Hydar Dewachi/Owen G. Parry
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Larry is Real: how One Direction fanfiction is inspiring the London art scene

“These fictions are an opportunity to create – for pure expression in their field.

Where does the boundary lie between fanfiction and art? It’s a question that has become more and more prominent as fanfiction’s influence over popular culture continues to rise. London-based artist and Central St Martin’s lecturer Owen G Parry argues that there is no boundary at all. His latest work explores the world of “Larry Stylinson”, that is, fanfiction and fanart that explore a sexual relationship between One Direction band members Harry Styles and Louis Tomlinson.  

Showing as part of Jerwood Visual Arts’ “Jerwood Encounters: Common Property” exhibition, Parry’s pieces include Larry Underwater Kiss, a digital silk print, Larry!Hiroglyfics, etched drawings of the couple on Perspex alongside the slogan ship everything, and Larry!Domestic: masks of Louis and Harry in pink containers, alongside a wearable pregnant belly marked with Harry’s tattoos. The exhibiton event included a live piece of performance art, featuring One Direction lookalikes kissing, hugging and undressing one another.

For Parry, these works are just one extension of an existing artistic sphere, exploring “the figure of the fan as an unassuming model for invention, mobilization and revolt”. He told the Telegraph that Larry shippers are “just presenting the normal ideals of a relationship, but actually it’s really subversive”.

“These fictions are an opportunity to create – for pure expression in their field. Fandom is a space where anything can happen. We might go back to a genuine passion in art.”

It’s an important sentiment: fanfiction writers and fanart creators, especially those working within fandoms like One Direction’s, are often young women who are intellectually and creatively dismissed. But fanfiction often provides a space for young artists who might be marginalised in the mainstream to create artwork that reflects their experiences, whether it be by racebending or reimagining characters in different power structures and dynamics.

Shipping is a key part of that, particularly for LGBTQ fans, something perhaps flattened in Parry’s statement, “Creating relationships: this is a method in fandom called ‘shipping’, which I’ve basically taken on and applied to my art practice [...] This whole installation is me ‘shipping’ materials and ideas, theories and passions.”

Of course, as long as fans have existed, fandoms of all shapes and sizes have engaged in shipping. But Larry is a particularly controversial one, because it involves playing with, and sometimes intruding upon, the lives of two real people. Larry shippers are infamous for their dedication to the ship and their insistence that it is a genuine conspiracy, rather than a fiction.

Theories usually rest on the idea that the band’s management Modest is forcing the band members to hide their sexuality and publically date women as beards, with some going as far as to suggest that the mother of Louis Tomlinson’s child, Briana Jungwirth, had a fake pregnancy. The first replies to any One Direction member’s social media posts is usually a variation of “larry” or #LarryIsReal.

Louis Tomlinson has been particularly outspoken about the ship, labelling it “bullshit” in a 2012 tweet, and reportedly saying, “it’s actually affecting the way me and Harry are in public”.

Bandmate Liam Payne called Larry shippers “absolutely nuts”, saying the theories drive him “insane”: “when you know the ins and outs of what is going on with people it's just annoying when it's so stupid. It becomes like a conspiracy or like a cult”. Zayn Malik added in an interview last year, “It’s not funny, and it still continues to be quite hard for them. They won’t naturally go put their arm around each other because they’re conscious of this thing that’s going on, which is not even true.” Some fans argue that the band members are visibly less close as a result.

Perhaps these internal criticisms and controversies miss the point. Parry sees Larry shipping as “a safe place to test out your sexuality, a fantasy space” for many young fans. As a community brimming with “passion and love” and rebellious creativity, perhaps fan-made art can have a positive impact on the art world as a whole.

All photographs by Hydar Dewachi. All artwork by Owen G Parry. Follow his fan-influenced work at fanriot.tumblr.com.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

Don't Tell the Bride YouTube screengrab
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How did Don’t Tell the Bride lose its spark?

Falling out of the love with reality TV’s wedding planning hit.

Steph, 23, from Nottinghamshire, is standing in a drizzly field wearing a wedding dress. Her betrothed, Billy, is running around in a tweed flat cap trying to make some pigs walk in “a continuous parade”. A man from Guinness World Records is watching with a clipboard, shaking his head. Bridesmaids gaze sorrowfully into the middle distance, each in a damp pig onesie.

Thus ends the second wedding in E4’s new series of Don’t Tell the Bride – and the programme’s integrity with it.

When the classic programme, which follows grooms attempting to plan their wedding (punchline: human males doing some organising), began a decade ago on BBC Three, it had the raw spark of unpredictability. For eight years, the show did nothing fancy with the format, and stuck with pretty ordinary couples who had few eccentric aspirations for their wedding day.

This usually resulted in run-of-the-mill, mildly disappointing weddings where the worst thing that happened would be a reception at the nearest motorway pub, or an ill-fitting New Look low heel.

It sounds dull, but anyone who has religiously watched it knows that the more low-key weddings expose what is truly intriguing about this programme: the unconditional commitment – or doomed nature – of a relationship. As one of the show’s superfans told the Radio Times a couple of years ago:

“It’s perfect, and not in an ironic or post-ironic or snarky way. The format has the solemn weight of a ceremony . . . Don’t Tell the Bride is not about ruined weddings, it’s about hope. Every wedding is a demonstration of how our ambitions curve away from our abilities. It’s a show about striving to deserve love and how that’s rarely enough.”

It also meant that when there were bombshells, they were stand-out episodes. High drama like Series 4’s notorious Las Vegas wedding almost resulting in a no-show bride. Or heart-warming surprises like the geezer Luke in Series 3 playing Fifa and guzzling a tinny on his wedding morning, who incongruously pulls off a stonking wedding day (complete with special permission from the Catholic Church).

For its eight years on BBC Three, a few wildcard weddings were thrown into the mix of each series. Then the show had a brief affair with BBC One, a flirt with Sky, and is now on its tenth year, 13th series and in a brand new relationship – with the more outrageous E4.

During its journey from BBC Three, the show has been losing its way. Tedious relationship preamble has been used to beef up each episode. Some of the grooms are cruel rather than clueless, or seem more pathetic and vulnerable than naïve. And wackier weddings have become the norm.

The programme has now fully split from its understated roots. Since it kicked off at the end of July, every wedding has been a publicity stunt. The pig farm nuptials are sandwiched between a Costa del Sol-based parasail monstrosity and an Eighties Neighbours-themed ceremony, for example. All facilitated by producers clearly handing the groom and best men karaoke booth-style props (sombreros! Inflatable guitars! Wigs!) to soup up the living room planning process.

Such hamminess doesn’t give us the same fly-on-the-wall flavour of a relationship as the older episodes. But maybe this level of artifice is appropriate. As one groom revealed to enraged fans in The Sun this week, the ceremonies filmed are not actually legally binding. “It makes a bit of a mockery of the process that the bride and groom go through this huge ordeal for a ceremony which isn’t even legal,” he said. Perhaps we should’ve predicted it would all eventually end in divorce – from reality.

Don’t Tell the Bride is on E4 at 9pm

Anoosh Chakelian is senior writer at the New Statesman.