Category: Uncategorized

Interview by Tegan Jaimie
Featuring VTSS
Hair by Chrissy Hutton
Makeup by Yoi Wan

Polish DJ and producer VTSS, aka Martyna Maja is busy. True to her High-Speed Techno, VTSS isn’t slowing down. LUNCH chats to her before she jets off to the Netherlands and Poland for the weekend. Before checking off France, Germany, and then back to the UK again. However, with the pandemic ultimately stalling live gigs VTSS is excited to be back on the scene again. “Feels good being out, but traveling these days is definitely anxiety-inducing with all the different regulations and travel restrictions in different countries. However, the crowds’ energy is of course so rewarding in every single place I’ve played so far.”

No stranger to the hustle that comes with the lifestyle of a DJ. Checking in for the late flight (if possible) to spend as much time as she can hanging out with her dog before she is on the go again. VTSS expands on her day leading up to a gig at night.”Nothing special no rituals, just trying to stay by myself and focus before having to face so many different people. I’m scrolling through TikTok a lot, this relaxes me. I FaceTime my mom, my friends who dog sit, I write letters in my notes to process stuff – it’s cheaper than therapy.”

With a packed schedule, it’s easy to wonder how she has time to focus on producing new music. Acknowledging the difficulty VTSS explains “I don’t really, I’m still really struggling to figure this out and it’s honestly quite exhausting.” But keen not to inhabit a schedule that leads to her performing 52 weeks of the year for the next 10 years. “I’m not built like that. I’m still in the process of figuring out how to balance my mental health with all the traveling, staying up at night, and being always gone, yet by myself. I’m hoping next year to play more ‘tours’ around releases or projects instead of being gone every single weekend so let’s see if I can pull this off.”

Regardless, VTSS is an unstoppable force in the electronic music scene. Dosing us again and again with the high-octane techno that has seen her perform globally across the DJ touring circuit. How does she do it? “I definitely cannot be hangover (laughs). I need to have a clear mind, a bit of deadline never hurts in my case, clean room, no people around, no one wanting anything from me. But most of all just a mental place where I feel I can do what I want and not what’s expected for this project, by the label etc or whoever is a part of this project.”

Including a previous LUNCH journal favourite – TAAHLIAH on her playlist, VTSS also lists Koreless, KAVARI, the Lady Gaga remixes, Phatrax, Anz, Loraine James, NKC, BATU as her current go-to’s. LUNCH was also keen to find out more from VTSS about her relationship with fashion and designers. Out with her staple sweats, she sites Berlin-based Ottolinger as one of her favourite brands, as well as British-Indian designer Supriya Lele. “For more clubwear, I’m working on a project now with A Better Mistake from Milan which I’m a big fan of. I do love fashion a lot, can’t obviously afford much but being a performer can come with perks. Being invited to work in different ways on fun projects with brands, designers – even photoshoots for magazines.” Promoting slow and sustainable style here at LUNCH, VTSS also reflects this in her own style. “I try to thrift as much as I can. I do like vintage designer stuff and it’s a good balance by not supporting fast fashion but still being affordable. Especially in London, there’s a lot of great shops like that and opportunity to support more independent smaller brands.”

And finally, when a gig is over, how does VTSS feel? “It really depends how each gig went, whether I’ve built a connection with the crowd and whether I was satisfied with my work. Performing like that is a really special thing, especially to people who struggle with social interactions like myself. It makes you feel like you’re a part of something bigger, that you’re not by yourself, and all that without having to use words, however cliche it sounds.”

Words by Tegan Jaimie
Featuring Trackie McLeod
Photography by Marilena Vlachopoulou & Bethany Grace
Assisted by India Gill & Hannah Gordon

Trackie Macleod isn’t one to be put in a box. Self-proclaiming to be ‘pretty chaotic’, he has his Sun, Moon and Rising to thank for that – double Aries and a Virgo Rising for those who want to ask, Trackie’s art is multifaceted and while refusing to be pigeonholed, taps into that nostalgic-induced culture rabbit hole of the zeitgeist. “I struggle with artists who limit themselves to one medium – I’m too sporadic. It’s like having a full box of crayons and only using one colour but each to their own. I’m easily excited by new ideas and potential mediums – unsure if it’s a blessing or a hindrance because I’m probably quite hard to market and employ but I can worry about that when I’m 40.”

