Amelia’s Magazine | Simeon Farrar, The Great British Summertime: New S/S 2012 Season Preview Interview

Simeon Farrar Spring/Summer 2012 by Madi Illustrates
Simeon Farrar S/S 2012 by Madi Illustrates

What began as an ‘art experiment’ by London-based Simeon Farrar has now turned into a successful fashion label; winning not only international acclaim but also the prestigious NEWGEN award three times along the way. Despite being crowned a fashion buyer favourite with stockists such as Liberty in the UK and many more in Paris, Tokyo, and Sydney (to name a few), Simeon hasn’t lost sight of his Fine Art training gained at the University for the Creative Arts in Farnham. Every collection begins with a philosophical root from which the designs and drawings develop and each one-off piece is then created with Simeon’s trademark dash of humour delivered through experiments with colour and print, done by hand in his Shoreditch studio.

Simeon Farrar
Simeon Farrar, all photographs courtesy of Iroquois PR

As someone who trained as a fine artist, what was it that made you want to turn your hand from canvas and paper to fabric?
I’ve always been into printmaking and I used to use a lot of screen-printing in my paintings. I would load them up with all sorts of images and paint over them to form multiple layers. I started putting some of these images on to t-shirts purely as another surface rather than as fashion. The first t-shirts were so loaded with paint like the canvases that they could never be worn. I got so into this that it soon evolved into fashion.

Simeon Farrar Spring/Summer 2012 by JL Illustration
Simeon Farrar S/S 2012 by Jason Lear

As a ‘non-fashion’ person, did you expect to make such a big impression when you first exhibited at London Fashion Week?
Absolutely not. I had no idea what people would think of me. I didn’t even have an order book so I guess I didn’t expect to write any orders. Suddenly I had all these people wanting to order this junk I’d made which I found all a bit weird. It was still an art experiment at that point.

Simeon Farrar Spring/Summer 2012 by Abi Hall
Simeon Farrar S/S 2012 by Abi Hall

What’s the most important lesson you’ve learned about being a designer and the way the world of Fashion works?
As an artist you develop a certain degree of snobbery towards anything that isn’t ‘Art’. I can safely say that I have been cleansed of that snobbery after being welcomed so openly into the fashion world. I’ve learned that it’s all a load of rubbish and an artist just does what ever he/she feels is the most honest path for their creativity and it doesn’t need a label to make it valid.

Neon Butterfly Chiffon Maxi
Butterfly Chiffon Maxi

Your ‘Kate Mouse‘ illustration has become a widely recognised and coveted t-shirt graphic. Why do you think it’s had so much success?
For me it was one of those magical moments when an image just works perfectly. I’d drawn the image for a nursery rhyme collection we were doing at the time and I wanted to do Three Blind Mice. So, to name the file on Photoshop I used ‘Kate Mouse’ so I would recognise it. Then it just clicked, like a light bulb coming on above my head. I think it’s been a success for the same reason. It’s not forced or contrived, just simple and genius. There’s been such a demand ever since her birth that she’s featured in every collection since, with various additions. She gets pimped up every season. Except this forthcoming A/W 2012.

Simeon Farrar Spring/Summer 2012 by Alia Gargum
Simeon Farrar S/S 2012 by Alia Gargum

What personally inspired you to create a ‘Kate Mouse’ t-shirt with Net-A-Porter especially for the Japan Earthquake relief appeal?
Two of my staff are Japanese and they have been with me for years so due to that I feel a certain closeness with Japan. We sell a lot in Japan, and since I began the label the Japanese have been so supportive and loyal to my brand that when the earthquake hit it felt like an opportunity to repay some of that. The Kate Mouse print was our obvious big hitter, so I thought it would make the most money if we offered it for the appeal. We did it by ourselves at first, offering a free t-shirt with every donation to Save The Children. That went very well but as we were paying postage we had to limit it to the UK only. My PR company Iroquois and I approached Net-A-Porter so we could take it further. They were amazing with how they took it up and offered so much percentage of the profit to the appeal. I was very impressed with their instant generosity.

Simeon Farrar Spring/Summer 2012 by Dana Bocai
Simeon Farrar S/S 2012 by Dana Bocai

Your current S/S 2012 collection not only has your own charming take on the uniquely temperamental British summer through neon colours, raindrop prints and a nod to the new Royalty, but a uniquely feel-good quote that runs throughout. How did the slogan ‘You Are My Silver Lining’ form in your head?
There is always a sense of romance in my collections, and no matter what the theme I always like to bring that in. I like the idea of someone being your Silver Lining. No matter what happens in life there is someone who’s very presence brings with it a sense of hope or a way out of darkness.

Slogan Print Tote with Leather Handles
Slogan Print Tote with Leather Handles

Simeon Farrar Spring/Summer 2012 by Alejandra Espino
Simeon Farrar S/S 2012 by Alejandra Espino

What are your favourite colours to print in (at the moment) and why?
I loved using the neon colours in the S/S 2012 collection. I like printing images in neon then overlaying that with a black print and washing it all out so the greys defuse the neon a bit.

Simeon Farrar Spring/Summer 2012 by Mitika Chohan
Simeon Farrar Spring/Summer 2012 by Mitika Chohan
Simeon Farrar S/S 2012 by Mitika Chohan

What can we expect for A/W 2012 from Simeon Farrar?
For S/S 2012 we had a ghost print that did very well, so I’ve built the next collection round that. So I guess it’s a Haunted House collection. We’ve got lots of ghost drawings, howling wolves, that kind of thing. But, there’s also a romantic side to it. I’ve always been interested in the tragic side of vampires and the sense of undying love that runs through it. So I’ve brought a lot of that in to the collection. And for the first time, NO KATE MOUSE. I didn’t want to cheapen her and put some fangs on her or something. Kate Mouse is dead, you heard it here first.

Cloud Print Tote Bag
Cloud Print Tote Bag

Simeon Farrar Spring/Summer 2012 by Gareth A Hopkins
Simeon Farrar S/S 2012 by Gareth A Hopkins

Simeon Farrar’s current S/S 2012 collection is available to buy in store and online at a variety of stockists, and his forthcoming A/W 2012 collection will be exhibited at Tranoi this March.

Categories ,Abi Hall, ,Alejandra Espino, ,Alia Gargum, ,Autumn/Winter 2012-13, ,british summer, ,canvas, ,Creativity, ,Dana Bocai, ,drawing, ,Fine Art, ,Gareth A Hopkins, ,Haunted House, ,illustration, ,Iroquois, ,Jason Lear, ,Kate Mouse, ,liberty, ,london, ,London Fashion Week, ,Madi Illustrates, ,Mitika Chohan, ,Neon, ,Net-A-Porter, ,Newgen, ,painting, ,paris, ,Romance, ,royalty, ,Save The Children, ,screen-printing, ,shoreditch, ,Simeon Farrar, ,Spring/Summer 2012, ,sydney, ,T-shirts, ,tokyo, ,Tranoi, ,University of Creative Arts Farnham, ,Vampires, ,You Are My Silver Lining

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Joanne Hynes and Helen Steele

Find Your Feet Outsider. All photography by Amelia Gregory.
By Stamo A/W 2011 by Rebecca Strickson
By Stamo A/W 2011 by Rebecca Strickson.

On Sunday 13th March Find Your Feet hosted an ethical fashion show at the Mint Leaf restaurant in the Haymarket. I was invited to donate a copy of Amelia’s Compendium of Fashion Illustration for We Are What We Wear by the show stylist, information pills the lovely Zoe Robinson of Think Style – a women with many sustainable strings to her bow. She works as an actress, medications a writer (for Egg Mag) and an ethical image consultant.

Amelia's Compendium of Fashion Illustration Photography by Amelia GregoryFind Your Feet Honey's Dance Academy, Photography by Amelia GregoryFind Your Feet Honey's Dance Academy, Photography by Amelia GregoryBollywood dancing by Jane Young
Bollywood dancing from Honey’s Dance Academy by Jane Young.

We were treated to some very energetic Bollywood dancing thanks to Honey’s Dance Academy, followed by two short catwalk shows which took place on walkways surrounding the sunken restaurant. Models included youngsters and a couple of more mature women from Close Models, which provided a really uplifting touch.

Find Your Feet-Junky Styling. Photography by Amelia GregoryFind Your Feet-Junky Styling. Photography by Amelia GregoryFind Your Feet-Junky Styling. Photography by Amelia Gregory
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During the first show we saw a fabulous multi layered pink maxi dress from ACOFI featured designer Junky Styling, cute dresses from People Tree, embellished bamboo dresses from Bhavna, and gorgeous silk classics from Outsider, who I discovered at Ecoluxe this season.

Find Your Feet- Amisha, Zoe, Orsola and the kids. Photography by Amelia Gregory
Amisha, Zoe, Orsola and the kids.

As I had a bar ticket I was able to roam around, and between shows sat with Zoe, Amisha Ghadalli, Maria Papadimitriou of Slowly the Eggs/Plastic Seconds and Orsola de Castro of From Somewhere, who was entertaining her young daughter and her friend. We ate some yummy canapes and watched a magician bend forks, then a Find Your Feet ambassador described the work done by this charity, which includes helping to fund sustainable farming practices. Fittingly, she described how a group of women in rural India bandied together to make the most of the mint growing on local farms – they now have a successful essential oil business.

Find Your Feet-magician. Photography by Amelia Gregory
The magician entertains the kids.

Find Your Feet- Charley Speed and bottle top bag. Photography by Amelia Gregory.Find Your Feet- Charley Speed and bottle top bag. Photography by Amelia Gregory.
Charley Speed and bottle top bag.

Then it was on to the auction, where any mention of my book was usurped by the lure of a People Tree dress, as worn by a celebrity (Livia Firth) – the heavily make-up caked presenter Charley Speed dashing maniacally around the room to squeeze as much money as possible out of the generous crowd. The whole lot (including a bottle top bag) went for £300, and I can only hope that the recipient appreciated my donation because he probably had no clue what it was.

Ada Zanditon S/S 2011 by Gareth A Hopkins
Ada Zanditon S/S 2011 by Gareth A Hopkins.

From Somewhere by Gareth A Hopkins
From Somewhere by Gareth A Hopkins.

Round two featured three Amelia’s Magazine favourites from ACOFI: off-cut drama courtesy of From Somewhere, amazing sculptural pieces from Ada Zanditon and colourful dresses with sunflower decorations from By Stamo. There was also some playful printed dresses from Love Phool.
Find Your Feet-From Somewhere. Photography by Amelia Gregory
From Somewhere.

Find Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia Gregory
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By Stamo A/W 2011.

By Stamo A/W 2011 by Maria del Carmen Smith
By Stamo A/W 2011 by Maria del Carmen Smith
By Stamo A/W 2011 by Maria del Carmen Smith.

A range of ethical accessories were used to style the show, amongst them some old favourites: LeJu, Nina Dolcetti and Joanna Cave… and some new discoveries: Meher Kakalia, who adapts ancient shoemaking techniques from her home town of Karachi to create modern footwear in Brixton, and Kumvana Gomani, who creates delicate jewellery out of plastic waste.

Exposing ethical design to more people and raising money for sustainable projects are good things to do, but We Aren’t JUST What We Wear, we are also What We Do in every aspect of life. On my return home I was somewhat saddened to read about a couple of other auction sponsors: it was also possible to win a test track experience with Jaguar or a BMW for the weekend. There is a distinct lack of joined up thinking in ethical practice: a Mint Leaf waiter could not tell me whether the chicken they served us was freerange or organic.

We Are What We Wear was a massive success: raising over £10,000 to support sustainable weaving projects in India, but I wish that there was more recognition within the charity sector that sustainable practice involves more than donating money for dinner to support those less fortunate on the other side of the world, it’s about a holistic way of being. Within this world view I do not include hyping the desirability of extremely expensive energy guzzling cars. Needless to say, mine was the only bike tied up outside the Mint Leaf restaurant.

By Stamo A/W 2011 by Rebecca Strickson
By Stamo A/W 2011 by Rebecca Strickson.

On Sunday 13th March Find Your Feet hosted an ethical fashion show at the Mint Leaf restaurant in the Haymarket. I was invited to donate a copy of Amelia’s Compendium of Fashion Illustration for We Are What We Wear by the show stylist, diagnosis the lovely Zoe Robinson of Think Style – a women with many sustainable strings to her bow. She works as an actress, abortion a writer (for Egg Mag) and an ethical image consultant.

Amelia's Compendium of Fashion Illustration Photography by Amelia GregoryFind Your Feet Honey's Dance Academy, <a target=order Photography by Amelia Gregory” title=”Find Your Feet Honey’s Dance Academy, Photography by Amelia Gregory” width=”480″ height=”320″ class=”aligncenter size-full wp-image-38157″ />Find Your Feet Honey's Dance Academy, Photography by Amelia GregoryBollywood dancing by Jane Young
Bollywood dancing from Honey’s Dance Academy by Jane Young.

We were treated to some very energetic Bollywood dancing thanks to Honey’s Dance Academy, followed by two short catwalk shows which took place on walkways surrounding the sunken restaurant. Models included youngsters and a couple of more mature women from Close Models, which provided a really uplifting touch.

Find Your Feet-Junky Styling. Photography by Amelia GregoryFind Your Feet-Junky Styling. Photography by Amelia GregoryFind Your Feet-Junky Styling. Photography by Amelia Gregory
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Find Your Feet-People Tree. Photography by Amelia GregoryFind Your Feet-People Tree. Photography by Amelia GregoryFind Your Feet-People Tree. Photography by Amelia GregoryFind Your Feet-People Tree. Photography by Amelia Gregory
People Tree.

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Bhavna.

Find Your Feet Outsider. All photography by Amelia Gregory.
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During the first show we saw a fabulous multi layered pink maxi dress from ACOFI featured designer Junky Styling, cute dresses from People Tree, embellished bamboo dresses from Bhavna, and gorgeous silk classics from Outsider, who I discovered at Ecoluxe this season.

