Amelia’s Magazine | Sister by Sibling: London Fashion Week S/S 2013 Catwalk Review


Sister by Sibling S/S 2013 by Antonia Parker

On the Saturday morning of fashion week I cycled to Somerset House. It was such a sunny, cool morning that I couldn’t help myself. Despite sitting outside the main courtyard for a breather for nearly thirty minutes, I still arrived at the Sister by Sibling salon show sweatier than the Editor-in-chief of French Closer. I couldn’t help it. I don’t know what’s wrong with me at the moment, I just can’t stop bloody sweating. I’m just saying.


Sister by Sibling S/S 2013 by Krister Selin

Anyway, the queue for this hotly anticipated show was enormous and as I stood dabbing my brow I wondered how we were all going to fit inside the tiny Portico Rooms. I managed to find a so-so spot to stand in as the photographers began blocking the entrance. The room was already full, a good percentage of guests modelling this season’s marvellous leopard print numbers. Last minute guests, including my favourite woman (Dame) Suzy Menkes barged in as the show was about to start.

There’s nothing like a bit of dayglo and some X-Ray Spex at a million decibels to wake you up on a Saturday morning. This collection, wonderfully titled ‘Warriors in Woolworths‘, had all the aspects we’ve come to love and expect from Sibling; I was in no doubt when the first model popped from behind the screen that I was going to love everything I was about to see.


Sister by Sibling S/S 2013 by Antonia Parker

Said first model appeared in a white sweater with Sister paint logo daubed across the front and a white ruffle tutu skirt. This was accessorised with the only item you can accessorise a white ruffle tutu skirt with: a full-on lace face mask.

Next came a crocheted top and skirt, complete with ruffles and cap, shortly followed by a pair of white ruffled knickers – but all this white wasn’t fooling me. I knew there’d be some colour pretty soon, and before I could say ‘oh sure’ the colour came coming. Flashes of hot pink, baby pink, yellow and dayglo green appeared on floor length straight-up-and-down no nonsense dresses with matching cardigans.

Crew neck, short-sleeved jumpers and baggy cardigans reminded me of those my grandmother used to wear, expect hers weren’t in illuminous green or embellished with glitter to form reverse skulls. I don’t remember them like that, at least. I much prefer these. A polo-neck dress in green leopard print was a particular favourite, as was a black number with vibrant but delicate flowers splashed all across it.

Punk never looked so fresh.

Categories ,Antonia Parker, ,Cozette McCreery, ,crochet, ,dayglo, ,fashion, ,Joe Bates, ,knitwear, ,Krister Selin, ,london, ,London Fashion Week, ,Matt Bramford, ,Poly Styrene, ,Portico Rooms, ,Punks, ,S/S 2013, ,Sid Bryan, ,Sister by Sibling, ,SS13, ,Suzy Menkes, ,Womenswear, ,X-Ray Spex

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Amelia’s Magazine | Kitsching Me Softly

The eponymous release from New York based The Pains of Being Pure at Heart has everything you could want from a summer album. A certain been-in-the-sun-too-long hazy-headyness without the too-much-ice-cream sugariness of many indie-pop summer albums. No-No! I’m rallying for The Pains of Being Pure at Heart being trail-blazers for a new genre we shall call ‘Sandalgaze” aka Shoegaze for when it’s not raining out.

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From the rip-roaring opener ‘Contender’, buy more about the album manages to be catchy without being twee, shop noise without being dreary, imagine My Bloody Valentine on a beach doo-wopping and you’re halfway there.
Whilst treading this line The Pains of Being Pure at Heart consistently avoid being schmaltzy. The track; Young Adult Friction is danceable, its lyrics of a whimsy worthy of Stuart Murdoch yet reflect on themes like first love with a sort of yearning nostalgia, again souring the sweetness. Here the oft-overdone boy/girl singing duo is slightly off-kilter and the effect is more reminiscent of early Yo La Tengo or Jesus and Mary Chain than Belle & Sebastian.

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The Pains of Being Pure of Heart is definitely tinged with nods towards the 80s and early 90s,yet it is perhaps too easy to criticise the album for this. The band manage to utilise certain stylistic tropes without being too retrospective or shallow.
In fact The Pains of Being Pure at Heart is refreshing in it’s redefinition of certain preconceptions: summer isn’t all about whistling and tambourine jangling anymore and Shoegaze is reinterpreted with a sunny touch rather like enjoying a 99 flake with Kevin Shields!

The album ‘The Pains of Being Pure at Heart’ is available now and the single ‘Young Adult Friction’ is released on 18th May (Fortuna Pop!)
They play The Lexington, London on 15th May

Kitsuné has really got its groove on this time. Left eyebrows are often tilted to a 74-degree angle at the mention of a Parisian fashion boutique that puts out compilation CDs, symptoms amongst other music releases. At first, tadalafil you kind of expect endless Dimitri From Paris types churning out catwalk-flavoured lint, but Kitsuné really knows what it is getting, and won’t be holding onto the receipt. With utter confidence and bravado, you see, it was Kitsuné that released Wolfmother’s ball-busting old-metal limited edition EP. Benetton scratches its head in confusion.
For all that, Compilation 7 is a danceable disc, with lots of European disco-beats, and plenty of fruity basslines in the Frenchified Electro style. But it’s not the kind of thoughtless, juvenile poppy end of it. You won’t hear anything approaching “Lady, give me tonight, cos my feeling is just so right”, since the Maison-people (Maisonettes?) are clued up. They listen to Tangerine Dream and Elvis Costello, and anything they select from the here and now is selected with a certainty that reminds me of the chap who picks the leaves for PG Tips: He just knows where the good stuff’s at.
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Highpoints include Chateau Marmont’s Beagle, filled with synths fresh from Tomorrow’s World demonstrations, sidewinding through arpeggiated chords, with the occasional crash-bang with a wooden spoon by the stove, and Beni’s Fringe Element, which popcorns along with hi-hats before going to a thoroughly spiffing hiatus of slap bass with one of the squidgiest, wiggly-wormiest synth solos since Mr.Scruff’s Shrimp. Probably the most exciting track here is Crystal Fighters’ (above) Xtatic Truth, a journey involving Epic-Ragga-Happy-Hardcore, hints of Chinese Folk, and a choir of the ether.
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But it’s a plentiful CD. There are nineteen songs, in all, and although everything chugs along to the metronomic pulse of cubase, there is pacing and variety to the beast overall. Gentle relief comes best of all in This Sweet Love by James Yuill (above), as remixed by Prins Thomas, a ponderous chillscape based on the warmest fingerpicking, and an embrace of vocals. You will feel truly hugged. And once you’ve digested it all, you can take that lovely warm glow on the Eurostar with you, and buy yourself the bestest clothes (I’m not a fashion writer, actually) in all Pareeee!

You can buy the Maison’s goodies at www.kitsune.fr or at their myspace.
If you are a university student, online what do you make of your schools environmental policies? Do they even have green policies to speak of? This week, the students of the University of Arts London have been bringing environmental issues to the forefront, and discussing the various ways that both themselves, their campuses and the courses themselves can be more environmentally aware.

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The Go Green Week, also known as Green: The New Black has been running for the last few days and culminates in talks and workshops on Friday, that include Fashion Forward: Creating an Ethical Label between 4pm-6pm RHS East Space, LCF, John Princes Street
which asks: “How can you create a label that looks good, but is also good to the environment?” ECCA and the Centre for Sustainable Fashion present fashion design businesses that are sustainable throughout from their manufacturing processes and materials, to marketing methods that aim communicate and promote their ethical processes to their customers.
Also on Friday afternoon at LCC is the meeting “Students Going Green” –top of the agenda are the following points “Fed up with the lack of recycling at your College? … Want sustainability on the curriculum? … Think Arts London should GO GREEN?” Speaking with the Press Officers of the Student Union, I learnt that a large number of students have voiced their concerns over this topic. The recycling issue specifically has been on ongoing and much debated subject. Many students feel that not enough is being done to provide facilities to recycle. The Green Charter laid out by the Student Union demands that “Sufficient recycling facilities should be available at all Arts London Sites and all Halls of Residence, with consideration also given to specialist recycling e.g. textiles, wood at relevant sites.”

Also on the agenda is for the issues of sustainability to feature more heavily in the Universities curriculum, either in the form of specific modules, or integrated as a whole, and for the campuses to switch to a green energy provider. The student union also explained that they are setting up an “Ethical and Environmental assembly” that will set future Go Green Assembly’s. They have also been encouraging students to sign a petition that is campaigning for a greener Arts London. Realising that strong visuals are the best way to get the point across, the students were asked to be photographed with the green charter and upload their pictures to the blog. An example would be these brave folks.

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Learning about the concerted efforts to raise environmental awareness amongst students started me wondering how other universities and student bodies broach this subject. As this is a topic that is dear to our heart, we would love your input on whether your schools and universities are committed to the environmental cause, and if so, do you feel that they are doing enough? . Tell us more at hello@ameliasmagazine.com and maybe we can help to highlight the issue.
Be featured in this limited edition anthology of the best new illustrators engaged in environmental thinking. Read on to find out more…

***Please note that this brief is now closed: you can now order a copy of this book online by clicking here***

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an illustration by Laura-Maria Arola from issue 9 of Amelia’s Magazine

Now, malady anyone who is following me on Twitter – my new favourite thing in the whole world – will know that I asked my dad to do the research for this book. I know what he’s like – apart from being a typical male who loves nothing more than “disappearing down the rabbit-hole” as my mum calls it (also known as busying himself in new projects) – he also loves a challenge. So I asked him to dig up some info on all the most obscure new alternative technologies currently being explored, sale so that I could put together a brief for Amelia’s Anthology of Illustration.

He rose to the challenge and then some… almost immediately I started receiving email updates on strange new ways of producing energy. But not only that… it seems I have been the unwitting catalyst for a whole new venture – or a whole new rabbit warren to explore, depending on your point of view. A trained if somewhat out of practice scientist, Bruce (that’s my dad, I know, wierd, I call him by his first name)- gleefully told me on Bank Holiday Monday that he’s just designed the best new wave power technology not yet invented. Having read nearly 2000 patents for various wave power technologies he has, in his inimitable way, decided that his idea is quite clearly the best (my dad ALWAYS knows best). Except he won’t share it with me, cos I might, like, post it on the internet or something, before he’s applied for a patent.

Still, exciting stuff, and just the kind of thing I hope to do more of with both this open brief and the resulting book that comes out of it. Amelia’s Magazine in print may be no more, but I could never leave print entirely, and so the idea for this book has been mulling around in my head for sometime now. What we need right now is a whole heap of imagination, because humans need to make a big leap forward if we want to get out of the mess we currently find ourselves in. And whilst the scientists and boffins of this world busy themselves with the minutae of complicated chemical reactions and intricate moving parts, we also need the skills of artists to make these technologies a concrete reality. Without both visions together we will continue to move at a snail’s slither, so my aim is to help quicken that pace. If I can inspire designers and illustrators to better consider the way their energy is produced by drawing alternatives, then maybe they will make better choices about where their own energy comes from. Of course I don’t believe that technology alone is a cure all for all our ills, but it’s a move in the right direction, and I aim to produce a book that provides a comprehensive resource of all the best new illustrators capable of engaging with environmental issues and envisaging future alternative energy sources.

