Swapping high-fashion glitz for clubs and community centres, Martine Rose’s vision of London is twisted, intimate and defiantly real. For our Summer 2025 cover, the world-shaping designer opened up on the inner landscapes that guide her work, and now she cedes the floor to the young creative talents that keep the city spinning – featuring Jojo Sonubi, Mimi the Music Blogger, Mina Galán and more.

KEHN

As the creative force behind Play Piem, Kehn has turned his vision into a thriving events business and music label. By releasing tracks with emerging artists like BXKS and Travy, he’s platforming the most table-flipping talents in the UK rap scene.

Considering the increased gentrification in London, how are you working around the loss of venues and the cost of living crisis? Why is it essential that young people have community, support and nightlife?

Kehn: It’s definitely something I think about – the rising costs, the shrinking spaces – but at the same time, there’s a mental shift you have to make if you want to keep going. You have to move with a mindset that your project needs to see the light of day, and trust that there are people out there who will connect with it. You can’t let every barrier stop you before you’ve even started.

Of course, you still have to be practical. There are only so many venues, so much infrastructure and so many spaces that let you do things regularly. But that’s exactly why it’s so important that young people have access to community, support and nightlife, because without those spaces creativity has nowhere to live. Nightlife isn’t just about partying – it’s about connecting. It’s where ideas are exchanged, where culture builds, where people figure out who they are.

What London really needs is more calm, more openness, more humanity. We need spaces that don’t feel hostile or transactional

Martine is famous for hosting her fashion shows in unexpected places. Where is somewhere unexpected that you would like to host a party?

Kehn: I would love to do something on the riverbank at South Bank. I know someone who once threw a rave there and it looked surreal. It reminded me of that Skins episode where they climb down the manhole and there’s this hidden, illegal rave happening underground. That sense of mystery and discovery, that’s what I want to recreate. I want people to go somewhere with my events, to feel like they’re on a journey. Curiosity is a big part of it; the unknown draws people in and that’s what makes it magical.

What do you think London needs right now?

Kehn: Honestly? People need to calm down. Everyone is tense, it’s like the city is carrying this low-level negativity. I get it: the cost of living and the political climate are heavy. But it’s starting to feel like people are turning on each other instead of looking at the real issues.

What London really needs is more calm, more openness, more humanity. We need spaces that don’t feel hostile or transactional, where you’re not being watched the second you sit down or pressured to spend just to exist. Things need to be more accessible, more affordable and more communal. If we want the city to thrive, we have to make space for people to just be, especially young people and creatives.

LEDBYHER

Rachel Aisyah Diack – AKA Ledbyher – is the artist behind ‘bedroom drill’, a self-described term she attributes to an Instagram comment. With a discography that combines Clairo-like vocals with Playboi Carti’s alien beat signatures, Diack is kicking a path through an industry that, she says, isn’t always welcoming to women.

Martine’s work never leans into being ‘trendy’ – do you ever feel like there’s pressure to conform creatively to musical trends?

Rachel Aisyah Diack: In some ways I feel like it creeps in. Being a woman in rap comes with its own ceilings and floors, of course, but because of that I’ve always been more interested in one-manning my own little world than squeezing into someone else’s. There’s a sort of dance between what I love and what my fans love that creates the magic. Whether that’s genre or videos or clothing, I don’t think of how to conform but how to comfort.

London needs a lie-in. When I moved here and started chatting to people it felt like everyone was racing against themselves ... But it’s still really cool to have a day off!

What do you think London needs right now?

Rachel Aisyah Diack: London needs a lie-in. When I moved here and started chatting to people it felt like everyone was racing against themselves to the next project or the next train or something. But it’s still really cool to have a day off! Go grab a Greggs with your mates and have that be the most exciting part of the day. I’ve started giving myself Sundays off (listening to The Sundays usually), doing things that require minimal brain cells and maximum joy.

You’ve described your sound as ‘bedroom drill’ – can you elaborate on that?