Find Your Feet- Amisha, Zoe, Orsola and the kids. Photography by Amelia Gregory
Amisha, Zoe, Orsola and the kids.

As I had a bar ticket I was able to roam around, and between shows sat with Zoe, Amisha Ghadalli, Maria Papadimitriou of Slowly the Eggs/Plastic Seconds and Orsola de Castro of From Somewhere, who was entertaining her young daughter and her friend. We ate some yummy canapes and watched a magician bend forks, then a Find Your Feet ambassador described the work done by this charity, which includes helping to fund sustainable farming practices. Fittingly, she described how a group of women in rural India bandied together to make the most of the mint growing on local farms – they now have a successful essential oil business.

Find Your Feet-magician. Photography by Amelia Gregory
The magician entertains the kids.

Find Your Feet- Charley Speed and bottle top bag. Photography by Amelia Gregory.Find Your Feet- Charley Speed and bottle top bag. Photography by Amelia Gregory.
Charley Speed and bottle top bag.

Then it was on to the auction, where any mention of my book was usurped by the lure of a People Tree dress, as worn by a celebrity (Livia Firth) – the heavily make-up caked presenter Charley Speed dashing maniacally around the room to squeeze as much money as possible out of the generous crowd. The whole lot (including a bottle top bag) went for £300, and I can only hope that the recipient appreciated my donation because he probably had no clue what it was.

Ada Zanditon S/S 2011 by Gareth A Hopkins
Ada Zanditon S/S 2011 by Gareth A Hopkins.

From Somewhere by Gareth A Hopkins
From Somewhere by Gareth A Hopkins.

Round two featured three Amelia’s Magazine favourites from ACOFI: off-cut drama courtesy of From Somewhere, amazing sculptural pieces from Ada Zanditon and colourful dresses with sunflower decorations from By Stamo. There was also some playful printed dresses from Love Phool.
Find Your Feet-From Somewhere. Photography by Amelia Gregory
From Somewhere.

Find Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia Gregory
Ada Zanditon S/S 2011.

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By Stamo A/W 2011.

By Stamo A/W 2011 by Maria del Carmen Smith
By Stamo A/W 2011 by Maria del Carmen Smith
By Stamo A/W 2011 by Maria del Carmen Smith.

A range of ethical accessories were used to style the show, amongst them some old favourites: LeJu, Nina Dolcetti and Joanna Cave… and some new discoveries: Meher Kakalia, who adapts ancient shoemaking techniques from her home town of Karachi to create modern footwear in Brixton, and Kumvana Gomani, who creates delicate jewellery out of plastic waste.

Exposing ethical design to more people and raising money for sustainable projects are good things to do, but We Aren’t JUST What We Wear, we are also What We Do in every aspect of life. On my return home I was somewhat saddened to read about a couple of other auction sponsors: it was also possible to win a test track experience with Jaguar or a BMW for the weekend. There is a distinct lack of joined up thinking in ethical practice: a Mint Leaf waiter could not tell me whether the chicken they served us was freerange or organic.

We Are What We Wear was a massive success: raising over £10,000 to support sustainable weaving projects in India, but I wish that there was more recognition within the charity sector that sustainable practice involves more than donating money for dinner to support those less fortunate on the other side of the world, it’s about a holistic way of being. Within this world view I do not include hyping the desirability of extremely expensive energy guzzling cars. Needless to say, mine was the only bike tied up outside the Mint Leaf restaurant.

By Stamo A/W 2011 by Rebecca Strickson
By Stamo A/W 2011 by Rebecca Strickson.

On Sunday 13th March Find Your Feet hosted an ethical fashion show at the Mint Leaf restaurant in the Haymarket. I was invited to donate a copy of Amelia’s Compendium of Fashion Illustration for We Are What We Wear by the show stylist, dosage the lovely Zoe Robinson of Think Style – a women with many sustainable strings to her bow. She works as an actress, health a writer (for Egg Mag) and an ethical image consultant.

Amelia's Compendium of Fashion Illustration Photography by Amelia GregoryFind Your Feet Honey's Dance Academy, Photography by Amelia GregoryFind Your Feet Honey's Dance Academy, Photography by Amelia GregoryBollywood dancing by Jane Young
Bollywood dancing from Honey’s Dance Academy by Jane Young.

We were treated to some very energetic Bollywood dancing thanks to Honey’s Dance Academy, followed by two short catwalk shows which took place on walkways surrounding the sunken restaurant. Models included youngsters and a couple of more mature women from Close Models, which provided a really uplifting touch.

Find Your Feet-Junky Styling. Photography by Amelia GregoryFind Your Feet-Junky Styling. Photography by Amelia GregoryFind Your Feet-Junky Styling. Photography by Amelia Gregory
Junky Styling. All photography by Amelia Gregory.

Find Your Feet-People Tree. Photography by Amelia GregoryFind Your Feet-People Tree. Photography by Amelia GregoryFind Your Feet-People Tree. Photography by Amelia GregoryFind Your Feet-People Tree. Photography by Amelia Gregory
People Tree.

Find Your Feet-Bhavna. Photography by Amelia GregoryFind Your Feet-Bhavna. Photography by Amelia GregoryFind Your Feet-Bhavna. Photography by Amelia Gregory
Bhavna.

Find Your Feet Outsider. All photography by Amelia Gregory.
Outsider.

During the first show we saw a fabulous multi layered pink maxi dress from ACOFI featured designer Junky Styling, cute dresses from People Tree, embellished bamboo dresses from Bhavna, and gorgeous silk classics from Outsider, who I discovered at Ecoluxe this season.

Find Your Feet- Amisha, Zoe, Orsola and the kids. Photography by Amelia Gregory
Amisha, Zoe, Orsola and the kids.

As I had a bar ticket I was able to roam around, and between shows sat with Zoe, Amisha Ghadalli, Maria Papadimitriou of Slowly the Eggs/Plastic Seconds and Orsola de Castro of From Somewhere, who was entertaining her young daughter and her friend. We ate some yummy canapes and watched a magician bend forks, then a Find Your Feet ambassador described the work done by this charity, which includes helping to fund sustainable farming practices. Fittingly, she described how a group of women in rural India bandied together to make the most of the mint growing on local farms – they now have a successful essential oil business.

Find Your Feet-magician. Photography by Amelia Gregory
The magician entertains the kids.

Find Your Feet- Charley Speed and bottle top bag. Photography by Amelia Gregory.Find Your Feet- Charley Speed and bottle top bag. Photography by Amelia Gregory.
Charley Speed and bottle top bag.

Then it was on to the auction, where any mention of my book was usurped by the lure of a People Tree dress, as worn by a celebrity (Livia Firth) – the presenter Charley Speed dashing maniacally around the room to squeeze as much money as possible out of the generous crowd. The whole lot (including a bottle top bag) went for £300, and I can only hope that the recipient appreciated my donation because he probably had no clue what it was.

Ada Zanditon S/S 2011 by Gareth A Hopkins
Ada Zanditon S/S 2011 by Gareth A Hopkins.

Round two featured three Amelia’s Magazine favourites from ACOFI: off-cut drama courtesy of From Somewhere, amazing sculptural pieces from Ada Zanditon and colourful dresses with sunflower decorations from By Stamo. There was also some playful printed dresses from Love Phool.

From Somewhere by Gareth A Hopkins
From Somewhere by Gareth A Hopkins.

Find Your Feet-From Somewhere. Photography by Amelia Gregory
From Somewhere.

Find Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia GregoryFind Your Feet-Ada Zanditon. Photography by Amelia Gregory
Ada Zanditon S/S 2011.

Find Your Feet-Lovephool. Photography by Amelia GregoryFind Your Feet-Love Phool. Photography by Amelia GregoryFind Your Feet-Love Phool. Photography by Amelia GregoryFind Your Feet-Love Phool. Photography by Amelia GregoryFind Your Feet-Love Phool. Photography by Amelia GregoryFind Your Feet-Love Phool. Photography by Amelia Gregory
Love Phool.

Find Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia GregoryFind Your Feet-By Stamo. Photography by Amelia Gregory
By Stamo A/W 2011.

A range of ethical accessories were used to style the show, amongst them some old favourites: LeJu, Nina Dolcetti and Joanna Cave… and some new discoveries: Meher Kakalia, who adapts ancient shoemaking techniques from her home town of Karachi to create modern footwear in Brixton, and Kumvana Gomani, who creates delicate jewellery out of plastic waste.

By Stamo A/W 2011 by Maria del Carmen SmithBy Stamo A/W 2011 by Maria del Carmen Smith
By Stamo A/W 2011 by Maria del Carmen Smith.

Exposing ethical design to more people and raising money for sustainable projects are good things to do, but We Aren’t JUST What We Wear, we are also What We Do in every aspect of life. On my return home I was somewhat saddened to read about a couple of other auction sponsors: it was also possible to win a test track experience with Jaguar or a BMW for the weekend. There is a distinct lack of joined up thinking in ethical practice: a Mint Leaf waiter could not tell me whether the chicken they served us was freerange or organic.

We Are What We Wear was a massive success: raising over £10,000 to support sustainable weaving projects in India, but I wish that there was more recognition within the charity sector that sustainable practice involves more than donating money for dinner to support those less fortunate on the other side of the world, it’s about a holistic way of being. Within this world view I do not include hyping the desirability of extremely expensive energy guzzling cars. Needless to say, mine was the only bike tied up outside the Mint Leaf restaurant.

Rebekka Karijord by Karolina Burdon
Illustration by Karolina Burdon

When you have the radio on all the time, viagra sale it’s inevitable that you will discover new things. I discovered Rebekka Karijord when I was baking a Nigella Lawson chocolate cake for my boyfriend. The notepad next to the radio was left heavily smudged with chocolate as I scrawled her name down before it left my thoughts and sailed off onto the ‘wish I could remember island’. If you are fond of a female artist, piano notes and heart felt lyrics, you might like Karijord too. She’s smokey, delicate and sounds as if she is singing only for herself. The audience a dark blue mist, she is alone on a long boat sailing along the river of her thoughts, with only the midnight blue sky comforting her. Karijord disarms you almost on her first note. Her own honesty is just off uncomfortably raw. Perfect.

rebekka-karijord-1

Rebekka Karijord was born in 1976 to two artists. Although born in Norway, she moved no less than 17 times before she hit the age of 18. She composed her first song at aged three, recording her fist demo with her own written songs, when she was eight. She began learning the violin and piano from five years old and started composing in English at 12. Later she attended the Norwegian Musical Theatre, Academy of ballet and the Royal Academy of Acting in Stockholm.

Her family are Swedish, and she feels as if she is both Norwegian and Swedish, but it is inevitable she would feel slightly confused after moving constantly from birth. However she eventually set down solid roots in Sweden’s Stockholm, after releasing two albums; Neophyte and Good or Goodbye, and travelling the world. Karijord wrote and recorded ‘The Noble Art of Letting Go’ in various locations around the woods and city of Stockholm. There is no denying the heartbreak and fear in the notes.

Gareth A Hopkins Rebekka Karijord
Illustration by Gareth A Hopkins

Rebekka made a statement years ago, saying she never just wanted to be able to sing beautifully, her desire has always been to project a story as well. This she clearly does with every song in ‘The Noble Art Of Letting Go’. As I pottered around my kitchen, the wind whipping up outside, I felt the ache of understanding, empathy and sadness. We all know that facing our buried ghosts and hidden distresses is what we should do. But when unguarded in a safe place, to hear a song that brings these buried thoughts to the surface without warning, is a shock and a liberation. Perfect for seeing the leafless back of winter and sitting within spring’s rebirthing attributes. Getting the self ready to make a whole host of mistakes to mull over when the clouds darken again.

Rebekka

Wear it Like A Crown, The Noble Art of Letting Go and Paperboy are three of my personal favourites from the album. The former two are serious, full of high, slow notes and the piano- soft, cantering and adding the necessary punctuation. They are both centered very much around rejection, fear and following the heart. In contrast to the piano’s melancholy, Paperboy’s harp is as light as cherry blossom. Yet, like all the tracks there is heartbreak in the lyrics. Parking Lot is a jumpier song, depicting love, hopes and dreams – RECKLESS LOVE – as horses being unleashed and spinning wheels. Fitting and excitable, it spells a desired destruction.

Fellow Nordic singer, Ane Brun joins Karijord for the final track on the album and another of my favourites; Morning Light Forgives The Night. Here they sing so tenderly, it’s as if listening to petals fall. The harp and strings compliment their high, ethereal voices, as they wander off into the distance. A calming end to the album that stays with you. Similar to the end of a film leaving you stunned. Or when something has happened that you’re unsure whether to welcome. It leaves your mind ticking over, revelling in the change you can feel you’re on the brink of.

Although it all sounds relatively melodramatic, Rebekka Karijord’s album is in fact refreshing and very enjoyable to listen to. Her voice is light enough to carry the heaviness of the words. It’s worth your pennies. Her album is available now on Lil Facit.
Rebekka Karijord by Karolina Burdon
Illustration by Karolina Burdon

When you have the radio on all the time, price it’s inevitable that you will discover new things. I discovered Rebekka Karijord when I was baking a Nigella Lawson chocolate cake for my boyfriend. The notepad next to the radio was left heavily smudged with chocolate as I scrawled her name down before it left my thoughts and sailed off onto the ‘wish I could remember island’. If you are fond of a female artist, this web piano notes and heart felt lyrics, you might like Karijord too. She’s smokey, delicate and sounds as if she is singing only for herself. The audience a dark blue mist, she is alone on a long boat sailing along the river of her thoughts, with only the midnight blue sky comforting her. Karijord disarms you almost on her first note. Her own honesty is just off uncomfortably raw. Perfect.

rebekka-karijord-1

Rebekka Karijord was born in 1976 to two artists. Although born in Norway, she moved no less than 17 times before she hit the age of 18. She composed her first song at aged three, recording her fist demo with her own written songs, when she was eight. She began learning the violin and piano from five years old and started composing in English at 12. Later she attended the Norwegian Musical Theatre, Academy of ballet and the Royal Academy of Acting in Stockholm.