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an illustration by Allan Deas for issue 9 of Amelia’s Magazine

What will be in Amelia’s Anthology of Illustration ?
The book will be a compendium of profiles on the best illustrators who submit to this brief. Anyone is eligible to submit work, from anywhere in the world. I would particularly encourage new illustrators; those who are still at college, just graduating, or new to the field. Amelia’s Magazine is used by many influential creatives looking for new talent to employ, and this will be an even better way of getting your work noticed globally.

What will the book look like?
The book will be the same dimensions as Amelia’s Magazine, thereby sitting nicely on the shelf with any copies of the magazine that purchasers might already possess! It will be designed in a similar fashion but also expect some new ideas.

When will it be published and where will it be sold?
Amelia’s Anthology of Illustration will be self-published (again!!!!) The lead-times are just too long with the big publishers, plus they would want more design control than I am prepared to give to them. The ones I have spoken to also insist on producing all their books in the Far East, something I am very uncomfortable with given the dodgy environmental credentials of many industrial operations in that part of the world. It will be produced in the UK by Principal Colour as a limited edition hardback towards the end of 2009, in time for Christmas. Advance orders should be available to purchase on my website by the end of the summer, and will be much appreciated in order to finance the production process as it is going to cost me much more to keep production in the UK. The book will be sold worldwide at specialist art book shops such as those that already stock the magazine. I will aim to produce a second (possibly softback) edition the following year to be made much more widely available.

What can I do to contribute?
I need a number of different artworks from aspiring contributors, so please read the following information carefully and make sure that your submissions meet the criteria before you send them in to me.

Submission criteria

EXCLUSIVE WORK: produced specifically for AMELIA’S ANTHOLOGY OF ILLUSTRATION

1. Most importantly:
ONE EXCLUSIVE LARGE PIECE done specifically for this anthology and not featured anywhere else.

This should feature an alternative technology that has not yet been built or mass-produced in any great scale. NO RUN-OF-THE-MILL WINDMILLS AND SOLAR PANELS PLEASE!

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an intriguing design for a line of windmills on a bouncing rod

This is a challenging theme, but thanks to my dad there are dozens of links below that will lead you off in the right direction. You will need to disappear down the rabbit hole for awhile for this brief requires time and thought to complete. It also requires huge amounts of imagination, which is what illustrators specialise in! And my dad! I’ve always held a belief that the scientific mind and the artistic mind are not really so different from each other. How else do you explain me? The child of two scientists?! but rubbish at science….

Anyway, I digress. In this illustration I want to see ways that a new technology would be integrated into our future lives… so interaction with the surroundings or people will be good. This is not a technical illustration, it’s an aspirational one, but you should imagine this technology in some detail, however fantastical it may be. You could even look back at technologies that were patented as far ago as the 1800s, but that have never become part of the mainstream. Your chosen technology should be the main focus of your whole picture, but don’t forget to add detail.
This should be accompanied by a short written piece describing why you picked this particular technology and what the illustration means to you. This should be no more than 300 words.

A word to the wise: the more obscure your choice of technology the better, since I will probably choose different technologies for each illustrator that I choose to profile.
You can choose to work in two sizes:
Double page (as was used in Amelia’s Magazine)
SIZE: page size: 400mm wide x 245mm high, with a bleed of 3mm all around; ie. final size of your artwork: 406mm x 251mm.
or
Single page
SIZE: page size: 200mm wide x 245mm high, with a bleed of 3mm all around; ie. final size of your artwork: 206mm x 251mm.
NOTE: Don’t put important stuff in the 3mm bleed zone (but do continue your image into it) as this is where the printers may cut bits off when the magazine is cut and bound.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)
GUTTER: please also note that the book will have a very deep gutter in the middle so it is good to keep important parts of your illustration away from the centre of the spread in double page images.
MY STYLE: if you want to know about my taste in illustration you should check out the current issue of the mag, or buy a back issue here!

2. A exclusive PICTORIAL LOGO on an environmental theme

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Logo designed by Adrian Fleet for Climate Camp in the City at the G20 protests

If you have submitted something for the Climate Camp logo open brief then you would be able to resubmit it for this brief, irrespective of whether it was used or not. The logo could be for an event or a company or a product or anything at all, but it must be promoting environmental themes and ideas. I will be looking for colourful and engaging logos. Consider the work of Adrian Fleet for the G20 Climate Camp in the City logo when thinking about what to enter for this. My style tends to be maximalist, but the words must always be a bold and easy part of the logo to read. It could be work that you have already created and has already been used by a brand (though please check with them before sending it to me) or you could create a new piece of work for a real or fictional brand. It should encompass a creative use of typography with illustration. There will be plenty of food for thought amongst the alternative technologies you will already have researched.
This should be accompanied by a short written piece describing what the logo has or would be used for. 50 words max.
It can be any size, but please create work at 300 dpi to a largish size.

3. Typography: YOUR NAME!
Please create your name in the most imaginative way possible. This could be done by hand, or on a computer, but you should really go to town! Amelia’s Magazine is well known for the use of creative typography, and for Amelia’s Anthology of Illustration the floor is open to you to create your own type for your own name (or how you would like to be known professionally) Don’t think of it as branding, but as something to go to town with. If your work is chosen it will be used to head your page, and it should therefore be really creative and fun. Think of this as your chance to really grab the reader’s attention!
For this reason please work to these dimensions and no smaller. (it could be bigger)
SIZE: 200-400mm wide x 40mm high
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)

4. A Border
Again this should fit a single page and reflect an environmental theme. Be sure to work with 3mm bleed and no more than 25mm in from the edge.
SIZE: page size: 200mm wide x 245mm high, with a bleed of 3mm all around; ie. final size of your artwork: 206mm x 251mm.
NOTE: Don’t put important stuff in the 3mm bleed zone (but do continue your border into it) as this is where the printers may cut bits off when the magazine is cut and bound.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)

NON EXCLUSIVE work:
4. Two other bits of illustration.

These should be your best recent work. They do not necessarily need to be on an environmental theme but should showcase as wide a range of imagery as possible, eg. people, things, places, typography etc. If you have created artwork for any of my previous open briefs this could form part of your submission although I would prefer to see new work. Be sure to stick to one style though – illustrators with a strong style of their own will always make the biggest mark, and I am unlikely to pick anyone who does not show a strong style throughout their submissions.
These can be any size, but please label each illustration clearly with a name and date of creation.
SIZE: as big as possible to fit the book’s page sizes.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)

CLOSING DATE: Monday 3rd August, by midnight please.
Please send lo res versions of your images (saved for web) to info@ameliasmagazine.com in an email clearly marked ANTHOLOGY OF ILLUSTRATION so that I don’t lose sight of it in my inbox if I am rushing through things on the day it arrives.
(This should be 6 pieces of work altogether. PLEASE DON’T SEND MORE THAN THIS)

If you are chosen for inclusion in Amelia’s Anthology of Illustration then you will be notified shortly after this date, once I have made my decisions. I have yet to decide how I will put together the profiles, but I may well need a photo from you and a short interview. If this is the case you will be notified later on in the summer.
And if you have any questions that are not answered above then please email me for clarification.
Join the facebook event here to ensure you get updates as they happen.

Best wishes and happy drawing!

Links
Below is a very long list of links, courtesy of Bruce: this is by no means conclusive, and the technologies may never work, but they are all being explored and would be valid ideas to illustrate. Youtube and Google Images are both a great source of innovative technologies, and I am sure you can find more. Feel free to go off and google you heart out – but you must illustrate something real and possible, and not a fantasy idea of your own. (unless you are also a scientist of course)

Wind turbines

Wikipedia wind power info

Magenn’s revolutionary wind power system on youtube

Magenn Air Rotar system

Magenn’s home page

The Floating Balloon Wind Generator

Motorwind Camping Set Wind Turbine

Knex wind turbine

Magnetically Levitated wind turbine

Great pic of huge Maglev wind turbine

Wikipedia entry about Maglev wind turbines

Maglev wind turbines homepage

Mag-Wind Vertical Axis Turbine

A Flying Wind Machine!

Floating Wind Turbines

A great blog about lots of different alternative energy projects including wierd and fantastical wind turbines

Huge Kites

Optiwind accelerating turbine

Selsam superturbines

Rotating wind power towers

Broadstar’s Aerocam

FloDesign wind turbines

Wikipedia definition of airborne wind turbines

downloadable PDF containing interesting info about different types of airborne wind turbines

Wikipedia definition of Kitegen

Kitegen website – plans for a huge airborne wind farm!

Great picture of how kites could generate electricity

Guardian article about kite power

Video showing how a kite ladder would work

Makani Power high altitude wind kites

Google have put money into the Makani vision

Makani “wind dam” picture

Great article about Saul Griffith — wind energy entrepeneur, and president of Makani

Tom Van Sant makes amazing kite ladders as sculpture

Wind Harvesting farms

Helix Wind

More Helix Wind porn

Google search results for wind power technologies

Mariah Power wind turbines

Google videos about wind power

The huge offshore aerogenerator

Quiet Revolution wind turbines

Wave power

Oscillating water columns

Anaconda wave technology

SIE-CAT wave energy accumulator

A list of wave power patents going back to the 1800s

Danish Wave Energy Society

the Wave Dragon

Wave Star Energy

Wave Energy Centre

CWave Power

the Aegir Dynamo

CETO

Columbia Power

Float wave electric power station

the Manchester Bobber

Orecon oscillating water column

OE Buoy

Aquamarine power

Sperboy wave energy converter

SSG Concept

The Seadog Pump

Buoys technology

Floating power plant

Surf Power

Power Buoy

the Wave Roller

Langlee Wave Power

the WRASPA

video about Harnessing the Gulf Stream! (is this a good idea?)

Wikipedia entry about wave power

Pelamis on wikipedia

Pelamis wave power

Pelamis being tested in Portugal

Google videos on wave power

Biowave power system

video showing Biowave power working

Video – giant rubber snakes!

