Welcome to the very first volume of Riffs&Runway’ s ‘Riffs To Listen To’, where I share with you the tunes that are currently shaping my everyday life. From jazz fusion to folk, you can expect plenty of variety from these recommendations.   Image : Bandcamp.com Woof: Fat Dog   Starting off this volume we have my personal album of the year for 2024, “Woof.” by Fat Dog. Combining a mix of electronic fusion and rock, the South-East London band have created an album that will undoubtedly light up 2025’s festival season. This is the band’s first released album, creating a very high bar for them to pass come their next album release. Considering their first release only came in 2023, Fat Dog have already began their music career by hitting the ground running.   Listen here.   Image: Albumism.com Highway 61 Revisited: Bob Dylan   Next up, a more classic approach with an album that has shaped the music scene from 1965 to the present day; Bob Dylan’s “Highway 61 Revisited”. A very relevant album with the release of A Complete Unknown  starring Timothée Chalamet, this album also includes Rolling Stone Magazine ’s number four song of all time. Don’t let that fool you into thinking that this album is a one-trick-pony though, as “Highway 61 Revisited” is littered with instant classics and feel-good tunes that will reverberate through your soul. Take an hour to listen to its entirety, and revel in one of the greatest pieces of art the human race has ever created.   Listen here. Image: Songkick.com Man Funk: Guts featuring Leron Thomas Introducing the first song of this list, we have “Man Funk” by Guts, featuring Leron Thomas. An instant serotonin boost, Guts seems to have figured out the perfect song to walk down the street to, drive to, and dance to all in one. Next time you need a little extra bounce in your step, add this to your playlist and just see what it does to you. Disclaimer, Riffs&Runway doesn’t accept any fault for the lost hours spent listening to this perfection.   Listen here. Image: lcrbemore.com. Cloud Nine: George Harrison   Fourth on our list we have “Cloud Nine” by music legend George Harrison. A song with funky guitar solos and echoed instrumentals throughout, this is another to add to the feel-good playlist. Harrison himself is of course best remembered for his work in The Beatles, but his solo career really showed fans his individual talents before his untimely passing in 2001. Upon its release in 1987, “Cloud Nine” isn’t perhaps one of his most well-known or appreciated, but is undoubtedly an absolute need for your headphones.   Listen here. Image: Genius.com From Can to Can’t: Corey Taylor and Dave Grohl featuring Rick Nielsen and Scott Reeder And finally, perhaps the best of all, “From Can to Can’t” by Corey Taylor featuring Dave Grohl, Rick Nielsen, and Scott Reeder. A piece of music treasure worked on by nothing short of Rock legends, “From Can to Can’t” is a combination of classic Dad Rock with tinges of Grunge. It’s easy, everyday listening but also perfect for that special occasion, belting out your favourite songs in the kitchen. Throughout its entirety, listeners can expect to be greeted by the signature slow-paced, heavy beat we have to come to associate Dave Grohl with, alongside the impressive vocals of Corey Taylor.   Listen here.

