i-Dhttps://i-d.vice.com/en_ukRSS feed for https://i-d.vice.comenTue, 18 Dec 2018 12:40:01 +0000<![CDATA[mister wallace is the ‘cool mom’ of queer hip-hop in chicago]]>https://i-d.vice.com/en_uk/article/yw7k5w/mister-wallace-is-the-cool-mom-of-queer-hip-hop-in-chicagoTue, 18 Dec 2018 12:40:01 +0000This article originally appeared on i-D US.

When a pink velour tracksuit-wearing Amy Poehler said “I’m not a regular mom, I’m a cool mom” in Mean Girls, we laughed and rolled our eyes. But when Erik Wallace says it, we can’t deny it. That’s because the queer rapper, who performs as Mister Wallace, has taken on such a strong maternal leadership role in Chicago’s queer hip-hop community that they’re now literally known as Cool Mom.

This nickname has proved so important to Wallace that they released their debut album with the same title last month. With its positive messages and hip-hop club bops like Birds & Bees and Heavy Heat, COOL MOM is all about empowering queer youth and, for Wallace, uniting their chosen family with their biological one.

It all started in 2016, when they released their debut EP, FAGGOT. The title sought to reclaim the insult via a series of queer anthems, but Wallace says not everyone saw it that way. “When I first put out the FAGGOT EP my mother said, ‘Congratulations, but do you ever think you’ll put out music for everyone?’ That kind of hurt me at first, I was like, ‘What do you mean ‘everyone'? My music is for everyone!’” they laugh on the phone from their home in Chicago. “I guess she was saying that because of the title and the provocative lyrics. She felt that I didn’t make the project for her; she felt that I was making it for my chosen family.”

Wallace is referring to the up-and-coming hip-hop and R&B artists they call their daughters, who they mentor with Futurehood, the community and record label they co-founded with DJ and producer aCeb00mbaP in 2016. “For a lot of black queer people, your chosen family often becomes more important than your biological family when you’re out in the world and becoming your adult self,” Wallace explains. “They’re the ones giving you the feedback and love and support that you need to figure out who you are."

After the EP’s lead single It Girl blew up, Wallace moved to New York to pursue all of the opportunities that were being thrown their way, but soon found themselves craving their community back in Chicago. So they returned to their hometown and started working on COOL MOM, with the aim of bridging the gap between their biological family and their chosen one. Their dream was realised when they debuted the new material at the nightclub Subterranean for the Red Bull Music Festival showcase Futurehood & Friends. “Four of the five daughters that I name on the last track of my new album were onstage with me, and that was a phenomenal experience,” Wallace says. “To have those people with me who look up to me, and who I look at as a reflection of myself and as a key to the future; it was a really holistic moment.”

The positivity surrounding the making of the album shines through in COOL MOM, which glistens with hope from the opening synth line of first track Birds & Bees, and flows through the ebullient beats by producers Jeremiah Meece and Wallace’s younger brother, Soupe. The underlying darkness of the world isn’t ignored – it bubbles below the surface, and in lines like “The ways of the world are weary.” But that’s quickly countered with encouragement: “Rise above the rapture only if you’re really willing.”


Just like Wallace themselves, COOL MOM is both sexy and wholesome. On Salad, they portray a positive family situation in which “Everybody winnin’ and the haters is mad.” Wallace brought rappers Eric Donté and Petty (who’s also an entrepreneur of shea butter products, who Wallace plans to collaborate with on a line of lip balms) to the studio for the song. “That was me being the cool mom, bringing the up-and-coming kids to the studio with me to play — to whip up a salad! I was like ‘How much fun can we have letting the world know who we are?’”

Positivity is partly a survival tactic for Wallace. “A lot of the music that’s coming out right now is so solemn, especially things by queer artists. It's hard to date being queer and black, and we should be able to express non-positive things and still be celebrated. Black people should be able to be sad. But I wanted to create something very positive and fun — to the point where I actually second-guessed myself. I said, ‘Wallace, you’re an amazing lyricist, you could be talking about so many things… Do you want to be more serious on this project? And I was like ‘no, it’s called COOL MOM! You’re not a regular mom, you’re a cool mom!” they laugh. “People need to bop, they need something to get them through their day.” Besides, how can we right the wrongs of the world if we have no hope?

Wallace hopes that by setting this tone, they can encourage people to break out of their siloed existences and embrace people and ideas that are different from them. “I’m not anti-straight people — obviously I’m very fluid in my sexuality — but I’m anti-heteronormativity. I’m anti the fact that people are so consumed with their cis-hetero lives, because they don’t understand that by disregarding anybody that doesn’t look or live like them, they’re on a crash course to literally ruining the entire planet for all of us,” Wallace says.

“The more we bridge those gaps and introduce queer people to cis-hetero people, the more we can humanise them to the larger dominant group and hopefully save ourselves from further persecution under this administration.”

As Cool Mom, Wallace is already making a difference in young queer people’s lives, but they want to do more. They have multiple family members battling cancer, so they designed the COOL MOM album cover to look like a cigarette packet. “So instead of people buying into Newport, they buy into Cool Mom! Which will help me help take care of my mom, and help me step into a leadership position within politics or business and start creating sustainable living for people who don’t have that.”

“It’s not just about music for me; it’s about creating a sustainable world for people like myself — and for the world in itself."

yw7k5wSarah GoodingJack SunnucksMusicChicagoHip-Hopcool mommister wallacemusic interviews
<![CDATA[33 things you need to know about rick owens]]>https://i-d.vice.com/en_uk/article/mby45x/rick-owens-guideTue, 18 Dec 2018 11:42:44 +0000Although fashion is often associated with youth, Rick Owens was actually in his forties when fame came-a-knocking almost two decades ago. Since his runway debut at New York Fashion Week in the early noughties, the designer has continued to develop his signature talents for cutting, draping and creating the sort of beautifully-wearable yet never-boring clothes, sneakers and accessories (showcased in his suitably dramatic seasonal presentations), which are increasingly sought-after by Owens's devoted fans around the world. He has also received a plethora of prestigious fashion industry awards over the years, including the Perry Ellis Award for Emerging Talent in 2002, the Cooper-Hewitt Design Award for Fashion Design and the Fashion Group International's Rule Breaker Award, and, in 2017, the Lifetime Achievement Award.

Here, i-D finds out more about our favourite 50-something designer/teen skate punk-lookalike -- from his fave food, to his love for his missus, Michèle, and even his elaborate hair-care routine.