SRI wave powered generator

Ocean Power Technologies

video – Aqua Buoys

Aqua Buoy movie

Oyster wave power

Tidal power

Wikipedia on tidal power

Video – tidal wave energy

youtube – idea for tidal energy barrage in florida

Sea Gen

google video links for Sea Gen

Marine Current Turbines

video of Biostream tidal power system

Gorlov helical water turbine on wikipedia

Gorlov Helical Turbine

3D interactive model that shows blades of Gorlov turbine

Severn Barrage

Solar Energy

Wikipedia on solar energy

Thermal

wikipedia on thermal solar energy

wikipedia on solar energy generating systems

wikipedia on solar power tower

BBC news report on solar power stations

Solar Power tower in Spain

image of Solar Power tower

more images of solar power tower in spain

Bright Source solar power on wikipedia

Bright Source Energy

Solar Reserve

youtube on solar tower energy

solar tower energy in spain on youtube

Enviromission solar tower

Suncatchers

Dual axis solar tower structure

Voltaic

photovoltaic energy

youtube on israeli solar energy

First Solar free field power plants

youtube about plastic solar cells producing solar power

Konarka power plastic

Standard geothermal

Geothermal power on wikipedia

youtube geothermal energy vid

Enhanced geothermal

Wikipedia – enhanced geothermal systems

youtube video on enhanced geothermal systems

Hot Rock Technology

Alta Rock Energy

Petratherm

Geodynamics
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The Reluctant Photojournalist

Features a variety of vintage and modern prints from Werner Bischof’s well known humanitarian photography including the Bihar famine, more about Europe post WWII and the South Korean war. Alongside these sit Bischof’s equally beautiful but perhaps lesser known early experiments with abstracts and nudes.

Photographic co-op Magnum Photos Ground Floor, 63 Gee Street, London EC1V 3RS, 0207 490 1771
Free Entry
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re.orient.ate

Reorienting common notions of contemporary Arab art and lifestyle and debunking ‘Orientalist’ depictions. Arab artists Marianne Catzaras, Dora Dhouib and Wael Shawky explore themes of mass media, Diaspora and religion via film and photography.

Selma Feriani Gallery, 23 Maddox Street, Mayfair, London W1S 2QN
7th Apr – 13th May 2009
Free entry
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The Abyss

A new joint exhibition by former Wimbledon College of Art students, Nicola Stead and Dan Jupp.

The Outside World, 44 Redchurch Street, London E2 7DP
7th May – 13th May By appointment Thursday to Saturday
Free entry
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The Hiding Place

Lewis Chamberlain
Exquisitely rendered pencil drawings whisk the viewer away into muted landscapes
which toy with scale, suburbia and the surreal.

James Hyman Gallery Savile Row, London W1S 3PD, 020 7494 3857
30th April – 30th May
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Crafted
Contemporary Craft and Fine Art

An exhibition celebrating the materials, processes and techniques involved in making extraordinary objects, the exhibition will feature nine artists from different arts and craft and design fields.

Oriel Myrddin Gallery, Church Lane, Carmarthen SA31 1LH
4th Apr – 16th May 09, 10 – 5 Mon – Sat
Free entry
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Monday 11 May

Telepathe are a too-cool-for-school three piece from Brooklyn. They’re playing 93 Feet East. They get obtuse Krautronica and make it go “POP!” – maybe they’ll be the next Animal Collective… Supported by Ou Est Le Swimming Pool.
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Tuesday 12 May

Dan Mangan plays The Electroacoustic Club, salve housed at The Slaughtered Lamb, viagra Clerkenwell. He’s a heartfelt songwriting kind of guy, information pills sings like he means it, and he’s much better than that Elbow record. Support comes from Deer Park.
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Wednesday 13 May

Our new favourite boyfriend-girlfriend duettists, Young Paul, will be giving The Cobden Club, 107 Kensal road a taste of 80s electronic treats. get in touch with the band for hassle-free entry, as it’s a private members club. Not just a fine gig, then, but also a chance to see where the Old Etonians schmooze.

Thursday 14 May

Alice and The Cool Dudes at Barden’s Boudoir. This is the high point of our music week. Alice Grant of Fulborn Teversham, is leaving her jazzhead buddies to one side to unveil some pensive indie songs, delivered by a totally unique voice that totters across a tightrope of uncannily powerful and tearful exhaustion. Surely she won’t disappoint?????
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Friday 15 May

Up in Nottingham, North-East London’s finest jokeshop salesmen of parallel-universe, narrative ska will be testing out some new material where they think no one can hear them. If you can find a place called Demo, you must prove Hothead Show wrong. Prepare for shockingly tight wizardry of the jerky-jerky groove.
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Saturday 16 May

A night of so-angry-we-can-only-tell-you-very-very-slowly Metal, with some catatonically droning Grunge, and atonal noise that may cause loss of balance on all but the lowest of seating. Roll up at The Constitution and enjoy Dethscalator, Scul Hazzards and Batrider. If you don’t take earplugs, then take cotton wool to mop up you bleeding lugholes.

Sunday 17 May

Always a good bet for a sunday night is Cross Kings, 126 York Way, in King’s Cross. On the ground level, David Goo will jolly along an open mic, which always has a few very eccentric envelope-pushers pencilled in. The avant-gardishness couples nicely with the family warmth, houmous and pitta that makes this a great pub. It’s worth paying a few quid to be allowed into the basement also. Things are a bit more organized (sound-checks and everything) but happily, there’s still no obvious divide between the musicians and the audience. What sundays are for.

Tuesday 12th May

Climate (Mis)behaviour
7pm
Dana Center
The Science Museum’s Dana Centre, dosage
?165 Queen’s Gate?, sildenafil
South Kensington
?London?SW7 5HD
?talk@danacentre.org.uk
+0044 (0)207 942 4040

Rescuing the planet requires behavioural change on an unprecedented scale. From individual action to global politics, what are the different strategies attempting to achieve this? Social psychology, advertising, policy and direct action are all thrown into the mix in this debate. ??This event is trying out a new format called Policy Slam, which is funded by the Democratic Innovation Fund of the Ministry of Justice. With the help of the experts, you will discuss, present and vote on several different options.

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Illustration by Lea Jaffy

Wednesday 13th May
Morphic Resonance, Collective Memory and Habits of Nature – An evening with Rupert Sheldrake

6.30pm drinks & buffet at Gaia House, 
(18 Well Walk, Hampstead, NW3 1LD)

7.30pm Talk & discussion at Burgh House 
(Opposite Gaia House, New End Square, Hampstead, NW3 1LT)

When Rupert Sheldrake first put forward his idea of Morphic Resonance more than twenty years ago, it caused a great stir in the scientific community.  The Editor of Nature denounced it as “the best candidate for burning there has been for many years” and proclaimed that it was “heresy”.  In his recently published new edition, available on the evening, Rupert documents the evidence that has built up in support of this hypothesis.  He will reflect on the Human Genome Project and other reductionist ideas, where few of the grand claims have come to fruition, not unlike the economic bubble that has recently burst.
 
The paradigm shift that Morphic Resonance offers is coherent with the Gaia Hypothesis, where the cosmos is understood to be a developing organism, where nature is alive, interconnected and creative.  There is an inherent memory in nature, and evolution is an interplay of habit and creativity, like our own lives.  According to this way of seeing formative causation, all self-organising systems, including crystals, plants and animals contain an inherent memory, given by a process called morphic resonance from previous similar systems.  
 
These ideas also resonate with diverse indigenous traditions around the world, including those of European ancestry.  For much of our history humans have experienced our relationship with the Earth, and indeed the Universe, to be fluid and reciprocal.  Rupert has taken up the challenge of exploring this ancient wisdom thorough the modern scientific tradition.
You can reserve your place online at: www.gaiafoundation.org/learning/online.php
Or send  a cheque for £10, made payable to The Gaia Foundation.

For further details please contact Sarah at: sarahn@gaianet.org or 020 7428 0055.
 
Rupert Sheldrake is recognised as one of the world’s most innovative biologists.  He was a Fellow of Clare College, Cambridge, and a Research Fellow of the Royal Society, and is currently Director of the Perrott-Warrick Project.  He is author of more than 80 scientific papers in peer-reviewed journals and many books, including ‘The Presence of the Past’,  ‘The Sense of Being Stared At’, ‘Dogs That Know When Their Owners Are Coming Home’  and  ‘Chaos, Creativity and Cosmic Consciousness’. His web site is www.sheldrake.org

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llustration by Eco Labs

Thursday 14th May
TAKE BACK THE POWER!? THE IMPORTANCE OF DIRECT ACTION TODAY

6:30-9pm
?Amnesty International UK
Human Rights Action Centre?
17 – 25 New Inn Yard
London EC2A 3EA
Nearest tube: Old Street

Free entry, refreshments and snacks provided
RSVP: london@climatecamp.org.uk or call 07534 598 733 (Early booking recommended!)
Find out what YOU can DO to stop climate change.?Throughout history ordinary people have been responsible for all major social changes – women’s rights, civic rights and even democracy itself in many places can be said to be result of direct action. Taking action is the very first step in making big changes happen. Direct action is taken by people who feel that the political process is not working to address profoundly important issues.
Climate change is the most urgent challenge we’ve ever faced – and politicians are not showing the strength of character needed to actually address this problem. Instead of serious sustainable solutions we see new runways and new coal fired power stations- deals that benefit the bottom line of the big players and not the wider population. Climate Camp believes that people everywhere need to work out what they can do – and then do it. Taking action yourself to make the world you want to see is a logical response to a very serious situation.

Are you interested in doing more to highlight the urgency of climate change? Or the relevance of direct action to struggles for jobs, peace and justice? Are you intrigued but feel uncomfortable about going outside the mainstream political process? Would you consider getting involved but don’t know how? Are you nervous about the consequences?
‘Take Back the Power! The Importance of Direct Action Today’ will be unique opportunity to hear about direct action from people who have participated in different ways. Speakers will range from people on the front line to those helping in the background. This includes Deborah Grayson – one of the Parliament Climate Rush – who is on bail and will be speaking about Climate Rush (photgraphed below)
To reserve a place/s please RSVP to london@climatecamp.org.uk or call 07534 598 733.

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Photograph by Amelia Gregory

Saturday 16th May
Euroflashmob: Europe United Against Airport Expansion
Stop Airport Expansion

Saturday 16 May 2009. The day of the Eurovision Song Contest. 12 noon on the dot at Heathrow
Terminal 1 Departures. Join Heathrow Flashmobbers in a Europe-wide Flash Mob – taking place on the same day at 6 airports across Europe.
Flash Heathrow! Flash Paris! Flash Frankfurt! Flash Schipol! Flash Brussels! Flash Dublin!
Each flashmob will be singing Eurovision classics (song-sheets provided), so download your favourite eurovision song onto your ipod or phone and bring your friends, instruments, hats, wigs, and your dancing shoes and let’s party. Now for the serious bit: airport expansion is seriously bad for local people, increased noise, air pollution, and especially the climate. The aviation industry want to expand airports across the UK and Europe, but opposition is huge, and the scientists are telling us we have to drastically cut emissions if we are to beat climate change. Flashmobs are a fun way to highlight the real opposition there is to expansion at airports across Europe. Here’s another big chance to show our opposition to a 3rd runway at Heathrow.
See you in Heathrow Terminal 1 Departures at 12 noon on the dot!
Tell BAA to get in tune: No Third Runway.
www.euroflashmob.com

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Illustration by Sachiko

Green Wedge II
A major Green Party benefit gig, to aid the Euro Election campaign.

