “This cage will never be
comfortable, though I find it deeply comforting.
Ripples: Libra
5mins 36secs
A Shibari short from Director Guillaume Pin
Oasis6mins 34secs
Shot with super8 camera in the desert of Joshua Tree , this film is about a Gay Asian Cowboy
reconnecting with a version of his younger self via ropes.
Breakfast Time
17mins 58secs
A raw, intimate documentary about a queer pup eating breakfast from his dog bowl. As he eats, a
candid voiceover unfolds – reflections on the nature of desire and disgust, failed relationships,
encounters with gay-bashing, and the feeling of isolation that comes along with stigmatized desire.
Sanguine
4mins 54secs
A love letter to blood accompanied by seraphic, breathy music. Beau Flex (they/them) meditates on
the strength of flesh in this ritualistic solo scene. Engaging in self piercing play, Beau focuses on
coaxing blood out of their thigh, producing round ruby droplets. As they smear the blood upon their
skin, they smile at the release in their art.
Babyblue
4mins 27scs
An exploration of tenderness and catharsis through needle play. Shot on Finn’s last day in New York
City, this performance symbolises goodbyes and a rite of passage to mark their way back home.
σάρξ [Sarx]
1min 59secs
A masochist mortification of the flesh. A perversion of prayer.
A.S.F.R. (alt.sex.fetish.robots.)
5mins
Vudhi K., a Thai ASFR practitioner, recounts the process of transformation and the moment his fetish
first took hold. A memory, a primal scene, a mercurial awakening. The drag of a brush against skin
blurs the boundary between subject and object, drone and human. Featuring performers Damian
Dragon and Botan Peony.
2024 Award Winners: Best Director
The Pleasure in Pain
18mins 28secs
An arthouse short documentary following key figures of the London kink scene on an exploration into
BDSM and the notorious fetish event Klub Verboten. The film touches upon themes of psychology,
trauma, LGBTQ+ rights and black representation.
2024 Award Winners: Best Documentary
Lasting Marks
14mins 47secs
The story of a group of men with shared sexual desires, lucky to have found each other yet
unfortunate to be considered criminal for expressing them.LFFF: A Body to Live In + Short Films
Sunday 22nd February
6:30pm
122.57mins runtime
Tickets £15
2024 Award Winners: Best Performer + Best Cinematography + Festival Director’s
Choice
Subspace
20mins 18secs
This love-story being dom and sub is a BDSM film that explores the intimacy and trust
between partners.
Starring Commander Ares and Roughkicks
Dir. Matt Lambert
2024 Award Winners: Best Art Direction
The Architect
4mins 39secs
Odette Engle performing a process of inverted architectural mapping on the suspended body
of Cute But Deadly.
A Body to Live In
1hr 38mins
A BODY TO LIVE IN is a feature film that traces the life and work of legendary photographer,
performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through
investigating the body modification movement and the trajectory of Fakir’s art career and
philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s
early experiments in body play and his photographic works from the 1940s and 50s as a
springboard, the film traces the body modification movement as it emerged in LGBT
subculture in the early 1970s. The film introduces us to early collaborative experimentation
at gay underground BDSM parties, leading to the first piercing shop, moving through the
radical faerie movement and the role of body modification during the AIDS epidemic, the
emergence of body-based performance art, and the rise of an entire subculture. Insights
from key figures including Annie Sprinkle, Ron Athey, Idexa Stern, Cléo Dubois, Jim Ward,
Midori, and others provoke deeper reflections about art making, surviving AIDS, and the
controversial collaging of various spiritual and cultural practices to build a philosophy.
Captured in static 16mm film portraits, A BODY TO LIVE IN unfolds conversationally
between Fakir’s archive of 100+ hours of unseen footage, and the voices of the canonical
elders of this movement, to create intergenerational dialog, question cultural responsibility,
and provoke larger ideas about the drive to transcend the limits of the body.Please do mention our 2026 sponsors and collaborators:
There are nights out, and then there are nights that feel like a rite of passage. One such evening found artist Piluca and myself stepping through the doors of the legendary Royal Vauxhall Tavern, to witness the singular brilliance of David Hoyle—a figure who exists somewhere between performer, prophet, poet, and living artwork.
