Amelia’s Magazine | Pam Hogg: London Fashion Week A/W 2012 Catwalk Review

Pam Hogg A/W 2012 by Mitika Chohan
Pam Hogg A/W 2012 by Mitika Chohan.

We have sadly not been invited to a Pam Hogg show for two years now, and boy have I missed them: they are an incredibly hot ticket, so when I arrived late I was only able to secure a good position with the magic addition of a fold up chair. Only when I checked twitter later did I discover that the front row had been the usual celeb fest – I missed Nick Rhodes, Alexandra Burke, Janice Dickinson, Jo Wood and no doubt a host of others. Some of them can be found in this Fashion Scout blog post, as can I, in a lesson on how not to be caught on camera during LFW: looking like a giant warthog (I am HEAVILY PREGNANT) and desperately hoping to escape the photo. Note to self: if in doubt, smile.

Pam Hogg A/W 2012 by Faye West
Pam Hogg A/W 2012 by Faye West.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
The Pam Hogg A/W 2012 catwalk show WILD life began in stately fashion, with a sawing Appalachian violin to accompany the sedate steps of a model in towering ribboned heels. She wore a swinging latex dirndl skirt adorned with Hogg’s trademark geometric shapes in red, black, white and grey that were reminiscent of smaller knitted folk patterns, whilst a huge matching bonnet swallowed her head. Make-up was similarly bold: monobrows met sharply in the middle and accompanied Geisha-like dots above and beneath the eyes.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg A/W 2012 by Lo Parkin
Pam Hogg A/W 2012 by Lo Parkin.

Jaime Winstone was next to stride out with a bouncy swagger, stopping briefly for a languid barndancing turn with a fellow model in the middle of the catwalk. Then it was on to Pam Hogg‘s inimitable skintight catsuits – this time in an array of geometric, mesh and beribboned combinations.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
As more and more flesh was revealed the models retained a demure demeanour more befitting the previous wide skirts, even as they struggled to stay upright on crippling heels. Well, I say heels: what would have been heels were angled impossibly towards the platformed soles so that the girls appeared to balance on thin air.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg A/W 2012 by Veronica Rowlands
Pam Hogg A/W 2012 by Veronica Rowlands.

Red lace, silver lame, and furry merkins… it’s not a mixture I would ever have considered putting together myself, but Pam Hogg somehow combined incongruous materials to extravagant effect. Some of my favourite bodysuits featured carefully placed panels of rucking that puffed out sexily to emphasise womanly curves on buttocks and bosom.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Geometrics in copper, gold and silver created a futuristic effect as the music segued into something more modern, albeit with violins still at the forefront of the brilliant soundtrack – a testament to Pam’s love of music. Tight fitting dresses and culottes that swung just on the knee were beautifully sexy, especially in mesh with black arrow patterns – proving that these body hugging wonders suit more voluptuous creatures too.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
The show finished with a trio of stunning pieces: a sequinned full length dress in lilac, rose and gold, a dolly like mesh culotte dress with strategically placed lace cascading down the buttocks, and the denouement: a boudoir influenced outfit constructed entirely from red bows, complete with red ribbon garter. For the finale Pam Hogg – sporting cartoon bright yellow hair – was dragged down the catwalk by Jaime Winstone to whoops and hollers from the crowd.

Pam Hogg A/W 2012 by Faye West
Pam Hogg A/W 2012 by Faye West.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
No one can beat Pam Hogg when it comes to reinventing the catsuit – and this show proved that she can cut a mean skirt and bonnet too. In a 2009 interview she spoke honestly of the financial difficulty in creating such avante garde designs and her reliance on friends to sponsor her comeback fashion show: one wonders how she continues to survive, creating such uncommercial but fantastical outfits without which London Fashion Week would be a poorer place.