As August comes to an end, and the cold, grey days creep back into our lives, this volume of ‘Riffs To Listen To’ incorporates a variety of genres to reminisce on the summer, and perhaps prepare us for whatever the upcoming seasons have in store. Image: The Vinyl Factory Girl U Want: DEVO   An older tune to start things off, ‘Girl U Want’ was released in 1980 by American band, ‘DEVO’. A mix of new-wave, synth-pop, and upbeat electronic foundations, few songs get the limbs moving quicker than this. Originating from Akron, Ohio, the group has always been set on doing its own thing, never being afraid to go against the status quo. The quirky nature of ‘DEVO’ is evident even in their name, taken from the concept of de-evolution, an idea that mankind has started to regress instead of evolve. So, if you want a song that is quirky, fun, and from a band many could deem slightly batshit, there are none that I could recommend more. Listen here.   Image: Rolling Stone   Hang Tight Honey: Lainey Wilson   If you find yourself currently unaffected by the Country music craze, firstly, where have you been, and secondly, Lainey Wilson is more than enough to make you see sense. Upbeat, incredibly catchy, and delectably American, ‘Hang Tight Honey’ is the next piece of art that deserves to be in your Spotify Wrapped this year. The perfect blend of electric vs acoustic, and honky- tonk enough for you to be searching for your nearest rodeo (it might be a bit far), what better way is there to combat the end of summer blues?   Listen here.   Image: Genius Without Eyes: Brooks Nielsen and Sierra Ferrell   Perhaps one of the most beautiful songs I’ve heard in my life, ‘Without Eyes’ is a culmination of Western tropes, Indie Alternative, and every love song that has brought a tear to your eye. Best known for his work as the lead singer of ‘The Growlers’, Brooks Nielsen’s captivating, scratchy vocals are perfectly accompanied by Sierra Ferrell’s charming Country backing vocals, and together, I can almost guarantee your emotions will be touched in every way. It’s rare to come across a song that hits all the right spots so effortlessly, so for this not to be included would be nothing short of a scandal.   Listen here.   Image: 45cat Woman to Woman: Joe Cocker   The type of masterpiece where you’d find your hips swaying as you’re cooking dinner with a glass of wine, Joe Cocker’s ‘Woman to Woman’ is undoubtedly one of the greatest pieces of Soul music ever recorded. Any Hip-Hop fan will recognise the backing of the song immediately (no spoilers here), but the song itself seems to speak to the very fabric of your existence, hooking you instantly. One of the very few songs that uplifts any mood, regardless of where you find yourself listening, this absolute classic cements itself as one of the greatest for both its time and genre.   Listen here.   Image: Albumism Setting Sun: The Chemical Brothers   The creators of some of the most iconic, legendary electronic music to ever reach our ears, ‘The Chemical Brothers’ are the definition of music royalty. Released in 1996, it topped the UK singles chart immediately, a testament to both the pair’s ability and to the soon-to-be legendary status of the song. Whether you’re relaxing in the comfort of your own home or out walking on one of the rainy days that are undoubtedly on the horizon, this tune is simply a must-have for the upcoming seasons.   Listen here.

Image: Sophie Wray Well, here we are. How on earth did we end up here? An incredible amount of planning, joking and drawing up ideas has led to this very moment. I’m sorry, you must think I’m writing about the inception of Riffs&Runway . No, I’m writing about having my co-editor-to-be Fin, sitting on my couch in Liverpool after a wild New Year, still wiping away the tears from seeing Better Man . Pointer: he’s the emotional one. That said, our magazine is a culmination of eagerness, creativity, and a shared love for music and fashion between two university students who have far too many opinions to keep to themselves. I found that for my inaugural article, it was only fitting to sit Fin down to discuss all things Riffs&Runway  and to make sure we were on the same page, of course. Unlike his pessimistic start to my interview (thanks for throwing me off guard with that one), I opened our conversation by asking what he was most excited about starting our new venture. “There's a social side, obviously, you and I get along very well. I'm excited to see kind of what you do, just as much as what I'm looking forward to doing myself.” He wasn’t wrong, the foundation of all of this is purely from our bond, and I especially enjoy the pinch of flattery now and then. But then came the introspection: “Writing, especially journalism, is an incredibly vulnerable way of writing.” I’ll admit I have the same apprehension, yet whereas I’m very new to this, Fin is undoubtedly a pro and has nothing to worry about.  Anyone who knows Fin knows that music is a defining part of his identity, and for that, he gives full credit to his mum. “She brought me up listening to a lot of The Beatles, a lot of The Rolling Stones, a lot of Queens of the Stone Age, so she was kind of the foundation of where my music taste lies.” As a Liverpudlian, I’ll give it to him; the man has good taste and has seen some good parenting. Hitting adolescence, it was The Kooks, The Arctic Monkeys and plenty more indie-pop that were blaring through his headphones, feel-good anthems that defined our generation.  