Rick Owens covered in mud.
Self Portraits by Rick Owens. The Head, Shoulders Knees and Toes Issue, No. 307, Summer 2010

30. Rick Owens has admitted he doesn't get too preoccupied by what other designers are doing, instead preferring to look back at his own past work and find new ways to evolve it or improve upon it with each new collection.

31. Rick Owens is, however, a big fan of the designer Charles James, who, prior to his death in 1978, was one of the most influential womenswear designers of the 20th century. Rick also loves the work of legendary Hollywood costumier Adrian who dressed all the major female film stars in the 1920s and 30s and even designed Judy Garland's ultra-camp sequinned ruby slippers for The Wizard of Oz.

32. Rick Owens's famous fans include Kanye West, Michelle Obama, A$AP Rocky, Taylor Swift, Halle Berry, Liam Payne, Jennifer Lopez, Justin Bieber, Janet Jackson, Cheryl Cole and Jaden Smith, to name a few.

33. Rick Owens is modest yet clearly chuffed to bits with his life as a designer, confirming to The Independent: "I'm lucky because I was in the right place, with the right people, at the right time... I truly love what I'm doing."

mby45xJames AndersonFrankie DunnFashionFeaturesRick Owensmichele lamydesigner fact file
<![CDATA[hanne gaby odiele spent 2018 challenging the gender binary]]>https://i-d.vice.com/en_uk/article/wj3k74/model-hanne-gaby-odiele-2018-challenging-the-gender-binaryTue, 18 Dec 2018 11:06:49 +0000It’s a bit mad that in 2018 we still adhere to a gender binary, isn’t it? Well, intersex model Hanne Gaby Odiele certainly thinks so, and she wants you, me and everyone else to know about it. After publicly coming out as intersex last year, Hanne has dedicated herself in 2018 to being a powerful voice for non-binary youth. “We need to fix the binary,” Hanne told i-D earlier this year. Or you know, just smash it all up and start again.

How would you describe your 2018?
I had another year of personal growth, leaving my 20s behind me.

What were your standout moments and why were they important to you?
There were so many stand out moments for me, but I think speaking at the Teen Vogue summit and Human Rights film festival in Geneva organised by the United Nations were really up there. And organising a protest against intersex genital mutilation in New York with Voices4 and Intersex Justice Project was the highlight. In terms of modelling, being part of the Margiela Mutiny fragrance campaign and walking McQueen again, after many years, were highlights. Oh and of course backpacking through Colombia with my husband and trying Ayahuasca for the first time, which was incredible.

What were your New Year's resolutions for 2018, why did you make them and did you stick to them?
I have been making the same one for years, getting my driving license, but I still can’t find the time for it.

How did you feel back in January 2018?
Focused and centred personality, but anxious when I looked at the political landscape.

This year, you've really used your platform to speak out and create change. What motivated you?
Because I don’t want any young intersex kids go through what I went through as a child. Intersex genital mutilation needs to end now! The binary standard of male/female also needs to be broken. There is still so much work to be done on this.

What changes have you seen in the industry this year?
More diversity in castings here and there, which is good. And some new promising designers and brands, with others just kinda fading away...

What changes would you like the fashion industry to make going forward?
Sustainability. Only make collections when there is inspiration, not because there’s another season. And diversity is beauty so keep showing us more!

What has made you feel most proud this year, and why?
Seeing that so many more young intersex folks are coming out and talking about it, and hearing they were inspired to talk about it because of me. I couldn’t be more proud about that!

How do you feel now, at the end of 2018?
Still focused and centred, quite impressed and emotional now looking back at my year.

What are your hopes for fashion for 2019?
More diversity, more sustainability and creativity, and less fast fashion for the sake of filling a rack.

wj3k74i-D StaffClementine de PressignyFashionGenderMODELintersexhanne gaby odiele2018
<![CDATA[sound baths and shamanic healing: how spiritual wellbeing became mainstream]]>https://i-d.vice.com/en_uk/article/vbaj3j/sound-baths-shamanic-healing-spiritual-wellbeingTue, 18 Dec 2018 08:00:00 +0000New-age therapy is everywhere right now. Scroll through Instagram and you’ll no doubt come across a friend spending their Saturday morning being healed by a shaman or lulled into a lucid dreamland by a sound bath. Or perhaps it's you who has traded in your Friday night drinking sessions for a course of womb therapy, or found yourself reawakening your spirit at a winter solstice activation. Maybe you’re more low key and simply dabble with meditation apps and have a crystal or two knocking around your bedroom. Whatever your spiritual vibe, there’s an alternative therapy to suit and it feels like we’re all at it.

Of course, it would be easy to sceptically write off our newfound interest in crystal grids and yoga selfies as solely tactics to accumulate social media likes (and of course, they serve that purpose too) but experts reckon that there are far bigger forces sending us the way of the crystal ball.

“We’re living through rapid and, at times, very unsettling change and so faced with an uncertain future, I think people are seeking ways to understand this as part of a larger, perhaps cosmic, unfolding,” explains Ruby Warrington, author of Material Girl, Mystical World and the upcoming Sober Curious. Let’s face it, we’ve a lot to feel disenfranchised about right now: our political future is a blurry mess, the environment is in tatters and fake news has our BS radars working overtime. Not to mention the fact that every new day brings a fresh serving of scandal, sending key names from the worlds of politics, fashion, music and general celebrity into disrepute. With nothing and no one concrete to believe in, where exactly are you supposed to place your faith?

Way back when, many of us would have turned to organised religion for comfort, but that’s losing our confidence too. Across the world, many of the major religions may be growing, but according to a report commissioned by St Mary’s University, 70% of young people in the UK now identify as non-religious, with the often conservative and rigid values of traditional religion serving as a turn-off for more liberal millennials. But as for spiritual? Well, that’s an adjective we’re increasingly happy to own.

It makes sense -- as well as giving us something (anything!) to believe in, these spiritual pursuits offer an antidote to our increasingly stressful lives, especially in the creative industries. “The creative industries are hugely demanding on a mental, physical and emotional level,” Lily Silverton, a former fashion editor who left her job to pursue a career teaching yoga to disadvantaged communities, told i-D. “More and more is being asked for less money, which places a fair amount of stress on the system. People are becoming more aware of the effect this has and it’s leading them to seek out ways in which to help combat it.” Practices like yoga and meditation remind us to slow down and spend time recalibrating our mental state, while reiki and breathwork help us realign our mind, body and emotional state.