Her family are Swedish, and she feels as if she is both Norwegian and Swedish, but it is inevitable she would feel slightly confused after moving constantly from birth. However she eventually set down solid roots in Sweden’s Stockholm, after releasing two albums; Neophyte and Good or Goodbye, and travelling the world. Karijord wrote and recorded ‘The Noble Art of Letting Go’ in various locations around the woods and city of Stockholm. There is no denying the heartbreak and fear in the notes.

Gareth A Hopkins Rebekka Karijord
Illustration by Gareth A Hopkins

Rebekka made a statement years ago, saying she never just wanted to be able to sing beautifully, her desire has always been to project a story as well. This she clearly does with every song in ‘The Noble Art Of Letting Go’. As I pottered around my kitchen, the wind whipping up outside, I felt the ache of understanding, empathy and sadness. We all know that facing our buried ghosts and hidden distresses is what we should do. But when unguarded in a safe place, to hear a song that brings these buried thoughts to the surface without warning, is a shock and a liberation. Perfect for seeing the leafless back of winter and sitting within spring’s rebirthing attributes. Getting the self ready to make a whole host of mistakes to mull over when the clouds darken again.

Rebekka

Wear it Like A Crown, The Noble Art of Letting Go and Paperboy are three of my personal favourites from the album. The former two are serious, full of high, slow notes and the piano- soft, cantering and adding the necessary punctuation. They are both centered very much around rejection, fear and following the heart. In contrast to the piano’s melancholy, Paperboy’s harp is as light as cherry blossom. Yet, like all the tracks there is heartbreak in the lyrics. Parking Lot is a jumpier song, depicting love, hopes and dreams – RECKLESS LOVE – as horses being unleashed and spinning wheels. Fitting and excitable, it spells a desired destruction.

Fellow Nordic singer, Ane Brun joins Karijord for the final track on the album and another of my favourites; Morning Light Forgives The Night. Here they sing so tenderly, it’s as if listening to petals fall. The harp and strings compliment their high, ethereal voices, as they wander off into the distance. A calming end to the album that stays with you. Similar to the end of a film leaving you stunned. Or when something has happened that you’re unsure whether to welcome. It leaves your mind ticking over, revelling in the change you can feel you’re on the brink of.

Although it all sounds relatively melodramatic, Rebekka Karijord’s album is in fact refreshing and very enjoyable to listen to. Her voice is light enough to carry the heaviness of the words. It’s worth your pennies. Her album is available now on Lil Facit.
Joanne Hynes and Helen Steele A/W 2011 by Matilde Sazio
Joanne Hynes and Helen Steele A/W 2011 by Matilde Sazio.

I wasn’t invited to Joanne Hynes and Helen Steele, pharmacy but the door staff spotted myself and Susie Bubble wandering aimlessly around in the entrance hall of Freemasons and urged us on towards the show… so we crept in at the back after it started. I managed to pick up a press release that explained this collaboration but in the intervening weeks it’s been lost, about it so I’ll just say that the hefty bit of promotional literature was a crazy mix of pattern and excessive colour, a bit like the clothes which were a collaboration between a pair of Irish ladies: Joanne Hynes, who is a fashion designer, and Helen Steele, who is an artist. An interesting concept I am sure you will agree…

Joanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes & Helen Steele AW 2011 by Nancy Straughan
Joanne Hynes & Helen Steele AW 2011 by Nancy Straughan.

The collection was called Les Guerriers, in reference to the fierce warrior women of which Ireland is enormously proud, and was a mish mash of textures: wools, tweed and brocades, aran knitwear and metallic leathers, all styled with birds nest hairdos, literally, in the case of some models, who sported vast twig hats. Shoes were frankly barking: cutaway platforms at least half a foot off the ground. There were a couple of draped and ruched dresses with studded crystal pan collars that stood out and I liked the cute psychedelic digitally printed swing dresses which had been abstracted from Helen’s paintings, but I was instantly turned off by vast copious quantities of real fur. Bleurgh. Susie lost interest after just a few outfits.

Joanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia Gregory
Loving that stance!

Joanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia GregoryJoanne Hynes and Helen Steele A/W 2011. Photography by Amelia Gregory
And WHAT is that last outfit?! Do the words Dog and Dinner come to mind?

All photography by Amelia Gregory.

Categories ,Digital Prints, ,Fashion Scout, ,Freemasons’ Hall, ,Fur, ,Helen Steele, ,ireland, ,Irish, ,Joanne Hynes, ,Joanne Hynes and Helen Steele, ,Les Guerriers, ,Matilde Sazio, ,Metallic, ,Nancy Straughan, ,painting, ,platforms, ,Susie Bubble

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Amelia’s Magazine | An interview with Young British Designers


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, no rx so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, viagra of course, malady didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads. Ah, well.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection:

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 100mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, capsule of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, sale so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, visit this site of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, help so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 40mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, sickness of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Felicity Brown Gabrielle dress, help illustrated by Kate Copeland

Amidst the commotion of catwalks and exhibitions at London Fashion Week, one website had everyone talking; Young British Designers. Grabbing attention with their eye-catching launch video, the team behind YBD are providing a platform for the fashion conscious everywhere to buy designs by the next generation of British greats. Ada Zanditon, Jena.Theo, Jasper Garvida, Eudon Choi and Felicity Brown are just a few of fashion’s bright young things being championed by the site, where you can read about the designers themselves as well as investing in their clothes, shoes and accessories. But who is behind the venture? Though they are prolific on Twitter and becoming a household name amongst bloggers and press, little has been revealed about the individuals behind Young British Designers; until now.  


Left-right: Ada Zanditon, Charlotte Taylor, David Longshaw

Tell us about the people behind Young British Designers; how did you end up working together? 
YBD comprises four people, Adriana, Stuart, Debra and Julian – two couples. Adriana and Stuart had a great idea to champion developing British design talent and approached Deb and Julian to enable the idea to fly; all four were totally taken with the concept, it seemed such an obvious thing to do, none of us could really believe that nobody had thought of it before. Then came London Fashion Week in February 2010 – the breadth of new, naïve British talent was clear for us to see and the thought of bringing it all together ‘under one roof’ (so to speak) became an increasingly enthralling prospect. But every idea needs its seminal moment, for us it was Adriana and Debra entering the hall at Vauxhall Fashion Scout that cold and windy Monday afternoon; the room was empty – and the utterly beautiful Felicity Brown dresses called across the room. For us, that moment encapsulated the sheer joy of finding new talent – and in knowing that we could bring our own talents and experience to introduce them to an emerging global market. 


Eudon Choi Grey Lace Up Military Shoe Boot, Rae Jones Scarlett Leather Brogues, illustrated by Kate Copeland

We ended up working together because of a shared passion, but it was more than that – our skills were compatible: design, marketing, business, sustainability and communications. We also wanted to take a risk – a risk on a new venture, to do something really significant in our own way. We like each other too.  

It’s a difficult time for young British designers starting out today; what inspired you to champion them in this way?  
No one focuses purely on the promotion of new British talent – a handful of designers make it through to retailers each year, but it’s not many and even those that do are a small part of massive collections made up primarily of well known, established names. We believe that many more of our designers deserve to be showcased and that our designers’ stories be more thoroughly told and their developing brands be enhanced. We also believe that this is absolutely in keeping with the developing trend for highly individual style statements amongst increasingly discerning consumers. ? 


Clockwise from top left: Bionda Castara, Cabinet, Sophie Gittins, Simeon Farrar, Issi

Your launch video is impeccably styled and really captures the timelessness of British style. What do you think distinguishes British fashion designers from the rest of the world? 
We hope the video captures the passion we all have for British fashion, the cues from the past, the energy, the excitement, the ready to risk all and have a go idealism. The sheer bloody eccentricity and quintessentially quirkiness only to be found on this island. Wonderful. 


Illustration by Kate Copeland

How do you go about selecting which designers to feature? 
We are really emotional and subjective in our approach to selecting the designers for our collections – does the design make our heart sing? The hairs on the back of our neck stand on end? Can we imagine that our customers will love it as much as we do?    

You feature a number of ethical designers on YBD; do you think more designers will start taking sustainability into consideration as the ethical fashion industry grows? 
Great design is at the heart of solving the problems of natural resource depletion and global warming. Our wish is to promote the talents of the best British designers and to encourage them to see the beauty in an ethical heart to their designs … and we will promote the beauty they create to our customers. Delivering sustainable and ethical solutions take on many forms, we’re delighted to promote the recycled materials in Issi’s bags, the employment of impoverished Hungarian workers in making Emesha’s beautiful clothes and in encouraging the continued employment of local manufacturing in the UK.  


JW Anderson Saint Circle Ring, Lucy Hutchings Zelda Necklace, illustrated by Kate Copeland

Lots of your designers are showing at LFW, which presentations moved you most? 
Jena.Theo – because they so successfully retained their original style signature yet moved forward to embrace both a new season and a new confidence. Eudon Choi for showing all the assurance of a brand that is well established and all the freshness and energy of a designer who is still exploring the limits of his talent. 

What are your hopes for the future of YBD? 
That leading retailers come together online and off to enthusiastically support the best interests of our developing talent by promoting them generously and not seeking to put their own interests first by insisting on exclusivity of supply. This in turn limits a growing brand and can stifle it and its demand at its most crucial fledgling stage.

All products are available now over at Young British Designers!

Categories ,Ada Zanditon, ,british, ,Eudon Choi, ,fashion, ,interview, ,Jena.theo, ,JW Anderson, ,platform, ,website, ,young british designers

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Amelia’s Magazine | SpeedArting: the art of seduction

Thumb
The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, erectile the tarmac awash with its newfound uninhabitable river, viagra I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, treat with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.

The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, physician the tarmac awash with its newfound uninhabitable river, I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.

Thumb

The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, approved the tarmac awash with its newfound uninhabitable river, I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.

The Cinematic Orchestra were playing on the laptop. With the rain petering down outside, help the tarmac awash with its newfound uninhabitable river, cialis 40mg I opened the enormous wooden door and peered outside. I didn’t want to go and rush away with the stream of no return. I wanted to stay here, pilule with him. His jeans were baggy and beautiful, his carpet pulled at the soles of my tights. I left. To Build A Home faded.

Cinematic Orchestra by Matilde Sazio

Man With A Movie Camera Illustration by Matilde Sazio

Walking back along the slippery treadmill of road I made no effort to shelter from the swiping blankets of droplets. My brow furrowed and my eyes looked up as I stood at the top of the hill and looked at the sea from left to right, my heart taking my breath away. Unquestionably gluttonous for punishment I fell into my room and To Build A Home was alive again. I was confused. I was in love.

Dawn by The Cinematic Orchestra is on and i’m walking to the beach, with a cider and baguette in my backpack. It’s a beautiful sunny day and the strings mix with the birds as I feel my eyes glint in the harmony of the simplicity of now. Of this love sitting against the wall.

The Royal Albert Hall Karina Yarv

The Royal Albert Hall Illustration by Karina Yarv

I’m at The Royal Albert Hall, Breathe by The Cinematic Orchestra is playing live. The London Metropolitan Orchestra are stationed and moving with fierce precision. The circle envelops me, I look and he smiles. I peer the miles down from our sectioned box and I see Heidi Vogel is about to unleash and pour her voice over the hall again. She does it slowly and blends with the instruments before together they gallop and circulate the grand hall, swirling us up in a haze of stunning sound.

Heidi Vogel by Matilde Sazio

Heidi Vogel, Illustration by Matilde Sazio

The Cinematic Orchestra in their live form are impressive and encapsulating. Like tablets of emotion, they use their prowess to orchestrate and leave impressions upon the many. They were formed in 1999 by Jason Swinscoe. A Ninja Tune employee, he arrived in South London from Scotland, via Yorkshire and Cardiff. With a love of jazz bass players, rhythm sections and film soundtracks he worked on The Cinematic Orchestra in his own time. After getting together a group of jazz players, he delivered the debut album, ‘Motion’, on the Ninja Tune. It was considered the perfect soundtrack to the dangerous bar, the femme fatale, the hero and the dead, with throbbing riffs, repeated loops and instrumental phrases. It’s music on tenterhooks, awaiting the next explosion of this, that and everything.

HelsLights

The Cinematic Orchestra tracks certainly sound as though they have been lifted from a gorgeous, very visual film, yet of course these films do not exist. That is, they didn’t until their first film soundtrack came along in the shape of ‘Man With A Movie Camera’. In 1999. Swinscoe was asked by the organisers of the Porto European City of Culture 2000 if the band wanted to score a silent movie to open the celebrations. The film was Dziga Vertov’s ‘Man With A Movie Camera’, a 1929 early documentary cinema film from the Soviet Union, focusing on the daily life of an average worker. The work made the band think about unwrapping musical narratives slowly, combing sounds and textures. Influencing ‘Every Day’, the ‘Man With A Movie Camera’ album was released in 2003, on Ninja Tune. ‘Every Day’ was The Cinematic Orchestra’s second album, released again on Ninja Tune. With ten minute tunes, like ‘All Things to All Men’, they experimented with softly, softly orchestra mixed with moody deep notes. Swinscoe worked with bass player, Phil France on this album and enlisted the talents of Roots Manuva and modern Jazz legend, Luke Flowers.