I once described Hoyle as the love child of Kate Bush and Lindsay Kemp, and I stand by it. He is not merely an accomplished performer—with a career spanning television, film, and theatre—but an artist who uses his entire being as medium and message. Last year alone he appeared on stage in an adaptation of Hedda Gabler, proving once again that he is as comfortable in classical reinterpretation as he is in anarchic cabaret.
Hoyle is, quite simply, a walking piece of art. He cuts a vein—metaphorical, emotional, spiritual—and allows the audience to witness everything that spills out: his fears, his hopes, his contradictions. There is no armour, no polite distance. When I interviewed him previously for FLUX magazine, it was immediately clear that what you see on stage is not an act but an extension of the man himself. His work screams originality. It declares, unapologetically: This is me. This is David.
The Royal Vauxhall Tavern functions as his church, and Hoyle its high priest. From the roof—sometimes literally—he preaches love, acceptance, beauty, and defiance. His congregation is as eclectic as it is devoted. On any given night you might find Princess Julia rubbing shoulders with City bankers, artists, drag legends, first-timers, and the gloriously undefinable. It would not be absurd to compare the atmosphere to Warhols Factory in its heyday: a collision of art, celebrity, and counterculture, bound together by a shared understanding that something special is happening in the room.
What is striking is the complete absence of age anxiety. Hoyle himself dismisses it with a wave of the hand: “Everyone is beautiful in the room.” And they are. Young and old gather as equals at the metaphorical fountain, drinking in his wisdom, his wit, and his generosity of spirit. The atmosphere is electric yet oddly intimate, like a secret shared by hundreds.
Piluca and me at The Royal Vauxhall Tavern
This is not to say the evening is solemn. Far from it. Hoyle’s humour is razor-sharp, his observations hilariously precise—particularly when directed at the audience. Sit front and centre and expect to become fodder. But crucially, he is never cruel. There is warmth beneath the provocation, and affection behind the mischief.
The man seated next to me informed me—without a hint of irony—that this was his 135th time seeing Hoyle perform. A true disciple. By contrast, my gorgeous friend Piluca—Spanish-born artist and creative force—was a virgin to the experience. I could think of no one better to introduce to what I consider a kindred artistic spirit.
Two incredible artist Piluca meets Hoyle
She was utterly blown away. The evening began with a film tribute to our shared hero, David Bowie, and Piluca leaned over to whisper, “It’s like being dipped in everything I love.” She could not wait to come back, already plotting a return before the night had even ended.
Adding to the richness of the evening, Pam—taking a brief pause from her charity work—took to the stage to read poetry. We were promised one poem and given two, a small but perfect act of generosity that felt entirely in keeping with the spirit of the night.
The show concluded with Hoyle playing cupid, creating a live portrait of two handsome men from the audience—art, flirtation, and theatre merging in real time. To be part of such an evening is to leave not only entertained, but altered. You walk out thinking differently, feeling differently, slightly braver perhaps.
This is not just a show. It is an experience—unique, communal, and deeply worthwhile. In a world increasingly starved of authenticity, David Hoyle remains gloriously, defiantly real.
It would be easy to rush to call Rocco Ritchie a “nepo baby” and dismiss his artistic success as being down to his famous parents. Of course, any help in an industry riddled with nepotism and driven by who you know can be an advantage. However, I am the first to say that Rocco is a huge talent with an original voice — if there is such a thing — and that originality is precisely why he is taking the art world by storm.
Rocco Ritchie is gaining recognition not because of who his parents are, but because of who he is becoming. In an industry often suspicious of famous surnames, he has quietly and confidently carved out a space that feels earned rather than inherited. Far from the caricature of a “nepo baby,” he has demonstrated discipline, originality, and a genuine commitment to craft that has surprised critics and collectors alike.