Chloe Kerman has taken a similar journey. Having spent years at Garage magazine, a quest for a higher purpose lead her to train as a shamanic healer. “I first sought out alternative therapies as I I had lost my purpose and drive; I didn’t know what I was passionate about or what brought me joy,” she explains. “I noticed when I started receiving healing sessions my perspective shifted and I gained new insights about my life. That excited me because for the first time I had hope.” When her role at the magazine ended in 2016, she decided to focus solely on her healing work, and now runs Divine Feminine Empowerment workshops, as well as womb healing sessions.

Considering that only a few years ago, the people now stuffing crystals into their bras could very well have been those writing this all off as hippy-dippy crap, it also helps that the wellbeing world has undergone a pretty mega rebrand. That’s what Ruby hoped to do when she launched The Numinous, the self-described “now-age guide to a high-vibe life” in 2012. “I launched the platform because I knew how valuable these therapies and practices could be for balancing and remedying so many of the pressures of modern life, but that the ‘woowoo’ connotations were off-putting for a lot of people. My goal was to make these rituals seem modern, accessible, relevant, and cool”, she says. Her online magazine serves as one of the most comprehensive astrology guides, while her Moon Club community and events have brought together like-minded spiritualists from around the world.

If you’re still yet to dip your toe in spiritual waters, 2019 might be your year to experiment. The only prerequisite for entry is an open mind, according to Ruby. “Notice when thoughts about these practices being ‘weird’, quackery or simply ridiculous comes up -- I think this is a hangover from the witch trials when we were taught to fear those who were attuned to their own intuition and ‘magic’ versus conforming to the narrowly drawn parameters of organised religion, which tends to instil more hierarchical or patriarchal ideas about spirituality.”

So what’s on the new-age agenda for the new year? Alex Holbrook, founder of spiritual bookings site Otherness, believes lucid dreaming and astral projection will be big news, and we’ll see a greater resurgence of ancient tribal rituals and ceremonies. “A brilliant project called The Wisdom Keepers will invite tribe leaders from across the world to the UK, giving them a platform to not only educate us on the ways of their people but also to communicate warnings from their spirit guides and ancestors to help us start to reverse the damage we are doing to our world,” she explains.

Ruby predicts shifts in self-medication. “Obviously there are legal issues, but I think we’ll see a lot more conversation about micro-dosing with psychedelics for mental, emotional and spiritual wellbeing,” she explains. “I also think we’ll see a mass move away self-medicating with alcohol, as there is a wider acceptance of our feelings as the ‘messengers of the soul’ and a move towards cultivating emotional intelligence for self-healing,” a topic she covers in depth in her new book.

As we stumble into 2019 with less certainty than ever before (Brexit, is that you?), we could do with all the grounding we can get. And our new column, Safe + Sound, should help you find just that. From breath-work to past life regression, skin meditation to sound bathing, each fortnight we’ll investigate a different new-age therapy, charting its growth from spiritual seclusion to mainstream adoption and trialling it for ourselves to uncover the crux of its allure. Here's to a more "high-vibe" year!

vbaj3jShannon PeterKate LuceyBeautywellnesswellbeingSafe + SoundAlternative spiritualityspiritual wellbeing
<![CDATA[the best feminist movies of 2018 ]]>https://i-d.vice.com/en_uk/article/kzvpb3/the-best-feminist-movies-of-2018Tue, 18 Dec 2018 08:00:00 +0000The movies I have chosen as "best feminist movies of 2018" make up an eclectic mix that strike me as reflecting a slight broadening of the kinds of films women and feminists might be expected to make, in terms of subject matter and form. Many of them haven’t appeared on any of the major movies-of-the-year lists, except for, ironically, the one I’ve included by a man. However, I think it’s important to recognise where male directors, in the wake of #MeToo, seem to have taken something on, rather than just monopolising on the movement with their hastily-sketched, ‘complex’ female characters.

Thankfully it’s been a great year for women-led movies, as major filmmakers whose careers have been marked by big gaps finally got new releases (Claire Denis, Lynne Ramsay, Lucrecia Martel). And distributors -- no doubt pushed by discussions around diversity -- brought films by early-career women filmmakers (including some on this list) to the cinema. This meant that movie critics -- a profession still largely dominated by male voices -- were often pushed to cover ‘smaller’ movies, though many still wrote using unconsciously biased language. But keeping smaller scale women-led films in the public eye for more than just their month of release is important if financiers are going to keep taking a chance on unconventional films by women for longer than it’s the zeitgeist.

Here are some of the films which I see as having contributed to the ever-growing conversation around women, as well as race, class, and sexuality this year -- and which I think are worth watching, rewatching and discussing.

The Miseducation of Cameron Post by Desiree Akhavan
I’m ambivalent about the term ‘female gaze’, but if it’s meant to imply empathy and respect then Desirée Akhavan’s Cameron Post is probably the best example of one this year. As Cameron (Chloe Moretz) is uprooted from her small town to a Christian conversion camp after her boyfriend discovers her kissing a girl, Akhavan queers the coming of age story. Cameron is not the gawky teen who needs to accept themselves in order to be accepted by others: we meet her at the peak of sexual self-discovery and she remains delightfully stubborn until the end. Cameron Post should be compulsory viewing for any male director who insists on including a lesbian sex scene: Akhavan’s camera is never salacious, it refuses to cut up bodies and instead lets the lust and ambivalence that comes with teen experimentation of all orientations come to the fore.

Touch Me Not by Adina Pintilie
When Touch Me Not received the top prize at the Berlin Film Festival this year, outraged (predominantly male) critics cast the film as ‘silly’ and ‘shallow’. Touch Me Not is an exploration of themes pertinent to contemporary feminist thought -- intimacy, disability, sex work -- and follows a cast of people with either non-normative bodies or who engage in non-normative sexual practices. Set against an almost negative aesthetic (more theatrical than cinematic), our discomfort comes from a new viewing experience in which we find ourselves somewhere between documentary and fiction, masculine and feminine, raw sexual desire and asexuality.