On the theme of sentimentality, Trackie recalls his childhood “I think it’s hard to look back at your early years without looking at it through rose-tinted glasses. With that in mind, I’d probably describe it as ‘hearty’ like a pure good Sunday dinner with an Irn Bru float for dessert”. As a Glasgow school of art graduate he pays homage to his early years “I reckon I was just the average messy wee guy who enjoyed pens, stickers, alien goo and things that could ruin furniture indefinitely. My interests varied like my attention span (still true) but my ‘creative energy’ wasn’t something I channeled into any direction until I was much older.”

Trackies’ anthropological work blends a documentary narrative of growing up as queer and working-class in Glasgow with a social criticism lens of pop, lad, and subculture. He is refreshingly frank and doesn’t take himself too seriously yet finds balance between a nuanced approach to social commentary on the hypermasculinity and gentrification of today with a tongue-in-cheek sentiment. 

The buoyancy of this transpires through his name; Connor to his mum, Trackie to us. He explains the origins of this alias, “It was a joke at an afters in 2014 about how I used to always bring a spare trackie with me because I knew I was out for the long haul (thanks Mark Thompson). But I guess thanks to social media I’ve been able to use it to brand myself and I suppose it’s a part of the work I make in some way? ‘Trackie’ allows me an alias to make more honest work. But it isn’t some Sasha Fierce shit don’t worry.” His art is intrinsic and tackles the generational gap of missing mental health support for men who struggled to openly talk about their feelings due to lad culture being rife.

When asked about the Scottish creative scene he has affixed to, Trackie is equal parts appreciative and honest about the hindrances it has “I think the Scottish creative scene now relies on creatives going off and doing their own start up, I’m lucky to know a lot of really talented people who have their own small businesses that keep the creative scene here fresh and flourishing. Otherwise, job-wise? Three years since I graduated – I now see why people migrate to London.” Juggling his creative work while maintaining a job in retail, Trackie is on the fence about seeing the 90s and early 00s trend coming full circle again. “I love and hate it at the same time. I sell Von Dutch hats and Juicy Couture trackies to tweens who haven’t even heard of ‘The Simple Life’. But aye seeing Y2K come round full circle having lived it the first time around makes me feel nostalgic but also old. For me, the trend isn’t a fad but once it’s filtered down to the High Street sales, we’ll be on to dressing like it’s 2010 – bring back shutter shades and The Klaxons.”

A collaboration with MV Brown

Words by Tegan Jaimie

Using clothing as a medium for more intimate and nuanced narratives, Morag Seaton is the Scottish designer of her namesake brand and the co-founder of Worn Workshop. A creative project set up with her friend Abigail Jubb to challenge negative fashion culture and entice educational conversation around the value of clothes.

“I think clothing, because they’re such an everyday thing, people tend to forget how powerful they are, and how much of an important role they play in understanding ourselves and the world around us as well.” She explains. Morag as a student at Glasgow School of Art started interviewing people about their clothes and their relationship with them and quickly collated an archive of stories. “They talked about everything from their identities, society and gender to race, culture, occupation, everything. So it’s quite incredible the kind of the role that clothing plays in our lives.”

As a designer, Morag’s current output is a range of handmade bags, all featuring a crafted pocket, another point of interest for Morag. “I think it’s because they’re just a very functional aspect of a garment. I always really liked creating technical samples and could spend hours creating them with pockets. They always come up in conversation during Worn Workshops and I think it’s just really funny when you have these conversations, people talking about all the weird things that they find in their pockets, but also because it’s a feminist issue as well, in terms of the lack of pockets in female clothing.” Acknowledging and relating to the glee women feel when discovering a hidden pocket in an item of clothing.

Morag also expands on the importance of reclaiming the word ‘boob’ back for her aptly named boob bag. “I was a bit hesitant about calling it that, particularly because of the negative connotations. But it’s a favourite of mine that I have been reworking over the years.” Celebrating the body, Morag dissents from the archetype and embraces the asymmetry humans naturally have. “One boob that’s bigger than the other and things like that. It just felt very human. I love when it’s really sculptural and functional, but still looks a little weird.”