Rachel Aisyah Diack: Honestly, it came from a comment years ago. I remember captioning a post: “What sound is this?” The options were lady trap or bedroom drill. I went with that partly because it made me laugh, but mostly because it’s true! I used to turn down studio sessions just to sit on my bed with a laptop on FL and a pair of battered headphones, producing until the sun came up. There’s something romantic about it. That’s where I started placing the drill drums I was making on top of bedroom pop melodies.

HILARY XHERIMEJA

Hilary Xherimeja founded Sondr with the goal of expanding access and opportunity for young creative people across the UK. Drawing from her own various professional experiences – good and bad – Xherimeja tours universities to help students navigate pathways into the creative industry.

Why did you start Sondr? Is there a personal story behind its inception or did you feel there was something missing from the market?

Hilary Xherimeja: It was a mix of both. Before Sondr, I ran a magazine called Mission Statement, which focused on giving emerging creatives a platform. We would pair really promising talent with up-and-coming photographers to give them their first cover – so the ethos was always about bridging the gap and creating access.

But I realised that, in order to truly democratise access in the creative industry, you have to do it at scale. That’s really where the idea for Sondr came from. I wanted to build something that could exist beyond me, beyond just physical activations or one-off projects. A digital platform made the most sense for that kind of scalability.

On a personal level, I experienced how tough it is to break into the creative world. It often favours people who already have financial backing or the right connections. My parents are immigrants, and while they’ve always supported me, there was a natural push towards a more traditional, stable career path. For them, the creative industry felt more like a hobby than a viable future. But I’ve always felt that creativity and the different perspectives that come with varied social backgrounds and experiences are vital.

The current infrastructure of the creative industry is really fragmented, and that’s why I became so passionate about building something like Sondr: to offer structure, access and community where it’s currently lacking.

There’s a common misconception about Gen Z – that they’re lazy and difficult... if brands took the time to understand them on a deeper level, they could build much more meaningful and positive connections – Hilary Xherimeja

Martine built her brand outside of the traditional fashion system, disregarding things such as runway shows. Do you see Sondr helping young people in a similar way? Was it important for you to create something different?

Hilary Xherimeja: Yeah, I think I’ve always been drawn to solving problems, and for me it was clear there was a big issue in the creative industry. That naturally pointed to an opportunity to build something that didn’t already exist. The problem itself almost invites innovation. So, in response to your question: yes, creating something different was important. But it wasn’t so much about spotting a business opportunity. It was more about recognising a gap in infrastructure and wanting to create something meaningful that could genuinely add value.

What is something that you wish big brands and institutions understood about being a young creative in London right now?

Hilary Xherimeja: I think there’s a common misconception about Gen Z – that they’re lazy and difficult to connect with. To me, it’s really an issue of perception. There’s a widespread misunderstanding of this generation, and as a result many people aren’t engaging with them in the right way. From what I see, Gen Z genuinely cares about making the world a better place. That often translates into support for smaller companies and causes that align with their values. Of course, it’s a diverse group, so it’s not one-size-fits-all. But I believe that, if brands took the time to understand them on a deeper level, they could build much more meaningful and positive connections.

JOJO SONUBI

From No Signal and Recess to Pulse, Jojo Sonubi’s raves are tangled in the long roots of Black British music. Working with DJs like AAA, Keyrah and Bambii, he infuses his events with elements of storytelling, connection, futurism and shared history. This summer, the energy will spill into Recessland, a festival that promises to push boundaries even further. It’s a new atmosphere.

Tell us about Recessland and how that is taking over from what Recess was?

Jojo Sonubi: The vision for Recessland has been in the works since around 2017. We first attempted it in 2018, then again in 2019 and once more in 2022. We took our time, experimented with smaller versions, and learned from each one – even the ones that didn’t quite hit. The goal was always to create a party that was fully ours, curated by us and reflective of our taste. With Recessland, we were finally able to bring all of that together. It was the product of months of planning and collaboration; every element was intentional. The result wasn’t just a party, it was something to be experienced and interacted with. In many ways, it felt like performance art, even though events aren’t often viewed through that lens.

Through Pulse, we want to explore and celebrate different genres of music, particularly Black music – showing where it comes from, how it’s used and how it can shape the vibe of a night – Jojo Sonubi

Tell us about Pulse and the purpose of this new night you’re hosting?