Faces, Places by Agnès Varda
Somewhat surprisingly for an artist who recently turned 90 and who has been making work for over seven decades, 2018 was Agnès Varda’s year. Retrospectives toured the UK, Agnès Varda T-shirts were bought by recent fans, and life-sized cardboard cutouts of the artist and her cat could be found in local cinemas. By comparison, the release of her latest documentary Faces, Places, was rather quiet. In her first co-authored film (though all her films celebrate collaboration), Varda and public art-maker JR tour rural France, recording the process of sticking life-sized photographs of the people they meet onto local buildings. The film is testimony to the importance of intergenerational creation and conversation, and the exposition of art outside of cities and museums. And there’s a brilliant finale where Varda arranges for JR to meet her friend, the major French new wave director Jean-Luc Godard. They travel for hours, only to find that he’s stood them up. It’s a triumph for creativity that is fuelled by empathy, rather than a stubborn individualism.

Waru by Briar Grace-Smith, Casey Kaa, Ainsley Gardiner, Katie Wolfe, Chelsea Cohen, Renae Maihi, Paula Jones, Awanui Simich-Pene
Another film that extols the virtues of co-authorship is the Māori film Waru, which got a small release late this year. The film is directed by eight women who were given a day each to film an equal-sized segment in one consecutive take. Formal constraints like these have often led to messy films, but here they seem to have provided a necessary foundation for a film that tackles the death of a victim of child abuse in a minority community. Each section follows a different woman on the day of the child’s funeral. Each woman appears exhausted, bearing the weight of work, family and the need to be a ‘good Māori’ to the scrutinising white eye. This is most apparent in the section following Kiri, a Māori newscaster, who watches as her white colleague goes on air to cast the problem of child abuse as a Māori problem. But watching Waru is watching a community impelled to examine itself on its own terms.

Jeune Femme by Léonor Serraille
Léonor Serraille’s Jeune Femme opens with its protagonist, Paula (the wonderful Laetitia Dosch), bashing her head so hard against her photographer ex-boyfriend’s door that she passes out and ends up in psychiatric care. What follows is not the story of post-break-up freedom (“Freedom”, she tells the doctor as she discharges herself from hospital, “is for egotistical bastards”) but a quest for shelter and care led by someone with precarious means. As Paula inhabits different personae in order to find a place to sleep or get through a job interview, we are witness to a creativity borne of necessity.

Private Life by Tamara Jenkins
More people should be shouting about Private Life, Tamara Jenkins’s brilliantly-written New York comedy about a 40-something couple’s journey through adoption and assisted reproduction, which slid quietly onto Netflix this autumn. I’m not sure I’ve ever seen a film so drenched in a desire that is neither sexual nor romantic. The film becomes even more striking when you realise that the object of desire has been entirely forgotten: not once do the couple refer to a child or talk about why they want one. As the couple throw more money at new alternatives, we become aware of how easily alleged freedoms can become constraints.

Shirkers by Sandi Tan
In early 90s Singapore, precocious teen cinephile Sandi Tan started shooting an ambitious feature with two of her female friends, Jasmine Ng and Sophie Siddique. Taking night classes in film production, she shared its script with her teacher Georges, who convinced her that his (fabricated) success and connection meant that he should be the one to direct it. Slowly, various creative decisions slipped out of the teenagers’ hands, until one day, without warning, the man and the film canisters did too. Tan, never able to get over the loss of the film, became a writer and a critic.

The documentary first orients us in the west-facing underground subculture of late 20th-century Singapore before some of the recuperated, soundless, footage seeps in. Honest conversations with Ng and Siddique recall the pleasures of a form of DIY filmmaking, fuelled by the boundless confidence of youth, and paint a picture of the male fantasist, Georges, whose ex-wife later corroborates their story. She is also the one to returned the stolen footage after his death.

Although the abuse in Shirkers is predominantly non-sexual, it chimes with many #MeToo stories as one of an insecure man who felt so threatened by a woman’s capacity for creation that he had to obstruct it. As the original film’s wildly inventive and beautiful footage flows throughout the documentary, we are compelled to think of all the other scripts would-be women filmmakers were forced to hand over to male directors.

Roma by Alfonso Cuarón
The most unexpected feminist film of the year has to be Alfonso Cuarón’s Roma, whose previous exploration of alternative worlds much bigger than ourselves -- Children of Men, Gravity, the third Harry Potter film -- all seem to have been leading to one of the best portraits of the domestic in recent cinematic history. Much has been made of the fact that the film is Cuarón’s love letter to the Mixtec woman who helped raise him in Mexico City (here she’s called Cleo), but this falsely implies a child’s gaze on events. Instead, Roma shows us what Cuarón would have experienced as Cleo’s absence -- her discussions in Mixtec with another maid, her time off, dates with a man who soon abandons her. Visual and thematic symmetry can be found across the film, and so as Cleo finds herself alone, so too does the mother of the children, whose husband leaves her for his mistress. While some brilliant films this year have demonstrated the importance of women representing masculinity (The Rider, Western, You Were Never Really Here), Cuarón deftly tackles the lives of women formative to him that were destroyed by male ego. The story’s great tragedy, however, is the realisation that class is not the leveller that gender can be.

kzvpb3Daniella ShreirClementine de PressignyfeminismCultureFilmmoviefeminist film2018
<![CDATA[teddy quinlivan continued her fight for trans rights in 2018]]>https://i-d.vice.com/en_uk/article/pa5wxk/teddy-quinlivan-trans-rights-in-fashionTue, 18 Dec 2018 07:30:00 +0000The fashion world is changing. It’s becoming more diverse and more beautiful in the process, and one of the figures leading that change is transgender model Teddy Quinlivan. Earlier in 2018, Teddy told the world about her crusade for trans right when she was featured in i-D’s Radical Issue. Here she reflects on a year spent using her platform to raise awareness and generally fighting the good fight.

How would you describe your 2018?

What were your standout moments and why were they important to you?
It was a really big deal to me when my Louis Vuitton Campaign and the My Mutiny by Margiela fragrance campaign came out -- every model works their entire career for opportunities like that and so I felt like I had really achieved some serious goals this year, career-wise. I also received the Visibility Award from the Human Rights Campaign and that was huge as well because of the recognition I had received for my trans rights activism.

What were your new year's resolutions for 2018, and did you stick to them?
Lol I totally forgot what resolutions I made for 2018... sooooooo.

This year, you've really used your platform to speak out and create change. What motivated you?
Coming out as transgender was one thing, but I really felt like I wanted to raise awareness about trans issues, because I’m openly transgender and the Trump administration has been doing everything in their power to take away our rights and freedoms. I felt I had a responsibility. There are not many publicly out transgender people modelling in fashion with a platform, and I felt like I really needed to represent my community.