It’s no secret that the industry fetishises over-consumption and the need to negate impulsivity when it comes to consuming. Realising the significance of an item of clothing is only one aspect of Worn. “It’s also things like understanding issues in things like sizing and inclusivity. This comes up a lot in the conversations that we have. I think it’s really about engaging people with the personal significance of their clothes, but also the environment. It’s also about getting people to think about who makes their clothes and everyone involved in that process as well. Because these are the ones that are often forgotten about. So it’s really important to talk about them too.”

As for a garment of personal significance to Morag, she is particularly sentimental about the tartan skirt that her Granny made in the ’80s for her mum from the excess tartan of her dad and uncle’s kilts. “Me and my sister have one which is really nice and I think that’s what’s special to me. As well as the Scottish heritage.”

Being a quarantine project, Worn Workshop inception began during the pandemic, Morag has appreciated the digital reach the lockdown has given it. “It started off as digital and it has mostly been digital, which in some ways has been difficult. But it’s also been amazing because we’ve built these relationships with people which we never would have met under different circumstances.”

Find Morag’s Worn Workshop here, or shop Morag’s boob bags and envelope pouches here.

T LABEL is the newest addition to LUNCH. Crafted by Taylor-Bea Gordon her designs are saturated in narratives of romanticism. Each piece delicately reimagined from sustainable fabrics. Using deadstock satin, all T LABEL’s glove bralettes are handmade-to-order and are the pinnacle of a new wave of femininity. With inspiration steeped in bygone decades T LABEL is definitively in the now. Seeing huge success over social media and editorially featured in the likes of Vogue, L’Officiel, PUSS PUSS Magazine to name a few, LUNCH is thrilled to serve the designer on the menu.

Shop T LABEL now

Words by Tegan Jaimie
Featuring Oona
Assisted by India Gill & Hannah Gordon

Words by Tegan Jaimie
Featuring TAAHLIAH
with thanks to Untitled Recs
Makeup by Kala Williams

For lots of us, Lockdown resulted in putting the breaks on life, slowing down, and taking a pause, but the same cannot be said for Glasgow-based DJ and producer TAAHLIAH. From being the first Black trans artist to be nominated for the Scottish Alternative Music Awards and winning both Best Electronic and Best Upcoming Artist, a first for any artist, to releasing her 7-track EP, Angelica with untitled (recs) just last month it is fair to say TAAHLIAH has had a busy 12 months.

Despite being a breakout act TAAHLIAH is quickly carving out a name for herself as one of Scotland’s most exciting names in the electronic music scene. LUNCH met with the artist as she discusses her autobiographical EP, Angelica.

You have recently released your debut ep, Angelica, could you expand on that creative process and where do you channel your inspiration?

Angelica is surrounded in newness and experimentation. I was still learning when making the record, I still am learning presently. About myself, music, sound, life. The record touches on several integral experiences I’ve harnessed through my identity. That’s where my main source of inspiration comes from however, there are multiple threads that all make up me as an artist and my practice.

Retrospectively speaking, how do you think the pandemic and the lasting lockdown have impacted you as an artist? 

Yes completely, it’s inevitable. However, in what ways I am unsure of. My career took off during lockdown so I don’t have anything to compare it to. I do miss performing however, and that’s the one thing I’m looking forward to experiencing post-COVID. Alongside, collaborating with other artists and making new music to dance to.

Talking about the industry, what are your thoughts on the Scottish Music Scene? What other Scottish artists are on your playlist right now?

It’s fun and interesting, a lot less saturated compared to London, for example, which I like. There’s a friendliness I feel, a particular solidarity there. Like with any social structure influenced by capitalism, there’s a lot that could be better. KAVARI, Lucia and The Best Boys, Nova. Walt Disco too. They’re who I’ve been listening to currently.

Looking at the creative industries as a whole, how does fashion play a part in who you are as an artist?

Fashion allows me to express my personality, style and gender all at the same time. It’s integral to my identity and I look at it as an art form in a lot of ways. Through fashion, I can tell a story which in turn further enhances the music. I believe in experiencing life at its fullest and most bright.

What are you looking forward to for the rest of 2021 and beyond?

Anything that involves making music and dancing.