Tastes in music come and go, but I wanted to know the memories that stuck. For Fin, it was his first CD, Jake Bugg’s Shangri-La, being played from start to finish in the car with his mum. As for the best live performance he’s seen? There was an immediate answer: Primal Scream. “That was probably one of the best nights of my life.” Now onto my area of expertise, fashion, and Fin’s approach to his personal style is as predictable as his Spotify playlist. “I’ve gone through a lot of phases, but no matter how distant, there will always be an element of punk,” he said, as I glanced at the arrangement of unique rings on his fingers and the scuffed oxford Doc Martens on his feet. Clearly "not a poser", Fin even wears his Carhartt jacket, which he “loves dearly” to work, to bat away the assumption of course. Despite this trend in his wardrobe, he doesn’t like to be boxed into a certain style: “If I’m honest, I get bored.”  Now, who is Fin’s fashion icon that he most resonates with? “Austin Butler. I love the way he presents himself.” Shocker. In all seriousness, I agree, from his biker garb in The Bikeriders to his ambassadorship with YSL Beauty and the wardrobe that comes with it, there isn’t much to dislike. The other is Liam Gallagher, who Fin admits has made some strange choices over the years, yet has maintained a degree of consistency. Mentioning Gallagher’s recent collaboration with Berghaus (yes, the infamous Aldi-toned jacket), I came to realise Fin’s sense of style is interwoven with his taste for music, a trope you may find is a major factor in how we run things here.  As we drew our conversation to a close, we touched on the heart of Riffs&Runway : the interconnection between music and fashion. “I think ultimately people yearn to express themselves,” he mused. “We’re on a planet with eight billion of us and each and every one of us wants to stand out in our own way and kind of be our own person, and I think that music and fashion are just two very easy, very accessible ways of doing that.” I couldn’t have said it better myself, and that’s exactly why we’re doing this. It’s why we write and it’s why we care so much about this magazine. Fin aptly agrees: “Ultimately, that's why I think it's incredibly important that people like you and I write about that, show people. I'm looking forward to it, an incredible amount.” And as am I. Welcome to Riffs&Runway .

Image: Sophie Wray Riffs&Runway isn’t just a website, nor can it just be minimised to a magazine or even an app. It’s two university students who want to share their opinions and experiences with any who wants to listen. And when Riffs interviewed Runway to get an idea of where he stood in regards to the build-up of this project, emotions were flying perilously high. We’d just watched “Better Man”, and I had been crying. With that said though, it was time for business. Questions to be answered, queries to be considered, and to discuss the concerns of us being “shit”. The first point of discussion was concerns headed forward, which is potentially a pessimistic way of opening an interview, but if there’s one thing I love about working with Harry, it’s taking him by surprise. He raised great points though, “We’re still very new to this, we’re still learning”, being the first thing he said in response, which is true. But any apprehensions felt by Runway about going forward are “made better by working with a partner”. Perhaps the most important point raised, however, is that both he and I “click the same way as fashion and music do”. It’s almost like someone should do something with that connection. Both Harry and I come from opposite ends of England. But where we’re from undeniably shapes us going forward. When quizzed about this, Harry’s face lit up more than it did when talking about concerns. Which doesn’t surprise me. “Liverpool’s musical significance is immense; my family and I are always singing and dancing around”, which was nice to hear. Liverpool’s fashion scene is undeniably less known than its music scene, however, which is to be expected when your city is home to greats such as The Beatles, Gerry and the Pacemakers and Echo and the Bunnymen. “The fashion scene in Liverpool is quite a trend-centric, you see one person wearing something and everyone wears it. Mainly a lot of sportswear, casual, comfy clothes”. It wouldn’t be a conversation around fashion if we didn’t discuss fashion inspirations, as in a world run by internet and media obsession, we’re all looking for trendsetters. Or to be one. Admittedly, it wasn’t a surprise when Robbie Williams’ name came up, though I initially became concerned he meant Williams in the “Rock DJ” music video. He thankfully didn’t. Though music videos did come up as ideas for inspiration, which, for a pair of young adults who grew up on a diet of watching our favourite artists on VEVO, won’t go down as the twist of the century. Street inspiration was also discussed, with Harry telling me how he doesn’t discriminate between genders, saying, “If I saw a woman wearing a really cool outfit, I would always try to replicate it”. With mixtures of leather, denim, long cotton coats and tie-belts, he’s certainly not afraid to push the status quo off its pedestal in fine fashion. But ultimately, what can you expect to see from him? According to the man himself, “madness”. But past that, education, particularly the issues that fast fashion presents to the world in the 21st century, with a particular emphasis on enlightening people. Overall, Runway tells you “To be excited”. According to me? I’d be a fool not to say the same. Welcome to Riffs&Runway.

