All this groundbreaking work at once – from hippie music to Andy Warhol to the mod movement – was happening in the Sixties and played into how we perceived sexuality and identity. I found the fashion through the music I wanted to see what the people who were making this music and listening to it wore at the time. What do you see as music’s role in that movement? It became this exciting whole new world for me, one I could live in, and I decided I wanted to revitalize it for today. Then I discovered she was loosely tied to the whole Youthquaker fashion movement, which started in London, and loved what it represented to that generation. So many problems and tragedy you could see the sadness in her eyes. She was the raw form of Twiggy and Jean Shrimpton. She was like the anti-model: beautiful, but with a lot of psychological disturbances. I started listening to a lot of Bob Dylan and developed an interest in Edie Sedgwick. I wish she was still here, so she could tell me, “Phlo, you can be a Youthquaker!” It has to be self-proclaimed at this point. Why are you interested in the Youthquaker fashion era? Is Diana Vreeland a hero? I never want to just be perceived as a pretty face I’m trying to come from a more intelligent and eloquent place that allows the music to take front and center. What are your visual priorities as an artist? and is sort of a vintage style fashion film it doesn’t really have a linear narrative, it just positions me in various vignettes. It’s for the last track, “Wrong #,” on the Crown Gold EP we wanted it to feel like a transition into the new project. We’re about to premiere your latest video.
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'What's the Bodega Look Like on Coruscant?': Tony Gilroy on Making 'Andor' - and Fighting Off a 'Michael Clayton' TV Seriesįor now, as London Fashion Week draws to a close, we bring you the premiere of her final video from Crown Gold, “Wrong #.” Watch it below as Rolling Stone chats with Finister about her Anglo obsession, her style and why pain is the ultimate unifier.
“I wasn’t rebelling, I just suddenly knew I was destined for the stage.” “When I found mod, I found myself,” she says. Models Jean Shrimpton and Twiggy, as well as Diana Vreeland – the powerful Vogue editrix who christened those intrepid ingenues as definers of their generation – became her heroines, and provided both a departure from her bleak circumstance and a creative compass for her own future. She found Bob Dylan, then Edie Sedwick, then lost herself in the Swinging London-era fantasy of “Youthquakers,” a sharply stylish and modern collective of young women emblematic of all the things she loved and aspired to be. Growing up on the rougher side of L.A., Finister sought solace and hope in music, falling in love with particularly visual strands of Sixties music at an early age. “It would be so cliche for me to look how I sound,” says Phlo “Elijah” Finister, the self-dubbed “Youthquaker”-inspired artist fast gaining traction for her compelling hybrid of Voguette mod and noir urban aesthetics.
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