Natural Beauty & Exotic Jewellery - Clay Face Masks at Alex Eagle by Romy Northover

Artist Romy Northover and photographer Maxim Northover unites the skin invigorating powers of natural ingredients and fine jewellery. New Year, New You – you know the phrase. Now is the moment to refresh body, mind and wardrobe, to start the year with a burst of energy and inspiration. And where better to start than your skin? Inspired by the expertise of Alex Eagle’s onsite facialist experts FacePlace and the radiance giving properties of natural ingredients such as turmeric, salt, honey and cucumber, artist and art director Romy Northover and photographer Maxim Northover have created a stunning photographic series celebrating beauty and self-care. Using Face Place’s preferred product range Skinceuticals and Kaolin, as well as more fridge friendly ingredients such as yoghurt and honey, the series is a witty twist on the beauty editorial, heightened by the inclusion of fine jewellery by some of Alex Eagle’s favourite brands. Including earrings by Anissa Kermiche, Fernando Jorge and All Blues, cuffs by Sophie Buhai and Irene Danilovich and rings by Completedworks, the editorial offers New Year inspiration for skin and limb.

Words by Tish Wrigley



Modern Art For Your Wardrobe - Alex Eagle Collection by Romy Northover

An exclusive story from artist Romy Northover and photographer Maxim Northover offers a monochrome take on Alex Eagle’s timeless modern classics.

Alex Eagle’s lines of timeless classics and bespoke tailored pieces represent a perfect storm of modernity, luxury and sensuality. Inspired by the ease and quality of men’s fashion, the collection channels the chic and purpose needed for a new start in 2018.

This energy is expressed in an exclusive editorial story directed by artist Romy Northover and photographed by Maxim Northover. Monochrome and elegantly erotic, the images demonstrate the tactility of the fabric and the quality of the cut; the simple perfection of beautifully made garments that work alone and together. From elegant flowing dresses, shirts and coats in silk and cashmere to tailored linen suits, Northover creates a new take on Eagle’s timeless modern classics.

Words: Tish Wrigley

The collection is available at ALEX EAGLE


T-shirt story for 1920 by Romy and Maxim Northover by Romy Northover

 1920 tee - shot by Maxim Northover

1920 tee - shot by Maxim Northover

We put the extremely creative brother and sister duo Romy (artist/designer) and Maxim (photographer) Northover to the task of capturing what 1 9 2 0 means to them in London over the holidays. We also were able to sit down and hear about what they are up to and what makes them tick. I hope you enjoy this feature of "IN TEES" as much as well do.

ROMY: With the images we wanted to really bring out the quality of the cotton with the tee's because this is what is really special about 1920 we wanted to show how it feels to wear them. There is intentional ambiguity about male or female in the Tee shirt - unisex feel - Also the attention to detail in the label and branding which is so damn cute!

read full article HERE

Inspiration Imagery

SHAPES, BODY AND SOUL - PIECE APART COLLECTION 1 exhibition photos by Romy Northover

 Photography: Shanita Sims  Creative Direction: Romy Northover

Photography: Shanita Sims

Creative Direction: Romy Northover

Cette première collection proposée par P I E C E A P A R T rassemble autour de l’œuvre de Caroline Denervaud le designer Arthur Hoffner, ainsi que les céramistes Valentina Cameranesi, Daphne Corregan, Jessica Coates & Michel Müller (Studio MC) et Romy Northover. Dans ce séjour imaginaire, signifié par l’ameublement et les fontaines d’intérieur, les céramiques dialoguent avec les peintures exposées dans une esthétique formelle commune. Au delà de leur charge décorative, ces œuvres et objets d’art nous parlent d’émotions, d’espace et de physicalité.

Car cette proposition, intitulée « Shapes, body and soul », s’intéresse précisément à l’implication du corps dans l’acte de création.

Comment ne pas noter en effet, dans l’œuvre de Caroline Denervaud, l’importance primordiale du mouvement et du geste qui vont jusqu’à s’imposer comme fondements de sa pratique picturale et performative : au milieu d’une chambre de papier, l’artiste s’abandonne, un pinceau à la main, dans un mouvement continu et nécessaire, se heurtant à l’espace défini. Durant ces instants auto-filmés, son corps dessine alors ce qu’elle aime appeler des « traces », témoins intrinsèques de ses mouvements et ses émotions.

En 2016, Romy Northover, artiste céramiste basée à New-York, propose à Caroline d’intégrer ses pièces de grès dans ses performances, et de les transfigurer en peintures. Le corps, alors contraint davantage dans son élan, va s’adapter à cette présence et dialoguer avec elle de manière presque chamanique, exprimant ainsi le caractère viscéral de la céramique en ce sens que l’importance ne réside pas tant dans l’objet final que dans l’engagement - voire la lutte - du corps dans cet acte de création. Un postulat que partagent Daphne Corregan ou Valentina Cameranesi, chez qui la céramique est prétexte à l’expérimentation de nouvelles formes, nourries tant par la ré-interprétation d’un héritage architectural passé que par l’évolution de l’identité féminine.

Dans ce séjour en proie à une décharge de couleur, il s’agit ainsi de se laisser saisir par la force de ces deux éléments que sont le corps et l’argile, de s’emplir de la puissance de cette matière ancestrale, de l’élégance des lignes et des gestes. Alors se révèle entre toutes ces pièces, un langage romantique et sensuel, une nostalgie contemporaine qui jaillit en cascade jusque dans les fontaines hypnotiques d’Arthur Hoffner.

