But where did this creative genius come from, and how did she become the visionary designer that we see today?

Was it an accident or was it meant to be?

Born and raised in Massachusetts, McLaughlin was always drawn to the creative arts. But it wasn’t until she began experimenting with upcycling and repurposing materials that she truly found her passion for sustainable fashion design. Nicole’s skills are all self-taught, and perhaps that’s the reason behind their singularity. She didn’t even actively pursue fashion design. One could say it came about almost accidentally. A career path born out of circumstance, talent, resourcefulness, and a very good use of one’s downtime we’d argue.

While working as a graphic designer for Reebok, McLaughlin witnessed the ugly side of fashion. She was rather taken aback by the materials and fabrics that ended up as nothing but useless leftovers. So being the designer that she was she began to gather spare materials wherever she could and figure a way to put them together one way or another. Her innovative and eye-catching designs soon went viral on Instagram, and now here we are. What began as a non-functioning tissue paper blouse stapled together, is now a fully-fledged career with a positive impact rippling across the industry.

Quite the example for those who might doubt their capabilities. Following her creative impulses led McLaughlin to a full-on career shift that landed her on the Forbes 30 under 30 list. To think that she’s gone from including secret pockets wherever she can because Reebok used to forego pockets as a money/time-saving method, to designing her own iteration of the Club C Geo Mid trainer in collaboration with Reebok. Which, by the way… Yep, you guessed it, it has pockets.

Crafting Sustainability through Circular Design

Nicole McLaughlin is a designer who believes in the power of circular design to tackle the waste problem. Her self-taught approach to manipulating discarded objects and unconventional materials has resulted in a portfolio of quirky and eye-catching pieces. However, it’s not just her creative design that sets her apart. It’s her circular design philosophy that makes her work so unique and powerful.

Nicole’s approach is all about making objects that can be taken apart and reused in future projects. In her world, nothing is wasted, and everything has potential. This is reflected in her creations, which often incorporate elements from a variety of sources, including household items, discarded garments, and even food. From croissant bralettes to charcuterie lingerie, Nicole’s designs have a fun and relatable style that makes sustainability approachable.

Her work goes beyond using sustainable materials, it invites the audience to reflect on everything they consider to be trash, as well as our consumerist nature. Nicole demonstrates the potential for creativity and innovation in sustainability. By upcycling and reusing materials in her designs, she encourages others to think creatively about the waste they produce. McLaughlin’s all about challenging traditional notions of fashion and consumerism. Her designs are a commentary on the fast-paced, disposable nature of the fashion industry, and the need for a more mindful and sustainable approach.

McLaughlin’s approach to design is both creative and pragmatic, with a focus on functionality as well as aesthetics. She explains that “form follows function” in her designs, with each piece serving a purpose beyond just being visually appealing.

“There’s so much potential in the things we throw away. We just have to be willing to look at them in a new light.”

Nicole’s right: We need to do better

Nicole McLaughlin is not just advocating for a more sustainable future, she’s demanding it. She demands it with her work, and she demands it with her words whenever she has a chance to. These are the sort of creators that we need shaping the future of the industry. Creators who are showing household brands how it’s done, since they can’t seem to be able to do it by themselves.

Nicole calls out the fashion industry’s need for transparency and accountability. Calling for companies and businesses to own up to the impact they have on the planet.

And she’s not just talking the talk. With her work, Nicole is not only keeping the conversation on sustainability alive but also giving it depth and making it a learning space. Opening up possibilities of different ways in which sustainability can be applied. Moreover, her collaborations with industry leaders like Arc’teryx and Puma show she’s putting in the work to impact the industry from within too. From jacket take-back programs to regenerative textile production, these brands are setting the standard for sustainable fashion. Nicole’s passion for sustainability is infectious, and it’s clear she’s all about pushing for progress.

Innovation is key, whether it’s through new technology or traditional craft techniques. “We need to keep the conversation going and build a community of change-makers who can inspire others to take action,”. She knows change takes time, but she’s optimistic about the future of fashion. And to be completely honest, with key players like her in the game, so are we.

But first…

Who is Jackson Bowley?

Jackson Bowley is a photographer from London. His work is centred around the realm of beauty photography, and through his artistic collaborations, the British talent explores different rarely-trodden paths of beauty. What can we say? We’re smitten.