How was your Brat  summer? Did you find yourself losing your sanity to Von Dutch  on the dance floor? Or were you too busy posing with your green T-shirt in the pub garden? Whatever floated your boat, there hasn’t been a hyperpop dance album with as much cultural significance as Brat  since, well, ever. Having an entire summer season named after it, and with London’s New Year’s fireworks inspired by it, many expected Charli XCX’s masterpiece to win Album of the Year award at the 2025 Grammy Awards. So, it was surprising to say the least when we didn’t see her walk up on stage to receive her deserved award and instead watch now 35-time Grammy award winner Beyoncé collect the award for “Cowboy Carter”.   Image : Pitchfork.com It's no secret that Beyoncé is music royalty. Holding the record for both Grammy award wins and nominations with 35 and 99 respectively, her effect on the global music scene can’t go unrecognised. Beyoncé’s eighth album did break the record for an album’s streams in a single day, but paled in comparison to the effect it had on popular culture. Life in the summer of 2024 was that of a double-decker-sized party, a time where dance music had been well and truly revitalised, Brat  green was the undoubted colour of the season, and people from all walks of life were experiencing nothing short of a music revolution on a scale we hadn’t seen in decades. Even now, amidst the dull English winter months, “Brat” still has its grip firmly around us, with social media seemingly a never-ending cycle of videos inspired by the hit album.   The 67th annual Grammys ceremony had more than its fair share of media outcry, enter Kanye. But perhaps the most frustrating thing is the award’s refusal to prioritise a cultural renaissance over numbers. Especially when at the same ceremony, one of the most culturally relevant hip-hop songs in recent memory (Kendrick Lamar’s “Not Like Us”) won a record five Grammy awards in one night. It is, however, more than safe to say that although Cowboy Carter  rode off with its award, the ceremony backed the wrong horse.

“You’re anyone, you’re anywhere. You’re a duchess, you’re a queen.” These were some of the opening words introducing the selling point of Completedworks' AW25 collection, and I can confirm the advertising didn’t lie. Last Friday, I had the privilege of attending Artistic Director Anna Jewsbury’s third London Fashion Week Show at Beveridge Hall, in Bloomsbury’s Senate House. My expectations? High. Especially after attending their ethereally charming previous show on a shining September afternoon in Gordon Square, where I became smitten with the brand. It was that afternoon that I started my appreciation for the way this jewellery designer subverts timelessness in a modern and innovative way, like using imperfect pearls that exude a balanced irregularity, making every piece as unique as its wearer. The show, in the expected trend for Completedworks, redefined the traditional runway format, and I’m sure many in the hall and beyond joined me in anticipation. We found ourselves tuning into CwTV, starring Julia, portrayed by the iconic Debi Mazar, who caused the whole room to gasp as the lights came up (completely warranted). The teleshopping hostess desperately tried to keep it together live on air despite being in the throes of having a complete nervous breakdown, from fantasising about the ‘bronze, muscular’ Henri, to needing to piss, to wanting to kill her husband Steven.  