Photography by Ulrika Luks
Featuring Lotta Lavanti

Words by Tegan Jaimie

German-American artist/illustrator DeWolfe now residing in Glasgow, Scotland has carved out a unique perspective to portraiture. DeWolfe’s work is filled with biomorphic gestures and inflated, almost cartoonish-like features. The term caricature is derived from the Italian caricare—to charge or load, essentially a “loaded portrait”. An apt definition for DeWolfe’s work. His exaggerated characters are primed with emotion; particularly the eyes which are oversized and piercing. With an almost bug-like quality, which in theory should verge on the slightly absurd, but instead, we are left with strikingly beautiful portraits.

DeWolfe’s Instagram account gives us a peek into his creative process with time-lapse videos of his practice. With the growing number of commissions, the artist often shares the reference image on which his finished pieces are based off. The comparison only aids to emphasise the artistic talent of DeWolfe. His playfulness with distortion is apparent while staying true to his style as an illustrator which never feels repetitive and is as individual as the human he is drawing.

As well as being photographed by LUNCH, we of course tasked DeWolfe with immortalising the photography in caricature form. The results are authentic to DeWolfe’s stylistic practice and a personal take on portraiture as he becomes the subject.

See more of Daniels work via his instagram or his website

Floral set design by Flowers Vermillion
Imagery by Bethany Grace

Words by Tegan Jaimie
Makeup by Claire Nisbet
Hair by Emma Diamond

Scottish DJ la la had her first experience of techno culture at 15 years old and has been carving out a successful career in the industry for almost a decade since. It’s no secret that live gigs have come to a complete standstill but la la is ready for the ‘rave revolution’ comeback. Speaking digitally, we caught up to discuss the Scottish music scene, her newly launched label Brand New Records, and her relationship with fashion.

How did growing up in Scotland Influence you as an artist?

Hugely. The Arches, Archaos, Sub Club, La Cheetah, SWG3, Barrowlands, King Tuts – these are venues with such history – the buzz around them growing up was something I could never ignore, it totally drew me in – house and techno weren’t necessarily popular with people my age especially my female friends, but once I experienced The Arches for the first time, I was 15,  – I could never forget it or stay away. Totally obsessed – with the music the energy – I saw Booka Shade play a live gig 7pm-10pm – in a band like set up, another really impactful moment in that first year (still 15!) where I was exposed to electronic music really being performed, at that moment I really got to appreciate this genre as an art form.

With all the success that you’ve rightly earned, what’s next for la la?

I can’t say I agree on the success part, but finally, things are starting to look up – the diary is getting busier the 2nd half of the year with some really cool parties – truly I’m grateful, for this year, for the time it’s given me to reflect & now after that reflection, I now have the ability to see clearer, appreciate everything, stay focused & excited – man I am so fucking excited to play to a room full of sweaty people.

I can’t wait to immerse myself back into music, my time is being managed by another job at the moment so it will be even sweeter when I leave & get back to it: this year I have the expectation to release some of my own work, along with supporting others on my newly birthed label Brand New Records – in summary, I don’t know what’s next in concrete but I know I’m re-entering the unknown better than I left it. Maybe more insecure but I’m sure everyone is feeling a bit of that at the moment.

How do you think nightlife and electronic music will bounce back after the pandemic?

I think it will hugely; I wholeheartedly believe in the ‘rave revolution’ where we get back to love, unity, amazing music & even better people, more grateful in the crowd and behind the decks.

How much does fashion play a role in you as an artist?

I would say I look at fashion as an extension of who you are – telling people something without opening your mouth is wicked – but I don’t know how important it is to be an artist in this industry, music in a broader view yes but not this particular part of it. When I play I like to be comfortable but to be honest, I’ve not always had that outlook – I used to ‘dress up’ in pieces that made me feel great that were figure-hugging for example – but I suppose I felt pretty judged, vulnerable & eventually uncomfortable – being a female playing out over the last 9 years has been a learning curve for many reasons but fashion is for sure a part of that lesson – I love clothes in all forms & gravitate towards different styles depending on how I’m feeling but sometimes it’s influenced by them all, I really hope to go ‘back to work’ not really giving a shit about what people have to say about how I look what I’m wearing as long as I feel good who cares, wish me luck 🙂