The spark for photography was lit at a young age for Bowley. When he was 15 he got fervently into buying cameras online and in charity shops. Who hasn’t, as a teenager, admired old cameras and thought of how cool it would be to own one, two, or three? Well, Bowley actually went and got them. It’s quite interesting, to get into photography by getting into the object that takes the photos first, rather that the taking of the photos and the art of photography itself. It seems that delving into things via alternative paths comes naturally to Bowley.

Soon his skills evolved and expanded, developing colour film at home and experimenting with processing. It’s precisely this curiosity regarding not only the taking of the photo but the process of revealing it too, that makes Bowley stand out.

Jackson Bowley’s photography work opens viewers up to new perceptions of beauty

The Nottingham-bred creative manages to infuse every piece of work with depth and substance. Switching up every new project so as to dive into yet another untapped perception of beauty.

While Bowley has made a name for himself working for the likes of i-D Magazine, It’s Nice That, Nike, ASOS and 3ina among others, it’s his more personal work that caught our attention.

Xerox: Juxtaposition breeds fascination

His personal project Xerox is made up of charming portraits where subjects often have bold, fun makeup on. The typically beauty-editorially photos are then treated in such a way that they become textured and gorgeously grainy.

The juxtaposition of glossy beauty with the gritty texture is rather impactful, but works. It bestows the portraits with a sense of timelessness. An amalgamation of past and present, somehow managing to erase any air of pretension that sometimes inevitably accompanies beauty editorials. Transcribing the portraits into beacons of fun, lightness, and art.

Make-up By… The beauty of the subject through the lens of the author

Sometimes beautiful things and awe-inspiring projects don’t need to be overly intricate or complicated. Sometimes a simple concept goes a long way…

Such is the case for Jackson Bowley’s photography series Make-up By… The idea is simple, Bowley gave all of his subjects the same make-up products and asked them to create whichever look they wanted.

It’s such a simple idea, but I haven’t really seen a beauty project like it, so I just thought, perfect. I wanted to see something that was so far away from your usual beauty shoots, nothing glossy, real people, and just quite ridiculous and funny make-up. – Jackson Bowley for Dazed Beauty

Initially fearing that people would go for the usual eyeliner, mascara lipstick, Bowley was glad to be wrong on that. Turns out that when you let people be creative without limits and give them tools, they actually go for it. The result? A beautiful combination of people’s own definition of beauty and interpreted through the adept lens of the British photographer.

Circus magazine is everything a magazine shouldn’t be…

And it’s precisely why it works.

Bowley was told a magazine should have a hierarchy, everyone cannot be on the same level, it makes no sense for everyone to get one image… So he went and did the exact opposite. Creating a new, eclectic form of Magazine that will suck you right in, with creativity bursting at the seams.

Beauty is often perceived as something that creates a sense of awe, admiration, of desire. But what if beauty was excitement? Fun? Loud? Bold? Like a heart full of pulsating colours. In that case, Circus would be as beautiful as beauty gets. These are the questions posed by the magazine.

Founded in 2021 by Bowley, Circus is the stupidest thing Bowley has done in his career (his words not ours!). It’s a wonderful thing though, to get stupid and let stupidity guide your creativity. So often people try to prove something with these sorts of ventures, they become static and serious, led by KPIs and dollar signs. It’s refreshing to see a publication exist for the sake of expression and art itself.

However, don’t let the so-called “lack of seriousness” misguide your conceived idea of this magazine. Circus is actually a riveting visual experience. Made up of A1 posters, the images are striking and enthralling, to say the least. Just like most of Jackson Bowley’s work.

But don’t take our word for it, check it out for yourselves!

Now Nuriev might not entirely fit our usual The Next profile, it is clear that this huge talented has already tasted vast amounts of success. Nevertheless, we do get the feeling he might reach Demna-level influence in the near future.

The reason we’re bringing him up now, however, is we’ve been quite taken with some of his latest work. Work which, in our humble opinion, might just have taken him from an already fantastically talented creative, to one of the leading creative minds that will blaze the trail to the future of contemporary culture.

Do we sense a hint of Demna in the air of Nuriev?

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One of his most recent artworks ‘Trash Bag Sofa’, unveiled in Design Miami, definitely reminds us of the direction in which Demna has been steering Balenciaga over the course of the past few years. While Nuriev might not have explicitly delved into the fetichism of money, with his ‘Trash Bag Sofa’ Nuriev sought to instil a reflection in the mind of today’s consumer: Do you really need or even want that thing you’re going to buy next? Or is it simply going to end up in a trash bag? It is no secret that the contemporary consumer culture is at the epicentre of quite a few crises, sustainability to name an example.