The label of nepotism is an easy one to reach for. As the son of global icon Madonna and filmmaker Guy Ritchie, Rocco grew up surrounded by creativity, privilege, and cultural capital. Yet what is striking about his artistic rise is how deliberately he stepped away from the spotlight that might have guaranteed instant attention. For years, he worked under a pseudonym, allowing his art to speak before his name did. That decision alone signals intent: Ritchie wanted critique, not cushioning.
His work does not rely on imitation or celebrity gimmickry. While many emerging artists fall into the trap of echoing fashionable trends or overtly referencing their influences, Ritchie resists this. Too often, artists with minimal talent but strong PR and marketing skills are sold to naïve buyers on the strength of a story rather than substance. The work may look good on a wall, but when it comes time to resell, the narrative unravels. Ritchie’s art does not rely on hype; it stands on its
own.
His work feels personal and idiosyncratic, and my hunch is that it will one day sell at serious auction houses. His paintings often explore mood, texture, and form with a restraint that belies his youth. There is confidence in his mark-making and composition, but also vulnerability — an understanding that art is as much about questioning as it is about declaring.
What sets Ritchie apart is that his work resists easy categorisation. There are echoes of classic portraiture, abstract expressionism, and urban grit, yet these elements are filtered through a distinctly contemporary lens. His use of layered surfaces and muted palettes gives the impression of images emerging from memory rather than being presented as finished statements. This refusal to over-explain is refreshing in an age of overexposure.
Equally compelling is Ritchie’s personal evolution. Over recent years, he has grown into a strikingly handsome and self-assured man, yet without the performative bravado often associated with celebrity offspring. There is a quietness to his public presence — a sense that he is more comfortable in the studio than on the red carpet. This grounded demeanour enhances his credibility as an artist committed to longevity rather than instant fame. He does not overtly reference other artists in his work, though there may be subtle echoes of the Mexican greats Frida Kahlo and Diego Rivera — favourites of his mother — woven quietly into his visual language.
Public fascination has also been reignited by rare and genuinely touching moments of unity between his parents. Seeing Madonna and Guy Ritchie together in public for the first time in years, supporting their son, struck a chord. In an era where celebrity family dynamics are often reduced to spectacle, their shared pride felt sincere. It underscored that Rocco’s journey has not been about rebellion or reaction, but about reconciliation — between heritage and independence, privilege and purpose.
It would be naïve to deny the influence of Madonna’s deep love of art. A lifelong collector with a formidable eye, she has immersed herself in fine art, from classical masters to cutting-edge contemporary works. Growing up around such visual literacy undoubtedly shaped Rocco’s sensibilities. But influence is not imitation. Rather than copying his mother’s tastes, Ritchie appears to have absorbed an understanding of art as dialogue — between past and present, self and society.
What makes his rise feel so timely is that audiences are craving authenticity. Collectors and critics alike are increasingly weary of hype without substance. Ritchie’s work rewards slow looking. It invites interpretation without dictating meaning. This approach has helped him build genuine momentum, with exhibitions that attract attention not because of scandal or surname, but because viewers are curious to see what he will do next.
Rocco Ritchie’s emergence reminds us that legacy does not have to be a burden. It can be a foundation — one that still requires effort, risk, and humility to build upon. He is not storming the art world with noise, but with nuance. And in today’s cultural climate, that quiet confidence may be the most radical statement of all.
When news broke that Lubaina Himid RA, CBE would represent Britain at the 2026 Venice Biennale, the art world let out a collective cheer. At 72, the pioneering British artist—born in Zanzibar, based in Preston—has earned a place among the most influential voices of her generation. Her work, a dazzling blend of history, storytelling, and social critique, has long challenged the narratives that dominate Western culture, shining a light on the contributions of Black figures who have too often been overlooked.
Himid is no stranger to breaking ground. In the 1980s and 1990s, she curated trailblazing exhibitions like Five Black Women (1983) at London’s Africa Centre and The Thin Black Line (1985) at the ICA, putting Black female artists firmly on the map at a time when mainstream galleries barely noticed. Her daring vision earned her the Turner Prize in 2017, and a CBE followed in 2018, honours that recognise not just her artistry but her remarkable influence on the British cultural landscape.