£5 entry.
Venue:
Pangea Project
72 Stamford Hill,
Stoke Newington,
N16 6XS

http://www.pangeaproject.co.uk/

The highly eclectic lineup includes:
The Refinements (Raucous Ska)
Sarah Ellen Hughes Duo (jazz singer)

Contacts:
Selim: 07853 725476
Come along and support the local bands by cheering loudly, the Green Party by giving us your money and support, and the Pangea Project by drinking copious amounts.
It’s all shaping up to be a fun night, ably facilitated by your host Matt Hanley (ahem), with comprehensive Eurovision updates throughout the evening!
You can buy advance tickets here:?http://www.skiddle.com/tickets/
I love good days. Days that unfold in a series of pleasant surprises that put a spring back in your step and remind you that the world can be a good place. Three such things occurred today, buy well, four if you include the free coffee I was given for no reason, and five if you take into account the particularly magnificent texture of the water in which I swam early this morning (a good start surely), breathing fresh and clean from the night’s rain, silk to the touch and causing my skin to tingle for hours after; but silk water aside, only one of these things is relevant to you Zach, can I call you Zach?

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There was a moment at tonight’s concert where you clasped your fingers behind your head, raised your eyes towards the ceiling, and sighed a private smile – do you sometimes not quite believe it? I couldn’t believe it. I’d given up the hope of seeing you (you the object of a little musical infatuation), play at the Forum tonight – a torment when that venue is within spitting distance of my home. I’d cycled past and seen the queues outside (one of the nicest looking crowds to gather outside the Forum, believe me I know), my head hung low and my pedal stilted, perhaps I could sneak in, how could I live here so long and not know a secret entrance? Just as I was reconciling myself to a night of listening to Gulag Orchestra within the confines of my bedroom and strumming Postcards from Italy alone on the roof, a good thing happened – buzz buzz in my back pocket.

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“Hey Luisa how are you?”
“I’ve been better, well actually it’s been a pretty good day, but – ”
“Yeah well listen, you like Beirut right?”
“Like them? I Love – I mean yeah, they’re ok. I guess they’re ok.”
“Well you couldn’t do me a favour. I know it’s late notice and you’ve probably got plans”
“Erm, yeah I’ve got plans”
“Well I’m supposed to be reviewing them tonight but they wouldn’t give me a plus one and I don’t want to go alone, you wouldn’t go instead would you?”
(I’ve pulled over and am silently raising my fists to the sky)
Hmm…I suppose I could, I mean I would like to see them but then I don’t know what I’d write, I’m sure I’ll think of something-”
“So you’ll go?”
“Yes, yes I’ll go.”
“Oh great, thanks, just say you’re me, get some pictures, you know the drill, thanks again,”
“No problem, really,” (jumping up and down a little bit),
“What’s that noise?”
“Oh, nothing, some kid, thanks a lot, have a good night,”
“You too, byeeeee.”

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So that’s how a good day found me watching you tonight, I can’t remember the last time I was this excited about a gig. You came out to rapturous applause, rewarding the audience kindly with Nantes, how does it feel to have a crowd sing your songs along with you? It was as though you were singing old folk songs of a collective homeland from which we’ve all strayed, not something created from a photograph and a few months in Eastern Europe and Paris. And now you’ve moved over to Mariachi influences? I was raised on Cumbia, and I’ve always thought the sound is very similar to that of Eastern Europe, accordions and trumpets and powerful melodies. Everyone around me was in hushed silence for the entirety of the performance, and you seemed so relaxed, demure, a sound like yours doesn’t require anything else – I did like the occasional hand conducting though. On behalf of the audience, not that anyone would make me spokesperson for anything, thank you, it was wonderful incredible; but then you know that, not everyone gets two encores. See you again soon I hope, and erm, if you ever need someone to tap a tambourine or a cowbell, or maybe an old foot pedal harmonium just rescued from cobwebs, then … hi.

Yours,

Lulu Lampshade

SM (small print): emotional content may have been exaggerated slightly for effect.
Will Morgan is an excellent photographer, store clever person and all round nice guy. His photographs are subtle and dream-like; intimate yet austere, information pills all of us here at Amelia’s Magazine are big fans of his beautiful and exciting work. I was lucky enough to catch up with Will to talk about his work and the politics of photography.

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Hi, patient Will, how are you today?

Hello Roisin, I’m very good today thanks , the sun’s out and things are pretty much perfect.

I really love your photographs especially your use of light and attention to details- what makes a good photograph for you?

Thank you, that always nice to hear. Images work for me when they inspire an emotional response or are successful at conveying a mood and atmosphere. It’s the same for me with any art work really, every discipline. When I was at college I was really interested in domestic photography, family albums and the like, I always felt that these images were incredibly powerful because they are loaded with so much meaning, they tie into notions of memory, loss, happiness, sadness and the passage of time. I’m sounding a bit pretentious here but never mind eh? I think that an image can stand on it’s own purely by being beautiful as well, ideally one would combine the beauty with an emotional response. I think photographs are a form of language so it’s nice if they say something.

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Can you tell me about your average working day?

I don’t really have an average working day, I shoot a lot of editorial so the jobs are varied and my personal work is even more so. If I’m on a commissioned job it’s usually an early start, double check the equipment as I have been known to leave vital bits behind. Drink some very strong coffee, try not to smoke (fail) and head to the location, be very nice to everybody and start to shoot. Obviously keep to the deadline, work in close conjunction with the art director and hope the client is happy! All my commissioned work is digital these days so there’s normally an hour at the end of the shoot to go through the images then I retouch and deliver. My personal work is far looser I identify a project I’m interested in and shoot on my own, with minimal equipment. I do get up a lot later on these days, probably smoke more cigarettes though.

Do you have a favourite camera?

I started off using a 1960′s Hassleblad and I still love it, but these days I mainly shoot with a 645 contax and a P30 back, with the advent of digital clients just won’t pay for film and now days they want to see everything immediately, plus you get used to the freedom of digital, you can shoot to your hearts content. I do like my contax but the Hassleblad is probably my favourite although I rarely shoot film these days, I used to have a Polaroid land camera which I throughly enjoyed but I lost it. Lets move on I’m getting a little emotional

What do you make of the whole film vs. digital photography debate? I mean do you view the advent of digital photography as a completely bad thing?

I’m not sure it’s even a debate anymore, digital photography is here and it’s a photographic tool, you just have to learn to use it and I think to deny it is a bit self defeating. I do believe that images shot on film look better than digital raw files but the technology is so good now and if you know a little about digital retouching I can’t really tell the difference. Digital has a huge amount of freedom, film is expensive with digital after the initial investment you shoot for free really, you can really experiment and as I’ve said all my commissions assume I’m shooting digital. I don’t think digital is a bad thing or a good thing really it’s just the way photography has evolved. Different jobs/projects lend themselves to different platforms/cameras and so on, whatever works for you is the best really. Even when I do shoot film I scan it and tweak it in photoshop so it becomes a digital image anyway.

I think that’s really interesting, it’s quite taboo I think to be positive about digital photography, it’s refreshing to hear that you’re pro-digital and proud; whilst film is beautiful, people can always become purist about things like that and I agree that digital technology can add something great to photography- as we can see in your work!

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Continuing with this foray into the ethics or politics of photgraphy, do you agree with the idea that a photograph is the truest form of representation?

I’m probably misinterpreting the question but umm, not really, I think a photograph captures how someone or something looked in that split second the shutter clicked, it’s a tricky one but as a photographer you’re imposing yourself on the scene, you crop in camera, use apertures and f-stops different focal lengths, different formats, you edit your images, decide how to present them, all of this creates a selective reality, I’m not even sure if reality is the right word, also now with the computer technology you can completely alter the original image . All of these things have a huge bearing on whatever you’re photographing and of course you want it to look good. I don’t think it’s a true representation of reality but it has the edge over painting I think.

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Can you tell me about your journey to where you are today (career-wise rather than transport-wise!)? Do you have any advice for aspiring photographers?

Well I went to India for a year when I was 20, I picked up a camera there for the first time and really enjoyed it, I’d stayed in India too long so I missed my University place to study English so i did a part time course in photography. I loved it so went the route of art foundation, photography BA at LCP (also this got me to London). I did well at LCP I won a few prizes and it gave me the confidence to believe I might actually be able to make a living from photography. After my degree I worked part time at the National Film Theatre and assisted various photographers as well as picking up a few commissions for my self. It’s only really been the last three years that I’ve made a reasonable living purely from my own photography but it’s always been fun and I’ve never wanted to stop. I think getting over the fear of the portfolio meetings was crucial! The only advice I would give is to keep at it, never be afraid of showing your work, shoot as much as you can and enjoy it, I think it’s the best job in the world (apart from rock star maybe)

Which photographers inspired you early on in your career?

I was always hugely impressed with Philip Lorca-di Corcia in particular his Hollywood Hustler series, I was and still am a big fan of Eva Vermendel and Martina Hoogland-Ivanow, Paolo Roversi’s work is always beautiful, Christian Boltanski, Stephen Gill, Bruce Davidson, Azim Haidaryan, Nadav Kander, there’s a lot of them but I’ll leave it there.


What projects are you working on at the moment?

I’m working on a few, I’m shooting a series of confessional boxes in Catholic churches, a series on cineastes based around the National Film Theatre and bus stops at night.

I can’t wait to see them!

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All photographs appear courtesy of Will Morgan
At first glance, mind you might have thought that activism, arts and permaculture would make the strangest of bedfellows, but don’t let any preconceived notions cloud your judgement. The imaginative people behind ArtsAdmin are laying on a fortnight of activities which will demonstrate how effortlessly these subjects can work together. Under the name of Two Degrees , and with the recent quote by George Monbiot acting as a kind of frame of reference – ‘We have to stop treating climate change as an urgent issue, we have to start treating it as an international emergency” – the week long series of performances, activities, exhibitions and installations will have one thing in common; our relationship with the environment and the impact of climate change.

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I chatted recently with ArtsAdmin, in their beautiful and unexpectedly peaceful surroundings (well, they are on Commercial Road!) of Toynbee Studios (also the setting of many of the forthcoming events). They explained that even the title of the festival is apposite. ‘Two Degrees’ is in reference to the reports that global temperatures are set to rise by that amount in around 40 years. A relatively ‘small’ rise such as this could lead to catastrophic changes on our planet.