Pam Hogg A/W 2012 by Gilly Rochester
Pam Hogg A/W 2012 by Gilly Rochester.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,A/W 2012, ,Alexandra Burke, ,Appalachian, ,Catsuits, ,Dirndl Skirts, ,Fashion Scout, ,folk, ,Freemasons’ Hall, ,geometric, ,Gilly Rochester, ,Jaime Winstone, ,Janice Dickinson, ,Jo Wood, ,Latex, ,lfw, ,Lo Parkin, ,London Fashion Week, ,Merkins, ,Mesh, ,metallics, ,Mitika Chohan, ,Nick Rhodes, ,Pam Hogg, ,Ribbons, ,Veronica Rowlands, ,WILD life

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Amelia’s Magazine | Pam Hogg: London Fashion Week A/W 2013 Catwalk Review

Pam Hogg A/W 2013 by Gaarte
Pam Hogg A/W 2013 by Gaarte.

On Saturday night I stayed later than any other day at fashion week so that I could attend the Pam Hogg show, something I have looked forward to every season since she returned to LFW: I don’t know if I will stay away late from my baby again. As usual this was a massively oversubscribed event, with plentiful rock royalty in attendance; humming and hawing at each other in the melee before the show started and then adopting a look of massive boredom for the duration of the main event, which began an hour late. Nick Rhodes, Jefferson Hack, Rankin and Princess Julia were just a few of the people in my line of sight. At this show there were named seats stretching three rows back, so I ended up far far from the action, badly positioned behind Daniel Lismore and his gigantic hat.

Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg A/W 2013 by Daniel Alexander
Pam Hogg A/W 2013 by Daniel Alexander.

Pam Hogg is nothing if not predictable: you know what you’re going to get when she puts on a show. Catsuits? Well of course, that’s her speciality. A bit of tit and muff? Check. Some outrageous headgear? Yup, all present and correct. A semi famous model? Well, here I must confess that I don’t know if she did have a famous guest this time. If she did, they weren’t on my radar.

Pam Hogg A/W 2013 by Amy Dover
Pam Hogg A/W 2013 by Amy Dover.

Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory

This season Pam Hogg decorated her models with huge pleated cylinders and glossy boxes. Sheer panelled catsuits were worn by avante grade ballet dancers who wheeled and swooped midway down the catwalk; a muscly male stood sentinel before taking his whirl towards the cameras sporting ominous curled black nails.

Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg A/W 2013 by Daniel Alexander
Pam Hogg A/W 2013 by Daniel Alexander.

The colour palette featured more Pam Hogg staples; plentiful white, black and red. A dusky pink sequinned fabric that was used in abundance last season returned for another outing, as did other familiar shapes: the hooped dirndl of previous seasons made a reappearance, covered once more in ruched fabric and ribbons. Much has been made of a Britney Spears-esque glossy red catsuit (circa Oops! I did it again) but it was such a ‘Pam‘ look that I doubt she even realised the reference. My favourite looks were more of a break from the norm: a stunning A-line coat made dashing with sharp lines of red satin scorched on black, and a skin tight metallic dress that reminded me of the outfits in Blade Runner. The final looks came accessorised with huge furry headpieces that tumbled down the back.

Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory

When Pam Hogg came out for her final turn she too sported one of her trademark catsuits, a red and gold number that was saucily slit under the buttocks. I have it under good authority that her catsuits are superbly made and able to smooth out even the lumpiest of bodies. Maybe, at the end of the day, that’s the most important thing of all.

Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg AW 2013 photo by Amelia Gregory
Pam Hogg A/W 2013. All photography by Amelia Gregory.

