Amelia’s Magazine | You Have Reached Ground Zero!

This? week? I? attended ?the Light? and? Architecture? symposium? at ?the? Kolding? School ?of? Design ?in ?Denmark. The event played ?host to? one of the forerunners in innovative Textile Design speaker ?Reiko? Sudo ?co? founder? and? director ?of? NUNO ?fabrics.??

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The company have been granted numerous accolades and were recently given the Mainichi? Design? Award, viagra 100mg cure the Roscoe? Prize? and? the? Japanese? Interior? Designers’? Association? Design? Award.? The? talk? focused? on? NUNO‘s? last project?? designing? fabrics? for? the? Mandarin? Oriental? Hotel, side effects ? Tokyo.?

The? project? aim for the Mandarin Oriental was to convey? Japan’s? changing? seasons? and? is? inspired? by the natural elements? of? wood? and? water.? Reiko? explained how? they? applied? traditional? Japanese? handcraft? and fused it with unconventional? materials?. She? took? the? audience? on? a? beautiful? journey? of? Japanese? landscapes? through? the? forest? in? rainfall,? sunshine,? day? and? night.? All? elements? provide? inspiration? for? the? hotel’s? interior? design fabric?, from? the? root? and? texture? of? a? tree,? or? the? way? the? raindrops? bounce? from? leaf? to? leaf,? reflecting? rays? of? sunshine? across? the? forest? floor.? This? allowed? the? audience? to? visualise? the? source? of? inspiration? behind? each ?fabric? and? imagine ?the ?textural ?quality ?of? the ?cloth? without ?the? sense? of ?touch.?

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After? introducing? her? inspirational? source for the fabrics, Reiko went on to? explain the methods of ?production.? For? example? to? recreate? the? beautiful? opalescent? sparkling rays? of? sunshine,? gold? embroidery? was? stitched? onto? transparent? fabric.

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?The atmosphere? of? forest? at nightfall? was? created by? stitching? shiny? metallic? midnight? blue? against? ink? stained? handmade? paper.? This? extra? consideration? to? detail? brings? an ?experiential ?quality ?to ?the ?fabric ?emulating ?a? certain? ambiance.?

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Reiko? was? a? truly? inspirational? speaker;? her? efforts? have? allowed? her? to? stay? true? to? Japanese? traditional? handcraft? whilst? experimenting? with? new? materials? to? create new? possibilities. ?This? visionary? approach? and? impeccable? attention? to? detail? project? an? original? yet honest? representation? of? Japanese ?culture.
Femke De Jong’s illustrations are multi-layered and intensively reworked collages, prostate they often explore the seemingly oppositional subjects of man and machine. She kindly agreed to answer a few of our questions and send us some lovely images to eyeball.

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Can you tell me a bit about yourself?
I am originally from the Netherlands and I lived in Amsterdam for about 10 years before I moved to Bristol 6 years ago. I come from a family of ‘makers’, especially my gran and my mum. I have always been interested in the visual arts, like all kids I spent a lot of time drawing and making ‘stuff’. I used to sit in the attic, reading old books, and especially loved the pictures in my dad’s science encyclopedias.
Also, I was kept back for a year in Kindergarten, the teachers there thought it would be good for me to play for another year.

How would you describe your work?
Surrealist collage, textural, playful, eclectic mishmash, a whiff of antiquety, whimsical.

What mediums do you use to create your illustrations?
A composition of drawings, collage (digital and hand-rendered) of elements and textures, layered up in the computer. I often scan hand-rendered drawings or textures in and work from thumbnails and ideas I make first. When inside the computer, I sometimes print out things again and then work into these prints. I try to keep that ‘organic’, hand-rendered feel in my work.

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Collage is a strong element to your illustrations. What is it about using this technique that interests you?
Working with collage gives me a lot of freedom, to mix different elements and ideas, to get to a ‘concoction’. When I was little I wanted to be an inventor, and in a way I still ‘invent’ illustrations.

Would you say you have certain themes which you visit in your illustrations?
I have always been interested in science, and often include mechanical bits in my illustrations.
I sometimes use it as an metaphore to emphasize the ‘clunky’ relationship between man and machine, or eg. the human doesn’t take responsibility for his/her actions, and acts as if he/she is programmed to do so. Themes like science, and environmental issues interest me.

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Do you think that the fact that you were raised in the Netherlands has affected your work in anyway?
I think my view is from a more ‘Dutch’ angle. I moved here about six years ago and even though I dream in English, Dutch normality is still present in the back of my head. Dutch sayings and expressions often pop up, and I find them visually stimulating. I think they drive a lot of the ideas in my work.
I really appreciate the British sense of humour for it’s absurd and macabre satire, like Monty Python and League of Gentlemen.

Is there a Dutch and an English illustration style?
The Dutch love their very bright colour palette, which is a little too bright for my liking. My colour palette seems to go towards more muted colours.
A lot of illustration in the Netherlands seems to me to be direct, conceptual and design led, and more minimalist whilst British illustration seems to be more romantic and eccentric.
In England, there is a big affection and tolerance of the eccentric, whilst in the Netherlands there is a saying: ‘Act normal, you’re mad enough as you are.’

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How do you like living in Bristol? Have you ever considered living in london like many creatives do?
I live with my boyfriend in a fairly central bit of Bristol. Bristol is a lively student city, there are always plenty of things to do here, as well I know a lot of fellow-illustrators here, like the collective ‘Hot Soup’. I’m actually thinking about living more in the countryside than we do now, so London would be a step in the other direction. Eventhough London is a very good place to be for creatives, and I have concidered moving there in the past, I now use the internet to plug myself, and visit London once every month/two months.

What are you working on at the moment?
This week I am working on a book cover, an editorial and an image that will appear in the book Lucidity.

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What inspires you?
Many things. I’ve been called too eclectic before, but when a friend went to Amsterdam with me, she said: “I understand now where you come from, this place is like one of your collages”. Amsterdam is a melting pot of many cultures, colourful, lively and noisy. There’s lots of nooks and crannies, like an old curiosity shop.
In Amsterdam there is an independence in attitude, and the freedom to be expressive. I love walking around antique shops and flea markets, to get a feel of the old times.

Who are your favourite artists?
The Russian Avant-Garde constructivists like El Lissitzky and Rodchenko for their composition. Henrik Drescher, for his independent style and Paul Slater, because of his absurd and surrealist humour. Also Svankmajer, for his nightmarishly unsettling surrealities. I love Eastern European animation the grimness and absurdity they find in everyday topics. The world around us is sometimes unsettling and by depicting the world in a surreal way and making fun of it, helps.

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How long do you usually work on one image?
It depends. For an editorial I usually work on the ideas and the roughs for a couple of hours, and then a bit longer on the finished piece.
When there’s a deadline, things always get done. When I don’t have the deadline, I revisit work more and things can take longer.

Have you done any commissioned work?
I have done are a book cover for the Bristol short story prize, which they used for the front cover of their quarterly mag. A CD cover for Furthernoise and some editorials for Management Today and Resource.

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What would your dream project be?
In this order: A cover for New Scientist, to design a range of book covers, a series of books for older children.
Any project where I get a lot of freedom, eg. by working with an art editor who isn’t afraid to take risks.

To see more of Femke’s work you’re just one click away from her website. You can also buy a few of her things here.

Saturday saw a hoard of eager revellers descend on the Fym Fyg Bar in Bethnal Green for all the fun of the fair, this well vintage fair that is! You could tell news of the event had travelled far on the grape vine as bargainistas formed a snaking queue outside that, alas, fellow intern Sabrina and I fell victim to. After an exasperating wait we finally entered the vintage emporium, and it certainly was a visual feast as soon as you entered. The first sight to grab my attention was the stunningly nostaligic tea shoppe brought to us by the delightful ladies at Lady Luck Rules Ok! I couldn’t help being hypnotised by the endless array of cakes and beautifully clad tea ladies adorned in 50′s get ups! But determined to embark on my bargain hunt I managed to draw myself away from the alluring cupcakes and straight on to the stalls.

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Highly reminiscent of a sweet shop rabble on a Saturday afternoon everyone was grabbing at the £5 a bag stalls, eagerly stuffing as much in as physically possible. There was a certain skill to this I established, you had to adopt a Tetris style approach to utilise the space to its full capacity. There certainly was enough to satisfy every nostalgic whim, I trawled through rows and rows of 50 and 60s aprons and pretty shift dresses, and then straight on to all the glamour and cabaret of the 70′s and 80′s in all their glittery excesses.