Moreover, apparently, when sat on the sofa did not emulate the texture, feel, or sound of a trash bag. Rather it has a leathery feel. Thus creating quite an interesting dissociation between the audience’s visual takeaway, and the object’s actual reality.

Nuriev’s reverse metaverse move: Video game furniture

Now we’ve all seen brands enter the metaverse and integrate their products there. But, have we really seen a brand bringing the Metaverse into the real world? Harry Nuriev has. First with his collaborations with Gaia Repossi in Paris, ‘Web-3 Cafe’ in March. Later in May, Crosby Studios unveiled its video game-inspired installation at Mooi in NYC.

‘Web-3 Cafe’ challenges the perception of colour and space, the pixelated single-coloured tables and stools instantly injecting a shot of 90s nostalgia into our subconscious. There was more to look to this cafe, it was actually a fully functioning cafe where one could enjoy a vegan snack and matcha. On top of that, customers could take look at Repossi’s AR jewellery collection. Quite the experience

Interestingly enough, Crosby Studios’ Mooi showcase takes a different approach to pixelated furniture. Rather than physically pixelating the shape of the furniture, the Mooi installation features a Sofa So Goos three-seater and a footstool upholstered in a pixelated pink print, as well as a pixelated rug, pillows, and walls. We once again encounter this dichotomy between what our eyes can see and what our skin might feel, as the seeming image, digital in appearance, is, in fact, made out of velvet. The sofa, pillows, and footstool are anyway.

Nuriev is undoubtedly shaping contemporary culture.

As an artist, he truly has been demonstrating an excellent understanding both of contemporary culture as well as where it’s headed. Making waves with his poignant message and avant-garde vision.

Mark our words, Nuriev is the next Demna of architecture. His influence will only grow bigger. His work will mark a turning point in architecture and design. Not just bridging the gap between past, present, and future, but rather completely obliterating the boundaries between the three. Creating a melange of what was, what is, and what should be.

Antonia Schreiter has earned the respect of the fashion community with her eponymous label. Based in Berlin, the designer graduated from the University of the Arts in 2018, catching the eye of the industry with her Fall/Winter menswear collection. So much so that she earned herself a FASH 2018 nomination and took home the absolute Prize for the most creative collection at Italy’s International Lab of MITTELMODA competition. Talk about a triumphant graduate entrance into the fashion industry.

Antonia Schreiter elevates knitwear

Working primarily with traditional tweed and wool, Antonia Schreiter seeks to recognize and cherish the history of garment tailoring through her work. Every single item is hand-crafted with the idea of infusing value within the piece itself, and it shows. The dedication and time that go into the individual pieces as far as both the design and the production processes are concerned are of the utmost importance for Schreiter.

While Schreiter’s technique is impressive, what we are clearly taken aback by is the end result. Why? Well, you don’t expect sportswear to be made out of crochet. It’s a clash that somehow works, and it works well. Aesthetically intriguing, yet pleasing nonetheless. Classicism and modernity combined in one. Which is precisely what the designer intends to do.

Connecting the past and the future with crochet

Antonia Schreiter plays with time with her collections. It’s almost as if every time her garments are on a runway, they are blazing the trail of their own contemporary existence with every step. Something as old-fashion and out of contemporary character as knitwear is being used to illustrate the present.

Now, we know what you might be thinking, the use of knitwear is nothing new, it’s been seen on the runway before. And you might be right. Still, knitwear has often been used as an integrated element of a larger piece, or at most the chosen fabric for a specific collection. It is rare to see it front stage and centre time and time again for a label, particularly employed to construct pieces of the style that Antonia Schreiter presents. The contrast it creates is alluring, to say the least. Traditional craftsmanship combines with colourful and youthful playfulness. Expressive and fun, rooted in historically rich techniques.

Sustainability as standard practice, always.

Sustainability means not only inventing new reusable materials, but also to look back on what has been available for years and to combine it with something new.

While we are always on the lookout for new innovative techniques to push sustainability forward, sometimes it simply boils down to the fact that less is more. Literally. Antonia Schreiter makes a point to using materials wisely. This means that the production process is carried out carefully and conscientiously so as to minimize waste production. Moreover, her collections are often made out of deadstock fabric and leftover materials from previous creations.