‘Ma Fleur’ on Ninja Tune, is the band’s latest album, released in 2007, and features To Build A Home, as well as Breathe and Child Song. It feels very refined and yet sporadic in its waterfall outbursts of music. Adding to their film credentials, The Cinematic Orchestra also recorded the soundtrack to the Disneynature film The Crimson Wing: Mystery of the Flamingos in 2008. They also released; Live At The Royal Albert Hall in 2008, on Ninja Tune, after their last performance at the prestigious Hall.

stage1

Listening to their music in such a venue can only be described as very special. It is one of those ‘nothing and yet everything matters right now’ moments. You are right there with every note, engulfed in a hall, reverberating in the clarity the sounds produce. It is difficult not to be moved by the rising and falling emotions, the burst of the strings, the flowing piano. The serene and yet momentous feeling. So what an earth can it be like to actually be on that stage, and play at The Royal Albert Hall, so steeped in grandeur, beauty and respect? I asked Heidi Vogel some questions about this after her incredible performance.

What was it like performing at The Royal Albert Hall last night?
It was a night I will never forget.  Performing at the Albert Hall,  on that beautiful stage,  and in such a beautiful space,  looking out to a sea of people filling the entire hall to its fullest capacity, is an experience unlike anything else.

Helsrah

What was the best moment for you?
Standing at the side of the stage waiting to come onto the stage for my first vocal of the evening, which was on ‘Burn Out’. I was so excited to come onto the stage and join in with the Orchestra, to be part of the music that was being made. I was standing there, all ready and the Orchestra had come in for the beginning of Ivo’s piano solo. It was such a moving moment in the music, and I felt my hairs standing up hearing it being played like that with The London Metropolitan Orchestra. It was really something so special.

How does the RAH compare to other venues around the world? Where in the world have you loved performing?
Well RAH can’t be compared to anywhere in the world,  it is so completely special and unique. I have played on many wonderful stages that I loved, and RAH is unique among them all. We have played in Sete in France in the open air Roman Amphitheatre on the sea, and lovely outdoor stages such as in Toronto Harbourfront, or Milan Jazz Festival, The Big Chill, Fuji Rock,  and many beautiful theatres, festivals and countries that we loved.

roof

This night was Ninja Tune’s 20th birthday, Ninja Tune XX. They celebrated with the band that produces real and imaginary film soundtracks, formed in the minds of people whose lives they have run beside. Without an actual film, the music lends itself to whatever narrative you bestow upon it. To me obviously, this has allowed me to wallow in my own sadness and skip in ecstasy (ha!) But to see The Cinematic Orchestra live was to feel the elation of an evening comprising of a huge range of talented musicians, performing beautifully. It was a night to rejoice in the achievement of humans producing descriptive and emotive sound that mirrors and acknowledges life in all its forms and idiosyncrasies.


All illustrations by Sean Lennon and Charlotte Kemp Muhl

The Ghost of a Saber Tooth Tiger is very much the sonic embodiment of its band members. Sean Lennon and Charlotte Kemp Muhl are intrigued by everything around them and distill this into the music that they make, diagnosis like two wide-eyed innocents, holding each others hands and trying to make sense of the wonders and absurdities of life with the aide of a couple of mics and a multitude of instruments. Their recently released new album Acoustic Sessions (which can be brought here) acts as the perfect showcase for their union as both musical and romantic collaborators. Sean and Charlotte duet together on every track; her voice is as delicate as a thimble and rings clear as a bell, a perfect addition to Sean’s deeper timbre (which interestingly, has the slightest trace of a Liverpudlian burr to it when he sings). The songs are whimsical without being twee, and while they pay homage to 60′s folk-pop, there is no element of pastiche.

My hour spent with Sean and Charlotte on their whistle-stop touchdown in London was an illuminating peek into the high-octane lifestyle of two very in-demand individuals. While most of our music interviews take place in make-shift back stage areas, this interview is conducted 22 floors up at the William Morris Agency housed in London’s Centre Point Building. The plush meeting room offers sweeping views across Central London. Managers and PR’s field incoming emails and update schedules on ever buzzing Blackberries, but thankfully Sean and Charlotte seem unaffected by the surrounding melee. The first surprise of the morning comes when they reveal that the print version of Amelia’s Magazine was one of their favourite publications. “We’ve read almost every single issue!” exclaims Sean as Charlotte explains that their sound engineer on Acoustic Sessions introduced them to us and subsequently, the Amelia’s Magazine issues were the go-to reading material as the album was recorded.

As abstract as one of their self-designed illustrations, the interview takes the form of a free flowing stream of consciousness with Sean and Charlotte finishing off one another’s sentences and thoughts. (Their website wasn’t wrong when it wrote that The GOASTT work from one heart despite having two separate minds). While it wasn’t the typical Q+A that I was anticipating, it was way more fun – and fascinating – to touch on topics such as geodesic domes, Bauhaus, Buckminster Fuller, synesthesia, the phallic stature of city buildings, and what this represents in society – over to Sean on this one: “Joseph Campbell says if you look at the history of architecture you can see what the value system of society was like. The idea is that whatever the biggest object in your city is, is what you care about the most. In the beginning of civilization it was your hut i.e your home; in the middle ages we had churches as our spiritual centers and now the biggest buildings are banks, so it shows that we worship money now.” As seemingly random as the threads of conversation were at the time, looking back over my notes I could see that it’s all part of Sean and Charlottes conviction that everything is connected; art, music, culture; so why not question and draw inspiration from what’s around us?

While Sean has had both a solo career and been involved in other bands, The GOASTT seems like his most personal endeavor to date. “It’s the work that I’m most excited about having done since I’ve met Charlotte” he says. Sean’s musical lineage is well documented, but Charlotte is somewhat of an unknown force. I asked her about her background. “I had written a lot of folk music”, she explained, “but it wasn’t for commercial purposes. I was travelling a lot when I was younger doing modelling and at that point my only companion was a guitar.” With no firm musical direction, she abandoned her music, but when she met Sean she found her inspiration, and received a crash course in Sean’s prolific record collection. “Folk and classical music was my only background, and Sean was a rolodex of so many different musical genres; he played me so much music that I had never heard of and it just blew my mind.” Sean reminisces about the first time he heard Charlotte’s music; “She kept it a secret that she played at all and I found it very mysterious. She had written all these songs and didn’t tell me till we had been dating for a year, and then she played them to me and I was like: ‘wow’…….. ” Joining forces, they embarked on an outpouring of work. “We wrote, like, 50 songs quickly. There was a lot of chemistry, not just in our relationship but creatively.” Charlotte is quick to praise Sean’s musical versatility: “I think Sean is so schizophrenic musically because he’s so talented. I’ve heard him playing so many styles, from folk, to funk, to..” “To flunk”, chimes in Sean helpfully, “that’s funk and folk combined”. (Is it? I need to do some research on this).

We talk about the nature of the album, and the fact that it’s entirely acoustic (the clue’s in the title). “It’s funny”, says Sean, “because someone asked us if this record was a concept album, and it’s not per se, except that there is one concept which is that we wanted to do everything on the record by just the two of us – no one else plays on it – and all the instruments are non electrical.” I remark that all of their performances feature a lot of instruments being used; guitars, cymbals, melodicas and xylophones are laid around Sean’s and Charlotte’s feet, ready to be picked up and played. “The record that you hear is very much live” confirms Sean, “and in order to recreate that live we had to figure out how to multi-task with our instruments which makes the show a lot more exciting for us – although I don’t know if it does for the audience!” (FYI, their set at The Roundhouse Studio on the following night was seamless and very well received).

Their days are currently filled up with gigs around the globe, most of the time performing strictly as The GOASTT, or occasionally pulling in musical friends of theirs. If that doesn’t keep them busy enough, the band is housed by their own record label, Chimera Music which they run from their home in New York. Also signed to Chimera is his mother Yoko’s group; The Plastic Ono Band, of which Sean is musical director. (Sean and Charlotte had come to London by way of Iceland, where he was overseeing the Plastic Ono Band gig, held in honour of what would have been John Lennon’s 70th birthday). All in all, it’s been an incredibly busy and productive year for Sean and Charlotte, and while their schedule seems to verge on the absurd, they are keeping a cool head. “It’s a good time, an inspiring time for us”, Sean assures me, and on the basis of Acoustic Sessions, I can believe this.


By Daniel Williams

Maybe theres something in the air, more about maybe its my age or maybe its the season but it seems everybody around me has suddenly spawned. Friends have started to have babies, viagra approved and family members are producing them faster than I can count them.


By Michelle Urvall Nyren

I am also a little south of skint, so my meagre craft skills have come in pretty handy. I recently made a baby mobile out of stuff lying around my flat. It was easy, free and convenient , so I thought I’d show you how to make one.

You’ll need:

Wire coat hanger
Fabric (I used an old running t shirt, denim cut offs, and some other fabric I had lying around)
Ribbon, if you have any
Scissors
Glue
Buttons (Optional)

Firstly, bend a wire coat hanger into a circle. Easier said than done. I found that laying it on the table and beating it into submission with a hard object worked best. Wrap some thin strips of fabric around the wire coat hanger, using a dab of glue every few wraps to secure it.

To make the part that will attach to the ceiling, plait 3 strips of fabric 3 times. Then attach the three plaited strips evenly around the fabric covered wire frame, using glue or a staple or a few stitches.

Cut your strips of ribbon and fabric to the same width and length, then fold the top of each strip of fabric around the fabric covered wire frame, using a dab of glue to secure each strip.
To make sure none of the lengths of ribbon fall from the frame, you could also add a few stitches to each strip too.

Baby Mobile Finished
Baby Mobile Finished

This is easy enough to encourage little hands to help you do it, as I did with my creation above. I fashioned the wire and plaited the three strips that attach to the ceiling, and my little assistent attached the individual strips to the frame. You could neaten it by hemming the fabric, or using only ribbon, or keep it rough and ready. Parents will appreciate the time you put into it and babies will love the colours and the way it moves. And, more importantly, it doesn’t add to the inevitable pile of growing tacky plastic crap, either. Winner.

This column attempts to provide lovely ways to recycle junk into useful and beautiful things. If you have a genius recycling idea or if you are stuck with something you don’t want to chuck away, leave a comment and let me know! I may feature your idea or I will try and come up with a solution to your recycling conundrum.

Illustration by Daria Hlazatova

Fashion illustration. You may have noticed we get pretty excited about the genre, nurse particularly with Amelia’s new book on the way. Drawing Fashion at the Design Museum has been hotly anticipated and it doesn’t let down. Put together by Joelle Chariau of Galerie Bartsch & Chariau over 30 years, viagra the show covers fashion illustration from the early 20th century forward. The present installment at the Design Museum is the first time the collection has been shown together.

The quick overview: the show captures the power of illustration to reflect not only the fashion but also the tone of the times, for sale in a way unique to other media forms such as photography. It proves that although photography has become the predominant media from the 1930s, illustration still holds a valid and special place in fashion. 


George Lepape

The longer version: split into five eras, the exhibit focuses the viewer to the changing role of fashion illustration and its connection to the culture it is a part of. The first, From Gold to Silver 1910-29, captures the optimism and new worldviews of the early 20th century with bold use of colours, a new vibrancy and a focus on lifestyle in the illustrations. The single figures of Erté, the Vogue and La Gazette du Bon Ton George Lepape covers bring out the new silhoette of the 1920s. Stylised illustrations celebrate the lifestyles that few could afford, but which encapsulate post war enthusiasm. The highlight here: George Lepape’s Chapeaux D’Hiver for Le Bon Ton in pen, ink and watercolour, showing both the original and use in editorial. 

Moving forward to 1930-46, the tone of Time & Decay reflects the changing times: the depression, the movement of focus from Paris to America during the war years, the popularity of the cinema and a focus on leisure and sportswear in fashion. This more casual tone is brought through the illustration, with looser strokes, more muted colours and more introspective compositions. This section highlights the talent of Bernard Blossac and René Bouché


René Gruau

Enthusiasm returns in New Rhythms, New Rules 1947-59, introducing Dior‘s ‘New Look‘ in 1947. The illustrations of Réne Gruau perfectly capture the ‘exagerated elegance’ of Dior’s bold new style. His bold use of colour and line, with a predominance of red, white, back and orchre shine through this section of the exhibit. The timelessness of the illustrations is highlighted by a Vogue Paris cover illustration, first published in the 1950s, republished for the Juin/Juillet 1985 edition, that would look equally contemporary today. Another highlight is a single pink glove, showing a movement from full figure to individual detail and objects of the body. 


Antonio Lopez

The true star of the show is Antonio (Lopez), the sole focus of Liberty & Licence, taking the viewer through 1960-89. Anotonio’s bold graphics in pencil and watercolour celebrate the dynamic feminism of the 1970s and especially the 1980s. This is power illustration to the max, matching the era’s power dressing with big shoulders, tight waists and attitudes to match. Hitting the mood of each decade, Antonio’s style adapts through the 1960s-80s, with a focus on form and art. 


François Berthoud

The exhibit concludes with The Tradition Continues 1990-2010 and Fashion Drawing for the Future. The illustrations chosen in this section react against ‘the cult of the individual’ and big budget commerciality of fashion and advertising. Matts Gustafson and François Berthoud show new paths forward in terms of form and technique. Berthoud’s Allure de Chanel for Rebel, France (enamel on paper) reduces the figure to positive and negative forms.


Mats Gustafson

Overall, illustrations are more moody and suggestive and are often simplified to form, colour and movement. An Aurore de la Morinere for Christian Lacroix published in Süddeutsche Zeitung Magazine loses the form of figure and clothes to a shimmer of colours, becoming etherial and fantasy rather than any depiction of the body. A dark illustration for Alexander McQueen with the figure walking away from the viewer and displayed alone poignently reminds of the loss of this fashion great. 

There is currently a resurgence of interest in fashion illustration and Drawing Fashion celebrates this. With any retrospective, it’s difficult to cover everything and there are a few illustrators missing – notably David Downton who we interviewed recently. The exhibition, however, demonstrates illustration’s power to take the viewer beyond the simple display of clothes and connecting what we wear with the mood, ideologies and changing tides of the 20th century.

