Amelia’s Magazine | Vita Gottlieb: London Fashion Week Fashion Fringe S/S 2013 Catwalk Preview Interview

vita gottlieb by Alexa Coe
Vita Gottlieb A/W 2012 by Alexa Coe.

I’ve known of Vita Gottlieb through mutual friends for many years so when I bumped into her recently it was something of a surprise to hear of plans to launch herself as a fashion designer, having worked previously in fine art, film and textile design. I was then really happy to discover (via facebook, where else?) that she had been shortlisted as a finalist for this season’s Fashion Fringe. Here she describes the incredible journey she has made: inspiring stuff for all would be fashion designers!

Vita Gottlieb by Angela Lamb
Vita Gottlieb by Angela Lamb.

You are a textile designer by training – how difficult was it to become a fashion designer? Where did you learn to think in terms of putting your textiles on the body?
I actually trained in the more theoretical area of art history – then did an MA in Fine Art – it was here I started to experiment with my illustrative and graphical sketches, putting them into prints and wall hangings. It seemed natural to move into textiles from there and then translate these 2-D forms into 3-D with fashion. I’ve always needed to work with my hands and love the direct process of designing textile prints, then using these to design on the body. The prints inform the process and I absolutely love it. Finally I feel I can use and be inspired by all my passions – film, art, stories, travel and wilderness.

Vita Gottlieb AW 2012
Vita Gottlieb AW 2012
Vita Gottlieb A/W 2012.

Prior to that you also worked in film and gained a degree in fine art. What do you think led you to fashion after so many years in other design disciplines?
I suppose I like to slow-cook things! Sometimes you need a bit of time to work through all the peripheral ambitions and come slowly into settling on something that feels right and at the right time. I don’t think I would have been good in the fashion industry in my early 20s – I was quite sensitive and volatile, and probably would have been swallowed up or waylaid by it all! I love film and always will but ultimately wanted to be in control of a more contained aesthetic, and with fashion, you really can make things happen in an exciting, organic way. It’s akin to being an artist – it’s your vision, your story, but you need to communicate this message clearly in order to make it happen. Art and film will always feed into my work though, through the creation of story and mood, the use of print and fabric manipulation. I’ve also always loved texture, the feel and emotion of strong colour, of materials themselves. Fashion seems to encapsulate all of these things in such a magical way.

Vita Gottlieb AW 2012
Vita Gottlieb AW 2012
Vita Gottlieb A/W 2012.

What did you learn from your years working in interiors that you have been able to apply to your fashion designs?
For around 3 years I free-lanced as a textile designer in both the interiors market and also, I designed and made my own accessories for the body which sold at trade and public fairs. The biggest learning curve from that for me has been understanding how to translate ideas from the graphic ‘doodles’ I was making in textile print – which had a flat, albeit malleable substrate – into a conversation with construction, silhouette, movement. The amazing thing for me now is witnessing how much the 3-dimensional form in the movement of fabric can really alter my thinking on a design. It’s wonderful to watch it develop through sketches, into a pattern, all the protos and finally, to see a garment on a real body is just so exciting.

Vita Gottlieb AW 2012 scarf
What makes your scarf collection so unique?
I’d say my use of colour, graphic repeat prints and intricate detail. They’re trans-seasonal, so can be worn with anything and by anyone all year round.

Vita Gottlieb, Illustration by Rosa and Carlotta Crepax, Illustrated Moodboard
Vita Gottlieb S/S 2013 preview by Rosa and Carlotta Crepax, Illustrated Moodboard.

What was the inspiration behind your A/W 2012 collection?
AW12 was inspired by elements of the forest floor and the tactile quality of bark, moss, the underside of mushrooms. I had this image of a disenchanted forest filled with creeping lianas and the raw-edged, tactile textures of fallen leaves. Also, the colours of dusk. Dusk and moonlight, magic hour – I think these qualities of light will form a puncture through many collections to come.

Vita Gottlieb SS 2012 Nightbird (illustrated preview by Vita)
Vita Gottlieb S/S 2012 Nightbird (illustrated preview by Vita).

What was the process of being picked for Fashion Fringe? Where did it all start?!
It’s been an amazing journey so far! It started with a question – should I really apply? Do I have a chance? I thought it was a no until I woke up one day and just said to myself ‘there’s nothing to lose’ – classic, really. Something in the way the criteria for entry was written gave me hope as it seemed to me to encapsulate everything I wanted my label to be. It’s incredible to have got this far! I remember the day Christopher Bailey called, personally, to say I was a Semi-Finalist; I was in New York at the time and literally jumped around the room I was in. Being announced as a Finalist was one of those moments I won’t forget – the elation, nerves, and fear! I think I’m more afraid of success than I am of failure, much as I want and am working for it – but there’s no looking back now. The team at Fashion Fringe have been amazing and so supportive throughout, which amongst many other things has made the whole process such a joy and privilege.

 Vita Gottlieb SS 2012 Tamsin (illustrated preview by Vita)q
Vita Gottlieb S/S 2012 Tamsin (illustrated preview by Vita)

I can’t wait to see your new collection: the description sounds incredibly romantic and dreamy – are you a dreamer? What’s the best dream you’ve ever had?
Oh, man, I am a consummate dreamer! Both day and night. Reverie is a favourite hobby of mine. Often I dream of flying through the universe, diving in and out of colours and natural patterns of movement – sometimes I go back in time and poke about cobbled alleys and strange places. Always there’s a lot of movement, colour and music. I wake up shaking from the images sometimes. But it’s so much a part of me.

Vita Gottlieb S/S 2013 preview by Catherine Moody
Vita Gottlieb S/S 2013 preview by Catherine Moody.

The collection will layer eastern and western references – what motifs have you taken from each place, and how have you mixed them up?
SS13 is inspired in part by Paul Poiret‘s 1911 party ‘Thousand and Second Night‘, where guests were asked to wear Persian dress and indulge in dancing in the moonlight… I love the idea of layering Eastern influences into Western ideas; some of the prints are inspired by and use motifs from Georges Barbier‘s early twentieth century illustrations. I also thought about moonlight as a mood and infused some of the colours of that hour, just after dusk, in an imaginary city full of minarets and flickering lights. In terms of Western influences, I’ve tried to create a bit of a puncture through accessories and silhouettes.

vita gottlieb pinterest
You are an avid fan of Pinterest – how do you use it to collate and filter your ideas?
Yes, I love it as it’s such an easy way of keeping all your ideas and inspirations in once place. I’m a real sketchbook hoarder and keep everything I sketch or write in books at home or in the studio – but Pinterest I use more for general interest inspiration. And for food porn, it’s great for that!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

In fact you are quite internet savvy all around, why do you think (as an up and coming designer) it’s important to be so visible on social media networks? Do you plan to sell all your collections online?
Being social-media savvy doesn’t necessarily come naturally and I was definitely a Facebook/Twitter abstainer for a LONG time. But once I’d set up my business I recognised just how useful it can be and have become a lot more interactive now. It’s mainly for business but I try to pepper what I post with some personal and quirky content too. I think it’s important not to forget that there is a person behind the label and to inject some personality into it all. As an emerging designer I think it’s imperative to use social media to maximise your profile – and to keep in touch with what your potential customers want, that’s key too. Currently I sell my scarves online but yes, eventually I do plan on selling the collections too. It’s exciting to see what the internet can realise for my label – you can’t ignore it anymore!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

I believe you are a foodie – what is your must have edible delight whilst working on your new collection?
Ah, I am definitely a foodie! I’ve always loved food – eating, cooking, everything really. I read recipe books as pleasure. Hmm, must-have edible delight? Hard to say as I love so many things – Asian flavours, home-cooked, big, flavoursome dishes, vegetables from the garden (one radish, this year..no time to garden!), things like shepherd’s pie and fresh peas or glazed salmon in honey, mirin and lime. Don’t get me started! But it has to be savoury, I’m not really inclined toward sweet things.

Can you give us any hints as to what to expect in your Fashion Fringe catwalk show? (music… casting.. atmosphere etc)
I believe you’ll be there, so, you will have to wait and see, Amelia!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

What are your hopes for the future?
I’d like to build a successful, well-regarded and creative womenswear label, branching out with a diffusion line, travel lifestyle and perhaps lingerie. One day I’d love to open a kind of eco-lodge in a hot tropical country by the sea. You see, I am a dreamer! More locally, I’m interested in collaboration with other artists and creative professionals, making fashion films, happenings and shows, and see the future as a very exciting thing.

Vita Gottleib A/W 2012 by Gemma Sheldrake
Vita Gottleib A/W 2012 by Gemma Sheldrake.

See more from Vita Gottlieb here… I can’t wait to see the entire collection on the catwalk! Vita Gottlieb shows alongside Haizhen Wang and Teija Eilola in the BFC Courtyard Show Space on Tuesday 18th September 2012.

vita-gottlieb by Melissa Angelik
Vita Gottlieb by Melissa Angelik.

Categories ,Alexa Coe, ,Angela Lamb, ,Catherine Moody, ,Christopher Bailey, ,Courtyard Show Space, ,Fashion Fringe, ,film, ,Fine Art, ,Gemma Sheldrake, ,Georges Barbier, ,Haizhen Wang, ,Illustrated Moodboard, ,Lea Rimoux, ,lfw, ,Melissa Angelik, ,Nightbird, ,Paul Poiret, ,Pinterest, ,Rosa and Carlotta Crepax, ,S/S 2013, ,Tamsin, ,Teija Eilola, ,Textile Design, ,Thousand and Second Night, ,Vita Gottlieb

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Catwalk Review: Asger Juel Larsen Vs t.lipop

t.lipop LFW SS12 menswear by Faye West

t.lipop S/S 2012 by Faye West

Asger Juel Larsen versus t.lipop – not the first time to appear together – showed at Vauxhall Fashion Scout on the last day of London Fashion Week and gave me my most interesting queueing experience during this season. Upon arriving there was a multitude of cool young things waiting to go in – to my delight a lot of them were boys wearing big chunky jewellery! – while a little later the marvellously coiffured Prince Cassius joined the queue behind me, nurse quickly to be noticed and taken inside by the Blow PR girls. While I felt a little saddened that my co-queueing with Prince Cassius was so brief, approved I overheard a girl saying ‘oh, there is Kate Moss!’, which quickly distracted me from my loss. Immediately the whole queue, as if choreographed, leaned to the right to take a peak and of course a few cameras pointed towards her and husband Jamie Hince.