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The Vintage Kilo stall, it has to be said, was my beeline and alas I was disappointed. I think most of Shoreditch had my idea so subsequently it descended into a cattle market, making it all too difficult to delve out those bargains. Maybe I am still a mere vintage fair novice; I think I was dealing with the pros.

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The Jewellery was a real treat, I unearthered some stunning brooches, hat pins and charmingnecklaces, it really was a treasure trove of shimmery trinkets perfect for us magpies. There was also beautiful millinery ablaze with feathers and gems galore, taking us on a whirlwind tour through the roaring 40s to the swinging 60′s. I wished I could pull off some of the more flamboyant styles!

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After more then sufficient vintage indulgence I decided it was definitely time to let my stomach do the talking and succumb to some well deserved tea and cake at Lady Lucks pop up tea shoppe. The décor was delightfully twee and had been consciously laid out to reflect individual decades spanning the 50s to the 80s. We were escorted right back to the 50s table which was brimming with vintage board games. The staples included Sorry, Bingo and Scrabble all definitive games from the era in my book! So after taking in the décor I launched straight into a hearty cup of tea and my delectable chocolate cup cake while my partner in crime went for the carrot cake.

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So in all the consensus was a definite thumbs up for the affordable vintage fair, it’s safe to say I was vintaged out by the end! Keep your eyes out for the next one guys, it’s 25th April in Lincoln, well worth a visit!

Altermodern: Tate Triennial 2009

A multi media visual exploration of Altermodernism. Curated by Nicolas Bourriaud, there the co- founder of Palais de Tokyo in Paris, he describes Altermodern art as art made in today’s global context, a counter reaction to commercialism. The selection includes some of the best current British artist, alongside international artists who are working within similar themes.

Tate Britain Mill bank London SW1P 4RG
3rd Feb – 26th Apr 09 Daily 10am-5.50pm

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BRIDGE 2 WORLDS

The launch and celabration of Indian modern art, curated by Radha Binod Sharma.
The show will feature works by 22 comtemporary Indian artist, some of whom have never exhibited outside of there own country.

Menier Gallery 51 Southwark Street London SE1 1RU
31. Mar – 9. Apr 09, free admission 11am – 6pm daily

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The Mail Me Art Project

Run by Darren Di Lieto

The exhibition showcases a vast collection of artistic work sent in the form of mail by both professional and amateur artists of all ages from across the world as part of the 2007 Mail Me Art project. All of the work submitted to the Mail Me Art project is exhibited and available for purchase.

Red gate gallery
209a Coldharbour Lane Brixton London SW9 8RU
Friday 3rd to 9th of April 2009,
Gallery Opening Hours: Sat, Mon, Tues, Wed: 2.30 pm – 6.30 pm
Last day of Exhibition: Thurs 9th of April: 11.00am to 5.00pm

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Sock Exchange

Through video, events and one-on-one engagement, Sock Exchange invites you to transforming your humble and odd socks into an exquisite art experience.
Also come sit and knit with other fellow knitters/makers. Show non-knitters how to knit their own sock and spread the sock appreciation.

Exhibiting alongside residents from Eyebeam’s Sustainability Research Group, Stefan Szczelkun, Melanie Gilligan.

Fact Gallery, Liverpool L1 4DQ
6th Apr – 12th Apr 09, Free admission 10-6pm

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Crookes is an area of Sheffield popular with students and Joe Cocker pilgrims. One of wikipedia’s key facts about the area is that it is served by the number 52 bus. Be still, medications my beating heart.

But as I type a new band are causing something of a stir there ? it’s home to The Crookes: a baby-faced guitar wielding folk/pop/acoustic outfit. They deliver tender, more about sweet melodies and simple, stripped songs that are a good old fashioned treat for the ears.

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They’ve played a handful of gigs in London recently and are picking up a steady stream of fans, with Steve Lamacq at the front of the line like the Pied Piper of Hamelin, harping on about them on his blog and radio show.

The Crookes have a great stage presence and ooze charisma – without the arrogance associated with a good few of their contemporaries. Hey, they’ll even join you off the stage for a couple of numbers and charm you with their raw, acoustic and unplugged talent if you ask nicely (or not at all, actually). They have an experimental sound, incorporating toy guitars, harmonicas and banjos into their gigs, complimented by lead Goerge’s dulcet vocals.

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We caught up with George, Alex, Daniel and Russell at their recent Stoke Newington gig:

Hailing from Sheffield, people will compare you to it’s famous exports: Artic Monkeys, Pulp, Harrisons, Peter Stringfellow. Help or hinderance?

R: We haven’t been compared to Peter Stringfellow, as yet. The only comparison we’ve really had was to Treebound Story. We stole Richard Hawley’s drum sticks recently (he uses the same studios), though we don’t really want to live up to our name.

What was the last song you recorded and why?

D: By The Seine, which has a bit of a different sound. It’s about a pavement artist I saw who’s pictures kept getting washed away when it started raining. We’re going to be playing it at a live session we’re doing in Paris in the summer… playing there’s always been a big ambition of ours.

What have you got in store for the rest of the year?

G: We’re moving in together to give it a proper go. Apparently our future neighbor is deaf…so at least we can’t annoy him!

A: George wants to be a postman for a while.

Will there be an album?

R: Hopefully in the next year or so…but we want to take our time and make sure when we do it’s reflective of our best efforts.

What’s the best thing about Crookes?

D: It has a nice lake.

G: There’s a great chip shop called ‘New Cod on the Block.’ Actually, I’ve never been ? it might be pretty average, but I like the name.

Any band dramas?

A: Russell once vandalized the dressing rooms at Plug in Sheffield… he was making a cup of tea and pulled the cupboard off the wall..he then spent about 20 minutes trying to fix it before the house manager found out and refused to pay us.

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Do you prefer to perform unplugged or do you prefer to present a more produced sound?

G: Either, really, but we are playing at the Holmfirth Festival of Folk at the beginning of May which is going to be an unplugged set…we’re really looking forward to it.

R: …And we’re going to play an acoustic set on Margate Pier in the summer sometime…we have a thing for playing interesting venues.

You supported Slow Club (friends of Amelia’s magazine). How was that?

A: We’ve all been to see them loads before, so it was great to be on the same bill. They’re one of the current Sheffield bands we really admire.

Which song do you wish you’d written?

A: And Your Bird Can Sing by The Beatles

D: Be my Baby by The Ronettes

What is the most embarrassing song on your ipod/guilty pleasure?

G: Forget about Dre ? Eminem feat. Dr. Dre

R: Mambo No.5 by Lou Bega!
So imagine the most idyllic and serene childhood dream, information pills what does it conjure? Fluffy bears, story tea parties and blue skies. Oh for the naivety of youth, before we all fall foul to the trials and tribulations of adolescence. Well never fear here at Amelia’s Magazine we are here to bring you back your youth, well a slightly revised late night television version! Via innovative new design collaborative Ground Zero.

Hong Kong based brothers Eric and Philip have bombarded onto the London fashion sphere feeding our senses with an explosion of graphics and colour, which makes you feel you are being catapulted straight into a Super Mario Brothers game.

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Ground Zero’s A/W 2009 collection “Lazy Naughty and Sleepy” is epitomised perfectly by its title. It’s a whirlwind tour through apocalyptic nightmares and wistful daydreams embarking on a vivid tour of graphics and shapes. But don’t let me forget to add the abundance of Care Bears in rather compromising situations, some of the prints feature crack smoking and homosexuality, very controversial!

This brother duo has distinctive individual styles, having studied legions away from each other. With Eric studying Graphic Design in Hong Kong while his brother made the break to London to study Fashion at Middlesex University. These distinctly different facets of design unite perfectly within their work, fusing conceptual tailoring with bold graphic design.

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Defying our preconceived ideas on the common practice for pyjama use. The design duo features our favourite comfy Sunday afternoon staple as an integral part of their collection. With cutesy oversized pj’s in an array of confectionary tones from candyfloss pink to parma violet purple. The emphasis on wearabilty is particularly apparent in this collection, with oversized jumpers, joggers, deconstructed macs and t-shirts.

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Having featured in Selfridges, Concrete in London, Le Shop in Stockholm, Ships and And A in Japan, Bauhaus, and D-mop Seibu in Hong Kong. With such an endless array of suppliers it’s safe to saye their eccentric collections are well received in the fashion circuit!