And yet, Himid remains delightfully down-to-earth. On hearing of her Biennale invitation, she laughed, “with both disbelief and pleasure,” before reflecting on the opportunity:
“It is such a great honour and at the same time a brilliant and exciting opportunity to make something particularly special, which resonates with multiple audiences, communicates with complex histories, and looks to a more collaborative future.”
The Path to Venice
Being chosen to represent Britain in Venice is no small feat. The British Council, which manages the UK’s pavilion, conducts a rigorous selection process. Artists are nominated and assessed by curators, critics, and cultural institutions from across the country. Their proposals are scrutinised for artistic excellence, innovation, and international significance—a combination that signals not just mastery of craft, but an ability to spark conversation on a global stage. The final decision rests with the Pavilion Commissioner and the Visual Arts Advisory Group.
It’s a recognition that places an artist at the very pinnacle of contemporary British art, transforming their career and showcasing their vision to a global audience. For Himid, whose work thrives on dialogue, this platform offers a chance to create a profound, immersive experience in Venice’s historic spaces.
Reimagining the British Pavilion
Himid is renowned for pushing the boundaries of painting, sculpture, and installation, fusing textures, narratives, and sound to construct spaces that feel alive, vivid, and socially urgent. Emma Dexter, Director of Visual Arts and the British Council Collection, describes Himid’s approach as “a radical optimism combined with incisive social critique,” noting that her exhibition will transform the Pavilion into a journey of discovery.
For Venice 2026, Himid’s work promises to be both playful and profound, intimate yet expansive—a conversation across centuries and continents, a reminder that history is never neutral, and that art can illuminate the stories we have forgotten.
From her early curatorial triumphs to her recent global recognition, Lubaina Himid has always worked at the intersection of history, identity, and imagination. Venice will be the latest—and most spectacular—stage for her audacious vision, a moment that promises to resonate far beyond the gilded canals and crowded pavilions of Italy’s floating city.
In 2026, the British Pavilion will not just exhibit art—it will tell a story, vibrant and urgent, through the eyes of one of Britain’s most brilliant and fearless artists.
We’re thrilled to share some fantastic news — Firepit Art Gallery and Studios CIC has received our very first grant as a Community Interest Company! Thanks to the Greenwich Healthier Communities Fund, we’re able to bring an inspiring new initiative to life: FIREPIT FEELS.
This milestone marks an exciting step forward in our mission to make creativity accessible, inclusive, and nurturing for everyone. With the support of this grant, we’re launching a pilot programme of free and pay-what-you-can workshopsdesigned to foster creative health and wellbeing within our local community.
About FIREPIT FEELS
FIREPIT FEELS is a culturally-rooted series of workshops taking place in Greenwich Peninsula, created to support and uplift individuals from Global Majority, LGBTQIA+, and Neurodiverse communities, particularly those from disadvantaged backgrounds. Our aim is to offer a welcoming, affirming space where creativity, culture, and connection come together to enhance emotional and mental wellbeing.
We warmly invite you to take part in any — or all — of our upcoming sessions:
November 12th, 7–9pm – 🎨 Inhabiting Uncertainty on the Canvas — Painting Workshop
November 23rd, 1–3pm – 🧘♀️ Unfold: Movement & Meaning — Yoga & Journalling
December 14th, 1–3pm – 🧵 Chinese Knotting Jewellery & Mindfulness
January 8th, 7–9pm – ✏️ Our Art Circle — Drawing Workshop
January 22nd, 7–9pm – 📚 Queer Narrative — Collaging and Storytelling
Every aspect of FIREPIT FEELS has been developed collaboratively, with guidance from an Accessibility Consultantand a Psychotherapist, ensuring that the programme is inclusive, neurodiversity-affirming, and trauma-informed.
Each session is relaxed and supportive. We’ll provide sensory aids for those who find them helpful, and a dedicated welfare support guide will be on hand to make sure everyone feels safe, comfortable, and welcome throughout.