Asger Juel Larsen LFW SS12 menswear by Gemma Sheldrake
Asger Juel Larsen SS12 by Gemma Sheldrake

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

After being seated in the packed space inside, Asger Juel Larsen‘s models started coming out fast and aggressively. I really enjoyed elements such as the slightly twisted animal prints or the spiked prosthetic beards – reminding me of Bearded Dragons under threat – both of which impressively spelt out ‘wildness’. One of those spiked beards worn by a girl as well as a glorious chain mail army style headpiece with bull horns added the notion of the ‘beast’ to the collection. I am all for a little bit of bearded ladies and mythological creatures such as the Minotaur!

Asger Juel Larsen LFW SS12 menswear by Gareth A Hopkins
Asger Juel Larsen S/S 2012 by Gareth A Hopkins

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Maria Papadimitriou aka Slowly The Eggs
Asger Juel Larsen S/S 2012 by Maria Papadimitriou aka Slowly The Eggs

I thought the themes of wilderness, fighting and survival suggested by the symbolism described above were brilliantly complimented by a number of woolly hats with different metal letters stitched onto them spelling out the phrase ‘we live’. Further allusions to survival through sexual expression were added by a round stitched logo at the back of a jacket reading ‘happiness is a warm pussy’ and the brothel creepers some models wore – shoes originally worn by ex-soldiers visiting nightspots in London.

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Claire Kearns

Asger Juel Larsen S/S 2012 by Claire Kearns

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by The Pern

Asger Juel Larsen S/S 2012 by The Pern

Asger Juel Larsen LFW SS12 menswear by Jess Sharville

Asger Juel Larsen LFW SS12 menswear by Jess Sharville

Asger Juel Larsen S/S 2012 by Jessica Sharville

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear portrait by Maria Papadimitriou

The contrast between Asger Juel Larsen and the designer that followed, t.lipop, was seemingly like war and peace. t.lipop favoured a palette of pale blues, camel, white and stone, with a splash of bright orange. It was an array of generally relaxed and flowing pieces that calmed us a little after what came earlier. We saw tailored smart jackets and trousers, minimal tops and long untucked shirts that were far less aggressive, even with feminine touches such as fringed adornments and embroidery.

t.lipop LFW SS12 menswear by Celine Eliott
t.lipop S/S 2012 by Celine Eliott

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Vasare Nar
t.lipop S/S 2012 by Vasare Nar

Looking closer, however, I thought there were similarities in the underlying themes of the two collections. T.lipop’s gentlemanly clothes reminded me of movies starring wealthy imperialists in warm exotic countries – suggesting aggression and war – while the long hair and full beards on the models evoked images of castaways striving for survival. Some of the monochrome outfits with their collarless round necklines looked similar to uniforms seen in hospitals’ operating theatres or emergency units, whilst wide brimmed hats alluded perhaps to field workers, both adding to the – admittedly subtle this time – undertones of struggle and self-preservation.

t.lipop LFW SS12 menswear by Celine Elliott
t.lipop S/S 2012 by Celine Elliott

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop portrait LFW SS12 menswear by Maria Papadimitriou

With so many interesting references and inspirations in both collections, when Prince Cassius tweeted me to say he really enjoyed the show I could only tweet back in agreement!

All photography by Matt Bramford.
Photo portraits of designers by Maria Papadimitriou.

Categories ,Aggressive, ,Army, ,Asger Juel Larsen, ,Bearded Dragons, ,Bearded Ladies, ,Blow PR, ,Brothel Creepers, ,Castaways, ,Celine Elliott, ,Chain Mail, ,Claire Kearns, ,designer, ,embroidery, ,fashion, ,Faye West, ,Fighting, ,Freemasons’ Hall, ,Fringing, ,Gareth A Hopkins, ,Gemma Sheldrake, ,hats, ,Headpiece, ,Jackets, ,Jamie Hince, ,Jessica Sharville, ,jewellery, ,Kate Moss, ,london, ,London Fashion Week, ,Long hair, ,Maria Papadimitriou, ,menswear, ,minimalist, ,Minotaur, ,Mythological Creatures, ,Prince Cassius, ,Prosthetic Beards, ,Slowly the Eggs, ,Suits, ,Survivalist, ,t.lipop, ,tailored, ,The Pern, ,Tweeting, ,Uniforms, ,Vasare Nar, ,Vauxhall Fashion Scout, ,Wilderness

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Aminaka Wilmont show LFW SS2012 by Gemma Sheldrake

Aminaka Wilmont S/S 2012 by Gemma Sheldrake

The title Changeling on the poster-sized invitation to Aminaka Wilmont’s show – the last womenswear show in the BFC show space at Somerset House during this London Fashion Week’s season – already prepared me, cost before actually seeing the collection, illness for some allusions to legends and folklore. Of course the designers behind the Aminaka Wilmont, Maki Aminaka Löfvander and Marcus Wilmont have a wealth of such otherworldly inspiration to draw from their Swedish, Japanese and Danish cultural backgrounds.

Aminaka Wlimont LFW SS12 by MattBramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Kristina Vasiljeva

Aminaka Wilmont S/S 2012 by Kristina Vasiljeva

The first thing that struck me when the show begun was the way the models had their hair styled with a mid-parting and straight bands of hair placed hanging in front of their ears, which immediately reminded me of Neyriti’s hairstyle in the movie Avatar.

Aminaka Willmont show LFW SS12 by Gemma Sheldrake

Aminaka Willmont S/S 2012 by Gemma Sheldrake

Interestingly, afterwards I read that Aminaka Wilmont were partly inspired for their Spring Summer 2012 collection by Ori Gersht’s photographs of dark landscapes and high mountains which look very much like Pandora’s Hallelujah Mountains in Avatar. The dove grey tones we saw in a lot of the outfits evoked the colour of karst limestone formations found in some of Gersht’s work and on the chinese Huang Shan Mountains which inspired the Hallelujah Mountains.

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Perhaps following this line of thought, the designers had placed white orchids – which often grow under geological conditions such as those described above – on the front row seats while the pure white colour, and innocence of the flower was reflected in a number of simple white chiffon dresses.

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Vasare Nar

Aminaka Wilmont S/S 2012 by Vasare Nar

Violets and shades of brown dominated in abstract floral prints where again one could see Ori Gersht’s influence. Jersey assymetrical dresses featured cut out panels and custom-made Merve Tuna shoes came in mermaid blues and greens that alluded to creatures of an ambiguous identity. I really enjoyed the chain vial necklaces that contained something which looked like a magic potion in various bright colours.

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wlimont show LFW SS12 by Matt Bramford

In line with this ambiguity of the theme of the Changeling was also the duality expressed through the use of leather in the jackets versus sheer chiffon in the dresses and skirts as well as through some bottom halves that were pants-length versus long trains hanging at the back. Indeed here I should add that I felt one should really own an otherworldly pair of legs or simply be a fairy to be able to sport some of the shorter pieces…

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wlimont show LFW SS12 by Matt Bramford

Of course the most beautiful and startling contrast was between the masculine/aggressive and feminine which was revealed in the final pieces in the collection; floral printed body armour pieces with 3D flower forms sewn onto them as if the armour was blossoming. Intriguingly the designers cite as an inspiration ‘the Hayflick effect’ or limit – which is the number of times a normal cell population will divide before it stops – and I thought that at times the models looked, walked and had an expression on their faces, especially at the end when they all walked together in a huddle, like they were hopefull warriors or amazons – perhaps determined to survive in a world where the cells do not have that many more times left to divide?

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wlimont show LFW SS12 by Matt Bramford

All photography by Matt Bramford and Maria Papadimitriou

Categories ,Aggressive, ,Aminaka Wilmont, ,Armour, ,Avatar, ,british fashion council, ,Changeling, ,Chiffon, ,collection, ,Danish, ,Dress, ,fairytales, ,fashion, ,Feminine, ,Folklore, ,Gemma Sheldrake, ,Hairstyle, ,Hayflick Limit, ,Jackets, ,japanese, ,jersey, ,Karst limestone, ,Kristina Vasiljeva, ,leather, ,London Fashion Week, ,Maki Aminaka Lofvander, ,Marcus Wilmont, ,Maria Papadimitriou, ,Masculine, ,Matt Bramford, ,Merve Tuna, ,Necklaces, ,Neytiri, ,Orchids, ,Ori Gersht, ,Swedish, ,Vasare Nar, ,Womenswear

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Amelia’s Magazine | Future Beauty at the Barbican: Beauty Party

Illustration by Lesley Barnes

Illustration by Maria del Carmen Smith

Illustration by Kelly Angood

Illustration by Joana Faria

Illustration by Abby Wright

Illustration by Antonia Parker

Illustration by Lesley Barnes

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, look for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, this forget Topshop!

Coco Chanel the name synonymous with French fashion, so carefully cultivated by Karl Largerfield, he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

So of course how could I pass up the opportunity to listen to JP who has spent the last 13 years researching the life of perhaps the most well known, but least known fashion designer?

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Maria del Carmen Smith

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her boo

Illustration by Joana Faria

Illustration by Abby Wright

Illustration by Antonia Parker

Illustration by Lesley Barnes

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, shop for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, information pills forget Topshop!

Coco Chanel the name synonymous with French fashion, so carefully cultivated by Karl Largerfield, he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

So of course how could I pass up the opportunity to listen to JP who has spent the last 13 years researching the life of perhaps the most well known, but least known fashion designer?

Illustration by Maria del Carmen Smith – An aside about this image, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets, forcing them to sit side saddle.