Categories ,Bears, ,Blow PR, ,Conceptual, ,Fashion Designer, ,Ground Zero

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Amelia’s Magazine | Peter Jensen

Manchester’s never been quite the same for me since the first day I ever saw Kid Carpet, side effects buy information pills AKA Ed Patrick, at the Academy some 4, 5 years ago. It was like losing your virginity. After a few sold out gigs more than a year ago, Manchester has been dry, an endless desert waiting for an oasis. The man hasn’t been on the road for some time, having kids and what not so to arrive tonight to a crowd of about 15 was a massive shock to say the least. The supporting bands all had their family contingents, but they’d all scarpered before the real show began. Talk about gratitude. You’d think after being given the opportunity to support one of the most exciting artists of the last five years they’d at least stick around and show their support. Some people!

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That said this in no means distracted him from putting on his regular and exuberant performance. In fact he seemed to enjoy the chance to get the few members of the crowd really involved in the set. He also got an opportunity to perform a bunch of stuff I hadn’t heard before. He introduced a ditty for a cosmetic surgery advert and ‘Help Yourself’ a re-working of the Tom Jones classic (for a porno film about the Welsh crooner’s most used appendage).

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Plus if I’m not mistaken I also spotted a pastiche to Moondog’s ‘Enough about human rights’ and a Metallica cover re-titled ‘Back to the shops’. All the while the 15 strong crowd kept the energy going the entire way though.
After the encore, he came out to give everyone in the audience free copies of all his 7” singles, signed on request. What a kind man, he’s a very kind man. He told me he’ll be back soon and with a much bigger crowd in tow. We should all look forward to that.

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It seems Scandinavian designers have been occupying my thoughts this week, more about what with Peter Jensen yesterday and today I salute print designer Karl Grandin. I just can’t seem to get enough of their effortlessly stylish and innovative approach to design!

Karl Grandin is as prolific as print designers get, visit this the Swedish based artist has such an endless list of clients it made my head spin just attempting to digest it all. Where to start, pharmacy well there are his worldwide exhibitions in far-flung realms from Amsterdam to Tokyo (just imagine the air miles there, I bet he boasts a fine passport) Then In conjunction to his extensive array of shows he works closely with humanitarian charities such as Amnesty International. Then the crème de la crème has to be his endless list of magazine contributions with fashion giants Wallpaper, Vogue, Tokion and Pop Magazine. It’s a boastful array of clients if ever I saw one.

Then as if that wasn’t enough he has been working closely with top designers to create capsule collections for the likes of hip collaborative Cheap Monday and Wknd. My favourite has to be his vivacious hurricane designs. His cut and paste aesthetic is almost reminiscent of a child’s collage book!

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The piece that left me completely enamoured however had to be this animal print sweater. Its almost like Noah and his ark has re-formed but this time instead of a boat for refuge they all bundled onto this sweater! Its like an animal where’s Wally! 180 animals run wild in this computerized knit, go on I urge you to count them all!

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Inspired to create a piece to politicise the plight of endangered pieces, Grandin pays homage to mother nature emphasising its beauty and fragility. Nature is a topic so often broached by designers; fashion is brimming with animal prints or floral motifs to which we enjoy on merely face value so much so it’s almost become banal. Grandin is attempting in his piece to encourage a more thought provoking approach to nature, he states “ We have cultivated nature for our own convenience. Now it is instead man-made cultural constructions that are becoming increasingly autonomous and slipping out of our control. Wild systems like brands, stock markets and traffic is the wilderness of today. Nature has become culture and culture is turning into our new nature”.

Grandin is a designer that doesn’t merely create aesthetically pleasing pieces; you get a real sense of his devotion to change within the design sphere to create ethical yet energetic pieces. He gets a big Amelia’s Magazine thumbs up, hoorah!
Artist AJ Fosik’s sculpted characters look like your high school mascot that went AWOL and ended up at a full moon party in Thailand. Or perhaps the stuffed and mounted head of some big game he vanquished in a spirit dream and was able to sneak back under the border patrol of consciousness (quite a feat really I hear they’re rather tight). His technicolor wooden sculptures certainly carry the sense of having seen the otherside and with their hypnotic fluorescent eyes they seem all too than eager to take you there as well.

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According to his myspace page AJ Fossik is 66 years old. Sure, stomach maybe on his second time round on the carousel of life. perhaps wise beyond his years, cost what is for certain is that this Philadelphia born artist is onto something. Currently exhibiting printed works at Giant Robot Gallery in NY, it is his psychedelic sculptures which have really roared onto the scene. Made of hundreds of small, individually cut and hand painted wood, his animal effigies and their symbolism strike a chord with the collective consciousness, especially in the US. Aside from being the California state animal, a campsite mischief, cartoon character and omnipresent sports team icon, the bear is one of the largest and most regal North American animals, a reminder of the vastness and awesome natural beauty experienced by the earliest pioneers.

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A country whose experience at the moment consists of what is referred to as a “bear market”, one in which stockholders, all in the same blind panicked, decide to sell! sell! sell!, driving the value of stocks deep into the ground (sounds familiar). Not that far off really from the wooly winter hibernator’s image of reclusion and introspection. To Native American shamans the bear represents qualities of steadfastness and patience making excellent teachers. In dreams, bears represent a healing cycle, where the dreamer has retreated into himself in order to regenerate and to create something new and valuable in his life.

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For this particular breed of artist the road out was not a conventional one. After years as a teenage urban nomad on the streets of Philadelphia, a city often at odds with itself, Fosick eventually drifted to NY where he obtained a degree in illustration from New York’s Parson’s and a 2007 solo show in the city’s Jonathan Levine Gallery. The name he goes by he adopted from an Australian “verb to describe the act of people sifting through mine washings or waste piles to look for any gold that might have been missed; sorting through the garbage to find gold.” However, like many things in our global soup it apparently seeped into another language where it means something different altogether. “From what I can gather,” he says with a good natured appreciation of irony, “the spelling I use means ‘to shit oneself’ in Hungarian.”

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A peek into the global origins of this furry ursine idol is just as intriguing. In Hindu mythology the bear’s name “riksha”
(also in Sanskrit, Celtic, Greek and Latin believe it or not) derive from the word for star, which in turn comes from the word light, shine, illuminate. Ahhhha.
The term for Great Bear, “sapta riksha”, is also the symbolic dwelling of the Seven Rishis, whose name is related to “vision” and are called the Seven Luminaries. It was through them that the wisdom of the past was transmitted to the present. A rich past for the unassuming bear.

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AJ Fosick is an artist who, one could argue, has an abnormal fixation with carving his own path through the great unknown. No wonder then that he refers to his pieces as “existential fetishes”. And hey, who couldn’t use one of those? And perhaps the missing little league mascots and unemployed stockbrokers of the world have joined Albert Camus on a beach somewhere in South East Asia and are doing some soul searching. In my dreams.

This Sunday we’re off to The Rag Factory , see for 2009′s London Zine Symposium to celebrate DIY and radical culture in all its handmade glory.
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(2007 London ZIne Symposium)

There will be readings from several zine favourites and veterans including Chris from Lipgloss and Chella Quint from the fantastically named Adventures in Menstruating. Plus talks and Q&A sessions about the politics and future of zine publishing- very interesting stuff indeed!
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(detail from Shebang Zine)

For those who want to get involved, ambulance there will plenty of workshops including a collective zine which will be compiled and published on the day in collaboration with the Footprint Workers Co-op then given to contributors for free- so bring a page of wrting, viagra approved illustration, ancient Sanskrit or whatever else you fancy, along.
As if all this isn’t enough, there will be stalls selling all sorts of goodies alongside all shapes and sizes of zines such as Fever Zine, Brighton-based, blue-covered favourite Shebang Zine and Meow Magazine– a student run treasure trove of illustrations.
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(Meow Magazine’s Christmas cover)

Cakes will be provided of both the edible and knitted variety- the latter being provided by Amelia’s very own Melodie Ash, so get there quick before these gems are gobbled up!
Hope to see you there.

London Zine Symposium at The Rag Factory, 16-18 Heneage Street, London E1 5LJ free entry, 12- 6pm on Sunday 3rd May 2009
www.londonzinesymposium.lasthours.org.uk
Today to pay homage to our faithful companion the sun gracing us with rays the past few days. I thought what better time to usurp the weatherman and bring you some extra rays of warmth myself in the form of the vibrant and jovial new collection from Peter Jensen.

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He is no newcomer to the big smokes eccentric fashion sphere. Jensen came to our shores from Denmark in 2005 to study Fashion at Central St Martins. After propelling through his degree with flying colours he went on to form a cult following with his menswear designs, viagra causing waves in the fashion circuit in Paris. Eventually Jensen succumb to the allure of Womenswear, much to us ladies relief!