Get all the information you need, including the line up of talks associated with the exhibition, in our listings section.
Gemma Milly Speedarting

SpeedArting by Gemma Milly.

So I’ve spent an hour getting ready. I’ve gone for a little black dress, viagra 40mg bird necklace and black shu-boos, for sale and am heading out to Stone Horse Paper Cow on Bishopsgate. As I draw nearer the anticipation rises and I can feel my heart beating faster. Why does this always happen when you’re about to meet some potential totty?

But this is no ordinary date, oh no, I’m about to arrive at an altogether more intriguing rendez-vous. Tonight, with my best-friend at my side, I am going SpeedArting. There is every possibility that I will still meet a dark and handsome stranger, the only difference is that he’ll be hanging on my wall rather than off my every word (as I’m sure they always do). And none of the ‘I’m not ready to have a relationship’ after a few dates to put up with. Hurrah!

Victoria Topping - Illustrator

‘Gesamtkunstwerk’ by Victoria Topping.

Brainchild of Jody Kingzett, Photographer who has snapped the likes of Dame Helen Mirren and Naomi Campbell, and who I met two years ago on a photoshoot in the freezing cold in Southwark, the concept is so simple that I’m surprised no-one has thought of it before. In a nutshell, it’s all about matchmaking you, the public ,with affordable art, in quirky locations – think Sketch Parlour not Slug and Lettuce (thank the lord!). So hats off to Jody for spotting a niche and hop, skip and jumping right into it.

Illustration by Darren Cranmer

Illustration by Darren Cranmer.

Amongst the artists that will be exhibiting and selling their wares this Wednesday are Neha Mojaria, who produces street-art style canvasses with a fashion twist, Illustrator Victoria Topping who creates surreal music-based illustrations, and Darren Cranmer who’s illustration style is sublimely delicate and atmospheric. Not to mention the man himself – Jody Kingzett.

Meha Mojaria - Artist

Painting by artist Meha Mojaria.

The next SpeedArting event is this Wednesday November 24th at Stone Horse Paper Cow, and promises to be a festive one. What better antidote to a tiring day in the office than to grab your friends and head out for a spot of high-brow Christmas shopping, with a free drink thrown in? So if you fancy being part of the newest big thing to hit the London art scene, make sure www.speedarting.com is firmly at the top of your bookmarks, and follow SpeedArting on Facebook or twitter. Who knows, you might bag yourself a nice little bit of eye candy.

Categories ,Affordable, ,Bishopsgate, ,Christmas Presents, ,Dame Helen Mirren, ,Darren Cranmer, ,fashion, ,Gemma Milly, ,illustration, ,Jody Kingzett, ,Naomi Campbell, ,Neha Mojaria, ,painting, ,photography, ,Sketch Parlour, ,Speed Dating, ,Speedarting, ,Stone Horse Paper Cow, ,street art, ,Victoria Topping

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Amelia’s Magazine | SpeedArting: the art of seduction

Gemma Milly Speedarting

SpeedArting by Gemma Milly.

So I’ve spent an hour getting ready. I’ve gone for a little black dress, bird necklace and black shu-boos, and am heading out to Stone Horse Paper Cow on Bishopsgate. As I draw nearer the anticipation rises and I can feel my heart beating faster. Why does this always happen when you’re about to meet some potential totty?

But this is no ordinary date, oh no, I’m about to arrive at an altogether more intriguing rendez-vous. Tonight, with my best-friend at my side, I am going SpeedArting. There is every possibility that I will still meet a dark and handsome stranger, the only difference is that he’ll be hanging on my wall rather than off my every word (as I’m sure they always do). And none of the ‘I’m not ready to have a relationship’ after a few dates to put up with. Hurrah!

Victoria Topping - Illustrator

‘Gesamtkunstwerk’ by Victoria Topping.

Brainchild of Jody Kingzett, Photographer who has snapped the likes of Dame Helen Mirren and Naomi Campbell, and who I met two years ago on a photoshoot in the freezing cold in Southwark, the concept is so simple that I’m surprised no-one has thought of it before. In a nutshell, it’s all about matchmaking you, the public ,with affordable art, in quirky locations – think Sketch Parlour not Slug and Lettuce (thank the lord!). So hats off to Jody for spotting a niche and hop, skip and jumping right into it.

Illustration by Darren Cranmer

Illustration by Darren Cranmer.

Amongst the artists that will be exhibiting and selling their wares this Wednesday are Neha Mojaria, who produces street-art style canvasses with a fashion twist, Illustrator Victoria Topping who creates surreal music-based illustrations, and Darren Cranmer who’s illustration style is sublimely delicate and atmospheric. Not to mention the man himself – Jody Kingzett.

Meha Mojaria - Artist

Painting by artist Meha Mojaria.

The next SpeedArting event is this Wednesday November 24th at Stone Horse Paper Cow, and promises to be a festive one. What better antidote to a tiring day in the office than to grab your friends and head out for a spot of high-brow Christmas shopping, with a free drink thrown in? So if you fancy being part of the newest big thing to hit the London art scene, make sure www.speedarting.com is firmly at the top of your bookmarks, and follow SpeedArting on Facebook or twitter. Who knows, you might bag yourself a nice little bit of eye candy.

Categories ,Affordable, ,Bishopsgate, ,Christmas Presents, ,Dame Helen Mirren, ,Darren Cranmer, ,fashion, ,Gemma Milly, ,illustration, ,Jody Kingzett, ,Naomi Campbell, ,Neha Mojaria, ,painting, ,photography, ,Sketch Parlour, ,Speed Dating, ,Speedarting, ,Stone Horse Paper Cow, ,street art, ,Victoria Topping

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Amelia’s Magazine | Tate Shots: Jared Schiller’s Dream Job

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Jared Schiller with David Byrne

All photographs and videos courtesy of Tate Shots except where otherwise stated.

Back in 2002 whilst still a skint student, cheapest I started what was then my idea of a dream job: ticket seller at Tate Modern and Tate Britain. I got to see great art and even meet the odd artist or two. I remember Gustav Metzger insisting he paid to see Barnett Newman, and Tony Oursler successfully blagging a freebie to the Turner Prize. Bridget Riley even gave us a personal tour of her exhibition. Fast forward five years and I’ve landed a job helping Tate Media launch a new video podcast: TateShots. These days I produce and commission the TateShots series, in which we interview artists about the business of making art, and talk to famous gallery-goers about their favourite art shows. The job has given me the opportunity to nervously meet heroes of mine like Jeff Koons, Laurence Weiner and Martin Creed, as well as artists I’m less familiar with but who become firm favourites.

We’ve made 150 episodes of TateShots so far, and it now comes out weekly. This week we launched a new strand called Sound & Vision. The series took the films’ director, Nicola Probert, and I, all over the country to interview musicians who make art. Billy Childish, Lydia Lunch, Mark E Smith, David Byrne, Jeffrey Lewis and Cosey Fanni Tutti all helped us with our enquiries about where art and music collide.

me-and-JeffJared Schiller with Jeff Koons

Billy’s interview was probably the most memorable. We filmed him in a cramped bedroom he uses as a studio in his mum’s house in Whitstable, surrounded by stacks of paintings. There was hardly enough room for him to paint, let alone for us to film.  Billy’s musical and artistic reputations arguably couldn’t be more different. As a musician he is cited by bands like The White Stripes as an influence – his dedication to lo-fi recording and performance make him the very definition of authentic.  On the other hand, as an outspoken critic of conceptual art, his standing in the art world is a little harder to pin down. Because of this big difference, Nicola had the idea to get Billy to interview himself.  So Artist Billy asked Musician Billy questions (e.g. “Do I have an influence on you?” Answer: “No.”), and explains how he went through a ten year stretch of only painting to the music of John Lee Hooker (almost). The whole experience made me think that it’s only a matter of time before Billy Childish is unmasked as the ultimate conceptual artist…

Going forward I would love to make more videos about pop stars with a taste for art. Before we embarked on this series we had already spoken to Alex James from Blur about Ellsworth Kelly, and John Squire from the Stone Roses about Cy Twombly. Apparently Jay-Z is a massive Richard Prince fan, so perhaps he should be next on my list.

meJared Schiller photograph courtesy of Simon Williams/O Production

What Jared likes:

Places: Moel-y-Gest, a hill near Porthmadog in North Wales

Food: Pizza. My dream is to build a pizza oven in my back garden. It will never happen but I keep hold of the dream..

Drink: An Islay Whisky is the perfect late night tipple.

Website: http://www.tate.org.uk (of course)

Music: Currently the new Four Tet album.

Books:  Currently reading ‘Then We Came to an End’ by Joshua Ferris. I mainly have a weakness for any kind of exhibition catalogue or artist’s monograph.

Film:  I’m looking forward to Chris Morris’s ‘Four Lions’.

Shop: Alter 109 is a really good men’s boutique in Greenpoint, Brooklyn.

Categories ,art, ,Billy Childish, ,conceptual, ,contemporary art, ,Cosey Fanni Tutti, ,Cy Twomby, ,david byrne, ,Jeffrey Lewis, ,Lydia Lunch, ,Mark E Smith, ,music, ,musician, ,painting, ,Tate, ,Tate Britain, ,Tate Modern, ,Turner Prize, ,video

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Amelia’s Magazine | The extra in the ordinary.

IDIOT SON OF STELLA AND GEORGE

An eclectic mix of art work by a group of like minded people exploring expressionism through art.
Peckham Square, tadalafil page 28th of March 2- 6pm

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In the Pines

Jack Strange
Limoncello 2 Hoxton St London, rx opening 27th of March 6.30 – 8.30pm, case exhibition: 26th – 28th of March 11am – 6pm and by appointment until 2nd May 2009.

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Order and Disorder

Wilhelmina Barns-Graham
A look at a very unique collection of paintings and prints, several have never been publicly exhibited before.
Art first in Cork street, 24th March – 23rd April

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One or Several Wolves

Priya Chohan, Coral Churchill, Annelie Fawke, Kwang-Sung Hong, Heidi Locher and Anne E Wilson.
A group of artists look at conceptual motivations within Art, using a variety of media each artist explores the relationship between concept, material and final work created.
Kingsgate Gallery, 20th March – 5th April Free

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Bandits present

New installation work from Glaswegian artists littlewhitehead.
The Bun House Bandits, 96 Peckham High Street London. Preview: 15th March 2009, 4pm. Exhibition: 16th March 2009 – 29 March 2009, 11am–11pm

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Being and nothing-ness

Youngmi Kim, Kiwoun Shin and Seunghyun Woo
Three Korean artists explore the notion of “being” through various multi media methods, the exhibition includes paintings, videos and sculptures.
Nolias Gallery, 60 Great Suffolk St SE1. Private view: 26thMarch at 6pm- 9pm, exhibition: 27th March- 7TH April 200 10:30Am-6pm,

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We are his body

installation art work inspired by the artist’s exploration of the cross in today’s society.
Viewing at Christ Church URC 663 Barking rd Plaistow E13 9EX, 25th March 6pm

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Kate Marshall: Live Painting.

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This dextrous figurative painter will be doing a live drawing and painting gig at Movida, Argyll Street on April 2nd. Arrive at 9.30pm, you might get a free drinky. She’ll be starting work at 10pm. Check out the event on facebook.
I just woke up from the best nightmare I ever had, store at least I think it was a nightmare. I mean, side effects I’ve heard of mutton dressed as lamb and a wolf in sheep’s clothing, health but last night I saw a couple of ladies, dressed as a wolf and a sheep respectively, among other things.

But what was this, what had I stepped into? Well I found the best person to ask, Annie Oldfield. A lovely young lady from Leeds, dressed as a wolf! I thought it would be fun to create a one-off themed party where you can listen to music all night that`s in some way related to animals: Animal Collective (Panda Bear), Deerhunter, Modest Mouse (the list is endless), eat crackers and, of course, what themed party is complete without fancy dresses. Shark, tiger, zebra, duck, crab, swan, cat (there were lots of cats) all had turned out.

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After Annie along with friend Bonnie Wan came up with the idea they went to
DJ/Promoter friend Dave Bassinder (Underachievers) and Filthy animals! was born.

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Not one for getting down on the dance floor, that was no problem here, you could keep yourself occupied by making animal balloons or watching films played on a big screen, obviously starring our fantastic furry friends. Or grab a piece of paper and give origami a go, make some sort of flapping pterodactyl. Of course the term filthy suggests more than balloon modeling so a few cheap drinks and many tunes later and the dance floor got the attention it deserved, well you spend all day making a costume you gotta show it off, right?

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It`s a real shame it had to end as there are no plans for further repercussions. If you read this Underachievers “BRING BACK THE ANIMALS and KEEP EM FILTHY”!
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I have something to admit, viagra sale I am a warehouse party virgin. By warehouse parties I mean not-really legal parties, treat which announce their locations via facebook messages about five minute before they start and you quickly have to get yourself to some remote north London spot in Zone 4. For me there is nothing fun about the obvious issue of trekking all the way out there just for the police to shut it down at twelve. Or 11.30 PM on New Years Eve, rx which is what happened to one of my friends!

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After one of our writers posted about their last exhibition I decided i couldn’t miss the LuckyPDF warehouse party, even better it was all above board and legal. There were rather fancy gold flyers promoting the event and they even hired their own bouncers, who were at the door all night checking ID. While this might take some of the thrill away for regular warehouse party goers I rather enjoyed being somewhere with plumbing and electricity. My favourite part was not having to trail across London to a Saw-esk industrial park, because the event was just off Peckham high street. As the LuckyPDF people boldly proclaimed before the event, “The people of South London shalt need to travel to East London any longer for their Huge Party needs.”