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Joana Faria

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her book – but let’s just say her reported relationship with a German Soldier may not have been what it has so far appeared to be the work of a traitor, but a (slightly naive…) plan between Coco and Winston Churchill to bring the war to an early end. This may seem rather glib, but to find out more, we will all have to read the book…

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Chanel was funded by Boy Capell, the man sitting on the horse in the above illustration, as soon as the Fashion House started to make money, Chanel paid every last penny back. From the start Coco was to be an independent women. Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Illustration by Lesley Barnes

Coco Chanel the name synonymous with French fashion, discount so carefully cultivated by Karl Largerfield, side effects he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, forget Topshop!

How could I pass up the opportunity to find out more about this ever present, but ever distant fashion designer? Especially as I am yet to watch either of the recent films made about her early life…

Illustration by Maria del Carmen Smith – An aside about this image, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets, forcing them to sit side saddle.

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Joana Faria

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her book – but let’s just say her reported relationship with a German Soldier may not have been what it has so far appeared to be the work of a traitor, but a (slightly naive…) plan between Coco and Winston Churchill to bring the war to an early end. This may seem rather glib, but to find out more, we will all have to read the book…

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Chanel was funded by Boy Capell, the man sitting on the horse in the above illustration, as soon as the Fashion House started to make money, Chanel paid every last penny back. From the start Coco was to be an independent women. Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Illustration by Lesley Barnes

Coco Chanel the name synonymous with French fashion, order so carefully cultivated by Karl Largerfield, this he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, forget Topshop!

How could I pass up the opportunity to find out more about this ever present, but ever distant fashion designer? Especially as I am yet to watch either of the recent films made about her early life…

Illustration by Maria del Carmen SmithAn aside, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets, forcing them to sit side saddle.

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker from the start, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for Women everywhere Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Joana Faria

JP covered the usual ground her relationship with Boy Capell and the Duke of Westminister, revealing a photograph of Coco and Winston Churchill lead her to the ministery of archives… what did she find? Sadly that was left to be revealed in the pages of her book – but let’s just say her reported relationship with a German Soldier may not have been what it has so far appeared to be the work of a traitor, but a (slightly naive…) plan between Coco and Winston Churchill to bring the war to an early end. This may seem rather glib, but to find out more, we will all have to read the book…

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Chanel was funded by Boy Capell, the man sitting on the horse in the above illustration, as soon as the Fashion House started to make money, Chanel paid every last penny back. From the start Coco was to be an independent women. Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Illustration by Lesley Barnes

Coco Chanel the name synonymous with French fashion, order so carefully cultivated by Karl Largerfield, what is ed he feels as if a caretaker at the same time as being an innovative fashion designer such is the call of the Chanel Staples. Each catwalk is a reinvention of the tweeds, patient the stars, the numbers, simplistic beauty is what Chanel conjures and it is what it achieves.

Justine Picard is a journalist for the Telegraph and an author who produces both fiction and non fiction, for the last 13 years her side project has been researching Coco Chanel. Picard opened her talk on the publication of her Chanel Biography with the statement that the V&A is the heart of Fashion, forget Topshop!

Illustration by Joana Faria

How could I pass up the opportunity to find out more about this ever present, but ever distant fashion designer? Especially as I am yet to watch either of the recent films made about her early life…

It was the perfect talk – full of teasers about what the book contained alongside interesting insights into Coco’s design aesthetic – the monestry where she grew up the walls were embedded with stars, similar to what would later feature in her designs.

A talented speaker, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s conventions that those born in a certain place – should stay on the rung of society they were born. Luckily, not only for Haute Couture but for women everywhere who wanted to wear trousers, Chanel made ignoring social conventions a habit of a lifetime.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Not for Chanel the corsets of early 1900′s France – no, the most striking thing about Chanel was seeing the pictures of her in a style that has inudated our subconscious – from the wearing of trousers to single handily popularising the Breton Stripe. Most importantly Chanel was an avid wearer of the flat show – not for her the gravity defying, walk preventing spindly heels that seem so popular not only on the catwalk but that shop which nestles within the heart of Oxford Street, Topshop.

Illustration by Maria del Carmen SmithAn aside, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets.

Chanel was funded by Boy Capell, the man in the above illustration, as soon as the Fashion House produced revenue, Chanel paid every last penny back. From the start Coco was to be an independent women.

Justine Picard covered the usual ground of Chanel’s relationship with men, starting with Boy Capell and touching upon her life spent fishing in Scotland with the Duke of Westminister. Through whom Coco met Winston Churchill in the early 1920′s. The discovery of a picture of the two together lead Picard to the ministery of war archives, specifically the archives on Winston Churchill to explore Chanel’s reported relationship with a German Soldier may not have been what has so far been reported, the work of a traitor, but a (slightly naive…) plan -devised perhaps by Coco and regaled to Winston Churchill- to bring the war to an early end. This may seem rather glib, but to find out more and the outcome of Picards trip to the archives? Sadly the author left this announcement within the pages of her book.

Illustration by Abby Wright

Picard touched upon the inclusions of the number 5 etc and the use of stars… magical numbers were part of Chanel’s magical thinking… Tarot Cards. Chanel was interested in simple beauty. Justine attributes this magical thinking to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous chanel star was inspired by the mosiac’s made by Medieval Monks…

Illustration by Antonia Parker

Justine Picard described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…


WAH Nails, pills illustrated by Yelena Bryksenkova

Unless you’ve been under a rock, view you’ll have seen me banging on about Future Beauty: 30 Years of Japanese Fashion at the Barbican. I did a mammoth post about the exhibition last week; it’s one of my favourite fashion exhibitions ever, store and I couldn’t wait to go back for a second look.

So I was delighted to attend the Beauty Party last Thursday. The name flooded my mind with images of middle-aged women guzzling Lambrini and exchanging salacious stories while passing underwear around a living room on a cul-de-sac somewhere in Huddersfield. The roster of participants was pretty alluring, though – Alex Box, Charlie le Mindu and WAH Nails to name a few.


All photography by Matt Bramford

I went to a Viktor & Rolf event like this a couple of years back and it isn’t the easiest thing to navigate – you have to seek out the various special events – they’re usually tucked away. In tiny rooms behind the exhibition itself, each of the aficionados of beauty had set up their wares. Nails, make-up and hair were covered. What exactly was I going to get out of this? I have very little hair, I bite my nails, and I rarely wear make-up. ‘This is for girls,’ I thought to myself. Well, here’s a little round-up of the night’s events:

Charlie le Mindu

Illustration by Gemma Sheldrake

I’d subconsciously blocked Charlie le Mindu out of my mind after fashion week’s debacle. I feel lucky to be alive after that display, and I thought I had at least six months to recover before braving his (what will undoubtedly be fabulous) show for A/W 2011. Thankfully there wasn’t an arse or tit (or, er, y’know – the other bit) insight this time.

Charlie had created, especially for the occasion, a sculptural creation from human hair that descended from the roof and featured a rider’s helmet with a huge, yellow horse tail that dropped to the ground. On its own, it was beautiful; hanging motionless from the ceiling, it looked like magic. Attendees were able to slip underneath the creation and have their photograph taken, with hilarious results… Some were too short, some were too tall, some just couldn’t make it balance on their heads, but oh, what fun!


Look, it’s Amelia’s Magazine illustrator Naomi Law!


It’s Jenny, who isn’t an illustrator, but a friend nonetheless.

WAH Nails

I love how WAH Nails have single-handedly made nail art cool again. Their incredible designs have had so much press and attention since their debut in 2009. Most recently, they were part of the Eley Kishimoto Flash-On Week pop-up at the Shoreditch Studios, transforming nails with the iconic Flash pattern. Sadly, between the two of them, no matter how quickly the duo revamped nails it was clear the girls I’d gone with weren’t going to get a look in. The list to put your name on was full after fifteen minutes!

Still, it was fascinating to watch the designs come to life.

Alex Box

Illustration by Emmeline Pidgen

I’ve been a fan of Alex’s for a while but I wasn’t sure what to make of a make-up demonstration. A world-famous make-up artist demonstrating her skills in make-up at the front of a cinema, for an hour and a half? Oh, go on then I thought – what’s the worst that can happen? It turns out it was one of the most mesmerising things I (and my pals) had ever seen. Resplendent in a vintage floor-sweeping red frock and fashion glasses that would make half of Shoreditch envious, Alex began creating the first look to the sound of haunting classical music.

To see how quickly she works and how naturally it seems to flow was utterly hypnotising, and surprisingly relaxing. The first look was a Marie-Antoinette inspired ghostly creation, complete with a headpiece and fabrics that were added at the end – absolutely beautiful.

The same poor model then had her face wiped before Look Two began – a more playful look with vibrant colours and jazzy fabrics. ‘Sometimes you have to go against the rules,’ relayed Alex, to a room full of gripped onlookers. A truly wonderful experience.

Illamasqua

Illamasqua‘s team of make-up artists were on hand to provide makeovers. I couldn’t see much of what was going on here because a gaggle of excited teenage girls surrounded them in the hope of a dab of powder from one of these ‘world-famous’ experts. Nothing to see, here.

Of course amongst all this was a chance to see the incredible exhibition again, and it was equally as wonderful as the first time. I’d definitely recommend these evenings, and ooh look – there’s one tonight, starring Fred Butler amongst others!

See all the details here.

Categories ,A/W 2011, ,Alex Box, ,barbican, ,Beauty Party, ,Charlie le Mindu, ,Eley Kishimoto, ,Emmeline Pidgen, ,fashion, ,Flash, ,Fred Butler, ,Future Beauty, ,Gemma Sheldrake, ,Hair, ,japanese, ,Make-up, ,Marie Antoinette, ,Nails, ,Viktor & Rolf, ,WAH Nails, ,Yelena Bryksenkova

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Amelia’s Magazine | Think Act Vote presents The Future We Choose Pop Up Radical Think Tank and Book Launch Party

Think Act Vote The Future We Choose Book Launch stack of books

On the 25th of July I had the pleasure of attending – unfortunately only a part of – the launch event organised by Think Act Vote (?!X) at The Arch Gallery for their new book titled The Future We Choose. This book project was initiated by Think Act Vote (?!X) in order to create a new conversation around democracy and how we create the future we choose. Revolving around ‘The Futures Interview’, The Future We Choose brings together over 200 forward thinking voices from the general public mixed in with those more well known, from fashion designers to historians, campaigners to presenters, all of whom share their vision of the world they want to live in with their ideas of how to create it.