The fifteen-minute piece was called Look at Me , written by award-winning playwright Laura Waldren, which followed in the gaze-stealing footsteps of the brand’s AW24 show, Confessions of Lilith,  starring a toast-tossing Joanna Lumley and its SS25 show, A Stone is a Small Mountain,  starring Dianna Agron and Lily Cole. Both previous pieces were written by the brand’s longtime collaborator Fatima Farheen Mirza, yet Waldren followed her example in creating a piece that empowers female autonomy and expression against the pressures of our society, and it can be argued that this message is a dramatisation of what the brand’s jewellery offers. Speaking to Marie Clare , Jewsbury reflected this: “It's this opportunity for self-expression, I like the small, intimate scale of jewellery.” So, why is a jewellery and homeware brand on the London Fashion Week schedule? “What I love about showing during fashion week is you get this energy from a live format," Jewsbury told Vogue Business . “It’s exciting to me, and it really enables us to give our pieces a bit more life and context. It allows us to add to the Completedworks universe in an unexpected way. Fashion week also allows us to contribute to the cultural discourse.” The idea to showcase the collection in this format was, for me, a stroke of genius. Not only does it breathe personality and life into the product, but theatre is the ultimate form of engagement, outrightly grasping the audience’s attention to marvel and sell to the consumer, in a quirky tongue-in-cheek manner that gives us a giggle. Hollie Bowden’s set was cohesive with the Art Deco backdrop of Beveridge Hall. It also married with the collection itself, such as the rustic soda-lime glass coffee table adorned with matching Completedworks glassware, sculpted so uniquely as if it were pottery. Mazar's dress and makeup, as well as the displays, mimicked this frosted mint palette, evoking the same tinge of the vintage TVs dotted across the room that collaboratively built CwTV’s retro aesthetic.  Established in 2013, Completedworks is the brain-child of two daughters of a Philippine TV presenter and furniture brand owner, having been raised in a household imbued with fashion and interior design inspiration. One of them is Anna Jewsbury, who studied mathematics and philosophy at the University of Oxford, whose aesthetic is influenced by reductionism, ‘with a process drawing on the contrasts between high-quality materials and purist elements’. Her brand extends jewellery and homeware into an art form, sustainably wedding recycled and inexpensive materials with luxurious alternatives such as gold and pearls, shaping them in ‘ceramic-esque’ forms. Since its inception, the brand has prided itself on being worn by the likes of Selma Blair and Adele, being nominated for Best Accessories Designer at the 2024 British Fashion Awards and is currently being retailed at Bergdorf Goodman, Ssense, Net-a-Porter and Dover Street Market, to name a few. Not too shabby.  Now onto the true star of the show: the AW25 collection. The designs of both the jewellery and homeware are not just sculptural, but create a sense of motion, twisting, weaving and flowing in a fashion you can’t take your eyes off. A signature style for the jeweller, the more you look at a piece, the more you find, so no matter what outfit you may wear, the conversation will be on Completedworks.  Jewsbury spoke to Vogue Business  about her inspiration for this season, explaining: “Jewellery has always been considered an added embellishment, but with this collection, we’re playing with the idea that each piece is an embellishment of an embellishment.” She couldn't have executed this idea more perfectly; my favourite piece being the matching statement set Mazar wore, huge pearls draped with miniature pearls and zirconia. The jewellery itself wore jewellery. Amongst the glimmeringly clean palette of white and gold, there were flashes of red agate beads, a welcome pop of colour.  Baroque and extravagant as the collection is, it was all the more refreshing and brought jewellery and homeware rightfully into the hemisphere of fashion. If you ask me, their introduction of handbags and hopefully footwear soon (I’m looking at you, 'flats with spilling pearls'), couldn’t come at a better moment. With a steady yet sure trajectory to success, Completedworks have the advantage that they’re one of a kind. And what’s better, they know what they’re doing.