Categories ,A/W 2013, ,Amy Dover, ,Blade Runner, ,britney spears, ,Catsuits, ,catwalk show, ,celebrities, ,Daniel Alexander, ,Daniel Lismore, ,Fashion Scout, ,Freemasons’ Hall, ,Gaarte, ,Jefferson Hack, ,London Fashion Week, ,naked, ,Nick Rhodes, ,nude, ,Oops! I did it again, ,Pam Hogg, ,Princess Julia, ,Rankin, ,review

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Amelia’s Magazine | Pam Hogg: London Fashion Week S/S 2014 Catwalk Review

Pam Hogg S/S 2014 by xplusyequals

Pam Hogg S/S 2014 by xplusyequals

We waited for almost an hour outside Freemasons’ Hall due to the usual buzz which surrounded the Pam Hogg S/S 2014 catwalk show at Fashion Scout during London Fashion Week. The rain came and went a few times – the opening and closing umbrellas not quite sheltering the fashionable kids queuing – but as ever it was worth the wait! Once inside, I squeezed tightly in between a lot of other keen bloggers at the photographers’ end and we all laughed and joked, merrily cooperating with each other in working out our collective positioning for optimum shots. Those in the front rows near us also seemed to be in great spirits, a few of them refreshingly slouching in their chairs and sporting messed up hair, torn jeans and casual wear.

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

The show titled ‘Future Past: War & Peace: Past Future’ was presented in different sections, sometimes with gaps so long between them we thought it was over at least twice before the actual end. First came World War II nurses gradually merging into latex clad ones and then transforming into beauties wearing the trademark Pam Hogg geometrical catsuits with wonderful bird themed and floral headpieces added on top. I absolutely adored the theatrical interlude ballet performance of a Little-Bo-Peep-esque ballerina who was full of the joy of life, immediately followed by a trembling, slowly walking black bride holding a crutch. In this show full of contradictions between life and death I found it entertaining that the final characters should be scantily dressed ladies in folded tulle. What a delightful experience!

Pam Hogg S/S 2014 by Lynne Datson

Pam Hogg S/S 2014 by Lynne Datson

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 by Antonia Parker

Pam Hogg S/S 2014 Antonia Parker

Pam Hogg S/S 2014 by Antonia Parker

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 by Lizzie Donegan at New Good Studio

Pam Hogg S/S 2014 by Lizzie Donegan at New Good Studio

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 by Yelena Bryksenkova

Pam Hogg S/S 2014 by Yelena Bryksenkova

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 by Scott W Mason

Pam Hogg S/S 2014 by Scott W Mason

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 by Dom & Ink

Pam Hogg S/S 2014 by Dom & Ink

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014 Catwalk photo by Maria Papadimitriou

Pam Hogg S/S 2014. All photography by Maria Papadimitriou.

Categories ,Antonia Parker, ,ballet, ,Catsuits, ,Death, ,Dom & Ink, ,Fashion Scout, ,florals, ,Freemasons’ Hall, ,Future Past: War & Peace: Past Future, ,headpieces, ,Latex, ,Lizzie Donegan, ,London Fashion Week, ,Lynne Datson, ,Maria Papadimitriou, ,New Good Studio, ,Nurses, ,Pam Hogg, ,S/S 2014, ,Theatrical, ,World War II, ,xplusyequals, ,Yelena Bryksenkova

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Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Pam Hogg

SouthBank15All photographs courtesy of Matthew Gonzalez Noda

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, seek art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, capsule isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, advice until it rained and then we had to go inside! It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public?

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something. To be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian Aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
Part 1 of our art editor’s coverage of United Underground 2, information pills a music, ailment art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

SouthBank15

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, find art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
Part 1 of our art editor’s coverage of United Underground 2, stuff a music, dosage art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

SouthBank15

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, order art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
Part 1 of our art editor’s coverage of United Underground 2, more about a music, art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

SouthBank15

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
Part 1 of our art editor’s coverage of United Underground 2, advice a music, adiposity art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

SouthBank15

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, viagra art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
SouthBank15All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, dosage art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
SouthBank15All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, purchase art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, ampoule isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
SouthBank15All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, this art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, order isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
SouthBank15All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, patient art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, website like this isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, salve until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
SouthBank15All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, see art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, viagra sale isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, abortion until it rained and then we had to go inside! It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public?

