FKA twigs Breaks Down 18 Memorable Looks From 2014 To Now

Naomi Campbell introed me, but she said my name wrong.

And she said, Tonight performing,

we have FK Two Twigs.

And I was like, what? But I was like, I'll take it.

It's Naomi, she can call me what she likes.

[energetic music]

Hi, British Vogue.

I'm FKA twigs and this is my life in Looks.

So this is my LP one artwork.

It was shot in Jesse Candor's bedroom

and we'd been working a lot together at the time.

I said to Jesse that I really wanted there

to be read in the album artwork.

When you make music, it's like you put all

of your experiences into the album, trauma and the love

and the relationships, the whole of your life.

So how do you show that on the face?

Jesse just took the conversations that we'd had

and elevated it to a whole nother level.

Everything we'd spoken about, this feeling of the story

before, this feeling that an event had happened.

A bit dear in the headlights,

but also ready to take control of the situation.

To this day, I think it's one of the most incredibly strong

album artworks of the past decade.

And we were kids, like we were just little kids. [laughs]

This is from my first Mercury nomination

and I'm wearing Balenciaga.

At the time, I'd actually been experimenting

with bleaching my eyebrows

and I'd had an accident

and I'd burnt off all of the skin on my forehead.

So my hairstylist Soichi

and I came up with this idea

that I would have beads hanging really low to cover up

so I could just be gorgy from here down.

Actually, I think some of the greatest fashion moments come

from a mishap or a mistake

and it turns into a happy accident.

It's good that I burnt off my eyebrows.

This picture is from my first self-directed music video

called Pendulum, and I'm wearing errors, flesh underwear

and my own hair.

At the time I'd been really into Shabari

and going to a lot

of underground clubs in Foxhole.

My representation of my emotion

and my human complications with my hair.

And so I bound myself in my own hair.

But the interesting thing is is when I was shooting the

video, I could only be suspended for seven minutes at a time

because if you're suspended for longer than that,

there's risk that you can cut the circulation from your

limbs and you can have numbness in your limbs for up

to a year.

So it was a pretty techer shoot, but it was really fun

and it was the first time I realized that I could direct

and just how much I loved taking control

of my own creativity and my art.

This was the red carpet look

for my first Brit Award nomination.

I remember it was around this time in my career

that I really started to look into the archives of fashion.

I guess want to be inspired by what had come

before in my art.

So the makeup here is a reference from Galliano.

Spring, summer '96, in the show,

the girls had amazing clay sculptural hair

and that was really beautiful and inspiring.

I remember feeling that I wanted to be very strong

and make a statement on the carpet.

This jacket is the same jacket that I wore for my Glass

and Patron music video in the voguing scene.

So I do this move where I like swipe the jacket across

and and it's the same one.

This was actually a really amazing look.

It is Alexander McQueen's Spring 2008.

I wore this to open his huge exhibition

and I performed on stage.

It was just such a huge honor.

At that point I'd become very close with Sarah Burton

during my first tour, Congregata,

because she'd allowed me to go through the archives

of McQueen and wear some of the outfits on stage.

I just learned to love making a statement

and I just realized how fun it could be to wear something

that some people might love and some people might hate.

It was really amazing to be able

to reinterpret the designer's looks but through my lens.

So this is a performance that I did.

It was Coachella and this is a K to Z piece.

I remember I started doing these kind of big

Siouxsie and the Banshees style eyebrows on stage

and in these early years I was not very concerned

with looking attractive at all.

You know, I really didn't care.

I just wanted to get across my inner fire

and how much tenacity I had as a young artist.

So I'd always use my body so much when I was performing

and the light would shine through.

And being able to work

with these silhouettes on stage was really exciting

and I learned a lot about the power of dress.

So this next look is my Glastonbury performance.

I was working

with Aaron Sillus who'd choreographed the whole performance

and there were so many different dancers.

The routines were really intense.

I was going from hip hop to commercial dancing

to contemporary to voguing,

and I needed something that could incorporate all

of those genres of music movement that I wanted to do.

And there was only one person

that I felt could really nail it and that was my mom.

And so I asked my mom to make my outfit for me.

Some of the moves were very balletic as well.

So I had these little Nike sort

of contemporary ballet pumps.

And it's funny actually working with my mom

'cause she'd always be like, are you safe?

Is anything gonna fall out?

It was really fun going to fittings with her and coming back

and reporting how it had worked in the rehearsals.

So this is my M3LL155X artwork, shot

by Matthew Stone, who has been a very long collaborator

of mine.

Throughout the years I've gone back to Matthew.

I love the way he shoots.

He has a real velvety touch

and he's an absolute perfectionist like I am.

So we work well together.

So this next look is from my Fukk Sleep music

video with A$AP Rocky, styled by the amazing Matthew Josephs

The jacket I'm wearing here is Dior by Galliano,

but this whole video, the looks are so iconic.

Kabuki did my makeup.

Nazir made me a custom pole dancing outfit.

[indistinct] Matter made me a dress.