The 45th annual BRIT Awards Ceremony, brought to us by Mastercard, was a night that won’t be forgotten. The biggest night in the British music calendar began with a performance by possibly the biggest pop superstar on the globe right now, with Sabrina Carpenter treating us to a Union Jack-themed performance of Espresso  before performing perhaps the quickest change in Brit Awards history in time for her jaw-dropping rendition of Bed Chem. The night’s star-studded lineup didn’t stop there, however, with viewers witnessing fantastic performances from Lola Young, Sam Fender, JADE, Myles Smith, Jorja Smith, The Last Dinner Party   and a personal favourite of mine, Ezra Collective.  Image: Radio X Even with such esteemed guests and nominees, the night undoubtedly belonged to Charli XCX. Receiving awards for the best song, best British album, best artist, best British dance act, and best songwriter, it seems that the cultural renaissance she created in the last year has finally received its due credit. She was also on the receiving end of backlash from some viewers, receiving complaints about her choice of dress. Although after winning a BRIT Award for a song about underwear, it seems as though Charli couldn't care less. It’s 2025, for crying out loud.   The night didn’t fail to deliver more than its fair share of comedic moments, either, with Jack Whitehall’s parents, Michael and Hilary, doing their best impression of Kanye and Bianca Censori’s Grammys...performance, as well as KSI being ever so slightly teased about his rap career, despite being nominated for an award himself. We even saw Big John perform his infamous Chinese takeaway order. It’s a lot to digest; trust me, I know. Even the great Danny Dyer had his moment in the spotlight, of course, choosing to promote his beloved West Ham United. Utterly classic.   The night celebrated a wide variety of artists, with other award winners including:  Best Alternative/Rock Act: Sam Fender  British Group: Ezra Collective  Best Pop Act: JADE  Best R&B Act: Raye  Best Hip-Hop/Grime/Rap Act: Stormzy  International Artist of the Year: Chappell Roan  International Group of the Year: Fontaines DC  Best New Artist: The Last Dinner Party  Best International Song: Chappell Roan with “Good Luck, Babe!”  Rising Star: Myles Smith  Producer of the Year: AG Cook  Global Success Award: Sabrina Carpenter  Image: Standard.co.uk It’s more than safe to say that the last year has been incredible for British music. It continues to have an unparalleled effect on global popular culture, and with the ever-improving standard of music artists coming out of Britain, the next year is sure to bring us even more.

Image: Sophie Wray Who doesn’t love a good party? Well, I can assure you that my co-editor and I are hardly an exception. Last Friday, we hosted the official launch of Riffs&Runway , welcoming close friends, local press, and a few familiar faces from the music and fashion scene. Our directive for attendees was simple: look great, feel great, and have a great time. And on that front, we couldn’t be more pleased with the outcome. In my speech, I acknowledged the inherent intimidation of fashion within us all: “Fashion is very scary, yet you all look incredible.” It’s a rare sight to see a room full of university students dressed to the nines, especially considering our perpetually dusty bank accounts. But that night, style took precedence and the result was something truly special. As a bonus, there was no one better to have invited than Riffs&Runway ’s frequent photographic collaborator Sophie Wray (who just so happens to be my closest friend from home), capturing our guests’ best angles.  Beyond the celebrations, the evening was about connection. Plans were hatched and collaborations sparked, not just by us but among our guests as well. This is exactly what Riffs&Runway is about: bringing like-minded creatives together to make amazing things happen. No detail was overlooked, from the carefully curated playlist, featuring a mix of Brat, Bowie, and Blood Orange, to the walls plastered with reworked imagery of iconic figures from music, fashion, and legendary media, akin to that of an inspiration board or a teenager’s bedroom wall. This was my personal contribution, in an effort to visually manifest our aspirations and take our place in the cultural discourse. We both hope that one day, Riffs&Runway will be as instantly recognisable as the images that inspired us. Image: Sophie Wray Of course, as eager as we are for what’s ahead, we could never overlook this milestone. “Without everyone in this room, Harry and I wouldn’t be here,” Fin told the room. “We’d be alive, of course,” I joked. As (comically) right as I was, we’d certainly be a lot more miserable. The people in that room, smiling up at us on stage, had been our biggest supporters during the six months we had been building this magazine. Their excitement