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something. To be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian Aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5
IMG_0228_1

Amelia’s Magazine loves print, buy information pills illustrations and innovative design, medications so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

Eley-Kishimoto-A-W 2010-gemma-milly

And these shoes!

Eley-Kishimoto2-A-W 2010-gemma-milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, ed illustrations and innovative design, rx so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

Eley-Kishimoto-A-W 2010-gemma-milly

And these shoes!

Eley-Kishimoto2-A-W 2010-gemma-milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, illness illustrations and innovative design, symptoms so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

Eley-Kishimoto-A-W 2010-gemma-milly

And these shoes!

Eley-Kishimoto2-A-W 2010-gemma-milly

Illustrations courtesy of Gemma Milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, hospital illustrations and innovative design, so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

Eley-Kishimoto-A-W 2010-gemma-milly

And these shoes!

Eley-Kishimoto2-A-W 2010-gemma-milly

Illustrations courtesy of Gemma Milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, page illustrations and innovative design, mind so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, shop complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

Eley-Kishimoto-A-W 2010-gemma-milly

And these shoes!

Eley-Kishimoto2-A-W 2010-gemma-milly

Illustrations courtesy of Gemma Milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
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Illustration Courtesy of Marnie Hollande

A beautifully understated collection consisting of coats and trousers in camel almost nude colours, stuff JW Anderson provided colour through a variety of tartans and texture with the occassional argyl knit.

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A move away from last season’s black modernist approach to dressing accessorised by bold colour block jewellery and the occasional costume inspired by sport streetstyle.

For Autumn Winter 10, the JW Anderson models appeared as a punk hiker. These hikers were accompanied by oversized jackets (inspiration: the fish docker?!) with the occasional aviator jacket.

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The addition of metallic textures created an industrially intriguing shoe, half punk, half accessory, with the outfit completed by a thick leather dog collar.

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Dog collars play to an idea of ownership and JW Anderson mentions that this is a show which explores love and all natures of love from love of a person to a love for reading a particular type of film or watching a particular type of film. How was identifies oneself through clothes and literature etc to project an image of how they want people to percieve them to be or a calling sign to be recognised by others of the same ilk.

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Tarten after Westwood will always have a cry of establishment being used to rile against and break the establishment, for Anderson it is a nod to his first collection made without money relying on various rugs to turn into garments.

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A few of the casually attired models appeared inspired by the streetstyle made famous by Simon Foxton in early issues of ID. The continuing representation of a type of male youth highlights the beauty inherent in this style, a beauty seemingly inspired by love tinged with nostalgia and romance.

MarnieIllustrationforAmelias

Illustration Courtesy of Marnie Hollande

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A particular moment emphasizing this nostalgic love was the arrival of a rucksack filled with flowers, overtly romantic and perhaps hammering the point home, it displays an idea established in the press release of earnest young obsession with notions of the gesture. The bigger the gesture the more consuming and real the love.

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The underlying delicacy of this collection develops with each second look. Anderson has created a masterfully imaginative collection of personal inspiration.
A move away from last seasons black modernist approach to dressing assorised with colour block bold jewellery. The models were sent down as if a punk inspired hiker complete with leather dog collars. Oversized jacket, cialis 40mg fish docks/military jackets with the occasional avaior jacket thrown in. Industrial shoes – references to the 90′s.
Fine Knit mesh was a winner.
Understated collection camel colours a variety of tartens. Argyl knit pattern.

Dog collars play to an idea of ownership and JW Anderson mentions that this is a show which explores love and all natures of love from love of a person to a love for reading a particular type of film or watching a particular type of film. How was identifies oneself through clothes and literature etc to project an image of how they want people to percieve them to be or a calling sign to be recognised by others of the same ilk.