About Firepit Art Gallery and Studios CIC
Located in the heart of Greenwich Peninsula, Firepit Art Gallery and Studios CIC is a community-led art hub that celebrates creativity in all its forms. Our mission is to make the arts accessible, inclusive, and sustainable by hosting co-created workshops, exhibitions, and events that reflect the diverse voices of our community.
Run by local artists, we believe in the power of art to connect people, spark dialogue, and support wellbeing. Whether you’re a seasoned creative or a complete beginner, Firepit is your space to explore, express, and belong.
To stay updated on our events, projects, and exhibitions,
Together, let’s make Firepit Feels a space where creativity truly heals, connects, and inspires.
Are you passionate about creativity, positivity, and representation? Would you like to be part of an uplifting magazine that celebrates diversity and individuality? Then this could be the opportunity for you.
I’m Steven Smith, Editor of 2Shades Magazine — a vibrant, happy LGBTQ+ publication where everyone is welcome. 2Shades is about joy, self-expression, and living life in full colour. We share stories that inspire, entertain, and connect people from every shade of the spectrum.
At the moment, the magazine is run independently and with heart. It doesn’t yet generate profit, and I’m not taking a salary for my writing or editorial work. But what we do have is potential, readership, and passion — a growing audience who believe in what 2Shades stands for: positivity, equality, and creative freedom.
Now, with my current partner stepping down who we loved and can not thank enough , The incredible Adishia chengappa,is going into full time eduction . I’m looking for a new collaborator or investor to join me on this journey.
🌈 Why Join 2Shades?
Be part of something meaningful. 2Shades isn’t just a magazine — it’s a community celebrating LGBTQ+ life, art, culture, and individuality.
Low entry, high potential. For £1,000, you can buy into the magazine and become my creative and business partner.
Help shape the next chapter. From editorial direction and digital strategy to sponsorship, advertising, and partnerships — your ideas will directly influence how we grow.
Your voice matters. Whether you’re a writer, marketer, designer, PR professional, or creative entrepreneur, this is a rare chance to make a real impact.
Build towards profit together. As the magazine grows through advertising, sponsorships, collaborations, and events, so does your stake and reward.
🌟 What I’m Looking For
Someone who believes in the message of inclusion and positivity — LGBTQ+ and allies alike.
Someone excited by independent media and the creative world.
A person who’s proactive, imaginative, and ready to build something with heart.
Ideally someone who can bring either creative skills, marketing ideas, or business insight — but most importantly, enthusiasm.
💬 Next Steps
If this sounds like you, let’s talk. I’ll share more about our readership, digital presence, plans for the year ahead, and how we can shape this partnership together.
Your £1,000 investment secures you a share in 2Shades, a say in editorial direction, and the chance to be part of something growing, inclusive, and joyfully unique.
Let’s make 2Shades not just a magazine — but a movement that celebrates difference and spreads happiness.
“I absolutely love Christmas,” says artist and designer Piluca Camino Alcón, her voice bright with the kind of infectious joy that instantly fills the room. “They used to call me Mama Xmas because I go all out. I host a big dinner on the 24th—that’s when we celebrate in Spain—and my doors are open to anyone who wants to join, especially those who might not have someone to spend it with.” For Piluca, the season is more than decorations or gifts. “I cook like a woman possessed,” she laughs. “Meats, seafood, you name it, it’s a proper bacanal! For me, Christmas is about people, laughter, music, and those real beautiful moments that make life worth living. My dinners are never those forced family affairs where everyone pretends to like each other. Mine are full of joy, dancing and love. It’s a celebration of life itself.”
This joyous, unfiltered energy seems to define everything about her. When asked if she’s been naughty or nice this year, Piluca laughs so hard she nearly spills her coffee. “This year I’ve been both gloriously naughty and impressively nice. I shattered expectations, ignored my own rulebook, and gave full permission to my wild inner freedom. I devoured all the cookies, then hit the gym like a warrior. Balance, darling—that’s the real art!” That combination of chaos and control, wildness and discipline, runs through both her personality and her work. Born in Madrid, she first came to London on holiday with her mother-in-law and fell in love with Brixton.