excited us in return, and without it, we doubt we would have made it to this moment. Image: Sophie Wray “As much as Riffs&Runway is about Fin and I, everyone in this room and everyone who reads our work becomes part of our collective, and we couldn’t be more grateful,” I told them. “Whether you are not into music or fashion, we want you to pass us on to someone who will. We hope to build a community where anyone can join the conversation.” If I were to humbly pat myself on the back, my statement truly embodies our friendship, the foundation of this entire project. When I met Fin, at long last, I finally had someone to relate my deep love for fashion and music to, and nothing would make us happier than having others find that same connection through Riffs&Runway . As for the future, we may have dropped a few hints, but for now, those secrets can stay in the room where it happened. What we can promise is that whatever comes next will be anything but boring, and we couldn’t be happier to have you join our story. We would both like to thank the staff of Lower Deck for their hospitality and for helping the evening run smoothly, Megan German for designing our lighting, Sophie Wray for photography and many of our close friends who helped bring our vision for the venue to life. Cheers to Riffs&Runway . Image: Sophie Wray

Image: Call Me If You Get Lost As is the case with many things he’s involved in, Tyler, the Creator didn’t just enter the realm of fashion; he crashed through its doors. Ever the disruptor, since 2009 Tyler Okonma has been redefining hip-hop culture from Bastard  to Chromokopia , each more groundbreaking and individual than the last. Aside from being a favourite of mine, for me, Tyler is the unapologetic king of individualism, always pushing boundaries and challenging the norm, whether that be in his music or his impeccable style. Luckily for us, he has brought us GOLF WANG and le FLEUR*, extensions of his striking visual language. So if you’re new to Tyler, the Creator’s position in fashion, asking yourself, Who dat boy? Who him is?... here’s what I can tell you. Loud, colourful and undeniably fun: GOLF WANG is Tyler, the Creator’s funhouse. Founded in 2011, his passion project ‘alla’ merch brand for his former collective Odd Future was a breath of fresh air from the streetwear scene at the time. However, his entrepreneurial spirit transcended this project into a brand that is impossible to ignore. Literally. Expect graphic tees, vibrant colours and an avant-garde mix of prints and textures. Each collection is a mix of mischief and adolescent nostalgia, ignoring the oversized hoodies, basketball jerseys and baggy jeans we’re used to seeing in hip-hop and instead giving us mohair button-up cardigans, pastel loafers and embroidered jeans. There is nothing subtle about it, yet the beauty of the brand is it's remarkably down-to-earth, bringing back streetwear staples in a casual, yet fluorescent way.  When I recently visited London’s flagship store, it was as if I had stepped through a window into The Creator’s world. The space was minimalistic and curated but made up for it in sheer personality. While you probably won’t see me in GOLF (which is by no means a discredit), nestled among the explosion of colour, texture, and print was a matching herringbone set I have been thinking about ever since. The set, much more understated than the rest of the collection, helped me realise something about Tyler’s approach to fashion: it’s not about just throwing together flashy pieces. An unexpected combination, whether that be some stone herringbone trousers styled with a printed ‘Save The Bees’ tee, makes for an effortlessly cool aesthetic that brings fun to the street. Besides, Tyler has always had a penchant for unexpected contrasts, take the fusion of light '60s jazz with the 00s mixtape in Call Me If You Get Lost . Instagram: @golfwang Since the very beginning of his career, Tyler, the Creator made it clear that he wasn’t going to play by the standard rules of hip-hop fashion. Eschewing iced-out chains and baggy, logo-centric outfits, he defies hip-hop’s traditional sartorial codes in favour of skater-inspired preppy pieces, kindled from riding down the Fairfax district as a kid, where GOLF WANG now calls home. We haven’t seen anything like this before, especially rolled out as an established brand, and that's what makes his personal style so influential. His wardrobe captures the same nostalgia as thrifted items do, yet he infuses it with his brash humour, fanciful imagination and the swank of hip-hop. It’s about knowing what works and making it your own. All the more, with a team including a match made in heaven with Phil Toselli, Tyler’s brand became an extension of his ethos. In his role as head designer between 2013 and 2019, he essentially made the brand a vessel for his stylistic flair, which he continues to oversee today. I believe GOLF WANG truly took the global fashion stage with its first runway show in Los Angeles, 2016. Models swaggered, mini motorbikes zoomed across the stage, skaters enjoyed the slopes, and the man himself performed: an immersive spectacle that perfectly encapsulated the teenage fever dream the brand defines itself. A new and bold standout of the season, Tyler was making fashion fun. Since then, the brand has collaborated with Levi Strauss & Co., Vans, and even Japanese sandal brand SUICOKE, leading brands which also champion the evolution of streetwear.  