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I arrived at eleven and the queue to get in was absolutely insane, luckly i’d sent a RSVP email, but I still had to wait a good fifteen minutes to get into the rooms even once I was through the main gate. This was no thrown together event, they had obviously put a lot of effort into sound and lighting, which was refreshing and very welcome. As I entered the bottom room floor I was immediately hit with throbbing lights and heavy bass. There were hoards of people, I couldn’t even begin to count how many attended the event, but nothing was too serious. I think something about the fact it was in a warehouse just made the whole event more relaxed, there was a lot less people there just to smoke and be seen than there were people just wanting to have fun. No “this is the dance floor, this is the bar” locations usually explicit in gig venues meant people were just doing what they wanted where they wanted.
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The LuckyPDF warehouse party aimed to be “a rampant music/art extravaganza that will continue til the early morn..” The music was definitely there with the order of the day being, “Bass, Bass, Garage, Electro, Bass, Drum n Bass, Swing, Tango, Nintendocore and Bass”. There were Dj sets from 10 PM – 4AM from South London party circuit favourites, XXX, My Panda Shall Fly and Tomb Crew, plus many, many more. These Dj’s were well selected and well received (apart from whoever kept cutting tracks short in the top room!) effortlessly mixing cutting edge bass tracks with forgotten classics.

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However, I was completely perplexed about the other bit, you know the art. Unless really, really small (microscopic) art has come in fashion since the last exhibition I went to I would swear that there wasn’t any. It could have been hidden by the hoards of people there, but still if you’re going to advertise art it would be helpful if people could see it. Previously this would have annoyed me, but I feel i’m just starting to get the point of collectives such as LuckyPDF and it’s peers. Although these guys are artists, they’re not together to try and promote a certain type of art or medium over any other. With the exception perhaps being Off Modern who have a whole Off Modern manifesto on their website. As far as I know there is no particular theme or common interests in the work of the organisers of these events and if there were it would be purely incidental. It’s more a case of getting people excited about South London. Which something that hasn’t happened since (dare i say it) the YBA’s, and they all rushed off to live in the East End or houses in the country as soon as they could anyway.

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I will forgive the LuckyPDF guys just this once having an event light of the art and heavy on the music (which draws people in and allows them to charge entry fee), because they have stated that they’re a not for profit organisation, and I hope the money they made will be going into more exhibitions. And when they do I’ll be there, pen in hand, because I can’t wait to see what they’re going to do next.
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Photography by Ted Williams

Monday 23th

The Rakes
release their third album, symptoms KLANG, buy information pills today and to celebrate the band will play a special gig at London’s Rough Trade East at 6pm tonight.
The follow up to ‘Ten New Messages’ is pure and the best of The Rakes as you can check out on lead track ‘1989‘.
Wristband collection 1 hour prior to gig, first-come-first-served basis-one per person.

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The Rakes

Tuesday 24th

It`s crunch time at The Social and the venue welcomes Kid Carpet to promote his new single, followed by Moonfish Rhumba with their electro beats and peculiar lyrics.
If great music is not enough to take your mind of recession, this month the venue provides the Crunch Time Rant where you can take your anger to the stage, step on to a soapbox and speak out your thoughts.
Doors 6pm, 99p.

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Moonfish Rhumba

Wednesday 25th

Hoxton Square Bar & Kitchen receives Joseph Mount, aka Metronomy and DJs, including the opulent pop of Your Twenties (whose harmonious frontman is Metronomy’s former bassist).
8pm, £7, adv £6.

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Metronomy

Thursday 26th

Plugs, My Tiger My Timing and Shock Defeat at the Paradise By Way Of Kensal Green for a bit of electro/disco rock.
7:30, £7, adv £5.

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My Tiger My Timing

Friday 27th

The three new yorkers forming The Virgins land in town for some dance rock at Koko London.
9:30pm, £7, £5 before 11pm, concs £4.

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The Virgins

Saturday 28th
Up for some healthy girlie pop? Betty and the Werewolves bring their female fronted indie-ditty-pop vocals (they do count with one boy on the drums!) to Bardens Boudoir next Saturday.
8pm, £6.

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Betty and the Werewolves

Sunday 29th
Close (or begin?) your week with the Society of New Music – an avant garde event featuring Wet Dog live at The Social.
7pm, £2.

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Wet Dog

To all you vintage addicts I bring you salvation!

On April the 4th a vintage bonanza will be hitting the streets of Bethnal Green to bombard you with their scandalously cheap vintage, viagra 40mg so prepare yourself Shoreditch! I understand if you are dubious, case “what makes it unique in comparison to the endless array of oversaturated vintage fairs and markets in London” I hear you say? Well, the differentiation is that at this event you won’t be leaving empty handed if you left the house with a mere twenty pounds. This is vintage on an extremely tight shoestring, for any savvy shopper the affordable vintage fair is akin to the sensation of being a child in a sweet shop again!

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Heralded as the largest vintage fair in north England, the organizers have delved the nation with their noble quest for affordable vintage, leaving no stone unturned. Our loyal travellers have unearthed hidden gems and want to bring you the fruits of their labour! So cast aside the idle and banal window shopper, let your hair down and embrace your style hungry primordial urges. The fair is an emporium of vintage wonderment; there are style advisors, a customisation and alternations area, swapping area as well as bundles of vintage clothes and furniture.

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But the most exciting element of the fair has to be the pay by kilo vintage stall. This really is vintage paradise; trawl to your heart’s content safe in the knowledge it’s not going to cost you much more then your weekly grocery shop. The phenomena is commonplace with our European counterparts, but kilo shopping will be making its debut here in the UK. So get trawling and scout some hidden gems, this might just be your chance to revive your wardrobe from the brink of darkness and inject a whole new burst of life. What other chances would you get to weigh out your clothes, just like you would weigh out your sugar?

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They have catered for your every whim feeding your ears and taste buds with a nostalgic trip down memory lane. With music spanning the decades from the bohemian 60s to the energetic 80s, not forgetting a whole host of cake stalls and beverages to whet your appetite.

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So don’t miss out, get down there 11am pronto on the 4th of April, I for one will be installing my vintage bargain radar and heading down myself!
Everyday at the office here, treatment while we`re writing our articles and drinking our teas, we try to go through the many cd`s we receive daily and now and then there`s one that catches everybody`s attention, making everyone in the room ask “who`s this”?
That`s exactly what happened when Cari put on the single from up and coming group My Tiger My Timing. In less than 30 seconds heads were bopping and legs were shaking unanimously. This Is Not The Fire is so catchy that I`ve been listening to it non stop since Tuesday.

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They play a delightful, totally danceable afro beat, electro-pop and still they compare themselves with bands like Metronomy and Casio Kids. While most of the groups desperately run away from extreme pop and commercial tracks, MTMT does exactly the opposite, recognizing their will for creating easy listening and fluid beats.

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The foursome was formed in 2008 in south east London and their debut single was produced by Andy Spence of New Young Pony Club and will be released April 6th 2009 downloadable through Silver Music Machine.

Tuesday I had the chance to see them live at Cargo and I`m definitely looking forward to the entire album, it was quite an electrifying performance. Here`s a little video of the last song:


Yesterday, buy a few of the Amelia’s Magazine girls went along to witness the G20 protests in the City of London. The day had dawned to brilliant sunshine, and clear blue skies, which meant that the sight and sound of the police helicopters hovering overhead was even more pronounced. The events which were due to unfold promised to be extraordinary, and I was keen to see what was going to happen. It was hard to know what to expect, but here was the run down. Four different carnival parades, were to converge around the Bank Of England, and protest the current economic and environmental climate. We were guided there by the Four Horsemen of the Apocalypse, leading the processions from four rail stations. We were setting off from Liverpool Street, led by the Green Horse – representing climate chaos. Walking from Brick Lane to the station, I was struck at how different the city seemed. Spitalfields Market, and all the restaurants around it were closed. There were not many city workers around, but those who were out and about were dressed down. I didn’t see a single suit around me.

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G20protests4.jpgThe Barbican towards The Bank of England. It was enjoyable to be part of such a good natured crowd and it was fun to watch all the shop owners standing outside their establishments, watching with fascination at the colourful carnival proceeding past them.

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As we walked towards Bank we passed Northern Rock. Some clever jokers had hung a sign inside their office entitled ‘We Love Money”. As I went to take a picture they hastily pulled the sign down. I could only marvel at the thoughtlessness of that statement, wasn’t it hundreds of thousands of pensioners money that they had lost – was that the money in question that they loved so much? After a brief stop, we marched into the space around The Bank Of England. I was shocked by the amount of people who were here. Estimates at 4,000 are not an exaggeration. The place was packed. Having only ever seen this section in London as a thoroughfare for busy, frantic city workers, and crammed to the gills with buses, it was surreal to see it filled with so many protesters. No cars, just people.

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After about 45 minutes, we were ready to head back to the office. I went to walk past a row of police and quickly found that I couldn’t get through. Not quite understanding the situation I was unconcerned, thinking that they were guarding just one exit. Knowing there were plenty more exits around Bank station we wandered back to the road that we had come in on. Again, we were met with a throng of police. They stood arms locked. Still assuming that this was something that would be resolved soon, we sat down and scrounged some crisps off a girl sat next to us. (Not expecting to be there for long, we didn’t take any food, and not much water.)

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Then some of the police vans next to us started to move through the police and drive away. We thought that this was our cue to leave as well, and strode towards the police. They immediately closed ranks. It was at this moment that I took in the situation. They had cordoned us all in; we had unwittingly become kettled. (This word now chills me to the bone). No one was going anywhere without their say so. the crowds started to fill up and began asking questions. As I was nearest the front I asked how long this situation would last for. “Don’t know” came the response. Many people started asking why this was happening, but the police would not respond. Our crowd was large, and there was not an ‘anarchist’ in sight. Many tried to squeeze towards the police and told them that this was violating their human rights, and was against the law. Again, no response.

G20%20Protests1.jpg

We were soon packed so tightly that it was like being at the front of a gig, but instead of watching a band, we were staring into the hard faces of men who refused to talk to us, and would sooner beat and arrest us then let us get past them. At this point the crowd surged and we fell into each other. The police shouted at us “Get back!” a woman shouted “Where to?!” We were trapped in a scrum, and the police were pushing us back while we were being pushed forward. I saw riot police walk towards us and I felt a surge of panic. We had been trapped by the police and there was nothing that we could do. I pleaded with the officer in front of me to let us go (I can now see how futile that was). I said that we were scared, and asked if a riot were to kick off, who are they going to protect? “I can’t answer that” was the response. Women started shouting that they had children from school to pick up, jobs to get to. The most common cry to the police was “Why won’t you speak to us?” I got so fed up from this feeling of powerlessness that I phoned the news desk at BBC News. I shared my feelings of worry to the reporter on the other end of the phone; and told her the scenario. I relayed what the officers had told one girl to do who said that she needed the toilet – “you can go in the street”; what they told one boy who said that he wasn’t even part of the protest – “You are now”. The BBC reporter told us that this situation was happening at every exit of the march. She said, “You are all being tarred with the same anarchist brush, this is their tactic”.

G20%20protests.jpg

Around an hour later, still in the same position, a man passed out in front of me. He had been standing quietly, not trying to defy the police, and his only movement for the two hours that we were held was to quietly read a peace of paper that he had in his hands. I had looked at it at one point and could see that it was a Psalm. Thankfully, the officers took him away and led him to an ambulance. Just as I started to feel that it was going to be an all night cordon, my friends phone rang. A friend of hers told her that they had just opened one of the exits round the corner and we bolted for it. Walking to the tube, we were jumping up and down with exhilaration. We began receiving updates that the RBS building was being stormed, and that the police were beating protesters. What had started off as a peaceful and well meaning protest was quickly turning into something much darker, but who was at fault? If you asked anyone in the 4,000 strong crowd they would have no trouble telling you. The police’s tactic of kettling us, purposely providing us with no information and locking us in for two and half hours was easily going to generate the mayhem that they had predicted. Nonetheless, I am so pleased that I attended. It was always going to be an interesting day, I just wish that the peaceful protesters would have been treated better and not denied their basic human rights.
Monday March 23rd.

WE CAN postcards to Ed Miliband and MPs: Monday 23rd March
 

On Monday 23rd March, pills hundreds of children dressed as endangered animals will write postcards to Secretary of State Ed Miliband and to their MPs, in an effort to make the government call a halt to plans to build a third runway at Heathrow and a new coal-fired power station at Kingsnorth.
 
According to NASA scientist James Hansen, who is now advising President Obama, up to 400 species of animals are threatened with extinction by the emissions from Kingsnorth.
 
Filmmaker, mother of three and founding member of WE CAN, Rebecca Frayn said, ‘The children are horrified that so many animals could be wiped out. Ed Miliband has said that carbon capture and storage will be introduced to clean up the emissions, but nobody knows when, or if the technology is even practical.’
 
The postcards will be coloured in and presented after a gathering in Old Palace Yard at 5pm on Monday 23rd March. Several MPs including Andy Slaughter and John McDonnell have agreed to meet children in the lobby of the House of Commons

WECANprotest.jpgForests and Climate Change: an Amazonian Perspective for Copenhagen
Date: Tuesday, 24 March, 2009 – 17:30
Chatham House?
10 St James’s Square
?London
?SW1Y 4LE

A joint IIED and Chatham House event, the debate will be led by Professor Virgílio Viana, Director General, Amazon Sustainability Foundation.
Doors open 5.30pm?Event starts 6.00pm?Reception to 8.30pm
Venue:?email: Alessandra.Giuliani@iied.org Tel: 0207 388 2117

Professor Virgílio Viana is one of Brazil’s leading academics and practitioners on forestry, environment and sustainable development. Prof. Viana served as Secretary of State for Environment and Sustainable Development, Amazonas, Brazil, between 2003 and 2008. He stepped down from the position of Secretary of State for Environment and Sustainable Development, Amazonas, in March 2008 in order to devote his time to new challenges and projects. He is currently the Director General of the new Amazon Sustainability Foundation, and is presently in London as part of a 3 month sabbatical with the International Institute for Environment and Development (IIED).