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Peter is a designer with a whole array of strings to his bow, not only is he accomplished in print, but both embroidery and graphic design. His garments play host to a myriad of different fabrics and techniques which create a cut and paste aesthetic to his pieces. It’s a slap dash blaze of conflicting colours and prints. To me the collection evokes all the nostalgia and whim of a childhood rummage through a fancy dress box.

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The collection packs a whole load of gusto! Playfully throwing all conventions of colour coordination out the window. Your vision is almost impaired as it tries to digest the layers of colour and print. We see florals juxtaposed against vivid checks finished off with beautifully delicate beaded capes, and adorable knitted socks to boot!

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The prints are a salute to kitsch design, exuding a decidedly twee “butter couldn’t melt “ feel, its hard to imagine anyone in one of Jensen’s polar bear clad jumpers inciting trouble. Other then catching the eyes of a few infamous celebrities, most notoriously the eccentric artist Cindy Sherman.

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Jensen’s work has been taking the high streets by storm with collaborations with retail titans Topshop, Topman, Fred Perry and B store and stock supplied in Ebonyivory, Falbe, and Buddahood. Jensen boasts an impressive list of followers!

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So keep your eyes open for any polar bear jumpers on the shopping rails near you!

Categories ,Central St Martins, ,Embroidery, ,Fashion Designer, ,Graphic Design, ,Peter Jensen, ,Twee

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Leutton Postle

Leutton Postle S/S12 by Alia GargumLeutton Postle LFW S/S12 illustration by Alia Gargum

Upon checking some of Leutton Postle’s previous work I became really excited about the prospect of going to see their first London Fashion Week show and collection: I could see it featured turf-like groups of cable ties sprouting out of hooded garments in various places and I have always used them a lot in my work. A few months ago I spotted a glorious neckpiece made out of cable ties in a high street store window display, information pills so seeing them in Leutton Postle‘s work further confirmed my suspicion that cable ties might just be having a fashion moment.

Leutton Postle LFW S/S12 photo by Amelia Gregory
All photography by Amelia Gregory.

Being a newbie to London Fashion Week I could have waited happily for hours in the queue but actually the show was delayed only by half an hour or so, which is pretty good I hear. I followed the crowd into Freemasons’ Hall (Vauxhall Fashion Scout’s venue) and picked up a spot next to the pro photographers at the end of the runway, a decision which made my experience much more intense. As soon as the models came out it was not the soundtrack to the show that I heard but the constant clicking from such a large number of cameras gathered near me; and to me that was just as thrilling.

Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle S/S12 LFW by Gemma Sheldrake
Leutton Postle S/S 2012 by Gemma Sheldrake

Behind the luxury knitwear label Leutton Postle are designers Sam Leutton and Jenny Postle, both Central Saint Martins graduates – upon graduating Jenny had her MA AW11 collection snapped up by London’s Browns Focus and Sam went to China to work with knitwear innovators Stoll. Their pieces are truly original with a couture quality and they suggest time-consuming experimentation with knitwear design. I felt that in the colourful, intricate and eccentric designs of their collaborative label there was a real enjoyment of craft and play.

Leutton Postle LFW S/S12 by Sam Parr
Leutton Postle S/S 2012 by Sam Parr

Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 by Emmi Ojala
Leutton Postle S/S 2012 by Emmi Ojala

Apart from the fact that the collection was very colourful, which has a natural appeal to me personally, the patchwork element was another thing I really enjoyed and it made me think that perhaps in the future, when all designers might have to use mainly scraps and leftovers or recycle fabrics for their designs, it would not be that bad at all if you had Leutton Postle’s talent and imagination! In a way parts of the clothes did seem like they had been constructed from random bits and pieces, put together really cleverly.

Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Extra elements of colourful playfulness were added to the show by the models’ make up which looked like they had just eaten from a bowl of multicoloured paint soup and then not wiped themselves properly, but it was a shame that some of the models’ faces did not match all that wonderful colour happiness, maybe the soup was not that good…

Leutton Postle LFW S/S12 show 'Baby Fashionista' photo by Maria Papadimitriou
There was also a very colourful toddler in the front row, photography by Maria Papadimitriou

Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
The designers Sam Leutton and Jenny Postle photo by Amelia Gregory
The designers themselves, however, looked very cheery and beautiful when they came out at the end to wave at an audience that was clapping in a very colourful way indeed!

Categories ,Alia Gargum, ,Amelia Gregory, ,Browns Focus, ,catwalk show, ,colour, ,couture, ,craft, ,Emmi Ojala, ,fashion, ,Fashion Designer, ,Fashion Illustration, ,Freemasons’ Hall, ,Gemma Sheldrake, ,Jenny Postle, ,knitwear, ,Leutton Postle, ,London Fashion Week, ,Make-up, ,Maria Papadimitriou, ,Merit Winner, ,photography, ,Sam Leutton, ,Sam Parr, ,Stoll, ,Vauxhall Fashion Scout

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Amelia’s Magazine | Goot Goes Down A Hoot!

Here at Amelia’s Magazine HQ this week we are all feeling rather revitalised, this salve with the prospect of spring safely in our sights and a stomach full of Easter eggs we thought what better time to share our energized disposition with you are faithful readers, and boy do I have a treat in store for you fashionista’s today.

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It comes in the form of exciting new Aussie talent Fashion Designer Josh Goot, heralded as “modernisms new messiah” it’s enough to get anyone in the fashion sphere jumping up and down excitedly in their Chanel heels. Goot first catapulted his way into the fashion sphere in 2005 after winning Young Designer of the Year Award in Sydney, but only made his debut on the London fashion circuit at this years London Fashion Week with his S/S 09 collection

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Goot studied Media Art and Production at Sydney’s University of Technology where he graduated in 1999. This background has shaped his distinctive approach to fashion design, renowned for his use of print and his minimalist aesthetic Goot has injected a healthy dose of artistic expression onto the catwalk.

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Goots A/W 09 collection did not fail to get our taste buds flowing, paying homage to the natural world it’s an explosion of texture and colour. Heavily inspired by geology the collection focuses on organic lines and silhouettes.

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Goot’s exquisite tailoring techniques come to the forefront in his A/W 09 collection. Enthused by the erosive textural quality of rock Goot uses angular tailoring with reverse contour lines to mimic the harsh lines that occur in sedimentary rocks. This masculine tailoring is then softened by his subdued use of colour; the palette is a hazy of distilled greys that merge with soft violets, yellows and blues to create quixotic and distinctly feminine pieces. His modernist aesthetic creates a look that is both functional yet expressive, with styles ranging from tailored jackets, panelled shirts to asymmetric tops and body con suits.

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The most enthralling element to the A/ W collection has to be Goots Marble effect series. Audiences were mesmerised by the haze of colour gliding down the catwalk. To me it conjures old childhood memories of marbling from art class. I remember excitedly leaning over a tank of water mixing oil inks and eagerly gliding my stick through the water to create patterns. I was mesmerised by the beautiful hues merging together to create such vivid canvases of colour. Goot encapsulates this perfectly in his prints, which were created from large-scale digitally printed water coloured pieces.

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After such awe inspiring pieces in his A/W collection I am eager to inspect what else Josh Goot has tucked up his sleeve. With stores such as Browns Focus in London and Marie Luisa in Paris already stocking his collections I have no doubt Goot is set to take the fashion sphere by storm!

Categories ,Australia, ,Conceptual, ,Fashion Designer, ,Josh Goot

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Amelia’s Magazine | An Interview with Fashion Blogger turned Fashion Designer Coco Fennell

Kiss Me Coco Fennell by Jade Boylan
Kiss Me Coco Fennell by Jade Boylan.

I discovered via good old Facebook that my talented ex intern Jenn Pitchers has been creating bespoke print designs for gorgeous curvaceous dresses made by the blogger turned fashion designer Coco Fennell, so of course I had to check them out. Here Coco describes her career move and how she hooked up with Jenn.

Coco Fennell by Amyisla Mccombie
Coco Fennell by Amyisla Mccombie.

What is your education and what brought you to this point in your fashion career?
After school I did a great graphic design course in East London which then led me on to art direct a magazine where I met Jenn Pitchers, the illustrator who I work with on my prints! 

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Did being a blogger first help you to launch your own label and what has it taught you about the business?
Yes for sure, working on my fashion blog made me realise that what I really wanted to do was design dresses and that with the internet it could be possible. It showed me that it wasn’t impossible to have an online shop to start a label with low overheads when you don’t have terrifying things like shop rent to deal with!