While the message is serious, many performances will be light hearted, and all will be engaging. A case in point, the ‘set list’ reads thus;  
“A reconstructed airplane serves real airline food delivered from City Airport; permaculturists and artists lead a foraging exploration of the City; a crowd of Londoners, an artist and a water dowser trace the course of a great London river; radical temporary transformations of lunchtime London; an artist-activist family confess to past flights they have taken; climate change cabaret; an urban-rural walk to City Farm; a bicycle-powered DJ set (run by good friends of Amelia’s Magazine; Magnificent Revolution) and a filmed rural idyll accompanied by passenger jet noise form Two Degrees”

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Personally, I like the sound of the climate change cabaret. It’s about time that cabaret branched out a little, don’t you think? Speaking of avant-garde performances, a particular highlight of the week will be C.R.A.S.H. A Postcapitalist A-Z, a collaboration between ArtsAdmin and the fantastically named collective that is The Laboratory of Insurrectionary Imagination. While it is difficult to predict exactly what will occur, (it’s best just to come down to the City of London to watch), C.R.A.S.H will be creating a phantasmagorical world where “Eight postcapitalist commissions transform lunchtime in the City including the very last opportunity to purchase a real woman, a soup kitchen distributing bowls of gold soup to City workers, a lone cyclist pedalling a field kitchen around the Square Mile, a forum of bankers, ex-bankers, climate activists, artists and others confessing their capitalist tendencies, and a café of equivalence where a bowl of food costs the same as a banker’s daily salary in parallel with food costs in the developing world.” I believe it is safe to say; brace yourself!

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Elsewhere, the issue of airline travel is of course, a pertinent topic in an event that is engaging in dialogue about climate change. At Toynbee Studios, it will be dealt with in an unexpectedly humorous way. In an activity that Dada would be proud of, the artist Richard DeDomenici (and his cabin crew) will be serving out helpings of airplane food, in its airline style packaging. Just in case you didn’t think that this was authentic enough, your meal will be served as you sit in a recycled airplane interior, which Two Degrees hasten to add, also includes in flight entertainment. For any of you who would pitch up just because you like the taste of airline meals (someone has to…?) there is a deeper meaning behind this. DeDomenici is responding to a recent quote by chef Marcus Wareing about British pub food, which he declares being of poor quality, so much so that for a proper meal, “you would be better off getting on a plane”. Now, I would disagree with chef Wareing on both counts. Has he never eaten at The Eagle? Moreover, it is an irresponsible comment to make, one which highlights the ease in which we get on and off flights, almost as if they were trains. So, rather than getting on a plane, you can experience all the wonders of a flight (but without the guilt of actually flying). Hurrah!

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If you are anything like me; a bit of a hippy with a nerdish fondness for maps and discovering secret, ancient rivers, ( I’ll admit that there are very few of us around!) then you will especially enjoy the outing that Two Degrees have planned. The artist Amy Sharrock will be leading a walk which she describes as her response to global concerns. This will come in the form of an excursion from Islington to the Southbank, tracing the lines of the ancient, and lost Walbrook River. Not obscure enough for you? Did I mention that any participants will be dressed in blue and tied together to resemble water molecules?

All of the events can be booked online at www.artsadmin.co.uk. It promises to be a thought-provoking and engaging week. Knowing ArtsAdmin and the people behind this event, however out of left field the performances may be, the message will be central: we are running out of time in which to save the planet, and the time in which to act is now.

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Crochet, help shells and pipe cleaners…beasts banished forever to the chasmic closet of craft have broken free of the plastic furniture covers and dried flowers to be resurrected as one of the most entertaining young collections to have paraded down the catwalks in some time. Anna Plunkett and Luke Sales, the Australian born and bred design team behind Romance Was Born have glued-gunned themselves firmly in place as the merry pranksters of Sydney.

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No one would blame you for crinkling your nose at the idea of a fashion collection inspired by someone’s nana. But peeking through the kaleidoscopic vision of these wizards of Oz . Driven by textures, shapes and above all colors, Romance Was Born in the fertile imaginations of these two talented designers when they met while studying fashion at the East Sydney Technical College.

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After graduating in 2007 they were invited to attend the Fourth International Support Awards in Italy where they turned down internships with Galliano because “their fashion fairytale had another date with destiny”. These young (water)guns were intent on starting their own label with, and why not, the suitcase size booty of Galliano laces and silks they’d received as a prize from the competition.

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These two confectioners are just as much substance as they are style. Clever tailoring and feminine shapes pepper the opulent couture showpieces. Collaborations with Australian artist Del Kathryn Bartonproduced original digitally printed fabrics and a 12 piece collection entitled ‘Garden of Eden’, which was exhibited at Kaliman Gallery alongside Barton’s work.

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Romance Was Born has also found its way onto the figures of Debbie Harry, Lily Allen, MIA, Cyndi Lauper and Karen O (who opted for a red tulle dress with googly eyes) and rising star rockers Architecture in Helsinki, who wore their puppetry inspired glo-in-the-dark pieces for the filming of their band’s new clip. They must surely have tagged one particular Icelandic songbird for their next mark. we can’t wait to see what they pull out of their party hats next!

Categories ,Australia, ,Crochet, ,Fashion, ,Kitsch, ,Romance Was Born

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Blow Presents Eleanor Amoroso

Eleanor Amoroso LFW SS12 by Gilly Rochester
Eleanor Amoroso S/S 2012 by Gilly Rochester.

Eleanor Amoroso‘s show made me nervous. I find it really hard to watch models struggle with shoes and that is exactly what happened to every poor sod as she made that first awkward turn in gigantic knife edge platforms at the top of the catwalk. They may have looked good when not in motion but I am afraid I just don’t get non-functional footwear: I spent the whole show playing will-she-won’t-she in my head and let me tell you that it was a distraction from admiring the clothes. The shoes were designed in collaboration with Julia Kaldy, dosage whose website features some much more wearable designs. Fashion, visit this eh?

Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
eleanor amoroso S/S 2012 by Lisa Stannard
Eleanor Amoroso S/S 2012 by Lisa Stannard.

Eleanor Amoroso graduated from the University of Westminster last year and has interned with the likes of Charlie Le Mindu, evident in her daring approach to garment construction. For her S/S 2012 collection she worked entirely in monochrome, presenting outfits in either cream (with just the tiniest hint of dip dye) or pitch black. Each piece was a handcrafted exploration of the amazing possibilities of crochet; woven and plaited breast plates fringed with swaying masses of thread that just about covered crucial body parts.

Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso S/S 2012 by Rachel Higham.
Eleanor Amoroso S/S 2012 by Rachel Higham.

Whilst Eleanor Amoroso‘s talent is undoubtable I would love to see a bit more development in terms of garment style; at present I can only see these outfits being worn for fashion shoots when really we should be admiring them on the red carpet.

Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso S/S 2012. All photography by Amelia Gregory.

Categories ,Blow PR, ,Blow Presents, ,Charlie le Mindu, ,crochet, ,Dip-dye, ,Eleanor Amoroso, ,footwear, ,Gilly Rochester, ,Handcrafted, ,Julia Kaldy, ,Lisa Stannard, ,LSO St Luke’s, ,monochrome, ,platforms, ,Rachel Higham, ,University of Westminster

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Fashion Fringe

Fyodor Golan Winners of Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker
Winners of Fashion Fringe 2011: Fyodor Golan S/S 2012 by Antonia Parker

If you’ve read Matt’s or my account of The Swedish School of Textiles show at Fashion Scout, dosage you’ll know it went on for an insanely long time. This means I’m ridiculously (half an hour!) late for Fashion Fringe, which is showing on the opposite side of the WC2 postcode, near Trafalgar Square. Once again I wonder if London Fashion Week organisers have conferred to place shows at nonsensical distances from each other just so that the frustration of the press may create humorous fodder for them.

Luckily I’m not one that insists on wearing heels at fashion week (or ever), so I’m able to run comfortably – well, as comfortably as one can in the relentless monsoon like rain and when one is wearing a wholly impractical maxi dress (I suppose that eclipses my wise footwear choice).

8 Northumberland Avenue is not easy to find, especially when the familiar sight of an impatient queue has vanished, leaving no sign that reveals ‘catwalk show here!’ So after zipping across the street twice, I finally stumble upon, quite literally, the Fashion Fringe venue. I’m out of breath and drowning in rain and sweat (not quite how I’d wanted to present myself), but I’m here and it appears the show hasn’t started yet. Phew.

Claudia Schiffer & Roland Mouret Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

My Fashion Fringe invite gets a scrutinising glance before someone is told to get a wristband on me and rush me into the arena. More running and I’m there. “You can stand anywhere at the back,” I’m told – this guy obviously hasn’t scrutinised my invite. I proceed to find my seat and of course, as luck would have it, my view is being obscured by those of a superior height. I complain about my predicament to my new neighbouring friends; they’re writing for a publication in Toronto and tell me they “love Amelia’s Magazine“.

Fyodor Golan Claudia Schiffer Roland Mauret Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

The winners of Fashion Fringe 2011 Fyodor Golan with judges Claudia Schiffer and Roland Mauret.

A fuss is being made of a couple of celebrities as they make their predictable late entrance and ‘flash flash, snap snap’ croon those domineering cameras. Damn it, I can’t see from where I’m sat, so naturally I take to the raised runway to peer at Claudia Schiffer and Roland Mauret, this year’s Fashion Fringe judges. The photographers are been ushered away, but I take my chance and ask Claudia and Roland if I may take a picture – “of course,” they agree and I triumphantly click the shutter on my camera.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay 1

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The show is about to start and I can hear a voice shouting, “Quiet please!” I take a seat on the floor, knowing it’s the only way I’m going to get any half-decent pictures of the show. Sat across from me, Hilary Alexander offers me a smile and I hope it’s because she approves of my determination rather pitying my plight.

First up is the endearing partnership Fyodor Golan with their spring summer collection ‘Flowers of evil’, inspired by the anthology of the same title by Charles Baudelaire. The showcase narrates the story of a nymph (I’m guessing she’s a water nymph by the appearance of the straggly, uncombed, just out of the river after a star light dip hair the models are wearing) that experiences an excruciating metamorphosis.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The transition begins with her appearing in symbolic white, in contrasting textures; the strong and the delicate. Stencilled into the garments are birds as if signalling the fair creature’s desire to take flight and be free, whilst the gleaming gold choker that threatens to asphyxiate her, pulling her in to a world that promises contentment only in death.

As nature supports her frail demeanour, life appears brighter and the progressing metamorphosis reveals itself in form of a white dress veneered in vividly coloured blossom. The neck shackle however, remains, unforgiving.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The transformation sees the nymph freeing herself from the shackles of her former life and enjoying the dangerous opulence of the new and the darkest ebbs of human nature, but the shackle now replaced by her very own hair appears to reveal that she has become her own enemy. Golan Frydman and Fyodor Podgorny have clearly put a lot of thought in to the theatrical element of the show and this is very much evident as their nymph’s painful transition into maturity is depicted by an older than average model – not a common sight at fashion week, so a high-five to them!

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay 8

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The finale presents the protagonist in a severely structured, yet elegant black gown that trails the catwalk. Her head is held high, but her face hidden by a staggering collar, beautiful but all consuming. It’s a tragic tale and a timeless one, but the collection itself hasn’t quite enthralled me.