I had the wash and go Steven Jones headpiece,

the Dior latex orchid headpiece.

Do you know what's so amazing about videos like this?

Is when you can source pieces from the runway

or from a look and they're all around the world

and when they come to together you manage

to put together pieces from the original runway.

As a archivist,

that's what I'm obsessed with.

This is from my Magdalene tour

and it's one of my favorite looks, designed by Ed Marla.

Every aspect of this tour was thought about, down

to the absolute teeth.

Within the embroidery of the corset here,

you have spikenard, roses, oils

and herbs that Mary Magdalene used to heal people.

This next look is one of my personal faves

because it's one of my archive pieces.

Dior '97,

and again this is one of those instances where you manage

to get all of the looks from the piece,

but they're all from different parts

of the world, so the top and the trousers.

And then I found the bag in America

and I was like, I have to get that.

But then when we were in the makeup chair, I actually was

so scared 'cause I can't remember where she is.

Like this look, you know those things people

like say they go to see

and they think, where's my birth certificate?

That's what I just had with this. I'm like, where is she?

So as soon as I leave this,

I'm gonna go home and hunt her out.

This next look was for the Grammys

and it was designed by Ed Marla

and I'd been away touring and I hadn't seen him.

So he turned up with the dress fully made.

We hadn't had a fitting.

There's like this beautiful lace catsuit

that goes underneath the dress.

So it's all this like applique, like all over my body,

but it had no stretch in it.

So I basically couldn't lift my arms or walk at all.

So it's really funny 'cause when you see me on the carpet,

I'm just like, like this [laughs]

'cause I couldn't move in it but it, it was worth it.

Oh, this one's a fun one.

So this is when I went to the CSM graduate show

and I invited Madonna 'cause she was in town for a few days

and I was like, do you wanna come to something fun with me?

She really loved the show.

I was supporting my good friend Yas Whitlock.

This dress I'm wearing is by Frayer from Fanny Twelves.

This is one of my favorite bags.

It's a coconut shell and it's by Nazir Handmades.

Oh, and the cardi.

I've had this little shrug, I've had that since I was 14.

Oh, I love this.

When I walked in the Miu Miu show,

it really changed me because I was with Mucha

and we were doing the fitting

and I had two choices of outfits

and one was this bondage, like belly out knickers,

this big black belt and it was a lot more me

and Muchi looked at it and,

and she said, no, I want you to wear the the

shirt with the sweater.

For a moment I was a little bit disappointed

because I was like, I really wanted to wear like the

Lara Croft bondagey outfit,

but when I saw myself in these pictures I was like, wow,

it's amazing when something fits so well

and the cut is sublime.

You don't need anything, you don't need

makeup, you don't need hair.

You just have this incredible silhouette.

And I never thought being so dinky I'd ever walk in a

fashion show, let alone Miu Miu

and to close the show was definitely a huge honor.

So this next look, I went to the British Fashion Awards

with Rick Owens and Montclair.

Super Fab look, but the thing

that I love the most about this picture is

actually my makeup.

If you have an idea, it's always from like the center

of your forehead

and like this moment of clarity

that I've spoken about a lot.

Every time I went out I just wanted

to have this burst somehow.

Actually the little dot in the middle, it's reflective.

So when the flash went off, I wanted it

to look like I was having like a beam, like a idea.

This next look was from when I went

to the 2023 Met Gala

with John Galliano for Margiela.

It's an archival piece from 2017.

You can see how walking in the Miu Miu

and then this sort of correlates.

For me it's having that confidence that less can be more.

When I did my fitting with Galliano, I could have cried.

The attention to detail that he has.

Every single feather, he came in

and he like with his nail, was getting it absolutely perfect

and I was like trying to stand and he was like, okay.

So it's good.

Like when you do like a twist,

you see the sheen down the the side

of the satin of the dress.

It felt like a really strong moment for me

and I felt like I arrived into myself in a way.

This next look is for my performance at Vogue World

just last year.

It's by Laquan Smith.

And actually I changed my outfit hours before the show

and all of the dancers' outfits.

It was too busy.

I had this really amazing like white catsuit on

and all of the dancers, it was like punk themed.

They all had kilts and hair and colors.

And I looked at the rehearsal video

and I just was like, I can't.

We'd worked so hard on the tightness of the routine that,

well pretty much on the day I was like, I want to wear black

and I want it to be really graphic and really strong.

And I was performing with Rumba, which was such a huge honor

and I just wanted us all to feel like we were together.

This is my first Vogue cover.

I'm wearing Lourve.

To be on Chioma's cover is such a huge honor.

This year I'm definitely trying to take more stock

of my accolades

and give myself a pat on the back, just to stop

and be like, yeah, that was, that was good.

I can take a moment.

And this is a real mile milestone.

Oh yeah, I actually did that after the shoot

because I took all my friends out for a big curry.

So I was conscious even then, even

after the shoot I was like, I'm gonna remember this.

I'm FKA twigs and this has been my life in looks.

I've really enjoyed it and I hope that you have as well.

[tranquil music] [marker scrapes pages]