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What does your blog focus on, and has the focus changed since you started your own label?
Yes I think so. I probably blog more about editorials and look books where as before I was focusing on key pieces to buy. It’s just like an online scrapbook. I love that I can find great websites I blogged about ages ago which I would have otherwise forgotten. 
 
Coco Fennel Veronica Rowlands
Coco Fennell by Veronica Rowlands.

What is the process of working together with Jenn to create your unique print designs?
I come up with a theme, pull together lots of imagery and then we meet up, talk about it, Jenn sketches up some awesomeness and we go from there! 

Coco Fennell kiss me
Why was it so important that you create your own bespoke print fabrics and what do you think makes them so different to anything else on the market?
I’ve always loved designers like Jeremy Scott and Swash and when I met so many illustrators working at the magazine it inspired me to make some of my limited edition pieces in cool, unusual prints.

Coco Fennell by Rebecca Rawlings
Coco Fennell by Rebecca Rawlings.

What else inspires your designs?
The female form is the first thing because I want to achieve a flattering shape – if the dress isn’t flattering then girls don’t feel as wonderful as they could and I don’t think there’s any point in making something that doesn’t make you feel good! I love 60′s and 70′s designers too like Biba and Ossie Clark.

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How have you managed to acquire such a good relationship with celeb fans such as Daisy Lowe, Pixie Lott and Bip Ling?
I’ve just been lucky enough to get in touch with stylists and have been even more lucky that the girls like my dresses so have worn lots of different pieces.
 
Gypsy Heart Dress by Jamie Wignall
Smokin' Hot Babe Dress by Jamie Wignall
Gypsy Heart Dress and Smokin’ Hot Babe Dress by Jamie Wignall.

Who is the model in your current look book and how did you achieve that amazing hair? what was the inspiration?
She is such a babe! She’s called Mimi Wade and she already had that amazing green hair we just added in some yellow extensions. I love big Dolly Parton hair!

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How many collections do you create a year?
Around three, but it depends. I haven’t really been making set collections so sometimes there are bits inbetween.

Coco Fennell, Circus,Circus by EdieOP
Coco Fennell: Circus,Circus by EdieOP.

What are you aspirations for the future?
I want to grow my brand: promoting fun, friendliness and a positive body image! I love brands like Nasty Gal and Wildfox and the way they work – I aspire to build something like that. There’s a big aim to set myself!

Find Coco Fennell‘s collection online here.

Categories ,70s, ,Amyisla Mccombie, ,biba, ,Bip Ling, ,Blogger, ,Coco Fennell, ,daisy lowe, ,Dolly Parton, ,EdieOP, ,Fashion Designer, ,illustrator, ,Jade Boylan, ,Jamie Wignall, ,Jenn Pitchers, ,Jennifer Matignas Pitchers, ,Jennifer Pitchers, ,Mimi Wade, ,Nasty Gal, ,Ossie Clark, ,Pixie Lott, ,Print Design, ,Rebecca Rawlings, ,retro, ,Veronica Rowlands, ,Wildfox

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Amelia’s Magazine | Angels Big Vintage Sale

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“It’s nice everyone getting dressed up and making an effort, hospital stomach round Christmas time ‘n that”, generic slurred an old man at the bar after telling me this was his local. Halloween did he mean? A gaze and a nod.

Peggy Sue (there were some pirates but they’ve long since fled to the Caribbean to find themselves) have a knack of adding a distinct flavour to everything they do. Brewed in soulfulness and peppered with giggles, they are an intoxicating concoction of many lovely things; compared to the likes of Lauryn Hill and Regina Spektor in a single breath, all manner of genres tossed in their direction.

But references aside, that tend to reduce everybody to something regurgitated, there’s lots of other good stuff – like a compilation CD released for every month (100 copies only, complete with artwork), like how their voices emulate astonishing power and soft effortlessness all at once; or that their low-fi sound is brought together with honeyed harmonies, punctuated Spektor-like noises and an unending supply of bizarre percussion instruments. It is finally exquisitely tied together with lyrics that detach our body-parts as things to be stolen, tell stories of the woes of superheroes, and give life to ‘those fragile little things’ that live inside. It all feels very refreshing, and nicely homemade – ‘Peggy Who?’ asks the drum-face.

The Horror Movie Marathon had the Peggy stamp all over it, made apparent in its details. A projection screen hung behind them playing classic horror gems; a new horror song, complete with screams had been written for the occasion; and the widely acclaimed ‘superman’ was illustrated by a live puppet-show on stage. The wide-eyed Alessi’s Ark and feet-shuffling Derek Meins were there to support, marking the beginning of the Triptych Tour – one bus, two weeks, three acts. Catch them if you can in a venue near you! But what oh what does Triptych mean?

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Be Prepared, sildenafil long the motto of the Scouts, is now being added to by The London Climate Camp Social Group with Be Inspired and Be Involved. A series of nights around town broadly divided into these three headings encouraging all to socialise and fund-raise for Climate Camp.

Be Prepared nights fund-raise with bands, djs and comedy. It’s one to bring your friends who may not be into all the “eco stuff” but would be interested in finding out more about Climate Camp.
Be Inspired focuses on what’s going on at the moment. Film screenings, speakers and debates wil inform people what is happening and why Climate Camp is doing what its doing.
Be Involved is the actions based adventures, such as Climate Rush, the forthcoming Day of Action and what ever else happens in the future.

The first one is tomorrow and is a Be Inspired night held at The Old Crown, 33 New Oxford St starting at 19:00. The line up consists of Alistair James playing music, Leo Murray introducing his excellent animation Wake Up, Freak out and Get A Grip, a short presentation from Climate Camp about what is being done right now and where it’s going and why, including two ladies instrumental in organising Climate Rush. Plus plenty of music to dance the night away.

The Old Crown
33 New Oxford St (corner of Museum street),
London WC1A 1BH.
Between Holborn and Tottenham Court road tube station.

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Hotel International 1993

Dear Tracey, discount

It wasn’t so long ago that I really thought I’d had it up to my neck with you. I think it was one of your columns in the Independent that did it. You’d had a bad day, page you know, one of those ones when you don’t particularly feel like getting out of bed in the morning and then when you do, you burn your toast, or scald yourself in the shower or something. And instead of having a quick cry, or swearing, or generally getting on with things as most people might do, your especially bad day led you toward one overarching question: ‘did my dad ever really love me?’ I thought it was a tad dramatic. So upon hearing about your retrospective at the Scottish National Gallery of Modern Art I was expecting 20 years of torment in the space of a few rooms. And you didn’t disappoint. But what I wasn’t expecting was that I was going to leave the exhibition liking you. Feeling for you, maybe. Being critical of you, definitely. But actually liking you? No, I wasn’t expecting that. But there is a reason that we hear so much about you Tracey, because you know what, you’re actually a pretty good artist.

Emin’s exhibition opens much like one would expect it to, throwing the viewer head-first into the deep-end. The first work we encounter is a tribute to her deceased grandmother; the second, a graphic description of a traumatic abortion. All the staple Emin classics are here: the neon signs, the tapestries, expressionist etchings, and of course, the infamous bed. And yet after the piss-stains, the used condoms, the confessional video diaries, the purging of torment and the sheer tragedy of it all, something beautiful remains. Emin’s letter to her uncle Colin is a striking example of this. Lucid and incredibly moving, Emin succinctly describes her emotions as she learns of the horrific accident that caused her beloved uncle’s death. Exploration of the Soul, a work comprised of 32 sheets of handwritten text, is similar in its expressive eloquence. You may baulk at the several spelling mistakes, shudder at the sadness of other people’s lives or smile at the moments of humanity within it; Emin will fail to leave you unmoved.

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My Bed 1998

The further we continue through the exhibition the more we feel as though we are Emin’s confidante; her scars are ours now and they are weighing us down. To enter, toward the end, a room removed of much of the abject excess of the others, comes as welcome relief. Two sculptures in particular reveal the diversity of Emin’s talent as an artist. Self Portrait (Bath) comprises a rusty bath filled with bamboo, barbed wire, chicken wire and a contorted neon streak entwined to create a work of great textual interest. In the same room a rollercoaster of reclaimed wood, It’s Not The Way I Want to Die from 2005, dominates the space. Constructed entirely from old crates, the past life of the wood seems to echo Emin’s own (one plank retaining it’s FRAGILE label), but is here reworked into a somewhat rickety yet undeniably beautiful piece.

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It’s Not The Way I Want to Die 2005

Emin is a chameleon, expressing herself in several mediums and seemingly mastering them all. Love or loathe her – you won’t easily forget her, and to my mind, that’s what makes her continue to be worth talking about.