Heidi Leung -  Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker

Fashion Fringe Runner-up: Heidi Leung S/S 2012 by Antonia Parker

After that dramatic performance, Heidi Leung’s collection inspired by Orientalism (‘East Asia and the Middle East’ highlights the press release) and 60s holiday photos appears a far more light-hearted an affair. The colour palette of lively greens, oranges and yellows, combined with a neutralising tan and blue and white checks incite summer days on sandy beaches, neon beach-balls and a nearly cloudless sky and picnics on a luscious green field dotted with pretty flora. The hair is styled simply; straight and easy with a prominent centre parting and the make-up complements with sixties’ neutrals and accentuated eyes.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

I’m a massive fan of layering, but if you’re not, Leung’s collection is going to be wearisome to comprehend. Every outfit appears to be made up of at least three layers; sixties style gingham undies (which I love), a chiffon overlay with a mandarin collar and a loose cape or a coat to complete the look.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Leung also combines crochet and embroidery within her collection, revealing an element of couture (in its original sense) and the use of ancient handicrafts. The crocheted and embroidered pieces sit upon gingham foundations and hang from the neck. I must say these pieces resemble table runners I’m sure reside on an antique oak table somewhere, in the parlour of a country cottage where a village tea party is being enjoyed. I love this collection.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

My favourite pieces include the frilly three quarter pants, reminiscent of undergarments of a past era, the knitwear, pleated tops and skirts and the long, softly moving, elegant coats. And have I mentioned the footwear? Okay, so a platform shoe covered in pastel coloured rosettes and secured with a transparent covering may not be the most flattering of foot accessories, but think about how much fun they’d be to wear? They’ve made me smile and I’m only looking at them.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal is the final Fashion Fringe contestant showing his collection titled ‘All the Riches She Deserves’. The collection conveys the story of a wealthy heroine who is taken to safety as her mansion of splendour burns to the ground at dawn. The make-up and hair conform to the narrative with captivating smoky eyes and voluminous, gracefully wild locks; a look inspired by the 1970s.

Nabil Nayal Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker

Fashion Fringe Runner-up: Nabil Nayal S/S 2012 by Antonia Parker

The colours that empower the collection echo the tones of smoke, fire and ash and perfectly cloak the strong, modern and feminine silhouettes. Nayal’s innovative construction of his collection boasts a myriad of wonderfully cultivated techniques and the use of a whole host of fabrics and textures. The Syrian born and Sheffield raised designer uses soft leathers, luxury silk jacquards and transparent fabrics such as organza and chiffon to concoct a dynamic presence, a characteristic each of his pieces flaunt.

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nayal’s love and admiration for the fashions of the Elizabethan era are manifested in the bulbous ruffs of his magnificent capes, whilst his appetite for elegance is evident in the long, flowing gowns, most notably the kimono style dress in antique gold lace. The tailored tulip dresses and skirts endeavour to promote a sense of a strong, ambitious, feminine character that never fails to look chic.

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Of all the competitors, I believe Nabil Nayal’s design appear the most expertly put together and the commercial aspect of fashion design has clearly been considered. I can certainly see the entire collection being bought and it adhering to the taste of many women, but would I wear the fastidiously put together collection? My desire for colour and eccentricity says “no”.

In contrast to my response to Fyodor Golan’s narrative, Nayal’s narrative isn’t one that I (or many others, I’m sure) can empathise with – I mean, how many of us enjoy power and wealth and the promise of a silk lined, jewel encrusted safety net, lest we fall?

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

I’m ready to mosey on home by the time the show ends; I’m exhausted and feeling a little faint (where’s the Vitamin Water when you need it?), but instead of being lead out of the venue, guests are taken down into the basement where the Fashion Fringe after-party is getting under way. I’ve never understood why these parties happily offer alcoholic beverages, but never provide decent non-alcoholic beverages. I feel like I’m being persecuted for being a non-drinker as I sip my medicinal tasting One Water.

A flurry of excitement commands the attention of the crowd; Claudia Schiffer, Roland Mauret and Colin McDowell take to the stage. A moment of silence, then Fyodor Golan are announced the winners of Fashion Fringe 2011. I hadn’t expected it, but I’m impressed that the judges haven’t simply been dragooned into championing the familiar and the chary. I’m very curious to see what Fyodor Golan will be delivering to the world of fashion in the future; I wonder if I could persuade them to create a collection around the poem ‘Lamia’ by Keats?

Watch the show here.

All photography by Akeela Bhattay

Categories ,1960s, ,2011, ,8 Northumberland Avenue, ,After-party, ,Akeela Bhattay, ,All the Riches She Deserves, ,Antonia Parker, ,BFC, ,British Fashion Co, ,Claudia Schiffer, ,Contestants, ,couture, ,crafts, ,crochet, ,East Asia, ,Elizabethan, ,embroidery, ,Fashion Fringe, ,Flowers of Evil, ,Fyodor Golan, ,Fyodor Podgorny, ,Golan Frydman, ,Good Relations PR, ,Heidi Leung, ,lfw, ,London Fashion Week, ,Metamorphosis, ,Middle East, ,Nabil Nayal, ,Nymph, ,Orientalism, ,Roland Mauret, ,Runners-up, ,S/S 2012, ,Swedish School, ,Trafalgar Square, ,transition, ,Vauxhall Fashion Scout, ,WC2, ,Winners

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Amelia’s Magazine | Charlie May: London Fashion Week A/W 2013 Catwalk Review

Charlie May A/W 2013 by Chloe Douglass
Charlie May A/W 2013 by Chloe Douglass.

There was plenty of buzz surrounding Charlie May‘s second catwalk show thanks to her status as a blogging fashion designer, so I wasn’t surprised to see many familiar faces so early on a Sunday morning outside the Ice Tank. Charlie is a designer of the minimalist ilk and she had chosen an apt venue to showcase her new collection: a photography studio with a white infinity curve against which the models paused for photographs.

Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May A/W 2013 by Jane Young
Charlie May A/W 2013 by Jane Young.

The collection, which had been inspired by ice, rock and fire, began in crisp white: sheer polo necks worn beneath wide lapelled tailored wool coats, with pencil skirts and sheer black tights. A roll neck knit was worn under an ostrich skin biker jacket and there was a distinct 80s vibe to the oversized blazers. Red lips worked beautifully with a simple silk shift dress and an A-line maxi dress accessorised with a simple black clutch bag by Danielle Foster. Moving swiftly through a few black, wine and gunmetal grey garments we arrived at my favourite looks, a cherry red dress and skinny leg suit. Charlie May successfully mixed textures and tones to bring subtle interest to her minimalist aesthetic, and I’ll be intrigued to see what she comes up with next.

Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May AW 2013-photo by Amelia Gregory
Charlie May A/W 2013. All photography by Amelia Gregory.

Charlie May AW13 by Isher Dhiman
Charlie May A/W 2013 by Isher Dhiman.

Categories ,A/W 2013, ,Charlie May, ,Chloe Douglass, ,Danielle Foster, ,Girl a la Mode, ,Ice Tank, ,Isher Dhiman, ,Jane Young, ,London Fashion Week, ,review

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Amelia’s Magazine | Fashion Interview: Gemma Marissa Designs


Illustration by Jenny Robins

This could become confusing as I’m interviewing the fabulous Gemma Marissa, recipe more about designer of the most beautiful crocheted jewellery and accessories I have ever seen. Gemma (the designer) and Jemma (the interviewer), both from Yorkshire and both in love with all things crafty. I think I could have a newfound friend.

It seems Gemma has always been the creative type “making things with whatever she found in her mother’s sewing box” and was soon whisked off to the big city to attend the Chelsea College of Art & Design. Having worked her way from student to designer (in every position along the way), she started her own accessories label in the summer of 2008 and has been working on the line ever since. 

But lets rewind a little bit, how did she manage to get this rising empire up and running? 

As soon as I walked in to the knit room at Chelsea College, filled with different coloured yarns and knitting machines, I knew that was where I belong. After university, I worked all over, from the Channel Four Costume Department to designing for Luella Bartley. After leaving there in 2008, I decided I wanted to focus on my own designs and began selling pieces at Spitalfields and Portobello Road Markets. I was luckily spotted and commissioned by the London fashion label Neurotica, to produce their accessories for SS10 (sold at Beyond The Valley and shown at London Fashion Week), which was fantastic!

The nature inspired collection with Neurotica’s fabulous prints was so successful that I was asked to follow on with a  range of very different but playful pieces for AW10. I have also just finished my collection of accessories collaborating with designer Michelle Lowe Holder which is a great range that consists of delicate crocheted necklaces and bracelets made with Michelle’s wonderful ribbon weave work that will be available for AW10.” 

A busy bee and very clearly someone who is dedicated to her talent, I wondered what inspired Gemma to create these beautiful pieces instead of ‘normal’ jewellery? 

As a child, I was brought up in a very inspired environment and my mother and grandmother are both very ‘crafty’. My sister and I were always in clothes made by them from pieces in the sewing box (an odd assortment of everything from fabric and ribbon to wool and buttons.) My life in Yorkshire is another important inspiration; being surrounded by the countryside, with its flowers and wildlife, allowed me to wander off on adventures. I would sketch everything that I saw and most of these things can be seen in my work now which focuses on my love of insects such as bees, butterflies and ladybirds.” 

Is it just nature that has been her inspiration then or is there something else behind the Gemma Marissa magic? 

“As with any designer I’m constantly looking back at vintage fashions, as these were times of great femininity and the clothing and accessories were elegant and beautiful, particularly in the 1940s and early 1950s. I also take a lot of inspiration from my love of childhood stories (mainly fairytales and poetry) and one of my first collections was greatly inspired by The Secret Garden and filled with crocheted flowers, poppies and daisies; it’s something I hope I can go back to in the future.

I do take other inspirations from my favourite artists for their colour and texture (Gustav Klimt, Monet, Cezanne); illustrators for their simplicity and delicate antique feel (Kate Greenway, Beatrix Potter, Edmund Dulac); photographers for their joy and playfulness (Robert Doisneau, Tim Walker) and movies for the fun and fashion (Funny Face, Amelie) but I can equally find insights from objects seen whilst scouring charity shops, car boot sales and antique markets. I’m always on the look out whether I see embroidery on an old table cloth, a vintage toy or the pattern on a piece of crockery.” 

It seems then that there isn’t just one source of inspiration for Gemma’s designs but that ideas can come from anywhere. And it must be a glamorous life, one filled with lavish parties and free bars. Right? 

It can be glamorous yeah and I do get invited to shows and parties, which are wonderful and exciting; however it really does mean more to me that I get to live my life each day researching, experimenting and designing as art and creativity have always been part of my life. I don’t know who or where I’d be without it. I love to surround myself with beautiful, inspirational things and being able to design and create my accessories everyday really is a dream come true and I wouldn’t want to do anything else!