Jojo Sonubi: Pulse is an evolution of what we were already doing in the rooms at Recess. It’s an extension of No Signal, our radio platform, which I often describe as a map or a sonic atlas. Through Pulse, we want to explore and celebrate different genres of music, particularly Black music – showing where it comes from, how it’s used and how it can shape the vibe of a night. Events have always been a core output for us, and Pulse is our way of diving deeper into dance and electronic genres in a setting that isn’t overly commercial. It acts as a bridge between curiosity and culture. If you’re new to these sounds or just starting to explore, Pulse is like a starter pack. At the end of the day, everyone involved, from the DJs to the organisers, shares the same goal: to entertain and connect with people.

Where is somewhere unexpected that you would like to host a party?

Jojo Sonubi: I love trains, so I think I would do a party on a train platform or a station. My dad used to work for TFL, so I think it all stems from there.

DAVID SONUBI

A fixture in London’s nightlife, David Sonubi sees a city losing its spontaneity and sonic footprint. Through Better Listening, his new label and creative platform, he’s combating this by building daytime zones that centre deep listening – from masterclasses with artists like Unknown T to custom Nike-commissioned soundsystem events in which punters sit silently, drifting together through musical soundscapes.

How has London nightlife changed over the past five years?

David Sonubi: London nightlife has definitely shifted. It feels like 2019 was the last real year of proper raving – parties, festivals and even party holidays had a certain energy then. After 2020, things got blurrier. Summer still brings a buzz, but it’s mostly about day parties now. The spontaneity is gone; everything has to be booked in advance. I remember back in 2013 or 2014, you could just head to the Shoreditch strip, hit a few spots and have a great night. But now, most of those venues are gone. Places like Ace Hotel and Miranda have disappeared, and with them, a whole scene.

I think Gen Z isn’t going out as much because there’s nowhere left to really go, and no one older is showing them the way. The culture that shaped nights out feels like it’s faded. Tastemakers aren’t guiding things any more and discovery is all DIY. Even radio, which used to be about trust and curation, feels different – many platforms are now pay-to-play, so that sense of authenticity is harder to find. It’s become more of a cash grab than a cultural movement.

The UK is a small island, and with that comes a small-island mentality, judgment, regulation and resistance to creative energy – David Sonubi

What do you think London needs right now?

David Sonubi: London needs more spaces for music, full stop. Right now, anywhere that’s too loud or too vibrant seems to be pushed out. Some spots in Shoreditch and central London are even talking about introducing quiet hours. [DJ] Elijah said something I really agree with: “Interesting cities shouldn’t be quiet.” But the UK is a small island, and with that comes a small-island mentality, judgment, regulation and resistance to creative energy.

We’re at a point where creativity, especially in music, is often met with suspicion instead of support. It’s become rare to see artists celebrated without some kind of backlash or side-eye. But music and spaces that nurture it are essential. We need to protect and grow those spaces if we want our culture to thrive.

Can you tell me about your new project, Better Listening?

David Sonubi: Better Listening is my new label and creative platform. It’s built around one idea: improving how people experience sound. I wanted to create a space – or a hub, really – for thoughtful listening and collaborative creativity. It actually started from doing masterclasses, including one with Unknown T for his album release. That led to more projects, like building a custom soundsystem that was commissioned by Nike. We launched it with a listening room designed to fully immerse people in sound. Now we’re taking it further. We’ve got a listening room coming up during Paris Fashion Week, where I’ll be bringing the soundsystem over and curating the entire musical experience. It’s about crafting environments where people can really hear, not just consume, music. It’s sound, art and storytelling coming together.

ALEX LOVELESS

Alex Loveless is the co-founder of La Camionera, a lesbian bar in Hackney that is a white-knuckle ride into margarita nirvana. After a successful pop-up in early 2024, the venue grew from grassroots support into a permanent spot, inspired by the vibrant bar culture of Madrid.

Can you tell us about your newest venture?