Fashion has always had these conitations – one that makes it hard not to think of alternative references when watching a collection. From the first model, medicine thoughhts of the 90′s shouted out. Elements of that first ever refenced Mark Jacobs for Perry Ellis crawl out as do certain uses of tarten, again Clueless is abound at the moment. Perhaps because all of those who loved it to the point that tape broke as a child have finally started to enter the adult world of work dragging with them their various references.

Tarten after Westwood will always have a cry of establishment being used to rile against and break the establishment, for Anderson it is a nod to his first collection made without money relying on various rugs to turn into garments.

This indeed looks as if the designer has turned his eye on the streetstyle made famous by Simon Foxton in the early (and still favourite style) of ID. It is a particular type of male youth that wears these clothes and sending them down the catwalks highlights the beauty inherent in this style.

A particular moment was the rucksack filled with flowers, overtly romantic, hammering the point home maybe, but it displays that earnest young obsession with romance and the gesture. The bigger the gesture the more consuming the love.

A hard and soft collection, fantastic to see a designer produce such a different look from that what was only a season ago.
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Autumn Winter 10 appeared to be garments for the restless designed by slightly angry designers, view upon arrival the viewer was greeted with a press release bordering on a strop as Komakino laid out the accusations that their designs are irrelevant.

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Their answer was to produce a collection which seethed down the catwalk, more about the models were angry young men with dip dyed hair scowling as they swept past the audience. A sinister show, illness the feeling of unease emphatically encouraged through the choice of track.

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Disputes aside, Kimakino produced an unsettling collection. Whilst potentially made for a particular demographic, elements could filter down into the more nervous wardrobe. The currently popular aviator (when looking for heroes – why do they always come from War?) theme appeared in a few jackets (I’m interested in the new film about Amelia Earhart the first female pilot who disappeared attempting to fly solo around the world), whilst Komakino’s take on knitwear appeared long and stretched rather than stopping at the mealy oversized.

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Their update on the suit consisted of thoughtful tailoring, including subtle leather application provided an alternative for those keen on not losing their identity. A nod to the days of the mod, the teddy boy and the rise of what is now known as smart casual (see the TV programme British Style Genius for excellent coverage on these style ‘tribes’).

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There were connotations of James Dean in the collection, the reference being in the use of leather and it’s connotations to ideas of rebellion.

I am apprehensive to write the following, seeing how it has been bandied about so frequently of late. However as the photographs illustrate the Komakino Man was clearly – from the dip dyed hair to the aforementioned stretched knitwear – influenced by the 90′s.

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The press release does not make clear the political (or non political) connotations of the prints of 1st World War child soldiers appearing on the backs of jackets and the fronts of t-shirts, Katharine Hamnett spelt out her thoughts quite clearly – but if the designers are disagreeing – how is this made clear through a print? Are these young men meant to connect (through being the same age) as the young men who were or still are being sent to war on unjust causes? Or are they bringing the viewers attention to just how young these soldiers were and again, still are?

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A beautifully made collection.
A move away from last seasons black modernist approach to dressing assorised with colour block bold jewellery. The models were sent down as if a punk inspired hiker complete with leather dog collars. Oversized jacket, information pills fish docks/military jackets with the occasional avaior jacket thrown in. Industrial shoes – references to the 90′s.
Fine Knit mesh was a winner.
Understated collection camel colours a variety of tartens. Argyl knit pattern.

Dog collars play to an idea of ownership and JW Anderson mentions that this is a show which explores love and all natures of love from love of a person to a love for reading a particular type of film or watching a particular type of film. How was identifies oneself through clothes and literature etc to project an image of how they want people to percieve them to be or a calling sign to be recognised by others of the same ilk.

Fashion has always had these conitations – one that makes it hard not to think of alternative references when watching a collection. From the first model, thoughhts of the 90′s shouted out. Elements of that first ever refenced Mark Jacobs for Perry Ellis crawl out as do certain uses of tarten, again Clueless is abound at the moment. Perhaps because all of those who loved it to the point that tape broke as a child have finally started to enter the adult world of work dragging with them their various references.