What changes have you seen in the industry this year?
Big strides have been made in terms of inclusive casting in fashion, and the Me Too movement has put a spotlight on some of the deeply inappropriate abuses of power within the industry. People are starting to take a step back and really examine the way they treat others in the business.

What changes would you like the fashion industry to make going forward?
I’d like to see more and more inclusion as well as agencies beginning to take accountability for the role they’ve played in perpetuating abusive and negative behaviour in the industry.

What has made you feel most proud this year, and why?
Even though I had an amazing year career-wise, I also had a difficult year personally. I’m very proud that even when people tried to bring me down and shut me up, I persisted. I never gave up and I never will.

What have you really enjoyed this year?
Unapologetically cutting shitty people out of my life.

Who are the people that really made your year?
John Galliano, my mom and my amazing agent, Anthony, in Paris who shares the same passion for justice and positive change as me.

What are your hopes for fashion for 2019?
More inclusion, better collections, more respect for models well being and safety, and more MONEY.

pa5wxki-D TeamClementine de PressignyFashionMODELTransgender rights2018teddy quinlivan
<![CDATA[dan martensen's year in photos]]>https://i-d.vice.com/en_uk/article/8xpbgk/dan-martensens-year-in-photosMon, 17 Dec 2018 17:02:58 +0000 We asked a handful of our favourite photographers to look back at 2018 and remember it through the photographs they took. From i-D contributions to personal pictures of friends, family and strangers on the street, this is Dan Martensen: My Year in Photos.

Photographer Dan Martensen has been contributing to i-D for many years now. From a vibrant journey across Rio de Janeiro the summer it hosted the World Cup, to a brooding fashion story spotlighting the brightest new faces in the industry, his work is diverse, yet united by a recognisable depth and grandeur. Photos from one of his most ambitious projects -- a series entitled Wolves Like Us: Portraits of the Angulo Brothers, that followed the brothers of Crystal Moselle's documentary The Wolfpack -- appeared on the pages of i-D, and captured the uniqueness of the once-isolated brothers' situation with sincerity and authenticity. Elsewhere Dan has shot for Vogue, Self Service and WSJ, and collaborated with brands like Nike, Alexander Wang and Mugler.

dan martesen

I shot this photo somewhat illegally. I must’ve driven past this wave billboard more than 100 times. We were shooting a story for Self Service, a “Malibu” story. Luna was wearing this amazing orange jumpsuit and I couldn’t get the idea out of my head that she would be contrasting with this wave. I kind of insisted we try and climb up on top of it and take a photo. Lucky for me everyone went along with it, even the people who, unbeknownst to me, ran a photo gallery in a small door behind the billboard.


Photography Dan Martensen

8xpbgkRyan Whitei-D StaffPhotographyDan Martensenbinx waltonfrederikke sofiemy year in photosluna bijlmy year in photos
<![CDATA[the biggest fashion moments of 2018]]>https://i-d.vice.com/en_uk/article/bjeb73/the-biggest-fashion-moments-of-2018Mon, 17 Dec 2018 16:29:06 +0000There were radioactive poisonings in a provincial Zizzi. There was Yanny and/or Laurel. There was Lindsay Lohan in Mykonos, bitch. It was almost the year that Croatia became known for something other than its music festivals. It was the year we did people’s birth charts without their consent. It was the year that the world blessed us with Gym Kardashian and creeped us out with the Theresa May shuffle. Remember that moth meme? 2018. Ever try the Google Arts and Culture Selfie? Again, 2018. This was the year that the Obamas bucked convention and unveiled their bright, colourful official portraits by African-American painters — only for someone to turn Barack’s into a Homer-Simpson-in-the-bushes meme. So 2018. How could you sum up the year in three words? Big Dick Energy. In just two? Wakanda Forever! In one: Woke.

Yep, 2018 was the year the world woke up. For fashion, as HRH Meghan noted at the Fashion Awards last week, it used to be “cool to be cruel”; now it’s “cool to be kind”. We had politics on the catwalk; exposés of abuse and racism; more diversity in shows and campaigns; major luxury brands going fur-free; we even had a person of colour shoot the September issue of Vogue. It was also the year that Fashion went Pop! Teenagers queuing for Supreme collabs. Virgil Abloh at Louis Vuitton. Viral Balenciaga memes. Kate Moss at a royal wedding. The Queen at a fashion show!

Thought fashion was about clothes? Not anymore. Here’s everything you need know to know about 2018’s fashion moments.

Golden Globes Blackout
2017 may have been the year that #MeToo surfaced, but arguably 2018 was the year it really become part of the collective conscience. 2018 started with a sombre moment at the 75th Golden Globes, where every woman in attendance wore black to reiterate that Time really is Up. Oprah made an emotional speech that summed it all up and the image of a sea of black was sort of like a modern-day Black Ascot.

The Queen at London Fashion Week
Perhaps it’s so unlike the Queen to go to a fashion show that meant it was such a heart-warming moment to see her at one. Her Majesty took her velvet-cushioned seat at Richard Quinn’s show right next to Anna Wintour. She then giggled as models in homages to her Balmoral headscarves and T-shirts emblazoned with ‘God Save The Quinn’ glided past her. It wasn’t just for any old reason, either — she presented Quinn with the inaugural QEII award for British Design. Not bad for one of London’s emerging designers.

Beyoncé at Coachella
Ah, Beyoncé. Not only did she assert herself as the greatest living performer on the planet — don’t even bother denying it — at Coachella in April, but she also ignited the frenzy for a very 2k18 phenomenon: ‘Gen Z Yellow’. Sure, there was a Destiny’s Child reunion and a heart-warming moment on stage with her sister Solange, but what caught our attention was the high-voltage production that would put Busby Berkeley to shame — and the fact that it was all yellow, to quote Chris Martin. Everything from the Balmain hoodie on Bey to the costumes of her 200 or so backing brass band players, singers and dancers — bright, see-it-from-a-mile-away yellow. Oh, and she also came out dressed as Nefertiti. From one queen to another.

Prada Gets Its Bang Back
No one ever needed convincing about the eternal allure of Prada and its matriarch, Miuccia. However, in 2016 business had taken a turn for the worse when Prada struggled to recover from its disjointed pricing architecture and decision to go more upmarket in the mid-00s. Sales were down almost 10 percent. Then, Miuccia’s aquiline nose for the zeitgeist resulted in a moment that was both nostalgic and relevant for the streetwear craze. In February, the Italian brand’s show was a canon of Prada’s most iconic styles — the red stripe of the relaunched Linea Rossa; the crispy black nylon with triangular plaques; the flames, bananas and lipsticks of bygone cult collections. Prada got its bang back and in the first half of the 2018 fiscal year, sales at the Prada Group were €1.5 billion, up more than 9 percent from the same period last year, beating analyst estimates.