Think Act Vote The Future We Choose Book Launch Amy at the book stand

Think Act Vote (?!X) is run by a powerhouse of volunteers, interns (such as Amy Haworth Johns pictured above) and a vibrant community of collaborators and supporters. The Future We Choose has been brought to life through the work of all those contributors, while the design of the book was devised also collaboratively by a team made up of Joana Casaca Lemos, Ella Britton, Matthieu Becker and Amisha Ghadiali.

Think Act Vote The Future We Choose Book Launch Amelia Gregory Quote

In the book one can find hugely inspiring quotes by the numerous contributors who completed ‘The Futures Interview’, categorised into Thinks, Acts and Votes. Here is one by Amelia’s Magazine editor Amelia Gregory.

Think Act Vote The Future We Choose Book Launch illustrations spread 1

Think Act Vote The Future We Choose Book Launch illustrations spread 2

Since early 2010, when Think Act Vote (?!X) started compiling responses from ‘The Futures Interview’ participants, it invited 50 different artists to bring words from the interviews to life and selected 52 final illustrations. A large number of these images have been created by illustrators who regularly contribute to Amelia’s Magazine too! Some of them are Abby Wright, Abi Daker, Ailish Sullivan, Antonia Makes, Alison Day, Amber Cassidy, Bryone Crane, Claire Kearns, Celine Elliott, Erica Sharp, Faye West, Gemma Sheldrake, Gilly Rochester, Harriet Gray, Jo Cheung, June Chanpoomidole, Jenny Robins, Katie Harnett, Laura Frame, Yelena Bryksenkova, Luke Waller, Michelle Urvall Nyrén, Nanae Kawahara, Natalia Nazimek, Natalie Hughes, Sam Parr, Vicky Ink aka Vicky Fallon and Slowly The Eggs aka moi… A lot of the illustrations appear in the book, as seen above, but Think Act Vote (?!X) is also sharing them online, one every week of 2012, this way gradually creating an illustrated Futures Calendar! You can also see all the illustrations together in this online gallery.

Think Act Vote The Future We Choose Book Launch spread from book

Think Act Vote The Future We Choose Book Launch bit from Futures Interview

You can take part in ‘The Futures Interview’ here.

Think Act Vote The Future We Choose Book Launch Peter Gregson

The Future We Choose book launch at The Arch Gallery was split into an afternoon pop up radical think tank, featuring a selection of contributors including Lucie Barat, Ed Gillespie, Annegret Affolderback, Emily Wilkie, Melissa Sterry, Chris Arnold and Olivia Sprinkel each speaking for five minutes on an idea they shared in the book. When I arrived Peter Gregson, pictured above, was giving a talk on ‘Defending Your Tastes’.

Think Act Vote The Future We Choose Book Launch Paul Hilder

Paul Hilder on ‘Making Things Right’.

Think Act Vote The Future We Choose Book Launch Amisha Ghadiali

Amisha Ghadiali on her Rules to Dress By.

Think Act Vote The Future We Choose Book Launch Alan Wolfson

Performance Poetry by Alan Wolfson.

Think Act Vote The Future We Choose Book Launch Michael Norton

Michael Norton on 365 Ways To Change The World. This hugely inspiring man also talked about another splendid book he has written titled Click 2 Change, in which you can find ways to change the world from the comfort of your seat.

Think Act Vote The Future We Choose Book Launch Jessi Baker

Jessi Baker on ‘Data and Visualisation’.

Think Act Vote The Future We Choose Book Launch Christina Rebel

Christina Rebel on ‘Empathy’.

Think Act Vote The Future We Choose Book Launch Spencer Maybe Pearce

Music from Spencer Maybe Pearce.

Think Act Vote The Future We Choose Book Launch happy audience

Think Act Vote The Future We Choose Book Launch Zoe and Amisha in the audience

Think Act Vote The Future We Choose Book Launch Interviews workshop 1

Think Act Vote The Future We Choose Book Launch Interviews workshop 2

The talks were followed by a ‘A Futures Interviews Workshop’, during which we sat in groups to talk about Thinks, Acts and Votes.

Think Act Vote The Future We Choose Book Launch Zoe Robinson

The lovely Zoe Robinson of Think Style and The Good Wardrobe among the attendees.

Think Act Vote The Future We Choose Book Launch Amisha signing a book

From 6.30pm there was a party featuring a collective book reading, words from Sam Roddick and live music from cellist Peter Gregson, folk noir band Delirium Tremens and electro pop songstress Sharliza Jelita.

The book is now on sale through Think Act Vote’s etsy store, where you can purchase the limited edition that has been printed in the UK on recycled paper. You can request to have your copy signed and personalised too. The Hardback and e-book editions will be available in Autumn. If you would like to request an e-version review copy, please e-mail info@thinkactvote.org

You can also read Part One and part Two of an interview Sally Mumby-Croft did a while ago for Amelia’s Magazine with Think Act Vote’s founder Amisha Ghadiali.

All photography by Maria Papadimitriou

Categories ,Abby Wright, ,Abi Daker, ,ACOFI, ,Ailish Sullivan, ,Alan Wolfson, ,Alison Day, ,Amber Cassidy, ,Amelia’s Compendium of Fashion Illustration, ,Amisha Ghadiali, ,Annegret Affolderback, ,Antonia Makes, ,book launch, ,Bryone Crane, ,Celine Elliott, ,Chris Arnold, ,Christina Rebel, ,Claire Kearns, ,Delirium Tremens, ,Ed Gillespie, ,Ella Britton, ,Emily Wilkie, ,Erica Sharp, ,Faye West, ,Futures Interview, ,Gemma Sheldrake, ,Gilly Rochester, ,Harriet Gray, ,illustration, ,Jenny Robins, ,Jessi Baker, ,Jo Cheung, ,Joana Casaca Lemos, ,Jonathan Bartley, ,June Chanpoomidole, ,Katie Harnett, ,Laura Frame, ,Lucie Barat, ,Lucy Gilliam, ,Luke Waller, ,Maria Papadimitriou, ,Matthieu Becker, ,Melissa Sterry, ,Michael Norton, ,Michelle Urvall Nyrén, ,Nanae Kawahara, ,Natalia Nazimek, ,Olivia Sprinkel, ,Patrick Hussy, ,Paul Hilder, ,Peter Gregson, ,Sally Mumby-Croft, ,Sam Parr, ,Sam Roddick, ,Sharliza Jelita, ,Slowly the Eggs, ,Spencer Maybe Pearce, ,The Arch Gallery, ,The Future We Choose, ,Think Act Vote, ,Vicky Fallon, ,Vicky Ink, ,Yelena Bryksenkova, ,Zoë Robinson

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Amelia’s Magazine | Edinburgh Fringe Festival 2011 – From The Dark Hills Preview

From The Dark Hills

With a hugely entertaining cast, decease an emotional finale, help an increasingly relevant message in light of recent unrest under the Conservative government and a ground-breaking fresh writing talent, From The Dark Hills is a definite ‘must-see’ of this summer’s Fringe.

Dean Poulter, 21 year old drama student at Queen Mary University of London, astonished crowds at the Queen Mary Theatre Company‘s New Writers festival in March when he emerged with his work From The Dark Hills.

From the Dark Hills by Stephanie Kubo
The cast of From The Dark Hills by Stephanie Kubo

Combining a contemporary interpretation of the commedia dell’arte form (an age-old Italian genre, defined by stereotypes masked in make-up using humorous theatrics) with a pressing plot and underlying message, it’s a production that has had spectators both laughing and crying. Along with characters self-narrating as they go and each of the five cast members playing a minimum of five characters that range from spirited young bucks to little old widows, it all sounds pretty exhausting, right? I thought so too. But once you begin watching this highly talented cast bring it to life, you won’t want Ashington’s tale of strife and spirit to end.

From The Dark Hills - by Joseph Turvey
Leif Halverson as Jack Dunn by Joseph Turvey

The play is set in Ashington in 1984 and follows the lives of this northern mining town’s working class, during their struggles against industrial strikes and social unrest under the notorious reign of Margaret Thatcher.

It all seems highly appropriate with the recent riots and disorder we’ve experienced across the UK. Dean commented – “I think that if you want to reflect on Thatcher’s politics and leadership in the eighties, you would do well to consider the current political state of our country,” he said. “That is why our play is completely relevant right now.”

Dean described how The Corn Exchange theatre company based in Dublin were the main inspiration for the unique styles of writing and acting. “The works of Michael West, who writes a lot for the Corn Exchange, inspired the text and his works helped me shape a lot of the sentences, the self-narration of characters and the structure of the piece as a whole,” he stated.

Rosa Postlethwaite as Helen Douglas by Gemma Sheldrake
Rosa Postlethwaite as Helen Douglas by Gemma Sheldrake

Henry Bishop, Leif Halverson, Hannah Murphy, Rosa Postlethwaite and Tamsin Vincent make up the remarkable cast that will take to the stage at theSpace @ Venue 45 for six nights over the next two weeks.

“The play was so well received when it was first performed,” said Dean, “It’s playful, funny and entertaining but above all it has an important message. So many little communities and towns are struggling today and we are doing our bit to give them a voice.”

Leif Halverson and Rosa Postlethwaite - From The Dark Hills
Tamsin Vincent - From The Dark Hills
Hannah Murphy in From The Dark Hills
All photography by Pawel Blanda

From The Dark Hills demonstrates fast-moving clever comedy at every twist and turn, whilst the characters still snap you back into their tragic reality. It conveys the surprising power of community spirit in Ashington’s response to the effects of the last Conservative government, a plot that sharply aligns with the so-called ‘best and worst’ that we have seen in this, our country, in recent days, and finishes on a thought-provoking message that you will certainly walk away with, after the curtain drops. A definite ?????.