Alex Loveless: I’ve always been obsessed with clubs. My whole journey really started with nightlife – not so much bars, but clubs. Opening this one feels like a big step from nothing. It’s not just about having a bar; I’ve always wanted to do a proper club.

Though the name is still TBC, I’ve been especially inspired by that late-90s, early-00s era: the music, the vibe, particularly in London. That whole acid jazz scene – artists like Sade, Seal, Jamiroquai, The Brand New Heavies. That aesthetic really shaped how I think about nightlife. It was fun, it was expressive and it was all about dancing.

Right now, I think we’re a bit stuck in this minimalist, Berlin-style techno moment. I wanted to do something a bit more colourful, more lighthearted. A place where people can actually go and dance and feel good. At the same time, I want the club to function as a bar too, somewhere loungy and comfortable, where you can have a great drink, catch up with friends and still have a sense of privacy. But then you can step out of your booth and hit the dance floor. We’re going all out – crazy bathrooms, amazing green rooms, a cool menu. I’ve got some friends joining the programming team and they’re bringing in acts from all over the world, across different genres. I honestly don’t think there’s anything quite like it in London right now.

I’m so sick of going to parties where the DJs just aren’t reading the room ... You have to give and take and compromise. I have niche interests too but the girls just wanna dance – Alex Loveless

What do you think London needs right now?

Alex Loveless: I hate DJs. I hate DJs so much. I’m gonna get in trouble for saying this but I think anyone can do it – it takes someone great to be successful. I’m so sick of going to parties where the DJs just aren’t reading the room. The thing is, I can meet people in the middle – I don’t necessarily want to hear pop music when I go out, but I do want everyone to have fun. You have to give and take and compromise. I have niche interests too but the girls just wanna dance.

Did any queer spaces, past or present, influence your vision?

Alex Loveless: I’ve always been obsessed with the iconic clubs of the 80s – places like Paradise Garage, Studio 54 and The Loft. Paradise Garage in particular really inspired me. In the early days, while it was still being built, they held what they called ‘construction parties’ to help fund the space, and we’re planning to do something similar at our new venue to raise money for the refurbishment.

I also love Berghain – people don’t realise it’s kind of the world’s best gay club. It’s like in Sex and the City when Smith Jerrod does his first advert and Samantha says, “First you get the gays, then you get the girls” – that’s the pipeline.

​​TJ SAWYER

At just 22, TJ Sawyer has already made a name for himself as a creative director and image-maker. His journey into the industry began at 15 through a pivotal encounter with Martine Rose, whose belief in his potential set the stage for what was to come. Since then, Sawyer has been behind the scenes on some of the most memorable magazine and album covers of recent times.

How did you get your start in the industry?

TJ Sawyer: The beautiful thing about this, and why it felt so right when I got the call, is that Martine was actually the first person to really believe in me. I was just 15, it was the year before my GCSEs, and she kind of gave me my first break.

Martine is known for street casting and has been responsible for helping a lot of incredibly talented people find their way in. A casting agent who worked with her scouted me in Soho while I was queuing for a Supreme drop. They brought me in for a casting at her old office. I still remember meeting her – she was pregnant at the time, and I was immediately struck by how warm, wise and grounded she was.

At that point in my life, I wasn’t particularly confident in how I looked, especially because of my birthmark. She was actually the first person, apart from my parents, to call it beautiful, and to say it to my face. As a 15-year-old with insecurities, that was incredibly empowering. It really gave me the confidence to believe I could have a place in this world, whatever that ended up looking like – whether it was modelling or something else entirely.

At the time, I didn’t know where it would lead. I just knew I was drawn to the space and to people like Martine who were making it feel possible.

What are the realities of working in the fashion and creative industries that you wish people knew more about?

TJ Sawyer: I think that a lot of people see the glitz and glamour and the highs – especially with the opportunities to work internationally or with certain celebrities – but often what’s missed is the grind that goes along with that. There’s an interview with Law Roach – who is, to me, the best stylist in the world – where he said that people think life as a stylist is so glamorous and we are just throwing $50,000 outfits on to billionaires, but you don’t see the side where we’re lugging things around, going from PR to PR picking things up. There’s no set of guidelines for how to infiltrate this field – certainly not for people who come from where I come from. It’s not necessarily a field that was even made for us to contribute to at the top level.