Illustration by Jenny Robins

I’m sure we’re not at all jealous (me? Turning green?) but when she’s not designing, does she look to for everyday inspiration in the clothes she wears? 

“I like to have simplicity and playfulness in my style so I admire a lot of French designers such as Chanel, Chloe and Sonia Rykiel (three ticks there from me) but I also like smaller designers like Creatures of the Wind (a new one to me but some stunning pieces online) and Erdem (the golden boy at Fashion Week).

There are also many celebrities who have styles that I greatly admire, especially Audrey Hepburn, Maggie Gyllenhal, Kirsten Dunst and Audrey Tatou.

So the girl has impeccable taste as well as a winning jewellery line, but I wonder what her best moment has been so far? 

Hmm if I had to choose one I would say that my work for Neurotica has been the most important and significant thing in my career; collaborating on design ethics really makes for exciting projects. It means your work evolves in to something different and brings new ideas and inspirations in your work. It also meant I got to show at London Fashion Week in the Neurotica showroom and was asked back to design a second collection for aw10.” 

I think it’s safe to say that the girl from Yorkshire has done more than good in the furious world that we call fashion, whilst managing to keep her feet firmly on the ground. Find out more on her website and if you’ve been inspired to invest then you can find her pieces here. This is definitely a designer to be watched.

Categories ,accessories, ,Crafty, ,Creatures of the Wind, ,crochet, ,Erdem, ,Gemma Marissa, ,Jenny Robins, ,jewellery, ,London Fashion Week, ,Neurotica, ,The Secret Garden, ,vintage, ,Yorkshire

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Amelia’s Magazine | Fashion Interview: Gemma Marissa Designs


Illustration by Jenny Robins

This could become confusing as I’m interviewing the fabulous Gemma Marissa, recipe more about designer of the most beautiful crocheted jewellery and accessories I have ever seen. Gemma (the designer) and Jemma (the interviewer), both from Yorkshire and both in love with all things crafty. I think I could have a newfound friend.

It seems Gemma has always been the creative type “making things with whatever she found in her mother’s sewing box” and was soon whisked off to the big city to attend the Chelsea College of Art & Design. Having worked her way from student to designer (in every position along the way), she started her own accessories label in the summer of 2008 and has been working on the line ever since. 

But lets rewind a little bit, how did she manage to get this rising empire up and running? 

As soon as I walked in to the knit room at Chelsea College, filled with different coloured yarns and knitting machines, I knew that was where I belong. After university, I worked all over, from the Channel Four Costume Department to designing for Luella Bartley. After leaving there in 2008, I decided I wanted to focus on my own designs and began selling pieces at Spitalfields and Portobello Road Markets. I was luckily spotted and commissioned by the London fashion label Neurotica, to produce their accessories for SS10 (sold at Beyond The Valley and shown at London Fashion Week), which was fantastic!

The nature inspired collection with Neurotica’s fabulous prints was so successful that I was asked to follow on with a  range of very different but playful pieces for AW10. I have also just finished my collection of accessories collaborating with designer Michelle Lowe Holder which is a great range that consists of delicate crocheted necklaces and bracelets made with Michelle’s wonderful ribbon weave work that will be available for AW10.” 

A busy bee and very clearly someone who is dedicated to her talent, I wondered what inspired Gemma to create these beautiful pieces instead of ‘normal’ jewellery? 

As a child, I was brought up in a very inspired environment and my mother and grandmother are both very ‘crafty’. My sister and I were always in clothes made by them from pieces in the sewing box (an odd assortment of everything from fabric and ribbon to wool and buttons.) My life in Yorkshire is another important inspiration; being surrounded by the countryside, with its flowers and wildlife, allowed me to wander off on adventures. I would sketch everything that I saw and most of these things can be seen in my work now which focuses on my love of insects such as bees, butterflies and ladybirds.” 

Is it just nature that has been her inspiration then or is there something else behind the Gemma Marissa magic? 

“As with any designer I’m constantly looking back at vintage fashions, as these were times of great femininity and the clothing and accessories were elegant and beautiful, particularly in the 1940s and early 1950s. I also take a lot of inspiration from my love of childhood stories (mainly fairytales and poetry) and one of my first collections was greatly inspired by The Secret Garden and filled with crocheted flowers, poppies and daisies; it’s something I hope I can go back to in the future.

I do take other inspirations from my favourite artists for their colour and texture (Gustav Klimt, Monet, Cezanne); illustrators for their simplicity and delicate antique feel (Kate Greenway, Beatrix Potter, Edmund Dulac); photographers for their joy and playfulness (Robert Doisneau, Tim Walker) and movies for the fun and fashion (Funny Face, Amelie) but I can equally find insights from objects seen whilst scouring charity shops, car boot sales and antique markets. I’m always on the look out whether I see embroidery on an old table cloth, a vintage toy or the pattern on a piece of crockery.” 

It seems then that there isn’t just one source of inspiration for Gemma’s designs but that ideas can come from anywhere. And it must be a glamorous life, one filled with lavish parties and free bars. Right? 

It can be glamorous yeah and I do get invited to shows and parties, which are wonderful and exciting; however it really does mean more to me that I get to live my life each day researching, experimenting and designing as art and creativity have always been part of my life. I don’t know who or where I’d be without it. I love to surround myself with beautiful, inspirational things and being able to design and create my accessories everyday really is a dream come true and I wouldn’t want to do anything else!


Illustration by Jenny Robins

I’m sure we’re not at all jealous (me? Turning green?) but when she’s not designing, does she look to for everyday inspiration in the clothes she wears? 

“I like to have simplicity and playfulness in my style so I admire a lot of French designers such as Chanel, Chloe and Sonia Rykiel (three ticks there from me) but I also like smaller designers like Creatures of the Wind (a new one to me but some stunning pieces online) and Erdem (the golden boy at Fashion Week).

There are also many celebrities who have styles that I greatly admire, especially Audrey Hepburn, Maggie Gyllenhal, Kirsten Dunst and Audrey Tatou.

So the girl has impeccable taste as well as a winning jewellery line, but I wonder what her best moment has been so far? 

Hmm if I had to choose one I would say that my work for Neurotica has been the most important and significant thing in my career; collaborating on design ethics really makes for exciting projects. It means your work evolves in to something different and brings new ideas and inspirations in your work. It also meant I got to show at London Fashion Week in the Neurotica showroom and was asked back to design a second collection for aw10.” 

I think it’s safe to say that the girl from Yorkshire has done more than good in the furious world that we call fashion, whilst managing to keep her feet firmly on the ground. Find out more on her website and if you’ve been inspired to invest then you can find her pieces here. This is definitely a designer to be watched.

Categories ,accessories, ,Crafty, ,Creatures of the Wind, ,crochet, ,Erdem, ,Gemma Marissa, ,Jenny Robins, ,jewellery, ,London Fashion Week, ,Neurotica, ,The Secret Garden, ,vintage, ,Yorkshire

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Amelia’s Magazine | An interview with jewellery designer Gemma Marissa Murray


Illustration by Gemma Smith

Last year I had the privilege of interviewing the amazing Gemma Marissa. Gemma, erectile a jewellery designer and pioneer of individual hand made crochet pieces, website has shown at Estethica for London Fashion Week, sold her designs on Neurotica and has been designing professionally for almost three years.

This coming autumn, she has chosen to launch her home collection and if its anything like her beautiful necklaces and brooches, it will be something for you to covet at home whilst still in-keeping with the vintage hand made aesthetic of her jewellery. So I interviewed Gemma to find out what was in store for the season.

So what was your inspiration for creating a home collection and how do you think your hand made pieces will translate into the look? 
The inspiration for making a homeware collection actually came from me moving house. I started to look for cushions, throws and other pieces to make the place my own that had a unique, hand crafted quality to them, but nothing I saw interested me, and so I started making things for myself! Because I was working on the A/W 2011 accessories collection at the same time, I was very much influenced by this and so its very much inspired by the accessories that I was producing at the time. I suppose I translated them to feel more at home within a comfy old fashioned setting.
 
I’m sure it’s not going to be just your standard cushions though, are you going to venture into some more creative ideas? 
Most pieces are at sample stage right now so it’s all subject to changing as I work through it, but I am working on cushions, throws, decorative wall hangings and lots more. If things go well I really would love to produce crocheted lamp shades, and possibly curtains… I think there are endless possibilities with crochet and I am constantly having new ideas, which I hope I can bring into future homeware collections.


Illustration by Gemma Smith

I actually can’t wait! So what have you learnt since doing your last jewellery collection that has inspired you to create the beautiful new pieces you have now? 
I had a lot of fun with the last collection, filled with brilliant pom pom necklaces, headpieces and much more. But for S/S 2011 I wanted the collection to come back to what the Gemma Marissa brand is all about and what I love to make. This means that I’ve used a lot of natural, floral inspirations; the bluebells and ivy give a very English feel to the collection and the cherry blossoms were inspired by my trip to Japan early last year, the perfect time to see the blossoms in bloom, it was magical!

I can imagine the beauty must have been stunning to see and great inspiration. And talking about the inspiration for the collection, it’s all very mythical with references to natural beauties such as Guinevere and Aphrodite… 
Yes the collection is based on the Pre Raphaelites, whose works always have a mythical, magical feel to them; I just love the colours that are used in the works of artists such as Rosetti and Mucha that are also muted and understated and very beautiful. All of the pieces are named after goddesses or mythical women, such as the afore mentioned Aphrodite, or Pandora. I have always been intrigued by the stories surrounding these women so I thought I could bring this intrigue into my pieces, giving them a very ethereal feel!


 
Well it’s clear that it’s something you’ve always been interested in but S/S 2011 is visibly a move away from the almost fairy like creature designs of previous years. Is this just a new direction or a conscious inspired decision? 
This is definitely something I have always been interested in, I ‘m very much inspired by literature and stories, and this collection is another extension of this. I still, and always will, want my work to have an air of intrigue and other worldliness about it. I think fashion should be fun, and a way to express our personalities, thoughts and feelings, and it is brilliant I get to do this with each new collection as I am always inspired by different things. I am working on my A/W 2011 collection at present, and am busy looking into the Victorian era, an amazing and intriguing time for innovation in design and literature!

Are earrings a new foray for you? I don’t remember seeing them before… 
I hadn’t made earrings before no, but because the work for the S/S 2011 collection was so small and delicate I thought it would be lovely to make crocheted earrings made from a single bluebell or sycamore seed! They are a favourite part of my collection actually, and I wear mine a lot!

So would I – they’re stunning. Which of the key S/S 2011 trends do you think that your pieces fit best with and why?
I love the trend for ‘lady-like’ fashions, which hark back to the 1940′s for that ultra feminine look! Therefore I like the SS 2011 trends such as pastel colours, along with soft, light fabrics such as silk and lace that will work wonderfully alongside my pieces.