“The moment I stepped into Brixton in 1996, I fell in love. The energy, the cultural and ethnic mix, the unapologetic vibrancy—it was electric. There was this raw, unfiltered love for music and the arts, a non-judgmental openness in its people, and a market bursting with flavours, colours and life. It felt like home instantly.” She has stayed ever since, building a life and career rooted in that creative spirit. “I didn’t choose to become an artist,” she says simply. “I was born one. I have created for as long as I can remember. Being an artist is not a choice but a necessity. My ultimate aim is to connect, elicit a response and inspire through my practice.”
She has certainly done that. A published illustrator, sculptor, fashion designer and community organiser, Piluca was a finalist in the arts category for the WinTrade International Awards in 2018. During lockdown she threw herself into animation projects while developing her own fashion line. “Art is how I breathe,” she says. “My life and my creativity are so deeply intertwined that separating them would be impossible. Art is my voice, my refuge, and my power.” She speaks about her upbringing with disarming honesty. “My past shaped every part of me, and art became both my shield and my weapon. It has always been my therapy, my way of making sense of the world.” When she laughs, it’s the laughter of someone who has survived, rebuilt, and decided to celebrate it all anyway. Even under the mistletoe, she admits, there are no plans or rules. “Mistletoe’s kissing? Depends who’s standing under it first,” she grins. “I don’t plan these things. I improvise.”
That sense of improvisation seems to fuel her approach to both art and life. Her inspirations span from Spanish masters like Picasso, Dalí and Velázquez to contemporary icons such as Sarah Lucas, Judy Chicago and Yayoi Kusama. She’s also deeply influenced by the raw, expressive energy of street art. “It’s rebellious, emotional, connected to the real world. That’s what I love.” Yet, despite her international sensibility, she remains deeply rooted in Brixton. “London suits me fine,” she says. “I just dream of a bigger studio one day—warehouse big!”
“My dream for the year ahead is to keep evolving—becoming stronger, fitter, sharper. To keep inspiring my kids, pushing myself, and making the most of every moment.”
Family means everything to her. She has two sons, Carlos and Malachi, and both have inherited her creative fire. “Carlos reached Grade 8 on piano, and Malachi’s preparing for his Grade 5. They’re different but equally artistic. Carlos is grounded and business-minded, while Malachi is a free spirit, completely immersed in creativity, untouched by brands or status. At six, he said he wanted to be an artist, just like I did at his age.” Her eyes soften when she speaks about them. “What I teach them both is this: creativity is what sets us apart from the animal kingdom. It’s the ability to turn imagination into something tangible—to create what didn’t exist before. Life itself is art, and art gives life its meaning.”
Earlier this year, she travelled to Chicago to collaborate with acclaimed photographer Sandro Miller on his project I Am Beautiful, exploring inner beauty and self-love. “It was surreal,” she says. “Meeting him, his wife, his team—it felt like meeting someone from my tribe, someone who has used art as both shield and weapon. It was cathartic. I grew. I can’t wait to go back.” When asked what she wants most for 2026, her answer is immediate. “To keep being granted the strength, madness and magic to make things happen.”
As the conversation turns back to Christmas, Piluca’s eyes sparkle. “Christmas is the perfect metaphor for life,” she says. “It’s messy, loud, emotional—and if you open your heart to it, it’s beautiful. I don’t care about presents; I care about presence.” You can picture her back in Brixton, fairy lights strung from every corner, music playing, food piled high, her friends and family laughing and dancing around her. “That’s Christmas to me,” she says, smiling. “A celebration of life itself.”
Frieze London 2025.PHOTO: LINDA NYLIND. COURTESY OF FRIEZE
By Steven Smith
“This was Frieze in its most mature form — calm, confident, and beautifully human.”
This October, Regent’s Park once again became the beating heart of contemporary culture, as London’s premier art fair returned with a noticeably more reflective air. Gone were the flashing lights and social-media gimmicks that once dominated the scene — in their place, a quiet confidence and an emphasis on meaning over market value. Frieze London 2025 proved that the true allure of art lies not in the roar of spectacle, but in surprise, sincerity, and the occasional whisper that lingers long after the tents come down.
