![]() She spent the time at home in South London with her partner, a relationship she is reluctant to talk about-the only time in our interview she momentarily clams up. “I feel like as a female artist you spend a lot of time screaming into the void for people to take you seriously,” says Welch. I really fucking empathize with anyone who did relapse in those two years because I think it was probably the closest I’ve ever thought about it.” She says it is “a miracle” that she didn’t fall back into her old patterns with food. “When you’re sober, it is unfiltered reality all day, every day. Welch has been sober for eight years, but lockdown was hard. Finally she is comfortable in it, but the idea of the change it would undergo is one she finds terrifying. I think I’ve had a stilted emotional immaturity just through having been in addiction and eating disorders for years.” She admits she has a “really complicated relationship” with her body. I feel like to have a child and to let that amount of love in.… I’ve spent my life trying to run away from these big feelings. ![]() It’s the ultimate measure of faith and of letting go of control. It seems like the bravest thing in the world to have children. I wonder what it is that makes her feel like she can’t have both-motherhood and a career. “The thing I’ve always been sure of is my work, but I do start to feel this shifting of priorities, this sense of, like,” she drops to a whisper-“maybe I want something different.” “The whole crux of the song is that you’re torn between the two,” she says. You can already hear its refrain, “I am no bride, I am no mother, I am king,” being bellowed by thousands of women on this summer’s festival circuit. ![]() It is the push and pull of these “other desires”-namely motherhood and the impact childbearing can have on a career, a body, a mind-that the track “King” explores so affectingly. “She’s like me when I used to drink,” she deadpans, “fun, but she wants to destroy everything and maybe ruin your life.” In fact, it’s a full family affair: Florence’s younger sister, Grace, is in to see friends and comes to say hello with her new baby and energetic five-year-old daughter. He is here today, keeping us well fed with plates of Parmesan fries, whipped salted cod, roast Orkney scallops and bowls of pasta-carbonara (for Florence) and ravioli (for me). Her laugh-constant and infectious, and covering the spectrum from convulsing giggle to prolonged raucous cackle-ricochets off the walls of a private dining room at Luca, a much-lauded British-Italian restaurant in London’s Clerkenwell, run by her brother-in-law, Daniel. “Florence and the Machine was Florence and the fucking Hoover,” she says. I didn’t, for example, expect “Hoovering” to be her answer to how she occupied herself in lockdown (she became, she says, “obsessed” with a mini Dyson). Perhaps it is owing to the raw emotion her work deals in, or her unabashed adoration of theatrics and drama, but I hadn’t realized just how funny the now 35-year-old is. Which isn’t to say there hasn’t been an evolution, both artistically and personally. Here she is, a Saturday lunchtime in February, nearly 15 years after she crash-landed onto the music scene, still looking as though she has walked out of a Renaissance painting: flowing Titian locks, untamed and tumbling around her sculpted, makeup-free porcelain features, a long, floral Vampire’s Wife dress picking out the gray-blue of her eyes. ![]() In the official press release, the design duo announced that they “are thrilled to feature women who inspire us in our fall/winter 2018 portrait series", while Autumn de Wilde posted on her Instagram that she was “so honoured to have photographed this incredible collection and these incredible women.” The twitter page Tabloid Art History also commented on the series, writing “did Thomas Gainsborough come back from the dead to create the new Rodarte campaign? No, it’s the extremely talented giving us gorgeous 17/18 century society portraiture vibes.In an age that favors-often demands-the constant reinvention of its pop stars, there is a reassuring familiarity to Florence Welch, front woman of Florence + the Machine. The lookbook was released after the major fashion label announced that it would not be putting on a fashion show this season. The ruffled skirts and pastoral backdrop were all photographed in the brand’s showroom in Paris. Autumn, whose work has previously appeared in The New York Times and Los Angeles Times, shot a range of influential women like Miranda July, Danai Gurira, Grimes, Gia Coppola and a pregnant Kirsten Dunst in floral, tulle dresses for the publication. Rodarte designers Laura and Kate Mulleavy have released a new lookbook shot by the accomplished photographer Autumn de Wilde. ![]()
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