Wednesday 25th March

St James’s Church
197 Piccadilly
London W1J 9LL?
7.00pm
GLOBAL DEVELOPMENT FORUM – Governments; friends or foes of development?
Contact 020 7734 4511 for further details

Thursday 26th March

RICH MIX
35 – 47 Bethnal Green Road, London, E1 6LA

BOX OFFICE:
020 7613 7498

OFFICE/ADMIN:
020 7613 7490

info@richmix.org.uk
www.richmix.org.uk

The Age of Stupid (PG)
Genre: Drama/Documentary
Dir: Franny Armstrong

The Age Of Stupid is the documentary-drama-animation hybrid from director Franny Armstrong (McLibel, Drowned Out) and Oscar-winning Producer John Battsek (One Day In September, Live Forever, In the Shadow of the Moon).

Oscar-nominated Pete Postlethwaite (In The Name of the Father, Brassed Off, The Usual Suspects) stars as an old man living in the devastated world of 2055. He watches ‘archive’ footage from 2008 and asks: why didn’t we stop climate change when we had the chance?
Plus Q+A with
Thurs 26 March after 6.45pm screening- Lizzie Gillet (The Age of Stupid film producer)

Forests and Climate Change,
7pm, Royal Geographical Society,
1 Kensington Gore, SW1 London

The world’s forests are home to an extraordinary range of species, and are arguably one of our greatest safeguards against climate change. Yet deforestation, whether for timber, farming or human settlement, continues at an alarming rate.
Climate Change, Canopies, and Wildlife
Dr. Mika Peck, University of Sussex
What are the impacts of climate change on the cloudforests of north-west Ecuador? Are existing reserves in one of the richest and most diverse of all biodiversity hotspots big enough to protect large charismatic mammals like the spectacled bear and big cats? How much do carbon offset programmes really benefit wildlife? Can technology such as Google Earth help us to identify canopy tree species and biologically diverse areas from space? These are just some of the questions that will be addressed during this lecture, which is based on data collected by Earthwatch volunteers in the mountains of Ecuador.

Dr. Mika Peck, Dr. Dan Bebber. Info: Earthwatch/ 01865) 318856/ events@earthwatch.org.uk

Friday 27th March

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(illustration courtesy of Aarron Taylor)

“Hell and High water: Climate Change as a spiritual challenge.” An evening talk with Alastair McIntosh

6.30pm drinks & light buffet at Gaia House, (18 Well Walk, Hampstead, NW3 1LD)
7.30pm Talk & discussion at Burgh House (Opposite Gaia House, New End Square, Hampstead, NW3 1LT)

Alastair McIntosh’s recent book, “Hell and High Water: Climate Change, Hope and the Human Condition” has been described on Radio 4′s Open Book programme as one of the best on climate change “because of its rage and optimism.” But Alastair’s “optimism” is not of a conventional type that relies on political, technical and economic solutions. His book is about hope, and how our response must also be psychological and spiritual. During the course of this evening, Alastair will introduce the book exploring why he thinks climate change is as much about our inner lives as outer realities, and discuss here this leaves us as campaigners for change. 

Saturday 28th March 2009
 “Climate Change, Consumerism and the Decolonisation of the Soul.”

10am – 4.30pm at the Gaia Learning Centre
18 Well Walk, Hampstead, NW3 1LD

Alastair will build on his presentation from the previous evening, focussing in particular on the role that consumerism plays as the driving force of climate change. He will unpack the history of consumerism and demonstrate how it has “colonised the soul” in an addictive manner, that needs to be responded to in a manner akin to other addictions. This will bring us back to the need, discussed the previous evening, to understand climate change as a call to deepen our inner lives, as well as come up with outer solutions. Many of these solutions will touch on the need for “Rekindling Community” – the title of his other recent book (a Schumacher Briefing) which he will introduce in the latter part of the workshop. 

Alastair McIntosh is a writer, broadcaster and campaigning academic best known for his work on land reform on Eigg, in helping to stop the Harris super quarry; also for pioneering human ecology as an applied academic discipline in Scotland. He is a Fellow of Scotland’s Centre for Human Ecology, a Visiting Fellow of the Academy of Irish Cultural Heritages at the University of Ulster, and in 2006 was appointed to an honorary position in Strathclyde University as Scotland’s first Visiting Professor of Human Ecology. He is the author of many books, including the critically acclaimed “Soil and Soul: People versus corporate power“. 

Booking for either the talk, workshop, or both is essential.  Evening talk £10 / One-day workshop £45. 
Reserve your place online at: www.gaiafoundation.org 
Or send a cheque made payable to The Gaia Foundation. 

For further details contact Vicky at: vicky@gaianet.org or 020 7428 0055. 

Put People First march for Jobs, Justice and the Climate
11am Victoria Embankment, London

Please come along and add your voice to the Put People First march for Jobs, Justice and the Climate in London on Saturday 28th March.
Global leaders are meeting in London on 2nd April for the G20 meeting, and we want them to Put People First and focus on jobs, justice and the climate.
Greenpeace is one of the 50 organisations supporting the march, which is calling for — among other things — a green new deal to help rebuild the economy and create green jobs. To see the full list of demands visit www.putpeoplefirst.org.uk.
Put People First is a coalition of organisations ranging from environmental and development charities to unions, churches and mosques, and we are expecting thousands of people from all walks of life to take to the streets and send a strong message to the G20 leaders. If you can make it to London, please join them.
The march will start at 11am at Victoria Embankment and head to Hyde Park for a rally with speakers and entertainment including comedian Mark Thomas and environmentalist Tony Juniper. Visit the website for more details including a route map.
We’re sorry if you’re not based in or around London and can’t make it, but if you do want to travel down for the march, Put People First are organising coaches from various places around the UK. 
Hope to see you there,
http://www.putpeoplefirst.org.uk/
 
Timothy M Duong is a fine artist searching for something extra ordinary to put “the ordinary on blast”. He as no interest in the ideal beauty, pilule finding that painting from life poses a challenge that often results in mistakes which can change simple art works into timeless pieces. This week I had a chance to find out what inspires his creativity.

timothy1.jpg


What inspires you?

People inspire me. The space around us inspires me. What fills that space and our relationships to it inspire me. Anything that sparks a resonance inside of me to ask the question “why” is probably the reason why I continue my work. So I guess you could say what I am making at the current moment is a documentation of how I perceive the world or my view of it and this is constantly changing as for my work also.

How did you get into Art?

My cousin who passed away several years ago introduced me to comic book art when I was very young and for years until high school that was all I was doing. While I was deep into the world of comics and the linear art, cure I bumped into “Kabuki” a book written and illustrated by David Mack and that was probably one of the most pivotal points in my artistic development. I didn’t even know that it was possible to bring such a way of communication with such a medium as comics. From then and there I abandoned comics and ventured into fine art.

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Who do you aspire to be like and who inspires you at present?

I really don’t aspire to be like anyone. I aspire to be more my self, if that can be an answer. People that do inspire me at the moment are artists like Phil Hale, Alex Kanevsky, Lucian Freud, Francis Bacon, Degas, Egon Schiele, Richard Diebenkorn and anyone that has a way with the brush and pencil.

Where do you see yourself in 5 years from now?

I see myself living comfortably from what I love doing. I can’t really put it any others words other than that…but I guess we’ll see how the economy goes eh.

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What advice would you give to someone trying to get into the Art?

My advice would be to have an open-mind and be forgiving of your mistakes, yet be your harshest critique. Our experiences are what makes us and to be afraid of consequences generated by our “experience” is to neglect ourselves. It’s all about trial and error in my book.

Do you have a muse?

I have no muse. Although I do hire models and try to work with some friends but no one on a regular basis, at least for now. I need constant change and revision so for me to have a regular muse would probably bore me, but you never know…maybe I haven’t found the “one”.

Categories ,art, ,drawing, ,featured artist, ,painting, ,Timothy M Duong

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Amelia’s Magazine | Turner & the Masters – should have formed a supergroup

turner moonlight

Jay-Z, price Coldplay and Girls Aloud in concert – that’s the closest analogy in recent times to the new Turner and the Masters exhibition at Tate Britain. There are so many greats in this revealing show that JMW Turner sometimes comes off the worst in the fistfights between complementary pictures hung side-by-side. Bursting with Rembrandts, viagra 40mg Canalettos and Titians, it gives a strong impression of how Turner felt in the world of art: in fierce competition with literally everyone who ever held a paintbrush.

It’s astounding from a modern perspective obsessed with originality to see how similar Turner’s works are in terms of style and composition to those of artists he admired. The Turner of this exhibition is constantly checking on what the person next to him is doing and trying to outdo them.

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Turner was totally engaged with the artists who preceded him and those who were his contemporaries. An anecdote that reflects the artist’s temperament is that of the 1832 Royal Academy exhibition: during the “varnishing” time before the show opened to the public, Turner saw Constable’s riotous work “Opening of Waterloo Bridge” (above), which surges with colour, including bold reds. Turner went to his painting “Helvoetsluys” (below), a cool seascape – and added a tiny red buoy. Constable, now in possession of a painting that looked overblown in comparison, complained that “Turner has been here and fired a gun”.

 Helvoetsluys Turner

ruisdael

The style of other artists seems utterly up for grabs to Turner. His most famous paintings are those of boats and he was deeply influenced by the painters Jacob van Ruisdael and William van de Velde the Younger, whose “A Rising Gale” (above) is the mirror image of Turner’s “Dutch Boats in a Gale”, though Turner’s work is a moodier, more threatening piece. It is in these scenes of the sea that Turner finds his best-loved topic, but he experimented in what seems like every other niche to get there. His effort to portray rural life in the style of Nicola Tournier falls a little flat and his suggestive style finds a more sympathetic subject in the beauty of nature than in the details of a busy Venetian scene, as shown in a work overpowered by its companion Canaletto.

 turner 1

Imitation is indeed the sincerest form of flattery and although Turner’s antics come across as potentially rather aggravating to other artists, who he copies with the express intent of bettering, he clearly holds those he challenges in high regard. Knowing a little about his relatively humble background, the self-promotion starts to seem like an effort to belong to the establishment art scene of the time, as well as being in the tradition of honing one’s craft by homage. This approach is still in currency: the Arctic Monkeys started out as a Libertines cover band so perhaps things haven’t changed that much after all.

Turner clearly wanted to be considered in the canon of great artists and that wasn’t possible without entering through the doors of the Academy and working in the Grand Style they had designated the high status method of the time. However, he showed just as much interest in the small-scale works of continental artists, perhaps because of their commercial nature: they were more suited for people’s homes and so presumably sold more like hot-cakes than canvases several metres high and wide.

turner snowstorm

Even among the starry lineup of fellow painters, Turner’s talent shines. Before he hits his stride, the efforts are hit and miss but among them are jewels, which he rustles up from oils, watercolours and ink. The Turner voice is encapsulated by the raging water of “Snowstorm” (above): a swirl of foam, shadow and the suggested sails of a boat. Light and dark and the sense of natural power are more important than seeing the face of the sailor at the helm. This was my favourite work of the show because it is entirely Turner but doesn’t trample on Ruisdael or any other artist. It’s confident in itself – at last! – and movingly beautiful; it reminded me that there is a lot to learn at this exhibition about Turner the man, but also plenty to remind about Turner the artist.

turner 1 thumb

Categories ,Canaletto, ,painting, ,rembrandt, ,Ruisdael, ,Tate Britain, ,Tournier, ,Turner and the masters

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Amelia’s Magazine | Visible Invisible: Against the Security of the Real

DG2

Side-projects by band members can be hit and miss affairs- it’s either a radical departure from the “day job” or sounds so similar that you end up thinking, cialis 40mg “why did they bother?” Brooklyn trio the Depreciation Guild (who feature two members of indie-pop darlings the Pains Of Being Pure At Heart) luckily veer more towards the former.
Playing a string of UK dates before joining you-know-who on tour, remedy the Depreciation Guild fetched up at the Old Blue Last in front of an audience equally as curious to check them out.

DG1

Despite having already released one album in the US, 2007’s In Her Gentle Jaws, and with single Dream About Me out at the moment, I think they were still a largely unknown quantity amongst the Shoreditch cognoscenti.
Kurt Feldman had swapped the drum-kit of the Pains Of Being Pure At Heart for lead vocal and guitar duties, and was joined by fellow POBPAH wanderer Christoph Hochheim on guitar, with Anton Hochheim on drums. Backed by a lightshow not normally found in East London boozers, the Depreciation Guild treated us to a set of classic shoegaze. Whilst the influence of My Bloody Valentine is never far from the surface of the Pains Of Being Pure At Heart’s sound, here the spectre of Kevin Shields looms large. From the overdriven guitars to Feldman’s indistinct vocal delivery (which, ironically, is spookily similar to POBPAH compadre Kip Berman’s) it could almost be 1991 again, save for some bonkers 8-bit electro backing which sounds suspiciously like a Nintendo Gameboy.

DG

Some of the poppier sensibilities of the Pains Of Being Pure At Heart do occasionally creep in, with songs like Butterfly Kisses sounding not unlike Feldman’s “other” band. There was an emergency guitar change before an ear-searing finale, after which Kurt Feldman had to go and man the merchandise table. He’s certainly not afraid of multi-tasking!
I think the Depreciation Guild certainly made an impression tonight amongst those (like me) who weren’t quite sure what to expect. Musically, their heavier sound is not a million miles away from that of the Pains Of Being Pure At Heart, and it’ll be interesting to see how they go down with the latter’s fans when they share stages (as well as drummer and guitarist) in the next month or so.