And where are you expecting to go from here? Obviously the home line is next but is this testing the water before you plan to release a home collection every season? 
Yes I will still produce a fashion & accessories collection each season, but along side this I hope that the homeware line will continue to expand…

It’s a very exciting prospect if you do. Who are your favourite designers this S/S 2011 and what trends will you mostly be wearing? 
My favourite, as always, is Erdem for his innovative S/S 2011 collection. He is able to make beautiful, feminine clothes that have a very modern feel to them and I especially love this season’s lace work! Also I saw the Kenzo show and just fell in love with the beautiful silks and knits which had a big Japanese influence and was so inspiring for my work. Another absolute favourite is Rodarte and their latest collection is stunning but of course these pieces will all be mixed with looks from the great British high street stores; some I’ve been loving recently are Gap and Anthropologie for their creative knits and beautiful use of fabrics. 

Well I am most definitetly excited to see the finished products. We’ll let Gemma get back to showing her S/S 2011 collection and the new home line but it’s lovely to know that the designer is still sticking to her roots. I can’t wait to see what the future brings for this innovative creative force. Bring on the crochet lampshades I say!

Read our original interview with Gemma here.

Categories ,Aphrodite, ,crochet, ,Erdem, ,estethica, ,Gemma Marissa, ,Gemma Smith, ,Homeware, ,Jemma Crow, ,jewellery, ,London Fashion Week, ,Neurotica, ,Pre-Raphaelites, ,Rodarte

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Amelia’s Magazine | An interview with jewellery designer Gemma Marissa Murray


Illustration by Gemma Smith

Last year I had the privilege of interviewing the amazing Gemma Marissa. Gemma, erectile a jewellery designer and pioneer of individual hand made crochet pieces, website has shown at Estethica for London Fashion Week, sold her designs on Neurotica and has been designing professionally for almost three years.

This coming autumn, she has chosen to launch her home collection and if its anything like her beautiful necklaces and brooches, it will be something for you to covet at home whilst still in-keeping with the vintage hand made aesthetic of her jewellery. So I interviewed Gemma to find out what was in store for the season.

So what was your inspiration for creating a home collection and how do you think your hand made pieces will translate into the look? 
The inspiration for making a homeware collection actually came from me moving house. I started to look for cushions, throws and other pieces to make the place my own that had a unique, hand crafted quality to them, but nothing I saw interested me, and so I started making things for myself! Because I was working on the A/W 2011 accessories collection at the same time, I was very much influenced by this and so its very much inspired by the accessories that I was producing at the time. I suppose I translated them to feel more at home within a comfy old fashioned setting.
 
I’m sure it’s not going to be just your standard cushions though, are you going to venture into some more creative ideas? 
Most pieces are at sample stage right now so it’s all subject to changing as I work through it, but I am working on cushions, throws, decorative wall hangings and lots more. If things go well I really would love to produce crocheted lamp shades, and possibly curtains… I think there are endless possibilities with crochet and I am constantly having new ideas, which I hope I can bring into future homeware collections.


Illustration by Gemma Smith

I actually can’t wait! So what have you learnt since doing your last jewellery collection that has inspired you to create the beautiful new pieces you have now? 
I had a lot of fun with the last collection, filled with brilliant pom pom necklaces, headpieces and much more. But for S/S 2011 I wanted the collection to come back to what the Gemma Marissa brand is all about and what I love to make. This means that I’ve used a lot of natural, floral inspirations; the bluebells and ivy give a very English feel to the collection and the cherry blossoms were inspired by my trip to Japan early last year, the perfect time to see the blossoms in bloom, it was magical!

I can imagine the beauty must have been stunning to see and great inspiration. And talking about the inspiration for the collection, it’s all very mythical with references to natural beauties such as Guinevere and Aphrodite… 
Yes the collection is based on the Pre Raphaelites, whose works always have a mythical, magical feel to them; I just love the colours that are used in the works of artists such as Rosetti and Mucha that are also muted and understated and very beautiful. All of the pieces are named after goddesses or mythical women, such as the afore mentioned Aphrodite, or Pandora. I have always been intrigued by the stories surrounding these women so I thought I could bring this intrigue into my pieces, giving them a very ethereal feel!


 
Well it’s clear that it’s something you’ve always been interested in but S/S 2011 is visibly a move away from the almost fairy like creature designs of previous years. Is this just a new direction or a conscious inspired decision? 
This is definitely something I have always been interested in, I ‘m very much inspired by literature and stories, and this collection is another extension of this. I still, and always will, want my work to have an air of intrigue and other worldliness about it. I think fashion should be fun, and a way to express our personalities, thoughts and feelings, and it is brilliant I get to do this with each new collection as I am always inspired by different things. I am working on my A/W 2011 collection at present, and am busy looking into the Victorian era, an amazing and intriguing time for innovation in design and literature!

Are earrings a new foray for you? I don’t remember seeing them before… 
I hadn’t made earrings before no, but because the work for the S/S 2011 collection was so small and delicate I thought it would be lovely to make crocheted earrings made from a single bluebell or sycamore seed! They are a favourite part of my collection actually, and I wear mine a lot!

So would I – they’re stunning. Which of the key S/S 2011 trends do you think that your pieces fit best with and why?
I love the trend for ‘lady-like’ fashions, which hark back to the 1940′s for that ultra feminine look! Therefore I like the SS 2011 trends such as pastel colours, along with soft, light fabrics such as silk and lace that will work wonderfully alongside my pieces.

And where are you expecting to go from here? Obviously the home line is next but is this testing the water before you plan to release a home collection every season? 
Yes I will still produce a fashion & accessories collection each season, but along side this I hope that the homeware line will continue to expand…

It’s a very exciting prospect if you do. Who are your favourite designers this S/S 2011 and what trends will you mostly be wearing? 
My favourite, as always, is Erdem for his innovative S/S 2011 collection. He is able to make beautiful, feminine clothes that have a very modern feel to them and I especially love this season’s lace work! Also I saw the Kenzo show and just fell in love with the beautiful silks and knits which had a big Japanese influence and was so inspiring for my work. Another absolute favourite is Rodarte and their latest collection is stunning but of course these pieces will all be mixed with looks from the great British high street stores; some I’ve been loving recently are Gap and Anthropologie for their creative knits and beautiful use of fabrics. 

Well I am most definitetly excited to see the finished products. We’ll let Gemma get back to showing her S/S 2011 collection and the new home line but it’s lovely to know that the designer is still sticking to her roots. I can’t wait to see what the future brings for this innovative creative force. Bring on the crochet lampshades I say!

Read our original interview with Gemma here.

Categories ,Aphrodite, ,crochet, ,Erdem, ,estethica, ,Gemma Marissa, ,Gemma Smith, ,Homeware, ,Jemma Crow, ,jewellery, ,London Fashion Week, ,Neurotica, ,Pre-Raphaelites, ,Rodarte

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Amelia’s Magazine | Tent London 2014: Textiles and Surface Design

Zoe Murphy
Yes yes it’s been 6 months since the 2014 edition of Tent London but straight after the show I became ridiculously busy with my 10th anniversary Kickstarter project, That Which We Do Not Understand. I have always wanted to share my finds properly, some of whom I have already profiled at length on this website, and I’m sure this little collection will offer some refreshing and exciting inspiration.

Zoe murphy cushions
From Mexico to Margate was inspired by Zoe Murphy’s summer travels, and is the perfect vehicle for her zingy colour ways. Used to great effect on these cacti fabric designs on cushions. Spot also the Snarfle ghost hand.

Seven Gauge Studios
I love the new geometric woven fabric designs by Seven Gauge Studios.

Room 39
This wonderful new bedding and cushion collection is by Room 39. Designer Petra was also very helpful on the subject of crowdfunding, having funded the fragment bedding range through this method herself.

Sian Elin
Sian Elin excels in the creation of upbeat geometric designs such as these wonderful duotone cushions.

Louise Wilkinson
Louise Wilkinson cushion
As always I adore the designs of Louise Wilkinson, whose new fabrics are a touch folkloric, a touch Scandinavian and a touch of chintz: lots of fruits, vegetables and strange little animals.

Louise Wilkinson hedgehog
I think this gold hedgehog wall decal is out of this world, but she only made them as one offs for Tent. Don’t you reckon they would sell like hot cakes?!

Lorna Syson
It was great to see new designs by Lorna Syson mixing up birds and geometric designs: I’ve since discovered her new Broom and Bee design, which is absolutely magic – check her website to see it.

Otago Design mat
We spent some time admiring coir circle mats made in Africa for Otago Design.

Sonya rugs
Amazing crazy cool bright rugs are by Sonya Winner.

Rose sharp jones
I adore the subtle crochet cushion designs of Rose Sharp Jones: one of a new wave of crafters bringing this traditional technique into the 21st century.

Occipinti
occipinti textiles
Embroidery hoops are a wonderful showcase for fabrics by Occipinti. Find out more about the designer in my recent interview.

Tracey Tubb
These very clever and original origami wall coverings are by Tracey Tubb.

Natalia Yanez
Natalia Yanez utilises a combination of crochet and local Chilean basketweave techniques in her beautiful and unusual structures. Very clever!

candid fabric
These fabulous tropical fruit fabrics are by Hannah Rampley for Candid Fabric – a new project to support emerging graduate textile designers.

Beldi rugs
Beldi rug vintage
I am just a little bit in love with vintage Moroccan Beldi Rugs. These rag rugs cost a fortune but are ever so glorious.

Parris Wakefield additions
Paris Wakefield Additions has released a stunning new fabric design. Since last September I have had the honour of working with Sarah Parris, who produced a beautiful print for my special That Which We Do Not Understand 10th anniversary gold leaf range, available here.

Fanny Shorter
Fanny Shorter skirt
As always I love tropical loveliness by Fanny Shorter, looking wonderful in a pencil skirt made with her fabric.

Kitty McCall
Last but not least, I am enthralled by the colourful abstract designs of Kitty McCall. This fabric looks like a surreal mountainscape.

Read about furniture, lighting and other odds and sods here! All of these images were first shared on my instagram feed.

Categories ,2014, ,Beldi Rugs, ,Broom and Bee, ,Candid Fabric, ,craft, ,crochet, ,Fanny Shorter, ,From Mexico to Margate, ,Hannah Rampley, ,instagram, ,Interior Design, ,Kitty McCall, ,Lorna Syson, ,Louise Wilkinson, ,Natalia Yanez, ,Occipinti, ,Otago Design, ,Paris Wakefield Additions, ,review, ,Room 39, ,Rose Sharp Jones, ,Sarah Parris, ,Seven Gauge Studios, ,Sian Elin, ,Snarfle, ,Sonya Winner, ,surface design, ,Tent London, ,textiles, ,That Which We Do Not Understand, ,Tracey Tubb, ,Truman Brewery, ,Zoe Murphy

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