London kind of sits in the middle between New York’s openness and LA’s social-climbing culture – TJ Sawyer

What do you think London needs right now?

TJ Sawyer: That’s a good question, and I like it because I do think something’s missing here at the moment. Do I sit around worrying about it every day? Not really. I try to just do what I can, and where London lacks something, I’m open to jumping on a flight and finding it elsewhere. I’ve taken up more international opportunities recently, partly because I feel like we’re missing a truly supportive, mutually encouraging creative environment here.

I would love to see more of that openness, a little less competitiveness. What I admire about somewhere like New York is how forward and open people are. You can meet someone on the street and they’ll collaborate with you right then and there – no need to see your Instagram, no posturing. It’s just about the energy, the conversation, the idea.

London kind of sits in the middle between New York’s openness and LA’s social-climbing culture. LA can be super-materialistic and network-focused – all about what you can bring to the table, whereas London is more qualitative than that. There is a sense of community here, but I’m not always convinced that it’s rooted in a genuine desire to see each other win. Sometimes, I think collectives form more out of strategy than shared values.

And then there’s the city pride aspect. In London, we rep our neighbourhoods – south London, west London – but do we come together as a scene and say, we’re the London crew, especially when we’re outside the UK? I’m not sure. In places like New York or Paris, you feel that city identity more strongly. There’s still competition but it’s constructive, it’s about putting your city on the map, not clashing with your neighbour.

So yeah, I would love to see less petty internal competition and more focus on the bigger picture. And, to be real, another thing London is missing right now is budgets. We’re in a bit of a recession.

TALLULA CHRISTIE

Tallula Christie is the co-founder of BeauBeaus, a café and creative space in east London that she runs with artist Olaolu Slawn. Designed as more than just a place to eat and drink, BeauBeaus hosts chess nights, art clubs for kids and community- focused events.

It would be fair to say that BeauBeaus is more of a creative common space than a café – what was the original vision behind opening it?

Tallula Christie: Honestly, we got the space before we even had the idea. So the original vision is hard to pinpoint. We knew that we wanted a physical space for the community. We knew we wanted a family-oriented business. And then it all kind of came from conversations between me and my mum talking about what would actually add value – to London, to the world, to people.

In thinking about physical spaces and the decline of youth clubs, the more we spoke, the clearer it became that we wanted to create something informal, a space where people could come without needing a specific purpose or reason, but still be offered something when they arrive. Like, here’s a pen and paper, here’s some music, here’s something to explore, to learn from, to engage with.

We looked at what resources we had. Being part of a creative community meant we had friends we could reach out to, like, “Hey Tony, want to run an art club?” or “Hey, want to host a workshop?” That’s really how it started. I think the first thing we did was the art club. Then came the chess club and it all just snowballed from there.

We’ve seen a real decline in third spaces, especially since Covid and with social media. People think they’re connecting with others, but it’s not the same as connecting in real life.

We’re not trying to do things differently just for the sake of it. We’re doing what feels right, and that happens to be different – Tallula Christie

BeauBeaus feels like a part of east London’s cultural fabric. How does it shape the identity of the cafe?

Tallula Christie: It was important for us to be in east London for personal reasons. I had just become a mum and my whole family is based here. But also, having grown up here and seen how the creative scene has evolved, it made sense. There’s so much cultural relevance here.

We’re also super-accessible – right by Liverpool Street, close to Shoreditch. That was a big factor, especially for our music club. The demographic here includes a lot of young men who might not have much to do when they’re not at school, work or home. Having a space that’s easy to reach takes some of the pressure off, especially for young men navigating London late at night. Accessibility really matters.

Similarly to Martine’s quiet rebellion in her work – resisting the exclusivity and glossiness of fashion – would you say that BeauBeaus is a form of resistance to the ongoing gentrification of London?