DG2

Side-projects by band members can be hit and miss affairs- it’s either a radical departure from the “day job” or sounds so similar that you end up thinking, troche “why did they bother?” Brooklyn trio the Depreciation Guild (who feature two members of indie-pop darlings the Pains Of Being Pure At Heart) luckily veer more towards the former.
Playing a string of UK dates before joining you-know-who on tour, the Depreciation Guild fetched up at the Old Blue Last in front of an audience equally as curious to check them out.

DG1

Despite having already released one album in the US, 2007’s In Her Gentle Jaws, and with single Dream About Me out at the moment, I think they were still a largely unknown quantity amongst the Shoreditch cognoscenti.
Kurt Feldman had swapped the drum-kit of the Pains Of Being Pure At Heart for lead vocal and guitar duties, and was joined by fellow POBPAH wanderer Christoph Hochheim on guitar, with Anton Hochheim on drums. Backed by a lightshow not normally found in East London boozers, the Depreciation Guild treated us to a set of classic shoegaze. Whilst the influence of My Bloody Valentine is never far from the surface of the Pains Of Being Pure At Heart’s sound, here the spectre of Kevin Shields looms large. From the overdriven guitars to Feldman’s indistinct vocal delivery (which, ironically, is spookily similar to POBPAH compadre Kip Berman’s) it could almost be 1991 again, save for some bonkers 8-bit electro backing which sounds suspiciously like a Nintendo Gameboy.

DG

Some of the poppier sensibilities of the Pains Of Being Pure At Heart do occasionally creep in, with songs like Butterfly Kisses sounding not unlike Feldman’s “other” band. There was an emergency guitar change before an ear-searing finale, after which Kurt Feldman had to go and man the merchandise table. He’s certainly not afraid of multi-tasking!
I think the Depreciation Guild certainly made an impression tonight amongst those (like me) who weren’t quite sure what to expect. Musically, their heavier sound is not a million miles away from that of the Pains Of Being Pure At Heart, and it’ll be interesting to see how they go down with the latter’s fans when they share stages (as well as drummer and guitarist) in the next month or so.

DG2

Side-projects by band members can be hit and miss affairs- it’s either a radical departure from the “day job” or sounds so similar that you end up thinking, viagra 100mg “why did they bother?” Brooklyn trio the Depreciation Guild (who feature two members of indie-pop darlings the Pains Of Being Pure At Heart) luckily veer more towards the former.
Playing a string of UK dates before joining you-know-who on tour, sildenafil the Depreciation Guild fetched up at the Old Blue Last in front of an audience equally as curious to check them out.

DG1

Despite having already released one album in the US, 2007’s In Her Gentle Jaws, and with single Dream About Me out at the moment, I think they were still a largely unknown quantity amongst the Shoreditch cognoscenti.
Kurt Feldman had swapped the drum-kit of the Pains Of Being Pure At Heart for lead vocal and guitar duties, and was joined by fellow POBPAH wanderer Christoph Hochheim on guitar, with Anton Hochheim on drums. Backed by a lightshow not normally found in East London boozers, the Depreciation Guild treated us to a set of classic shoegaze. Whilst the influence of My Bloody Valentine is never far from the surface of the Pains Of Being Pure At Heart’s sound, here the spectre of Kevin Shields looms large. From the overdriven guitars to Feldman’s indistinct vocal delivery (which, ironically, is spookily similar to POBPAH compadre Kip Berman’s) it could almost be 1991 again, save for some bonkers 8-bit electro backing which sounds suspiciously like a Nintendo Gameboy.

DG

Some of the poppier sensibilities of the Pains Of Being Pure At Heart do occasionally creep in, with songs like Butterfly Kisses sounding not unlike Feldman’s “other” band. There was an emergency guitar change before an ear-searing finale, after which Kurt Feldman had to go and man the merchandise table. He’s certainly not afraid of multi-tasking!
I think the Depreciation Guild certainly made an impression tonight amongst those (like me) who weren’t quite sure what to expect. Musically, their heavier sound is not a million miles away from that of the Pains Of Being Pure At Heart, and it’ll be interesting to see how they go down with the latter’s fans when they share stages (as well as drummer and guitarist) in the next month or so.

tat1

The ExtInked project dreamt up by the Ultimate Holding Company to mark Charles Darwin’s bicentennial birthday is no doubt one of the most unique and amazing projects I’ve heard about in a long time. Along with an exhibition illustrating 100 of the most endangered animals in the British Isles, viagra 40mg the event came to an astounding conclusion with the tattooing of 100 volunteers who then became ambassadors for their animal. So as the exhibition closed yesterday, what is to become of the ambassadors, now back in their natural habitats?

My friend Tom was lucky to be involved in the project and here he shares his experiences with me.

So why did you take part in the ExtInked Project?

Since getting involved with UHC sometime last winter, I’ve been a part of a number of really interesting projects with them. ExtInked was something they have been talking about for a long time and the idea always really appealed to me. I think it’s a really great thing to be a part of, people have learned so much about which animals are endangered and hopefully will think about why that is, and what can be done about it. For me, I try to make a lot of environmental decisions in my life and feel extremely passionate about the use of animals and our finite natural resources for human gain.

Wildlife conservation and the environment are extremely important, in our relatively short time on this earth we have managed to destroy so much. Positive and big things are happening from the ground up. There is a fast growing environmental movement, but the important decisions need to be made from the top, which, unfortunately is not happening nearly enough.

tat2

It seems easier for leaders of governments and corporations to pretend they are doing something, rather than making an important change, that could make a really big difference.

Ext Inked was a great way to be involved in one of the most creative bottom-up environmental actions I know of, I now have a species permanently on my body, which throughout my life no doubt, hundreds of people will ask about, and I will be able to tell them the information I learned about that particular species, the project, the movement, and, in my case, the RSPB and other organisations helping to protect birds in the UK.

Which animal did you get? Tell me about the tattoo!

I went for the Black Grouse; I love birds, so for me it had to be a bird. The black grouse is found in the north of England, much of Wales and Scotland. I think to me, it was important to get something that I would be likely to come into contact with, I love golden eagles and leatherback turtles, but I’ve never seen either unfortunately! I don’t think it really matters too much which species I had tattooed though, as it’s more about the project and the issues as a whole than one particular species.

tat3
Photograph taken by Jai Redman

Tell me about the experience! What happened when you went to Manchester?

We went along on the last day around lunch time, which was bit quieter than when I visited on the Thursday night. I was quite pleased about that as all the tattooing happened much like a tattoo convention. There were barriers up at the front, and a stage with the three tattooists from Ink vs. Steel in Leeds, tattooing live in front of whoever was there to watch. As it was my first tattoo, and I didn’t know how much it would hurt, I was a bit nervous about being watched!

I thought I was being tattooed at 1 o clock, but somebody was running late, and I was early, so they switched our places, I didn’t really have any time to feel too nervous, before I knew it I was laid face down, being tattooed. I’d be lying if I said it didn’t hurt, because it did, but the mix of the atmosphere, and the rush of adrenaline you get puts you in a really strange place. I just laid their trying to work out how much it hurt and which bit he was doing, it was actually a pretty good feeling! Having had the tattoo a couple of days now, the pain seems totally insignificant.

tat4

Your girlfriend was part of the project too wasn’t she?

My girlfriend Sally got involved too; she got the Rampion Bellflower on her inner arm. She has a lot of tattoos already, so I think she probably had a different experience to me, although she was still a bit nervous. She was really excited to be a part of the project and has already done some good work telling people about the project and spreading the word! Sally is a very creative person, but isn’t able to be too involved in art, so I think it’s great that she really connected with this project and was really receptive to the ideas artists had on conservation.

What about the future? How do you think you’ll feel about the tattoo in 20 years time?

In twenty years time I have no idea how I will feel about the tattoo, but the more I live, the more I learn, and the more I learn, the more passionate I become.

Climate change and human activity is affecting our wildlife, and that’s only going to get worse unless we act quickly and dramatically. If we act now, while we still have a bit of a chance, I will be able to look at my tattoo and think, I’m glad we did something, and If not, I don’t think anybody will see it because my leg will probably be under water!

Photography by Tom Bing www.tombing.co.uk
www.uhc.org.uk
www.inkvssteel.co.uk
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To examine artists on display in regards to their own sense of what is intangible; what is the unbeknownst? Cecily Brown (one of the five artists displaying), buy more about once elucidated of her method; ‘Often, I find it really hard to see what I’m doing when I’m in the thick of things (painting).’ This seemed a resonant befall to take into the exhibition, and one that permeated throughout; the artist’s blindness filtering down to the viewers’ perception.

steve-white-installation-shAll photographs by Stephen White, courtesy of Parasol unit

On entering the chic industrial space of the Parasol Unit, the viewer is introduced to Katy Moran’s installations of small, yet expressively fueled paintings. Ambiguous and ethereal spaces, you are inserted into a void of instability. She is emphatically a cannon for the abstract. Sometimes unsettling, occasionally frustrating (primarily by the evasive titles), but most of all, her paintings are enchanting. Staring into a framed space of colour and shape, for example Daniel, the warped style within the pieces allude to envisions of nothingness that are quite remarkable.

steve white installation shots 054

Shaun McDowell, renowned for his part in the Peckham art squats, uses colour and technique in a vast and expansive means. Glaringly bright and expansively detailed, what initially looks like a lot of fun swiftly augments to a somewhat dark and unnerving visage. Strolling slowly past his paintings, I became ever more hypnotised as the images took on a pseudo stereogram quality. In seeing what wasn’t there, McDowell emulates invisibility by somehow tricking his viewer into complacence, before revealing his true mien.

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Spotted throughout the gallery, Hans Josephsohns sculptures have a weird (for want of a better word) presence. Remindful of Easter Island Moai, the veteran sculptor’s cast brass creations have a transcendent quality. Although clearly based upon the human form, they seem to capture their own timeless space with an omnipresent earthliness.

Cecily Brown and Maaike Schoorel probably make for the biggest contrast within the exhibition. Feasibly the crux of the collective display, Brown’s paintings are entirely mesmerising. Sensual and figurative, each image draws the viewer in. A lieu of strokes, the paintings seem to shift with every glance, yielding an ever more desire to look. Saturated with existentialist sensibilities, her works exude human instinct. Counter to this, Maaike Schoorel seems to take a much more apathetic stance. Her bleached canvases denote a controlled and methodical temperament. Her works certainly evoke the invisible, and after forcefully adjusting to her palate, figures and landscapes subtlety emerge.

Katy-Moran,-Salters-Ridge,-Salters Ridge by Katy Moran

Visible Invisible invites the viewer into an uncomfortable world where a desired truth is obsolete. Each artist takes their own stance on how to barrage their audience with a distinctive underlay. Irritating the senses, the exhibition leaves you wanting for something that evades, and, insofar, wanting more.

Visible Invisible: Against the Security of the Real is at the Parasol unit, Foundation for Contemporary Art, 14 Wharf Road, London, N1 7RW from 25.11.09 – 07.02.10. Gallery opens Tuesday to Saturday 10 am to 6 pm. Sunday is 12 to 5 pm. First Thursday of every month, open until 9 pm. Admission if free. Please note that from 6pm on Friday 18 December 2009 until Tuesday 5 January 2010 Parasol unit will be closed for the holidays.

Categories ,abstract, ,art, ,contemporary art, ,Exhibition Review, ,Gallery, ,painting, ,Parasol unit exhibition, ,sculpture, ,Visible Invisible

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Amelia’s Magazine | Peek-a-Boo! Boo Saville: Trolley Gallery

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All artworks courtesy of Boo Saville. Indefinate series, clinic Oil on canvas, no rx 2008

Boo Saville’s show at the Trolley Gallery on Redchurch Street isn’t the kind of thing that tomes and volumes can be written about. But I’ll see how far I get. This is certainly her most confident work yet.

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How do we feel?, Bleach on black cotton, 2010

The white backgrounds are gone, so has the ball-point pen. Instead we have richly dark spaces that exert magnetic and religious forces on the viewer. Where once we were separated from the subjects by a very stark distancing, we are now fully empathetic.

5Bog man, Biro on paper, 2006

Subject has become self for Saville. But there’s more than just one idea here. The imagery that might zip through your mind ranges from the intensity of being buried alive to the irreverent madcap guffaws of Noel Fielding. Sometimes it’s like finding a number and jet Francis Bacon in an archaeological dig. But that’s really about it for wordy analysis; this is simply work you have to look at (unlike most of Redchurch Street at the moment).

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Ghost, Monoprint, 2009

It’s great to see Saville’s CV getting better and better. Boo Saville studied at the Slade School of Art, London. From 2003 she formed part of the WOWOW! collective in south London with the artist Matthew Stone. In 2007 she was a nominee for the Sovereign Painting Prize, and in the summer of 2008 she worked on a residency in Paris at the Cite des Arts. Her first solo show was at Martin Summers Fine Art in 2008.

lr_boo_saville_3_1The Explorer, Bleach on black cotton, 2009

Her work has recently been acquired by the forthcoming Museum of New and Old Art, Tazmania. She was recently featured in Francesca Gavin’s book ‘Hell Bound: New Gothic Art’ and her forthcoming book on British artist under 35 years old. In January 2010 she was featured in Vogue’s ‘British talent’ special, ES Magazine, The Times and The Independent. After Trolley her next solo show will be at Studio Visconti, Milan in September 2010. She lives and works in London. Definitely tipped for the top. Three of these six canvases are stunning. Go see. For a virtual tour, visit here.

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Shi, Biro on paper, 2008

The Boo Saville exhibition runs from Fri 05 Feb 2010 – Sat 13 Mar 2010

The address is Trolley Books, 73a Redchurch Street, London E2 7DJ  tel +44(0)20 7729 6591   fax +44(0)20 7739 5948

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Categories ,Boo Saville, ,contemporary art, ,exhibition, ,Exhibition Review, ,Francis Bacon, ,london, ,Monoprint, ,painting, ,print, ,Saatchi Gallery, ,Slade School Of Fine Art, ,Trolley Gallery

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