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The Perfect Place to Grow 2001

Images courtesy of Scottish National Gallery of Modern Art

September marked the official UK launch of the new shopping/networking website, ampoule ShopStyle. Already popular amongst fashion followers in the US, viagra the best way to describe this new digital phenomenon would be a ‘Google for fashion with a MySpace twist‘. Shopstyle offers a unique online shopping experience, which enables users to browse the rails of thousands of brands through a simple search box option. Just like Google, ShopStyle carries out all the hard work trawling through shopping sites in order to bring you any matching items to your keywords. Users can also narrow down their searches by price, brand, store and size so only the most relevant results are displayed.

The site proved to be heaven sent in my own hunt to unearth a descent pair of gladiator heels, presenting me with options from new and smaller brands that I wouldn’t usually consider in my shopping choices.

ShopStyle’s nifty social networking twist means even those of us a little strapped for cash can still muzzle in on the spirit of fashion. The StyleBook tool allows users to play around and create their own fashion look books based on their own personal tastes and styles. These can be viewed by fellow users who are free to comment and discuss ideas. Unlike other virtual stores, ShopStyle embraces a love for fashion and creativity, moving beyond the simple idea of consumption.

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Keep an eye out next month as three emerging designers, selected by stylist to the stars, Bay Garnett, get the opportunity to display their collection on the site.

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Creaturemag sets out to bring together artists from all around the world, adiposity and produce an online publication, which works as one big collaboration. Being the arty literate types that they are, they’ve also created a sort of character out of the Creaturemag concept. This has led to an entertaining, if not ever so slightly confusing, interview with themselves, or Creaturemag – you kind of have to read it to understand.

They have just released Creaturemag festival edition – a diary of their activities over the summer. Its content though is a little more in depth than trudging through mud and drinking cider though. The wonderful cover has been done by long time Amelia’s contributor Nikki Pinder! It also features interviews with up and coming musical geniuses Alessi and Zombie Zombie.

Being the creative types that they are though, no pages go without a little artistic decoration. A group of top notch illustrators have contributed – bringing the entire thing to life.

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Crafty pirate

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Floating from festival to festival over the summer, the creatives behind Creaturemag have compiled pieces on the more out there festivals like Secret Garden Party and End Of The Road. The festival edition acts as a sort of guide to how they have often created their own arty fun at festivals this year. Perhaps the most intriguing of which is the feature on concrete mushrooms that were taken to festival all over the country. It is also a testament to how devoted they are to their art. The idea of dragging massive concrete mushrooms on top of the mounds of bags and tents I always end up hauling to campsite doesn’t appeal to me.

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Concrete mushrooms

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The whole thing just makes it look like the guys behind it have had the best summer ever, and it really makes me want to go back to a festival.

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As an entity we usually take in music that is self-consciously/appointed art-rock. It is often forgotten that this art-rock did not just pop out of Andy Warhol’s arse as he stood watching the Velvet Underground, more about he just brought an audience to Reed, buy Cale, see Morrison and Tucker’s genius. Although visual art did have an influence, it is the avant-garde classical that clashed with rhythm and blues to start this musical mongrel. LaMonte Young and the Fluxus movement popularised drones; Cage, Reich and Glass atonality and chance. Karlheinz Stockhausen is another visionary whose contribution cannot be forgotten. The great German- who sadly passed away last year- was a key contributor to the zygote cell stage of electronic music and developed his own musical language of complexity and rapturous transcendental irregular noise. Without him the work of- to mention a few acolytes- Kraftwerk, Zappa, Bjork, Can, Aphex Twin, Faust and Sonic Youth would be very different and have a few less words to rely upon in their collective musical lexicon.

The Royal Festival Hall and Purcell Rooms hosted Klang which was intended as a tribute for Stockhausen’s eightieth birthday. I was privy to two nights of the retrospective which proved to be one of the most amazing musical experiences I have ever had. The Friday night in the smaller Purcell Rooms began with Joy the second hour of Stockhausen’s incomplete twenty-four hour cycle. This was a piece composed for two harpists. The two former students of Stockhausen sat illuminated by a single spotlight dressed in white. They completely subverted my expectations of what a harp could do as the cut up fragments of a medieval German hymn mixed plucked or bashed arrythmic textures with youthful voices making strange phonetic noises. Subsequently, Cosmic Pulses (the thirteenth hour) was archetypal Stockhausen electronic music on 24 different tape loops played at differing speeds through eight surrounding speakers in the dark with a single moon like spotlight on stage. Bjork says Stockhausen mixed modernity with the primordial and natural ferocity of a thunderstorm. This displayed that contradictory dialectic as it buzzed brilliantly with unpredictable electric whip crack on rumbling menace.

I feel privileged to have seen the final night at the Royal Festival Hall. First as short electronic work was played, a token gesture for what was to follow. Lucifer’s Dance was utterly batshit. Performed by the Royal Northern College of Music Wind Orchestra, a solo drummer, flautist and opera singer dressed up as Lucifer himself. It was a comment on the spirit of contradiction and independence via the conduit of an orchestra pretending to be a grimacing demonic face. However, Stockhausen made people use their instruments idiosyncratically and it wasn’t a conventional (not that I have been to many) classical concert. The musicians had to dance, uncomfortably, in their chairs as they blew discordant squalling devil’s frown lines. The cameo from the amazing jazz drummer was particularly good, he represented nostrils. Weirdness. As we left the hall from the rooftops Michael’s Farewell was trumpeted over the Thames, a stunning experience, older fans were getting visibly emotional it may as well have been Karlheinz’s farewell for them. Many of his students, collaborators and friends were in attendance. People left with sad smiles and general wonder from what they had just experienced.
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I realised the other day that it had been quite some time since I had rocked out – it kind of just fell out of favour. Mainly because rocking out became so cringeworthy all of a sudden. The connotations appeared to have fallen into something deeply uncool, capsule instead of being the epitomy of it.

The answer to this life problem comes in the form of two bands. Rolo Tomassi; a band that are undeniably too fun for metal and too out there for indie, more about and Fucked Up!; a relentless hardcore band whose live show is almost more about what the lead singer is doing physically, rather than their ear punishing music.

Rolo Tomassi took to the stage and instantly impressed with their musicianship. The music skips from segment to segment with time signatures that befuddle the mind. They’re like some experimental jazz band, in the way that they take an anything goes approach, only more like a jazz band that has been raised by wolves – or something equally ridiculous.

Their set was simply fantastic, though with the catalog of songs they have on their album that came as no surprise. Their keyboard player came into his own during Abraxas, his assault on the keys reproducing something of an assault on my ears. They leave the audience thoroughly shaken, and all I could think about was how I couldn’t wait to see them again some time.

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With a name like Fucked Up! there is a certain amount of characteristics expected. They live up to, if not exceed, any kind of expectations imaginable. As soon as the lead singer hoists himself on stage he is something of a dominating presence, like some jurassic being – I was genuinely scared of this guy. On first hear they sound like a pretty standard American hardcore band, and it’s not until you see them live that you get a full understanding. The lead singer’s nonsensical ventures into the crowd, his hilarious jibes between songs and the general raucous in the crowd caused by their show somehow allows it to make sense.

I left the gig with a level of adrenaline that I haven’t felt whilst walking away from a gig in years. I’d recommend some time at a metal gig of this calibre to anyone, it is still a case of being careful though. As a genre it deals with both end of a spectrum. Prepare to listen to an awful lot of guff before you find the genre’s best bits.

Here at Amelia’s Magazine we’re all about nurturing design newbies, advice particularly if they’re as innovative and inspiring as Karen Karem. We first encountered Karen way back in the days of issue 6. Fresh out of Central St Martins and brimming with ideas, for sale she caught our eye with her funky range of horse shaped bags inspired by childhood dreams of magical fantasy lands. After two long years of hard work and some good ol’ fashioned elbow grease, information pills she’s now back to launch her debut Spring/Summer 09 clothing collection, Hard Cover Candy.

A peak into Karen’s treasure trove of inspirations reveals a concoction of nostalgic teenage memorabilia combined with a haphazard assortment of British items from eras past. Kitch accessories and pastel coloured cupcakes bump shoulders with jars of jellybeans, fluffy cotton candy, 60′s platforms, teenage heartthrobs and images of elegant ladies at brunch.

The collection itself consists of a range of dresses. Each contain a childlike quality but still manage to maintain a sense of femininity and elegance. Like her playful horse bags, Hard Cover Candy is for women who remember raiding their mothers wardrobes and dressing up in pretty frocks for birthday parties at the age of 9. They’re for women who like to daydream and still feel like little girls at heart.