Queen Mary Theatre Company are putting on 4 productions in total within the next fortnight at Edinburgh Fringe Festival.

You can view the full listing for From The Dark Hills here and book tickets here.

Follow From The Dark Hills on Facebook and Twitter.

Categories ,Conservatives, ,Dean Poulter, ,Dublin Corn Exchange, ,Edinburgh Fringe, ,edinburgh fringe festival, ,From The Dark Hills, ,Gemma Sheldrake, ,Hannah Murphy, ,Henry Bishop, ,Joseph Turvey, ,Leif Halverson, ,margaret thatcher, ,Pawel Blanda, ,Riots, ,Rosa Postlethwaite, ,Stephanie Kubo, ,Tamsin Vincent, ,Tragedy

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Amelia’s Magazine | Review of album Dig Down Deep and interview with Vandaveer

Vandaveer by Gemma Sheldrake
Vandaveer by Gemma Sheldrake.

Dig Down Deep opens the latest album from Vandaveer of the same name. It’s a rousing ditty that traces the journey of a merry band of vagabonds as they traverse a snowy landscape. Well that’s what happens in the brilliant video at any rate, this site on which Mark Charles Heidinger is joined by the delightful harmonies of Rose Guerin. Vandaveer is steeped in old world folk and southern roots, web but there’s a driving beat that keeps this album moving forward no matter how keenly it looks to the past… pounding cello or sparse piano keys accompanying the duelling voices of Mark and Rose as they narrate stories of war and loss, love and life. I’d be hard pushed to pick out a favourite tune from this wonderful and emotionally rich album. Just buy it, okay? But first, here’s a Q&A with the man behind it all: Mark Charles Heidinger.

Vandaveer Dig Down Deep cover

Dig Down Deep is your third album. How has your sound and approach changed since your first album?
Vandaveer essentially started out as a fling with my first record, then turned into something more serious for me a short time later, so I suppose I’m a bit more conscious that it’s a career of some sort these days. I can’t really say precisely how that has affected my sound or approach to writing and recording, but I’d like to think that with age comes better filtering. I’d like to think I’ve become a bit more discerning, but I’d be foolish to declare such a thing to be wholly true, for that would be anything but discerning.

vandaveer by daria
Vandaveer by Daria Hlazatova.

What is the title single Dig Down Deep about? It’s a very cold looking video… was that painful to film?! I imagine there were a lot of cold fingers.
I suppose it’s about the great getting on with things. Life is incredibly beautiful and profound, but it’s also full of heavy sadness and tumult. It can be quite a struggle to remain buoyant and focused. But it’s important and more than a bit comforting to know that this is a common experience. As for the video, yes, it was very, very cold. 8 degrees Fahrenheit cold. Took two days to shoot in Long Island, NY this past January. I’ve never known such cold. But we did it, and that’s the point I think. It all made sense. A cold, painful sense of accomplishment.

Who are the rag taggle band of followers in Dig Down Deep?
True believers, esteemed colleagues and luminaries, each and every one, deserving of accolades galore for bearing with us that very long weekend. Musicians, painters, photographers, singers, comic artists, lovers, tenders, fixers, and great conquerors of cold. But most importantly, they are our friends.

Vandaveer by Fawn Carr
Vandaveer by Fawn Carr.

There is a very old world feel to your music and to your imagery – why do you think this is?
I can’t really say why that might be the case, but as the world is in fact a very old place I think it makes sense that music seems to reflect that. What we do as Vandaveer is contemporary by default, but themes and ideas can be quite old at their core, and I’ve always considered myself a thief and a pilferer, musically speaking. But I think that’s the way this game is played in general, really…

vandaveer by neonflower
Vandaveer by Neonflower.

How have your Kentucky roots come to the fore in recent times?
From a purely logistical viewpoint, Kentucky is all over and inside each Vandaveer record. My longtime producer/studio collaborator, Duane Lundy, has a wonderful studio in Lexington, KY, so we find ourselves working there quite a bit. In addition, we end up with a lot of our friends from Kentucky playing on the records… Amazing folks like Ben Sollee, Cheyenne Marie Mize, Justin Craig and Robby Cosenza (they of These United States infamy)… Kentucky is in my bones. From the songs to the studio to the folks who we make music with. Then there’s the bourbon…

Vandaveer by Katie Chappell
Vandaveer by Katie Chappell.

Have you ever had any really dodgy jobs to support your music career, and if so what was the one you hated the most, and loved?
I think every job is dodgy in some respect, playing music amongst the dodgiest, honestly. The fact that I call singing songs a career is quite dodgy. The best job I ever had happened to fall in my lap straight out of college. I was actually paid a handsome monthly sum to write music trivia questions for a dot com before the bubble burst. Doesn’t get dodgier than that.

Vandaveer by Vanessa Lovegrove
Vandaveer by Vanessa Lovegrove.

Why do you think you often don’t like your own songs once you’ve recorded them and is there any remedy for this?
Did I say that? Firstly, I can’t be trusted. Secondly, recordings are more like polaroid snapshots of songs, really. They shouldn’t be treated as definitive versions in my book. That being said, they do end up serving some sort of archival role, so you want them to sound satisfactory. I find recording to be an entirely arbitrary process. Who’s to say that a song should only have 8 tracks or 64 tracks on it? When is too much too much or too little too little? The fact that you have to call a song finished at some point in the process is what I find frustrating. I like to think of songs as living things. They change over time. But recordings stay the same.

Vandaveer by Rhiannon Ladd
Vandaveer by Rhiannon Ladd.

How did your relationship with singer Rose Guerin come about?
Rosie and I met during the heyday of a little folk collective we had in DC called The Federal Reserve. Was a ramshackle bunch to be sure, but it produced golden memories for me. Meeting Rose and casually stumbling into a musical relationship was one such moment. She is truly special. 

YouTube Preview ImageWoolgathering.

What are you most looking forward to next time you come to the UK?
I am most looking forward to the next time we tour the UK. Everything else will be dessert.

Vandaveer by Nicola Ellen
Vandaveer by Nicola Ellen.

Dig Down Deep by Vandaveer is out now.

The Nature of Our Kind

Categories ,Ben Sollee, ,Cheyenne Marie Mize, ,Daria Hlazatova, ,Dig Down Deep, ,Duane Lundy, ,Fawn Carr, ,folk, ,Gemma Sheldrake, ,Harmonies, ,Justin Craig, ,Katie Chappell, ,Kentucky, ,KY, ,Lexington, ,Long Island, ,Mark Charles Heidinger, ,neonflower, ,Nicola Ellen, ,ny, ,Rhiannon Ladd, ,Robby Cosenza, ,Rose Guerin, ,The Federal Reserve, ,The Nature of Our Kind, ,These United States, ,Vandaveer, ,Vanessa Lovegrove, ,Washington, ,Woolgathering

Similar Posts:






Amelia’s Magazine | Ari Up 1962 – 2010: No Typical Girl

Tasha_Whittle
Illustration by Tasha Whittle.

The darker mornings and wetter evenings have already started driving the fair-weather riders away from the cycle lanes, more about but those of us who keep chugging on have our reasons to persevere in spite of the weather. After all, ask just because it’s getting colder it doesn’t mean the thought of getting on the tube every morning is any more tempting, is it? Tom Morris and Sian Emmison, the owners of eclectic Islington cycling outlet Bobbin Bicycles, certainly don’t think so. Saturday 16th October saw the opening of their brand new bicycle workshop, just around the corner of the shop claiming to be ‘The most beautiful bicycle shop in Britain’. Like the shop itself, the workshop specialises in upright town bikes, vintage rides and bicycles with hub gears and back-pedal brakes – all of which can be difficult to get serviced in a standard bike shop.

Carla_Bromhead
Illustration by Carla Bromhead.

‘Now, anyone with a Dutch, Pashley or vintage bike can come to us to get repairs done, be it changing a wheel, a handlebar or something more oily,’ a very busy Tom Morris told me on Saturday afternoon. Cosmetic touches, along with a few practical ones, were still missing from the space as Tom welcomed the first customers on Saturday, but that didn’t stop him from getting his hands dirty as one customer after another came knocking. Parked up the road was my own bike, fresh from its annual check-up, a service also offered at the Bobbin workshop. While it costs money, it’s worth doing as it prevents problems in the long run – for example my chain needed changing, the mechanic pointed out, saving me from a snapped chain in the road in a month or two. Servicing an upright bike is no more expensive nor complicated than a hybrid or a road bike, assured Tom, but it requires certain skills and tools. His employees Alexis and Laura are both trained bike mechanics, having been asked personally by Tom and Sian to come work at Bobbin. Laura has just finished a bike mechanics course where she took a specific interest in town bikes, while Alexis has five years of experience fixing bikes in Oxford and Amsterdam. ‘You keep learning new things. It’s enjoyable work, and there is obviously increasing demand,’ said Alexis, as he checked in a black Pashley with a flat tyre and broken gear shifter.

Genie_Espinosa
Illustration by Genie Espinosa.

The workshop will also be selling kit for what Tom calls ‘bike pimping’: cosmetic changes such as a new saddle, cream tyres, a carrying basket or colourful bike components. But the Bobbin workshop isn’t just for town bikes and other old-school models; ‘We will offer the same friendly service to any cyclist who comes our way,’ assures Tom. Once the workshop is properly up and running, Tom plans to hold classes in bike maintenance, ‘hopefully before Christmas’. I might sign up to one of these myself, as next time I get a flat tyre I’d like to be able to deal with it. Nothing knocks the feeling of independence out of cycling quite like hearing that thud-thud-thud of a flat, but I think mastering a tyre lever might go a long way to remedy this.