Tarten after Westwood will always have a cry of establishment being used to rile against and break the establishment, for Anderson it is a nod to his first collection made without money relying on various rugs to turn into garments.

This indeed looks as if the designer has turned his eye on the streetstyle made famous by Simon Foxton in the early (and still favourite style) of ID. It is a particular type of male youth that wears these clothes and sending them down the catwalks highlights the beauty inherent in this style.

A particular moment was the rucksack filled with flowers, overtly romantic, hammering the point home maybe, but it displays that earnest young obsession with romance and the gesture. The bigger the gesture the more consuming the love.

A hard and soft collection, fantastic to see a designer produce such a different look from that what was only a season ago.
The press release stated an angry response to previous coverage dismissing the designers as irrelevant. Whatever these designers are, more about it is not that…
Exploring ideas of restless young men, medicine angry young men accompanied with slight nods to bondage and the prints of young child soldiers on their backs from the first world war.

Elements of the aviator theme appeared in a few of their jackets, leather a focal material often mixed with wool jackets or applied onto knit.
There were connotations of James Dean in the collection, ideas of rebellion which pushed the use of leather.
The sinister aspect of the collection intensified by the selected music encouraging a sense of foreboding.

This is being said all too frequently, but the references to 90′s was apparent with the hair ends dipped in due.

What are the political connotations of the references to child soldiers from the first world war on the backs of jackets and the fronts of t-shirts, katherine hamlett spelt it out – but if disagreeing does the action of wearing turn the soldier into a badge of honour and to what end?

Favourite pieces where the long wool knits etc….

We’re telling you, this web this Pam Hogg review nearly didn’t happen. The tickets were hierarchically graded in insidiously gradual decline from two gold stars, visit this one gold star, side effects silver, bronze, green, red and right down to a paltry black dot, and then nothing at all. And THEN there were even those without the very tickets themselves– a sort of complex modern-day feudal system testament to the patience of the On/Off staff dealing with a practically feral audience desperate to catch a glimpse of Peaches Geldof, or at least what you could see of her beneath those Rapunzel hair extensions of hers.

Illustration by Jenny Robins

Illustration courtesy of Jenny Robins

We got in eventually, though, and squeezed in at the back next to a cosy concrete pillar and spotted Nick Cave, Pearl Lowe and Nick Knight hidden amongst the throng of transvestites and somebody dressed as a giant inflatable woman in a Union Jack dress, presumably sweaty as hell. Featuring a front row resembling the entire cast of a Terry Gilliam movie gone to Ascot, the venue was rammed to maximum capacity by a crowd in such close quarters that it wouldn’t have been surprising if we’d all begun absorbing into one another via osmosis.

Images courtesy of Catwalking

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With a typically spirited collection, Hogg proved that romance in fact was not dead, even if it looked like it had been hacked at with a pair of scissors by Catwoman: here was a vision of sumptuous naughtiness with furry collared tulle capes, girly sequins and white bows combined with platform heels, bondage straps, sheer panels plunging right below the midriff – and neat little fluffy merkins (yep). Catsuits came in gold and silver metallics paired with mean-looking hooker boots, which evolved into chic cocktail dresses that you could comfortably man a spaceship in, a dual purpose of course characteristic of Hogg’s designs that has made her the favourite of wacky dressers across the land. We particularly liked the iridescent black trenchcoats, and goggled at the pants constructed entirely from ribbon.

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The raucous applause that followed might have been led by celebrities letting the rest of us know what jolly good mates they are with Hogg, but purely as a brand, Hogg’s energetic vision – in an industry increasingly bereft of leaders – is pretty valuable to fashion lovers everywhere. Even if we could only see half the catwalk.

Categories ,Bondage, ,Catsuits, ,lingerie, ,London Fashion Week, ,Nick Cave, ,Nick Knight, ,onoff, ,Pam Hogg, ,Peaches Gelfof, ,Pearl Lowe, ,Sheer

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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