Diversity Become De Rigueur on the Catwalk
The spring/summer 19 catwalks were the most diverse we’ve ever seen. According to the season report by The Fashion Spot, racial diversity reached an all-time high, with 36.1 percent of all castings across the various cities going to models of colour, a noteworthy 3.6 increase on autumn/winter 18. Half of the top models were women of colour — including Adut Akech, Hyun Ji Shin, He Cong and Sora Choi. In February, Anok Yai, the Sudan-born model, was the first black model to open Prada since Naomi Campbell in 1991. Comme des Garçons cast black models in its shows for the first time in over two decades. And Balenciaga cast eight rising Jamaican stars from mother agency Saint International. Body and gender diversity was at an all-time high, too.

The Bride Wore Givenchy Haute Couture…
Meghan Markle was an unprecedented royal bride in more ways than one — not only is she mixed-race, she’s an actress, she’s divorced -- she’s even American. So it shouldn’t have come as a surprise that she would opt for something unconventional for her wedding dress, and she did: Givenchy Haute Couture. The gown she wore, designed by Clare Waight Keller, wasn’t the obvious choice. Firstly, despite the fact that Waight Keller is British, Givenchy is most certainly not. It would also mark the birth of a new friendship… More on that later.

Virgil at Vuitton
When Virgil Abloh was appointed artistic director of Louis Vuitton, the response was incredible. Fans of his Off-White streetwear and seemingly endless collaborations rejoiced. And for many people of colour, it was a moment of celebration — a black man was being recognised and given responsibility for LVMH’s flagship brand. His debut show in June, titled The Vocabulary According To Virgil Abloh, ended with an emotional moment between the designer and his friend Kanye West.

Kim at Dior
In a game of musical chairs, Kim Jones moved from Louis Vuitton to Dior Homme (although he’s cut the ‘Homme’). Kris van Assche, by the way, went from Dior to Berluti. Jones made his debut in June, too. His was staged around a giant Kaws teddy bear made from roses. There was elegant tailoring, denim monograms, utilitarian saddle bags for men, Ambush-designed jewellery, Alyx-designed hardware. Hell, there was even a shirt entirely embroidered with Lemarié feathers. It marked a new dawn for Dior, one that Jones only continue to evolve.

The Pope Wears Prada
Catholic gilt! Sartorial saints and sinners! Oh My Galliano! The opportunities for Met Gala-related puns and headlines this year were endless as the annual bash from ‘Heavenly Bodies’, curator Andrew Bolton’s brilliant exhibition, which displays fashion inspired by Catholicism. Presided over by Anna Wintour, the annual New York fundraiser is essentially a costume ball where Hollywood meets high society; fashion meets theatreland; and music meets museum patrons. Any excuse for celebrities to don headpieces and ten-foot-long capes. Of course, it was Rihanna who ‘won’ Met Gala, as usual. She came in a Margiela Artisanal ode to one of Galliano’s incredible looks in the exhibition.

Melania Trump Doesn’t Really Care, Do You?
Melania, Melania, Melania. Either the First Lady is an undercover comedienne, trolling us with her outré outfit choices as a questionable form of dryly dark, ironic satire — or as that Zara jacket quite literally spelt out: she just really doesn’t care. Mrs Trump has had a few bold fashion moments this year, but none of them are particularly honourable. Of course, there was the aforementioned Zara coat — worn to visit a migrant detention centre. There were the stilettos on board to see victims of Hurricane Harvey in Texas. There was the colonial pith helmet in Kenya and the other colonial Poirot costume in Egypt. There was the wearing of Dolce & Gabbana, just after they were outed for racism in China.

Crazy Rich Asians: A Fashion Fairytale
As the underdog blockbuster success of the year, Crazy Rich Asians was a moment unto itself. It is officially the most successful studio rom com in nine years, courtesy of (rather than despite) its all-Asian cast. And the costumes! The film was a sumptuous parade of fashion — Dior! Missoni! — that celebrated the conspicuous consumption at its most glittering.

That Balenciaga Meme
It doesn’t really need an explanation. Pure genius courtesy of fashion meme master @hey_reilly!

Valentino Hits Its Couture Crescendo
You know a fashion moment when you see one. Valentino’s couture show in July was — as I wrote for i-D at the time — the best fashion show I’d ever been to. “This one was especially pertinent at a time when high fashion is in danger of losing its lustre to never-ending negative commentary, flagrant referencing from designers big and small and, generally speaking, a landscape marked by unemotional and uninspiring narratives,” I wrote at the time. Since the show, it has been popular on every red carpet, and doubtlessly contributed to Pierpaolo Piccioli taking home the gong for Designer of the Year at The Fashion Awards in December.

John Galliano’s Hit Podcast
Who knew that the legendary John Galliano would be such a great fit for radio? The designer launched his own podcast ‘The Memory of… With John Galliano’ in June, to coincide with his artisanal (or as he pronounces it, artis-anal) Maison Martin Margiela menswear collection. His drawl extends to sensually whispering words such as “mercurial oil” and “noblesse” into the microphone. It’s essentially fashion ASMR. (Also we launched our own podcast).

Tyler Mitchell Shoots the September Cover of US Vogue
In August, Tyler Mitchell became the first African-American photographer to shoot the cover of Vogue in its 125-year history — at the tender age of 23 nonetheless. Photographing Beyoncé, Mitchell became a part of history, but he has long been a contributor to i-D (obvs).

Chanel, Versace, Michael Kors, Burberry, Gucci Go Fur-Free
2018 could go down as the year that fur went out of fashion. Several major luxury houses pledged to stop using fur, including Burberry (which was also found out for burning almost £30 million worth of stock) and Chanel. It raised the important question of just whether all brands should ban fur — or whether faux fur is actually an environmentally-unfriendly alternative. The debate continues.