In the meantime I have my winter cycling gear ready. Rule number one is the mud guards, closely followed by lights with fresh batteries. A pocket-size rain cover now has a permanent place in my bag, and I have also splurged on a pair of padded, waterproof gloves. A proper pair of winter gloves are pricey, but vital to any semblance of comfort in the cold. Last winter a week of sleet forced the purchase of a cheap pair of waterproof trousers, which look ridiculous but are a life-saver when it’s pouring down and I have to cycle home from work. Lastly, a reflective vest undeniably makes you look like a geek, but you may want to consider one you commute in traffic. So as the fair-weather cyclists hang up their helmets in favour of the buses and trains, the cycle lanes are left to the hard-cores, or should I say freaks, determined to stick to two wheels through the winter. The tube might be warm, but we get to arrive at work bright-eyed and bushy-tailed from full exposure to the elements of the crisp London winter.

Get weather-proofed at Bobbin Bicycles, 397 St John Street, London EC1. Visit the Workshop around the corner on 23 Arlington Way.
Tasha_Whittle
Illustration by Tasha Whittle.

The darker mornings and wetter evenings have already started driving the fair-weather riders away from the cycle lanes, dosage but those of us who keep chugging on have our reasons to persevere in spite of the weather. After all, decease just because it’s getting colder it doesn’t mean the thought of getting on the tube every morning is any more tempting, is it? Tom Morris and Sian Emmison, the owners of eclectic Islington cycling outlet Bobbin Bicycles, certainly don’t think so. Saturday 16th October saw the opening of their brand new bicycle workshop, just around the corner of the shop claiming to be ‘The most beautiful bicycle shop in Britain’. Like the shop itself, the workshop specialises in upright town bikes, vintage rides and bicycles with hub gears and back-pedal brakes – all of which can be difficult to get serviced in a standard bike shop.

Carla_Bromhead
Illustration by Carla Bromhead.

‘Now, anyone with a Dutch, Pashley or vintage bike can come to us to get repairs done, be it changing a wheel, a handlebar or something more oily,’ a very busy Tom Morris told me on Saturday afternoon. Cosmetic touches, along with a few practical ones, were still missing from the space as Tom welcomed the first customers on Saturday, but that didn’t stop him from getting his hands dirty as one customer after another came knocking. Parked up the road was my own bike, fresh from its annual check-up, a service also offered at the Bobbin workshop. While it costs money, it’s worth doing as it prevents problems in the long run – for example my chain needed changing, the mechanic pointed out, saving me from a snapped chain in the road in a month or two. Servicing an upright bike is no more expensive nor complicated than a hybrid or a road bike, assured Tom, but it requires certain skills and tools. His employees Alexis and Laura are both trained bike mechanics, having been asked personally by Tom and Sian to come work at Bobbin. Laura has just finished a bike mechanics course where she took a specific interest in town bikes, while Alexis has five years of experience fixing bikes in Oxford and Amsterdam. ‘You keep learning new things. It’s enjoyable work, and there is obviously increasing demand,’ said Alexis, as he checked in a black Pashley with a flat tyre and broken gear shifter.

Genie_Espinosa
Illustration by Genie Espinosa.

The workshop will also be selling kit for what Tom calls ‘bike pimping’: cosmetic changes such as a new saddle, cream tyres, a carrying basket or colourful bike components. But the Bobbin workshop isn’t just for town bikes and other old-school models; ‘We will offer the same friendly service to any cyclist who comes our way,’ assures Tom. Once the workshop is properly up and running, Tom plans to hold classes in bike maintenance, ‘hopefully before Christmas’. I might sign up to one of these myself, as next time I get a flat tyre I’d like to be able to deal with it. Nothing knocks the feeling of independence out of cycling quite like hearing that thud-thud-thud of a flat, but I think mastering a tyre lever might go a long way to remedy this.

In the meantime I have my winter cycling gear ready. Rule number one is the mud guards, closely followed by lights with fresh batteries. A pocket-size rain cover now has a permanent place in my bag, and I have also splurged on a pair of padded, waterproof gloves. A proper pair of winter gloves are pricey, but vital to any semblance of comfort in the cold. Last winter a week of sleet forced the purchase of a cheap pair of waterproof trousers, which look ridiculous but are a life-saver when it’s pouring down and I have to cycle home from work. Lastly, a reflective vest undeniably makes you look like a geek, but you may want to consider one you commute in traffic. So as the fair-weather cyclists hang up their helmets in favour of the buses and trains, the cycle lanes are left to the hard-cores, or should I say freaks, determined to stick to two wheels through the winter. The tube might be warm, but we get to arrive at work bright-eyed and bushy-tailed from full exposure to the elements of the crisp London winter.

Get weather-proofed at Bobbin Bicycles, 397 St John Street, London EC1. Visit the Workshop around the corner on 23 Arlington Way. Read our previous interview with Tom Morris here.
Tasha_Whittle
Illustration by Tasha Whittle.

The darker mornings and wetter evenings have already started driving the fair-weather riders away from the cycle lanes, viagra but those of us who keep chugging on have our reasons to persevere in spite of the weather. After all, side effects just because it’s getting colder it doesn’t mean the thought of getting on the tube every morning is any more tempting, is it? Tom Morris and Sian Emmison, the owners of eclectic Islington cycling outlet Bobbin Bicycles, certainly don’t think so. Saturday 16th October saw the opening of their brand new bicycle workshop, just around the corner of the shop claiming to be ‘The most beautiful bicycle shop in Britain’. Like the shop itself, the workshop specialises in upright town bikes, vintage rides and bicycles with hub gears and back-pedal brakes – all of which can be difficult to get serviced in a standard bike shop.

Carla_Bromhead
Illustration by Carla Bromhead.

‘Now, anyone with a Dutch, Pashley or vintage bike can come to us to get repairs done, be it changing a wheel, a handlebar or something more oily,’ a very busy Tom Morris told me on Saturday afternoon. Cosmetic touches, along with a few practical ones, were still missing from the space as Tom welcomed the first customers on Saturday, but that didn’t stop him from getting his hands dirty as one customer after another came knocking. Parked up the road was my own bike, fresh from its annual check-up, a service also offered at the Bobbin workshop. While it costs money, it’s worth doing as it prevents problems in the long run – for example my chain needed changing, the mechanic pointed out, saving me from a snapped chain in the road in a month or two.

Servicing an upright bike is no more expensive nor complicated than a hybrid or a road bike, assured Tom, but it requires certain skills and tools. His employees Alexis and Laura are both trained bike mechanics, having been asked personally by Tom and Sian to come work at Bobbin. Laura has just finished a bike mechanics course where she took a specific interest in town bikes, while Alexis has five years of experience fixing bikes in Oxford and Amsterdam. ‘You keep learning new things. It’s enjoyable work, and there is obviously increasing demand,’ said Alexis, as he checked in a black Pashley with a flat tyre and broken gear shifter.

Genie_Espinosa
Illustration by Genie Espinosa.

The workshop will also be selling kit for what Tom calls ‘bike pimping’: cosmetic changes such as a new saddle, cream tyres, a carrying basket or colourful bike components. But the Bobbin workshop isn’t just for town bikes and other old-school models; ‘We will offer the same friendly service to any cyclist who comes our way,’ assures Tom. Once the workshop is properly up and running, Tom plans to hold classes in bike maintenance, ‘hopefully before Christmas’. I might sign up to one of these myself, as next time I get a flat tyre I’d like to be able to deal with it. Nothing knocks the feeling of independence out of cycling quite like hearing that thud-thud-thud of a flat, but I think mastering a tyre lever might go a long way to remedy this.

In the meantime I have my winter cycling gear ready. Rule number one is the mud guards, closely followed by lights with fresh batteries. A pocket-size rain cover now has a permanent place in my bag, and I have also splurged on a pair of padded, waterproof gloves. A proper pair of winter gloves are pricey, but vital to any semblance of comfort in the cold. Last winter a week of sleet forced the purchase of a cheap pair of waterproof trousers, which look ridiculous but are a life-saver when it’s pouring down and I have to cycle home from work. Lastly, a reflective vest undeniably makes you look like a geek, but you may want to consider one you commute in traffic. So as the fair-weather cyclists hang up their helmets in favour of the buses and trains, the cycle lanes are left to the hard-cores, or should I say freaks, determined to stick to two wheels through the winter. The tube might be warm, but we get to arrive at work bright-eyed and bushy-tailed from full exposure to the elements of the crisp London winter.

Get weather-proofed at Bobbin Bicycles, 397 St John Street, London EC1. Visit the Workshop around the corner on 23 Arlington Way. Read our previous interview with Tom Morris here.
Three oil cans; Tate Summer Party, sick Photography by Immo Klink

Gushing from floral skirts, spilling elegantly from giant white eggs, jetting from paint tubes across the floor of the iconic Tate Turbine Hall, 2010 has witnessed a flood of oily resistance against oil sponsorship in the arts. The likes of art activist group Liberate Tate have generated a fierce debate in the art world around oil, ethics and sponsorship.

Plans are afoot to spring board the campaign into the New Year, with a high energy, high profile mainstream gallery event to attract lots of new people and to keep the pressure up. In an innovative bid to raise dosh for the project London creative campaign group PLATFORM has launched a crowd- funding initiative at Indiegogo. The idea is that people can give what ever little bit of cash they can, and by Christmas there will be enough in the pot to book a snazzy venue and put on a truly sensational participatory exhibition in early 2011.

Tate Summer Party, Photograph by Immo Klink

This is all about entry level direct action at it’s most fun. More than that, the campaign is in with a real chance of seeing a tangible result. Protestors forced Shell to back out of the Natural History Museum, and with the right pressure applied to the right places there is no reason why all oil sponsorship in the arts can’t go the same way as tobacco sponsorship in sport; down the pan. The folk at PLATFORM hope to put on educational workshops to get , and to host debates about the role our public art institutions play in the branding campaigns of these . Most importantly they hope to empower people to get involved in .

Easter egg spill with wiggle, British Museum Photography by Amy Scaife

They would be really grateful if you could help by spreading the word forwarding the link bellow by email and facebook, and telling your economically empowered friends and relatives. What ever you can or can’t do to help fundraise, everyone is invited to the event itself, which is likely to be held in January (email sophie@platformlondon.org for more information about getting involved).