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With a mixed colour palette of soft pastels and vibrant electrifying tones, Karen’s selection of baby doll dresses and floor length evening gowns use chiffon and ruffles to ensure a high level of grace and movement.

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With Vogue and Vanity Fair already showing an interest in the collection, it’s likely that Karen Karem will soon be sweeping us all along into her magical daydream world.

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To make music relaxing without descending into something boring requires great amounts of skill in arrangement and more often than not melody. These are two things that Finn has in milk tanker sized loads.

The music on this album rises and falls like a souffle. Beginning with the settling whispers of Half-Moon Stunned. Perhaps not the most exciting song on the album it introduces you to the subtle yet brooding voice of Finn. The restrained yet beautiful melodies of this song have an air of Sigur Ros, illness though on a much smaller scale.

Midway though the album things become a little more unsettled, with the romper that is Julius Caesar. All semi off key, there is a sense of panic in his voice – a device that reminds me of Thom Yorke‘s solo efforts. It pulls at the heartstrings purely through it’s melody, even without the hard hitting, blood spill heavy lyrics.

One of my favourite selections from the album is The Truth Is A Lie, again opting for those obtuse melodies, only this time with some very 60s percussion. This sets it off magnificently, making it far less dreary even though it’s steeped in melancholy. Only problem is, about halfway you remember what it really reminds me of. It does sound kind of like Duffy, if she was in a fowl mood and had a record label who had a conscience and would stop forcing that drivel upon us all.
Here’s one for the fashionettes, pharm the glam goddesses, purchase the couture collectors and anyone who dreams in fairytale fashion time. Make way for a new fashion address. Wembley is now the place to head for a truly avant-garde adventure.

Come December, a distinctly unfashionable warehouse on the outskirts of the city, in Wembley, should expect a style onslaught in the form of savvy shoppers and gracious costumiers, each of them on the hunt for a piece of design history. Think hand-sewn sequins and starry silhouettes. Or you might spy a vintage muse in second hand leather and spiky heels falling over flapper dresses and wartime headwear.

For the first time ever, Angels, Europe’s biggest, brightest and most iconic film and theatrical costumier, stages a mammoth clothing sale. More than 30, 000 items of vintage clothing, accessories and jewellery, including pieces featured in films, TV dramas and pop promos, are set for a starring role as a bargain addition to your wardrobe.

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The timing couldn’t be better. Bang in the middle of the credit crunch party season Angels have dropped the frou-frou price tag in favour of a far more festive payment system. You purchase an empty shopping bag on arrival, costing between £10 and £20, and fill it up with lush, lavish or downright ornamental day and eveningwear.

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Tucked away in the fashioned up folds of this supersize event are gowns by Christian Dior and Jean Muir. Perhaps you’ll even come across a corset fresh from its debut on the silver screen. More exciting still for anyone inspired by street style looks are the High Street labels of yesteryear, including Chelsea Girl, Bus Stop and Artwork Blue. The sale acts as an archive of fashion’s forgotten favourites and is a snapshot of retro design pioneers.

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Whatever you find, the event has widespread appeal, from members of the bargain hunter public to history of design scholars. The shopping elite can snatch at consumptive fulfillment in these credit crunch climes without having to settle for the mindless monotony of minimalism, a look traditionally touted by fashion forerunners in times of economic hardship. As the trend for re-wearing, recycling and reworking style statements from the past continues, fashion, at least, can still be fanciful and frivolous. This authentic collection of costumes stalks a precious historical timeline and offers the chance for you to put a new slant on generations of style. So steal yourself away from the urban high street shopping throng and spin North in your second hand heels. This is could be one of the shopping highlights of the season.

Categories ,Angels, ,Artwork Blue, ,Biba, ,Bus Stop, ,Chelsea Girl, ,Christian Dior, ,Fashion, ,Jean Muir, ,Recycle, ,Vintage

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Amelia’s Magazine | Aware: Art Fashion Identity at the Royal Academy

this web Little Rich Girls, capsule 2010″ src=”http://www.ameliasmagazine.com/wp-content/uploads/2011/01/Installation-shot-from-GSK-Contemporary-Aware-Yinka-Shonibare-Little-Rich-Girls-2010-.jpg” alt=”” width=”480″ height=”654″ /> Yinka Shonibare MBE, abortion Little Rich Girls, 2010, Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Commissioned by the London College of Fashion and the Royal Academy of Arts, © The Artist, Photo: Andy Stagg, Courtesy Royal Academy of Arts, London

In 2009, the Royal Academy of Art’s exhibition exploring contemporary art, Earth: Art of a Changing World featured a selection of artists engaging with the physical impacts of Climate Change. For 2010 the Royal Academy turned it’s attention to the subject of identity and clothing in Aware: Art Fashion Identity. Broken down into three segments; Storytelling, Building and Belonging and Confronting, the exhibition endeavors to examine the possibilities provided –as explored by artists and fashion designers- by clothing to reveal and conceal our cultural and physical identity.

A new commission from Yinka Shonibare focused on cultural perceptions of the origin of a cloth usually associated with Africa. Under closer examination, these perceptions turn out to be false. Shonibare’s ghostly installation reveals that the origination of the batik pattern thought to be synonymous with Africa, is in fact Holland. The Dutch pattern makers sold the fabric em masse to Africa, only after a European buyer could not be found.

Yoko Ono, Cut Piece, 1965, A film by Albert and David Maysles of Yoko Ono’s performance of Cut Piece at Carnegie Recital Hall, New York, 21 March 1965, 16mm black-and-white film with sync sound, transferred to DVD, running time 9’ Courtesy of the artist

After entering the Royal Academy via Burlington Arcade and walking up the stairs into the main exhibition space. The audience moves through the three sections in a circular motion; first encountering Storytelling (announced by the presence of an embroidered kimono by Grayson Perry) then Building and finally Belonging and Confronting. The audience departs Aware: Art Fashion Identity via the two of the exhibition’s most interesting works – both of which are nearing 30 years old.

Yoko Ono and Marina Abramovic’s performance pieces lay bare the artifice and cultural constructs which lay at the heart of both fashion and art identity. In the 9 minute video, Marina Abramovic and Ulay stand naked in a gallery doorway, forcing visitors to confront the physicality of the naked body, stripped of it’s adornments. Meanwhile in a video opposite Yoko Ono sits quietly on a stage whilst members of the audience snip her free from the garments of femininity. An exciting introduction to these two artists, it is a shame that more of their work was not included.

The limited inclusion of performance art is a lost opportunity, specifically because the three included pieces (Marina Abramovic Yoko Ono and Cindy Sherman) lend themselves vividly to the concept (i.e. the relationship between our cultural and personal identity and how we are perceived by others) this exhibition was starting to explore.

GSK Contemporary – Aware: Art Fashion Identity
Royal Academy of Arts, 2 December 2010 – 30 January 2011, Marina Abramovi?, Imponderabilia Performance 1977
Galleria Comunale d’Arte, Bologna © Marina Abramovi?. Courtesy of Marina Abramovi? and Sean Kelly Gallery, New York. © DACS 2010
Photo by Giovanna dal Magro

Cindy Sherman’s Paper Doll, an early video piece from the acclaimed artist, which lasts for 2.30 minutes, was located within the first room of the exhibition. In Paper Doll Cindy Sherman questions the accepted popularity of a toy heavily steeped in gender stereotyping: the paper doll. In the piece Sherman reduces herself into an inanimate object whose sole purpose is to decide what to wear depending on that day’s activity. At the end of the film, a hand removes the clothes displaying the doll’s nudity and places her back in her box. An intriguing piece of work, this singular nod does nothing to encourage the exploration of Sherman’s overture, including Untitled, a series of stills in which the artist explored the creation of a particular type of femininity after the rise of the movie.

Cindy Sherman, Doll Clothes 1975, Stills from 16 mm film on DVD, © Cindy Sherman / Sammlung Verbund, Vienna / Sprüth Magers Berlin London

Throughout the exhibition, Aware: Art Fashion and Identity makes rapid nods to artists and fashion designers alike – a single McQueen stands in the corner. Devoid of its context and standing alone within the white walls of the RA the identity of the dress becomes lost. When viewed within an entire collection, this beautiful object becomes a brutal critique on historical and modern notions of femininity.