Nike Just Did It: Colin Kaepernick Campaign
Before starring in a Nike campaign, Colin Kaepernick was better known as the as the NFL player for the San Francisco 49ers who refused to stand during the national anthem in 2016. His teammates joined him in protesting police brutality in a gesture that was intended to draw attention to the police killings of African-Americans. Donald Trump took him on, and once his contract was up, not a single team offered him a new one. It made him a surprising, if not divisive, choice for Nike’s ad campaign, in which his face is emblazoned with the caption: “Believe in something. Even if it means sacrificing everything.” Figures such as LeBron James and Serena Williams aired their support, and the company profits went up.

The Ones We Lost
Many fashion legends passed away this year. RIP Judy Blame, Hubert de Givenchy, Michael Howells, Annabelle Neilson and Anna Harvey, to name only a few.

Philip Green and #MeToo
The Topshop boss came under fire for allegations of sexual harassment and bullying. However, it remains unclear what the repercussions are for Sir Philip. Let’s hope time’s up!

Dolce & Gabbana in Hot Water
Ah, Dolce. Well, Gabbana actually. Old Stefano seems to be making a habit of getting himself in trouble. Only this time it might just be the fatal. It all started with a backlash, led by Diet Prada, over video ads for the brand’s Chinese runway show, considered by many as racist. The video featured a Chinese model struggling to eat spaghetti and pizza with a pair of chopsticks. Then DMs were sent from Stefan’s Instagram account (he claims he was hacked), in response to accusations of racism, saying: “From now on in all the interviews that I will do international I will say that the country of [poo emoji] is China.” DM’s from his account also accused the Chinese of eating dogs, and called the Chinese an “Ignorant Dirty Smelling Mafia”. The messages quickly went viral and the backlash, particularly in China, went viral too. Videos quickly circulated of people burning D&G products and using them to clean toilets. The Italian brand cancelled its planned show in Shanghai and has since been dropped by several global retailers, and it remains what 2019 holds for it.

bjeb73Osman AhmedClementine de PressignyFashionfashion momentsthe year of fashion2018
<![CDATA[a calming mix full of experimental poetry, by swedish duo flora]]>https://i-d.vice.com/en_uk/article/ev3kej/calm-i-dj-mix-swedish-floraMon, 17 Dec 2018 15:03:51 +0000 This article originally appeared on i-D Germany.

"Come back. Take me by surprise. I don't want to see it coming. I want you to take action. You in control. Out of mine. Outside my mind. Stepping in." When we asked Swedish duo FLORA to describe the mix they made us, this is the poem they quoted at us. If you listen carefully, you'll hear those words woven into the fabric of the opening few minutes of the audio; what sounds like a broken heart and deep contemplation leaving plenty of room for interpretation.

Behind the mysterious project are two talented producers — Melina Åkerman Kvie aka AnnaMelina, and Jonas Rönnberg, better known as Varg. Their respective worlds of experimental music were surely fated to cross over since well before they both started creating it. "Lyrics often have a lot to do with different places," says AnnaMelina. "I often picture a place and a moment and I describe it as well as I can, but often it feels blurry and mysterious... maybe that makes it poetic."

The result of their partnership, today at least, is a beautiful odyssey that'll drag you deep into the realm of sleep. Though calming, the production isn't all peaceful — there's a dark current flowing through it like a warning. Whispering backwards and in an ancient language about how these two should score the next season of Stranger Things and then several sci-fi films, or else.

Dive in, then!

ev3kejJuule KayFrankie DunnMusicFloraMixesvargi-djannamelina
<![CDATA[everything that happened to k-pop in 2018]]>https://i-d.vice.com/en_uk/article/yw7kvv/k-pop-in-2018-bts-blackpinkMon, 17 Dec 2018 11:57:01 +0000If 2017 was the year BTS went global, then 2018 was K-Pop, as an industry, grabbing the axe and attempting to widen the doorway that the seven-member boy group had so spectacularly created.

BTS, of course, have gone on to even bigger things this year, including selling out two nights at London’s O2 Arena and 42,000 tickets for NYC’s Citi Field in minutes, and scoring two US No. 1 albums with Love Yourself: Tear (whose artwork earned a Grammy nomination for Best Recording Package) and Love Yourself: Answer. As their fame, accolades and record-breaking stats increased, so did the op eds dedicated to their US breakthrough, focusing on everything from their social presence to their socio-political consciousness.

For anyone unfamiliar with K-Pop, BTS seemingly emerged from nowhere, but South Korean artists have been rocking up in America for over a decade now. Groups such as Wonder Girls, Big Bang and Girls’ Generation (all considered legends in K-Pop’s annals) took the most focused cracks at the west between 2009-2013, yet the timing, for a myriad of factors, was never right for them to go beyond a fervent but niche following.

But as industry and audiences grew more savvy and committed to technology, from streaming to social networks, K-Pop, as a whole, spread faster outwards to new audiences but also vertically -- new and existing fans increased their engagement, for example, creating Twitter accounts just to keep track of their favourite group or by zombie streaming (leaving all your devices playing while you sleep), which contributes to those mega-numbers attributed to K-Pop. It seemed inevitable that one group would take the lead, and BTS, who reworked the K-Pop formula into a far more individualistic and authentic device, won the race.

Naturally, there are sceptics, and yes, to say that K-Pop (other than BTS) has “taken over in 2018” would be a reach. But to suggest that it’s not popular nor that there hasn’t been an explosion of interest in the USA, and in any non-Asian country, is wrong. K-Pop went from being unknown to known. From little to no coverage in the established media pre-BTS 2017, there’s been a landslide of coverage that has, in 2018, widened to also champion acts such as TWICE, MONSTA X and NCT 127.

K-Pop went from rarely charting outside of specialist or music provider charts to visible positions on official mainstream countdowns; on the Billboard 200 album chart this year were, alongside BTS (as a group and two solo entries from RM and J-hope), appearances from BLACKPINK (#40), NCT 127 (#86) and EXO (#23). While in the UK, BTS claimed a Top 10 and Top 20 album and three single chart entries, BLACKPINK’s single DDU-DU DDU DU peaked at #78 and a collaboration with Dua Lipa put them at #38.

It’s not just the technological and cultural timing easing K-Pop into the west, it’s the artistic. K-Pop is never just about one element of performance, it’s a package -- the videos range from kooky and cute to dark and epic, the choreography is razor sharp, the songs are complex, catchy productions, and live shows are meticulously planned spectacles. Whatever your thoughts on Michael Jackson, there’s a simple reason why so many Korean artists (despite most being born well after his heyday) cite him as their hero -- he remains the ultimate performer; a thrilling, global pop phenomenon whose career transcended race and language. It’s exactly what a modern idol spends years of their life training to achieve.