So much so, that Achilles Ion Gabriel has made it to our series of The Next. Welcome to The Next Vol. 14: Achilles Ion Gabriel, The Shoemaker.

Who is Achilles Ion Gabriel?

Achilles Ion Gabriel is a young Finnish shoemaker who just turned 30. Not a bad age to be working as Camper’s Creative Director is it? Particularly if your job has landed you the praise and admiration of countless figureheads in the industry! After all, Gabriel has truly taken Camper to the next level and inaugurated a new era for the brand. An era infused with avant-garde fun and surrealism, that somehow still projects its classic, solid, historically rich heritage.

Took a left from architecture to footwear design

Usually, we like to talk more about creative’s work rather than their studies or how they got started… However, when it comes to Achilles Ion Gabriel’s journey, his introduction to the fashion industry is well worth the read. Truth be told, it was one of the things that initially fascinated us about him.

He initially signed up to study architecture, but before he even started he decided to switch things up and join shoe design. Why? Because he didn’t know anyone who had studied shoe design.

Most people would go study something they know or something they know someone did. They project their future oftentimes by looking into what someone with the same studies ended up doing. It’s what gives most people the confidence that things might work out. Something somewhat close to safe. Even if it’s a dream, people will have examples, and role models to follow. You follow in people’s footsteps because you want to be like them or follow their path or end up somewhere similar.

Not Achilles, this guy did the complete opposite. Dived into the complete unknown because he didn’t know a single thing about making shoes nor knew anyone who did, and that was precisely what he found interesting about it. Talk about diving into the unknown. He did after all move from Paris to the literal middle of nowhere in Mallorca to work for Camper.

This curiosity and desire for the unknown translate into his creation. Perhaps that’s why they are so special. They’re functional, but different, whimsical, yet grounded.

Gabriel’s Work With Camper Is Exactly What Creative Direction Should Be About

The Finnish shoemaker – and yes he specifies that he is a shoe-maker, not a designer because anyone can design shoes but he knows how to make them, how to construct them – is, like we said, one of many new Creative Directors at the helm of industry giants.

However, many of these new creative directors being brought into a label to revamp things will come in with the idea of implementing their sole vision. Of completely redesigning the DNA of a label, a complete re-branding. But not Achilles Ion Gabriel. Gabriel is well aware of the history and expertise that live within Camper, it’s the very core of the Mallorcan brand’s soul, and it’s what makes it special. He knows he can’t just do whatever he likes, and he would rather learn from people who’ve been in the company for decades and use that knowledge to uplift his own vision, and subsequently the brand.

It’s refreshing to see someone who is not only aware but also appreciative of the heritage of the brand they are involved in. Not bouldering in intending to completely change things but instead leaning into it as an upgrade. Helping the brand evolve, without the need for it to dissolve first. The result? A better, more relevant, future-headed version of itself.

How to say… Achilles Ion Gabriel simply gets it.

When asked about what he wants from the brand, he’ll simply say: Happy customers. Got to love someone who understands what it’s about.

Welcome to this month’s installment of TNC’s The Next: Kwabena Sekyi Appiah-nti. We’re confident that one look at his work will make you understand why he’s Vol. 13 of The Next series. A series dedicated to highlighting the talent that will shape the future of the creative industry.

Who is Kwabena Sekyi Appiah-nti?

Kwabena Sekyi Appiah-nti is a Belgian-Ghanian photographer based in Amsterdam. Sekyi’s work examines at large the universal experience of boyhood.

His journey into photography began with a natural interest in all things visual. Evening upon evenings of scrolling through Tumblr led to a desire to actually pick up his mother’s analogue camera and give those aesthetic shots a go. And thank god for that!

After various incursions in photography and a fateful trip to Ghana – the land of his father’s culture – Sekyi released his first solo projects: Golden Boy and its successor Sika Kokoo/Sika Kɔkɔɔ. Both of these explore Sekyi’s favourite topic to dive into, the aforementioned boyhood. Specifically, Black Boyhood.

It’s about capturing the day-to-day lives of boys and men through my own gaze, one that may not be commonly shared. Everything I do, all the subjects I choose, have sprinkles of my childhood interests and current fascinations mixed into it.