Anniversary Magazine by Romy Northover

 Doan Ly

Doan Ly

Returning to the Earth for Answers ⏤ In Interview With Alana Wilson and Romy Northover

Shana Chandra

During the Chinese tea ceremony, the tea master is known for the controlled precision in which she prepares and serves the tea to her guests. And yet, the taste of the tea leaves is yielded to her by the uncontrollable forces of nature’s hand. It is the same with clay. A ceramicist manipulates and moulds her piece of earth, but sometimes during firing or throwing an alternate form will persist, sometimes for the better. Try as we might, the earth knows that in order to control something, sometimes, it is best not to.

In November, the “beautiful teachers” of clay and tea could be experienced together at T, an exhibition of teabowls by Brooklyn based ceramicist Romy Northover and the Sydney based Alana Wilson. The pair were drawn to the tea bowl, an ancient form still used in present day, due to its duality of the primitive and the contemporary, a duality present in each of their practices. The tea bowls made from clay and glass can be held, drunk from and purchased, at New York’s Floating Mountain, a modern tea bar that pays homage to the ancient ritual and meditative act of the tea ceremony.

After T’s opening night at Floating Mountain, where traditional tea ceremonies were performed using Northover and Wilson’s vessels, we sat down with them to hear about how their T was concocted.

Photography by Doan Ly

Photography DOAN LY

Luxe Magazine by Romy Northover


Discussing The KONEKT FURNITURE 'Pause' Collection for Luxe Magazine

 Romy Northover - for Luxe

Romy Northover - for Luxe

Artist to artist:

Helena Sultan’s work sends a message to connect to the present. As with her company’s name, Konekt, the pieces themselves, titled Pause, are a beautiful and simple reminder to do just that.

On balance:

There is a conversation between these materials—the shiny and the matte, the warm and the cold. This complementary opposition displays a true understanding of balance.

Authenticity is what separates these pieces:

It’s clear Helena’s designs come from the heart and soul, and that really reads on a subliminal level.

Color play:

Cobalt, a precious pigment, is historically used in iconography, while rusty red imbues more of a wabi-sabi philosophy. I’m drawn to the tension this unexpected pairing of the chairs and background explores.

Last call:

The Pause pieces are bold, contoured, tactile and considered.

No. x Rikumo - Limited Edition Tea Bowls by Romy Northover

The No. x Rikumo tea bowl collaboration launched this Autumn. These exclusive designs are available through RIKUMO Japanese homeware store in Philadelphia. Two bowls are part of this collection 'Kotton' a white open lipped tea bowl and 'Mokutan' a black high sided bowl.


It Breaks Open Like A Universe: A Conversation And Studio Tour With Rikumo

The word "chawan" is not a word you hear every day, but then again a chawan is not a common object. Elegant and marked by human craftsmanship, a chawan is a ceramic tea bowl that plays an essential role in the Japanese tea ceremony. A chawan requires a steady hand, a passion for the ritual of tea preparation, and a place of prominence in the household. At once poetic and functional, it is among the most beautiful of the useful objects. Romy Northover knows this first-hand: as the ceramic artist behind the design house No., she has become known for her organic, primitive vessels. Fueled by an interest in the raw character of clay and a fascination with open spaces, No. pieces examine the composition of vessel forms, exploring both the presence and the emptiness represented in a simple bowl. Indeed, No.’s portfolio reads like a love letter to the humble vessel: she has created golden crushed cups for Alex Eagle, a dark void-like bowl for The Line, and a towering vase for Calvin Klein. But it is the chawan that continues to fascinate her, and it is the chawan which has become the subject of our exclusive No. for Rikumo collaboration.

On a sunny Monday morning, we meet Northover in her studio in Red Hook, Brooklyn. She gives us a tour of her space and glazes a batch of freshly dried Mokutan bowls as we chat about her background and artistic process. Afterwards, as we take in the fresh air by the studio terrace, we talk about tea, the importance of flexibility as an artist, and the beauty of open spaces. As our conversation unfolds, a crucial truth emerges: in Northover’s work, it is impossible to separate craft from philosophy. Like an empty tea bowl waiting to be filled, they encompass the fruits of an impressive oeuvre and the anticipation of further paths to be explored.

Interview by Magali Roman

To read the full conversation click HERE

Is that the reason why you tend to do bowls and vases as opposed to the usual ceramic pieces like tableware?  
I think the tea bowl for me is particularly strong for it having such a strong sense of history. Once you involve the tea, it breaks open like a universe. You can keep on working with it and never find an end point. For me, that has a much deeper sense of purpose and interest for me than straightforward tableware. That’s not to take anything away from [tableware], it’s just that the tea bowl has a symbolic and historical reference that I find fascinating.
The white was chosen to emphasize this idea of lightness, of elevation, of white cotton, airiness of summer. But also within that, you can really see the green of the tea. [The glaze] is almost like a vehicle for examining tea. Same with the black bowl- when you have a dark background, it’s actually really interesting what that does to the color of the tea. It can really intensify that green until it becomes more luminous, whereas the white one you tend to see more of the earthy tones of the tea. You get the brightness with the dark and the earthiness with the white. It’s a part of the process of tea, of experiencing it, of taking your time with it. It doesn’t mean that you can’t use one bowl out of season. It’s a cyclical feeling: you have the cycle of the seasons, the circle of the bowl, the cycle of your digestion… all of these movements that are meridian as opposed to linear processes.
The potential to hold new things.
For me, it’s philosophical. It’s how you experience existence and life.