'Global' was 2018’s keyword; the industry’s decision-makers seemed more interested where they fitted into the world beyond Asia than they had in years. BTS and their label Big Hit Entertainment had proved enormous international success was obtainable, and so other labels retrieved their western ambitions from the shelf and cautiously ventured forth. There was a pivot towards more ready-subbed content (a task usually taken on by fans), international collaborations, English versions of singles (some strategic, like NCT 127 below), others merely as album bonuses, like GOT7), and longer and bigger tours, though the latter was primarily by boy groups.

Collaborating, while nothing new in K-Pop (JYJ x Kanye in 2010, G-Dragon x Missy Elliott in 2013), can provide a win-win situation, a stamp of credibility both in Korea and outside of it, and exposure to the western artist’s fanbase. This year saw a rush of partnerships — Red Velvet’s Wendy x John Legend, MONSTA X x Gallant, BTS x Steve Aoki, NCT 127 x Marteen, the aforementioned BLACKPINK x Dua Lipa, Super Junior x Leslie Grace, SHINee’s Key x Years & Years, and the forming of K/DA -- the League of Legends girl group which saw Miyeon and Soyeon of (G)I-DLE join forces with Jaira Burns and Madison Beer for a viral hit that’s had over 100 million YouTube views.

These choices are obviously far from random -- K-Pop has a large, hardcore Latin American fanbase, and K-Pop itself has adopted a Latin sound as one of its sonic trends in recent years, making Super Junior's a smart move in prolonging their 13 year career. While for BLACKPINK, who debuted in 2016, teaming up with one of pop’s hottest young stars makes perfect sense when you consider the fact that they signed with Interscope/UMG in October, and, one imagines, will be making a direct play for western audiences in 2019.

One outcome of a heightened spotlight on K-Pop is that it’s not just the music making global headlines. In November, BTS were cancelled last-minute from a Japanese TV appearance, an alleged response to the controversy arising from a 2017 image of Jimin wearing a contentious t-shirt celebrating Korea’s liberation from Japanese rule at the end of WWII (featuring the Nagasaki mushroom cloud), which had been circulating online in both countries. After the Japanese media picked up on the situation, it became publicly inflamed to the point where TV Asahi pulled the plug, which is where the world media stepped into the fray.

Condensed like this, the situation sounds cut-and-dry, but it is by no means straightforward. The background -- WWII, K-Pop in Japan, modern relations, nationalists in both countries -- required to fully unpack the story is too vast for this feature, though BTS’ fandom wrote a helpful but biased white paper that gathered many of the moving parts. Days later, however, an LA-based Jewish human rights organisation demanded an apology for the victims of the bomb but also to those affected by Nazism; the band had done a 2015 photoshoot at the Holocaust memorial in Berlin. Faced with criticism at the time, Big Hit removed the images from Twitter, though they can still be found online. Members of the band were also accused of posing for a photoshoot wearing hats with the Nazi SS Death Head logo, as well as using flags similar to the Nazi swastika as concert props.

The accusation wasn’t entirely accurate -- one hat on one member, the flags were connected to critiquing the Korean school system, not pro-Nazism -- but the photoshoot had happened, the hat been worn and for the second time in under a week, BTS came under fire. Faced with rising criticism, BTS’ label issued a considered apology in which the company squarely shouldered blame for the liberation shirt and the hat, stating their artists had “no relation” to the issue, and from there the furore slowly dissipated in the UK and USA.

No doubt any ARMY reading this will wonder what, with the dust just having settled, warrants a rehashing of the incident. But there’s a systemic issue present in which BTS are far from being the sole perpetrators. While in no way forgetting that western entertainment is a discriminatory, ignorant hellhole at the best of times, any long-time K-Pop fan will attest that the idol industry is rife with missteps, ranging from blackface (members of Big Bang, Beast, Mamamoo, Apink) and appropriation (members of EXO, Block B, GOT7), to stereotyping (members of Red Velvet, Momoland), and that’s not even a full list.

In ethnically homogenous South Korea, few take offence, let alone recognise it as an issue. Both the international fan community and media however, have consistently made their feelings known, and some idols, once alerted, apologise. But given the frequency with which problems arise, it’s clear that entertainment companies aren’t listening. Ultimately, the global backlash faced by Big Hit should serve to remind companies that if they want their groups to not only stand on a world stage but significantly profit from new and culturally diverse audiences, then the onus is not just on its idols but staff -- like managers, creative directors and stylists -- to develop a wider understanding of the world they occupy.

From world politics to matters of the heart, this summer heralded the biggest dating scandal since 2014’s “Oreo-gate”, which saw EXO’s Baekhyun and Girls’ Generation Taeyeon outed as a couple. In August, Pentagon’s E’Dawn and his superstar labelmate, HyunA (a soloist, formerly of girl group 4 Minute, pictured above with E'Dawn) admitted they were dating after their label, Cube, denied it. As with all idol dating news, shit hit the fan thanks to K-Pop’s long-held and unhealthy culture of fan ownership, something openly championed by labels who often stick dating bans on many of their artists. Cube cancelled promotions featuring the two and angry Pentagon fans called for E’Dawn’s removal from the group. He was put on hiatus.

In September, Cube -- who had stated both were being kicked out, only to double back -- announced fresh plans to drop both artists, citing the couple’s “dishonesty” as the cause. The story was suddenly, unusually, everywhere -- from trashy British tabloids to American women’s magazines -- and the outrage, even in South Korea, was directed at the company. HyunA and E’Dawn have since made an official appearance as a couple, as well as uploading plenty of PDA shots on Instagram. But the big question is, will their careers continue successfully? Should the answer be yes, they may be the catalyst for a change -- a future in which an idol is welcomed to have a personal life, not be reduced to dating in a stressful cloak-and-dagger situation and have their livelihoods threatened when exposed.

In 2018, K-Pop felt marked by external ambition but also the desire and need for internal change -- as exemplified by the two major aforementioned stories, by the misogynistic backlash Red Velvet’s Irene faced over reading a feminist book, by idols reaching for more artistic license, and the growing openness around mental health. We saw impressive steps in the right direction this year. May we see them become great, ballsy strides in 2019.

ICYMI: We made you a playlist of essential 2018 K-Pop. You're welcome!

yw7kvvTaylor GlasbyFrankie DunnMusicK-PopBTSBLACKPINKnct 127