(You’re so) Golden Boy, a series worth its subject’s weight in gold

Harry Style’s hit single isn’t the only thing that’s golden. Sekyi’s photographic series Golden Boy highlights the beauty and value of Black boyhood, equating it to that of the precious metal. A much-needed manner of capturing, representing, and showcasing a demographic often plagued by characterization and unflattering stereotypes. This series on contemporary Black boyhood was kickstarted by a photo that Kwabena Sekyi Appiah-nti took in Brazil A surfer basking in sunlight, his skin and hair glistening in the sun rays, emitting a gold-like glow.

The golden theme repeats itself throughout the series’ portraits, mostly through the golden jewellery worn by the subjects of the photos. Thus expanding the allegory beyond the glow and worth of gold, and tracing the roots of the series back to the troublesome history of gold mining in African countries, and the devastating consequences for young Black men. Black boyhood having been exploited for years on end.

As a child, Sekyi was very much immersed in stereotypically male heteronormative activities. Now, the photographer seeks to re-examine society’s attitude and judgment of boys and performative masculinity as a whole.

This series is my way of stating the potential of the Black boy, equating their value to that of gold – and allowing them to shine just as much.

What does Sika Kokoo mean?

Sika Kokoo/Sika Kɔkɔɔ means red money in the Ghanian Twi language, and it’s the title of Kwabena Sekyi Appiah-nti’s awe-inspiring, stunning, first photographic book. A book that is the product of two things: Sekyi’s first trip to Ghana in 2019 where he was able to finally connect with his heritage in an immeasurably more tangible and palpable manner than earlier before in his life, and the dread quarantine brought on by COVID-19.

Although the photographer was proud of his roots and his father’s culture, working on this project allowed him to dive deep into the history, symbolism, and culture of Ghana. The photographic book Sika Kokoo is a love letter to Ghanaian culture really. It is breathtaking how beautiful it is. As a tactile and textural experience, there is more than one sense being stimulated when you pick it up. Golden pages intertwined with the striking images and bold texts that make up the book. After all, Sika Kokoo means ‘red money’, and ‘red money’ translates to ‘gold’ in English. The perfect follow-up for Golden Boy.

Gold objects have a lot of symbolism in our culture and they portray different proverbs. In Akan culture (my father’s people), gold is considered an earthly counterpart to the sun and the physical manifestation of life’s vital force, Kra (the soul).

Kwabena Sekyi Appiah-nti is uplifting Black boyhood and we’re here for it

With his work, Kwabena Sekyi Appiah-nti joins the likes of Kendal Bessent and Nico Kartel in the task of capturing and representing Black identity through a deeply personal, intimate, and insider lens. Taking charge of their own narrative, refusing to let their story be told through a foreign lens.

Alewya is a multidisciplinary artist born in Saudi Arabia, of Egyptian and Ethiopian descent, and raised in the UK. Singer-songwriter, producer, model, painter, sculptor… It seems like Alewya exudes talent via any medium she dives into. It comes as no surprise then, that she’d be our pick for this month’s edition of The Next.

Alewya is the upcoming artist that was meant to be

This artist’s journey is one of alignment. Alewya’s career has evolved as organically as could be. One might even go as far as saying that it was meant to be, that it was written somewhere.

She was first discovered by none other than Cara Delavigne who spotted her dancing in a scene for the film Kids in Love. Delavigne convinced Alewya to take up modelling, and the British talent soon tasted the industry’s success, signing with agencies in both London and New York.

However, after living in New York and working as a model in 2015, Alewya realised that modelling wasn’t fulfilling her heart’s desires and returned to the UK to study maths and Philosophy at King’s College in London. For many, this would have marked the end of a more creative professional journey, but not for Alewya, this was merely the beginning. This was merely the way in which the universe brought her on the path she was always meant to be on.

Art oozes out of Alewya, whichever form it chooses to manifest as

Alewya hadn’t always gravitated towards music, at least not towards making it. In fact, she only picked up a guitar at age 19 for the very first time. The multi-talented artist also creates stunning paintings and sculptures that are as enticing as her sound. Before a trip to Ethiopia she bought a travel-size guitar, and since there was no Wifi where she was staying the guitar became her go-to activity. And just like that, a star was born! Not really, but still, quite a nonchalant way of initiating one’s musical career.