Tallula Christie: I don’t know if I’d call it resistance exactly. I can’t speak on Martine’s behalf, but I would say that rebellion isn’t really the goal; it’s more like a byproduct. We’re not trying to do things differently just for the sake of it. We’re doing what feels right, and that happens to be different.

These days, as more diverse voices emerge and different approaches surface, it naturally feels rebellious, simply because it’s not what we’ve always known. Things have been done one way for so long that any deviation from that feels radical. But really, for a lot of us, this way of thinking and creating has always been there. It just hasn’t always been visible. So while it might seem like rebellion from the outside, for us, it’s just life.

FEM

Founded in 2023 by Fem, Joey and FK, No Soldiers Left Behind (NSLB) is a London-born collective blending fitness, streetwear and discipline. Known for military-style workouts and guerrilla pop-ups, recent highlights include a Nike collab and FK’s push through the Tokyo Marathon. Their motto? “Comfort is suicide.”

What is NSLB and how did it begin?

Fem: NSLB stands for No Soldiers Left Behind. It started in 2023 with me, Joey and FK. Three friends training in the park, followed by six the next week and 12 the week after. It became clear to us there was a demand for community connection and we tapped into that. Six months later we decided to monetise our likeness and incorporated the brand.

London needs a reset. It’s done for London – Fem

What do you think London needs right now?

Fem: London needs a reset. It’s done for London.

What do you find interesting about Martine’s work, and how does she inspire you?

Fem: I’m inspired by how Martine taps into history and the future and brings it into the present. I’m a fan of function with expression. I think she does it so well and that’s definitely something I want NSLB to be known for. Something you can sweat in, live in, represent in.

MINA GALÁN

Mina Galán is the DJ, producer and creative mind behind Club Stamina, London’s trans-forward party. Blending her north African and European heritage, Galán’s music sets are a reflection of her own energised electronic soundscapes.

What does London need right now?

Mina Galán: London needs new, fresh faces to move into the city like they used to before Brexit, and late licences for the clubs. We used to have a flow of different energies and personalities from all over the world and now there’s a feeling of monotony that doesn’t chime with real London energy. Regarding licences, that’s pretty self-explanatory: the girls want to party beyond 3am.

What inspired you to create Club Stamina?

Mina Galán: The lack of taste in the nightlife scene. I felt it was constantly the same venues or middle-of-nowhere raves. There was no curation. I want to create a universe from the tiniest detail to really immerse you. I want to rave but I also want a nice cocktail and I want to dress up, so I need the space to facilitate the look.

What advice would you give to aspiring creatives?

Mina Galán: Don’t lose yourself in the process, especially after making it where you wanted to be.

MIMI THE MUSIC BLOGGER

Music critic Mimi is one of the sharpest voices covering UK drill and Black British culture. Her newest project, Thank You, is a mentoring scheme for young women entering the music industry.

If you could curate a playlist that captures the vibe of a Martine Rose show, what artists or tracks would be on it?

Mimi: I love Jim Legxacy – people don’t know how creative he truly is. He represents what it means to be British, especially Black British, at the moment.

What do you think London needs right now?

Mimi: I’m really sick of the new builds. Saying that, I do ask myself, am I just trying to be the main character? Because there have always been new builds in each generation. But I miss the raw energy and the community that used to be there.

I feel like it’s not normalised for Black women, especially dark-skinned women, to say their opinions authentically – Mimi the Music Blogger

What does it mean to be a woman in the music industry? How do you manage and navigate it?

Mimi: It’s a challenge, especially because I mainly cover rap, which is a male-dominated space. I feel like it’s not normalised for Black women, especially dark-skinned women, to say their opinions authentically. Sometimes people don’t even care when I share my opinion; they just want to attack my looks. It’s a boys’ club in that way.

That’s why I recently started my series, Thank You, where I help up-and-coming Black girls and women who want to do music content, and I connect the dots for them. I want to be the person I craved when I entered the industry, because being part of it as a woman requires a strong face.

I was so depressed last year and forgot why I loved music. It always felt like I was getting the short end of the stick – that I had to work 10 times harder and still didn’t get as much credit. It took me going outside and experiencing life again, riding a bike and going to the park, to realise my purpose.