To say thank you for donations over £16 ($25) they are offering some quirky perks, including sets of beautiful postcards ideal for a Christmas stocking, invites to the first night private viewing of the exhibition, and limited edition hand made, ‘BP branded’ paint tubes full of molasses, hot from the intervention at the Tate Modern’s Turbine Hall

So whether you have some cash to spare – or if you just want to get messy with molasses – get involved!


Illustration by Stéphanie Thieullent

“Ari Up: John Lydon’s step-daughter dies.” The Telegraph’s headline was horribly reductive. Ari Up, viagra 100mg who died on Wednesday at the tragically young age of 48, viagra buy was the punk legend’s step-daughter but that was just a small and tangential detail in a fascinating life and career. With The Slits and later with the New Age Steppers and solo in several guises, Ari Up was a musical icon in her own right, not a bit player on the fringes of the John Lydon circus.   


Illustration by Gemma Milly

The granddaughter of the owner of Der Spiegel and daughter of Nora Foster who was at the centre of the London music scene for years (befriending Hendrix and dating Chris Spedding before finally marrying Johnny Rotten), Ari Up was born from privilege and chaos in equal measure.  

Nora’s tendency to invite poor punk musicians to bunk down at their house put Ari at the heart of the scene and got her guitar tuition from Joe Strummer. She was 14 when she formed The Slits with Strummer’s former-flatmate Palmolive. Her fascination with reggae gave the band a dubby feel that was in sharp contrast to the guitar thrashing of many other punk outfits.  


Illustration by Aniela Murphy


Illustration by Abi Daker

The Slits debut album Cut, with its memorable image of the band naked but for grass skirts and a liberal coating of mud, featured a cleaner sound than their live performances. While the band’s cover of I Heard It Through The Grapevine is still an indie disco staple, the record is studded with gems particularly the amateurish piano and bouncing bass of Typical Girls.  


Illustration by Faye West

The Splits broke up in 1981 and Ari moved with her husband and twins to Indonesia and Belize before heading for Jamaica, an appropriate location given her an enduring love of reggae and dub. She performed and recorded with Lee Scratch Perry and released a solo album, Dread More Dan Dead, in 2005.  

In 2006, The Slits reformed to some critical acclaim, releasing the Return of The Giant Slits EP which was followed by a new full length record, Trapped Animals, in October last year.The Slits final work together, a video for the Trapped Animals track Lazy Slam (below), was released yesterday in accordance with Ari’s final wishes.  


Illustration by Gemma Sheldrake

A whirling dervish of dreadlocks and energy even when The Slits returned in their middle-aged incarnation, it’s with sad inevitability that Ari Up will be pegged as John Lydon’s step-daughter first and a musician in her own right second. But more thoughtful souls will remember her as one of punk’s most distinctive voices whose work with The Slits confounded and confronted the heavy-handed misogyny of much mainstream punk – The Stranglers, I’m looking at you.  

The death of Ari up has deprived music of one of its most original and unpredictable voices. It’s a truly sad day.

YouTube Preview Image

You can follow more of Mic’s words on his blog here. You can read our review of Trapped Animal here. A superb album, go buy it now.

Categories ,Abi Daker, ,Aniela Murphy, ,Ari Up, ,Dub, ,Faye West, ,Gemma Milly, ,Gemma Sheldrake, ,Heard It Through The Grapevine, ,John Lydon, ,Johnny Rotten, ,Lazy Slam, ,music, ,Obituary, ,punk, ,reggae, ,Stéphanie Thieullent, ,the slits, ,The Telegraph, ,Typical Girls

Similar Posts:






Amelia’s Magazine | Ari Up 1962 – 2010: No Typical Girl

Tasha_Whittle
Illustration by Tasha Whittle.

The darker mornings and wetter evenings have already started driving the fair-weather riders away from the cycle lanes, more about but those of us who keep chugging on have our reasons to persevere in spite of the weather. After all, ask just because it’s getting colder it doesn’t mean the thought of getting on the tube every morning is any more tempting, is it? Tom Morris and Sian Emmison, the owners of eclectic Islington cycling outlet Bobbin Bicycles, certainly don’t think so. Saturday 16th October saw the opening of their brand new bicycle workshop, just around the corner of the shop claiming to be ‘The most beautiful bicycle shop in Britain’. Like the shop itself, the workshop specialises in upright town bikes, vintage rides and bicycles with hub gears and back-pedal brakes – all of which can be difficult to get serviced in a standard bike shop.

Carla_Bromhead
Illustration by Carla Bromhead.

‘Now, anyone with a Dutch, Pashley or vintage bike can come to us to get repairs done, be it changing a wheel, a handlebar or something more oily,’ a very busy Tom Morris told me on Saturday afternoon. Cosmetic touches, along with a few practical ones, were still missing from the space as Tom welcomed the first customers on Saturday, but that didn’t stop him from getting his hands dirty as one customer after another came knocking. Parked up the road was my own bike, fresh from its annual check-up, a service also offered at the Bobbin workshop. While it costs money, it’s worth doing as it prevents problems in the long run – for example my chain needed changing, the mechanic pointed out, saving me from a snapped chain in the road in a month or two. Servicing an upright bike is no more expensive nor complicated than a hybrid or a road bike, assured Tom, but it requires certain skills and tools. His employees Alexis and Laura are both trained bike mechanics, having been asked personally by Tom and Sian to come work at Bobbin. Laura has just finished a bike mechanics course where she took a specific interest in town bikes, while Alexis has five years of experience fixing bikes in Oxford and Amsterdam. ‘You keep learning new things. It’s enjoyable work, and there is obviously increasing demand,’ said Alexis, as he checked in a black Pashley with a flat tyre and broken gear shifter.

Genie_Espinosa
Illustration by Genie Espinosa.

The workshop will also be selling kit for what Tom calls ‘bike pimping’: cosmetic changes such as a new saddle, cream tyres, a carrying basket or colourful bike components. But the Bobbin workshop isn’t just for town bikes and other old-school models; ‘We will offer the same friendly service to any cyclist who comes our way,’ assures Tom. Once the workshop is properly up and running, Tom plans to hold classes in bike maintenance, ‘hopefully before Christmas’. I might sign up to one of these myself, as next time I get a flat tyre I’d like to be able to deal with it. Nothing knocks the feeling of independence out of cycling quite like hearing that thud-thud-thud of a flat, but I think mastering a tyre lever might go a long way to remedy this.

In the meantime I have my winter cycling gear ready. Rule number one is the mud guards, closely followed by lights with fresh batteries. A pocket-size rain cover now has a permanent place in my bag, and I have also splurged on a pair of padded, waterproof gloves. A proper pair of winter gloves are pricey, but vital to any semblance of comfort in the cold. Last winter a week of sleet forced the purchase of a cheap pair of waterproof trousers, which look ridiculous but are a life-saver when it’s pouring down and I have to cycle home from work. Lastly, a reflective vest undeniably makes you look like a geek, but you may want to consider one you commute in traffic. So as the fair-weather cyclists hang up their helmets in favour of the buses and trains, the cycle lanes are left to the hard-cores, or should I say freaks, determined to stick to two wheels through the winter. The tube might be warm, but we get to arrive at work bright-eyed and bushy-tailed from full exposure to the elements of the crisp London winter.

Get weather-proofed at Bobbin Bicycles, 397 St John Street, London EC1. Visit the Workshop around the corner on 23 Arlington Way.
Tasha_Whittle
Illustration by Tasha Whittle.

The darker mornings and wetter evenings have already started driving the fair-weather riders away from the cycle lanes, dosage but those of us who keep chugging on have our reasons to persevere in spite of the weather. After all, decease just because it’s getting colder it doesn’t mean the thought of getting on the tube every morning is any more tempting, is it? Tom Morris and Sian Emmison, the owners of eclectic Islington cycling outlet Bobbin Bicycles, certainly don’t think so. Saturday 16th October saw the opening of their brand new bicycle workshop, just around the corner of the shop claiming to be ‘The most beautiful bicycle shop in Britain’. Like the shop itself, the workshop specialises in upright town bikes, vintage rides and bicycles with hub gears and back-pedal brakes – all of which can be difficult to get serviced in a standard bike shop.

Carla_Bromhead
Illustration by Carla Bromhead.

‘Now, anyone with a Dutch, Pashley or vintage bike can come to us to get repairs done, be it changing a wheel, a handlebar or something more oily,’ a very busy Tom Morris told me on Saturday afternoon. Cosmetic touches, along with a few practical ones, were still missing from the space as Tom welcomed the first customers on Saturday, but that didn’t stop him from getting his hands dirty as one customer after another came knocking. Parked up the road was my own bike, fresh from its annual check-up, a service also offered at the Bobbin workshop. While it costs money, it’s worth doing as it prevents problems in the long run – for example my chain needed changing, the mechanic pointed out, saving me from a snapped chain in the road in a month or two. Servicing an upright bike is no more expensive nor complicated than a hybrid or a road bike, assured Tom, but it requires certain skills and tools. His employees Alexis and Laura are both trained bike mechanics, having been asked personally by Tom and Sian to come work at Bobbin. Laura has just finished a bike mechanics course where she took a specific interest in town bikes, while Alexis has five years of experience fixing bikes in Oxford and Amsterdam. ‘You keep learning new things. It’s enjoyable work, and there is obviously increasing demand,’ said Alexis, as he checked in a black Pashley with a flat tyre and broken gear shifter.

Genie_Espinosa
Illustration by Genie Espinosa.

The workshop will also be selling kit for what Tom calls ‘bike pimping’: cosmetic changes such as a new saddle, cream tyres, a carrying basket or colourful bike components. But the Bobbin workshop isn’t just for town bikes and other old-school models; ‘We will offer the same friendly service to any cyclist who comes our way,’ assures Tom. Once the workshop is properly up and running, Tom plans to hold classes in bike maintenance, ‘hopefully before Christmas’. I might sign up to one of these myself, as next time I get a flat tyre I’d like to be able to deal with it. Nothing knocks the feeling of independence out of cycling quite like hearing that thud-thud-thud of a flat, but I think mastering a tyre lever might go a long way to remedy this.