For years Alewya dabbled in music from the privacy of her home. Not really sharing what she was learning with anyone, but rather using this new tool to explore corners of her being previously untouched. It wasn’t until she randomly got talking to jungle legend Shy FX, without even knowing it was Shy FX, that she began to think of music as a potentially serious career.

Now, Alewya has conquered the hearts and souls of countless fans. Hard not to, when her songs tend to take over one’s body shamelessly. Just when you think she can’t get any better, a new release proves you wrong. In 2021 she toured alongside the mesmerizing Little Simz.

As we said, it really does seem like Alewya was always meant to be on this path. Regardless of what she did, music would’ve found her, and she would have found music.

Everything about Alewya is… Well, very Alewya

I believe in higher powers — I know they exist — and I realised music was just really a way of unlocking a communication with those powers, and how I could make sense of my life. It really helped me to unlock my own powers — my superpowers.

From her artwork to her sound, everything about Alewya is characterized by a certain inimitable uniqueness. Her heritage seeps into the scales of the guitar and the strokes of her brush. Her depth pulls you in every melody, painting intricate visual and sonic landscapes that you never want to leave. Her music videos, more than simple little storylines encompass entire worlds. Renditions of imagined realities, a peak into what could be.

Reeps One began his career as a beatboxer and went on to win UK’s Beatbox Championship in 2009 and 2010. He has now expanded beyond the limits of being a beatboxer and has plunged into anything and everything voice-related. Now, one can say that Reeps One / Harry Yeff is a new media artist, researcher, and musician from London. A wildly talented multidisciplinary artist who specializes, and excels, in voice, technology, and performance. As a matter of fact, Harry Yeff might just be – and we mean this quite literally – the voice of the future. It should therefore come as no surprise that Harry Yeff, Reeps One, is our pick for this month’s instalment of The Next. Welcome to Vol.11 of The Next guys: Harry Yeff, Reeps One, The Voice Of The Future.

Taking into account the state of awe we find ourselves in, this might be a little less of a structured article, and more of a word vomit resulting from sheer elation and mental stimulation.

Why is Harry Yeff the voice of the future?

Whether he realises it or not, Harry Yeff’s research regarding the voice entails a delightful philosophical diagnosis regarding our lack of knowledge of our own limits. The British multidisciplinary artist reveals to us that we use a mere 20% capacity of our voice. His purpose on this earth? To expand this usage as much as possible.

Just how much of our capabilities are yet to be explored? This isn’t necessarily new, one look at the Olympics 50 years ago and today will tell you that we have pushed the limits of our physical capabilities and achieved things never before thought possible. Simone Biles, the gymnastics GOAT, is living proof. But more interestingly, Harry Yeff’s impact on human voice exploration is as impressive as it is significant. It has yielded the results that it has because he has dived into the voice not from its practical use of speech, but rather everything else sonically speaking.

That gets us thinking… What would happen if we explored our capabilities beyond their practical functionality? It’s one thing to be an artist that creates a piece that can be consumed and enjoyed by the public. It’s something else to spark waves of curiosity, drive, excitement, and deep fascination and questioning with what you do. And that’s what Harry Yeff, Reeps One, does. And that’s why his existence as an artist matters so.

See Sound and Second Self: Two projects taking the voice to The Next level

With his project ‘See Sound’ you can, quite literally, see sound. You can observe the visual fingerprint of a voice. Sound breaks the barriers of the limits it is confined to. Our perception of sound, once again, shifts, giving rise to a new perspective. In doing so, it allows us to understand it differently, to understand it more. Deepening our knowledge of sound, of our human voice, and subsequently bringing us closer to understanding this facet of being human.

Another one of his collaborations, Second Self, integrates machine learning and generative audio as means pushing the limits of his own capabilities. Helping AI to help himself learn from himself. Quite possibly the most stunning and reflection-inducing 4 minutes and 48 seconds we’ve experienced in quite some time.

Hacking the brain to use our voice to express ourselves beyond traditional speech

Harry Yeff is taking his expertly trained and elevated voice, to amplify the voice of those who struggle to speak up. By going outside the box of what we’re supposed to do with our voice – that being communicating via normal, everyday speech – Yeff and his work are opening up doors for others to express themselves using their voice. Because you don’t need words to use your voice.

We can hack different systems of expression based on how we use our voices.

