This is part of my Summer Reads series where I’ll be sharing book recommendations – a series of “not just cookbooks”. Tablecloths by Jeremy Deller, Liam Sparkes and Sophie von Hellermann for Auction on behalf of Dora Brown, founded by Rebecca May Marston Luncheon 13 Spring / Summer 2022 Issue – opinions, stories and memories, offering an insight into their unique cultural contributions Product details There’s plenty more in the issue, including a piece about artist John Kayser’s bizarre series of photographs of women posing naked ( above); a lengthy but enjoyable record of a lunch conversation between Comme des Garcons president Adrian Joffe, Paulo Reversi and Julien d’Ys (again); and another lunch chat between designers Manolo Blahnik and Erdem and fashion editor Sarah Mower. Growing up, I always wanted to do something artistic, but I wasn’t encouraged to go to university – my teachers suggested I work in a shop. Today I have an MA and PhD in photography and film, but I am continually underestimated. Recently I’ve started feeling a bit more confident about calling people out on this. Things are changing slowly, but it’s a long game. Interview by Imogen Tilden

On the cover: Lois Blamire photographed by Tim Gutt, styling by Léopold Duchemin, set design by Shona Heath, 2022 Appearing in an almost impractical 270 x 380mm format Luncheon is immediately impressive. Only Holiday can currently compete with it; the other magazine that comes to mind is the late Acne Paper, so it’s little surprise to find one of the prime movers behind the new mag is Thomas Persson, creative director of Acne Paper. Scarecrows, photographed by Estelle Hanania, styled by Léopold Duchemin, initiated by Zoé Wirgin at the Lycée Paul Poiret La Sarabande with the Ballet national de Marseille (La) Horde, photographs by Louie Banks, styling by Ally Macrae

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This was a delightful read and I’ve marked a few recipes to make as well. A visually stunning publication with interesting stories – a fabulous way to pass those lazy summer days (now I need to get my hands on other copies of LUNCHEON!). I don’t know about you but when we were working from home in 2020 and 2021 while doing my job was extremely challenging (teaching 7-12 year-olds a second language is hard enough in person, let alone online), there were certain aspects of being at home that I loved (and once I had figured out strategies and activities that were more successful for online teaching, that part got easier too). The main one was that I got to do things like eat on my own schedule and that I had a little bit of extra time to do that which I used to prepare something a little nicer than a rushed sandwich or a soup. I made sure to always eat outside my office – outside f I possibly could – to have a change of scenery. Lunch was a pleasant time as opposed to a rushed affair often involving playground duty at the same time I was trying to eat. Luncheon Magazine is a new food magazine from London (UK). The magazine is published in a format of 270 x 380 mm. The Magazine is a style and culture publication that invites old and new friends of all generations and cultural experiences to share their views, life and work over lunch. From simple jam sandwiches in the park to home-cooked feasts, to hours spent in chic restaurants, the conversation and visual content is inspired by this midday treat created by a top-table of writers, photographers and artists. Content The Work of Pat Porter, introduced by Charlie Porter, photographs by Kuba Ryniewicz, words by Olivia Laing Maaike in sculpture glass pieces by George Krakowiak and Prada shoes, photographed by Paul Kooiker, 2023

Luncheon Magazine Issue 1 is available on loremnotipsum.com. Luncheon Issue 1 features: Lunch? I Hate It! Drawings by Michael Lindsay-Hogg; Plain Asparagus Sarah Mower, Manolo Blahnik and Erdem Moralioglu at the Chiltern Firehouse; Lee Miller: Portrait of a Hostess Words by Robin Muir; Grace Wales Bonner In Conversation with Charlie Porter, Photographs by Snowden; Homarus Chic Words by Judith Watt; Nostrovia! Studio Lunch with Paolo Roversi, Adrian Joffe and Julien d’Ys and much more! My first photographic foray into the world of dancehall, or ragga as it was called, was in 1994. I was intrigued by how strong the women were in terms of how they represented themselves. I began my career taking lots of pictures of my mum and have continued to shoot her – I love to work with lots of different types of, and generations of, people. I love the bond there is between this group. You really feel the strength of each individual person – even the little girls. Anthony – the older guy – is one of the most elegant and lovely men I’ve ever met, there’s two sets of sisters in there and most of the group knew each other before the shoot. It feels like an image about community, about standing together, which is particularly appropriate for this present time. Younger people in the area were facing joblessness, alcoholism or the break-up of their community through people leaving for the south. They wanted to be coal miners, not tour guides. It wasn’t just what they did – it was who they had been for generations. Doing the project in London, there was more talk about the self, but here the talk was about family and the community.

I took this self-portrait in the National Coal Mining Museum in Wakefield in 2014. I was working on a project about masculinity when I saw a documentary that got me thinking about industry. It featured a white working-class man sat in his kitchen, talking about how losing his job had made him feel demasculated. I decided to leave my comfort zone in London and speak to men in other parts of the country. Architect Sumayya Vally and fashion designer Roksanda Ilinčić conversation, photographs by Chieska Fortune Smith I grew up in the house where my father had his studio (I’d come home from school and if the red light was on above the door I had to be absolutely silent). Every time he’d finish shooting, he’d call me in to meet his subject. They would all sit at the kitchen table, my father, the assistants, collaborators and that day’s actor or actress. Photograph: Vanley Burke Vanley Burke ‘The protesters’ banner says: If we must die, let it not be like hogs’