In the meantime I have my winter cycling gear ready. Rule number one is the mud guards, closely followed by lights with fresh batteries. A pocket-size rain cover now has a permanent place in my bag, and I have also splurged on a pair of padded, waterproof gloves. A proper pair of winter gloves are pricey, but vital to any semblance of comfort in the cold. Last winter a week of sleet forced the purchase of a cheap pair of waterproof trousers, which look ridiculous but are a life-saver when it’s pouring down and I have to cycle home from work. Lastly, a reflective vest undeniably makes you look like a geek, but you may want to consider one you commute in traffic. So as the fair-weather cyclists hang up their helmets in favour of the buses and trains, the cycle lanes are left to the hard-cores, or should I say freaks, determined to stick to two wheels through the winter. The tube might be warm, but we get to arrive at work bright-eyed and bushy-tailed from full exposure to the elements of the crisp London winter.

Get weather-proofed at Bobbin Bicycles, 397 St John Street, London EC1. Visit the Workshop around the corner on 23 Arlington Way. Read our previous interview with Tom Morris here.
Tasha_Whittle
Illustration by Tasha Whittle.

The darker mornings and wetter evenings have already started driving the fair-weather riders away from the cycle lanes, viagra but those of us who keep chugging on have our reasons to persevere in spite of the weather. After all, side effects just because it’s getting colder it doesn’t mean the thought of getting on the tube every morning is any more tempting, is it? Tom Morris and Sian Emmison, the owners of eclectic Islington cycling outlet Bobbin Bicycles, certainly don’t think so. Saturday 16th October saw the opening of their brand new bicycle workshop, just around the corner of the shop claiming to be ‘The most beautiful bicycle shop in Britain’. Like the shop itself, the workshop specialises in upright town bikes, vintage rides and bicycles with hub gears and back-pedal brakes – all of which can be difficult to get serviced in a standard bike shop.

Carla_Bromhead
Illustration by Carla Bromhead.

‘Now, anyone with a Dutch, Pashley or vintage bike can come to us to get repairs done, be it changing a wheel, a handlebar or something more oily,’ a very busy Tom Morris told me on Saturday afternoon. Cosmetic touches, along with a few practical ones, were still missing from the space as Tom welcomed the first customers on Saturday, but that didn’t stop him from getting his hands dirty as one customer after another came knocking. Parked up the road was my own bike, fresh from its annual check-up, a service also offered at the Bobbin workshop. While it costs money, it’s worth doing as it prevents problems in the long run – for example my chain needed changing, the mechanic pointed out, saving me from a snapped chain in the road in a month or two.

Servicing an upright bike is no more expensive nor complicated than a hybrid or a road bike, assured Tom, but it requires certain skills and tools. His employees Alexis and Laura are both trained bike mechanics, having been asked personally by Tom and Sian to come work at Bobbin. Laura has just finished a bike mechanics course where she took a specific interest in town bikes, while Alexis has five years of experience fixing bikes in Oxford and Amsterdam. ‘You keep learning new things. It’s enjoyable work, and there is obviously increasing demand,’ said Alexis, as he checked in a black Pashley with a flat tyre and broken gear shifter.

Genie_Espinosa
Illustration by Genie Espinosa.

The workshop will also be selling kit for what Tom calls ‘bike pimping’: cosmetic changes such as a new saddle, cream tyres, a carrying basket or colourful bike components. But the Bobbin workshop isn’t just for town bikes and other old-school models; ‘We will offer the same friendly service to any cyclist who comes our way,’ assures Tom. Once the workshop is properly up and running, Tom plans to hold classes in bike maintenance, ‘hopefully before Christmas’. I might sign up to one of these myself, as next time I get a flat tyre I’d like to be able to deal with it. Nothing knocks the feeling of independence out of cycling quite like hearing that thud-thud-thud of a flat, but I think mastering a tyre lever might go a long way to remedy this.

In the meantime I have my winter cycling gear ready. Rule number one is the mud guards, closely followed by lights with fresh batteries. A pocket-size rain cover now has a permanent place in my bag, and I have also splurged on a pair of padded, waterproof gloves. A proper pair of winter gloves are pricey, but vital to any semblance of comfort in the cold. Last winter a week of sleet forced the purchase of a cheap pair of waterproof trousers, which look ridiculous but are a life-saver when it’s pouring down and I have to cycle home from work. Lastly, a reflective vest undeniably makes you look like a geek, but you may want to consider one you commute in traffic. So as the fair-weather cyclists hang up their helmets in favour of the buses and trains, the cycle lanes are left to the hard-cores, or should I say freaks, determined to stick to two wheels through the winter. The tube might be warm, but we get to arrive at work bright-eyed and bushy-tailed from full exposure to the elements of the crisp London winter.

Get weather-proofed at Bobbin Bicycles, 397 St John Street, London EC1. Visit the Workshop around the corner on 23 Arlington Way. Read our previous interview with Tom Morris here.
Three oil cans; Tate Summer Party, sick Photography by Immo Klink

Gushing from floral skirts, spilling elegantly from giant white eggs, jetting from paint tubes across the floor of the iconic Tate Turbine Hall, 2010 has witnessed a flood of oily resistance against oil sponsorship in the arts. The likes of art activist group Liberate Tate have generated a fierce debate in the art world around oil, ethics and sponsorship.

Plans are afoot to spring board the campaign into the New Year, with a high energy, high profile mainstream gallery event to attract lots of new people and to keep the pressure up. In an innovative bid to raise dosh for the project London creative campaign group PLATFORM has launched a crowd- funding initiative at Indiegogo. The idea is that people can give what ever little bit of cash they can, and by Christmas there will be enough in the pot to book a snazzy venue and put on a truly sensational participatory exhibition in early 2011.

Tate Summer Party, Photograph by Immo Klink

This is all about entry level direct action at it’s most fun. More than that, the campaign is in with a real chance of seeing a tangible result. Protestors forced Shell to back out of the Natural History Museum, and with the right pressure applied to the right places there is no reason why all oil sponsorship in the arts can’t go the same way as tobacco sponsorship in sport; down the pan. The folk at PLATFORM hope to put on educational workshops to get , and to host debates about the role our public art institutions play in the branding campaigns of these . Most importantly they hope to empower people to get involved in .

Easter egg spill with wiggle, British Museum Photography by Amy Scaife

They would be really grateful if you could help by spreading the word forwarding the link bellow by email and facebook, and telling your economically empowered friends and relatives. What ever you can or can’t do to help fundraise, everyone is invited to the event itself, which is likely to be held in January (email sophie@platformlondon.org for more information about getting involved).

To say thank you for donations over £16 ($25) they are offering some quirky perks, including sets of beautiful postcards ideal for a Christmas stocking, invites to the first night private viewing of the exhibition, and limited edition hand made, ‘BP branded’ paint tubes full of molasses, hot from the intervention at the Tate Modern’s Turbine Hall

So whether you have some cash to spare – or if you just want to get messy with molasses – get involved!


Illustration by Stéphanie Thieullent

“Ari Up: John Lydon’s step-daughter dies.” The Telegraph’s headline was horribly reductive. Ari Up, viagra 100mg who died on Wednesday at the tragically young age of 48, viagra buy was the punk legend’s step-daughter but that was just a small and tangential detail in a fascinating life and career. With The Slits and later with the New Age Steppers and solo in several guises, Ari Up was a musical icon in her own right, not a bit player on the fringes of the John Lydon circus.   


Illustration by Gemma Milly

The granddaughter of the owner of Der Spiegel and daughter of Nora Foster who was at the centre of the London music scene for years (befriending Hendrix and dating Chris Spedding before finally marrying Johnny Rotten), Ari Up was born from privilege and chaos in equal measure.  

Nora’s tendency to invite poor punk musicians to bunk down at their house put Ari at the heart of the scene and got her guitar tuition from Joe Strummer. She was 14 when she formed The Slits with Strummer’s former-flatmate Palmolive. Her fascination with reggae gave the band a dubby feel that was in sharp contrast to the guitar thrashing of many other punk outfits.  


Illustration by Aniela Murphy


Illustration by Abi Daker

The Slits debut album Cut, with its memorable image of the band naked but for grass skirts and a liberal coating of mud, featured a cleaner sound than their live performances. While the band’s cover of I Heard It Through The Grapevine is still an indie disco staple, the record is studded with gems particularly the amateurish piano and bouncing bass of Typical Girls.  


Illustration by Faye West

The Splits broke up in 1981 and Ari moved with her husband and twins to Indonesia and Belize before heading for Jamaica, an appropriate location given her an enduring love of reggae and dub. She performed and recorded with Lee Scratch Perry and released a solo album, Dread More Dan Dead, in 2005.  

In 2006, The Slits reformed to some critical acclaim, releasing the Return of The Giant Slits EP which was followed by a new full length record, Trapped Animals, in October last year.The Slits final work together, a video for the Trapped Animals track Lazy Slam (below), was released yesterday in accordance with Ari’s final wishes.  


Illustration by Gemma Sheldrake

A whirling dervish of dreadlocks and energy even when The Slits returned in their middle-aged incarnation, it’s with sad inevitability that Ari Up will be pegged as John Lydon’s step-daughter first and a musician in her own right second. But more thoughtful souls will remember her as one of punk’s most distinctive voices whose work with The Slits confounded and confronted the heavy-handed misogyny of much mainstream punk – The Stranglers, I’m looking at you.  

The death of Ari up has deprived music of one of its most original and unpredictable voices. It’s a truly sad day.

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You can follow more of Mic’s words on his blog here. You can read our review of Trapped Animal here. A superb album, go buy it now.

Categories ,Abi Daker, ,Aniela Murphy, ,Ari Up, ,Dub, ,Faye West, ,Gemma Milly, ,Gemma Sheldrake, ,Heard It Through The Grapevine, ,John Lydon, ,Johnny Rotten, ,Lazy Slam, ,music, ,Obituary, ,punk, ,reggae, ,Stéphanie Thieullent, ,the slits, ,The Telegraph, ,Typical Girls

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