What does this mean? Hack our voices? Harry Yeff presents the case of Remy, a young man who has a lot of trouble speaking and articulating, and yet thanks to the efforts at New York’s Lavelle School for the Blind has learned to beatbox. His speech is percussion, and with this knowledge, his articulation can improve as speech therapists treat words as percussion. There, brain hacked.

From foe to friend: Harry Yeff wants to flip the narrative on technology

Technology is so often juxtaposed against humanity. It’s almost striking to see it referenced as a “mirror that allows us to see ourselves and become more what we want to be, more human“. Once again, Harry Yeff flips the script on the standard perspective of life. Technology brings us closer to who we are, rather than the commonly held belief that it will lead us further away from what makes us human. And, therefore, from each other.

Reeps One is using his role and knowledge as a musician to redirect the narrative surrounding technology to encourage new relationships with technology. Globally speaking, technology is often inspected under the lens of science fiction or other uses that seem inaccessible, elitist and exclusionary in nature (think Silicon Valley or Tesla). And yet Yeff explains that technology isn’t any of these things, it’s something we all use every day to enhance our daily lives. We can use technology to deepen our explorations of the self, of humanity as a whole.

With this in mind, Harry Yeff’s goal is for people to become more human. That’s the purpose of most art, isn’t it? To explore ourselves, our depth as humans, or how far we can go, either physically or in our minds. But in a time when so much content is created for money and money alone, it’s refreshing to come across someone whose goals are so explicitly rooted in self-discovery, for his own benefit and that of society as a whole.

In a time where artists, and celebrities in general, have an increasing amount of cultural, social, and even political influence, observing the position of the cultural and social relevance of a creative such as Reeps One is somehow, emboldening. It feels right, it feels good. More importantly, it gives us hope for what’s to come. For how far we can go.

And if that’s not The Next, we don’t know what is.

Karabo Poppy knows this well, and when she realised that no matter how far she looked she struggled to see herself represented in contemporary art, she took it upon herself to become that representation for others.

The South African illustrator has taken the world by storm and placed contemporary African aesthetic front stage and centre. Talk about having a purpose. Taking a look at her life, one might think the 29-year-old artist was born into this world precisely for this reason. After all, not many can say that their parents were called into school when they were 6 years old simply to point out one’s inherent artistic capabilities. Not many, but Karabo Poppy can.

This wouldn’t be the first time one of Poppy’s teachers would become enchanted by her talent to the point of seeking to steer the illustrator’s life towards the arts. In fact, after high school (and with an acceptance letter to med school – important detail), yet another teacher pleaded with Poppy to attend an Open Day at the Open Window Institute. And what else can we say besides “Thank you teacher, wherever you are!”, because without said teacher, we might not have the pleasure of experiencing Karabo Poppy’s brilliant art today and she might not have become for others the representation she craved for herself growing up.

Karabo Poppy has blazed her own trail. For herself, and for those who will come after her.

Poppy recalls being one of the nine black students in her class, appalling truly when we take into account the student population of around 600. It wasn’t just students that were predominately white, so was the syllabus.

What we were learning was catered to more of a Western narrative, and we weren’t really seeing an African narrative being taught or explored, or even encouraged. In the textbooks, there was traditional and primitive African art, nothing contemporary, or in the context of advertising or digitisation.
-Karabo Poppy for ItsNiceThat

While traditional African art was more accessible, and there was some, – albeit minuscule – black female representation in the fine arts scene, for the life of her Poppy could not find African voices, especially female ones, in contemporary design. Even after graduating, the South African illustrator saw no option but to become a freelance artist since she couldn’t find any creative agencies or design studios that actually worked through the lens of a contemporary African perspective. Many would have given up at this point, at the very least they would have adapted and shape-shifted in order to fit the pre-established boxes. After all, what recent graduate wouldn’t -at least temporarily- sell their soul for a minimally decently paid gig. Well, not Karabo Poppy. Because in case you had forgotten, she wasn’t placed in this world for that. Her teacher knew it, and Poppy did too.

Apparently so did the universe. How else do you explain a millenial getting an email from a huge tech company offering the job of a lifetime? Specifically, offering Karabo Poppy the job that would cause her career to spiral upwards. An offer from Project RED and Apple to work for a campaign that raised over a million USD toward the plight of HIV/AIDS all across Africa.