Alexander McQueen, Autumn Winter 1998: Joan, Photo © Chris Moore, Courtesy of Catwalking

An enjoyable exhibition, though the art appears to be spread too thin and the outcome of which is that interesting ideas are left hanging or barely graspable unless you enter the exhibition with prior knowledge of the artists or fashion designers previous body of work.

The final section of the exhibition explores ideas surrounding Belonging and Confronting. Sharif Waked’s Chic Point places the daily humiliation the Palestinian man undergoes at Israeli checkpoints onto the catwalk. The photographs included at the end were taken by the artist, visualising the moment when clothes cease to become clothes and mutate into something – whether imagined or not – fearful and different.

Sharif Waked, Chic Point, 2003, DVD, running time 5’ 27” Courtesy of the artist, Photo Sharif Waked

Coco Chanel suggestion that we “look for the woman in the dress and if there is no woman, there is no dress” is taken up by Hussein Chalayan’s latest commission. In Son of Sonzai Suri, the fashion designer uses the 300-year-old Japanese tradition of Bunraku puppet theatre to lay bare the hidden puppeteers at the heart of the fashion industry.

Hussein Chalayan, ‘Son’ of Sonzai Suru, 2010, Installation shot from GSK Contemporary – Aware: Art Fashion Identity, Commissioned by the London College of Fashion and the Royal Academy of Arts, © The Artist, Photo: Andy Stagg, Courtesy Royal Academy of Arts, London

Aware: Art Fashion Identity closes with the video pieces of Marina Abramovic and Yoko Ono. With the decision to close the exhibition here, it appears that the critique of identity and femininity stopped in the 70’s. It could have been an interesting experiment to juxtapose 70′s performance art against the catwalk shows of Alexander McQueen or Maison Martin Margiela.

The past few months have been fantastic for those interested in fashion, with a splurge of fashion related exhibitions across the capital, get to the Royal Academy quick before Aware: Art Fashion Identity closes on the 30th January 2011.
Royal Academy, 6 Burlington Gardens, London

Categories ,6 Burlington Gardens, ,Alexander McQueen, ,Aware: Art Fashion Identity, ,Belonging, ,Cindy Sherman, ,clothes, ,India, ,London College of Fashion, ,marina abramovic, ,Mumbai, ,politics, ,Royal Academy, ,The Body, ,Yinka Shonibare, ,Yoko Ono

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Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Gemma Slack

LFW_AndrewMajtenyi_2

In a strange part of town, medical in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.

I must confess, before the show I knew little about Majtenyi, so I had zero expectations. It was, in the end, a very polished show.

LFW_AndrewMajtenyi_3

No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.

Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.

A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.

LFW_AndrewMajtenyi_5

The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.

LFW_AndrewMajtenyi_6

Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.

LFW_AndrewMajtenyi_1

All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!

Andrerw M
Illustration courtesy of Valerie Pezeron

In a strange part of town, this in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.

I must confess, viagra before the show I knew little about Majtenyi, so I had zero expectations. It was, in the end, a very polished show.

LFW_AndrewMajtenyi_3

No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.

Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.

A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.

LFW_AndrewMajtenyi_5

The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.

LFW_AndrewMajtenyi_6

Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.

LFW_AndrewMajtenyi_1

All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!
Gemma Slack

Illustration courtesy of Valerie Pezeron

Fashion’s new blood is bubbling just a stone throw from Somerset House’s established dinosaurs. Last Friday, see Gemma Slack presented her new collection in the luxuriously cosy confines of Freemasons’Hall as part of Vauxhall Fashion Scout.

CIMG1587

I was one of many who packed inside a dimly lit room complete with splendid ceiling and it was soon obvious we were not going to be treated to the usual fashion show. In lieu of a catwalk, remedy industry insiders were to be shown a projection and there was a big screen spread in one end of the room.

CIMG1591

The anticipation was of the type usually reserved for designers such as Vivienne Westwood and Alexander McQueen and quite a few fashionista were clad from head to toe in the designer’s clothes. A phenomenon is about to be unleashed…

CIMG1589

Then the movie starts; the diaphanous mood is set with poignant music, shaky camera handling and pouting models pretending to be great actresses…and it worked in a strange kind of way! Still, I did shrink several times. The lighting was so effective that models’ ribs were highlighted like cutlets for the chop. If it was meant to be sexy then there must be something wrong with me.

But then again, it must have been done on purpose as one of Slack’s famous pieces is the spine dress. This autumn winter collection references again staples of Gemma Slack’ trade, from Dracula and Victorian references, untreated leather and golden chains. But none of them are in the film.

CIMG1590

Fashion is embracing video as a way to express mood and life style. It is all about effective communication and nothing sells little black dresses better, it is hoped, than digital short films immersing you in the world of a brand. It was all very intriguing, I must say but not at all surprising from the maverick who recently graced the pages of Grazia, Vogue and Dazed. For Gemma Slack is an artist first and foremost.

As I meandered across the room, staring at mannequins floating above in the glare of neon spotlights, I thought that maybe this is how legends are made. It’s not really about the studded hand molded vertebrae scales leather dresses, metal and aluminium materials or the mohair with human hair. We need to dream and we need to be challenged. And on that day, Gemma Slack dished out a big serving of disquieting femininity for me to take home.

Categories ,Alexandre McQueen, ,Autumn Winter 2010, ,Catwalk review, ,Dazed, ,fashion, ,Fashion Designer, ,Gemma Slack, ,Grazia, ,London Fashion Week, ,Vauxhall Fashion Scout, ,Vivienne Westwood, ,vogue

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Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Gemma Slack

LFW_AndrewMajtenyi_2

In a strange part of town, medical in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.

I must confess, before the show I knew little about Majtenyi, so I had zero expectations. It was, in the end, a very polished show.

LFW_AndrewMajtenyi_3

No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.

Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.

A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.

LFW_AndrewMajtenyi_5

The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.

LFW_AndrewMajtenyi_6

Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.

LFW_AndrewMajtenyi_1

All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!

Andrerw M
Illustration courtesy of Valerie Pezeron

In a strange part of town, this in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.

I must confess, viagra before the show I knew little about Majtenyi, so I had zero expectations. It was, in the end, a very polished show.

LFW_AndrewMajtenyi_3

No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.

Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.

A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.

LFW_AndrewMajtenyi_5

The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.

LFW_AndrewMajtenyi_6

Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.

LFW_AndrewMajtenyi_1

All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!
Gemma Slack

Illustration courtesy of Valerie Pezeron

Fashion’s new blood is bubbling just a stone throw from Somerset House’s established dinosaurs. Last Friday, see Gemma Slack presented her new collection in the luxuriously cosy confines of Freemasons’Hall as part of Vauxhall Fashion Scout.

CIMG1587

I was one of many who packed inside a dimly lit room complete with splendid ceiling and it was soon obvious we were not going to be treated to the usual fashion show. In lieu of a catwalk, remedy industry insiders were to be shown a projection and there was a big screen spread in one end of the room.

CIMG1591

The anticipation was of the type usually reserved for designers such as Vivienne Westwood and Alexander McQueen and quite a few fashionista were clad from head to toe in the designer’s clothes. A phenomenon is about to be unleashed…

CIMG1589

Then the movie starts; the diaphanous mood is set with poignant music, shaky camera handling and pouting models pretending to be great actresses…and it worked in a strange kind of way! Still, I did shrink several times. The lighting was so effective that models’ ribs were highlighted like cutlets for the chop. If it was meant to be sexy then there must be something wrong with me.

But then again, it must have been done on purpose as one of Slack’s famous pieces is the spine dress. This autumn winter collection references again staples of Gemma Slack’ trade, from Dracula and Victorian references, untreated leather and golden chains. But none of them are in the film.

CIMG1590

Fashion is embracing video as a way to express mood and life style. It is all about effective communication and nothing sells little black dresses better, it is hoped, than digital short films immersing you in the world of a brand. It was all very intriguing, I must say but not at all surprising from the maverick who recently graced the pages of Grazia, Vogue and Dazed. For Gemma Slack is an artist first and foremost.

As I meandered across the room, staring at mannequins floating above in the glare of neon spotlights, I thought that maybe this is how legends are made. It’s not really about the studded hand molded vertebrae scales leather dresses, metal and aluminium materials or the mohair with human hair. We need to dream and we need to be challenged. And on that day, Gemma Slack dished out a big serving of disquieting femininity for me to take home.

Categories ,Alexandre McQueen, ,Autumn Winter 2010, ,Catwalk review, ,Dazed, ,fashion, ,Fashion Designer, ,Gemma Slack, ,Grazia, ,London Fashion Week, ,Vauxhall Fashion Scout, ,Vivienne Westwood, ,vogue

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