A Quieter Kind of Dazzle
Each autumn, the white tents of Frieze rise like a sleek temporary city, drawing curators, collectors, and celebrities who glide between installations and champagne bars. But this year, something had shifted. The fair felt calmer — less about performance, more about purpose.
The tone was set from the outset. New entrance pavilions — elegant aluminium structures created by A Studio Between using 75 per cent recycled metal — signalled sustainability rather than status. It was a small yet telling gesture: Frieze has grown up.
Inside, the fair’s redesigned layout provided space to breathe. Instead of the crowding and visual overload of previous years, this edition privileged air, light, and contemplation. And what stood out most was originality. You weren’t left thinking “Hirst homage” or “Bacon knock-off” — though artistic lineage was there — the work felt boldly its own.
Frieze remains vast — more than 280 galleries across Frieze London and Frieze Masters — yet this year’s coherence was striking. Focus, the section dedicated to younger galleries, became its emotional anchor. Thirty-plus exhibitors explored climate, identity, displacement, and belonging with genuine urgency rather than opportunistic messaging.
One standout installation — a delicate shelter of reclaimed textiles and timber — spoke quietly yet powerfully of “home”. No gimmicks. Just humanity.
Even the major galleries opted for subtlety. Gagosian, Hauser & Wirth, and White Cube resisted spectacle in favour of introspection: small, thoughtful works that drew viewers in rather than overwhelming them.
“Frieze 2025 is a fair about stories, not stunts.”
The Market Mood
Frieze is both cultural pilgrimage and high-stakes shop floor — and the cooling market was impossible to ignore. Economic uncertainty has made collectors judicious, especially in Britain. Yet the fair thrived precisely because it did not mask reality.
Dealers confessed that sales were careful but consistent. Relationships mattered more than rapid-fire transactions. There was less frenzy, more trust — and with it, a sense of optimism that art still carries weight when times feel lean.
Art with Intention
What defined Frieze this year wasn’t a single blockbuster piece — but a collective tone of intentionality. Works spoke across booths about survival, memory, fragility, and the search for place.
Even architecture joined the conversation. Those aluminium pavilions — modest in shine yet rich in idea — mirrored the fair’s shift: modernism stepping into mindfulness.
Once known for glamour and provocation, Frieze has found its inner voice. No longer chasing viral moments, it invited something rarer: genuine attention.
“If previous years shouted, this one spoke — and everyone listened.”
Naudline Pierre, Bathers, (2025). PHOTO: COURTESY OF NAUDLINE PIERRE AND JAMES COHAN
Moments of Stillness
Frieze 2025 balanced buzz with calm. The chatter of negotiations coexisted with long, quiet looks. Visitors paused not because works were famous — but because they were interesting.
Climate anxiety, migration and belonging were recurring ideas, but handled with nuance rather than sloganising. There was vulnerability — a powerful antidote in a world polished to a shine.
Where It Wobbles
A fair this size still overwhelms. After several hours, even the sharpest eye risks softening into what insiders call “booth blur”. And while sustainability was championed, the contradiction of air-freighted masterpieces inside temporary architecture remains unresolved.
Yet for Frieze, these were growing pains — not failings.
“After three hours, the brain begins to flatten everything into booth blur — but somehow, this year, the art fought back.”
London’s Moment
Amid market turbulence, Frieze reaffirmed London’s role as the art world’s soulful heart. Where Basel can feel clinical and New York transactional, London offers intellect tempered with humour — grit paired with grace.
A temporary city in a timeless park: that is its poetry.
Frieze London 2025 was the grown-up edition — less showmanship, more sincerity. It favoured ideas over Instagram, meaning over money. It reminded us that great art doesn’t always demand attention. Sometimes it waits. Sometimes it whispers. And sometimes, if you pause long enough, it tells you exactly what you needed to hear.
“This was Frieze in its most mature form — calm, confident, and beautifully human.”
2Shades Magazine 