It felt amazing, I wanted to make money to help my family, but now I got to make money to help my continent, and it just pushed me, even more, to keep doing what I’m doing. 
-Karabo Poppy for Highsnobiety

Putting Africa on the map of contemporary design and media

Karabo’s work is vibrant, joyous, and regal. All while conveying an inherent coolness, effortless yet determined. She developed her characteristic style by channelling her surroundings. Those driven by fate might believe her a prophet of sorts, come to imbue Africa with the protagonism it rightfully deserves. A messenger of her people. Honouring her ancestors.

The Wall Street Journal called her up. Will you believe that a platform as pivotal as The Wall Street Journal did not have an Africa-base illustrator in its roster before Karabo Poppy? If this isn’t proof that Poppy is succeeding in her mission to rebalance African representation in the contemporary design and media realm then we don’t know what is.

And what a grand way to rebalance African representation. Her line work stands out as much if not more than the energetic colours that permeate her illustrations. A line work that’s vigorous, and infused with movement. It’s almost as if you can hear her illustrations roar and sing.

Mark our words: Karabo Poppy will be one of the key voices of contemporary art.

The truth of the matter is, with the amount of music being made these days, it is statistically close to impossible to make a track that sounds 100% original, and unique. Everything will inescapably sound similar to something else, and as an artist, you are not very likely to invent a completely different genre that sounds unlike anything ever heard. What you can do, however, is use all the influences around you to accurately represent yourself via your sound. Create an authentic sonic landscape.

Still, this is no easy feat. Many try and fail, resulting in regurgitated, modernized versions of things we’ve heard time and time again. However, some try and succeed.

Such is the case of Jerome Thomas, our selection for this month’s ‘The Next’, a series where we talk about, and with, some of the creative minds of today who are leading the way to tomorrow. Now we could tell you who Jerome Thomas else, you could listen and find out yourself, or you could do both. So hit play and read on.

Who is Jerome Thomas?

Jerome Thomas is a singer-songwriter from East London whose sound has slowly but surely been making waves throughout the industry. One does more than merely listen to his songs, one experiences them. Thomas has the sort of sound that envelops you whole. We’d like to pinpoint to you exactly what he does, but in truth, we can’t. His music lies somewhere between neo-soul, R&B, jazz, funk, hip-hop, and jungle. But all of these are more the genres that his music touches on. At the end of the day, his sound is something else entirely, something which Jerome Thomas has coined FOE, Freedom of Expression & Fusion of Everything. And a fusion of everything it is indeed.

The Hackney-raised artist’s music transcends the boundaries not only of genre, but of time too. There is something quintessentially timeless about his music, you can’t seem to place it wholeheartedly in one era alone. Borrowing sounds and vibes from the 70s to the 00s, Jerome Thomas has definitely breathed new life into British soul music and we’re here for it.

Freedom of Expression

When talking about his creative process Jerome Thomas highlights the importance of simply flowing. Almost as if he set the right mood and made sure the elements for his songwriting are there so that he can just let it flow, let it happen. It is a testament to his artistry really, to the art he carries within. One could even dare say that Jerome Thomas isn’t simply someone who makes music, he’s a vessel for it.

As such, his creative process allows him to process and explore the inner corners of his mind, and untangle the complexities of feelings.

The age-old notion of surrendering to the flow, expressed by many artists throughout time, distinctly comes across quite homogeneously throughout Jerome’s work. He flows with the music, and consequently, so do his listeners. It’s precisely this that makes his music incisively alluring. Listening to Jerome Thomas will inevitably make you want in.

Fusion Of Everything

The way in which Jerome Thomas talks about his influences and the artists who essentially became his school of music is particularly inspiring. Everything this artist knows was self-taught, a fact that becomes increasingly impressive when you dive into the complexity of the insane multilayered harmonies in his tracks. Thomas credits a deal of his finely tuned ear to the vast array of female musical influences his mum would play. Jill Scott, Tina Marie, SWV, Mary J Blige, and Erykah Badu among others. His particular harmony bible? Brandy’s ‘Full Moon’.

It’s not just that Jerome Thomas’ talent has earned him a solid presence in the music industry, it’s more the fact that he seems to have carved a new space within music itself for him to occupy. His music inhabits a unique, never-before-quite-seen place. A place which no doubt is the epitome of trial and error, genre-bending and melanging throughout his musical career until he found his idiosyncratic sound. Of putting himself out there and daring to dream and experiment.