Image: highsnobriety.com But then, GOLF WANG had a little brother. Yet paradoxically, le FLEUR* is much more grown up, debuting in 2017 with all of the same eccentricity, just refined. GOLF le FLEUR began as an offshoot of its predecessor, which launched a game-changing collaboration with Converse. Since then, the GOLF was dropped in 2021, and it has stepped into its own lane as a luxury label. A more sophisticated counterpart, le FLEUR* is Tyler at his most indulgent, all about the craftsmanship of finer materials to make elegant yet playful pieces that have a touch of class (with a wink). This whole new attitude extends beyond the rails, with campaigns timelessly shot on film and le FLEUR x Lacoste securing the label’s reputation as a player in the luxury fashion market. The brand remains deeply intertwined with Tyler's artistic evolution, leaning into subverting traditional gender norms while maintaining an air of refinement. le FLEUR* distinguishes itself through its indulgent quality (with a price tag to match) and classic yet elevated designs.   So what have we learnt from this? Well, Tyler, the Creator, in one’s humble opinion, is a full-blown cultural force. There are few names I can think of whose mind has inspired such a cultural impact, through his music, fashion or principles: anything is a canvas. An interrupter of hip-hop’s status quo, The Creator carved out a path entirely his own through an industry often dominated by rigid trends, redefining the art of sartorial self-expression. GOLF WANG captures the rebellious, wild energy of youth, while le FLEUR* has turned luxury into a playground, yet both stand out from the crowd by purely being of Tyler’s essence. They’re proof that style doesn’t always have to be about following trends - it can be a lot more fun if you rewrite the rules entirely. And The Creator? He’s been doing that since day one.

Tyler, the Creator has been a polarising character for years, with colourful interviews and an apparent “screw you if you don’t like me” attitude reflecting this. Fans were on edge in the build-up to the release of his newest album Chromakopia, with his last released album CALL ME IF YOU GET LOST  falling short of expectations in the eyes of many fans after the success of IGOR (2019), and Flower Boy (2017) . However, with over 85 million streams on its first day of release, earning a space in the top 20 for most successful hip-hop album first-day releases ever, perhaps Chromokopia  is his best work to date.   Image: Jake Williams With its church-choir backing and Tyler’s rugged, anti-social vocals, Chromakopia has kept all the elements that made fans fall in love with him in the first place. Songs on the album, such as Judge Judy and Rah Tah Tah, remind fans of why they fell in love with him, using his cheeky, perhaps PG lyrics to show his inner thoughts on top of heavy, catchy beats. Other songs, such as Like Him and Tomorrow, contain a far more personal, familial tone, exploring topics close to Tyler’s heart. Each song has its own story. Its own meaning. And together they form an intricate yet strikingly beautiful creation that sums up Tyler's status as one of the all-time greats.  What sets this album out from the rest, however, is the context in which it was written and released, and the emotion in which it was curated. Tyler has made his relationship with his Father public knowledge, with him only recently realising that he had tried to be part of Tyler’s life since he was young. However, his mother stood in the way of any relationship between the pair, convincing Tyler that his father was instead absent. With this information, this album becomes a whole new experience, as reading between the lines, the pain in Tyler’s experiences rings throughout listeners.   2024 was a gigantic year for the hip-hop genre, and Tyler seems to have propelled himself back into the conversation with what could be one of the best album releases of the year. But does this album cement Tyler’s place amongst the all-time greats? Many will certainly think so, as in an era of hip-hop seemingly devoid of the diverse talent seen in the 90s and 00s, Tyler’s lyricism, sense of rhythm and emotional connection with fans stick out like a sore (but beautiful) thumb in today’s scene, with Chromakopia the culmination of this. Decent album.   Listen here .